0-Fluid-0

Durham, UK-based creator of the bouncy hand-printed Paisy (2007). [Google] [More]  ⦿

100types
[Ben Archer]

Educational and reference site run by Ben Archer, a designer, educator and type enthusiast located in England (who was in Auckland, New Zealand, before that). Glossary. Timeline. Type categories. Paul Shaw's list of the 100 most significant typefaces of all times were recategorized by Archer:

• Religious/Devotional: Gutenbergs B-42 type, Gebetbuch type, Wolfgang Hoppyl's Textura, Breitkopf Fraktur, Ehrhard Ratdolt's Rotunda, Hammer Uncial, Zapf Chancery, Peter Jessenschrift, Cancellaresca Bastarda, Poetica.
• Book Publishing&General Purpose Text Setting: Nicolas Jenson's roman, Francesco Griffo's italic, Claude Garamond's roman, Firmin Didot's roman, Cheltenham family, Aldus Manutius' roman, William Caslon's roman, Pierre-Simon Fournier's italic, Ludovico Arrighi da Vicenza's italic, Johann Michael Fleischmann's roman, ATF Garamond, Giambattista Bodoni's roman, Nicolas Kis' roman, Minion multiple master, Unger Fraktur, John Baskerville's roman, Lucida, Optima, Bauer Bodoni, Adobe Garamond, Scotch Roman, Romanée, ITC Stone family, Trinité, ITC Garamond, Sabon, ITC Novarese, Charter, Joanna, Marconi, PMN Caecilia, Souvenir, Apollo, Melior, ITC Flora, Digi-Grotesk Series S.
• Business/Corporate: Akzidenz Grotesk, Helvetica, Univers, Syntax, Courier, Meta, Rotis, Thesis, Antique Olive.
• Newspaper Publishing: Times Roman, Bell, Clarendon, Century Old Style, Ionic, Imprint.
• Advertising and Display: Futura, Robert Thorne's fat typeface roman, Vincent Figgins' antique roman (Egyptian), Memphis, Fette Fraktur, Avant-Garde Gothic, Deutschschrift, Peignot, Erbar, Stadia/Insignia, Penumbra, Compacta, Bodoni 26, WTC Our Bodoni.
• Prestige and Private Press: Romain du Roi, Golden Type, Johnston's Railway Sans, Doves Type, Walker.
• Signage: William Caslon IV's sans serif, Trajan.
• Historical Script: Snell Roundhand, Robert Granjon's civilité, Excelsior Script.
• Experimental/expressive: Mistral, Beowolf, Dead History, Behrensschrift, Eckmannschrift, Neuland, Element, Remedy, Template Gothic.
• Onscreen/multimedia: Chicago, Oakland, OCR-A, Base Nine and Base Twelve, Evans and Epps Alphabet.
• Telephone Directory publishing: Bell Gothic.

Link to Archer Design Work. [Google] [More]  ⦿

12b
[William Lyall]

London-based graphic design studio founded by William Lyall and Josh Epstein-Richards in 2015. Its typefaces include PM Grotesk (2018), which was designed by William Lyall. [Google] [More]  ⦿

24exp
[Chris Henley]

24exp was the online portfolio of Buckinghamshire, UK-based freelance designer and art director Chris Henley. Some time alter, he set up Good and Brave in Milton Keynes, UK.

Creator of the rounded octagonal typeface GAS (2012) and the 2d typeface Build Me Up and Knock Me Down (2013).

Behance link. [Google] [More]  ⦿

3 Things

Design studio in London that created an experimental geometric typeface called Shellington (2012).

Behance link. [Google] [More]  ⦿

3Form

Birmingham, UK-based design firm. Creators of the futuristic type Slacker Journal for the journal by that name, 2001. No longer active. [Google] [More]  ⦿

8 Faces
[Elliot Jay Stocks]

8 Faces is published in England by Elliot Jay Stocks Design Ltd. Volume 1 (2010) features interviews with Erik Spiekermann, Jessica Hische, Ian Coyle, Jason Santa Maria, Jos Buivenga, Jon Tan, Bruce Willen, and Nolen Strals. Volume 2 (2011) has interviews with eight designers: Martin Majoor, Ale Paul, Stephen Coles, Tim Brown, Nick Sherman, Rich Rutter, Veronika Burian, and José Scaglione. Written and edtited by Elliot Jay Stocks. [Google] [More]  ⦿

A. Jay Bisset

Graphic designer in Berkhampstead, UK, who created an experimental typeface in 2012. [Google] [More]  ⦿

A. Pat Hickson

Britsh designer for ITF, most of whose fonts were mainly published by Red Rooster. After 2017, she started contributing to her husband's foundry, London Type. List (all ITF/Red Rooster unless otherwise specified):

• Alghera Pro (1996): hand-printed, based on a handwritten Portuguese wine label design.
• Alys (1995): Calligraphic.
• Appleyard (1992): based on an old Monotype design, Prumyslava.
• Badger (1992): comic book style. In 2010, this was Steve Jackaman and Ashley Muir as Badger Pro.
• Basset, Basset Five, Basset Four, Basset One, Basset Six, Basset Three (1997): headline family.
• Bellini (1992): a garalde typeface based on Progreso (1923, Richard Gans Foundry). See Veer, where the font is sold as "Bellini". Linotype sells Greco (DsgnHaus, 1996) which according to some typophiles really is Progreso.
• Byron (1992, by Paul and Pat Hickson): a calligraphic font originally cut in the 1980s for QBF based on a design in Printing Types of the World (1931, Pitmans). Later redone in digial form as LDN Piccadilly (2019) at London Type.
• Coliseum (1992, ITF), co-designed with Julie Hopwood. Steve Jackaman completely redesigned, redrew, and improved the Coliseum family in 2017 and called it Coliseum Pro. That redesign also produced the sister typefaces Clydesdale and Torpedo.
• Dundee, Dundee Condensed (1993), inspired by the various headlines used in children's comic books in England, published by D.C. Thompson of Dundee, Scotland.
• Erasmus (1992): based on a design of Sjoerd Hendrik de Roos, 1923, Amsterdam Foundry.
• Forum Titling (1994): based on the Frederick Goudy design first shown in 1912, which was produced as a foundry typeface by Lanston Monotype in 1924.
• Gilmore Fahrenheit and Gilmore Sans (1992): ugly typefaces based on Eric Gill designs.
• Grove Script (1992).
• Javelin (1994): a connected fifties diner typeface in the style of Continental Railway Magneto Bold, Parkway Hotel, Permanent Waves, and Raceway.
• ITC Mona Lisa (ITC, 1992, and Elsner&Flake, 1991), ITC Mona Lisa Recut (ITC, 1991): an interpretation of a 1930 tall modern type by Albert Auspurg for Ludwig&Mayer.
• Rivoli Initials. Based on the William T. Sniffin design for ATF, circa 1928.
• Roller, Roller Shadow (1997): based on Iberica by Carlos Winkow for Fundicion Nacional, ca. 1942.
• Sinclair Script (1992).
• Stirling (1992).
• Venezuela (2000, Red Rooster) is a decorative Mexican simulation font based on the typeface Vesta by Albert Auspurg, circa 1926.
• Heseltine (2014) was designed by Paul & Pat Hickson in Text & Titling weights. The Heseltine typeface family was originally produced as a gift from Haymarket Media Group to Lord Heseltine for his 75th birthday.
• London Belgravia (2019, by Paul and Pat Hickson). An art deco sans.
• With Paul Hickson, she designed the floriated initial caps font LDN Garamond Initials (2020), which accompanies Paul's LDN Garamond (2020), which is a faithful revival of Claude Garamond's typeface.

A2 Graphics--SW--HK
[Scott Williams]

Scott Willimas is the cofounder (with Henrik Kubel) of A2. Before that, it was called A2 Graphics/SW/HK, a London based design bureau founded in 1999 by Scott Williams and Henrik Kubel. At A2, he designed the elliptical typeface family Cubbit, as well as the pixel typeface game Over and Eyeslies. Williams and Kubel co-designed AF-Klampenborg (1997-1999) and FY-Brush Script Regular.

In 2014, Scott Williams and Henrik Kubel (A2 Type) co-designed A23D, a 3d-printed letterpress font. It was fabricated by model making specialists Chalk Studios. The font is presented by New North Press, which specializes in traditional letterpress printing. Adrian Harrison made a short film about the birth of the font, charting its progress from preliminary sketches to first inking and printing at New North Press. A23D won an award in the TDC 2015 Type Design competition.

Klingspor link. [Google] [More]  ⦿

A2 Type
[Henrik Kubel]

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

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

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

Aah Yes

Southampton, UK-based foundry, est. 2006. Font families include Regalese (2008, 8 weights with stylish rounded serifs), Arrow Heaven (2007, 6 styles of fonts with 62 arrows in 40 orientations each), Lydiard (2007, sans cum comic book), Demigrunge (2007), Nidex (2007, caps-only grunge), Rocksolid (2007), Perio (2007, a grungy didone), Havenbrook (2007, a 22-style family), Sudoku Blank (2007), Pikelet (2007, grunge headline face), Sanzettica (2007, a 40-style geometric sans family, but the x-weight is unacceptably large), Hunniwell (2007, felt tip style), Meriden (2007, display sans family), Saint Val (2007), Funkywarp (2006), Cheedo (2006, bi-lined), Old Forge (2006, roman style), Blank Manuscript (2006, music font), Disgrunged ABCD (2006), Disgrunged 1234 (2006), Beeble (2006), Choob Stripes (2006), Diffie (2006), Pixettish (2006), Caldicote (2006, a 13-style serif family), Starbell (2006), Tuzonie (2006, grunge), Cabragio (2006, free-flowing informal), Deltarbo (2006, sans), Write (2006, an almost architectural script), Dascari (2006, an informal headline sans), Smeethe (2006, comic strip face), Crockstomp (2006, grunge), Dorkihand (2006), Meltifex (2006, melting letters), Rappica (grunge), Blue Sugar (2007, grunge), Front Desk (2007), Powdermonkey (2007), Sideshadow (2007), Spiky (2007), Zebra Spots (2007), Amescote (2007, a 6-weight sans), Mivron (2007, outline sans), Puggu (2007, comic strip font), Luzaine (2007), Overlapper (2007), Satron (2007), Stubble (2008, grunge), Newsanse (2008, a 15-style large x-height disaster), Rysse (2008, an 11-style grunge family), Chelp (2008, grunge), Snather (2008: thin, rounded squarish), Keybies (2008, piano key font), Quickle (2008), Pevensey (2008: 21 styles, each with 1200 glyphs, transitional style), Spiraltwists (2008), Music Sheets (2009), Snazzy (2009), Shelflife (2012, a macho sans), Langton (2012, a workhorse sans family), Indipia (2012, a corroded family), Bradwell (2012, condensed sans), Dunsley (2013, a hand-drawn sans), Darnalls (2013, antiqued book face), Stamppad (like a rough rubber stamp pad), Heavenly Bodies, Stripated (2016), Slonk (2016: an ornamental font with a pearl in each outline), Guitar Chords (2016).

Typefaces from 2017: Time Exactly (just type in the four numbers of any time from 0000 to 2359 and it will give you that clock face, in one of 60 styles of your choice), Rebista, Magg (a corroded condensed sans typeface family), Sanstone.

Typefaces from 2018: Hypersans (12 weights), Martian Tiles, Dominoes (a domino tile font).

Typefaces from 2020: Yafferbuddle (a cartoon font).

View the Aah Yes typeface library. [Google] [MyFonts] [More]  ⦿

Aaron Bass

Illustrator and graphic designer in Farnham, UK, who created some experimental counterless typefaces in 2013.

Behance link. [Google] [More]  ⦿

Aaron Bradley

UK-based designer, b. 1999, of the modular typeface Loncazt (2019) and the squarish typeface family Gipfel (2019). [Google] [More]  ⦿

Aaron Chiffers
[Arctype]

[MyFonts] [More]  ⦿

Aaron Hocking

During his grpahic design studies in Norwich, UK, Aaron Hocking created the rounded modular typeface Theo (2016) which can be used for coloring and overlays. [Google] [More]  ⦿

Aaron Jarred

Graphic designer and illustrator studying Graphic Communication at UCA, Farnham, UK. He created Modular (2011, a kitchen tile face). [Google] [More]  ⦿

Aaron Joll

Bristol, UK-based designer of the 3d typeface Two Faced (2014). Behance link. [Google] [More]  ⦿

Aaron Nicholls

Graphic design student at the University of Creative Arts, Epsom, UK. Worthing, UK-based creator of the sans family Static (2010). MyFonts link to his foundry and to his persona. He designed the monoline octagonal typeface Exogenetic (2010). Behance link. MyFonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Abattis
[Dave Crossland]

Abattis is a free software type foundry launched in 2009 by Dave Crossland. Auto-description on his wiki: I'm a designer and nerd in Bournemouth, UK, and I do systems and network consultancy for a living. I completed a BA (Hons) Interaction Design degree at Ravensbourne College in 2006, and am currently on the MA Typeface Design course at Reading, from October 2007 to July 2009. My design philosophy centers around the parameterisation and automation of design to improve the design process, and some of my old ideas are published at designprocess.com. He is a proponent of open source code and of free fonts, and involves himself with dedication in the Open Font Library project. He defines Free fonts as follows: Free Fonts are about freedom, not price. They are fonts you are free to use for any purpose, fonts whose internals you are free to study, fonts you are free to improve, fonts you are free to redistribute, and fonts you are free to redistribute improved versions of which means - in the specific context of font software - fonts you are explicitly free to embedded, subset, bundle and derive from to create any kind of artwork. To be truly Free they must allow commercial use and even to be sold by anyone - as it is about freedom, not price.

Dave dreams of a free culture of visual communication around the world, so he decided to free fonts. His Masters Thesis written in 2008 at the University of Reading is entitled The Free Font Movement.

In 2009, for his MA work at Reading, he designed Cantarell, a free humanist sans family, done together with Jakub Steiner, free at CTAN, Github and Open Font Library. OFL page. Cantarell was there at the launch of Google Fonts and has become widespread. In 2010 it was selected as the default User Interface font for GNOME 3. Petra Sans (2017) is a further development of Cantarell by Cristiano Sobral. Irene Vlachou added Greek support for Cantarell in 2018. The current state of Cantarell as reported on Github: After the GNOME project adopted the typeface in November 2010, minor modifications and slight expansions were made to it over the years. Pooja Saxena initially worked on the typeface as a participant of the GNOME outreach program and later developed her own Devanagari typeface Cambay, which included a redesigned Latin version of Cantarell. It was backported to the GNOME branch of Cantarell by Nikolaus Waxweiler, who also performed other janitorial tasks on it. The overall quality of the design was however far from good, given that the regular and bold face were worked on seperately and without consistency and had low quality outlines, and the oblique variants were simply slanted uprights without much correction. The GNOME design team also requested lighter weights. Up to this point, the work on Cantarell was mainly done with libre tools such as FontForge. Given the decaying state of FontForge (arcane user interface, heaps of quirky and buggy behavior) and the very early development status of alternatives such as TruFont, Nikolaus Waxweiler started redrawing Cantarell in the proprietary and Mac-only Glyphs.app under mentorship from Jacques Le Bailly ("Baron von Fonthausen"). Later, Alexei Vanyashin and Eben Sorkin reviewed the design.

Finally, in 2009 or 2010, he started work on the Google Font Directory. Dave works as a typographic consultant to the Google Fonts project and gives financial support to libre type projects including FontForge, Glyphr Studio and Metapolator.

Klingspor link. Kernest link. Google Plus link. Font Squirrel link.. [Google] [More]  ⦿

Abbas Mushtaq

Abbas Mushtaq (Leeds College of Art) is working on a font called Parallel Lines (2011). [Google] [More]  ⦿

abbeywrites
[Abigail Pickess]

UK-based designer of the handcrafted typeface Superman (2020). [Google] [More]  ⦿

Abbie Vickress

Student at UWE in Bristol, UK. FontStructor who made the circus fonts Ornamental Circus (2010) and Draft Two (2010). [Google] [More]  ⦿

ABC Types (was: Absolutetype)
[Tony Mayers]

ABC Types is Tony Mayers' foundry. Identifont link. Tony produced film titles in London's West End. He learned the craft of phototypesetting. In 1979, he moved to Manchester, where he founded The Quick Brown Fox Company. He created Concept Crisis (grunge face), Concept Sans, De-Generation, Generation Gothic, Generation Graffiti, Generation Headline, Generation Lost, Generation Open, Generation Pixel, Generation Uncial, Monolith Roman (2004), Monolith Sans, Poster Gothic, Ranger, Society, and Text Gothic. Before ABC Types, he ran Absolutetype, where he sold the typefaces mentioned above. The typefaces are now digitally available from Cedars, PA-based International Type Founders (ITF), which was created by Steve Jackaman. The latest address for ABC Types was in Cedars, PA. It is identical to that of ITF. Tony Mayers has died.

Ascender also sells its collection. Klingspor link. [Google] [MyFonts] [More]  ⦿

Abi Evans

During her studies in London in 2017, Abi Evans designed the confetti typeface Haywire Bound. [Google] [More]  ⦿

Abi Fuller

During her studies at the University for the Creative Arts Farnham, UK, Abi Fuller designed the pattern-filled octagonal typeface Tribal (2014). [Google] [More]  ⦿

Abi May

At Falmouth University in the UK, Abi May designed the neuron and axon emulation typeface Anxious (2016). [Google] [More]  ⦿

Abigail Frances Twomey

Artist and illustrator in London, UK, who designed a great all caps typeface based on cats called Just My Type (2016). [Google] [More]  ⦿

Abigail Lee

Huddersfield, UK-based designer of the 3d skeletal typeface Huddersfield (2017). [Google] [More]  ⦿

Abigail Pickess
[abbeywrites]

[More]  ⦿

Abigail Stevens

Illustrator in Cambridge, UK, who created the decorative alphabet Bestiary (2014). Behance link. [Google] [More]  ⦿

Ablaze Studio
[James Cianciaruso]

James Cianciaruso (Ablaze Studio) (b. 1967) lives in the UK. Dafont link. He created these fonts: Chaos Times (2007, grunge), Arkham (2007, Arabic simulation face), Leicester (2007, old typewriter face), and Veggi terra (2007, fruit and veggie dingbats). [Google] [More]  ⦿

Abygail Bradley

During her studies in Manchester, UK, Abygail Bradley created the rhombic typeface Diamond Heist (2014). [Google] [More]  ⦿

A.C. Smithy

Student at UWE in Bristol, UK. FontStructor who made the Celtic caps typefaces Radiating Bold (2011), Radiating (2011) and Closed Energy (2011). [Google] [More]  ⦿

Achraf Amiri

Creative director and founder of Illustrashion Magazine, based in London. Known as Prince, Amiri used to live in Brussels, where he was art director and graphic designer. Home page. In 2010, he published a booklet, Didot Fashion Victim. His fashion-inspired lettering is quite amazing, and so are his fashion illustrations. In 2011, he continues his amazing mixtures of typography and illustration in his design of a wall logo for Boutique no. 7 in Moscow. He also made the hairdo experimental caps typeface Touffe (2011). More fashion and vamp illustrations: Milano 2011, New York 2011, Paris 2011, Sophia Loren, Sofitel Brussels Le Louise (2011). [Google] [More]  ⦿

Acid Type
[Zac Hallgarten]

Design studio started in London in 2015, and now located in Manchester. In 2021, Zac released the 12-style gentle grotesk typeface family Rabona. [Google] [MyFonts] [More]  ⦿

ACME Fonts (or: CHK Design)
[Christian Küsters]

Started in 1996, by Christian Küsters and Andy Long (from South London), ACME Fonts is a London-based foundry, offering fonts by Küsters and these designers: Anthony Burrill, Gérard Paris-Clavel&Johannes Bergerhausen, Jean-Lou Désiré, Paul Farrington, Robert Green, Paul Kehra, Henrik Kubel, Simon Piehl, Alex Rich, Carsten Schwesig, Sandy Suffield, Dirk Wachowiak, Anne Wehebrink and Paul Wilson. Christian Küsters is an ex-student of Matthew Carter at Yale. Born in Germany, he now lives in Oberhausen. Buy the fonts at MyFonts. The company evolved, I guess, into CHK Design.

MyFonts link. Interview. Klingspor link. The ACME font list:

• By Christian Küsters: AF Angel (1998, based on an old woodblock typeface), AF Satellite, AFWendingen, Cashier 1 AF (1998, dot matrix), AF Champ Fleury (1996, a Codex-like face), AF Hybrid (1996), AF Hadrian Roman (1998, art nouveau), AF Interface One and Two (1998, grotesque sans), AF Retrospecta (1998, exaggerated wedge serif family), AF Track AF One and Two (1998, white on black dot matrix printing), Unzialis (1994), Zip Code AF 30, 40, 50 and 60 (2001, hairline squarish sans family). Christian had a nice connection at Plazm, where he published Hadrian (1996), Retrospecta (1994), Unzialis (1994), Hybrid (1996) and Interface One (1996).
• By Robert Green: AF PAN (1997, octagonal).
• By Henrik Kubel: 4590, AF-Battersea (1999, a grotesque family), AF-CENTERA, AF-Copenhagen, AF-Klampenborg (2000, grotesque sans), CPH-ArabicNumbers, CPH-Medium, Grot-25.
• By Sandy Suffield: CarPlatesCarPlates, AF Carplates (1998, squarish, including Carplates AF Bold Stencil).
• By Paul Wilson: AF Screen (1999).
• By Pete McCracken: INKy-black (1994).
• By Carsten Schwesig: Nicoteen 13 AF (1998, grunge), AF Syrup (1998, slab serif).
• By Paul Farrington: Camberwell AF One (1998, grotesque sans), AF Tasience (1998), Amateur 69 AF (1998, grunge).
• By Dirk Wachowiak: AF Diwa (2002, large squarish sans), AF Generation (2002, huge squarish sans families called A, A2, A2A, Z, and ZaZ).
• By Jean-Lou Désiré: Kub AF (2002, experimental).
• By Johannes Bergerhausen and Gerard Paris-Clavel: LeBuro AF (2003, grunge in weights called Breau, Crade, Louche, Extra Crade, Demi Beau).
• By Sylvia and Daniel Janssen: AF Nitro (2004, techno family in subfamilies called Intro, Riton, Trion).
• By Anne Wehebrink: Oneline AF (1998, squarish sans).
• By Paul Kehra: PostSoviet AF (2001, geometric sans family; with Cyrillic and Latin letters; weights called Culture, Free Latvian, Free Revolution, Ideology, Revolution).
• By Simon Piehl: Spin AF (1998, squarish sans).
• By Anthony Burrill: Video Wall AF (1998).
• By Christian Küsters, based on lettering of H.T. Wijdeveld: AF Wendingen (1998, LED simulation).
• Other: AFConstants (1998), Allen, Indy 500, Interface, AFLogotype (1998).

View ACME's typefaces. Acme's typeface library. Typefaces made by Christian Küsters. MyFonts selection for ACME. [Google] [MyFonts] [More]  ⦿

Acorntype
[John Eickhoff]

John Eickhoff (Bristol, UK) cast type until 2005 under the name Acorntype. He used Monotype machines to cast, and produced several specimen booklets and broadsheets. [Google] [More]  ⦿

ACPS Creative

London-based studio. In 2015, it published the stencil typeface A.S. Koops. In 2016, they added the high-contrast typeface Apposite. In 2018, they published the beveled arched typeface Sushi. [Google] [More]  ⦿

A-D Foundry
[Daniel Westwood]

A-D Foundry is a small independent type foundry established by Daniel Westwood (of Family) in the UK in early 2010. Their typefaces include the inline typeface Mason Regular (2010), Kläda (2011, a bilined typeface made for a UK-based online fashion label), Retail (2011), Process (2011, stencil), and the monolined Agostin family (2010).

Klingspor link. [Google] [More]  ⦿

Adam

London-based designer of Bootround (2006, a techno version of Amelia). [Google] [More]  ⦿

Adam Ascroft

Wigan, UK-based designer of the monoline geometric sans typeface Castor (2014), a typeface finished during his studies at Salford University. [Google] [More]  ⦿

Adam Bibilo

Media Production student at the University of Lincoln, UK. As iFontMaker, he created the scratchy hand Shotgun Shak (2011). [Google] [More]  ⦿

Adam Brandon

Graphic designer in Manchester, UK. Behance link. Creator of the free modular font ABStochome (2010). [Google] [More]  ⦿

Adam Brightman

Graphic designer in Northampton, UK. Behance link. In 2010, he designed Typegram, a modular typeface that consists of puzzle pieces. [Google] [More]  ⦿

Adam Conley

During his studies in Norwich, UK, Adam Conley created the blocky 3d typeface Iso Blok (2013) and the experimentak Doll Face (2013). [Google] [More]  ⦿

Adam Cottam

Fleetwood, UK-based designer of the monoline (DNA-inspired?) stencil typeface Wharf (2017). Behance link. [Google] [More]  ⦿

Adam Gorton

Manchester, UK-based typographer and digital artist who studied at Pendelton College in Manchester and at The University Of Salford. His stern display typeface High Rise (2010) was inspired by concrete city monsters. In college, he created several other (unfinished) alphabets: i, ii, iii, paper cut typeface, Weekender (counterless, paper cut-out face), Elena (2014, an extreme contrast wedge-serif typeface), McGowan, Mercury (2014, a minimalist stencil typeface), Kraftwerk (2014, octagonal and techno).

Behance link. [Google] [More]  ⦿

Adam Gravely

Studied Graphic Design at London Guildhall University from 2000-2003. Worked for six months in a design/marketing agency working on commercial projects for clients such as Wella and Vodafone. At present designer for a design/print company based in Newbury, UK. With the experimental typeface Landing Ship, he won an award at the 2005 FUSE competition. [Google] [More]  ⦿

Adam Greasley
[Wearecolt]

[MyFonts] [More]  ⦿

Adam Green

Graphic design student at the University of Creative Arts based in Farnham, in 2012-2013. He created the experimental circular font Modular in 2013. [Google] [More]  ⦿

Adam Hesling

During his studies at the University of Salford, Huddersfield, UK-based Adam Hesling designed a hand-printed poster face and a piano key face (2012). [Google] [More]  ⦿

Adam Jedrzejewski

British designer of the free cartoon font Nathaniel Covid19 (2020). [Google] [More]  ⦿

Adam Jeffries

British designer of the children's hand font Adams Font (2013). [Google] [More]  ⦿

Adam Knights

Student at the University of Leeds (UK) who made a nice Bodoni poster in 2011. [Google] [More]  ⦿

Adam McCabe

During his studies at Falmouth University, Birmingham, UK-based designer Adam McCabe created Elasti Sans (2014), a typeface inspired by elastics. [Google] [More]  ⦿

Adam Payne

Stratford-upon-Avon, UK-based graphic designer, who created the display typeface Sharptype (2014). [Google] [More]  ⦿

Adam Reeves

Graphic design student at the University of Salford in Manchester, who created Masking Tape (2012), Decipher (2012, a minimalist typeface dedicated to Alan Turing), Shedge (2013, a stiletto typeface for a local band called Shedge), and Sporidium (2013). [Google] [More]  ⦿

Adam Robinson

During his studies in Manchester, UK, Adam Robinson created the free crop circle font UFO Nest (2015) and the thin squarish sans typeface Elppa (2015). Behance link. Dafont link. [Google] [More]  ⦿

Adam Rogers

Graphic designer in Derby, UK, who created YCN 3 Prong Type in 2012 at the University of Derby. He also created fun Dog Icons (2012). [Google] [More]  ⦿

Adam Schofield

Twocester, UK-based creator of an alphabet collage entitled Traditional Versus Radical (2014). [Google] [More]  ⦿

Adam Stewart

British designer of the hand-printed typeface Adams (2013). [Google] [More]  ⦿

Adam Witton

Graphic designer who studied at University College Falmouth. Now based in London, Adam designed Infected Type (2012, ornamental caps). Behance link. [Google] [More]  ⦿

Adesola Amusan

London, UK-based designer of the display typeface Comb (2017). [Google] [More]  ⦿

Admix Designs
[Joe Prince]

Joe Prince (Admix Designs) was a student at Academy of the Canyons near LA, 2007-2011. His typefaces:

• Maven Pro (2010) is a sans characterized by constant curvature and vertical cuts. It was created by Joe Prince, courtesy of Vissol Ltd.. It is an extensive free typeface, and in fact, it is more than free: visitors can request that a new glyph be added. Vissol is a British web design company.
• Valencia (2011). A condensed art deco family in five weights that is free at Lost Type). Image by Ryan Kiley.
• Varela (2011). A sans serif face. Followed by Varela Round.
• Questrial (2011). Influenced by Helvetica.
• Geostar (2011). A blackboard bold face. Followed by Geostar Fill (2011).
• Handlee (2011). Free Google Web Font.
• Squada One (2011). Free at Google Web Fonts, it is a squarish Impact-like family.
• Bemio (2012). Published by Lost Type, it is an ultra bold sans.
• Klinic Slab (2012).
• Venera (2012, Lost Type).
• Majesti Banner (2015, Lost Type). A decorative didone.

Google Font Directory link. Additional Google link. Klingspor link. Devian Tart link. Cargo collective link. [Google] [More]  ⦿

Adrian Smith

When you click on "download", you get Adrian Smith's APL2741 font (1994-1999) in truetype format. It looks like a slanted Courier. Adrian Smith resides in York, UK. He also made Dyalog Std TT, a Courier-like truetype font (1996) for use as a system screen font. Another typewriter font is KAPL (2001). [Google] [More]  ⦿

Adrian Talbot
[Talbot Type]

[MyFonts] [More]  ⦿

Adrian Williams
[Club Type]

[MyFonts] [More]  ⦿

Adrian Williams

British advertising typographer and type designer, b. 1950, Somerset. Co-designer with Rosemary Sassoon of the school fonts Sassoon Primary and Sassoon Infant in 1990. See also Sassoon for Start-Bee (2020) and Sassoon Infant Pro (2020). He ran Club Type/Adrian Williams Design Limited in Merstham, Surrey (UK). His typefaces now owned by Monotype Imaging: Bulldog (2005-2010, +Slab: based on 1870 Figgins), Column, Congress (1974), Congress Sans, Eurocrat, Leamington (1978, can be found at Elsner & Flake), Mercurius, Monkton, Poseidon, Raleigh (1978), Rileyson (2010), Seagull (1978, + Bob McGrath, design owned by Ingrama), Stratford, Worcester Rounded (1974), Worchester. Perhaps the most famous in this list is the slab serif family Congress (1974), which has been digitally revived to death by URW++, Elsner&Flake, TypeShop, Scangraphic, SoftMaker, and Linotype. Williams was attached to the Swiss foundry Ingrama, where he made Leamington, Raleigh and Seagull. [Google] [MyFonts] [More]  ⦿

Adrian Wrzesinski

Plymouth, UK-based designer of the EEG-inspired typeface Dream (2018). [Google] [More]  ⦿

Adrianna Bilas

Graphic and type designer in London, UK. In 2019, she released Cinque, a vintage slab serif with arts and crafts elements that was inspired by the movie The Grand Budapest Hotel. [Google] [MyFonts] [More]  ⦿

Adrien Vasquez

Adrien Vasquez is from Grenoble, France. He studied in Valence and the University of Reading (class of 2011). He lives in London and teaches type design at ESAD Valence. His graduation typeface at Reading was Modern Seven (2011), a didone family for Latin and Cyrillic that comes with its own Modern Slab Serif.

With John Morgan, he founded Abyme in 2017. At Abyme, he published these typefaces:

• English Egyptian (2011-2017, with John Morgan). English Egyptian is an interpretation of William Caslon's Two Lines English Egyptian of 1816, considered by some to be the first sans serif printing type to be sold commercially.
• Nizioleti (2011-2017, with John Morgan). Named and modeled after the nizioleti, or Venetian street signs, Nizioleti is typeface consisting of painted letters stencilled within white plaster panels directly onto the city walls, in use since the early 19th century.

Adumdee

UK-based FontStructor (student at Bristol UWE) who created the spiky typeface Witchita (2010). [Google] [More]  ⦿

Aegir Hallmundur
[The Ministry of Type]

[More]  ⦿

Aenigmate
[Warren Woodhouse]

British designer of some fonts such as the angry angular typeface WP (2014) and To Sharp Lingo (2014). Woodhouse acquired Aenigmate in 2009, and is the owner of Bajo la Luna, Baja la Luna, Norfok, Norfolk, BRK, Disney Fonts and Mickey Avenue Fonts since 2009. Warren is based in Newcastle upon Tyne.

As of 2021, the free or donationware fonts:

• 08 Underground (2004). A fat finger font by Johan Waldenström.
• 50 Cent.
• 798 (2008). The name Arial Narrow is still in the font.
• Abduction (2001), in three styles. By Richard Gast (GreyWolf WebWorks).
• Absolutist.
• Aftermath. By Aenigma.
• Alone In The Dark (2009). Based on the game logo for Alone In The Dark by Atari. By Aenigmate.
• Alphabeta (2011). A pixel font by Aenigma.
• Alternative. By Boris Moser, unknown year.
• BackSlash (2004-2005). By Luis Huacuja.
• Bebo (2008). A modification of Dubina Nikolay's DS Podd Cyr Light (1998).
• Blogger (2006). A grungy typeface based on Brendel Informatik's Mercedes (1995).
• Brawl (2005). By Luis Huacuja.
• Daft Freak.
• Daft TV. This looks like Impact (1965, Geoffrey Lee).
• Darkness in Room 943 (2011). By Warren Kris Woodhouse Corporation.
• DJXB42CREWBOY. The name Arial Narrow is still in the font.
• Dreaming of Lilian (2005). By Luis Huacuja.
• SL Drops of Moonlight (2005). By Luis Huacuja.
• Emophonic (2005). A sci-fi font by Aenigmate.
• FeedMaker. A renaming of Harold Lohner's Wireframe (2000), which in turn was inspired by Letraset's Bombere.
• Google. Inside this font, it says "Georgia".
• Grace Webster. A childish handwriting font based on CatholicSchoolGirls BB (2004, Nate Piekos).
• Gran Turismo. A grungy typeface by Aenigmate.
• iSAFE. Created by Warren Woodhouse.
• Narnia (2006). A spurred all caps typeface by Luis Huacuja.
• Panzer Kardinal (2005). A sci-fi font by Luis Huacuja.
• Party Ninja.
• Piczo.
• Runaway Girl (2005). A script typeface by Luis Huacuja.
• Thank you for the Venom (2005). By Luis Huacuja.
• TRON and TRON Legacy. By Disney Fonts.
• To Sharp Lingo. A straight-edged typeface by Warren Woodhouse.
• Warren Language (2008). By Warren Woodhouse.
• Warren Woodhouse. By Warren Woodhouse.
• Warren Woodhouse Logo. By Warren Woodhouse.
• Woodhouse Productions. By Warren Woodhouse.
• WordPress (2007). A renaming of Microsoft's Georgia?

Twitter link. Fonts prior to the acquisition in 2009 were published by Luis Huacuja at Dafont. The other fonts, still free, are avialble vi GitHub, FontMeme and Warren Woodhouse's website. [Google] [More]  ⦿

Afiqah Hassan

London, UK-based designer of Holmes Lighthouse Generator 1867 (2017). [Google] [More]  ⦿

After The Flood
[Max Gadney]

Mike Gallagher and Max Gadney founded After The Flood, a design consultancy based in London. Github link.

Designers of the free 15-font family AtF Sparks (2017-2019). They write: Data can be hard to grasp however visualising it can make comprehension faster. Sparklines (tiny charts in text, like this: 123{10,20,30,40,50,60,70,80,90,100}789) are a useful tool, but creating them for the web has always required code and using them in word documents was previously impossible. Sparks, now in its second release, is a family of 15 fonts (three variants in five weights each) that allows for the easy combination of text and visual data by removing the need for any technical know-how. By installing the Spark font you can use them immediately without the need for custom code. Sparklines were first conceptualised by Edward Tufte as a way of placing data evidence as close as possible to the idea(s) it supports. Spark makes clever use of the OpenType calt table. CTAN link for TeX support by Herbert Voss. [Google] [More]  ⦿

Aidan Cooke

Blackpool, UK-based designer of the hipster typeface Penultimate (2013), which was created during his studies at the University of Huddersfield. In 2014, Aidan created the squarish typeface Second and the geometric all-caps sans typeface Enigma.

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

Aidan Croucher

Graphic designer in Hastings, UK, who made an experimental typeface in 2012. [Google] [More]  ⦿

Aidan Shephard

During his studies in Norwich, UK, Aidan Shephard created an unnamed illustrative typeface (2013). [Google] [More]  ⦿

Aigeriwa Aaa

At Camberwell College of Arts, London, UK, Aigeriwa Aaa created a squarish bilined typeface in 2015. [Google] [More]  ⦿

Aimé Alexia

UK-based designer of Azu (2005, handwriting). [Google] [More]  ⦿

Aimee Tilling

During her studies at the University of Leeds, UK, Chester, UK-based Aimee Tilling designed a dot matrix typeface (2016). [Google] [More]  ⦿

Aimee Winston

Graphic design student in London. Creator of Culture Face (2010, Asian look). [Google] [More]  ⦿

Aimee-Joy Jones

Student-designer of London Bridge Typeface (2014). Aimee-Joy is based in London. Behance link. [Google] [More]  ⦿

Airside

British design studio, est. in 1998 in London by Alex Maclean, Fred Deakin and Nat Hunter. In 2009, they designed Airplot (2009), a typeface specifically for Greenpeace's Airplot campaign against a new runway at Heathrow. [Google] [More]  ⦿

Aisha Nazir

For a rock album cover, Aisha Nazir (Nirmingham, UK) designed the grungy typeface Corrosive (2015). [Google] [More]  ⦿

Aizhan Abdrakhmanova

Graphic designer in London who created Mirror (2013). [Google] [More]  ⦿

A.J. Goddard Designs

In 2013, A.J. Goddard (Essex, UK) drew a De Stijl-genre alphabet by hand for a project at South Essex College. [Google] [More]  ⦿

Alaa Alsaraji

During her studies in London, Alaa Alsaraji created the hairline avant-garde typeface Vienna (2015). Behance link. [Google] [More]  ⦿

Alaina Jensen
[Studio Denmark]

[More]  ⦿

Alan Birch

British designer of LCD (1981, Letraset, ITC, and then Linotype), Crystal (1981, cyrillicized in 1993 by A. Kustov), Letraset Bitmax (1990), Rubber Stamp (1983, a grungy military stencil), and Synchro (1984).

Digital versions of LCD include LCD SH (2004, Scangraphic) and Quartz (2019, SoftMaker).

MyFonts write-up. Linotype link. FontShop link. [Google] [MyFonts] [More]  ⦿

Alan Bright

British designer of Brighton Bold (1979, Letraset), Brighton Light (1979, Letraset), and Brighton Medium (1979, Letraset). For another execution, see B820-Roman-Regular from SoftMaker. [Google] [MyFonts] [More]  ⦿

Alan Cheetham
[A-Studio]

[More]  ⦿

Alan Cutler

Manchester, UK-based designer of the fat LED font Cyberntk (2019). [Google] [More]  ⦿

Alan Jeffrey
[bbold]

[More]  ⦿

Alan M. Stanier

Alan M. Stanier from Essex University (UK) has created the following metafonts: ams1, cherokee, cypriote, dancers (the "Dancing Men" code of Conan Doyle), estrangelo (ancient Syriac language), georgian, goblin, iching, itgeorgian, ogham (found on ancient Irish and pictish carvings), osmanian (twentieth-century font used in Somalia), roughogham, shavian, southarabian (for various languages circa 1500BC), ugaritic (ancient cuneiform alphabet). More direct access. [Google] [More]  ⦿

Alan M. Stanier
[Dancers]

[More]  ⦿

Alan M. Stanier
[SouthArabian]

[More]  ⦿

Alan M. Stanier
[Ogham]

[More]  ⦿

Alan M. Stanier
[Cypriote metafont]

[More]  ⦿

Alan M. Stanier
[Cherokee metafont]

[More]  ⦿

Alan Meeks

Prolific type designer, b. London, 1951. Alan started working in 1970 for Graphic Systems as a lettering artist. In 1975, he joined Letraset as the Senior Type Designer and Studio Manager where he was responsible for all the artwork produced by the Letraset studio. During his tenure at Letraset, he designed over 40 popular typefaces, including Bramley, Candice, Bickley Script and Belwe. Most of these typefaces also showed up in the Scangraphic collection. Together with type director Colin Brignall, Alan contributed to the success of Letraset. All the original typographic artwork produced at Letraset was produced by hand cutting the fonts in Rubylith, a highly-skilled technique known as stencil cutting. Alan was responsible for training the entire Letraset studio in this art. Most of the original Letraset artwork has now been archived at St. Brides Printing Library, London. Today, Alan works independently, specializing in all facets of corporate identity including type design, typography, packaging, and development of logos and symbols.

His oeuvre (sold via MyFonts) includes:

• Letraset: Aardvark (with Colin Brignall, 1969). Also see Aargau (Softmaker).
• Font Factory: Chalfont (2003: similar to Antique Olive), Brigade (classic roman), Fairway (curly sans), Copacabana (italicized roman).
• Elsner&Flake fonts: Bramley, Cabaret, Candice, Chesterfield, Einhorn (1980, Scangraphic, a revival of a 1931 typeface by Heinrich Maehler called Salut), Frankfurter (1978-1981, with Nick Belshaw and Bob Newman; for digital versions, see Farnham by Infinitype and F821 Deco by SoftMaker), Galadriel (1975; specimen; another specimen), Glastonbury, Knightsbridge, Plaza, Princetown (athletic lettering font done in 1981 based on Princetown by Dick Jones at Letraset), Rialto, Shelley, Tarragon (1981, art nouveau).
• ITC fonts: Algerian Condensed, Ambrose, Belwe Mono, Bertie, Bickley Script, Burlington (1985), Cabaret, Campaign (stencil), Cancellaresca Script (1982), Champers, Claude Sans, Dynamo Shadow (1977), Fashion Compressed (1986, Letraset: a fashion mag didone typeface), Flamme (1993), Follies (1991), Frankfurter (1978-1981, with Nick Belshaw), Glastonbury (1979), Inscription, Jazz, Lightnin' (1994), Limehouse Script (1986), Locarno (1986), Malibu (1992), Plaza, Ragtime, Regatta Condensed, Savoye, Shelley, Tannhauser (1988), Varga (1991), Waterloo Bold (1987).
• Letraset fonts: Aachen, Ambrose (1985), Belwe Mono (1989), Bertie (1985, a Mexican simulation face), Bickley Script, Burlington (1985), Campaign, Champers, Claude Sans (1988), Fashion Compressed, Flamme, Follies, Inscription, Jazz (1992, art deco), Lightnin, Limehouse Script, Locarno, Malibu, Ragtime, Regatta Condensed, Savoye (1992), Tannhauser, Varga, Waterloo Bold.
• Linotype fonts: Aachen, Algerian, Belwe Mono, Bertie, Bickley Script (1986), Bramley, Burlington, Cabaret (1980), Campaign, Cancellaresca Script, Candice, Champers (1991), Chesterfield, Claude Sans, Dynamo, Einhorn, Fashion, Flamme (script), Follies, Frankfurter, Galadriel, Gill Display Compressed, Glastonbury, Inscription (1994), Jazz (1992), Kestrel (1985, a connected signage script at Letraset based on Commercial Script; Ralph Unger's 2011 typeface Faulkner Pro is based on Kestrel; see also Kestrel Script (2010), Meeks's own digital version, its informal version Falcon Script (2013), and Subflux's Ballpark Weiner), Knightsbridge, Lightnin, Limehouse Script, Locarno, Malibu, Plaza (1975), Plaza, Ragtime (1987), Regatta Condensed, Rialto, Savoye, Shelley, Tannhauser, Tarragon, Varga.
• Typefaces from 2011: Dublin (a Celtic typeface), Chalky.
• Typefaces from 2014: Pinot Grigio Modern (a modern rounded multi-style update of Peignot, originally designed in 1937 by A. M. Cassandre), Falcon Script.
• Typefaces from 2015: Park Lane (a classicitalic roman).
• Typefaces from 2017: British Empire (a colonial typeface).
• Typefaces from 2018: Arequipa (a titling font), Independence Script (a cursive script loosely based on the Declaration of Independence; co-designed with calligrapher Satwinder Sehmi), Witchcraft. A classic roman.
• Typefaces from 2019: Aquitania Script (calligraphic).
• Typefaces from 2020: Bodoni Elegant. An 8-style family in Bodoni's style with oh so slight curves thrown in.
• Typefaces from 2021: Pantomime (a heavy monolinear script).
• URW++ revivals: Glastonbury (2009).
• Allan Meeks collection (Cedars, PA): Astoria (2006, miniserifed family based on Gill Sans), Astoria Sans (2011), Astoria Classic (2016), Astoria Classic Sans (2017, with a Peignotian feel), Brigade (2003, serif family), Copacabana (2004, based on Goudy Old Style Italic), Vatican (2005, a calligraphic typeface characterized by the sharp edge style of Arthur Baker), Colosseum (2008, a sans based on Trajan roman and influenced by Friz Quadrata), Chalfont (2003, a News Gothic style typeface with thinned strokes near the bottom---strange and somewhat unattractive), Fairway (2003, a quirky sans), Chalfont Roman (2020), Spartacus (2014), Winterfell (2019).
• Custom type: Benson&Hedges, Lilt, The Woolmark Company, Somerfield, Tarmac, Clearstream.

FontShop link. Linotype link.

View Alan Meeks's typefaces. Yet another page with Alan Meeks's typefaces. Klingspor link. [Google] [MyFonts] [More]  ⦿

Alan Rimmer
[Fatchair]

[MyFonts] [More]  ⦿

Alan Tinsley
[Al's Font Booth]

[More]  ⦿

Alan Trott

Winchester, UK-based designer of the grotesque (school project) typeface RIG (2013). [Google] [More]  ⦿

Alan Yoshimura Pires

Bournemouth, UK-based designer of the free handcrafted typeface Magaya (2017), the free handcrafted blackboard bold typeface Eva Cute (2017) and the free free hand-drawn typeface Woodbone (2017). Behance link. Dafont link. [Google] [More]  ⦿

Alanna Bentley

London, UK-based designer of Zadar (2016), a font designed to accompany the packaging of an album celebrating the Sea Organ of Zadar. She also designed Toothed (2016), a display font inspired by a carved wooden mask from Bamana in Mali, that can be found in the permanent collection of the British Museum, London. [Google] [More]  ⦿

Alasdair Booth

During his studies at Milton Keynes, UK, in 2015, Alasdair Booth created the techno typeface G-Shock. [Google] [More]  ⦿

Alastair Bush
[MA Design]

[MyFonts] [More]  ⦿

Albert Angus Turbayne

Albert Angus Turbayne (b. 1866, Boston, MA, d. 1940, London) was an American book designer and bookbinding artist. He worked in London for the London County Council School of Photoengraving and Lithography and also for Carlton Studio. He wrote Monograms and Ciphers (republished by Dover in 1968 and by Mayflower Books in 1978 with the title A Complete Book of Monograms & Ciphers). Designer of an initial caps face at the end of the 19th century. One of his typefaces inspired Ben Noe's typeface Turbayne (2021). [Google] [More]  ⦿

Albert Ellison

During his studies at Farnham, UK, Albert Ellison created the pixelish typeface Trinidad (2015). Behance link. [Google] [More]  ⦿

Alberto Romanos
[Branding with Type]

[MyFonts] [More]  ⦿

Alberto Vitullo

Italian photographer who works in London. He created the alchemic typeface Universe (2013), a custom typeface made for Feel Good Inc. Collective in Genoa, Italy. [Google] [More]  ⦿

Aleksandra Grünholz

Polish graphic designer and illustrator. She created the grungy typeface Dead Metal (2012) and the beautiful serifed text typeface Milosc (2012). In 2012, she added the great octagonalized version of Bodoni called Quadratoni. Just brilliant. As a Polish graphic design student, Aleksandra Grünholz created the Puenta transitional text family in 2012.

Another URL. [Google] [More]  ⦿

Aleksandrs Golubovs

UK-based designer of the 10-style typeface family Proto Serif (2020). [Google] [MyFonts] [More]  ⦿

Alessandra Grasso

During her graphic design studies in London, Alessandra Grasso created the spiky typeface Aliens (2012). [Google] [More]  ⦿

Alessandro Benassi

London-based designer of the handcrafted typeface It Wasn't Me (2016). [Google] [More]  ⦿

Alessia Nicotra

Italian medical doctor with a PhD in neurology and neurophysiology. She currently works as a clinical neurophysiologist at Charing Cross Hospital in the UK and is also involved in academic research into the autonomic and peripheral nervous systems. Together with Bruno Maag she researches the physiological emotional impact of different type styles. At ATypI Sao Paulo 2015, her talk, together with Dalton Maag, is entitled Busting the Dyslexia Myth. As the master communicator of type design, Dalton Maag shows that nearly all dyslexia type research in the past was ignorant. Witness the abstract of the Nicotra / Maag talk at ATypI: There have been a number of fonts in recent years which claim to improve reading for people with dyslexia. Many of these designs have a handwritten quality, similar to Comic Sans. Often, the designers of these fonts claim to understand what is required to design a dyslexic font, simply by virtue of being dyslexic themselves. There may be some design merit to these fonts but the claim that they are favourable to dyslexics is misleading, and shows a complete lack of understanding what dyslexia is. The presentation will critique the designs that claim to be "the font for dyslexia", based on a scientific overview of dyslexia, and how dyslexia is dependent on language and other factors. It will also highlight the ignorance of design institutions that have awarded MAs and PhDs for fonts designed in the name of dyslexia. The talk was forceful, entertaining and convincing, based on an analysis of various pathways in the brain. For one thing, opaque languages (i.e., with a very tentative connection between what is written and spoken, as in English) have a higher population density of dyslexia. Italian and German are notr opque and thus fare better. Alessia also spoke at ATypI 2014 in Barcelona. Speaker at ATypI 2016 in Warsaw: Bruno Maag and Alessia Nicotra review a selection of studies published in regards to the emotional and functional qualities of typefaces since Poffenberger in 1927. The presentation investigates the methodologies employed and questions the results in the cultural and technological contexts of their time, and provide guidance as to their relevance today. [Google] [More]  ⦿

Alessio Agnello

London, based-designer of the stencil font Vacui (2020). [Google] [MyFonts] [More]  ⦿

Alex Alexandrou

Milton Keynes, UK-based creator of Greenlish (2012), a font that mixes Latin and Greek. Behance link. [Google] [More]  ⦿

Alex Banks

Alex Banks (AB Design; b. 1983) is based in Warrington, UK. Creator of the free octagonal font Sliced AB (2006) and the chunky Chukny (2013). In 2015, he made the free rounded sans typeface Duster AB.

In 2016, he designed the squarish Flat Four typeface family.

In 2018, he published the speed-themed techno typeface Hachiroku86, the pixel / video game font Gridner AB, the industrial futuristic typeface Karbonis, and the modular monoline typeface Shampoo AB.

Typefaces from 2019: Spectrum (wavy, techno).

Typefaces from 2020: Auratium (a tall slab serif), Epyon Mech (a mechanical or futuristic typeface), Initium (a glitch font family), Exolus (futuristic), Bear Hunt (a national park font), Undertow (squarish), Luna Parc (rounded, techno), Classic Retro.

Typefaces from 2021: Shampoo, Supply, Vecktor (futuristic and octagonal).

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

Alex Benson

British creator of the hand-printed typeface Amelia Lily KT (2013). [Google] [More]  ⦿

Alex Blattmann

UK-based type designer. The Latin / Arabic version of Dalton Maag's Effra was co-designed by Azza Alameddine and Alex Blattmann. It won an award at Granshan 2016. [Google] [More]  ⦿

Alex Buckley

Manchester, UK-based designer of these typefaces in 2018: Renk (squarish, modular), IRP Sans (pixel face) and Geinua (a text typeface). [Google] [More]  ⦿

Alex C. Beaumont

Alex C. Beaumont (ACB Graphics) is a student at London College of Communication. He creates experimental designs, and this includes a typeface called Fracture (2013). [Google] [More]  ⦿

Alex Camacho Studio
[Alex Camacho Pizarro]

Graphic designer and illustrator from Barcelona who has an MA from Central Saint Martins, and works in London since 2009. His typefaces:

• Origen (2018). A blackletter typeface that won an award at TDC Typeface Design 2018.
• Excritura (2013). A calligraphic script influenced by the work of the Catalan architect Antoni Gaudi.
• Die Modularität (2012).
• De Palo (2011).
• Scriptura (2011). A connected calligraphic script.
• Variable (2010).
• A triangle/circle based modular type.
• GoodBye. An experimental type based on Barcelona's night lights.
• A geometric custom-designed typeface for the Aroy Restaurant in Barcelona.
• Mares (2018). A wildly psychedelic unicase typeface.
• Kenza (2020). A 6-style angular display typeface described as big and bold poster block movanble type.
• Berona Stripes (2022). Bilined.

Cargo collecive link. Linotype link. [Google] [MyFonts] [More]  ⦿

Alex Camacho Pizarro
[Alex Camacho Studio]

[MyFonts] [More]  ⦿

Alex Davies

Caterham, UK-based designer. Creator of the experimental circle-based typeface Circle One (2012). During his studies at University of the Creative Arts Farnham in the UK, Alex Davies designed the experimental typeface Triangle One (2013) and the hipster deco typeface New Type (2018). [Google] [More]  ⦿

Alex Doyle

During his studies at London College of Communications, Alex Doyle designed a dot matrix typeface (2016). Behance link. [Google] [More]  ⦿

Alex Duncan
[Magnum Software]

[More]  ⦿

Alex Dyson

During his studies in Leeds, Alex Dyson created Decorative New Roman (2012).

Behance link. [Google] [More]  ⦿

Alex Elnaugh
[Little A]

[More]  ⦿

Alex Fowkes

London-based designer of an untitled decorative 3d caps typeface in 2012.

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

Alex Gollner

Designer of the free fonts Digital 2, Warp 1, and Roxanne. He has built a career in London that does not involve typefaces: I've been in the business of the visual arts for almost 20 years. After introducing desktop publishing into the UK by concieving and managing Neal's Yard Desktop Publishing Studio in 1988 aged 21. In 1990 I moved into graphic design. I joined Decode Design as technical director and designer where I co-designed Collier's Rules, a book on design and typography. In 1991 I became the art editor of DEC User, a monthly magazine from Emap Business Publishing. In 1993 I joined Project Multimedia, a conference company that organised events for multinational companies all over the world. I was a senior event designer: designing conference print, logos, sets, presentations, animations and videos. On January 16th 2006, I started work on a documentary on dating and relationships in support of Help The Aged's Hug campaign. Instigated and produced by George Blackstone, The Things We Do for Love was completed in April and had it's cast and crew screening at The Curzon Soho in London's West End on April 26th. Since then it has been shown at the 2007 Portobello Film Festival. [Google] [More]  ⦿

Alex Haigh
[HypeForType]

[MyFonts] [More]  ⦿

Alex Haigh
[Thinkdust]

[MyFonts] [More]  ⦿

Alex Harriott

UK-based youngster (b. 1994) who created the graffiti typeface Prince Dub (2007). [Google] [More]  ⦿

Alex Harwood

Alex Harwood (Plymouth, UK) designed the modular typeface Degnoid in 2014 during his studies at Plymouth College of Art. Behance link. [Google] [More]  ⦿

Alex Hunt

During his graphic design studies at UCA Farnham, Alex Hunt (London) created an unnamed modular typeface (2013), which only uses rectangles, circles and triangles. [Google] [More]  ⦿

Alex Hurst

Designer in Peterborough, UK, who created the experimental typeface Razor and the electric circuit typeface Ammeter in 2016. Behance link. [Google] [More]  ⦿

Alex Iliescu

Designer and illustrator in Coventry, UK. In 2011, he created the quaint World War I era poster headline face Prest. [Google] [More]  ⦿

Alex Joseph

Woking, UK-based designer of the experimental typeface Anglr (2016). [Google] [More]  ⦿

Alex Moseley
[Crazy Diamond Design Historical Fonts]

[More]  ⦿

Alex Phipps-Attwell

Graphic designer in Leeds, UK, who created the typefaces Milo (2013) and Blueprint Letterforms (2013) during his studies. [Google] [More]  ⦿

Alex Preston

During his studies in Oakham, UK, Alex Preston designed the connect-the-dots typeface Enkelhet (2013), Gentleman (2013, a bilined display typeface), Borders (2013), Droop (2013), the circle-based typeface Circles (2013), and the experimental typefaces Wirbel (2013) and Kurvor (2013). [Google] [More]  ⦿

Alex Price

Student at UWE in Bristol, b. 1992. During his studies at UWE, he used FontStruct to create the textured typefont Balloon (2012). [Google] [More]  ⦿

Alex Rooney

London-based designer of Quaterback Western (2015), a spurred outlined typefaces inspired by American football and Western movies. Behance link. [Google] [More]  ⦿

Alex Satriani

Graphic design student in London who created Futura Champagne (2011). [Google] [More]  ⦿

Alex Smye-Rumsby

Designer from Bristol, UK, who created some fonts at FontStruct in 2009. [Google] [More]  ⦿

Alex Tomlinson
[Ursa Minor]

[More]  ⦿

Alexander Cooper

Alexander Cooper has run the letterpress workshop at what is now London College of Communication since 2004, and lectures in Graphic and Media Design. He is co-author of 6x6: Collaborative Letterpress project with Rose Gridneff and Andrew Haslam. Together Alex and Rose run an independent letterpress workshop. Speaker at ATypI 2014 in Barcelona. [Google] [More]  ⦿

Alexander Glenn

Graphic designer in London, UK. He graduated from Nottingham Trent Univeristy in 2007. Behance link. Designer of the folded paper font Origami (2009). [Google] [More]  ⦿

Alexander Jones

Graduate of the University of Salford in Greater Manchester (2008) in graphic design. Designer of the outline monoline sans typeface Hire (2010), done on commission for Andy Golpys. [Google] [More]  ⦿

Alexander Kay

Type designer and punchcutter, b. Edinburgh, Scotland, 1827, d. Philadelphia, 1905. Born Alexander Thompson MacKaye, he apprenticed with a bookbinding tools manufacturer, and went to London in 1850, where he worked for punch-cutting expert John Skirving. He cut typefaces for English typefounders such as Henry Caslon, Vincent Figgins, and the Stephenson Blake company. After that, he joined L. Johnson&Co. in Philadelphia in 1854, where he changed his surname from MacKaye to Kay. He stayed with L. Johnson&Co (later Binny&Ronaldson, then MacKellar, Smith&Jordan) for 40 years, until he lost much of his sight to cataract. His most famous typefaces are Binny Old Style and Ronaldson Old Style (1884, MacKellar, Smith&Jordan). Ronaldson Old Style, which is characterized by beaks on the top serifs, is generally considered to be the first typeface designed in North America.

Berry, Johnson and Jaspert write: Ronaldson Old Style (Monotype, 1903) is an old face practically identical with Old Style. Originally cut in 1884 by the American founders, MacKellar, Smiths & Jordan, and no doubt named after one of the original founders of their house, James Ronaldson. It is easily distinguished by the beak-like serifs on the capitals and lower case and by the squared-up shoulders of m and n. The type can be converted to Old Style No. 1 by changing a few characters. In the italic the serifs are more normal and the design becomes very like Old Style italic. The Monotype Corporation's version has short ascenders and descenders and capitals not rising above the ascenders.

Mac McGrew: Ronaldson Old Style was designed and cut by MS&J in 1884, and subsequently copied by various other foundries. It was notable for the exaggerated serifs on a number of letters, and the name is now associated with these peculiarities, which were also applied to various other typefaces in the nineteenth century. Monotype cut a reasonably good copy of the foundry face, although modified to fit mechanical requirements, while Linotype cut a set of conversion characters which could be substituted for the regular characters of Old Style No.7. A similar set of conversion characters was cut for Linotype and Intertype Old Style No.1 (q.v.), which is a somewhat lighter face. Keystone called its version Keystone Old Style. Other versions of Ronaldson did not last long into the twentieth century.

Digital revivals of Ronaldson Old Style:

• Ronaldson Regular (2006-2008). By Patrick Griffin at Canada Type.
• Ronaldson Pro (2021). A revision and extension of Griffin's 2006 font, Ronaldson Old Style. It now has four weights and two variable fonts.
• Fitzronald (2013) by Lars Törnqvist.

Digital revivals of Binny Old Style include Monotype's as Binny Old Style MT. [Google] [MyFonts] [More]  ⦿

Alexander Klement

London-based designer of Lathe (2013), a 3d computer-generated typeface based on Futura.

Behance link. [Google] [More]  ⦿

Alexander Price

As a student at Norwich University of the Arts, Swindon, UK-based Alexander Price designed the piano key typeface Modular (2016). [Google] [More]  ⦿

Alexander Stephenson

Alexander Stephenson is an Anglo-German Art Director and type designer who specializes in holistic brand design-systems. He studied graphic design at the Ecole nationale supérieure des Arts Décoratifs in Paris and Central Saint Martins in London. After working for twelve years in the advertising industry in both Paris and Berlin, he became an independent graphic and type designer. In 2020, he designed a 12-style mixed-genre fragile-looking sans typeface family called Acies. [Google] [MyFonts] [More]  ⦿

Alexander Wilson

Scottish typefounder, b. St. Andrews, 1714, d. Edinburgh, 1784. Educated in London, he started the Wilson foundry in 1742 at St. Andrew's in a partnership with John Baine, and set up shop in Glasgow in 1744, where he began work with Glasgow University Printers, Robert and Andrew Foulis. William Miller (who later started Miller&Richard), Richard Austin and Johann Christian Bauer all worked for Wilson. Wilson's first known specimen sheet was issued in 1772. However, William Rind seems to be using these types as early as February, 1770 in his Virginia Gazette. The business was left to his son Andrew and later to his grandson Alexander. Under Alexander's tenure, it went bankrupt in 1845.

Several specimen books exist, including A specimen of printing types by Alexander Wilson&Sons, dated 1783. Life and Letters of Alexander Wilson (by Alexander Wilson) was reprinted in 1983 by Diane Publishing Company, and is freely viewable at Google.

Wikipedia link.

They are credited with the first British modern face, Scotch Roman, whch became very popular in the United States. Mac McGrew: Scotch Roman is derived from a typeface cut and cast by the Scotch foundry of Alexander Wilson&Son at Glasgow before 1833, when it was considered a novelty letter. The modern adaptation of the typeface was first made in 1903 by the foundry of A. D. Farmer&Sons, later part of ATF. It is a modern face, but less mechanical than Bodoni, and has long been popular. Capitals, though, appear heavier than lowercase letters and tend to make a spotty page. Hansen's National Roman is virtually the same face, with the added feature of an alternate r with raised arm in the manner of Cheltenham Oldstyle. When Monotype copied Scotch Roman in 1908, display sizes were cut to match the foundry face, but in keyboard sizes, necessarily modified to fit mechanical requirements, the caps were lightened and the entire typeface was somewhat regularized. Scotch Open Shaded Italic, a partial set of swash initials, was designed by Sol Hess in 1924. Similar swash letters, but not shaded, were also drawn by Hess and made by Monotype for regular Scotch Roman Italic. Linotype had adapted Scotch Roman to its system in 1903, retaining the heavier capitals, but in 1931, by special permission of Lanston Monotype, brought out Scotch No.2 to match the Monotype version. Compare Atlantic, Bell, Caledonia, Original Old Style. [Google] [MyFonts] [More]  ⦿

Alexandra Snowdon

Manchester, UK-based designer of a decorative spurred watercolor typeface (2017), the watercolor typefaces Lagom (2017), Hideaway (2017) and Little Mo (2017), the tattoo typeface Sailor Bob (2017), and the pearl-studded watercolor typeface Charlie (2017). Behance link. Creative Market link. [Google] [More]  ⦿

Alexandra Whitfield

Graphic communication design student at the London College of Communication from 2010 until 2012. In 2012, she designed the grunge typeface Hemophic. [Google] [More]  ⦿

Alfie Wheatley

An independent graphic designer based in London. In 2022, he published Hawk (Type Department). He writes: Hawk was the result of a final year Graphic Design university project, researching the subcultures of rave and football hooliganism, with influences from rhythm, dance and movement as well as other aspects such as abstract sculpture. [Google] [More]  ⦿

Alfred John Fairbank

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

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

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

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

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

Alfred Rehbach

London-based graphic designer who created the fat slabby display typeface Alexandra (2013). [Google] [More]  ⦿

Ali

UK-based art student (b. 1988) who created the handwriting font Ali (2006). [Google] [More]  ⦿

Ali Salih

Designer in based in Hertfordshire, UK. Behance link.

Creator of a fat counterless typeface in 2012. [Google] [More]  ⦿

Alias
[Gareth Hague]

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

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

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

Corporate typefaces include Prada Candy (2012).

Old link.

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

Alice Beavon

During her graphic design studies, Alice Beavon (Birmingham, UK) created an unnamed modular geometric typeface (2012). In 2013, she published a modular bilined typeface possibly called Sense Of Memory. [Google] [More]  ⦿

Alice Mansfield

London, UK-based designer of the connect-the-dots typeface Gemini (2016). [Google] [More]  ⦿

Alice Morris

Leeds, UK-based designer of the roman typeface Acutus (2015). [Google] [More]  ⦿

Alice Sandwell

At the UAL in London, Alice Sandwell created Edge (2015), an octagonal typeface with a matching stencil style. [Google] [More]  ⦿

Alice Savoie
[Alice Savoie, Frenchtype]

[MyFonts] [More]  ⦿

Alice Savoie, Frenchtype
[Alice Savoie]

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

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

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

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

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

Alicia Pfeffer

During her studies in Manchester, UK, Alicia Pfeffer created Lattice (2013). [Google] [More]  ⦿

Alien Head Graphics

The alien font "alien_font_8" has some strange runes. Alien Head Graphics is located in Oxfordshire, UK. [Google] [More]  ⦿

Alina Popa

During her studies at the University of Reading, UK, Alina Popa created the photographic alphabet Desire (2014), which is based on photographs of sexual paraphernalia. [Google] [More]  ⦿

Alisha Mann

Hook, UK-based designer of Peeper (2019). [Google] [More]  ⦿

Alison Carmichael

UK-based letterer. [Google] [More]  ⦿

Alistair Parsons

London-based graphic designer. Creator of Distorted Lines (2011, grunge). [Google] [More]  ⦿

Allan Sommerville

British graphic designer who made this poster of eyes in 2009. [Google] [More]  ⦿

Allen Zuk

Canadian graphic designer Allen Zuk designed these typefaces: Swing (was freely downloadable), Beat, the Kooky family (since 2004 a Bitstream font), Creep, Shadow, Krumple, Arson, Skritch, Schroder. Zuk used to run web pages/outfits called trashtype fonts and Financial Peril. These have disappeared. Home page (his original font pages are gone). Zuk used to work in Edmonton. In 2000, he moved to the UK where he worked as a freelance designer and copywriter until 2004. He currently lives in Toronto. Klingspor link. [Google] [MyFonts] [More]  ⦿

Allison James
[Chequered Ink]

[More]  ⦿

Almedia Interactive (or: MAK Alagha, or: Applied Graphic Arts, or: AGA Fonts)
[Mohammad Alagha]

Mohammad Alagha is Almedia Interactive (or: MAK Alagha, or: Applied Graphic Arts), an Arabic font producer active since 1994. The (beautiful!) AGA Fonts for Arabic are exclusively sold by Almedia Interactive Limited, which is based in the UK. His fonts include AGA-AbasanRegular, AGA-AladdinRegular, AGA-BattoutaRegular, AGA-DimnahRegular, AGA-FuratRegular, AGA-GranadaRegular, AGA-JuhynaRegular, AGA-KayrawanRegular, AGA-MashqBold, AGA-MashqRegular, AGA-NadaRegular, AGA-PetraRegular, AGA-RasheeqBold, AGA-SindibadRegular.

• Free fonts in 2012: AGA Andalus, AGA Cordoba Reg, AGA Cordoba Bold, AGA Cordoba Reg, AGA Granada, AGA Sindibad Reg, AGA Sindibad Bold, AGA Mashq Reg, AGA Mashq Bold, AGA Rasheeq Reg, AGA Rasheeq Bold, AGA Kayrawan, AGA Balloon, AGA Juhyna, AGA Furat, AGA Aladdin.
• Dingbats, beautiful arabesques and ornaments: AGA Horoof, AGA Arab Cities, AGA Greeting Phases, AGA Islamic Phrases, AGA Kalemaat, AGA Names, AGA Arabesque (Regular, Bold and Outline), AGA Islamic regular, AGA Greetings 1 and 2, AGA Publishing regular.
• Commercial fonts in 2012: Alquds, Gaza, Abu Dhabi, Dubai, Beirut, Demashq, Amman, Baalbek, Baghdad, Doha, Kufa, Aden, Jeddah, Riyadh, Masqat, Benghazi, Onwan, Mishmish, Barqooq, Hassan, Hazem, Zokhrof.

Another URL. Free font sublink. Fontspae link. Dafont link. Download here. The beautiful dingbat fonts AGA Arabesque and AGA Arabesque Desktop (1994-1996) are here and here. OFL link. [Google] [More]  ⦿

Alonzo Fontaine

Graphic designer in Birmingham, UK, who created a few display typefaces in 2015. Behance link. [Google] [More]  ⦿

Al's Font Booth
[Alan Tinsley]

British designer of the bitmap font Topaz New (1997). Dafont link. [Google] [More]  ⦿

Alvaro Arregui

London-based graphic designer. He created a custom Taiwanese display face. Behance link. [Google] [More]  ⦿

Alyssa Dieterich

During her graphic design studies in London, Alyssa Dieterich created the wrought iron typeface Mandrake (2015). Behance link. [Google] [More]  ⦿

Alyssa van Zweel

Ascot, UK-based designer of the Misunderstood Monsters typeface (2015). Alyssa grew up in Pretoria, South Africa, and studied design in Cape Twon, South Africa. [Google] [More]  ⦿

Aman Raiyat

London, UK-based designer of a decorative typeface in 2018. [Google] [More]  ⦿

Amba Mears
[Amba Smith]

Amba Mears or Amba Smith. Doncaster, UK-based designer of the display typefaces In Stitches (2018), Time For A Laugh (2018) and Doodle (2018). These were projects at Cambridge School of Art ARU. [Google] [More]  ⦿

Amba Smith
[Amba Mears]

[More]  ⦿

Amber Charlton

British designer of the free experimental typeface Charlton (2017). [Google] [More]  ⦿

Amber Hicks

Graphic design student at Southampton University's Winchester School of Art, who created the purely geometric typeface Marcato (2014). [Google] [More]  ⦿

Amber Maxwell

During her graphic design studies at UCA Farnham, Amber Maxwell (London) created the modular typeface Angle Right (2013), which only uses rectangles, circles and triangles. [Google] [More]  ⦿

Amber Reyland

UK-based FontStructor (student at Bristol UWE) who created the hand-printed typeface Teenage Kicks (2009). [Google] [More]  ⦿

Ambyr Gregg

Ambyr Gregg (Brighton, UK, b. 1990) created Nisaba (2013).

Dafont link. [Google] [More]  ⦿

Ami Littlefair

During her graphic design studies in Newcastle upon Tyne, UK, Ami Littlefair created Paperclip (2013), Colostic (2013: purely geometric shapes), Backtrack (2013) and Croudi (2013, a stitching typeface). Inspired by the constructivist movement, she created Geometric Typeface (2013) by superposing and juxtaposing geometric solids. Other geometric experiments include Line Alphabet (2013), Diagonal Alphabet (2013, a stitching font), Connecting Alphabet (2013).

In 2014, she made the free hipster font Aesthetika.

Dafont link. [Google] [More]  ⦿

Amiika X

British student who designed the modular display typeface Open Book in 2019. [Google] [More]  ⦿

Amitai Landau Pope

Liverpool, UK-based designer of a bilined display typeface called Candi (2013).

Behance link. [Google] [More]  ⦿

Ampersand 2018

Ampersand is a one-day web typography conference in Brighton, UK, taking place on June 29, 2018. It is organized by Clearleft. [Google] [More]  ⦿

Ampersand Creative

Ampersand Creative (Liverpool, UK) created the hairline avant-garde sans typeface Duality (2013). [Google] [More]  ⦿

Amy Barstow

Amy Barstow (Leeds, UK) created a multiline typeface in 2013 for a school project at Huddersfield University. This typeface was inspired by the lines used by couture house Viktor & Rolf.

Still in 2013, she created The Modern Roman (an art deco face) and The Perfect Woman. [Google] [More]  ⦿

Amy Beth

Student at UWE Bristol in the UK. FontStructor who made the grunge typeface Tooth Decay (2010). [Google] [More]  ⦿

Amy Cox

At Falmouth University, Amy Nicole Cox (Falmouth, UK) designed the free display typeface Plum (2015), the free handcrafted typeface Iced Tea (2016), the free hand-printed Blackberries (2016), the free handcrafted typeface Land (2016), and the free brush script typeface Peach Tea (2016).

Typefaces from 2017: Paper (a free counterless cut-out typeface). [Google] [More]  ⦿

Amy Elms

Experiments with the Nodebox software led Amy Elms (London, UK) to develop the experimental typeface Circuline (2015). [Google] [More]  ⦿

Amy Fowler

UK-based designer of the free wooden branch-inspired font Twiggy (2015). UK Oak Doors is her business. Dafont link. [Google] [More]  ⦿

Amy Haseldem

Huddersfield, United Kingdom-based designer of the 3d typeface Off The Shelf (2018). Behance link. [Google] [More]  ⦿

Amy Hill

During her studies at Leeds College of Art, Leeds, UK, Amy Hill created the glaz krak typeface Shatter (2014). [Google] [More]  ⦿

Amy Kilner

Amy Kilner (Sheffield, UK) was inspired by Kandinsky's paintings when she created the Kandinsky Font (2013, Font Bureau).

Behance link. [Google] [More]  ⦿

Amy Leskevicius

Illustrator in Leicester, UK. Creator of a rough-textured typeface in 2015. [Google] [More]  ⦿

Amy Lomax

Crowthorne, United Kingdom-based graphic designer and illustrator. In 2018, she created the modular typeface Mind The Gap. [Google] [More]  ⦿

Amy Louise Kibler

UK-based designer of the fat finger font Kibler (2015). [Google] [More]  ⦿

Amy Richards

Student at UWE in Bristol. During her studies at UWE, she used FontStruct to create Fizz (2012). [Google] [More]  ⦿

Amy Rodchester

Graphic designer in Manchester, UK. She designed the beveled caps typeface Fred Aldous (2015). Behance link. [Google] [More]  ⦿

Ana Araujo

London-based designer of the display typeface Floffy Foffi (2013). [Google] [More]  ⦿

Ana Muñiz

London-based graphic designer who created the brush script typeface Sweet Annie in 2016. [Google] [More]  ⦿

Ana Novakovic

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

Ana Rita Cruz

UK-based designer (b. 1984) of the beautiful and artistic display typeface Font Bola (2007, aka Secret). [Google] [More]  ⦿

Anatoly Shabalin

London, UK-based designer of the octagonal Latin /Cyrillic typeface AS Izhevsk (2018), which is inspired by the industrial city of Izhevsk. [Google] [More]  ⦿

AND Studio

Huddersfield, UK-based designer of the circle-based tiled typeface Ernest (2016). Behance link. [Google] [More]  ⦿

Anders Kristoffersen

Anders writes about himself: A Norwegian wine-loving Interactive Art Director student from the cold depths of Lofoten. I did a two year advertising degree in Trondheim, Norway at the Norwegian School Of Creative Studies, giving me the fancy title "Creative market communicator". I then topped up my degree with an Honorary Bachelor of Arts in advertising from Southampton Solent University. At the moment I am studying at Hyper Island in Stockholm. I am currently exploring experience design, business transformation, team development and tech. His Behance page has him in London. He has won many awards, and his web presence is both minimalist and stunning.

In 2015, he created the free poster font Chubby. [Google] [More]  ⦿

Anders Orrberg

Swedish freelance graphic designer located in London. Behance link. Creator of the formal upright script/display typeface Rund (2009). [Google] [More]  ⦿

Andonis Moushis

During his studies in Nottingham, UK Andonis Moushis designed the alchemic typeface Circus (2013) for the Museum of the Circus. [Google] [More]  ⦿

Andre Claro

London, UK-based designer of the monoline sans typeface Linda (2018). [Google] [More]  ⦿

Andrea Buttieri

London-based creator (b. 1991) of the tweetware font Morden (2013).

Dafont link. [Google] [More]  ⦿

Andrea Wirth

London-based designer of Dazed&Confused (2011): Custom font derived from Serifa for the fashion section themed 'Vibrations/Movement'. The font looks as though it shivers/vibrates. [Google] [More]  ⦿

André Taylforth

Manchester, UK-based designer of the rounded sans headline typeface Ulterior (2015). This typeface family is also called Zukunft. [Google] [More]  ⦿

Andreas Koller
[Fontastic]

[More]  ⦿

Andreas Pohancenik
[zwei]

[More]  ⦿

Andrew Ashton
[Ashton]

[MyFonts] [More]  ⦿

Andrew Bellamy
[Otherwhere Collective (or: Ilott Type, Bellamy Studio)]

[MyFonts] [More]  ⦿

Andrew Boag

Andrew Boag's writings about type and typography. Cofounder of "Boag associates in London, ex-typography teacher at the University of Reading (1985-1990), and special projects manager at Monotype. Dead link. [Google] [More]  ⦿

Andrew Brash

British graphic designer. Creator of the Greek simulation font Eschaton (2012). [Google] [More]  ⦿

Andrew Buckle

Maidstone, United Kingdom-based programmer. Designer of the experimental typefaces Circula Track (2016) and GX Stretched Lines (2016), and the free grungy handcrafted typeface GX Ruff Stuff (2016). Behance link. [Google] [More]  ⦿

Andrew Byrom

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

Andrew C. Bulhak

Australian creator of ModeSeven (1998, pixel font based on the Teletext bitmap font) and the splendid Flicker family (2002), pixelized in the format of kitchen tiles. Bulhak runs the news blog Null Device, and is lecturer in Computer Science at Australia's RMIT University. Fontspace link. [Google] [More]  ⦿

Andrew Clarke

During his studies in Sheffield, UK, Andrew Clarke created the sans caps typeface Spectrum (2014) and the decorative caps typeface Sheffield Cutlery (2014). [Google] [More]  ⦿

Andrew Edward Fish

During his studies at the University of Huddersfield, Andrew Edward Fish (Blackpool, UK) created Only Human (2015), a very experimental circular typeface inspired by El Lissitzky's brand of constructivism. Behance link. [Google] [More]  ⦿

Andrew Foster

British designer (b. 1976, Bedford) of Mister Loopy (2009). He went commercial in 2009: via MyFonts, one can now buy Spud AF (2009, a potato cut font), Peepz AF (2011, a collection of typefaces of boys), and the hand-printed Scribbles AF family (2011, +Biro, +Felt Tip, +Marker).

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

Andrew Hunt
[Quantum Enterprises]

[More]  ⦿

Andrew Hunt

Codesigner at Wolfram Research of some Mathematica fonts, such as Math5Mono, Math5MonoBold (1999), Math5, Math5Bold (1998). Not to be confused with the other Andrew Hunt, who set up Quantum Enterprises in Somerset, UK, a company involved in handwriting fonts, custom fonts, logo fonts, and related type services. [Google] [More]  ⦿

Andrew Iontton

Andrew Iontton (Anerio Designs, London) created the free art deco typeface Slab Head (2011) and the free sans typeface Cap Disk (2011). Milk (2011) is an angular face. [Google] [More]  ⦿

Andrew Lines Graphic Arts (or: Drewfont Foundry)
[Andrew Patrick Lines]

Andrew Patrick Lines (b. Lowestoft, Suffolk, UK, 1958) is a signage and logo specialist in Norfolk, UK. His fonts are sold through MyFonts. He started Drewfont Foundry (Great Yarmouth, UK) in August 2001 as part of Andrew Lines Graphic Arts. His typefaces:

• Jester (2001).
• Seahorse (2004).
• Histry (2004).
• Nondy (2004).
• The Castles (2001). Includes Castle Nouveau and Castle squat. Inspired by the Victorian gothic revival and the work of Augustus Pugin.
• Celt (2001, Celtic).
• Gotheau (2001). This blackletter was developed for the logo of the Letterhead UK movement (an informal yearly gathering of sign based crafts people).
• Spaceboy (2001).
• Starman (2002).

Andrew Martin
[Thumbnail Designs]

[More]  ⦿

Andrew McCluskey

Independent game developer Andrew McCluskey (NAL Games, Dundee, Scotland, b. 1991) published hundreds of free typefaces before 2015 under the NAL label. In 2015, Andrew McCluskey, after becoming Allison James, joined forces with Daniel Johnston and set up Chequered Ink in bath, UK. They live in Newport, Wales. Andrew's pre-merger fonts are listed here.

Andrew McCluyskey designed the free LED-inspired Kinglify (2011), Digital Display (2012), and Princelify (2011). Manly Man (2011), Metal Arhyrthmetic (2011) and Ace Futurism (2011) are semi-octagonal. Consider Me Vexed (2011) and Pixel Flag (2011) are pixel typefaces.

In 2012, he made She Curls in the Mist, Xero's Karma, Pastcorps (army stencil), Gnome Splinters, Fought Knight, Vermin Vibes (futuristic), Vermin Vibes 1989 (pixel face), Vermin Vibes 2, Vermin Vibes 3 (2014), Vermin Vibes Diet, Vermin Vibes Redux, Dubbing Star (futuristic), Sorrier Statements, Particulator (an octagonal paper fold typeface), Coder's Crux (a pixel typeface created for programmers, FontStruct), Triggering Fanfares (octagonal), Alt West, Notalot25 (pixel face), Notalot35 (pixel face), Lord Juusai (inspired by the logo for Lord Tensai from WWE), Zephyr Jubilee (an alien language simulation typeface), Bevel Fifteen, Xero's Theorem (sci-fi), Sawchain (2012, FontStruct), Dubbing Step and Here Be Dubstep (FontStruct), Italic Bricks, Gang Wolfik (angular, +Blade), Ruaturecu, Quous Inno, Electramaniacal, Xodohtro-Nu (a black octagonal typeface), Distortion of the Brain, Berate the elementary (techno face), Not sure if weird or just regular, Opulent Fiend, Rawhide Raw 2012 (techno, inspired by the WWE Raw logo of 2012), Particulator II (octagonal), The Missing Link (trekkie), Thunderstrukk, Understrukk, Ganf Wolfik Blade (a pointy Blade style font).

Typefaces made in 2013: Call of Ops Duty, Spinebiting, Laceration, Casual Hardcore, Zany Races, Vermin Vibes 2 Nightclub, Exoskeleton, Perspire, Piston Pressure (sans), Particulator III, Liberty City Ransom (grunge), Zdyk Leo, Variety Killer (grunge), Savantism, Vermin Vision, Zdyk Sagittarius (a circle-based experimental font), Milestone One (a gaspipe sans), Comfortably Fucked, Noasarck (+Sporadico, +Quattro), Future Time Splitters, Heart Breaking Bad, Jan Hand, Erhank, Exoskeleton, The Rave Is In Your Pants, Minecraft Evenings (inspired by the Minecraft logo), FoughtKnight Victory (a video game font), Piescese, Comic Spans, Cauterise, Dead Font Walking (rough-edged poster font), Cutthroat Clawmarks, Eride (grunge), Effervescent Superbeings, Front Page News, Kill The Noise (brush script), Distort You A Lesson (grungy), Vermin Vibes 2 Black, Vermin Vibes 2 White, Vermin Vibes 2 Soft, Dubstep Cadence, Relapse Into Madness, Kings of Kings Lynn (dadaist), Smorgasbord, Scream When You'Re Ready, I Phone You Phone, Respire, Perspire, Vermin Vibes Slant, Sharp, Cursivertex, Rick Lobster (stencil face), Cursivertex, Vermin Vibes Dystopia (cyberpunk), Wabbit Sans, Calligraphy Aquiver, Agra Axera (knife-edged sci-fi face), The Keepsake Days, See You At The Movies, Xero's Proof, Vermin Vibes Out Of Ink (textured), Melancholic Roadeo, Wickermanor (a stiletto typeface), Lord Juusai Rises, Vermin Vibes Ex, Vermin Vibes Roundhouse, Just in the Firestorm, Stuntcroft (modular), Ghetto Magnetic (grunge), QA Reports (fat finger typeface), Y-Andermo (stiletto style), Dragon Slapper.

Typefaces from 2014: Man Flu (FontStruct), Zany Races, Big Quicksand, Modern Caveman, Alpha Sapphire (a Pokemon typeface), Omega Ruby (a Pokemon typeface), Schweiz, Beta (FontStruct), Jawbreaker (FontStruct), Tomorrow Wind, Embezzler, Royal, Final Gambit (grungy athletic lettering), NAL Hand, Fingbanger, Dont Waste That Napkin (squarish font), Bold Testament, Cisgender, NonchalantLove, Grelsey Kammar (sic), Valiant (stencil), Anger Management, Italipixel, Ultramarine, Nero (sci-fi font), Bamboozler, Seriffic, High Jinks, Iregula (sic), LNR Phonetic Alphabet, Primary School, Playtime (3d face), Electromagnetic Lungs, Node to Nowhere, Alienated (trekkie font), Questrian, Scars, Da Se Nei (art deco), Dance Floor (dot matrix face), Edge Cutting, Lord Juusai reigns, Superpower Synonym (fat brush), Fought Knight Die (techno), The Thrill of the Kill, Lay of the Land, Deavantgar (art deco), Confidel, Fight Night, Comeback of the Damned, Vermin Vibes Corrupto, Chandstate, Scars, Bustin Jieber (pixel typeface), A Dash of Salt, Come Rain or Fall, Xsotik, Sanseriffic (avant-garde sans), Cassius Garrod, Effortless Tattoo, Coder's Crux 2, Radaro, Overdrive Sunset (brush face), Dead CRT, Fatality's Edge, Tolerant, Coder's Crux 2 (dot matrix), Consider Me Vexed (pixel face), Diamante, Pixel Flag, Aardvark CWM Type, Enter The Grid, Vermin Vibes 2 EDM XTC, Byron, See You at the Movies 2, And Then It Ends, God Hates Westboro, Writing Without Ink, Zdyk Aquarius, Curvert, Superdie, Rocky Road, Animal Silence (constructivist), Gnaw Hard, 19th Century Renegade, Trip Trap, Freudian Slit, Digital Dismay (LED face), Zdyk Pisces (circle-based typeface), Zdyk Scorpio, Guilty Treasure (techno), Wolfganger (inspired by Wolfgang Gartner), Xero's Retreat, Sitdown (octagonal), Stencylette, No More Justice (blackletter), Masterblast (sci-fi), Kesha (sci-fi), Primal Dream, Grandma's Television, Keyboard Warrior, Foughtknight, Blissful Thinking, Positive Reinforcement, The End of Days.

Typefaces from 2015: This Sucks (pixel font), Front Page Neue, Vermin Vibes Mert, Rock Elegance, Stripes.

Typefaces from 2016: Enter The Grid, Fill In The Gaps, FoughtKnight, Grunge Tank, Alt West.

Dafont link. Most of his typefaces were made using FontStruct, where he is known as NAL or Notalot. Fontspace link. [Google] [More]  ⦿

Andrew Osman

Andrew Osman (b. 1985) is a London-based designer. He graduated from Central Saint Martins in 2008. He has since worked for Wood McGrath and Christie's Marketing. In 2012 Andrew joined Stephen Barrett as a typography tutor at the University of East London. His creations include the sans typefaces Ursus (2013) and Corvus (2013). He also made the wedge-serifed all caps typeface Dalston Waste (2013, with Fraser Muggeridge). [Google] [More]  ⦿

Andrew P. Smith

London-based and Australia-born designer of Doodlebug (Letraset, a nice scratchy handwriting face), Jokerman (1995, Esselte), Retro Bold (1992, a slab serif done with Colin Brignall), Scratch (1995), Smudger (1994), Chiller (1995, Esselte), the frivolous curly font Laughin (FontHaus, since 2006 also at Group Type: sample, another sample, and another one), Doubler Script (FontHaus), Chipper (1995), and Faxsimile (at 2Rebels, 1998). Creator of Barbed Wire AS (1998). Goo Goo Gjoob (Letraset Fontek) was inspired by the hand-writing and drawings of John Lennon (see also John Lennon (2008, a free font by Analia Wainer). Potato Cut (Fontek) is a comic book face.

Klingspor link. FontShop link.

View Andrew P. Smith's typefaces. [Google] [MyFonts] [More]  ⦿

Andrew Patrick Lines
[Andrew Lines Graphic Arts (or: Drewfont Foundry)]

[MyFonts] [More]  ⦿

Andrew Polhill

Web professional with six years of commercial experience. Polhill graduated from Brunel University with a degree in Product Design BSc, and lives in London. Creator of the free font Comic Andy (2009). Dafont link. Alternate URL. [Google] [More]  ⦿

Andrew Poynter

London-based creator of the hand-printed outline typeface Poynterism (2011). [Google] [More]  ⦿

Andrew Richards

British cartoonist in Manchester who used FontStruct to make the squarish typefaces Barcelona (2011) and Barca Thick (2011).

In 2017, he designed the comic book font Drewdles. Behance link. Newer Behance link. [Google] [More]  ⦿

Andrew Sabatier

Brand identity designer in London. He created a typeface for the identity of Life Bank (2009). Another typeface by him is Pressure (2009, severe octagonal). Behance link. [Google] [More]  ⦿

Andrew Tindale
[Tyntyp]

[More]  ⦿

Andrew West
[BabelStone]

[More]  ⦿

Andrew Young
[Disaster Fonts]

[More]  ⦿

Andrius Maknevicius

Manchester, UK-basded designer in 2018 of an experimental 3d mesh-based typeface to recall Marshall McLuhan's The medium is the message adage. Devian tart link. [Google] [More]  ⦿

Andy Anlody

UK-based designer of the fat finger font Andy (2014). [Google] [More]  ⦿

Andy Benedek
[Font Factory]

[MyFonts] [More]  ⦿

Andy Budd

Managing Director of Clearleft in Brighton, UK. He has a blog, where people were prompted for the names of type families, if they could only buy six of them. Continued here and here. The totals are tallied for you:

• Akzidenz Grotesk (2 votes): Akzidenz Grotesk is the classic alternative to its dowdy and overused relation, Helvetica. If you ever feel the need to use Helvetica, resist the urge and try Akzidenz instead.
• Avenir or Avenir Next (2 votes): Futura is a wonderful typeface, although is can feel slightly sterile at times. Adrian Frutiger set about humanizing Futura and created Avenir in 1988. Avenir is a beautiful typeface but is restricted to just 12 weights. In 2004 the typeface was completely revised and Avenir Next was released with a stunning 96 weights. If you are looking for a modern sans, you need look no further.
• Neutraface (2 votes): Designed by Christian Schwartz for House Industries, Neutraface captures the 1950s stylings of architect Richard Neutra in a beautiful typeface meant for application on the screen, in print, and in metalwork. If you are ever in need of a classy retro face, they don't get any more polished than this. [...] Tired of Futura and Gill Sans? Neutraface is a beautiful art-deco alternative. Modern yet retro, this typeface comes with loads of ligatures and 7 beautiful figure styles. If this typeface was a drink it would be a Vodka Martini, shaken, not stirred.
• Engravers Gothic: For a period of about two years, I attempted to inject this font into every single project I worked on. Even if I couldn't fit it into the main scene, I screened it back somewhere in the distance just to feel better about myself. For a brief time, I was actually creating design projects for the sole purpose of using Engravers Gothic in them. It was at this point that I sought professional help.
• Myriad: Its quite simply the most readable sans-serif typeface ever invented for print at least. On the web, that'd be Lucida Grande, but thanks to Apple, I don't really have to buy that now, do I?
• Meta: Like a good mullet, this typeface has something for everyone. Its clean lines make it ideal for logotype, headings, and other professional applications, but its curvy flourishes keep it from looking sterile or uptight.
• Agency: Originally designed in 1932, and then expanded to multiple weights and widths in the 1990s by David Berlow, this typeface can be made to look futuristic or retro. Im partial to flexible typefaces, and Agency is second-to-none in this regard. Use it for old movie posters. Use it for your pathetic Star Trek Convention flyers. Agency feels at home in any environment.
• Palatino: Also abused in both web and print work, Palatino is undeniably versatile and (imho) a much better option overall than Times.
• Proxima Nova: I am counting down the minutes until this typeface is available. No joke.
• Dynasty Light: Someone please give me an excuse to use this in my next project. I take that back: no excuse needed.
• Trajan Pro: I am a sucker for classic Roman letterforms, and it doesn't get much better than Trajan.
• Warnock Pro Light Italic: I stumbled across this gorgeous typeface just recently, and its one of the hottest italics I have had the pleasure of using in recent months.
• Frutiger: Originally designed for the signage at Charles De Gaulle Airport in Paris, Frutiger is a beautifully fluid and legible typeface. Without doubt the most influential typeface in the past 30 tears, Frutiger has been the inspiration for many amazing fonts including the excellent Myriad Pro.
• DIN Schriften: DIN stands for Deutsche Industrie-Norm, the German industrial standard. Originally used for German road signage, this typeface was the darling of 90s graphic designers, and like FF Meta, is starting to make a comeback. With its wide open letter forms DIN is am extremely clear and legible typeface, great at any size.
• Mrs Eaves: If I had to choose one serif typeface it would be Mrs Eaves. Named after John Baskervilles wife, this stylised version of Baskerville is loved by graphic designers around the world. Mrs Eaves is a modern serif that retains an air of antiquated dignity. Playful without being too scripty, its a fully featured typeface with a beautiful collection of ligatures.

Andy Cooke

British graphic designer who lives in Stoke-on-Trent. Behance link. His type experiments include a handwriting typeface and a piano key face, both made in 2008. No downloads. [Google] [More]  ⦿

Andy Hau

UK-based architect and designer. Behance link. Creator of the origami typeface KaWaii Desu (2011). [Google] [More]  ⦿

Andy Kelly

Newcastle upon Tyne and/or Belfast, UK-based designer of the free squarish typeface 9Bar (2018). [Google] [More]  ⦿

Andy Lethbridge
[Hand Foundry]

[MyFonts] [More]  ⦿

Andy Long

British type designer. Based in South London, he co-started ACME with Christian Küsters. [Google] [MyFonts] [More]  ⦿

Andy Stockley

Designer from the UK who created Spira (1999, Font Bureau), a beautiful Venetian revival font family, and AT Pastor (FontHaus), an elegant high-legged serif face.

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

Andy Walker

Designer at the Department of Mathematics, University of Nottingham of the GNU chess font, to be used with "gnuchess". [Google] [More]  ⦿

ANFS Foundry
[Freddy Taylor]

UK-based ANFS foundry groups the following designers: Freddy Taylor (b. London, a graduate of the Edinburgh College of Art, art director at KesselsKramer), Noah Collin, Shaun Dowling. Their typefaces: Monomodern, Das Neue, Biblo, Basic, Drop, Lucid, Plotter, Forms.

In 2014, Freddy Taylor contributed the free font London Citype to Citype.

Typecache link. [Google] [More]  ⦿

Angela In The Fields
[Angela Lukanovich]

North London-based designer. In 2021, she released the Valentine's Day hand-crafted typeface Lovechild and the retro sports font Sport Elegant.. [Google] [More]  ⦿

Angela Lukanovich
[Angela In The Fields]

[More]  ⦿

Angela Michanitzi

Angela Michanitzi (AVMC Studios, London, UK) created the tweetware squarish typeface AM Oceanus in 2014. Other typefaces include Hyperion (oriental simulation face), Water, Crystal (experimental typeface), Dione (3d), Crius, and AM Gaea (2014). Angela lectures at the University of the Arts in London.

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

Angelo Konofaos

Cambridge, UK-based designer of the calligraphic brush script typeface Inkinity (2017) and the handcrafted typefaces Handflow (2017), Norsanda (2017) and Bustille (2017). Creative Market link. Behance link. [Google] [More]  ⦿

Angus Macpherson

British designer who works as a designer at Church of London. Creator of commercial typefaces at The Type Foundry, such as Nord Express (art deco; based on the Nord Express train poster) and Grande Fete (hairline avant garde caps face). [Google] [More]  ⦿

Anigma New Media (was: Abracadabra)

Designers in West Midlands, UK, of comics fonts such as BritComicsNormal, BurningRubberBlack, BananaSundaeBold, LithoComixItalic, PoopedEyesExtraBold, ChunkyComixSemiBold, LithoComixItalic, Chalkpat, Cheesey-Nibble, Fatkid, Irtusk-BoldItalic, Jellybean, Jilted-Medium, Leafmold-Leafmold, Squish, Swink, Uptight, ChunkyComixStretchItalicsItalic, ClassikComikNormal. Shareware and freeware PC truetype fonts.

Dafont link. [Google] [More]  ⦿

Animeluva

Durham, UK-based designer of the artificial language font Theban (2009). [Google] [More]  ⦿

Anita Tran

Manchester, UK-based designer of the hexagonal typeface Cascade Killer (2014), which comes with a stencil and and an outlined style. [Google] [More]  ⦿

Ann Piecha

Cambridge, UK-based designer of the experimental stick figure typeface Line Eyes (2016) and a colorful geometric all caps tape font (2016). Behance link. [Google] [More]  ⦿

Anna Ghislaine

Aka Bob Todd, Anna Ghislaine (b. 1985, lives in London, UK) created Precursors (2005), a font based on the Precursor writing seen in the Jak & Daxter games. Alternate URL. [Google] [More]  ⦿

Anna Maria Geals

Graphic and type designer, and design educator at University of Brighton, UK. She worked previously at Dalton Maag (1999-2001). Based in Willingdon, UK, Anna Maria Geals created three-weight didone typeface family Parvenu (2002, Garage Fonts).

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

Anna Molony

Nantwich, UK-based designer of Helvetica Shadows (2012). [Google] [More]  ⦿

Anna Peniaskova

Digital designer in London, who created a modular piano key typeface called Abba (2014), to honor the Swedish pop group. [Google] [More]  ⦿

Anna Sheriakova

London-based designer of the decorative Joker Type (2016). [Google] [More]  ⦿

Anna Simons

Scribe, calligrapher and teacher (1871, Mönchengladbach-1951, Prien). From 1896 until 1903, she studied at the Royal College of Art in London, and was a student of Edward Johnston in 1900. She taught at Weimar from 1908-1914 and collaborated with the Bremer Presse from 1918 on. She created the initials for "Dante" (Berlin: Rowolth 1930) and for "Augustinus" (München: Bremer Presse 1924). Jakob Erbar was one of her students. The Bremer Presse published Anna Simons Titel und Initialen für die Bremer Presse in 1926. The book blurb: A portfolio of titles and initials designed by Anna Simons for the Bremer Presse. Along with Graily Hewitt, Eric Gill, and Percy Smith, Simons was one of Edward Johnston's star pupils at the Royal College of Art in London, and she has inscribed this copy to him on the title-page in black ink. It was after studying with Johnston, whose Writing&Illuminating,&Lettering she translated into German, that Simons in 1918 went home to Germany to work at the Bremer Presse. During her time at the Presse, she would design many titles and initial sets for them, and in 1926 this portfolio was issued to showcase her work. Each sheet in the portfolio is headed by one of Simons' Bremer Presse title designs, including her titles for the Divine Comedy, Fichte's Reden an Die Seutsche Nation, Chansons d'Amour, Albii Tabulli Elegiae, and others. The titles are followed by the initials she cut for the work. [Google] [More]  ⦿

Anna Zoladz

During her studies in Birmingham, UK, Anna Zoladz designed the hand-drawn typeface Slink (2013). [Google] [More]  ⦿

Annabel Grant

During her studies in 2014 in Huddersfield, UK, Annabel Grant created an all-caps typeface that was inspired by the art of El Lissitzky (1890-1941). Behance link. [Google] [More]  ⦿

Annabel Light

Plymouth, UK-based student-designer of a pixelish typeface in 2018. [Google] [More]  ⦿

Annastasia Chaplin

Graduate of the University of Derby, UK. Now based in Leicester, Annastasia Chaplin created a triangle-based display typeface and the informal typeface The Cafe in 2016. Behance link. [Google] [More]  ⦿

Anne Maraike Czieslik

During her studies at Middlesex University in London, Anne Maraike Czieslik (b. Germany) designed the decorative typeface Waterbeast (2015). Behance link. [Google] [More]  ⦿

Anne Wehebrink

Designer at ACME in London. Her creations include AF Oneline (1998), a geometric hairline monoline stencil font.

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

Annet Stirling

Amersham, UK-based designer and stone carver. At Google Web Fonts, she published the distinctive hand-lettered typeface Snowburst One (2012). [Google] [More]  ⦿

Annette O'Sullivan

Annette O'Sullivan trained as a graphic designer and worked in design studios in New Zealand prior to further study in typography at the London College of Printing. She has an MA degree in typography and graphic design. While in Britain, she worked in publishing and museum design, notably for The Museum of the Royal Welch Fusiliers, Caenarfon Castle, North Wales, the Hong Kong Museum of Coastal Defence, Hong Kong and the Royal Armouries Artillery Hall, Fort Nelson. She currently lectures in typography at Massey University, Wellington, and continues to explore contemporary typographic application within a historic context. [Google] [More]  ⦿

Annie Miller

As a student at the University of Salford, UK, Annie Miller designed Kidscan (2016). She also designed Uni Halls Icons (2016). [Google] [More]  ⦿

Annsley G. Flood
[Gloomnshloom]

[More]  ⦿

Annulus Designs

London-based creator of the rounded organic typeface Annulus (2017). [Google] [More]  ⦿

Anouk Faber

British dark artist, b. 1990, aka Diagonna. She created Block Font, Pixel FF and Inverted Pixel FF in 2011. [Google] [More]  ⦿

Anthony Burrill

Designer at ACME of AF Video Wall (1998, a gridded pixel font).

In 2012, he published the stencil typeface Kit Form (HypeForType).

Anthony Gibson

Leeds, UK-based designer of an unnamed hand-printed typeface in 2012. [Google] [More]  ⦿

Anthony James

Anthony James (Manchester, UK) is a talented British type designer. iHis typefaces, in chronological ordr:

• Kaiju (2014). A dashing art deco typeface. Kaiju II followed in 2015.
• Chase (014). A free monoline sans.
• QG (2014). A minimalist free typeface.
• Argö (2014). A commercial decorative fashion mag didone typeface.
• Global (2014). A slender ball terminal-laden typeface meant for magazine titling.
• Goku (+Regular, +Stencil; 2014). A multilingual didone fashion mag typeface, initially designed as a stencil font for the Basel & Geneva Watch Launch Event for Watches of Switzerland.
• Giza (+free Stencil; 2015). A fashion mag didone. It was unfortunately named, as David Berlow's famous Egyptian typeface is also called Giza. After I wrote this in June 2015, I noticed that Giza became Giaza in July 2015.
• Kingston (2016). A fashion mag typeface derived from didones.
• Jitzu (2016). A multilingual high-contrast fashion didone in ten styles.
• Osgard (2017). A swashy blackletter.
• Ghost Cove (2017).
• Indulge Script (2017). Formal calligraphy.
• Kenjo (2018). Fashion mag headline type.
• Omega Sans (2018).
• Solar Vesta (2018). A font duo.
• Qavo (2018). A sharp-edged monoline all caps sans.
• Mojita (2019). A geometric display typeface, inspired by Japanese art deco, as well as Aztec & Mayan pattern design.

Facebook page. Buy his commercial typefaces here. [Google] [MyFonts] [More]  ⦿

Anthony Morgan

Anthony Morgan (London) created the octagonal typeface family Carbonado (2012). [Google] [More]  ⦿

Anthony Nash
[Classic Font Company]

[MyFonts] [More]  ⦿

Anthony Odu

Graphic designer in London, who created the geometric solid typeface Aku Display in 2017. [Google] [More]  ⦿

Anthony Oram

Somerset, UK-based designer of the rounded sans typeface Peg Face (2016). Creative Market link. [Google] [More]  ⦿

Anthony Prudente

Typefounder in Polegate, UK, who was born in 1981 in Croydon, Surrey, UK. He created the art deco typeface Foreman (2012), which is typified by condensed tall-legged letters.

Hurstmonceux (2013) is an antiqued Victorian typeface. [Google] [MyFonts] [More]  ⦿

Anthony Roberts
[Fathom Creative]

[MyFonts] [More]  ⦿

Anthony Robinson

UK-based creator (b. 1967) at FontStruct in 2008 of Metal Vampire (athletic lettering meets vampire), Moonbase Tokyo (neat futuristic oriental simulation), Sir Robin's Minstrels (blackletter), Starscraper (techno), Moonmonkey (outline LED font), First.

In 2010, he added the non-FontStruct typefaces Chromium (a great special effect face), Clawripper, Dirty Play, HairyMonster, HairyMonsterSolid, Punched, and Slasha, mostly inspired by blood, guts, and murders. Static Buzz (2010) is a texture face. Newcastle (2010) is a castle-themed alphabet. Blinger (2010) is a star-studded outline face. New York Punk (2010) is grungy. Dinosaurs (2011) is a dingbat face. NUFC Shield (2011) is a shield face. Zombified (2011) and Sound Sample (2012) are grunge typefaces.

Rollerball 1975 (2012) is the font used in the Rollerball movie. Western Show Caps (2012) is a Western circus font. Stoned (2012) evokes letters carved in stone.

In 2013, Robinson published the textured athletic lettering font Robbie Rocketpants, Airlock, Cargo Bay (a great army stencil, with a negative letter option), Dogma (a grungy Lombardic face), and the grungy blackletter typeface Flesh Wound. MDMA (2013) is a halftone simulation texture face. Barbarian (2013) is an alphading typeface on the theme of swords. Camouflage (2013) is a textured typeface. Atheist (2013) is an outline typeface. Power (2013) is inspired by lettering on pwer buttons. Witching Hour (2013) is a halloween font. Dystopian Future (2013) is a grungy typeface. Olde Stencil (2013) is a stenciled blackletter typeface. Anonbats (2013) has scanbats and dingbats related to the famous hacker group Anonymous. Creature Feature (2013) is a slimy typeface. Ka Blamo (2013) is a comic book font. Beer Goggles (2013), Supercreep (2013), KaBoing (2013), Gloop (2013, an oil slick face), Voodoo Vampire (2013) and Ye Olde Oak (2013) are textured typefaces. Anti Everything (2013) is a blood drip typeface. PCB (2013) is a printed circuit board font. Dickensian Christmas (2013) is a decorative Christmas font.

Typefaces from 2014: Spondulix (hacker type), War Wound, Lasso of Truth, Counter Dial.

Typefaces from 2015: English Football Club Badges, Fuzzy Cops, Kick to the Face (oriental simulation).

Typefaces from 2016: Squeal Piggy.

Typefaces from 2019: Footy Scarf.

Dafont link. Aka Anfa. Home page. Another URL. FontStruct link. [Google] [More]  ⦿

Anthony Sheret
[The Entente]

[More]  ⦿

Anthony Smith

Anthony Smith graduated from The Arts Institute At Bournemouth with a BA in Graphic Design. He made a modular typeface in 2011 called Hollow Type. Behance link. [Google] [More]  ⦿

Antonio Roberts

Birmingham, UK-based Antonio Roberts (aka Hellocatfood) wrote a program called glitch that will replace a certain portion of the font data by random values, esulting in glitch typefaces. A prototype example was called Dataface (2012, free at OFL). OFL link. [Google] [More]  ⦿

Antonio Rodrigues

Prolific and talented Brazilian designer in London and Brasilia, who created the modular monoline display typeface Colibri (2012), the hairline sans typeface The Fake Blondes (2012), and the fashion mag typeface Models (2012). He created several other modular alphabets and typefaces in 2013, including Boogie (a fat disco typeface), Stay With Me (fashionable fat didone), Concrete Butterflies (2013, paper cutout theme), London (blackboard bold, derived from Bodoni MT Bold) and Cardboard. Berlin (2014) is a group of display typefaces. Subfaces include Berlin, Berlina, Slaberlin and Überlin. He also designed Havana and the free typeface Gili Meno in 2014.

Behance link. [Google] [More]  ⦿

Antonio Rodrigues

Freelance illustrator and graphic designer in London, who drew a modular typeface in 2012 that is based on tangrams. Behance link. [Google] [More]  ⦿

Antony Walton

Londoner who created the oriental simulation typeface Japanish (2010). He also got interested in the Russian avant garde period, and made a constructivist family called Potemkin (2010). Behance link. [Google] [More]  ⦿

Antria Sofroniou

During her studies in Canterbury, UK, Cyprus-born Antria Sofroniou designed an unnamed Latin typeface for a children's book. [Google] [More]  ⦿

Aoyce C

Graphic designer in Newcastle upon Tyne, UK. Creator of The Simple Font (2012, experimental, geometeric and minimalist) and Geometric Font (2012). [Google] [More]  ⦿

Apfel Type Foundry

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

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

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

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

April Syder

During her studies in Nowich, UK, April Syder created an ornamental caps typeface called London Typography (2013). [Google] [More]  ⦿

Aradhana Chand

During her studies in London, Aradhana Chand designed Geometype (2017) and Gothvetica (2017: a blackletter / heavy metal font). Behance link. [Google] [More]  ⦿

Arctype
[Aaron Chiffers]

Falmouth, UK-based designer of Tetsuo AT (2019: a geometric, futuristic and monospaced typeface; +Stencil), High Tide AT (2019: inspired by the lettering of the fishermen of Cornwall), and the copperplate-inspired all caps typeface, Caeli AT (2019), for Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

Arek Zajac

At Kenneth Academy, Thatcham, United Kingdom-based Arek Zajac designed the free grid-based outlined monospaced all-caps Traveler's Typeface (2018). [Google] [More]  ⦿

Ari Rafaeli
[ARTypes]

[MyFonts] [More]  ⦿

Arjun Harrison-Mann

Design student in Birmingham, UK. Creator of Forma (2012), an alchemic typeface that was inspired by Aztec and third century Coptic symbols and signs. [Google] [More]  ⦿

Arlette Boutros

Lebanese type designer who runs the London-based Boutros Foundry with Mourad Boutros. She created or co-created the Arabic typefaces Boutros Ads Pro, Boutros Advertising, and Boutros Thuluth Light. She also was one of the four co-designers (with Mourad Boutros, Richard Dawson and Dave Farey) of Tanseek Pro (2008, Monotype), a typeface family for Latin and Arabic. It contains Tanseek Modern and Tanseek traditional.

In 2017, Arlette Boutros designed Boutros Futura, or Futura Arabic, at URW to work harmoniously with the URW-Latin whilst respecting Arabic calligraphic and cultural rules. URW's Futura Arabic contains, of course, as a subset, the regular Latin Futura. Still in 2017, Boutros Fonts added URW Geometric Arabic to Joern Oelsner's URW Geometric.

In 2019, Volker Schnebel (URW) and Arlette Boutros joined forces and published URW DIN Arabic. She also published the ten-style Latin/Arabic humanist sans typeface Boutros Angham in 2019.

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

Armel Bellec

London, UK-based designer of the free pixelish blackletter typeface Frakture (2017), the ribbon typeface Neo Rotunda (2017), and the brutalist Beton Brut (2017). Behance link. [Google] [More]  ⦿

Arminda Borges

London-based creator of an unnamed display typeface in 2013. [Google] [More]  ⦿

Arron Tierney

Manchester, UK-based designer. Behance link. Creator of the triangle-themed typeface Kosmos (2011). [Google] [More]  ⦿

Art nouveau timeline
[Rachel Oke]

An art nouveau timeline drawn by Rachel Oke (Exeter, UK). [Google] [More]  ⦿

Arte Designs

London-based designer of the 3d typeface 3D Knockout (2017). [Google] [More]  ⦿

Artem Sukhinin

Graphic designer in London, UK, who seems to specialize in geometric and modular type. His creations include SQ (2010, free at Dafont, a FontStruct font), T2 (2010, a tall multiline typeface of extraordinary grace), Infographique (2010), Mod Gothic (2010, metal band face), and Pyramid (2010).

In 2012, he made the (free) neon tube font Chrome (+Light, +Black).

Dafont link. [Google] [More]  ⦿

Arthur

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

Arthur Beresford Pite

Architect, born in 1861 in London, died in 1934 in Beckenham, Kent. He created this architectural alphabet. [Google] [More]  ⦿

Arthur Rackham

Born in London in 1867, Rackham became a famous illustrator, and was noted for hand lettered titles, decorative marginalia, hand-drwan headers and borders, and color plates. Scriptorium made a font family called Rackham based on his lettering. Rackham died in Limpsfield, Surrey, in 1939. [Google] [MyFonts] [More]  ⦿

Arthur Vanson

British designer whose typefaces were published by Letterhead Fonts. They include Stratford (2002), Hindlewood (2002: a fraktur family, in Sans, Soft, and Hard; and Regular or Groteque), Opening Night (2002: for sgnage), Red Sable Script (2006, photolettering age script), Senatus, Flash Script (signage), LHF Chesham Sans (2002-2012), Wade Grotesque (2003), Wade Dynamic (2008, bold sans), Cincinnati Poster (2003, signage), Tallington (2003, a great gas-pipe lettering font), Stevens Percepta (2003, inspired by showcard writer/designer Mike Stevens), Speedstyle (2004, comic book face), LHF Tideway Script (2004, connected fifties script), Essendine (roman), Stevens Percepta (flared headline sans), and American Sans. Klingspor link. [Google] [More]  ⦿

Arthur William Presser

Graphic designer in Blumenau, Brazil, and/or London, UK, who created these typefaces:

• Bossa Nova Font (2012, art deco). Updated in 2016. Free download.
• Brasilac (2016). An irregular typeface based on early Brazilian vernacular typographic elements from the 18th and 19th centuries.
• Johann Script (2016). A handwriting typeface based on the hand of Johann P. P. Presser dated between 1760 and 1809. Johann, an ancestor of Arthur William Presser, owned a leather tanning company in the city of Woldersweiller (today known as Nohfelden) in Germany and used a book to keep records of the financial affairs of his business. It is from this book that the font was derived.
• Gothic Roots (2016). A blackletter design.

Home page. [Google] [More]  ⦿

Artworks

This site offers a truetype font (called CRMackintosh) for the Mac based on the writing of Charles Rennie Mackintosh. The font costs 13 UKP. [Google] [More]  ⦿

Arty Type
[James Marsh]

James Marsh Art&Design (or Arty Type) is a visual arts and illustration company located in Hythe, UK, founded by James Marsh in 2010.

His typefaces are often modular, and include Somaskript Tall (2012), Origami Incised (2012), Groovy (2012, +Inline: sixties face), Dropout (2012), Rough Diamond (2012), Thorny (2012), Tangent (2011, a geometric monoline sans), Scroll (2010), Marsh Scroll (2011), Tulip (2011, modular, heavy, and counerless), Somatype (2011, über-organic; +Skwosh), SomeSkript and SomaSkript Incised (2012, organic), and Nutcase (2010).

In 2013, he published Soma Slab, Soma Slab Tall, Angleface, Anglepoise (a paper clip typeface family) and Mortice (octagonally cut).

In 2014, he designed Sanzibar (a decorative sans), Sliced, Sliced Open, Omni (a minimalist organic monoline sans) and its companion, Omni Serif, and Tangential Semiserif, Tangential Rounded, and Tangential.

Typefaces from 2015: Storybook (informal script), Sliced, Sliced Open, Sanzibar Schreef (swashy typeface), Galerie, Galerie2.

Typefaces from 2016: Polke, Avocado Sans, Cyclic Uncial, Cyclic Serif. The Cyclic series was extended in 2018 to include Cyclic Sans.

Typefaces from 2017: Troika (monoline display typeface), Caché.

Typefaces from 2018: Sanzibar Script, Cyclic Sans.

Typefaces from 2019: Sanzibar Script.

Typefaces from 2021: Cyclic Eclipse (art deco), Bodonieqsque (a decorative didone), Cyclic Elite (a stylish sans).

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

ARTypes
[Ari Rafaeli]

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

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

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

Ash Booth

Manchester, UK-based designer of the chunky typeface Chunk (2018). [Google] [More]  ⦿

Ashendene Press
[C. H. St. John Hornby]

Founded in 1895 at Ashendene, Hertfordshire, England, by Sir C. H. St. John Hornby and moved in 1899 to Chelsea, London. It was a leader (with the Kelmscott Press and the Doves Press) in the 19th-century revival of fine English printing. Its edition of Dante (1909) is considered an achievement comparable to the Kelmscott Chaucer of William Morris. The Subiaco type used by the Ashendene Press was designed by Sir Emery Walker and S. C. Cockerell from an early Italian typeface. The Ashendene Press, which set all of its editions by hand, issued 40 books in the years from 1895 to 1915 and from 1920 to 1935.

Ptolemy was designed in Chelsea by St John Hornby, Sidney Cockerell and Emery Walker, and was cut in 18 pt by Edward Prince for Cervantes's Don Quixote, which was published by the Ashendene Press in 1927. The type used until 1935 was a revival of Lienhart Holle's cut for Ptolemaeus's Cosmographia printed in 1482 in Ulm. Ptolemy in turn was digitally revived in 2019 by Alexis Faudot and Rafael Ribas in 2019.

The Subiaco type (1902) is now owned by Cambridge University Press. Its punches were cut by E.P. Prince. It is a humanist typeface with blackletter tendencies, and is based on the first roman used in Italy for printing, developed around 1464 at Subiaco by Conrad Sweynheym and Arnold Pannartz.

The Ashendene Press disappeared in 1936. [Google] [More]  ⦿

Ashleigh Claire Etherington

Graphic designer and illustrator in Southend-on-Sea, UK, who created a fat lettering typographic poster for pub signage in 2013. [Google] [More]  ⦿

Ashley Dean Newall

Designer who used FontStruct in 2009 to make Dance (dancing dudes making the Latin capitals), Signature (handwriting), Flex and Slab. Aka Adne Wall, he is located in the UK. [Google] [More]  ⦿

Ashley Dsouza

This British graphic design student created the ornamental caps alphabet Fish Face (2011). [Google] [More]  ⦿

Ashley Eldrid Havinden

British type designer (1903-1973), who made Ashley Crawford (1930, a heavy caps typeface at Monotype with a vey recognizable inline style; digital version from Monotype), and Ashley Script (1955; metal number 574 at Monotype, a brush script based on her own handwriting; now digitally available at Monotype).

Ashley Havinden was director and art director at W. S. Crawford, an advertising agency in London. The typeface Ashley Crawford (1930) was the resuklt of a request by Stanley Morison of Monotype to make a typeface based on Crawford's Chrysler advertizing campaign.

Xavier (1992, Jason Castle) is an art deco family based on Ashley Crawford.

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

Ashley Garrod

Designer from Liverpool who graduated from Liverpool John Moores University in July 2009 with a BA Hons in Graphic Design. She made CircleType (2009, letters based on lines and arcs) and the experimental modular typefaces Craft Fonts and Tessellated Fonts.

Behance link. [Google] [More]  ⦿

Ashley Kirby

Student at UWE in Bristol. During her studies at UWE, she used FontStruct to create Cast a Shadow (2012, +Dotted). [Google] [More]  ⦿

Ashley Religion

Student at UWE Bristol in the UK. FontStructor who made the constructivist typeface Beat The Whites With The Red Wedge (2010). [Google] [More]  ⦿

Ashley Wong

During her studies in London in 2019, Ashley Wong designed a typeface influenced by carpentry, i.e., each piece is rectangular. [Google] [More]  ⦿

Ashliegh Wick

Ashliegh Wick's school project at Sunderland University in Newcastle upon Tyne, UK, was an unnamed constructivist typeface (2013). [Google] [More]  ⦿

Ashton
[Andrew Ashton]

Ashton is the Southend, Essex, UK-based foundry of Andrew Ashton, est. 2008. Born in 1971, Andrew Ashton is a book designer and illustrator. He won the British Book Industry Award for Design and Production (Nibbie) 2007 for The Dangerous Book for Boys. He created Bowen Script (2008), a font from the lettering of some Caribbean maps.

In 2013, he published the handwriting typeface Maree. [Google] [MyFonts] [More]  ⦿

Asma Nazir

Graphic Arts graduate of the WInchester School of Art, University of Southampton. Asma is a graphic and type designer. Designer of experimntal typefaces such as Genius Loci (2012), Transmission Towers Typeface (2012), Unity Typeface. [Google] [More]  ⦿

Association for Insight Meditation (or: Aimwell)
[Bhikkhu Pesala]

Bhikkhu Pesala, a Buddhist monk based in London, designs free fonts. His original we page was called Aimwell (Association for Insight Meditation). On that site dedicated to Pali fonts, there was a file with Bhikkhu Pesala's free fonts. Most of Pesala's fonts have well over 1000 glyphs, cover Latin, Vietnamese and Greek, and have an enormous set of symbols including chess symbols and astrological signs.

The present list of fonts, with some older ones removed:

• Acariya (2016): a Garamond style typeface derived from Guru, but with suboptimal kerning.
• Akkhara (2006). Derived from Gentium.
• Balava (2014): a revival of Baskerville derived from Libre Baskerville.
• Cankama (2009). A Gothic, Black Letter script.
• Carita (2006). An all caps roman.
• Garava (2006). Designed for body text. It has a generous x-height and economical copy-fit. The family includes Extra-Bold and Extra-Bold Italic styles besides the usual four. Typeface Sample
• Guru (2008). A condensed Garamond style typeface designed for economy of copyfit in Buddhist publications. 100 pages of text set in the Pali typeface would be about 94 pages if set in Garava, or 92 pages if set in Guru.
• Hari (2016): a hand-writing script derived from Allura by Robert E. Leuschke, released under the SIL license.
• Hattha (2007). A felt marker pen typeface.
• Jivita (2012): an original sans typeface for body text.
• Kabala (2009). A sans serif typeface designed for display text or headings. Kabel?
• Lekhana (2008). Pesala's version of Zapf Chancery.
• Mahakampa (2016): a hand-writing script derived from Great Vibes by Robert E. Leuschke.
• Mandala (2007). A geometric sans designed for decorative body text or headings. Has chess symbols.
• Nacca (2016): a hand-writing script derived from Dancing Script by Pablo Impallari.
• Odana (2006). A calligraphic almost blackletter brush font suitable for titles, or short texts where a less formal appearance is wanted.
• Open Sans (2016): a sans font suitable for body text. Includes diacritics for Pali and Sanskrit.
• Pali: Pesala's version of Hermann Zapf's Palatino.
• Sukhumala (2014): derived from Sort Mills Goudy.
• Talapanna (2007). Pesala's version of Goudy Bertham, with decorative gothic capitals and extra ligatures in the Private Use Area.
• Talapatta.
• Veluvana (2006). A heavy brush style. The Greek glyphs are from Guru. Small Caps are greater than x-height.
• Verajja (2006). A Pali word meaning "variety of kingdoms or provinces." It is derived from Bitstream Vera.
• Verajja Serif.
• Yolanda (2008). Calligraphic.

Aston Rose

Aston Rose (London, UK) designed the alchemic typeface Hunter (2012) and the inline athletic lettering typeface Dunamai (2014). [Google] [More]  ⦿

A-Studio
[Alan Cheetham]

Nottingham / Derby, UK-based designer. He made the straight-edged experimental display typefaces Lazer Addiktz (2013: free EPS format typeface) and Next Level (2013). In 2016, he published an all caps poster entitled Alphabetica and the octagonal typeface family Ghetto.

In 2021, he released Uberdank (an all uppercase modular mono slab serif display typeface). [Google] [More]  ⦿

Atomic Type Collection

Type foundry in Cheltenham, UK. In 2014, they published a collection of 300 handwriting fonts with names like Abigail's Hand, Yank's Hand, and so forth.

The full list: AcaciasHand, AdamsHand, AlainasHand, AlexsHand, AlinasHand, AlisonsHand, AllensHand, AlvinsHand, AmandasHand, AmbersHand, AngelasHand, AnniesHand, ArchiesHand, ArdleysHand, ArronsHand, AshtonsHand, AstersHand, AubreysHand, AudreysHand, AustinsHand, AverysHand, BabcocksHand, BarrysHand, BartsHand, BerniesHand, BerrysHand, BerylsHand, BethanysHand, BettysHand, BinghamsHand, BobbiesHand, BrandysHand, BrendasHand, BrendensHand, BrettsHand, BrodysHand, BrooksHand, BrucesHand, BudsHand, BurkesHand, BurtonsHand, CalvinsHand, CamdensHand, CandysHand, CarlysHand, CarolinesHand, CartersHand, CathysHand, CattsHand, ChasesHand, ChelsiesHand, CherylsHand, ChicksHand, ChristinesHand, CidsHand, ClaytonsHand, CodysHand, ColemansHand, CoreysHand, CormicksHand, CrosbysHand, CrystalsHand, CutiesHand, DarbysHand, DarinsHand, DarlenesHand, DavesHand, DeannasHand, DebbiesHand, DentonsHand, DereksHand, DianasHand, DonaldsHand, DonnysHand, DorothysHand, DunleysHand, DunnsHand, EddiesHand, EdgertonsHand, EdmondsHand, ElliesHand, ElliottsHand, EmilysHand, EmmettsHand, EricasHand, EricsHand, ErinsHand, EvansHand, EvelynsHand, EverlysHand, EwingsHand, FannysHand, FarinasHand, FarrahsHand, FentonsHand, FiniansHand, FletchersHand, FlintsHand, FlorasHand, ForrestsHand, FostersHand, FranklinsHand, FranksHand, FrasiersHand, FrostysHand, FultonsHand, GailsHand, GarthsHand, GarysHand, GavinsHand, GemmasHand, GeorgesHand, GiffordsHand, GinasHand, GinnysHand, GinosHand, GlennsHand, GradysHand, GrantsHand, GreersHand, HaleysHand, HanfordsHand, HanksHand, HansonsHand, HarmonsHand, HenrysHand, HerricksHand, HershelsHand, HigginsHand, HodgesHand, HuntersHand, IrvingsHand, IvysHand, JackiesHand, JacksHand, JamesHand, JanicesHand, JasonsHand, JeffreysHand, JeninesHand, JenkinsHand, JeremysHand, JessiesHand, JilliansHand, JodysHand, JohnsHand, JolenesHand, JoshsHand, JulianasHand, JuliesHand, JustinsHand, KanesHand, KarensHand, KarinsHand, KarlsHand, KaspersHand, KathrynsHand, KeithsHand, KellysHand, KelseysHand, KennethsHand, KianasHand, KimballsHand, KimsHand, KingsHand, KirbysHand, KitsHand, KorasHand, KramersHand, KylesHand, LannysHand, LarkinsHand, LarriesHand, LaurensHand, LauriesHand, LawfordsHand, LeesHand, LeonardsHand, LeroysHand, LesleysHand, LestersHand, LibertysHand, LinfordsHand, LisasHand, LloydsHand, LuanasHand, LydiasHand, MandysHand, MannysHand, MarcelsHand, MarciesHand, MarcosHand, MargosHand, MarionsHand, MattsHand, MerylsHand, MichaelsHand, MiriamsHand, MonicasHand, MontysHand, MorgansHand, MyrasHand, NancysHand, NappysHand, NatsHand, NedsHand, NellysHand, NettiesHand, NewellsHand, NicholesHand, NickysHand, NicolasHand, NolansHand, NortonsHand, NoviasHand, OlliesHand, OpalsHand, OrsonsHand, OscarsHand, ParkersHand, PatriciasHand, PaulasHand, PennysHand, PerkinsHand, PerrysHand, PetersHand, PrincesHand, QueeniesHand, QuentinsHand, QuestsHand, QuinnsHand, RachelsHand, RalphsHand, RamseysHand, RaysHand, ReardonsHand, ReedsHand, RickysHand, RobinsHand, RogersHand, RonaldsHand, RonniesHand, RoscoesHand, RoslinsHand, RossysHand, RoydensHand, RubysHand, RustysHand, RyansHand, SaffronsHand, SammysHand, SandysHand, SashasHand, SawyersHand, ScottsHand, SeftonsHand, SergesHand, SherylsHand, SkylersHand, StacysHand, StanleysHand, StewartsHand, SusansHand, TanyasHand, TashasHand, TaylorsHand, TerrysHand, ThelmasHand, TobysHand, ToddsHand, TracysHand, TrasksHand, TriciasHand, TrixiesHand, TullysHand, TylersHand, UrsasHand, ValeriesHand, VanessasHand, VansHand, VeronicasHand, VictorsHand, VincentsHand, WalkersHand, WallysHand, WangleysHand, WaynesHand, WebstersHand, WeldonsHand, WendysHand, WillysHand, WilsonsHand, WiltonsHand, WinstonsHand, YancysHand, YanksHand, YoungsHand, ZacksHand, ZonkersHand.

View the Atomic Type typeface library. [Google] [MyFonts] [More]  ⦿

AtomicType

Company based in Sussex, UK, active ca. 2001: AtomicType is a distributor of the International TypeFounders library and CD-ROMs. Founded in 1995, ITF's goal is to provide a unique opportunity for the world's best independent small type foundries and typeface designers to display and distribute their fonts. Over 10,000 typefaces are available. Also some custom design work. [Google] [More]  ⦿

ATypI 2007

ATypI 2007 was held at the Faculty of Arts and Architecture at the University of Brighton in Brighton, UK, from 12-16 september 2007. Keynote presentations by Richard Hollis, Humphrey Stone, David Crow, Ken Garland, James Mosley, Matthew Carter, and Michael Harvey. Speakers: Andy Altmann, Bill Baggett, Lynne Joddrell Baggett, Phil Baines, Ebru Baranseli, Chinmay Battacharya, John D. Berry, Anne McLaren Boddington, Karl Rose Cesta, Karen Cheng, Joe Clark, Catherine Dixon, Alessandro Fiore, Gerald Fleuss, Artur Frankowski, Fritz Grögel, George Hardie, Florian J. Hardwig, Andy Haslam, Xurxo Insua Pardo, Pouya Jahanshahi, Viktor Kharyk, Richard Kindersley, Akira Kobayashi, Eiichi Kono, Kevin Larson, David Lemon, Alessio Leonardi, Edna Lucia Cunha Lima, Oliver Linke, Lida Lopes Cardozo Kindersley, Tanja Madved, Thomas Maier, George Matthiopoulos, Sarah McCoy, Yaki Molcho, Klementina Mozina, Caglar Okur, Thomas Phinney, Albert-Jan Pool, Jean-François Porchez, Ieuan Rees, Ole Schaefer, Juliet Shen, Sumner Stone, Keith Chi-Hang Tam, Ipek Torun, Michele Wong Kung Fong and Masayuki Yamamoto. Report by J.-F. Porchez. Flickr picture report. Videos of the talks:

• Masterpieces of Johann Neudörffer the Elder (1497-1563) (Oliver Linke).
• The legacy of Edward Johnston (Gerald Fleuss).
• Reynolds Stone, a life in graven letters (Humphrey Stone).
• The kindest cut of all the Kindersley Workshop (Linda Lopes and Cardozo Kindersley).
• Searching for Morris Fuller Benton (Juliet Shen).
• The word is on the street (Ken Garland).
• Typography in the Environment (Andy J. Altmann).
• Teaching type in the city (Karen Cheng).
• National Armed Forces Memorial Staffordshire (Richard Kindersley).
• The typographic design of the Valley of the Communities in Jerusalem (Yaki Molcho).
• Inscribed in the living tile (Joe Clark).
• Better than a poke in the eye (Kevin Larson).

ATypI 2007: TypeTech

ATypI 2007 was held at the Faculty of Arts and Architecture at the University of Brighton in Brighton, UK, from 12-16 september 2007. Its TypeTech section was reported on by Christophe Badani here. Since it is in French, I will loosely translate it for my readers:

• Adam Twardoch and Miguel Sousa were the most active and frequent speakers. Sousa showed Adobe's FDK (font development kit).
• Just as at TypoTechnica 2007 in Frankfurt, we are still waiting for the announced demo of Superpolator.
• It was fun to see the font development comparison between Miguel Sousa and Frank E. Blokland, the former using FontLab Studio while the latter showcased FontMaster.
• Daniel Rodríguez Valero from the University of Barcelona presented Constructor, a glyph editor based on calligraphic curves.
• The demo of BitFonter 3 by FontLab was also interesting.
• Badani liked the talk by Tim Ahrens on Multiple Master in the design of font families.
• Si Daniels (Microsoft) took the participants on an interesting tour of web fonts.

Audrey Manlot

London-based designer, b. Paris, who created the script typeface Arrow (2013). [Google] [More]  ⦿

Augustus Welby Northmore Pugin

Augustus Welby Northmore Pugin (1812-1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style. His work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.

Pugin designed several blackletter and uncial style alphabets ca. 1844. His Gothic Revival ornaments influenced the design of the digital typeface Gothic Herbarium (2015, Lukyan Turetskyy). [Google] [More]  ⦿

Austin Cowdall

British designer who works in London. He made New Formula Tippex (2001) with letters drawn using a bottle of Tippex. [Google] [More]  ⦿

Autograff
[Daniel Berio]

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

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

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

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

Avalon Design

Studio in London. In 2016, they designed these typefaces: Opal, Emery Sans, Nova Display, Chopsticks (asian look), Holiday, Game Over (squarish), Pumpkin (Halloween font), Neons Display, Styllo (art deco, fashionable), Lans Sans Serif, Greenvine, Unfinished, Indigo Handcrafted (calligraphic blackletter), Audovera (techno; organic sans).

Typefaces from 2017: Roadtrip, Samara, Glowe, Easy, Corona, Fibo Serif, Pablo (handcrafted), California, Jules Sans Serif, Pisano, HappyB. Behance link. Creative Market link. [Google] [More]  ⦿

Avalon Portolan

British designer (b. 1996) of the graffiti typeface Avalon Old Skool Graff (2013). [Google] [More]  ⦿

AvanType
[Habib Khoury]

Israeli designer Habib Khoury (born in Fassouta, Upper Galilee, 1967) is presently Executive Creative Director of Avant Design Communications, which specializes in trilingual typography and communications. The type division, AvanType, offers commercial Latin, Arabic and Hebrew typefaces. He holds a Masters degree from Central Saint Martins College in London. Habib spent several years in Haifa, London, and New York, and is now based in Cathedral City, CA.

His Hebrew designs: Casablanca, Derby, Falafil, Girnata, Rituals, Talona. His Latin fonts include Adorey, Alluremda, Granada, Merkory and Stocky. He won an award at Bukvaraz 2001 for Maqsaf. At TDC2 2003, he won a Certificate of Excellence in Type Design for Falafil.

His Arabic typefaces include Chiaka, Ghirnata (1996), Sinan (1992), Alwadi (1996), Onwan (1998), Shallal Ultra Light (1995), Saljook (1997), Barhoom (1995), Alkhoury (1997), Sayaf, Maqsaf and Qasab (1998).

He won an award at TDC2 2006 for Hogariet (2005, a Hebrew face) and at TDC2 2008 for Al Rajhi (an Arabic text family). [Google] [More]  ⦿

Avatar of Shadows

South-African or UK-based designer of A Perfect Circle (2003) and Serpentine Bold Flaat (2004). [Google] [More]  ⦿

AVMC Studios

AVMC Studios (London) created a Water font and a Crystal font in 2013---both are experimental and are based on digital images of water and crystals. It is part of the AVMC Group in London. Other typefaces include Hyperion (2013, oriental simulation), Crius (2013), and Uranus (2013, experimental). [Google] [More]  ⦿

Ayres
[Colin Ayres]

Taunton, UK-based designer of Ayres Mono (2020), which includes some music and mathematical symbols. A guitarist and guitar teacher, he also created The Ayres Music Standard font for use in Sibelius and Finale. [Google] [MyFonts] [More]  ⦿

Azza Alameddine

Azza Alameddine has worked as a graphic designer in Lebanon, the Netherlands and London since 2009, and is now based in Barcelona. She holds a BA in visual communication from Créapole, Paris. A graduate of the Masters in Typeface Design program of the University of Reading, she specializes in Arabic script. Her talk at ATypI 2014 in Barcelona was entitled The art of typographic matchmaking. In 2016, Azza joined TypeTogether as a type engineer and type designer.

The Latin / Arabic version of Dalton Maag's Effra was co-designed by Azza Alameddine and Alex Blattmann. It won an award at Granshan 2016.

In 2017, she finished Adelle Sans Arabic at Type Together.

In 2019, Type Together released Catalpa (Veronkia Burian, Jose Scaglione, Azza Alameddine) and wrote: Primed for headlines, Catalpa is designed to give words bulk and width and gravity itself. The Catalpa font family is José Scaglione and Veronika Burian's wood type inspired design for an overwhelming headline presence. Catalpa was followed in 2021 by Belarius, a three-axis variable family that shifts from sans to slab serif, from condensed to expanded widths, and includes every possibility in between. Published by Type Together in 2021, it was developed under the guidance of Veronika Burian and José Scaglione, with type design by Azza Alameddine and Pooja Saxena, and additional kerning and engineering help from Radek Sidun, Joancarles Casasin and Irene Vlachou.

At the end of 2021, she finished Bree Arabic as part of Type Together enormous Bree multiscript typeface family. [Google] [More]  ⦿

Bababau
[Xavier Puig]

Xavier Puig is a type and graphic designer, born in Artés, Barcelona. He moved to London in 2003 where he graduated in Visual Communication and Typography at the London College of Communication. He created the severe octagonal typeface Ihavebeenwaitingforyou (2009) and the LED typeface Water In My Casio (2009). In 2010, he added Sexything. Dafont link. [Google] [More]  ⦿

BabelStone
[Andrew West]

UK-based Andrew West's great intro page to the 'Phags-pa script, a Brahmic script based on Tibetan that was used for writing Mongolian, Chinese and other languages during the Mongolian Yuan dynasty (1271-1368). Although it is no longer used for Mongolian and Chinese, it is still used to a limited extent as a decorative script for writing Tibetan. Unlike other Brahmic scripts, 'Phags-pa was written vertically from left to right after the manner of the Uighur-derived Mongolian script. The script is named after its creator, the Tibetan lama known by the title 'Phags-pa Lama "Reverend Lama" (1239-1280). Font subpage with samples of BabelStone Phags-pa Book, BabelStone Phags-pa Tibetan A, BabelStone Phags-pa Tibetan B, BabelStone Phags-pa Seal. These fonts were made in 2006 by Andrew West. In 2007, he added the free Zhang Zhung Opentype fonts for Zhang Zhung scripts: sPungs-chen, sPung-chung and Bru-sha, sMar-chen and sMar-chung. The Zhang Zhung culture was an ancient culture that flourished in the western and northern parts of Tibet before the introduction of Buddhism into the country during the 7th century. The extinct Zhang Zhung language is a distinct language related to but separate from Old Tibetan.

Andrew West's free font BabelStone Modern was designed between 2008 and 2013. This font has almost 2000 glyphs and covers, e.g., Latin, Cyrillic, Ogham, and Braille, and has hundreds of symbols, including a large set of arrows, mathematical symbls, domino tiles, and dingbats.

BabelStone Han (2017) is a Unicode Han font in Song/Ming style with G-source glyphs used in Mainland China. The font is derived from Arphic's AR PL Mingti2L Big5 and AR PL SungtiL GB fonts, converted to Unicode mappings, and expanded to cover a wide range of traditional and simplified characters in the CJK, CJK-A, CJK-B, CJK-C, CJK-D, CJK-E, and CJK-F blocks, as well as a large number of currently unencoded characters in the Private Use Area. A few glyphs for non-CJK symbol characters are derived from images uploaded to Wikimedia Commons by Christopher J. Fynn. The number of glyphs is closeto 40,000. [Google] [More]  ⦿

Barbara Brownie

Londoner who created the experimental Bezier-driven Blended Alphabet in 2009. [Google] [More]  ⦿

Barcode Writer in Pure Postscript
[Terry Burton]

Barcode Writer in Pure Postscript is an open source project that facilitates the printing of many barcode symbologies entirely within level 2 PostScript. Hence the process of generating a printed barcode representing a given input is performed entirely within the printer (or print system) where it is no longer the responsibility of your application or a library. Written and distributed by UK-based Terry Burton. Supported formats: EAN-13, EAN-8, UPC-A, UPC-E, EAN-5 & EAN-2 (EAN/UPC add-ons), Code 128 (A, B & C), Code 39, Interleaved 2 of 5 (including ITF-14), Code 2 of 5, Codabar, MSI, Plessey, Postnet. [Google] [More]  ⦿

Barnbrook (was: VirusFonts, Virus Foundry, Studio 12)
[Jonathan Barnbrook]

Jonathan Barnbrook was born in 1966 in Luton, England. He is a type and graphic designer and filmmaker. Since 1990 he has worked with cultural institutions, activist groups and charities and produced a steady stream of posters. He is also known for his collaborations with Adbusters and Damien Hirst, his work for David Bowie, and his typefaces released by Emigre and Virus (his own foundry). He started Virus in 1997, and works out of the Barnbook Studio (now Studio 12) in London's Soho. Virus Foundry became just Barnbrook ca. 2017. He specializes in cult-type typefaces.

MyFonts interview. Creative Pro interview. Bio at Emigre.

In 2007, Mathieu Réguer wrote a thesis at Estienne on Barnbrook.

Barnbrook designed these typefaces:

• Apocalypso Pictograms and Apocalypso Crosses (1997).
• Bastard (1990, blackletter) and Bastard Even Fatter.
• Bourgeois (2005). In 32 weights, this was originally done for the Mori Art Museum in Japan. Codesigner with Jonathan Barnbrook of Bourgeois Rounded (2019) and Bourgeois Slab (2019).
• Coma (2001).
• Delux (1997).
• Julian Moncada, Jonathan Abbott and Jonathan Barnbrook jointly designed Doctrine Sans and Doctrine Stencil in 2013 at Virus.
• Draylon (1997).
• Drone 666 (2010). and Drone (1997).
• Echelon (2001, connected upright script).
• Exocet (1991, Emigre). This is possibly his most recognizable face.
• Expletive Script (2001, upright connected and modular script).
• False Idol Script (1997).
• Infidel (2003). A crusaders type family praised by Claudio Piccinini.
• Mason (1992, +Serif, +Sans). Done at Emigre.
• Melancholia (2001).
• Moron (2001).
• Newspeak (1997).
• Nixon Script (1997, fifties style connected upright script).
• Nylon and Drylon (1996).
• Patriot (1994). Exocet, Patriot---these were the good old days of the missile attacks on Israel and the war in the Falklands. Strange that Barnbrook never designed a font called Wolf Blitzer.
• Olympukes (2004, with Marcus McCallion) was a free dingbat font at Fontshop. It can now be found at Undt Typefaces. Followed by Olympukes 2012 (2012), which acknowledges the complex contradictions of the modern Olympics.
• Priori Sans (2003, Emigre), Priori Serif (2003) and Priori Acute (2010, Emigre) are Escher-like trompe l'oeuil fonts.
• Prototype (1990).
• Prozac (1997). This font was created based on just four basic shapes.
• Regime (2009). A slab serif.
• Resolution and Resolution Blackletter (2015, by Jonathan Barnbrook, Ryuhei Nakadai and Julian Moncada): A family of display typefaces that were developed as part of a creative response to the political situation in Northern Ireland.
• Sarcastic (2007). A modular connected script.
• Shock&Awe (2004).
• Sora (2019). A free sans family at Google Fonts and Github. Co-designed with Julian Moncada.
• State Machine (Virus, 2004). Based on lettering on US and Russian military vehicles.
• Tourette (2005).

Fontworks link. MyFonts link. FontShop link.

Showcase of Jonathan Barnbrook's typefaces. [Google] [MyFonts] [More]  ⦿

Barry Slater

Graduate from the Bath School of Art and Design. He designed a counterless geometric typeface called Second Half (2012). [Google] [More]  ⦿

Bart Kut

Manchester, UK-based creator of a high-contrast art deco typeface in 2013. In 2014, he created the art deco typeface Zeppelin. [Google] [More]  ⦿

Bart Ladosz

During his studies, Chichester, UK-based Bart Ladosz created Futuristic (2015). [Google] [More]  ⦿

Bart Miko

London, UK-based designer of the experimental square-themed typeface Miko18 (2018). [Google] [More]  ⦿

Bart Rzeznik

London-based designer of Curule Sans (2015). Behance link. [Google] [More]  ⦿

Barton

British type foundry active in the 19th century, located in Clare-Market. [Google] [More]  ⦿

Bartosz Janczak

Graphic designer in London. Flickr page. Creator of some experimental faces, including several 3-d alphabets. [Google] [More]  ⦿

Bas Jayel

Student at UWE in Bristol, UK. FontStructor who created the ornamental caps typeface Templar (2012). [Google] [More]  ⦿

bbold
[Alan Jeffrey]

bbold is a blackboard bold math symbol font written in metafont by Alan Jeffrey in 1994, and later converted into a type 1 font. This CTAN page can be used for downloads. Type 1 versions are here, courtesy of Berthold K. P. Horn and Khaled Hosny (2007-2010).

Done for Y&Y, the weight of the original bbold font was a good match to Computer Modern, with upper and lower case Latin and Greek letters as well as punctuation and a number of symbols. The font was the property of Y&Y, and, after their dissolution, the copyright was gifted to TUG in 2007. Michael Sharpe's package bboldx (2021) extends the original by adding a couple of glyphs and adding two new weights. Where the original stem widths were 40 units, the additions have stem widths of 56 units and 90 units respectively. [Google] [More]  ⦿

Beasts of England
[Simon Walker]

Aka SuperFurry. Home page. Simon is a freelance designer and custom-typographer working in Chicago, IL (and before that, Austin, Texas). Born in Bournemouth, UK, his family moved to San Antonio, TX in 1988. Some of his clients, past and present, include Nickelodeon, American Eagle, Ed Helms, Vanity Fair, Pepsi, ESPN, Brené Brown, Nike and Target. In 2016, he designed the rounded slabby display typeface Matchbook (Lost Type).

In 2017, he created the script typeface Blackbike and the sans typeface Carnaby Street.

In 2018, he released Rough Cut (with flared edges) and in 2019 he designed Jack's Maggot (a vintage label typeface), Room 205 (a wrought display typeface released by Typeverything) and Mrs. Carter (a back-slanted cursive).

Typefaces from 2020: New Forest (a display type).

Typefaces from 2021: Sisteron (a flashy serif with many ball terminals featuring elephant feet; published by Typeverything), Lovechild (a bold decorative serif).

Typefaces from 2022: Alder Road (a condensed fashion mag serif). [Google] [More]  ⦿

Beatrice L. Warde

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

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

Drawing of her by Eric Gill. Life story.

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

Beatrice Tamagnini

London, UK-based designer of the floriated caps typeface Naturale (2018), which was created during a course taught by the Riccardo Olocco at the University of Bolzano, Italy. [Google] [More]  ⦿

Becca Corlett

Liverpool, UK-based designer of the experimental school project font Seel Street (2014). [Google] [More]  ⦿

Becca Haywood

During her graphic design studies in London, Becca Haywood created the ultra-fat square-shaped typeface Hole (2013), a candidate for the blackest typeface on earth. [Google] [More]  ⦿

Becky Sewell

During her studies at Flamouth University, UK, Becky Sewell created the minimalist typeface Undervalued (2014). [Google] [More]  ⦿

Bell & Stephenson

British typefoundry. Specimen books by them include

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

Ben Archer
[100types]

[More]  ⦿

Ben Bartels
[Benny Blunder]

[More]  ⦿

Ben Chadwick

Ben Chadwick is a designer & art director living in London. Designer of the pixelish typeface Frederick (2020). [Google] [More]  ⦿

Ben Clarke Hickman

London-based designer who created the squarish poster typeface Factory Floor in 2016. Behance link. [Google] [More]  ⦿

Ben Dolphin

UK-based designer, who created Synthetic Stencil (2011) and Pixel Error (2011). Behance link. [Google] [More]  ⦿

Ben Drury

British designer in London. He made D.cal, a tilted nib pen-stroke font (2000). All lines are based on off-set circles. He also designed Unkle (1998, a high tech font used on the album Psyence Fiction, based on lettering from the Disney film Tron) [Google] [More]  ⦿

Ben Gilchrist

London-based designer (b. 1990) of the heavy typeface Mundial (2020), which is based on retro soccer fonts. Mundial also has a colored version. [Google] [More]  ⦿

Ben Gilchrist

London, UK-based designer of the organic sans typeface Greenhithe (2014) and the fat round hand-drawn typeface Smile High (2014). [Google] [More]  ⦿

Ben Grimes

Manchester, UK-based designer of the experimental typeface Mofo (or Mock Font, 2017). Mofo is an oriental simulation typeface that is legible as a Latin typeface when viewed from a different angle. The work highlights the danger of using aesthetic references from foreign cultures in a superficial way. [Google] [More]  ⦿

Ben Hewitt

Digital artist from Plymouth, UK. He created the experimental typeface Juice (2009). Behance link. [Google] [More]  ⦿

Ben Howarth

Manchester, UK-based creator of The Car Parts Font (2012). [Google] [More]  ⦿

Ben Hutchings

During his studies at the School of Visual Arts & Central Saint Martins, Ben Hutchings (London, UK) designed the copperplate typeface Fenial (2017). Behance link. [Google] [More]  ⦿

Ben Hutchinson

London-based designer of the deconstructed typeface Ecelectic (2013). [Google] [More]  ⦿

Ben Jones
[Protimient.com]

[MyFonts] [More]  ⦿

Ben King

UK-based comic artist, b. 1985. Home page. Designer of GB Nametag (2006), based on the lettering of the Ghostbuster nametags. Ben King also made Ghostbusters Nametag (2006). [Google] [More]  ⦿

Ben Mecke-Burford
[M-B Creative]

[MyFonts] [More]  ⦿

Ben Mitchell
[Fontpad]

[More]  ⦿

Ben Nipper

During his studies at the University of Lincoln, UK, Ben Nipper created the Paper Fold typeface (2013). [Google] [More]  ⦿

Ben Smith

During his sudies in London, Ben Smith designed 10,000 Year Clock (2017). Behance link. [Google] [More]  ⦿

Ben Smith

Guildford, UK-based designer of several typefaces or alphabets in 2013. [Google] [More]  ⦿

Ben Stevens

London-based web designer. He created a modular stencil face, AlphaBetas (2010). Behance link. [Google] [More]  ⦿

Ben Swift

Bew Swift (Cogilium) made the hand-printed typeface Skulduggery (2010). He is from West Sussex, UK. His main typeface is the clean sans family Intra (2010). A preliminary free version can be had. [Google] [More]  ⦿

Ben Theobald-Morgan

Graphic design student at Plymouth University in the UK. Ben created Ribbon Type (2012). [Google] [More]  ⦿

Ben Weeks

British illustrator who got a Masters degree in 2004 from the University of Huddersfield. Now, located in Toronto, he created some nice hand-lettered chalk mural pieces such as one called Metcalf Interns--it has the names of all 2001-2011 Metcalf interns.

Cargo collective link. [Google] [More]  ⦿

Ben Weiner
[Reading Type]

[More]  ⦿

Ben Wood

Student at Brighton University, Hastings, UK. He created the thin avant-garde type family Quantis (2012). [Google] [More]  ⦿

Benan Barwick

British designer who created glyphs from icons in order to create the experimental Punk Rock Font (2010). [Google] [More]  ⦿

BenHat

Student at the University of Western England in 2011. FontStructor who made the paper folding typeface Shami (2011, FontStruct). [Google] [More]  ⦿

Benjamin de Lotz
[Benny Designs (was: Benjamin de Lotz Design&Typography)]

[MyFonts] [More]  ⦿

Benjamin Fox

British punchcutter and type designer who died in 1877. He was the partner in Besley and Co (est. 1849 by Robert Besley---in fact Besley and Co grew out of Thorowgood and Co in which Besley was a partner until Thorowgood retired in 1849, causing the change of name) in London. He helped Robert Besley in the development and cutting of Clarendon in 1845 at Fann Street Foundry/Thorowgood and Co. [Google] [MyFonts] [More]  ⦿

Benjamin Green

UK-based creator of the clean free hand-printed typeface Byrow (2014). Dafont link. [Google] [More]  ⦿

Benjamin Lilof

Graphic designer in Southampton, UK. Creator of FMP-3D (2011). [Google] [More]  ⦿

Benjamin Melville
[Graphics Bam]

[More]  ⦿

Benjamin Mounsey

Bristol, UK-based digital artist, who drew a few beautiful ornamental caps in 2011. [Google] [More]  ⦿

Benjamin Robinson

During his studies in Leeds, Benjamin Robinson created the circular and triangular pair of typefaces Cirque du Angle (sic) (2015). [Google] [More]  ⦿

Benny Blunder
[Ben Bartels]

Ben Bartels (aka Benny Blunder, London, UK) is a graphic designer and illustrator. He created a number of typefaces in 2014 that are related to comic books and illustrations. These include Bones, Creepin (Halloween font), Bruiser, and Foundry (a spurred heavy octagonal typeface). [Google] [More]  ⦿

Benny Designs (was: Benjamin de Lotz Design&Typography)
[Benjamin de Lotz]

Benny Designs (ex-Benjamin de Lotz Design&Typography) is Benjamin de Lotz's outfit in London. de Lotz (b. 1973) created Bereta (1998), available from FontHaus (via MyFonts), after it inherited the 2Rebels collection. [Google] [MyFonts] [More]  ⦿

Bernard Allum

Type designer, b. 1946, based in Twickenham, United Kingdom. He made a career in the broadcast business and has for for Channel One Television, Swan Media and The Graphics Department. In the 1970s, he designed these art deco typeface designs for Panache Photosetting / Face Ronchetti: Allumette, Ruthie, Danny Boy. He also designed the Neon Condensed weight for the Pink Floyd album Koda, but Neon was conceived by someone else.

Linkedin link. [Google] [More]  ⦿

Bernard Philpot

Welsh creator of the irregular chiseled typeface ITC Bolthole (2008. ITC>). He writes: My father brought me to a small graveyard in the Welsh hills to show me two headstones carved by the great Eric Gill. I instantly fell in love with the beauty of the carving and the perfection of the letterforms. I still go back to marvel at these works of art. Philpot studied graphic design and typography at the London School of Printing, and soon after graduation started work in a large advertising agency in London.

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

Bernhard Hörlberger

Hamburg-based designer of the fat counterless modular Porno (2009). He has lived in Austria, Kenya and the UK, and was born in 1986. Behance link. [Google] [More]  ⦿

Berthold Types Limited
[Harvey Hunt]

The link recalls the history of this new company owned by the Hunts in Chicago. They bought the trademarks and some outlines from the bankrupt Berthold Types GmbH, but are not the successors of that famous German company. Since its creation, Berthold Types Limited has been sending (frivolous) legal letters usually related to alleged trademark violations. The typophiles discuss the situation, which turns a lot around the issue of Berthold not paying the original designers, such as Albert Boton. Erik Spiekermann is particularly (and rightfully) upset about the situation. A partial list of the "victims":

• Adobe (2001): This page explains: Berthold had given Adobe a non-exclusive right to include many of Berthold's typefaces in the Adobe Type Library, and to use Berthold's trademarks in connection with the Library, from 1990 through 2015. Adobe had proudly included the Berthold Library in its Adobe Type Library since 1991, only to remove them in 1999/2000. Berthold claimed that this violated the contract and sued. The judge dismissed the suit, stating that Adobe was not forced to include the Berthold typefaces.
• On Nick Curtis' site, we found this cryptic message, June 2003: "Berthold Types threatens legal action, claiming trademark infringement and dilution of our ... marks, counterfeiting, and unfair competition with Berthold Types under applicable law" because of the similarity of the names Boulevard and Boogaloo Boulevard [the latter is a font by Curtis], and City and City Slicker [the latter is a font by Curtis]. More news as things develop." Not only is this frivolous and ridiculous, but I can't understand how a reputed typographer like G. G. Lange could keep his name associated with the Berthold syndicate. More details.
• Jamie Nazaroff from Zang-o-fonts has been marketing a typeface called Omicron Delta, created by him in 2001. He was contacted by Melissa Hunt (Vice President&General Counsel, Berthold Types Limited, 47 W. Polk St. #100-340, Chicago, Illinois 60605). She claims that Delta, designed by Gustav Jaeger, has been in the Berthold library since 1983, and asked him to remove the font, which Jamie did. The reaction by various type designers is documented in this page.
• The (now extinct) German foundry PrimaFont. Press release by Berthold: "Chicago, Illinois (January 25, 2000) - As a result of legal action taken by Berthold Types Limited, PrimaFont International of Germany agreed to immediately cease the unauthorized sales of more than 300 Berthold typefaces from the PrimaFont CD-ROM, which also includes typefaces from other type foundries including Adobe, Agfa, Bauer Types, Bitstream, ITC, Letraset, Linotype and Monotype. PrimaFont infringed upon the trademark rights of Berthold Types by employing a "compatibility list" to identify the true names of the typefaces that PrimaFont sold using false names. Berthold Types actively seeks to prevent the use of compatibility lists as such use has gone unchecked in the type industry," stated Melissa Hunt, Vice President&General Counsel for Berthold Types. Adding: "The use of compatibility lists causes as much damage in the type industry as any other form of font piracy." This most recent success in Berthold Types' continued aggressive anti-piracy efforts means that PrimaFont must remove the Berthold typefaces from the PrimaFont CD-ROM. In addition, PrimaFont agreed never to sell or deal in any products that contain Berthold's typefaces and to pay Berthold an undisclosed sum."
• This page discusses the case of Cape Arcona's fonts CA Cosmo-Pluto and CA Cosmo-Saturn, which Berthold did not like (they have a typeface called Cosmos). To avoid legal costs, Cape Arcona renamed its fonts CA-Cosmolab.

Things unraveled in 2008: Berthold fonts were possibly going to be sold by Linotype, which turned out not be the case. The news of Melissa's possible departure from the font scene in 2008 prompted this response from Erik Spiekermann: As quite a few people here could testify, Melissa Hunt was very much a part of this business. I certainly have been at the receiving end of many documents written on behalf of her husband. I certainly hope she has quit the type business for good, as that may put an end to a lot of arbitrary legal actions that have cost a lot of us time, money and sleep.

Harvey Hunt was born in 1949 in Lincoln, UK. He died in Jacksonville, FL, in 2022. His wife Melissa, an attorney, is still involved in type. Ironically, Hunt's obituary mentions that Harvey will be remembered in the type industry as a maverick who fought to build a market for independent digital type, despite stiff competition and rampant online piracy. [Google] [More]  ⦿

Berthold Wolpe

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

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

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

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

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

BERTLib (Fontstuff)

Fontstuff, est. 2005, sells BERTLib, the "Berlin Electronically Remastered Type Library". It has offices in London. Berthold, which folded in 1993, had a 2000+ type collection, which came in the hands of Freydank, Körbis, Pillich, Talke GbR in 1996 who lent it out to Berthold PrePress GmbH in 1997 under the name The Berthold Type Collection. Babylon Schrift Kontor GmbH, the company of Klaus Bartels, offered type 1 fonts from this collection for sale since 2000, but it disappeared some time later when Bartels died. BERTLib acquired the original Ikarus data of the Berthold Type Collection (over 2000 fonts) and set out to make high quality OpenType fonts with full support of all European languages, and fully Unicode-compliant. Slowly, these fonts are now being released by BERTLib. Not to be confused with Berthold Types Ltd from Chicago, who produced its library from Berthold type 1 data, not Ikarus data, of the same collection. Because of typename protection by Berthold Types, BERTLib had to change some font names. Some fonts also cover Cyrillic and Greek, but Maltese and Turkish are standard in all typefaces. More research needs to be done about the Berthold bankruptcy in 1993. They had a lot of debts. How can two different companies "acquire" or "get" the rights and sources of their collection? Who took care of the debts? Were there some underhanded deals? BERTLib twice refused to send me a list of types to which their own names can be matched. No names of digitizers or font BERTLib font designers or BERTLib owners are given. And finally, one has to pay 2.50 Euros just to see a sample of a font. All that makes me think that this company is one of businessmen rather than passionate type designers. Typefaces from these type designers/foundries have been or are being converted right now: Aldo Novarese, American Typefounders, Bernd Möllenstädt, Bertram Grosvenor Goodhue, Bruce Rogers, Claude Garamond, David Quay, Eric Gill, Erik Spiekermann, Facsimilie Fonts, Frederic Warde, Friedrich Berthold, Georg Trump, Giambattista Bodoni, Gustav Jaeger, Günter Gerhard Lange, Hermann Hoffmann, Herbert Post, Inland Type foundry of St. Louis, John Baskerville, Justus Erich Walbaum, Karl Gerstner, Louis Oppenheim, Morris Fuller Benton, Nicolas Cochin, Otl Aicher, Schriftenatelier Taufkirchen, Thomas Maitland Cleland, William Caslon. I created this page with remarks on their fonts. [Google] [More]  ⦿

Besnowed
[Rory Snow]

Hartlepool, UK-based graphic and book designer who specializes in bible designs. Creator of Barbou (2021). He explains: Barbou was originally cut in 1925 by Monotype as a counterpart to Fournier, siblings that were different in design but both based on the work of Pierre-Simon Fournier. Whether by choice, accident or oversight, Fournier was preserved digitally, and Barbou was lost to history. Barbou was notably used by Stanley Morrison, in particular as the face of The Fleuron. I fell in love with Barbou when I saw it, and knew that I wanted to bring it to a new generation of designers and readers. This is a revival of Barbou, a faithful recutting with new weights, characters and many of the best features that modern font technology brings. Particular attention was paid to the original Monotype Barbou 178 specimen sheet. Originally only available in a single weight, Barbou has been recut with a variable weight, providing a large degree of flexibility between Regular and Bold. Barbou excels as a comfortable reading face for books, and the variable weight allows you to fine tune the darkness and texture of the page in a way never before possible. Barbou has a distinctive softness, and this revival of Barbou preserves much of the effect the medium of metal type had on the letterforms. This results in a subtly rounded yet defined type, elegant not worn, with the utmost attention and respect to the smallest of details. Barbou was originally cut with disparate x-heights for roman and italic, and this revival of Barbou features both the original italic, as well as a new italic redesigned at the same height as the roman. In Fournier's time, roman and italic would not be mixed on the same line, but the type must change to meet the needs of a new generation. [Google] [MyFonts] [More]  ⦿

Beth Doherty

During her studies at University of the Arts London in 2013, Beth Doherty created a decorative all caps alphabet. Behance link. [Google] [More]  ⦿

Beth McLoughlin

Graphic art student at the Winchester School of Art (Winchester, UK) in 2013. She used a grid to create the typeface family Grille in 2013. [Google] [More]  ⦿

Beth Morrison

During her studies, Winchester, UK-based Beth Morrison created the rhombic typeface Edge (2015). [Google] [More]  ⦿

Beth Nott

British creator of the fat hand-printed typefaces Firefly (2015), Handwriting (2013) and Bananananananana (2013). Dafont link. [Google] [More]  ⦿

Bethan Durie

UK-based FontStructor (student at Bristol UWE) who made the ornamental caps typeface Ornée (2010). [Google] [More]  ⦿

Bethany Dalzell

Leeds, UK-based designer of the brushy typeface Paste-Up (2014). Behance link. [Google] [More]  ⦿

Bethany Dalzell

During her graphic design studies at the Leeds College of Art, Bethany Dalzell designed the bilined art deco typeface Issy Tanner (2013). [Google] [More]  ⦿

Bethany Nash

During her studies, Gloucester, UK-based Bethany Nash designed the futuristic typeface The Future Is (2017) and the experimental teardrop stencil typeface Personality (2017). [Google] [More]  ⦿

Bethany Shaw

Tamworth, UK-based designer of Stripe Font (2015). [Google] [More]  ⦿

Bethany Woodcock

At the University of Huddersfield (UK), Bethany Woodcock designed the pixelish art deco typeface Half Windows (2017). [Google] [More]  ⦿

Bettie Belle

Manchester, UK-based student-designer of an experimental geometric typeface (2015). [Google] [More]  ⦿

Bettina Myklebust Støvne

During her graphic design studies in London, Bettina Myklebust Støvne created the free lava lamp typeface Safavid (2015), which is inspired by wine bottles in 18th century Iran. [Google] [More]  ⦿

Betty Fishcake

UK-based creator of the sci-fi typeface Forlorn Hope (2012).

Behance link. [Google] [More]  ⦿

Betwixt Designs
[Euan Smith]

London, UK-based designer (b. 1992) of the metal band typefaces BTX Radiant Sunshine (2018), BTX Renegade (2018: spurred), BTX Excelsius (2018) and BTX Ornstein (2018), and the script typefaces BTX The Bee Line (2018), BTX The Knights Squire (2018), BTX Ittally (2018), BTX Benafor (2018), BTX Dainty Creek (2018) and BTX Gilther (2018).

Typefaces from 2019: BTX Chaos Made (a tattoo font), BTX Angelika (script), BTX Fluidz, BTX Lindas (script). [Google] [More]  ⦿

Bezier Design Limited

Designers of freeware fonts such as Beniolo. Affiliated with Camrose House in Pembroke, UK. Custom font design by Ian Smith. [Google] [More]  ⦿

Bhadal Studio
[Caroline Barton]

There are several Bhadal Studios in Indonesia. This one, according to MyFonts, is run by UK-based Caroline Barton. Designer in 2020 of Lingkari Heart (a script). [Google] [MyFonts] [More]  ⦿

Bhikkhu Pesala
[Association for Insight Meditation (or: Aimwell)]

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Bianca Berning

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

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

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

Bibiana Casassas Fontdevila

Bristol, UK-based designer of Hexagon (2016). [Google] [More]  ⦿

Big Teezar

British creator of the free font Big Teez SQ (2011). Home page. [Google] [More]  ⦿

Bilal Ahmed
[Graphic Out]

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Bilal Ijaz

Bradford, UK-based designer of a geometric decorative multicolor typeface in 2015. [Google] [More]  ⦿

Bill Troop