Aiyana Scarborough

Graphic designer in Salisbury, MD, who created a blackboard bold typeface in 2016. [Google] [More]  ⦿

A.J. Williamson

A.J. Williamson, graphic designer in Greenbelt, MD, created the sans typeface family Mear in 2013. [Google] [More]  ⦿

Akwele Vassall

Originally from the DC / Maryland / Virginia area, Akwele Vassall designed the squarish Western typeface Blackwood in 2016 during his studies at the School of Visual Arts in New York. [Google] [More]  ⦿

Alex Jacque

Alex Jacque (b. 1986, Virginia) is a designer and developer based in Oakland, CA (was: Baltimore, MD). He studied at the University of Michigan School of Art&Design and was located at that time in Ann Arbour, MI. He obtained an MFA from the Maryland Institute College of Art.

Creator of Coop Blackletter (2016, a soft blackletter version of Cooper Black), Dequindre (2015, based on the capitals of Fette Buhe Fraktur by Walter Buhe, 1914-1915), Teip (2014, a multiline layerable all caps typeface), Pila (2014, techno stencil), Handu (2012, hand-drawn sans-serif inspired by the hand-painted type and signage on the streets of Kolkata, India), Atrium (2012, a squarish sans family based on the pen art of W.E. Dennis), Saugatuck (2011, grunge) and Sello (2011, a unicase hand-drawn, geometric sans-serif with a touch of retro).

Behance link. Klingspor link. MyFonts foundry link. Home page. [Google] [MyFonts] [More]  ⦿

Alexander Beigel

Graphic designer in Baltimore, MD, who created the display typeface Dagger (2012). [Google] [More]  ⦿

Alexandra Pokrywka

Baltimore, MD-based designer of the bare and thin sans display typeface Lucina (2014). [Google] [More]  ⦿

Alexis Monroe

Artist in Baltimore, MD, who created Vilnius (2014, bilined), Kobenhaven (2014, stitching font) and Trakai (2014, circle-based font). [Google] [More]  ⦿

Alicia Lyon

Baltimore, MD-based designer of the free handcrafted typeface Day Drunk (2016). Behance link. [Google] [More]  ⦿

Allison Mowry

American type, web, and brand designer in Baltimore, MD. She combined Adobe Caslon and Gill Sans to make a blended experimental typeface in 2010. View her typographic study of Gill Sans. [Google] [More]  ⦿

Amanda Baldwin

Amanda Baldwin (Mount Airy, MD, b. 1994) created the thin vintage typeface Peasant (2015). In 2015, she was a student at Liberty University in Lynchburg, VA. [Google] [More]  ⦿

Amanda Ross

Graphic artist in Silver Spring, MD, who designed the handcrafted typeface Treasure (2019). [Google] [More]  ⦿

Andy Lee

During his architecture studies at Washington University in St. Louis, MO, Potomac, MD-based Andy Lee designed the display typeface Rhino (2013). Behance link. [Google] [More]  ⦿

Andy Mangold

Born and raised in West Chester, PA, near Philadelphia, he is a student at the Maryland Institute College of Art. Aka Cocoi Anouk.

In 2010, he created the gorgeous ultra-fat didone watch number set called Pompadour (free). It has already been used tens of times, including in this poster by Jay Schaul (2011). Pompadour can be downloaded/bought at Lost Type Coop.

Fontspace link. [Google] [More]  ⦿

Angela Setters

Linthicum, MD-based designer of several typefaces in 2017, including an art deco all caps typeface. [Google] [More]  ⦿

AnhHee Strain

Graphic designer in Baltimore. In 2010, he made Deconstruct, a Bauhaus style font family. Behance link. Logo. [Google] [More]  ⦿

Anna Genova

During her studies at SCAD, Anna Genova (Chevy Chase, MD) created the vintage text typeface Eleonora (2014). [Google] [More]  ⦿

Asa Fisher

Baltimore, MD-based designer of the textured oriental simulation typeface Osaka (2015). [Google] [More]  ⦿

Ashton Poole

During her studies, Annapolis, MD-based Ashton Poole designed several typefaces (2017). [Google] [More]  ⦿

Auras Design
[Rob Sugar]

Silver Spring, MD-based makers of the billboard typeface Au Dorsey (1990) and of Au Bauer Text Initials (1990, a Trajan typeface after F.H.E. Schneidler's Schneidler Initialen, Bauersche Giesserei, 1937).

The company's blurb: Robert Sugar is the president and creative director of Auras Design. A graduate of American University, he taught publication design there for nine years. Early positions working with printers and typesetters gave him an expanded perspective on the designer's role in producing print publications. Typography and prepress skills helped Auras become a pioneer in electronic design and prepress. He committed the studio completely to digital design by 1992, and has constantly expanded the technology, skills and capabilities of the studio. [Google] [More]  ⦿

Austin Roesberg

Graphic designer who grep up in sewell, NJ, and graduated in 2007 from the Maryland Institute College of Art (MICA), Baltimore, MD. He lives in Brooklyn, NY. He created the modular typeface Knucklepuck (2009). Noupe link where one can download an EPS version of this font. Behance link. [Google] [More]  ⦿

Austin Stahl

Graduate of MICA. Baltimore, MD-based designer of the polygonal typeface Arcas (2015-2016) and of the free all caps display sans serif font Bore (2021) which was inspired by some unusual mid-20th-century fabricated signage above the entrances to the Baltimore Harbor Tunnel. [Google] [MyFonts] [More]  ⦿

Baltimore Type Foundry (or: Baltotype)
[Herbert F. Czarnowsky]

Also known as Fielding Lucas, Jr., Lucas Bros., H.L. Pelouze&Son, and Chas. J. Cary&Co. Specimen may be found in Convenient Specimen Book of Type, Rules, Borders, and Electrotype Cuts from the Baltimore Type Foundry (Baltimore: Chas. J. Cary&Co., 1888. Banta Book of Types&Typographical Tips. Menasha: George Banta, 1961). The company existed until well into the 20th century, and published a catalog as late as 1957 called Type and Rule Catalogue 13, Baltotype.

A selected list of typefaces:

• Airport Gothic: Turista Gorda NF (2009, Nick Curtis) is based on Baltimore Type Foundry's Airport Tourist which in turn used ideas from Renner's 1932 typeface Futura Display. Mc McGrew on Airport Gothic: Most of this series is the first American copy of Futura, which originated in Germany in 1927, designed by Paul Renner for Bauer. One source says it was cut from original Futura drawings, smuggled out of that country, but it seems more likely that matrices were made by electrotyping the imported type. An extrabold weight, Airport Black, was cut by Baltimore about 1943; information on this cutting is scarce and contradictory- one account says it was designed by Bill Stremic or Bill Blakefield, another that it was designed by Carl Hupie (or Hooper), and cut by Herman Schnoor. There is also Airport Black Condensed Title and Airport Broad. The latter is a modification of Airport Black, cut 50 percent wider on the pantagraph by Herman Schnoor. Baltimore later cast some of its Airport series from Monotype Twentieth Century matrices, and in a few cases listed both series. Airport Relief, Baltimore 299, is English Monotype Gill Sans Cameo Ruled, while Airport Tourist, Baltimore 602, is Futura Display, cast from electrotype mats of the German foundry type.
• Baltimore Script (1955). Mac McGrew: Baltimore Script is a fancy style designed by Tommy Thompson and cut by George Battee for Baltimore Type in 1955. The lowercase follows the general style of a script letter hand-written with a broad pen, although the inclination is slight and the letters don't quite connect. Capitals are flourished. It is suitable for stationery, announcements, and greeting cards, but its range of small sizes is hardly enough for advertising use.
• Mac McGrew: Czarin and Czarin Title were produced by Baltimore Type&Composition Corporation about 1948, the name being derived from the Czarnowsky family which owned the foundry. Czarin Title, issued first, is a copy of Offenbach Medium, a set of pen-drawn capitals designed by Rudolf Koch about 1935 for the Klingspor foundry in Germany. Czarin has minor changes in a few characters, but adds a lowercase, designed by Edwin W. Shaar, that is substantially different from that of Steel, the cap-and-lowercase version of Offenbach. The new lowercase harmonizes well with the capitals, and makes a handsome appearance. Compare Lydian. Footnote: McGrew spelled the name of the owner as Czarnowski. Irene Traeger, the granddaughter of Herbert F. Czarnowsky, pointed out the incorrect spelling to me.
• Mac McGrew: Elegante is a decorative, nearly monotone typeface cut by George Battee for Baltimore Type, after the German typeface Sensation of 1913, from Foundry Heinrich Hoffmeister. It is upright, with flourished caps and loops on some of the ascenders and descenders, and is suitable particularly for announcements and personal stationery. Compare Greeting Monotone.
• Mac McGrew: Emperor is a 1957 adaptation by Baltimore Type of Wide Latin which was cut by Stephenson Blake in England and related to nineteenth-century typefaces under other names. However, this Baltimore Type version has been modified and resized, and is less successful due to excess space between letters (although not as much as in the specimen shown here, which is letterspaced). Emperor was originally shown as Imperial.
• Their geometric series from 1884 became famous, and was often imitated. HiH created two font families based on it: Teutonia (2007) and Baltimore Geometric (2008, a revival of Antique Geometric by Baltimore Type Foundry, 1883). HiH writes: Roos&Junge of Offenbach am Main in Germany produced Teutonia in a "back-to-basics" effort that has seen many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923 Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. Even though none of these designs took the world by storm, they all made a contribution to our understanding of letterforms and how we use them.
• Mac McGrew: Greco Bold and Italic are Spanish typefaces of the mid-1920s. They are very heavy, with long ascenders and small x-height, and have a hand-lettered appearance. Linotype Vulcan (q.v.) is equivalent. National Matrix&Type Co. in Baltimore, one of several independent companies which made matrices for the popular casting machines, offered Greco Bold in 1929 as its series 100; this was the source of Baltimore Type's mats, but Baltimore and some other sources cast Greco Bold and Italic as series 326-3261. These numbers have not been found in Monotype literature; perhaps another independent source also made mats. Notice the figures, which are termed hanging or old style, although they do not follow the usual form. However, taller 1, 2, and 0 are also available to convert the set to lining figurees. Compare Hess Monoblack. Greco Adornado, an ornamented version, has also been imported.
• Mac McGrew: Homewood is a recutting by Baltimore Type of Metropolis Lined, a German typeface of the 1930s. It was made from a large size of Metropolis Bold, with the fine white lines cut in, and differs from the original in minor details of the curves. Other sizes were cut by pantagraph and do not necessarily match original sizes.
• IBM Executive Modern, a typewriter type.
• Mac McGrew: Mademoiselle was designed by Tommy Thompson in 1953 as a display typeface for Mademoiselle magazine. It was cut by Herman Schnoor at Baltimore Type, which also offered fonts for general sale. It is a delicate, narrow modern roman, with long ascenders and short descenders, rather loosely fitted, and works well for display with transitional text typefaces such as Bulmer and Scotch Roman. Both lining and oldstyle figures are provided, along with several pointing hands as shown.
• Tourist Extra Condensed. Turista Flaca NF (2009, Nick Curtis) is based on Tourist Extra Condensed. McGrew: Tourist Extra Condensed of Baltimore Type is a copy of Phenix (q.v.) in 24- to 48-point sizes, and is Jefferson Gothic (q.v.) in larger sizes. Phenix is a 1935 ATF typeface by Morris Fuller Benton.
• Mac McGrew: Trend is a brush-lettered typeface cut by Baltimore in 1953. It is very similar to Dom Casual (q.v.), but has a slight back slant.
• Mac McGrew: Trylon as made by Baltimore Type was a 1949 copy of Stephenson Blake's Playbill (see Imports in Appendix), but Trylon Shaded and Trylon Shaded Oblique were designed and cut by George Battee of the Baltimore foundry. The solid version has lowercase in some sizes; it is somewhat similar to P. T. Barnum, with greatly exaggerated horizontal strokes and serifs at top and bottom, but is heavier and narrower. The Shaded versions are more properly outlines of the same design, with a small shadow effect at the top (which is unusual) and right of each letter, but without lowercase.
• Mac McGrew: Vernen is essentially a copy of Huxley Vertical (q.v.), but omitting the round characters AKMNWY and using the alternate pointed characters instead. In addition, the slight extensions of cross strokes to the left of stems have been omitted, and a few other characters have been redrawn. It was offered by Baltimore in 1953.
• Mc McGrew: Vista is a very wide square-serif face, cut by Baltimore Type in 1956. It is said to be a pantagraphic modification of Hellenic Wide from Bauer in Germany; actually it does not match that typeface in details, though it has the same general effect.
• Mac McGrew: Wide Line Gothic is a creation of Herman Schnoor for Baltimore Type, modified by pantagraph from Philadelphia Lining Gothic, increasing the width by about 50 percent. The flat sides of round letters. acceptable in the moderately condensed original, make awkward shapes in this extended version. Compare Franklin Gothic Wide, Tempo Black Extended.
• Among the wood types, we have Oak Leaf (1832, ornamental caps).

Rich Hopkins, a printing historian, acquired Baltotype ca. 1993. Based on drawings from the 1950s in the Baltotype material, Miranda Roth at P22 designed LTC Athena, a narrow art deco typeface, in 2013. [Google] [More]  ⦿

Baltimore&Ohio Railroad Historical Society
[Jack Aaron Rodriguez]

Jack Aaron Rodriguez made a font called Baltimore&Ohio R.R. Co. Loco.&Pass. Equipt. Cars Lettering (2004) for the Baltimore&Ohio Railroad Historical Society. Jack lives in Riverdale, MD. Kenneth Van Mechelen made B&OStation (2005), B&OLoco (2005), EMD (2006), and B&OX (2005). [Google] [More]  ⦿

Bay Fonts (or: Bay Soft, or: Bay Animation, Inc.)
[Charles Biddle]

BaySoft or BayFonts (was: Bay Animation Inc) is a font vendor from Annapolis, MD. Charles Biddle established Bay Animation Inc there in 1994. They claim to have 8000 fonts, but clearly, these are mostly renamed fonts. I can not believe that they till operate. Interestingly, according to Ulrich Stiehl, Charles Biddle built up his collection with the help of Hans Fremuth, who had a similar collection marketed in Germany, called Profi-Schriften Business (Kelly Media). Still according to Stiehl, the majority of the Bay Animation fonts are doctored copies of Bitstream fonts (which in turn were knock-offs of Linotype fonts). The italics are merely awful computer-generated slants of romans, and thus, the collection is sub-par. Examples of equivalences include Joss Normal (a copy of Freehand 575 (Bitstream)) and Fusi Normal (a copy of Futura Std Medium). [Google] [More]  ⦿

Braeden Price

Owings Mills, MD-based designer of the modular typeface Badmen (2018). [Google] [More]  ⦿

Brian E. Young

American painter (b. 1983) based in Beltsville, MD. Designer of Mage Scribble (2006, handwriting). [Google] [More]  ⦿

Brian Lins

Arbutus, MD-based graphic designer who created these fonts in 2011: Almost Dead (squarish), Am I Purdy?, The Biscuit Man, Scabble Babble (hand-printed), and Bubbly Boop. [Google] [More]  ⦿

Brigit Gilbert

Brigit Gilbert (Bethesda, MD) created the elegant display typeface Gumshoe (2012), which has very long ascenders. [Google] [More]  ⦿

Brittany Smith

During her studies, Hanover, MD-based Brittany Smith designed the art deco typeface Untitled (2016). [Google] [More]  ⦿

Bruce Willen

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

Callie Bonaccorsy

Graphic designer in Annapolis, MD, who created a Peignotian art deco sans typeface in 2014. Behance link. [Google] [More]  ⦿

Capsule: Typeface Design
[Matthew Antonio Chiavelli]

Matthew Chiavelli was born in Maryland in 1973. He is a web designer but has occasionally created typefaces, such as Gerrit, Ultura (1996, based on Herbert Bayer's Universal) and Can-d (1996). Lunokhod is to come soon. Fonts sold through Fountain. [Google] [MyFonts] [More]  ⦿

Cara Clinton

During her studies in Baltimore, MD, Cara Clinton designed the typeface Finding 57 (2013). [Google] [More]  ⦿

Carlos Vigil

Baltimore-based designer of Rubix (2008), a font based on Rubik's cube. No downloads. [Google] [More]  ⦿

Chalices

From the Unitarian Universalist Church of Silver Spring, MD, a wonderful religious symbol truetype font: Chalices---1. [Google] [More]  ⦿

Charles Biddle
[Bay Fonts (or: Bay Soft, or: Bay Animation, Inc.)]

[More]  ⦿

Chris Perrone

Baltimore-based designer of the futuristic sans typeface Cognac (2003). [Google] [More]  ⦿

Christie Liberatore

American graphic designer from Baltimore, MD, who studied in SVA;'s Masters program in Rome in 2012. Roman signage inspired her in the creation of four alphabets in 2012: Sermoneta (Victorian), Giolitti (Victorian), Credito Italiano (Victorian), and Deccio (avant-garde).

Behance link. [Google] [More]  ⦿

Christopher Sieradzan

Graphic designer in Baltimore, who created a multicolored geometric experimental alphabet in 2013 called CMY Alphabet. [Google] [More]  ⦿

Christopher Simpkins

Programmer in Baltimore, MD, who designed the free (open source) monospaced typeface Hack (2015) specifically for writing source code.

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

Clark T. Riley

Clark T. Riley (Baltimore, MD) used to run Clark Riley Custom Font Design in the 1990s. His designs included Cairo (a famous free dingbat font), Orchids (a flower dingbat font), PhonBaskewrtown (a phonetic font), and the Recycle dingbats. At that time, his web site was located at the Johns Hopkins Medical Institute in Baltimore, MD. Clark Riley has been growing orchids since 1957 and is a popular speaker on orchids. After a PhD in chemistry from the University of Chicago, he became a Senior Field Engineer for Chesapeake Systems in Baltimore.

He gives the timeline for Cairo: In 1984 the Macintosh was introduced, which included a bitmap dingbat font by Susan Kare called Cairo. In 1992, Clark Riley created an outline (Type 1 Postscript) font based on it. In 1994, this was converted to TrueType technology, with Riley's approval. Cairo Unicode is the same design, updated to use Unicode technology. Download Cairo Unicode (2014) at Open Font Library. [Google] [More]  ⦿

Colin Michael Ford

Graphic and web designer who graduated from the Maryland Institute College of Art. He is a 2011 graduate of the Type and Media masters program at the Royal Academy of Art (KABK) in The Hague, Netherlands, where he designed a web-native font name Civilian which was designed for use on blogs: The design takes into account the pixel grid of the screen while incorporating soft, personable curves to underline the significance of the person behind the website.

Based in New York City, where he worked for Hoefler & Co (until its demise in 2021, when Hoefler & Co was sold to Monotype). He regularly taught type design workshops at the Maryland Institute College of Art in Baltimore, MD.

His typefaces include Baltimore Block Lettering (2010) is a blocky stencil alphabet inspired by the roughness of Baltimore City, with Cyrillic counterparts, created for a class taught by Ken Barber&Ben Kiel of House Industries. He has also created Emford Sans and Globe Gothic, and intends to go commercial with his typefaces. [Google] [More]  ⦿

Connor Davenport

During his studies at Maryland Institute College of Art in Baltimore, MD, Connor Davenport created the free monoline organic sans typeface Glas (2015), Caecus Grotesk, Hadrian (2016), a few experimental revivals, and a few custom typefaces such as Sunqueen (for Isabel Gladd, 2017). For his thesis work, mainly in 2017, he designed the extensive typeface family Garnett that comprises Antique, Modern, Typewriter, Slab, Grotesk and Ornamented sub-styles. Garnet became a retail typeface at Sharp Type in 2018.

He has worked with prestigious agencies such as Pentagram and Milk Studios before joining Sharp Type in 2017 as a type designer and the foundry's technical director. Lucas Sharp and Connor Davenport finished the Dutch oldstyle typeface Eros Text in 2017. Eros Text was influenced by Jan van Krimpen's Sheldon and Bram de Does's Lexicon. Eros Text B has longer ascenders than Eros Text A.

Designer of Greenstone.

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

Dai Foldes

Painter turned type designer in Baltimore, d. 2021. Creator of Velocipede Stencil (2011), an art deco typeface made for a bike shop in Baltimore. At Lost Type Coop, he published the humanist remaissance italic typeface Pigeon (2011) and the calligraphic script Cylburn (Lost Type): Cylburn is a semi-connected script, structurally based on Roundhand but written with a pointed brush and restrained tension that separate it from its traditional roots.

In 2014, he created the commercial signage typeface Globe Script, which was renamed Eubie Script (dedicated page). Eubie Script draws from the many lettering styles of Harry Knorr, an artist at Globe Poster for over 50 years.

In 2016, Dai Foldes and Laura Worthington designed the connected script typeface family Adorn Garland Smooth. Fairwater (2016), co-designed by Laura Worthington and Dai Foldes, has Script, Sans, and Serif subfamilies, as well as several sets of Ornaments. The Serif subfamily conjures up tattoo lettering, but also mathematical blackboard bold style and art deco. And still with Laura Worthington, Dai designed Renata (2016), a connected calligraphic script.

He started the Spencerian calligraphic typeface Kadabra, which was finished and released by his partner, Victoria Rushton, at Future Fonts in 2021, a few months after Dai's passing. [Google] [MyFonts] [More]  ⦿

Dan Mitro
[Dan Mitro's Free Fonts]

[More]  ⦿

Dan Mitro's Free Fonts
[Dan Mitro]

As a student at Goucher College near Baltimore, Dan Mitro made two free handwriting fonts, Nreh (1998) and Iglook (1998). Dan now works as a digital imaging specialist at an internet marketing firm in Cleveland. [Google] [More]  ⦿

Dani Kelley

Hagerstown, MD-based designer of Enough Script (2016). Behance link. [Google] [More]  ⦿

Daniella

Artist in Bethesda, MD, who designed the decorative alphabet Chains (2015). [Google] [More]  ⦿

Danielle Baer

Graphic designer in Germantown, MD. Her typeface Baer (2013) was influenced by Bauhaus and Neutraface. [Google] [More]  ⦿

Danielle Toledo

During her studies, Elkton, MD-based Danielle Toledo designed the multiline typeface Spectre (2017). [Google] [More]  ⦿

Darwin Martinez

California, MD-based designer of the display typeface Victory (2016). [Google] [More]  ⦿

David Brinsfield

While studying at the University of Maryland in Baltimore, Glen Burnie, MD-based David Brinsfield created the display family Brinsphere (2011). [Google] [More]  ⦿

David Bubbins

Joppa, MD-based digital imaging specialist, who created the experimental typeface Stenco (2012). [Google] [More]  ⦿

David Dale

David Dale (Baltimore, MD) created the experimental minimalist typeface Disorient in 2014. [Google] [More]  ⦿

David Lam

David Lam (Baltimore, MD) created the dot matrix typeface Dynobit Round in 2014 under the guidance of Tal Leming at Maryland Institute College of Art. Behance link. [Google] [More]  ⦿

David S

Rockland, MD-based designer of Scratch Garamond (2007, grunge). [Google] [More]  ⦿

David Zobel

Baltimore, MD-based senior creative director at High5design. He drew some illustrated caps alphabets in 2012 such as Crazy World Alphabet, and Gothic Inspired Type (more a painting than a set of letters). In 2018, he published the hairline sans typeface Zobel Thin. [Google] [More]  ⦿

Dawn Sutton

During her studies at Savannah College of Art and Design, Dawn Sutton (b. Damascus, MD) created the plumpish typeface Blobfish (2014). [Google] [More]  ⦿

Dead Language

Baltimore, MD-based designer of the heavy brush typeface Cairn (2017). Creative Market link. [Google] [More]  ⦿

Dead Language Design
[Jamie Lear]

Baltimore, MD-based designer of the thick brush typeface Cairn (2018). [Google] [More]  ⦿

Design Culture (was: Cubanica Fonts)
[Pablo A. Medina]

Pablo A. Medina designs all fonts at Cubanica Fonts in New York. He is a Communication Design professor at Parsons the New School for Design and lives in the East Village of New York City. He has also taught at Maryland Institute College of Art. MyFonts page. Cubanica became Design Culture in 2016.

Cubanica fonts:

• 24hrs.
• Calaveras (2011). Based on a signage style in Buenos Aires called Fileteado.
• Cuba (1996). A 3d signage typeface based on a sign for the restaurant La Flor de Cuba on Bergenline Avenue in Union City, New Jersey. It evokes of hand-painted signs on glass.
• Dekalb (2017).
• Diablitos (2011).
• First Avenue (2000). Based on an old metal neon sign, it was first published at Plazm.
• Imbalance (2002). An experimental sans.
• Marquee.
• Medina Gothic (2005). A clean sans family.
• North Bergen (1996). A vernacular sans.
• Sailor Gothic (2003).
• Sombra.
• Vitrina (1996). A connected signage typeface first published at Plazm.
• Union Square. A bold stitching font, and at the same time a nice homage to the mosaic typography in the New York subway system.

Klingspor link.

View Cubanica's library of typefaces. View Pablo Medina's typefaces. [Google] [MyFonts] [More]  ⦿

Dylan Smith

Designer of fonts at Garagefonts such as Kienan and District (with Kienan Smith). The Smiths are from Maryland.

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

Edward A. Leach
[Zachary Font Page]

[More]  ⦿

Edward Craige Pelouze

Typefounder, son of Henry Lafayette Pelouze, Edward Dalton worked at the Henry L. Pelouze&Son Foundry in Baltimore as a junior partner with his father. That foundry was sold to ATF in 1901, but Edward Craige contrinued to work in the business as a manager until 1927. [Google] [More]  ⦿

Elizabeth Cluster

Catonsville, MD-based designer of a typeface that is inspired by the crescent moon (2016), and of Modular Numbers (2016). Behance link. [Google] [More]  ⦿

Elizabeth Mueller

Aka Nichole Andrew. Harmony, MD-based designer of the monoline children's book fonts Fish Face (2019), Cow Pies (2019), Sleep Sloth (2019), Penguin Poop (2019), and Lollipop Stomp (2019). [Google] [More]  ⦿

Ellen Lupton

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

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

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

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

Eloïse Parrack

Éloïse Parrack was born in 1977 in Bethesda, MD, Parrack graduated with an MA in 2006 from the University of Brighton, UK. Eloise undertakes commisions of book, editorial, identity and typeface design for print and web. She teaches graphic design at Winchester School of Art in Southampton, UK. She still lives in the UK. Since 2007, she co-managed Defalign with David Millhouse. In 2018, she enrolled in the Expert class Type Design at the Plantin Institute for Typography in Antwerp, Belgium.

Her typefaces include Raeling (2010, Volcano Type: a curvy light inline face).

Speaker at ATypI 2018 in Antwerp (with Eli Castellanos). The topic of that talk is a revival project of Hendrik van den Keere's Small Pica Roman (1578) at the Museum Plantin-Moretus in Antwerp.

Speaker at ATypI 2018 in Antwerp (together with Eli Castellanos) on a revival project summarized as follows: In November 2017 an international cohort on the Expert Class in Type Design, based in the UNESCO world heritage site of the Museum Plantin-Moretus, embarked upon a collaborative project to research and revive a Renaissance-era typeface of the Flemish punchcutter Hendrik van den Keere from the collection of Christophe Plantin. Comparing Van den Keere's well-known Real Romain (1575) and Ascendonica Romain (1577) with his Small Pica Roman (1578), and investigating the patterning, proportions, and details, our research led to the design of a revival using Small Pica Roman at 9-point Didot size as a departure. Evaluations of the approaches of working in metal and standardization in type design at different optical sizes were considered, and were contrasted to methods and tools of digital typeface design today. The unique and rich historic archive of punches, matrices, and printed materials provided an exciting basis for our research, leading to some surprising discoveries counter to our expectations and to accepted theories found in many typography and type design texts. This project provoked a wide range of interpretations, approaches, and opinions about how to create a contemporary usable digital typeface, whilst honouring and imagining the intentions of Van den Keere five centuries past.

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

Elyse Exposito

Graphic design student at UMBC. Annapolis, MD-based graphic designer, who created Bitsy (2012) by marrying Georgia with American Typewriter. [Google] [More]  ⦿

Emely Estrada

Wheaton, MD-based designer of a dot matrix typeface (2015) that was influenced by bottle caps. [Google] [More]  ⦿

Emily Karsh

Student at York College in Pennsylvania, class of 2013. At FontStruct, Emily karsh (Baltimore, MD) created the modular display typefaces Quip (2013) and Quob (2013). [Google] [More]  ⦿

Emily Lopez

During her studies in Silver Spring, MD, Emily Lopez created the informal sans typeface Keen Thin (2014). [Google] [More]  ⦿

Epic Delusion

Two graphic design brothers in Baltimore, MD, b. 1983. Creators of the free alphading typeface Whiskey Bottle (2012), the graffiti typeface Freight Train Gangsta (2012), Upon The Overgrowth (2012), Last Years Youth (2012, grunge), So Long My Dear (2012), Venue on the beach (2012, grungy), Slumlord Eviction (2012, grungy) and Advent Psychosis (2012).

Production in 2013: Slightly Intoxicated, Think Me Wicked, Say Divine, Riot Glass, Broken Soul, I Love Disaster, Insolent Bastards (grunge).

Dafont link. [Google] [More]  ⦿

Eric Mortensen

Eric R. Mortensen is a graphic designer who is currently an MFA candidate at Maryland Institute College of Art in Baltimore, and a design intern at NASA, Goddard Space Flight Center, in Greenbelt, MD. Saturn V (2011, Lost Type) is a lower-case, space-aged slab-serif typeface conceived during a workshop with Tal Lemming of TypeSupply.com. [Google] [More]  ⦿

Erica Frendach

Dunkirk, MD-based designer of the pixelish FontStruct font Pamela Sue (2012-2015). [Google] [More]  ⦿

Erica Holeman

Designer of the parametric typeface Hemlock (2017) in which stroke weight, x-heights, and dots can all be manipulated by the user. This typeface was finished during her studies at Maryland Institute College of Art. Behance link. [Google] [More]  ⦿

Erika Ronning

Catonsville, MD-based designer of the display typeface Valor (2014). [Google] [More]  ⦿

Erin Meekhof

As a student at Maryland Institute College of Art, Baltimore, MD-based Erin Meekhof designed the didone Cyrillic typeface Shamshyna (2016). Behance link. [Google] [More]  ⦿

EunJi Byun

South Korean who grew up in Houston, TX, and studied at MICA (the Maryland Institute College of Art in Baltimore, MD), class of 2016. Designer of the octagonal typeface Crunch (2015) and the modular typeface Coco (2016, FontStruct). [Google] [More]  ⦿

Evolution of Alphabets

At the University of Maryland, Professor Robert Fradkin's page on the origins of the alphabet. Great applets. [Google] [More]  ⦿

Faryal Khalid

Baltimore-based designer of the typeface Nonsense (2012). [Google] [More]  ⦿

Finale Jazz font
[Richard Sigler]

Nice fonts such as Jazz, JazzText, JazzCord and JazzPerc, designed by Richard Sigler from Bowie, MD. "JazzFont is a collection of fonts for use with computer notation software, such as Finale, and is designed to look like hand-written manuscript. It's a great alternative to music fonts that look too computerized." Here you can find JazzCord-Regular, Jazz-Regular, JazzText-Regular (free). [Google] [More]  ⦿

Frank L. Tybush V

Creative director in Baltimore, MD, who published a decorative caps typeface in 2014. [Google] [More]  ⦿

Fumi Omori

Graphic designer in Los Angeles and/or Baltimore (where Fumi is studying at the Maryland Institute College of Art (MICA) in 2014) who made a typographic goldfish poster for TDC59 in 2013. Behance link. [Google] [More]  ⦿

Gabriel Vargas

Silver Spring, MD-based creator of 8 Bit Font (2014), Blackguard (2014) and Spellcast (2010). [Google] [More]  ⦿

GalloFonts (was: Graphics by Gallo)
[Gerald Gallo]

GalloFonts is part of Graphics by Gallo, founded in 1974 by Gerald Gallo (b. Lucernemines, PA, 1941), and based in Bethesda, MD. The fonts: Bullish (squarish), Display Brutal Rough (2015), Display Black Serif Rough (2015), Pristine Light (2014: caps only squarish sans family), Display Pump (2014), Display University (2005, athletic lettering), Angulatte Light, Angulatte Medium, Angulatte Bold, Anniversary Seals (2003), Basic Bullets, Blooming Ornaments (2008), Brashee Regular, Brashee Bold, Calendar Font One, Calendar Font Two, Calendar Font Three, Carved Initials, Chiseled Initials, Cleancut, Dexterous (2010, art nouveau), Diamond Monogram - 2 Characters, Diamond Monogram - 3 Characters, Display Black Serif (2010, angular), Display Dots Five (2010), Display Dots Six (2010), Display Grungy (2010), Display Robust (2010), Dooddle, Embossed Shallow, Embossed Medium, Embossed Deep, GG Casual Light (2002, was Gallo Casula: hand printing family), GG Casual Medium, GG Casual Bold, GG Dingbats (was Gallo Dingbats, like Zapf Dingbats), GG Serif (1993, was Gallo Serif), Geometric Arrows, Geometric Ornaments, Gnarlee, Greetings, Home Sweet Home, Isometric Initial Caps - Bird's Eye View (1994), Isometric Initial Caps - Worm's Eye View, Isometric Ornaments, Jackolantern Assortment (2002) Just Bugs, Kruede Light, Kruede Regular (handwriting), Kruede Bold, Leaf Assortment (1994), Leaves Falling, Logotype, Magnificent Ornaments (2006, Victorian era decorations), Make Tracks (2002, animal footprints), Number Ornaments, Numbers 0-99 Style One - Circle Negative, Numbers 0-99 Style One - Circle Positive, Numbers 0-99 Style One - Diamond Negative, Numbers 0-99 Style One - Diamond Positive, Numbers 0-99 Style One - Square Negative, Numbers 0-99 Style One - Square Positive, Numbers 0-99 Style Two - Circle Negative, Numbers 0-99 Style Two - Circle Positive, Numbers 0-99 Style Two - Diamond Negative, Numbers 0-99 Style Two - Diamond Positive, Numbers 0-99 Style Two - Square Negative, Numbers 0-99 Style Two - Square Positive, Numbers 0-99 Style Three - Circle Negative, Numbers 0-99 Style Three - Circle Positive, Numbers 0-99 Style Three - Diamond Negative, Numbers 0-99 Style Three - Diamond Positive, Numbers 0-99 Style Three - Square Negative, Numbers 0-99 Style Three - Square Positive, Ornate Initials - Style One (2002), Ornate Initials - Style Two, Ornate Initials - Style Three, Pleasant Hand Light (2002) Pleasant Hand Medium, Pleasant Hand Bold, Precision, Rolling Ball Cursive, Serene (1993), Slender, Smiling Faces, Snowflake Assortment (1994), Snowflakes Falling (2001), Sport Numbers, Star Assortment (2002), Stature (2010, compressed sans), Swiss Folk Ornaments - Critters&Things, Swiss Folk Ornaments - Floral, Swiss Folk Ornaments - Geometric, Time Clocks, Woozee, Display Prominent (2005), Ultimate Ornaments (2005), Cross Ornaments (2005), Heraldic Creatures (2006), Victorian Leaf Ornaments (2006: great!), Quilt Patterns One (2007), Holy Ornaments (2007), Oriental Ornaments (2007), Gothic Initials One through Six (2007-2008), Interlaced Ornaments (2007), Modest Ornaments (2008), Art Nouveau Flowers (2008), Art Nouveau Ornaments (2008), Quilt Patterns Two (2008), Display Gothic (2008, blackletter), Plant Assortment (2008), Birds Flying (2009), Happy Go Lucky (2009, Victorian), Fish Fresh (2009), Display Dots One (2009, dot matrix face), Display Art Two and Three (2009, art nouveau alphabets), Display Dots Two Serif and Sans (2009, dot matrix typefaces), Display Dots Three Serif and Sans (2009), Display Dots Four Serif and Sans (2009), Display Robust (2010), Quilt Patterns Three and Four (both 2009), Gothic Initials (Seven, Eight, Nine: 2009), Carefreed (2009, a Halloween script?), Glorita (2009, casual condensed sans), Fancy Flowers (2010), Rectilinear Ornaments (2010), Display Brutal (2010, grunge), Cross Stitch Graceful (2010), Cross Stitch Regal (2011), Cross Stitch Formal (2010), Cross Stitch Discreet (2010), Cross Stitch Classic (2010), Display Dots Seven (2011), Cross Stitch Majestic (2011), Cross Stitch Elaborate (2011), Cross Stitch Medieval (2011), Cross Stitch Ornaments (2013), Display Squares One and Two (2011, gridded or dot matrix typefaces), Display Digits One through Seven (2011), Display Crisp (2012, octagonal), Blue on Blue (2012, shadow face), Green on Green (2012, 3d shadow face), White on White (2012), Orange on Orange (2012, a 3d shadow face), Victorian Ornaments (2012), Printers Plant Ornaments (2012, a floral typeface), Simple Ornaments, Numbers Style Three Diamond Positiv Regular (2012), Charisma (2013, inspired by the hand lettering used by draftsmen and architects), Display Explicit (2013), Display Uncanny (2013, unicase), Display Carlos (2013, a piano key typeface), Mighty Oaks (2013, stylized oak leaves), Sweet Hand (2014), Fast Hand (2014), Medallion Ornaments (2016), Vigorous (2016, octagonal), Heavy Duty (2016, a bold condensed sans), Tight Hand (2016), Hasty Hand (2016), Neat Hand (2016), Bullish (2017), Impossible Ornaments (2018: based on Escher's ideas), Flair Hand (2018), Severe (2018: squarish).

Typefaces from 2022: Flashie (technio caps), Illustrious (chamfered caps), Sturdie (condensed, squarish), Jubilant (squarish), Noteworthy, Sensuous (art deco), Loftie (chamfered caps), Pudgie, Brilliante (squarish), Fervent (an all caps condensed slab serif), Bevelle (a beveled chamfered slab serif), Lankie (a gas pipe font), Rotunde (a blocky sans), Rigide (a 6-style squarish sans).

View Gerald Gallo's typefaces. [Google] [MyFonts] [More]  ⦿

Garage Fonts
[Ralph Smith]

Garagefonts (was Del Mar, CA, and is now in Sandy Spring, MD) was created in 1993 as a means to distribute the experimental fonts used in Ray Gun magazine (David Carson). The founders were Betsy Kopshina (Del Mar, CA) and Norbert Schulz. Review by Chris Macgregor. Garage Fonts was recently bought by Ralph Smith (PhilsFonts), who is located in Maryland (hence the move). Their main type family today is Freight by Joshua Darden. In 2017, GarageFonts joined The Type Network. MyFonts catalog. Catalog of GarageFonts' best selling typefaces. [Google] [MyFonts] [More]  ⦿

George Battee

Engraving department head at Baltimore Type, who designed Athena and Trylon Shaded.

Mac McGrew: Athena is a very narrow, light roman typeface with unusually tapered vertical strokes, designed and cut by George Battee of Baltimore Type about 1955. It is a distinctive novelty, useful for a limited amount of delicate display.

Athena was digitally revived and expanded by Miranda Roth as LTC Athena (2013, P22/Lanston). [Google] [More]  ⦿

Gerald Gallo
[GalloFonts (was: Graphics by Gallo)]

[MyFonts] [More]  ⦿

GG Design

Maryland-based graphic and type design company. Their typeface catalog in 2021 showed these fonts, most of which are ornaments or initial caps: Americana Ornaments, Angulatte, Art Nouveau Flowers, Art Nouveau Ornaments, Art Nouveau Ornaments, Birds Flying, Blooming Ornaments, Blue On Blue, Brashee, Bullish, Carefreed, Carved Initials, Charisma, Chiseled Initials, Cleancut, Cross Ornaments, Cross Stitch Basic, Cross Stitch Brazen, Cross Stitch Carefree, Cross Stitch Classic, Cross Stitch Coarse, Cross Stitch Cursive, Cross Stitch Delicate, Cross Stitch Diamond Monogram, Cross Stitch Discreet, Cross Stitch Display, Cross Stitch Elaborate, Cross Stitch Formal, Cross Stitch Gothic, Cross Stitch Graceful, Cross Stitch Majestic, Cross Stitch Medieval, Cross Stitch Monogram, Cross Stitch Noble, Cross Stitch Ornaments, Cross Stitch Regal, Cross Stitch Simple, Cross Stitch Solid, Cross Stitch Splendid, Dexterous, Diamond Monogram, Display Ardent, Display Art, Display Art One, Display Art Two, Display Black Serif, Display Brutal, Display Carlos, Display Chamfer, Display Crisp, Display Digits Eight, Display Digits Five, Display Digits Four, Display Digits Nine, Display Digits One, Display Digits Seven, Display Digits Six, Display Digits Ten, Display Digits Three, Display Digits Two, Display Dots & Squares, Display Dots Five, Display Dots Four Sans, Display Dots Four Serif, Display Dots One, Display Dots Seven, Display Dots Six, Display Dots Three Sans, Display Dots Three Serif, Display Dots Two Sans, Display Dots Two Serif, Display Explicit, Display Exquisite, Display, Display Gothic, Display Grungy, Display Haphazard, Display Intense, Display Plump, Display Prominent, Display Robust, Display Squares Two, Display Uncanny, Display University, Dooddle, Elegant Ornaments, Embossed Deep, Embossed Medium, Embossed Shallow, Fancy Flowers, Fast Hand, Fish Fresh, Flair Hand, Fleuron Ornaments, Floral Ornaments, Foliage Ornaments, Folk Art Flowers, GG Casual, GG Serif, Glorita, Gnarlee, Gothic Initials Eight, Gothic Initials Five, Gothic Initials, Gothic Initials Four, Gothic Initials Nine, Gothic Initials One, Gothic Initials Seven, Gothic Initials Six, Gothic Initials Three, Gothic Initials Two, Green On Green, Hand Lettered, HappyFont Hasty Hand, Heavy Duty, Heraldic Creatures, Holy Ornaments, Impossible Ornaments, Interlaced Ornaments, Isometric Initial Caps Bird's Eye, Isometric Initial Caps Worm's Eye, Isometric Ornaments, Just Bugs, Kruede, Leaf Assortment, Logotype, Magnificent Ornaments, Make Tracks, Mighty Oaks, Modest Ornaments, Neat Hand, Numbers Style One, Numbers Style Three, Numbers Style Two, Orange On Orange, Oriental Ornaments, Ornate Initials, Plant Assortment, Pleasant Hand, Precision, Printers Plant Ornaments, Pristine Light, Quilt Patterns Four, Quilt Patterns One, Quilt Patterns Three, Quilt Patterns Two, Rectilinear Ornaments, Rolling Ball Cursive, Rosette Ornaments, Serene, Shield Ornaments, Simple Serif, Slender, Smiling Faces, Snowflake Assortment, Spiral Ornaments, Sport Numbers, Star Assortment, Stature, Sweet Hand, Swiss Folk Ornaments Critters, Swiss Folk Ornaments Floral, Swiss Folk Ornaments -Geometric, Tight Hand, Time Clocks, Tree Assortment, Ultimate Ornaments, Veggie Fruit, Victorian Leaf Ornaments, Victorian Ornaments, Vigorous, White On White, Woozee. [Google] [More]  ⦿

Greg Gazdowicz

Born in 1988 in Gaithersburg, MD, Greg Gazdowicz studied at the Maryland Institute College of Art. He completed the Type@Cooper Extended program in 2014. After graduation, he joined Commercial Type.

Codesigner with Lucas Sharp of the bubblegum and bubble bath typeface Doughboy Pro (2013, published by Pagan & Sharp).

In 2016, he published Robinson at Commercial Type, which writes: Inspired by calligraphic sans serifs like Warren Chappell's Lydian and R. Hunter Middleton's Samson, Greg Gazdowicz aimed to make a contemporary sans that used the hallmarks of calligraphic construction to add visual interest without being explicitly calligraphic. The result is a crisp, refreshing sans with a kinetic personality. Robinson is evocative of American book cover lettering from the middle of the 20th century while feeling cleanly contemporary.

He drew the italics of Publico Text Mono (Christian Schwartz and Paul Barnes) in 2014.

Le Jeune (2016, Greg Gazdowicz, Christian Schwartz and Paul Barnes) is a crisp high-contrast fashion mag didone typeface family in Poster, Deck, Text and Hairline sub-styles, with stencils drawn by Gazdowicz. This large typeface family comes in four optical sizes, and was originally developed for Chris Dixon's refresh of Vanity Fair.

In 2019, Commercial Type released Caslon Ionic by Paul Barnes and Greg Gazdowicz. They write: Bolder and more robust than the modern, yet lighter and more refined than the Egyptian, the Ionic with its bracketed serif was another innovation of the nineteenth century. Lesser known than Thorowgood's Clarendon, Caslon's Ionic No. 2 is a superb example of the form and greatly influenced the newspaper fonts of the next century. With additional weights and a matching Egyptian companion, Antique No. 6, it is a masterpiece of type designed to be robust and legible. Antique No. 6 was designed by Paul Barnes in 2019.

In 2019, Commercial Type released the Thorowgood Grotesque collection by Paul Barnes and Greg Gazdowicz. It is accompanied by the subfamilies Thorowgood Grotesque Dimensional (beveled) and Thorowgood Grotesue Open, and the related Thorowgood Egyptian.

In 2022, Commercial Type and Greg Gazdowicz released Roboto Serif at Google Fonts and wrote: Roboto Serif is a variable typeface family designed to create a comfortable and frictionless reading experience. Minimal and highly functional, it is useful anywhere (even for app interfaces) due to the extensive set of weights and widths across a broad range of optical sizes. [Google] [MyFonts] [More]  ⦿

Hanna Jakobs

During her graphic design studies at the Maryland Institute College of Art in Baltimore, Hanna Jakobs created the De Stijl typeface Blockie (2012). [Google] [More]  ⦿

Hannah Seibert

Colora, MD-based designer of Saga (2018). [Google] [More]  ⦿

Harry W.R. Blanck

Baltimore, MD-based designer in 1905 of a decorative outlined typeface. [Google] [More]  ⦿

Henry Becker

As a student at MICA, Baltimore, MD-based Henry Becker designed the moiré-pattern typeface Chromogenic in 2015. Behance link. [Google] [More]  ⦿

Henry L. Pelouze Foundry (or: Richmond Type Foundry)
[Henry Lafayette Pelouze]

Richmond-based foundry, also called Henry L. Pelouze. It was established in 1859 by Henry Lafayette Pelouze (b. 1831). Later it was renamed the Henry L. Pelouze&Son Foundry in Baltimore when his son Edward Craige Pelouze joined as a junior partner. The latter foundry was sold to ATF in 1901. Henry Lafayette Pelouze (b. 1831) started out in New York City at Walker&Pelouze (1855). That company was sold to Walker&tuthill, which then became Walker&Bresnan, and then P.H. Bresnan Type Foundry. He bought the Lucas Foundry in 1880. [Google] [More]  ⦿

Henry Lafayette Pelouze
[Henry L. Pelouze Foundry (or: Richmond Type Foundry)]

[More]  ⦿

Herbert F. Czarnowsky
[Baltimore Type Foundry (or: Baltotype)]

[More]  ⦿

Herman Schnoor

Type cutter who was active at Baltimore Type. Mac McGrew writes about Mademoiselle: Mademoiselle was designed by Tommy Thompson in 1953 as a display typeface for Mademoiselle magazine. It was cut by Herman Schnoor at Baltimore Type, which also offered fonts for general sale. It is a delicate, narrow modern roman, with long ascenders and short descenders, rather loosely fitted, and works well for display with transitional text typefaces such as Bulmer and Scotch Roman. [Google] [More]  ⦿

Hesuh Park

Baltimore, MD-based creator of Annown (2014), an alchemic sans typeface inspired by Jeffrey Dochery's Electric Wire Hustle poster. This typeface was developed while she was studying at the Maryland Institute College of Art. Behance link. [Google] [More]  ⦿

Jack Aaron Rodriguez
[Baltimore&Ohio Railroad Historical Society]

[More]  ⦿

Jack Darlington

Baltimore, MD-based designer of the circle-inspired typeface Curveum (2014), which was created during his studies at Stevenson University. [Google] [More]  ⦿

Jack Wuerfel

Baltimore, MD-based designer of the free snow-covered typeface Aertic (sic) Tundra (2016). Behance link. [Google] [More]  ⦿

Jacob Poindexter

Digital artist in Linthicum, MD, and Providence, RI, who created the sci-fi typeface Cosmos (2013). In Robert Lipton's type design class in 2017, g=he developed the angular and tension-laden typeface Cilia, which was inspired by Brazilian novelist Clarice Lispector's The Passion According to G.H. [Google] [More]  ⦿

Jamie Lear
[Dead Language Design]

[More]  ⦿

Jamie Skeele

During his studies at Maryland Institute College of Art, Baltimore-based Jamie Skeele designed the thin display typeface Talky (2017). Behance link. [Google] [More]  ⦿

Jeff Levine
[Stenso Lettering Company]

[More]  ⦿

Jennifer Wingerberg

Silver Spring, MD-based designer of Tetto (2013), a custom typeface created for a landscaping company. [Google] [More]  ⦿

Jermaine Bell

Graphic designer in Gambrills, MD, who created the stencil font Celabracion (2013). [Google] [More]  ⦿

Jessica Y. Wen

Taiwan-born and Baltimore, MD-based creator of Eggtart (2013), a lively script typeface family, which was designed during her studies at the Maryland Institute College of Art (MICA).

Behance family. [Google] [More]  ⦿

J.H. Furst Company

Publisher of A Specimen Book of Type Styles (Baltimore, MD). [Google] [More]  ⦿

John E. Hanrahan

Type designer, b. 1859, Baltimore, MD. [Google] [More]  ⦿

John G. Mengel&Co.

Baltimore-based foundry, also called Monumental Type Foundry. [Google] [More]  ⦿

John George Mengel

Baltimore, MD-based designer of a Victorian typeface in 1885. [Google] [More]  ⦿

John Ryan Foundry

Typefounder located in Baltimore, MD, which was active in the latter part of the 19th century. [Google] [More]  ⦿

Jonathan Bruns

Art director from Silver Spring, MD, who created the futuristic typeface Epistrophy (2006). [Google] [More]  ⦿

Jonathan Upshur

Columbia, MD-based designer. During his studies at UMBC, Jontahan created a fat counterless modular typeface called Black Leaf (2013). [Google] [More]  ⦿

Josh Aspril

A student in Salisbury, MD, Josh Aspril created the tennis-themed Racquetype (2012). [Google] [More]  ⦿

Joshua Downey

York, PA-based designer of Blokus (2014, FontStruct) and Blackmar (2014, stencil typeface, FontStruct). This typeface was finished during his studies at York College of Pennsylvania. Joshua is originally from Manchester, MD. FontStruct link. [Google] [More]  ⦿

Julian Waters

Son of the famous calligrapher Shelley Waters who lives in Gaithersburg, MD. He taught at the Rochester Institute of Technology and the Corcoran School of Art. Adobe wrote: In 1997, renowned lettering artist Julian Waters embodied his classical calligraphic roman capitals in a breathtakingly graceful 2-axis multiple master typeface, aptly named Waters Titling, which was modeled after Roman monumental inscription forms. Images: Waters Titling, Waters Titling Pro Lt.

Author of Hermann Zapf: A Life in Letters (2016). Chapters include: First Steps in Calligraphy, The Wartime Sketchbooks, Pen and Graver, Das Blumen ABC, Early Calligraphic Typefaces, Palatino, Optima, Gudrun Zapf von Hesse, Manual Typographicum (1955 & 1968).Typographic Variations, Book Design, Graphic and Calligraphic Art, Hallmark Film: The Art of Hermann Zapf, Hallmark Lettering Manual, Rotring Calligraphy Manual, Hallmark Typefaces, Hunt Roman, Zapf Civilité, Non-Latin Scripts, Orbis Typographicus, Designs for ITC, Early Digital Types, Zapf Renaissance, Zapfino, Scraffitto.

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

Kadeem Kirton

Kadeem Kirton (Baltimore, MD) designed the LED photo font LED in 2013. [Google] [More]  ⦿

Kat Aviles

During her studies in Baltimore, MD, Kat Aviles designed a decorative caps typeface called Quote (2013). In 2015, she added Solid, Contour, Disconnect and Quad. [Google] [More]  ⦿

Kathryn Robbins

Crofton, MD-based designer of the outline typeface FontFace (2017). [Google] [More]  ⦿

Katie Mancher

During her studies at Maryland Institute College of Art, Katie Mancher (Baltimore, MD) designed the warm text typeface Walden (2019). Inspired by Henry David Thoreau's book Walden, this typeface was designed for screen reading in order to inject an organic quality. In 2017 she designed the experimental typeface Another World on Earth. [Google] [More]  ⦿

Ken Barber

Letterer and type director at House Industries. He also teaches experimental typography at the Maryland Institute's College of Art. His interests include the inter-disciplinary relationship between hand-lettering and type design.

His typefaces include Maddhouse (1994), Chalet (1996), Heads of the Household, Fink Bold (1996), Fink Brush (1996), Fink Casual (1996), Fink Condensed (1996), Fink Gothic (1996), Fink Heavy (1996), Fink Roman (1996), Fink Sans (1996). The Rat Fink series was made with Ed Roth. Part of the proceeds from each sale go to the estate of Ed "Big Daddy" Roth.

At ATypI 2004 in Prague, he spoke about "Imre Reiner: the alphabet as art".

Ken Barber and Tal Leming combined forces in 2008 on the signage script family Studio Lettering Swing (House). He digitized Ed Gothic and Ed Script, both originally designed by Ed Benguiat. These fonts won awards at the TDC2 2005 type competition.

Smidgen (2011: winner of an award at TDC 2012).

Studio Lettering Slant (2008) and Blaktur (2007) won awards at Letter2 in 2011.

For many years, he digitized and designed fonts for House Industries. These include Sign Painter (a 9-style family), Plinc Italiano (2015: a digital revival by Steve Ross and Ken Barber at House Industries of Dave West's 1960s Photo Lettering Inc Bodoni-style italic called Italiano).

He spoke at ATypI 2005 in Helsinki on Lettering, typography or somewhere in between.

At ATypI 2008 in St. Petersburg, his talk (shared with Tal Leming) was entitled Pac-Man fever, quantum mechanics and the design of digital type.

Typographic picture by TDC.

Ken Barber interview by T. Wilkins. [Google] [MyFonts] [More]  ⦿

Kevin Guyer

For a school project, Kevin Guyer (Baltimore, MD) designed the sans typeface Fed Hill (2016). Behance link. [Google] [More]  ⦿

Kienan Smith

Designer of fonts at Garagefonts such as Kienan and District (2002, with Dylan Smith). The Smiths are from Maryland. District Thin is free. In 2013, District Pro was published.

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

Kimberly Meistrell

During her graphic design studies in Baltimore, MD, Kimberly Meistrell designed the experimental typeface Intuition (2013). [Google] [More]  ⦿

Kristen

Davidsonville, MD-based designer of Chocolate Script (2006). [Google] [More]  ⦿

Kristie Carter-George

Graduate of The Art Institute of Washington with a BFA in Graphic Design. She created the curly typeface Ruth (2010). Kristie lives in Brentwood, MD. [Google] [More]  ⦿

Kurt Tesnau

A democrat from Baltimore, MD, Kurt Tesnau created the tattoo typeface Baltimore Goth (2011) and the hand-printed typeface Baltimore Comic (2012).

Twitter link. [Google] [More]  ⦿

LaBron Wilson

Baltimore, MD-based creator of the cut-out typeface Modularity (2014). [Google] [More]  ⦿

Laura Condouris
[Trial by Cupcakes]

[MyFonts] [More]  ⦿

Laura Rupprecht

Olney, MD-based designer of the experimental typeface Titanium (2014). [Google] [More]  ⦿

Laurent Hrybyk

Baltimore, MD-based designer of the handcrafted poster alphabet Space (2015). Behance link. [Google] [More]  ⦿

Lindsey Gemmill

Graduate of York College in York, PA, who lives in Cockeysville, MD. Creator of Beaux (2012), a curly monoline script face. [Google] [More]  ⦿

Lindsey Swink

Graphic design student at Salisbury University in Salisbury, MD. Designer of the teardrop script typeface Greek Yogurt (2012). [Google] [More]  ⦿

Linh Hue Huynh

During her studies, Linh Hue Huynh (Abingdon, MD) designed the display typeface Elegance (2016). [Google] [More]  ⦿

Luisa Empis

During her studies in Baltimore, MD, in 2013, Luisa Empis created the alchemic typeface Slowsand (2013). [Google] [More]  ⦿

Mad Irishman
[Patrick Michael Murphy]

Mad Irishman has original fonts by Patrick Michael Murphy, who is American (from Mebane, NC), not Irish, and who is now located in Columbia, MD:

• Aberration (2001). A Celtic font.
• Baldur (1999). An uncial typeface based on Feinen (1983, Henry Mikiewicz).
• Carlisle (2000).
• Game Icons (2008).
• Graz (2001). A Celtic font.
• Miyama (2001). An oriental simulation font.
• Old Roman (2002). A text family based on an 1895 typeface designed by T.W. Smith.
• Ronan (2006).
• Splendors (2001). Modeled on the modified version of the Mason font that Wizards of the Coast uses for their titling on their Dungeons&Dragons Forgotten Realms publications.

The fonts were originally available from Agfa/Monotype. [Google] [MyFonts] [More]  ⦿

Maggie Ge

Baltimore, MD-based student-designer of the experimental lettering piece I Taste A Liquor Never Brewed (2016) and the thin typeface Strata (2016). Behance link. [Google] [More]  ⦿

Maria Aguila

During her studies in Gaithersburg, MD, Maria Aguila designed Chain Mail (2013), a photographic alphabet. [Google] [More]  ⦿

Maria Theron

Digital photographer and graphic designer in baltimore, MD. During her studies, she designed the typeface Arab Theron (2013). [Google] [More]  ⦿

Mark A. Wilson

Located in Eldersburg, MD, Mark A. Wilson designed PasswordMT (1998), a font entirely composed of asterisks. Can you believe that "Password" is a trademark of Computer Programming Unlimited, Eldersburg, MD? [Google] [More]  ⦿

Matthew Antonio Chiavelli
[Capsule: Typeface Design]

[MyFonts] [More]  ⦿

Matthew Carter

Matthew Carter (born in London in 1937, and son of Harry Carter) is one of today's most influential type designers. He trained as a punchcutter at Enschedé in 1956. In 1963 he was hired by Crosfield, a firm that pioneered the new technology of photo-typesetting, to lead their typographic program. He worked for Mergenthaler Linotype (1965-1981), and co-founded Bitstream Inc. with Mike Parker in 1981, adapting many fonts to digital technology. In January 1992, he founded Carter&Cone with Cherie Cone, and often collaborated with Font Bureau. In 1995, he won the Gold Prize at the annual Tokyo Type Directors Club competition for Sophia. In 1997, he received the TDC Medal for significant contributions to the life, art, and craft of typography. In 2010, he received a MacArthur grant. He lives in Cambridge, MA.

John Berry on Carter's art (2002). Apostrophe comments on Berry's article. Interview. His fonts:

• The Microsoft screen fonts Verdana (1996), Georgia (1996), Georgia Greek, Georgia Cyrillic, Nina and the humanist sans typeface Tahoma (1994). Georgia (in roman and italic only) is a screen version of Miller, Carter's Scotch design. Nina was designed to address the requirements on smaller screens such as phones, and was used in Windows Mobile smartphones before Microsoft switched to Segoe. The Greek and Cyrillic versions of Nina were developed by François Villebrod. Georgia Pro (2010, Ascender) was developed from Georgia with the help of Steve Matteson. For Verdana Pro (2010, Ascender), Carter was assisted by David Berlow and David Jonathan Ross.
• Apple's Skia (1993), a sans serif designed with David Berlow for Apple's QuickDraw GX technology, now called AAT. [Carter's Skia and Twombly's Lithos are genetically related.]
• Monticello (2003), based on Linotype's Monticello (1950), which in turn goes back to Binny&Ronaldson's Monticello from 1797, a typeface commissioned by Princeton University Press for the Papers of Thomas Jefferson. It is in the Scotch roman style.
• Miller (1997, Font Bureau), an extremely balanced family co-designed by Carter, Tobias Frere-Jones and Cyrus Highsmith. Carter explains: Miller is a Scotch Roman, a style that had its beginnings in the foundries of Alexander Wilson In Glasgow and William Miller in Edinburgh between about 1810 and 1820. It is considered that the punchcutter Richard Austin was responsible for the types of both Scottish foundries. Miller is a revival of the style, but is not based on any historical model. Now, there is also a 16-weight newspaper version, Miller Daily (2002), and an 8-weight Miller Headline (2002). This was followed by News Miller, a typeface designed for the Guardian. Note: Georgia (1996) is a screen version of Miller, and Monticello (2002) is a later modification. A comparison of these typefaces.
• Alisal (1995, +Bold).
• ITC Galliard (1978), a recreation of Robert Granjon's garalde letters. This typeface was originally conceived in 1965. Bringhurst recommends a Carter and Cone version of this font, called Galliard CC: it has old style figures and small caps. Further versions include Aldine 701 (Bitstream), Matthew (Softmaker), ITC Galliard Etext (2013, Carl Crossgrove, Linotype), and Gareth (Softmaker).
• The ITC Charter family (1987 for Bitstream and known as Bitstream Charter; licensed to ITC in 1993; see the Elsner&Flake version of ITC Charter). An upgraded commercial version was released by Bitstream in 2004 under the name Charter BT Pro.
• Vincent (1999), a font commissioned for use in Newsweek. It is named after Vincent Figgins, an English foundry owner and punch cutter who lived in the late 18th century.
• Walker (1994), designed for The Walker Art Center.
• Ionic Number One (1999, Carter&Cone).
• Mantinia (1993, Font Bureau), based on inscriptional forms, both painted and engraved, by the Italian renaissance artist Andrea Mantegna.
• Big Caslon (1994, Font Bureau), a display typeface based on the largest romans from William Caslon's foundry.
• Big Figgins (1992) and Big Figgins Open (1998, based on the decorative didone types shown in the specimens of Vincent Figgins of 1815 and 1817). Big Figgins was called Elephant and Elephant Italic in Microsoft's Truetype Fontpack 2.
• Sammy Roman (1996), loosely based on the 17th century romans of Jean Jannon. A beautiful typeface designed to accompany kanji and kana typefaces produced by Dynalab in Taiwan.
• Sophia (1993, Font Bureau), a mix with Greek, uncial and classical Roman influences.
• Shelley Script (1972), a family of formal scripts, split into Andante, Volante and Allegro. It is based on intricate English scripts of the 18th and 19th centuries attributed to George Shelley.
• Cochin (1977, at Linotype). MyFonts writes: In 1913 Georges Peignot produced a typeface based on Nicolas Cochin's eighteenth century engravings. In 1977, Matthew Carter expanded this historic form into a three part series.
• Bell Centennial (Linotype-Mergenthaler, 1975-1978), a legible heavily ink-trapped family designed by Matthew Carter as a replacement of Bell Gothic at Mergenthaler. There are also digital Linotype and Bitstream versions. AT&T commissioned the font to replace their previous typeface choice Bell Gothic for their 100th Anniversary.
• Cascade Script (1965-1966, Linotype, now also known as Freehand 471 BT in the Bitstream collection). Paratype's extension of Freehand 471 to Cyrillic is by Oleg Karpinsky (2011).
• New Century Schoolbook was designed from 1979-1981 in the New York Lettering office of Merganthaler Linotype based on Morris Fuller Benton's Century Schoolbook from 1915-1923. It was the second face, after New Baskerville, that was digitized and expanded using Ikarus (digital technology). The Bitstream version [Century Schoolbook] is a virtually exact copy, only being moved from a 54 unit to a 2000 or so unit design.
• Auriol (Linotype), an art nouveau family (including Auriol Flowers 1 and 2 and Auriol Vignette Sylvie) based on the lettering of the painter and designer Georges Auriol. MyFonts explains: Auriol and Auriol Flowers were designed by Georges Auriol, born Jean Georges Huyot, in the early 20th century. Auriol was a French graphic artist whose work exemplified the art nouveau style of Paris in the late 19th and early 20th centuries. In 1900, Georges Peignot asked Auriol to design fonts for Peignot&Sons. The resulting Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It was re-released by Deberny&Peignot in 1979 with a new bold face, designed by Matthew Carter. These decorative fonts with a brush stroke look are well-suited to display settings. The Peignot drawing office insisted on a more normal appearance in the boldface, calling it Robur. Matthew Carter has returned to Auriol's original design for the whole series.
• Helvetica Greek (Linotype).
• Helvetica Compressed (Linotype, 1974, with Hans-Jörg Hunziker).
• Wilson Greek (1995), compatible with Miller Text, and based on a type cut by Alexander Wilson for the Glasgow Homer of 1756. See here.
• Olympian (1970, Linotype), designed for newspaper use. This is Dutch 811 in the Bitstream collection. The custom typeface Milne (Carter&Cone) done for the Philadelphia Inquirer is based on Olympian.
• Gando, a French "ronde" typeface based on the work of Nicholas Gando (mid 1700s), and designed for photo-typesetting at Mergenthaler by Carter and Hans-Jörg Hunziker in 1970. Very similar to Bitstream's Typo Upright.
• Fenway (1998-1999, Carter&Cone), commissioned by Sports Illustrated to replace Times Roman.
• Snell Roundhand (1965-1966): a connected cursive script based on the 18th-century round hand scripts from English writing masters such as Charles Snell. Early in the digital era, Matthew published this in the Bitstream collection as Roundhand BT. A Cyrillic version by Isabella Chaeva and Vladimir Yefimov was released by ParaType in 2013.
• Auriga (1970). (Wallis dates this in 1965 at Linotype.)
• CRT Gothic (1974).
• Video (1977).
• V&A Titling (1981).
• Deface (in the FUSE 18 collection).
• Madrid (2001), done for the Spanish newspaper El País.
• Milne, done for the Philadelphia Inquirer (a revised version of Olympian). Not available.
• Durham, a sans serif family for US News&World Report.
• Airport.
• Century 725 (Bitstream, for the Boston Globe: after a design by Heinrich Hoffmeister).
• For Microsoft: Georgia, Verdana, Tahoma (1994), Nina.
• Freehand 471 (Bitstream). A chunky slightly angular script.
• New Baskerville. [Matthew Carter says that this is wrongly attributed to him. It was directed by John Quaranta.]
• Postoni [or Post-Bodoni], for the Washington Post, which is still using it. See here.
• Le Bé, a Hebrew typeface that was used in the Pennyroyal Caxton Bible.
• Rocky (2008, Font Bureau, with Richard Lipton), for the Herald in Scotland.
• Time Caledonia.
• Wiredbaum, for WIRED.
• Wrigley (for Sports Illustrated). Matthew Carter designed Roster in the 1990s, and it was adopted as a display face for Sports Illustrated under the name Wrigley. Jesse Ragan was instrumental in later expanding the family from its original seven styles to the current 60. In 2015, Carter & Cone and Font Bureau released an expanded 60-style family of this typeface under the new name Roster.
• Benton Bold Condensed (for Time Magazine).
• Foreman Light (for the Philadelphia Inquirer).
• Newsbaum (for the New York Daily News).
• Carter Latin: Matthew was commissioned in 2003 to create a new design to be cut in wood type by the Hamilton Wood Type&Printing Museum in Two Rivers, WI. He came up with an all-caps, chunky, Latin-serif design.
• Times Cheltenham (2003), which replaces in 2003 a series of headline typefaces including Latin Extra Condensed, News Gothic, and Bookman Antique.
• The Yale Typeface (2004), inspired by the late fifteenth-century Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. This extensive family is freely available to members of Yale University.
• DTL Flamande (2004, Dutch Type Library), based on a textura by Hendrik van den Keere. Since 2018, available from URW++. Additions to DTL Flamande by Lukas Schneider.
• Meiryo UI, Meiryo UI Bold, Meiryo UI Bold Italic, Meiryo UI Italic (2004). Meiryo is a modern sans serif Japanese typeface developed by Microsoft to offer an optimal on screen reading experience and exceptional quality in print, as part of the Cleartype project. The Japanese letterforms are generously open and well-proportioned; legible and clear at smaller sizes, and dynamic at larger display sizes. The beauty of Meiryo is that it sets text lines in Japanese with Roman seamlessly and harmoniously. Meiryo was designed by a team including C&G Inc., Eiichi Kono, Matthew Carter and Thomas Rickner. It won a 2007 type design prize from the Tokyo Type Directors.
• Suntory corporate types (2003-2005), developed with the help of Akira Kobayashi and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
• Rocky (2008, Font Bureau): A 40-style high contrast roman family that is difficult to classify (and a bit awkward). Developed with Richard Lipton.
• Carter Sans (2010, ITC), based on epigraphic letters used in inscriptions. Created for the identity of the Art Directors Club 2010 class of its Hall of Fame, one the laureates in the 2010 Hall of Fame. Codesigned by Dan Reynolds, this chiseled typeface is loosely based on Albertus.
• In 1997, he designed Postoni for the The Washington Post's headlines, a sturdy Bodoni.
• MS Sitka (2013). A typeface with six optical sizes that are chosen on the fly if an appropriate application is present. Developed at Microsoft with the help of John Hudson (Tiro Typeworks) and Kevin Larson (who carried out extensive legibility tests). German link. Typophile link. Sitka won an award at Modern Cyrillic 2014.
• Van Lanen Wood Type (Hamilton Wood Type, 2002-2013). Carter started work on the wood type in 2002, but technical accuracy issues postponed the implementation. Digital versions were finally done in 2013 by P22's Hamilton Wood Type.
• Big Moore (2014, Font Bureau): A 1766 specimen by Isaac Moore, former manager of Joseph Fry's foundry in Bristol, England, shows many types inspired by John Baskerville. But a century later, standardization had foisted inept lining figures and shortened descenders upon these designs. Matthew Carter remedies the tragedy with Big Moore. Oldstyle figures, full-length descenders, and historic swashes are restored to this regal serif in two styles. Big Moore won an award in the TDC 2015 Type Design competition.
• Role (2019, Sans, Slab, Serif, Soft). A superfamily published at Morisawa and Fontelier. Matthew Carter, Shotaro Nakano, and Kunihiko Okano co-designed Role Serif at Morisawa.

Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2019 in Tokyo on the topic of Expressing Vocal Tones through Typography.

Linotype link. FontShop link. Favorite quote: Watching me work is like watching a refrigerator make ice. Another quote: A typeface is a beautiful collection of letters, not a collection of beautiful letters.

View Matthew Carter's typefaces. Matthew Carter's fonts. The typefaces made by Matthew Carter. See also here. Wikipedia page. Klingspor link. [Google] [MyFonts] [More]  ⦿

Matthew R. Stankiewicz

Graphic designer in Baltimore, MD, who designed the dotted line typeface Linea (2016, FontStruct). FontStruct link. [Google] [More]  ⦿

Maurice Annenberg

Noted Baltimore printer and type historian. Author (1907-1979) of Type Foundries of America and their Catalogs (1955; see also New Castle, 1994), with historical accounts of each foundry. Later editions have an introduction by Stephen O. Saxe and an index by Elizabeth K. Lieberman. Other books: Advertising, 3000 B.C.-1900 A.D. (1969), A Typographic Journey Through the Inland Printer, 1883-1900 (1977). His extensive type collection is now at the University of Maryland. [Google] [More]  ⦿

Megan Whitacre

During her studies in Baltimore, MD, Megan Lee Whitacre created an untitled modular alphabet (2014). [Google] [More]  ⦿

Melanie Feaster

Masters student at Corcoran College of Art and Design, who lives in Rockville, MD. In her typography class in 2010, she created a typeface that utilized elements from Helvetica and Big Caslon, called Quagswag. The result is Peignotian sans. [Google] [More]  ⦿

Michael Cina
[You Work For Them (or YWFT; formerly Cinahaus or TrueIsTrue)]

[MyFonts] [More]  ⦿

Michael Jarboe
[Reserves (or: AE Type)]

[MyFonts] [More]  ⦿

Michael Paul Young

Born and raised in Tennessee, Michael Paul Young currently calls Bangkok, Thailand home. He founded, managed and directs daily the online design shop YouWorkForThem, which is located in Baltimore, MD. Home page. Creator of "Apply", a free texture tool that allows you to customize any font you wish with an array of inky splatters and sprays. In 2000-2001, he made the pixelish YWFT DesignGraphik family. With Teerayut Puchpen, he designed the ultra-fat counterless typeface Pudge (2010). In 2011, he created YWFT Motown Expanded and YWFT Motown Condensed, which were based on YWFT Motown (2009, Travis Stearns). With Michael Cina and Taechit Jiropaskosol, he designed YWFT Agostina Alternate (2011).

Klingspor link. MyFonts link. Personal home page. [Google] [MyFonts] [More]  ⦿

Mitchell Dupre

During his studies at Bowie State University, Landover, MD-based Mitchell Dupre Jr designed the geometric pattern typeface Thee Supre (2015). It is based on Russian suprematist art. [Google] [More]  ⦿

Morgan Barnett

Germantown, MD-based designer of Shadow Box MB (2017). [Google] [More]  ⦿

Nan Jay Barchowsky
[Swansbury]

[MyFonts] [More]  ⦿

Naomi Jackson

Student in Baltimore, MD, who created a medium-contrast sans typeface in 2012 during her studies at the University of Maryland Baltimore County. [Google] [More]  ⦿

Neda Juraydini

Neda Juraydini is an artist with a BFA from Maryland Institute College of Art in Visual Communications/Graphic Design.

In 2001, she created the dingbat typeface Chalice. The chalice is a symbol for Unitarian Universalists and the chalices in this typeface were collected from various churches in this denomination. This [expired] site explained the origin of this symbol.

To preserve the font, Neda gave me permission to store it at my site so that it can be distributed world-wide.

Chalice.zip contains the original TrueType file by Neda Juraydini, together with her original readme file. In addition, it contains an Opentype version and a PostScript type 1 version generated by Luc Devroye in March 2009. No guarantees! [Google] [More]  ⦿

Neon Gray

Graphic design and art direction studio. They created the custom art deco typeface Olimpyc (2007). It is a cooperative run from Baltimore and San Francisco by Liam Devowski, Benjamin Domanico, Joyce Kim, and Samuel Ortiz-Payero. [Google] [More]  ⦿

Nicholas Desaulniers

Gaithersburg, MD-based designer of a variation of Futura in 2016. Behance link. [Google] [More]  ⦿

Nick Curtis

Nick Curtis (b. Chicago, 1948) lived in Texas from 1952-1997, and lives since 1997 in Gaithersburg, MD and Alexandria, MD. From ca. 1990 onwards, he has been designing fonts, first for free, and then commercially. He had a great reputation as a "revivalist" type designer, with a particular interest in retro fonts and art deco types. In 2003, his site had become too popular and too expensive to maintain, and thus he went commercial as Nick's Fonts. In 2013, he stopped making fonts, and donated his collection of rare books and type material to the University of Virginia. Interview. Complete list of names and other info, maintained by Sander de Voogt. Interview in which we learn about his fondness for Corel Draw as a type design tool.

Near the end of 2012, he posted this comment on his web site: Fifteen years ago, I embarked on a wonderful voyage of discovery, when I created my very first font with Fontographer 3.15. My maiden voyages were, frankly, rather clunky and amateurish, but I have been told that they showed promise. Well, sure enough, thanks to the diligent (and patient) efforts of Ilene Strizver, I polished up my craft enough to sell my humble efforts---first as a sideline business and, since 2006, as my full-time job. In total, I have produced over eleven hundred fonts---almost five hundred of them freeware fonts, which I conservatively estimate have been downloaded and enjoyed by over three million people worldwide. Unfortunately, this past year has brought a series of unanticipated setbacks, culminating in the loss of my wife's beautiful mind and soul to the scourge of alcoholism. In an effort to generate extra income to cover the expenses for her long-term care, I have proposed a number of, I believe, innovative ways to revamp the online font business; unfortunately, those efforts have fallen flat, primarily due to the professional font community's abject fear of crossing the $165 million Elephant in the Room. I even offered a special discount rate of 75% off retail price for full-time students of Typohile Forum. To date, there have been zero takers. Hell: even the webfont kit of one of my own fonts which I purchased from myfonts.com turned out to be an empty folder. Talk about a run of bad luck. Which leaves my with you, dear readers. If you or someone you know has had fun or made a buck from my humble efforts throughout the years, please donate whatever you can---even a lousy dollar would help---to help me out. I would greatly appreciate it.

Home page. Dafont link. FontShop link. Klingspor link. Abstract Fonts link.

View the typefaces designed by Nick Curtis. [Google] [MyFonts] [More]  ⦿

Nick Curtis
[Nick Curtis: Commercial typefaces]

[MyFonts] [More]  ⦿

Nick Curtis: Commercial typefaces
[Nick Curtis]

Nick Curtis (b. Chicago, 1948) lived in Texas from 1952-1997. Since 1997, he is in Gaithersburg, MD and Alexandria, MD. Since the 1990s, he has been designing fonts, first for free, and then commercially. He had a great reputation as a "revivalist" type designer, with a particular interest in retro fonts and art deco types. In 2003, his site had become too popular and too expensive to maintain, and thus he went commercial as Nick's Fonts. Interview. Free downloads at TypOasis. Complete list of names and other info, maintained by Sander de Voogt. Interview in which we learn about his fondness for Corel Draw as a type design tool. Home page. His free fonts are listed elsewhere.

On MyFonts, he says this about himself: Nick's Fonts is a modest little foundry dedicated to the preservation of our rich typographic heritage. Most of the foundry's designs are based on authentic historical sources, gleaned from the massive collections of the Library of Congress. If you are looking for a font that captures the essence of the Wild West, the Gay Nineties or the Jazz Age, look here first: if it is not in the catalog, it will be soon. [Google] [MyFonts] [More]  ⦿

Nicole Cochary

During her studies at the Maryland Institute College of Art (MICA), Nicole Cochary (Providence, RI) designed the slabby Western typeface Eastwood (2014) and Heavy Reggie (2018). [Google] [More]  ⦿

Nikki Eastman

Baltimore, MD-based creator of Sectinel (2013), a dissected version of Sentinel Book. [Google] [More]  ⦿

Ninad Satish

Baltimore, MD-based designer of Munshi Devanagari (2014), which was conceived during his diploma project at Indian Type Foundry a typeface for immersive reading. In 2016, Ninad was pursuing an MFA at the Maryland Institute College of Art (MICA). In that same year, he designed the high-contrast Koyla Devanagari typeface, and the Devanagari-inspired Latin typeface Chaplin. [Google] [More]  ⦿

Noah Feldman

Baltimore, Maryland-based designer of Frimbo (2004) and Frimbo Serif (2004). He also made the wonderful Preissig-Antikva influenced NsfBook, the sans typeface Nisamuel Sans (2005), KisbefeSans (2005), FineGold (2005), Kisbefe2 (2005) and the handwriting typeface ASLetters (2005). [Google] [More]  ⦿

Pablo A. Medina
[Design Culture (was: Cubanica Fonts)]

[MyFonts] [More]  ⦿

Paige Orland

At Towson University (Towson, MD), Paige Orland designed the decorative caps typeface Balloon (2015). [Google] [More]  ⦿

Patrick Michael Murphy
[Mad Irishman]

[MyFonts] [More]  ⦿

Patrick O'Donnell

During his studies, Olney, MD-based Patrick O'Donnell designed the poster typeface Wildly Tame (2016). [Google] [More]  ⦿

Peggy Re

Peggy Re is an Associate Professor in the Visual Arts Department at UMBC (Maryland) where she teaches graphic design and typography. She curated Typographically Speaking: The Art of Matthew Carter, and edited a publication with the same title. At ATypI 2005 in Helsinki, she spoke on Matthew Carter's typefaces. [Google] [More]  ⦿

Phil's Fonts
[Ralph Smith]

Original designs, and a great general site on typography. Sells over 65,000 fonts from over 55 foundries. Font families (typically 4 typefaces) in the 100USD to 300USD range. Makes custom fonts as well. Run by Ralph Smith. Browse by foundry or by designer.

Phil's Fonts also makes its own fonts. These include Freight Big Compressed Pro (2019, a sturdy rational newspaper masthead and book cover typeface by Robby Woodard and Phil's Fonts; at GarageFonts), Freight Display Compressed Pro (2019), Freight Text Compressed Pro (2019), and a number of other extreme weights in the popular Freight font family at GarageFonts. [Google] [MyFonts] [More]  ⦿

Prescott Foland

Baltimore, MD-based designer of Waco (2014). Behance link. [Google] [More]  ⦿

Ralph Smith
[Garage Fonts]

[MyFonts] [More]  ⦿

Ralph Smith
[Phil's Fonts]

[MyFonts] [More]  ⦿

Ran Zheng

Baltimore, MD-based designer of Stiletto Heel Sans (2015). Behance link. [Google] [More]  ⦿

Raymond Stanley Nelson

Maryland-based typefounder, punchcutter and historian at the Smithsonian's National Museum of American History, b. 1948, who made the 24-point Robin typeface.

Klingspor link.

Mac McGrew: Robin was designed and privately cast by R. Stanley Nelson, private press operator in Maryland. The designer says, "Like blackletter fonts this is really a minuscule with a set of uppercase forms attached. I plan to cut Lombardic caps as well, and other lowercase letters in the future. ...The rustic caps are not complete but there are a lot of problems with them. ...The typeface is experimental and not in its final form." [Google] [MyFonts] [More]  ⦿

Renae Hill

Graphic designer in Ellicott City, MD, who graduated from Monmouth University. Caligari (2011) is an angular typeface that was inspired by the 1920 silent German film, The Cabinet of Dr. Caligari (Das Cabinet des Dr. Caligari). [Google] [More]  ⦿

Reserves (or: AE Type)
[Michael Jarboe]

Reserves (and, since 2012, AE Type) is a commercial foundry offering mostly techno faces. It is located in Carlsbad and Cardiff-by-the-Sea, CA, and run by Michael Jarboe. Mike graduated from the Maryland Institute College of Art, and now lives and works in San Diego.

The earliest typefaces: Base (stencil), Evac (octagonal), Claes (a heavy blacked out display typeface named after Swedish sculptor Claes Oldenburg), Raider, Error (LED simulation face), Reserves03 (2009), Output II (2009), Scape (octagonal stencil), Void, Vacant (2009, monoline stencil), Debacle (2009), Scam (2009; a fun geometric experiment), Immortality, Asecs, Analog SE, Scheme (pixel face).

Typefaces made in 2010: Idiom (2010, a piano key family inspired by P22 Albers), Vector RG (2010, an octagonal typeface inspired by the 1979 Atari Asteroids video game UI screen font), Sevigne (2010, monoline geometric avant-garde sans that looks a bit like a stencil), Velvet (2010, a heavy rounded block retro typeface inspired by the typeset album covers of the protopunk rock band The Velvet Underground), Monocle (2010, monospaced and monoline geometric sans).

Typefaces made in 2011: Scape (2011, rounded monoline stencil family), Velvet (2011), Defense (2011, octagonal slabbed stencil), Offense (2011, strong octagonal mechanical family), Vanitas Bold (2011, Peignotian fashion mag typeface rooted in didones).

In 2012, Mike published Enamel (a condensed sans family---the inline version of Sorren), Sorren (a condensed sans influenced by neo-grotesque designs, and dada in style), Sorren Ex, Vanitas Stencil and Memoire (a charming fashion mag monoline hairline stencil).

Typefaces from 2013: A large Neue Haas Grotesk / Helvetica-style sans family called Acronym, from Hairline to Extra Black and Outline.

Typefaces from 2014: Reload (octagonal), Reload Stencil (military stencil). Reload Alt and Reload Alt Stencil were added in 2015.

Typefaces from 2015: Averes Title (a sharp geometric sans titling typeface), Averes Title Roman (fashion mag styles).

Klingspor link. Behance link. Flickr site. Behance link. MyFonts link.

View Mike Jarboe's typefaces. [Google] [MyFonts] [More]  ⦿

Richard Sigler
[Finale Jazz font]

[More]  ⦿

Rob Dunworth

Westminster, MD-based student-designer of the pixel typeface Shirt Tag (2016), which is free at FontStruct. [Google] [More]  ⦿

Rob McConnell

As a graduate student in Baltimore, MD, Rob McConnell designed the modular typeface Brick (2014). In 2020, he set up RMType and published the condensed display typeface Kaweah, which was inspired by the text in the museum collection of Kings Canyon National Park. [Google] [MyFonts] [More]  ⦿

Rob Sugar
[Auras Design]

[More]  ⦿

Ronnie Boy
[Ross Shapland]

Ronnie Boy is a type foundry in Chicago set up by Ross Shapland (b. 1984, Bethesda, MD). Ross designed the stealth airplane techno font Flyover in 2012. [Google] [MyFonts] [More]  ⦿

Ross Shapland
[Ronnie Boy]

[MyFonts] [More]  ⦿

Rudys Romero

During his studies, Laurel, MD-based Rudys Romero designed the display typeface FKA (2016). [Google] [More]  ⦿

Sam Cush

During his studies, Severna Park, MD-based Sam Cush created the octagonal typeface Bebop 2006 (2015). [Google] [More]  ⦿

Sam Kittinger

Graphic designer in Baltimore, MD, who has a BFA in Graphic Design from The Maryland Institute College of Art. Behance link.

Creator of a custom typeface called Balmer Display (2012, + Balmer Needlepoint Display). [Google] [More]  ⦿

Samad Ali

Silver Spring, MD-based designer of Palm Line (2016). [Google] [More]  ⦿

Sammi Arman

Owing Mills, MD-based freelance graphic designer who created the geometric solid typeface Pizazz (2015) during her studies at SCAD (Savannah College of Art and Design). [Google] [More]  ⦿

Sarah Khan

Founder and creative director of iKhan Design in Silver Spring, MD. Behance link. She created the experimental typeface Bobby Pinned (2011). [Google] [More]  ⦿

Sean Heavey

Designer of Javenir (2009) at University of Maryland, Baltimore County. Javenir mixes Avenir and Adobe Jenson. Home page. [Google] [More]  ⦿

Sean Lake

Graphic designer in Ijamsville, MD. He created Hanging Helmond (2010). [Google] [More]  ⦿

Sergei Egorov

Born in Moscow in 1963. A graduate of Moscow Institute of Physics and Technology in 1985, he became a TeX specialist. Since 2003, he creates his own typefaces. Gaithersburg, MD-based designer of a Cyrillic Venetian typeface (2004) called Bucentoro. At TypeArt 05, he received awards for Bucentero and SPQR Caps. He is working on Bucentoro Greek (2006). In Bucentoro's low-contrast design, we can find influences of Nicholas Jenson, Francisco Griffo and Vadim Lazursky. Currently, Sergei Egorov lives in the Washington, DC, area.

His Neacademia (2009, +Kursiv) won an award at Paratype K2009. It was published in 2011 at Rosetta Type: Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century Italian punch-cutter Francesco Griffo da Bologna for the famous Venetian printer and publisher Aldus Pius Manutius. The family is designed for lengthy texts. Neacademia Subhead (Rosetta) followed in 2015. This typeface family has all the renaissance character and typographic finesse that was promised---it is absolutely stunning. In 2016, he added Neacademia Small text.

Klingspor link. MyFonts link to his own foundry. [Google] [MyFonts] [More]  ⦿

Shannon Jones

Baltimore, MD-based designer of the decorative typeface Kaleidoscope (2016). [Google] [More]  ⦿

Shawna Crolley

Art student from Odenton, MD, b. 1988. Designer of Digital Class (2009, FontStruct). She runs Crouch Design and has a web site at Devian tart. [Google] [More]  ⦿

Shiva Nallaperumal

Graphic designer from Chennai, who created the octagonal typeface Adian Grid (2012) as a student at DJ Academy of Design, Coimbatore, India. He also made Struktur (2012), a typeface based on Herbert Bayer's Universal Alphabet.

After graduating from DJ Academy of Design in Coimbatore, India, he started studying graphic design (MFA) at the Maryland Institute College of Art (MICA). One of his school projects there was the angular fat stencil typeface Enemy (2014, available at Lost Type). Shiva has worked as an intern with J. Abbott Miller's team at Pentagram and Grandmother Design in Mumbai, India.

At the Indian Type Foundry, Shiva helped with Rozha One (2014, free Google web font). This is a heavy didone typeface with large x-height, high contrast, and a harmonious balance between its Devanagari (designed by Tim Donaldson and Jyotish Sonowal) and Latin (designed by Shiva Nallaperumal). Github link.

The Indian Type Foundry published several typefaces at Google Web Fonts in 2014, including Rajdhani. Rajdhani is an Open Source typeface supporting both the Devanagari and the Latin scripts. The font family was developed for use in headlines and other display-sized text on screen. Its initial release includes five fonts. Satya Rajpurohit and Jyotish Sonowal developed the Devanagari component in the Rajdhani fonts together, while the Latin was designed by Shiva Nallaperumal.

Orwellian (2014) is a reversed-stress typeface designed for display use. It was inspired by the concepts explored by George Orwell in his monumental work Nineteen Eighty Four and follows Henry Caslon's Italian model. Buy it at Lost Type. Orwellian was hand hinted by Tom Grace of Virgo Type and mastered by Psy Ops in San Fransisco.

In 2015, Shiva published the informal comic book typeface Pancho (Indian Type Foundry) and the six-weight modulated sans family Khang (Indian Type Foundry).

In 2015, Namrata Goyal designed the Gurmukhi part of the free geometric sans font Roundo at Indian Type Foundry. Shiva Nallaperumal designed its Latin.

In 2016, Shiva designed the Trench superfamily, which consists of the heavily ink-trapped typeface families Trench Sans, Trench Rounded, and Trench Slab. Trench Rounded was inspired by Wim Crouwel's exhibition poster for the sculptor Claes Oldenburg. Trench Slab also appears at Fontshare.

Also in 2016, Ramakrishna Saiteja and Shiva Nallaperumal published the free Kannada / Latin typeface family Kolar. Each font's character set includes 925 glyphs. This massive range supports hundreds of unique Kannada-script conjuncts. Kolar's Latin script characters are all modified from Pablo Impallari's Libre Baskerville series. Github link.

Calcula is a display typeface that uses smart OpenType features to explore the space between lettering and typeface design, creating maze-like spaces between letters. Inspired by the geometric Kufic style of traditional Arabic calligraphy, Calcula is a functional OpenType typeface, with design principles that are rooted in lettering, in that each letter reacts to neighbouring letters, adapting to its context. Calcula (2017, Typotheque) was designed by Shiva Nallaperumal, with the help of Tal Leming, who programmed the GSUB features and wrote scripts that generate the ligatures, and Frederik Berlaen who created the custom scripts that made the new decorative styles possible.

Designer of Cabinet Grotesk (2017-2021) in eight styles, with two variable fonts. Originally called Cabinet Grotesque.

Faction (2018). A very black typeface in which white space loses against black space.

Oli Grotesk (2019, Typotheque). Shiva Nallaperumal plans to support all the writing scripts of India (Devanagari, Bangla, Gujarati, Gurmukhi, Urdu, Oriya, Tamil, Malayalam, Telugu and Kannada) in the same wide range of weights as its Latin fonts. The Indic versions of Oli are designed by Arya Purohit.

In 2019, Bild Monday released his heavy stencil typeface family Ma href="https://www.boldmonday.com/typefaces/rekall/">Rekall.

In 2015, Shiva won the SOTA Catalyst Award.

Home page. Behance link. Note: MyFonts writes the designer's name with an e instead of an a: Shiva Nalleperumal. [Google] [MyFonts] [More]  ⦿

Shrenik Ganatra

New York City (and before that, Mumbai, India)-based designer of the partially free all caps art deco geometric sans typeface Adam (2014), which is based on Futura. It was renamed Adam CG Pro. He also made the free comic book typeface Raggedways (2014).

In 2015, he designed the free squarish spurred hipster typeface Quirko.

In 2016, during his studies at MICA (Maryland Institute College of Art) in Baltimore, he designed the free font Minaxi Hairline Text (monoline sans). Additionally, his collaborative typeface design project titled Bird Grotesk, created with Ninad Kale and Potch Auacherdkul, another MICA MFA Graphic Design student, has secured a Gold Award in the Typeface Design category of Graphis. Still at MICA, he designed the cricket shirt typeface family The Wall in 2016 under the supervision of Tal Leming.

In 2017, upon graduation from MICA, he published the free custom sans typeface family SG Alternative, which was designed to support his alternative rock band project Mountains and You. [Google] [More]  ⦿

Stenso Lettering Company
[Jeff Levine]

Jeff Levine recalls the history of the Stenso Lettering Company, started in 1940 by Ruth Hormats and her brother, Robert Libauer. The quote below is from his text.

Somewhere back around 1940, a young school teacher in Baltimore, Maryland made an observation The brass stencils she gave to her students to use in creative projects were giving them problems. Their crayons and colored pencils were not fitting into the narrow serifs (the small cross strokes) of the letters. Ruth Libauer Hormats had an idea. What if there were some stencils made of cardboard? What if the letters and numbers were slightly fatter especially in the serifs to allow for easy coloring? What if there were small holes slightly above and between each letter, number or punctuation mark to allow for precise spacing? After formulating her concept of such a stencil, Mrs. Hormats had two prototypes made up at a cost of ten dollars each a significant sum of money for the time. Soliciting many of the major stores and store chains around the country, she eventually received a reply from the F.W. Woolworth Company. The five-and-ten cent store giant was interested in her product, but needed to see one firsthand. As she shipped one of the two prototypes off to New York, all she could envision was ten dollars going away. Ruth did not put much stock in the chance of receiving an initial order, but she had presumed wrong. The Woolworth order had been the linchpin for launching the Stenso Lettering Company in the basement of her parents home at 2510 Elsinor Avenue in Baltimore. A small office was set up, and girls were hired to help stuff the stencils into their envelopes. Ruth Hormats once recalled to me during a telephone conversation that the whole family had even sat around the dinner table inserting the freshly die-cut stencils into their envelopes and packing them for resale. Robert Libauer remembered an anecdote from those early years: He was called inside from an afternoon of softball and other sports activities by his father and taken into the cellar of their home to package the stencils into individual envelopes to get them ready for shipment. Robert mumbled under his breath "son of a bitch" and resented being distracted from his play in order to do such menial work. His father was at the other end of the cellar and quietly responded to Roberts expletive with "My mother is not a bitch". Robert was horrified that his father had overheard him and answered, "Gee, Dad... I wasn't talking to you", wherein his father calmly replied, "Theres only two of us here". The Eugene B. Baehr Company was a major super-wholesaler [who also sold to other wholesalers] and became the first distributor of Stensos products. Morris Libauer had accompanied Ruth to New York in order to present a hand-made sample of her stencil to Eugene B. Baehr for his review and consideration. Baehr ordered 50 cartons of the stencils - packed one gross to the case. This order, along with the one from F.W. Woolworth is what got the company up and running. The Stenso Lettering Guide was so unique with its spacing holes (called indicators by Hormats) that she submitted her patent design in 1940 and was awarded a patent for her invention in 1942. In an unparalleled event, the prestigious Macys Department Store in Manhattan held a demonstration of this versatile new product. Manufacturing the stencils was not always a perfect task. The first die provided by Accurate Steel Rule Die (of New York) was too much for an ordinary press to handle and the press broke. To overcome this problem, the die was cut in half, and the stencils were die-cut in two parts to produce the final result. Morris Libauer (Ruth and Bobs father) was the unsung hero of the operation. While Ruth taught school and Robert solicited sales, the elder Libauer worked with the die makers and the printers in order to get their inventory produced. Morris Libauer was a retired furniture retailer and upholsterer whose business once took up a full city block in Baltimore. After selling the furniture business and living on a lifetime annuity, Morris Libauer wanted to venture into other projects. He initially manufactured and sold a line of furniture polish called Colonial, but became enamored with his daughters stencil invention. In 1946, Robert Libauer traveled the country promoting the line. A year later, in 1947, Morris Libauer passed away. It was then when Robert took full charge of the growing young company. His mother had been quite unhappy with the endless trucks pulling up to their modest home to pick up merchandise to be shipped, so eventually Robert Libauer moved Stenso into an abandoned grocery store, and after that to Baltimore's Industrial Building, where he purchased presses and hired a die-cutter. As sales grew, so did the diversity of the product line. The initial products included lettering guides in 1/2 inch, 3/4 inch, 1 inch and 1-1/2 inch Roman (serif) capital letters and numbers, a 1/2 inch Gothic (sans serif) card with capitals, lower case and numbers and a map of the United States. The 1/2 inch Gothic was discontinued and was replaced with a 3/4 inch offering, as there were problems at the time in having steel rule dies bent so precisely into small letter shapes. The stencils were offered individually or as small and large assortments known as combination sets. The average size of these stencil cards were approximately 8 inches by 10-1/2 inches. (Later products with letters larger than 3 inches were on stencil board stock of appropriately different sizes.) For a while, a stencil toy (Product #401) called Stenso Circus Animals was produced as well as other educational stencils during the 1940s. A special-run product in the early 1950s offered the Hebrew alphabet (Product #H-54). A unique stencil design was issued toward the end of the 1940s which allowed users to create letters in three different styles. Called 2 inch Solid Gothic, the letters and numbers were atypical of most stencil letters which had breaks within the letter forms. These letters were complete at least on their vertical sides and they were cut out as if resting on rails. The user would trace the sides of the letters, then use a straight edge to close off the tops and bottoms. The user was then encouraged to either leave the letters in outline form, fill them in, or color in the background hence the three-way application. The companys growth prompted Bob to purchase his own building at 1101 East 25th Street and install two Miehle presses and facilities to make cardboard boxes for his company as well as other clients. Previously, the various components were subcontracted and simply assembled at one location. The 1950s saw a large expansion of the product line to include different Roman and Gothic combination sets (with new sizes added) and Gothic sets ranging from 3 inches to 12 inches, as well as the addition of new lettering styles. Old English, Frontier (Western) and Modern Script (similar to the digital typeface Croissant) bolstered the range of lettering available to the consumer. A decorative stencil line was introduced in the mid-1950s for home crafters. As Alaska and Hawaii became states, an additional card was included with the Stenso Map of the United States (Product #50). In the 1950s, Libauer took a unique approach to marketing Stenso products... Using a Dun and Bradstreet directory, and seeking out retailers (such as 5 and 10 cent stores) with good credit ratings, he sent them a package containing an assortment of stencils worth $25.00 in wholesale value, a cover letter and a dollar bill pinned to the letter. The letter contained text somewhat similar to the following: Dear ___________, I cannot afford to have a salesman call on you personally. If you put these items on your counter, your customers will buy them. Should you accept this merchandise, your payment of $25.00 is due in return. In the event you do not accept this merchandise, the enclosed dollar bill will more than adequately cover the cost of returning them. Incredibly, over 40% of the unsolicited mailings were accepted, and Bob had one more marketing trick up his sleeve for those who hadn't either paid for or returned the unsolicited stencils. There was a series of twelve monthly letters sent to these retailers as reminders. The twelfth one would be addressed to the merchant, and the page left blank until you reached near the bottom of the page. One line was typed: I have said all I can say in the previous eleven letters. Over the years, stencil board was bought from any available source, and on one occasion Libauer had come across a warehouse full of the product, so he purchased it. This gave him enough raw material to supply the companys needs for a few years. By the early 1960s a Modern Gothic stencil was introduced with three alphabets all in Art Deco style available on one stencil card. This unique stencil [despite earlier problems with small steel rule dies] offered alphabets and numbers in 1/4 inch, 3/8 inch and 1/2 inch sizes. The 1/2 inch and 3/4 inch Roman stencils were re-tooled to provide both solid and stencil versions of the letters. Many intermediate sizes, previously available only in combination sets of their respective type style were now being sold as individual units. Around 1962, Robert Libauer merged his company with Ottenheimer Publishers of Owings Mills, Maryland; famous for their Vest Pocket Dictionaries. Although manufacturing was still done at the plant on East 25th Street for a time, by 1964 the operation of Stenso was moved into the Ottenheimer facilities and new packaging was then designed and introduced. Libauers original plan was to merge the two companies and then sell them to a larger company, and publisher McGraw-Hill showed an interest in such an acquisition. However, some third-generation members of the Ottenheimer family didn't want this sale to go through. Ottenheimer Publishers ran into some financial problems, and subsequently sold Stenso to the Dennison Manufacturing Company of Framingham, Massachusetts. Dennison took over Stenso in 1965. A 20 prefix was added to all product numbers to fit into Dennisons product identification system. From 1965 until the early 1980s, the Stenso line was nothing more than an addendum to Dennisons vast product line. Stencil board was replaced with file folder stock, and the dies which needed re-knifing periodically in order to maintain cutting quality were often left in disrepair. Finally, during the beginning years of the 1980s, the line was thoroughly overhauled. All of the old dies were scrapped, and new ones were manufactured. The largest size in the line was a 3 stencil, and the Gothic stencil was actually a version of Helvetica. The Roman products were actually fashioned after a stencil font designed originally in metal type, and later as a digital font. Stencil cards were now approximately 3-1/2 inches high by 8-1/2 inches wide, and were die cut and folded into plastic-wrapped packaging so that they were better suited to pegboard sales in small spaces. As the fortunes of Dennison faltered in the 1990s (no doubt due to over-expansion and fiscal irresponsibility), the onetime largest supplier of office products globally was forced to merge with the Avery Corporation (the originators of self-adhesive labels) in order to survive. The Stenso name was later dropped for the Avery name, and eventually discontinued. Part of the demise of the line can be attributed to the era of dry transfer lettering, and the digital revolution brought on by affordable home computers (where thousands of type typefaces are available). Ironically, the crafting and scrap booking craze has been steadily growing around the country, and various types of stencils have enjoyed steady sales due to a resurgence of interest and popularity in this type of medium, but it comes too late for a line which [for over sixty years] helped millions of school children, business owners, home hobbyists and just about anyone who needed legible lettering (but lacked the talent) letter like a pro. SOME AFTERTHOUGHTS: Christmas stencils were produced in the late 1950s, and sold fairly well seasonally, but Mr. Libauer recalled that if he had produced enough stock prior to the "holiday buying season" of around March and April, he could have increased sales greatly by soliciting them at trade shows for toy merchants. One idea Robert Libauer never got around to marketing was a puzzle toy similar to a jigsaw puzzle, but utilizing a pressure-sensitive material so the parts could be repositioned. Libauers one regret was not moving into the line of pressure-sensitive (stick-on) lettering, which eventually became a large retail market. Although he said he made a decent living from the stencil company, Bob felt he had lost money with the merger of the line to Ottenheimer Publishers, but he had more than made up for this by going to New York, joining a Park Avenue brokerage firm and getting into investment banking and other interests. At 86 [of this writing], Libauer is still working and not looking back to the past. Ruth Libauer Hormats passed away in 2004 at the age of 93. She had been living with her daughter in Ft. Lauderdale, FL and had been in poor health for some time. [Google] [More]  ⦿

Steven Drum

Owings, MD-based designer of the slimy typeface Slobber (2015). [Google] [More]  ⦿

Sunira Rajbhandari

During her studies, Sunira Rajbhandari (Baltimore, MD) created Twig Dots (2015). [Google] [More]  ⦿

Susan Lee

Susan Lee (Bethesda, MD) is a graphic designer. In 2010, she created the avant garde typeface Modania. [Google] [More]  ⦿

Swansbury
[Nan Jay Barchowsky]

Educator Nan Jay Barchowsky from Aberdeen, MD, designed many fine handwriting fonts. She wrote BFH, a Manual for Fluent Handwriting (Aberdeen, MD, 1997) and runs Swansbury Inc. Her connected and didactical fonts are part of a commercial package, BFH. In 2002, John Butler made a connected OpenType version of Barchowsky Fluent Hand. MyFonts sells Barchowsky Dot and Barchowsky Fluent Hand. [Google] [MyFonts] [More]  ⦿

Tal Leming
[Type Supply]

[MyFonts] [More]  ⦿

Taylor Mulitz

Originally from Washington, DC, Taylor is a graphic designer and illustrator. Durinh his studies at Maryland Institute College of Art in Baltimore, MD, in 2013, he designed Penrose, an Escher-like optical illusion typeface. Folio is a display typeface from 2012. [Google] [More]  ⦿

Taylor Yoder

While studying graphic design in Baltimore, MD, Taylor Yoder designed an impossible 3d alphabet called Penrose (2013). [Google] [More]  ⦿

Ted Suwalsky

Creator of the curvy display typeface DIN Grotesk Fermata (2013), which is not a DIN at all, but Ted Suwalsky (Baltimore, MD) has a reason for calling it like that. [Google] [More]  ⦿

The Artsy Apple

Maryland-based designer of several sets of handcrafted fonts for children. [Google] [More]  ⦿

Thomas Divita

Rockville, MD-based designer of the Gladius typeface (2013). [Google] [More]  ⦿

Thomas Workeman

Laurel, MD-based designer of the school project font Gyptian (2016). [Google] [More]  ⦿

Thomas Yang

Baltimore, MD-based designer of the condensed typeface Space (2016). [Google] [More]  ⦿

Tim Browning

Tim Browning (Baltimore, MD) was inspired by Rockwell and Futura when he designed the hybrid half-slab serif typeface Rocura in 2013. [Google] [More]  ⦿

Travoy Harvey

Aberdeen, MD-based frander and graphic designer. He created the in (or blood) splat typeface Cereal Killer (2009). [Google] [More]  ⦿

Tré Seals
[Vocal Type Co (or: Studio Seals)]

[More]  ⦿

Trial by Cupcakes
[Laura Condouris]

Laura Condouris is a calligrapher, illustrator, and occasional comedienne from Baltimore, Maryland. She offers commercial fonts via Trial By Cupcakes. The first font is the calligraphic Katie Rose (2012). Anna Clara (2013) is a casual connected script with plenty of optional swashes. Quickpen (2014) is a connected script. Freeland is a hand-painted connected brush typeface.

In 2017, she designed Quickbrush (dry brush style).

In 2018, she added Harlan. [Google] [MyFonts] [More]  ⦿

Type Supply
[Tal Leming]

Tal Leming is a graphic designer, type designer and letterer who lived in Wilmington, DE, but moved his stakes to Baltimore, MD. He graduated from Louisiana State University in 1997. As a Python scripting guru, he worked with Letterror and House Industries on projects using FontLab and Robofab. An avid RoboFog scripter, he joined Erik van Blokland and Just van Rossum to initiate the RoboFab project in 2003. After graduation in 1997 from the Louisiana State University Graphic Design program, he worked as a designer at two agencies in south Louisiana. In September of 2001, Tal joined the House Industries staff as a designer in the Type Development, Product Promotions and Python Systems Implementation Department. He worked on the Ed Benguiat collection, for example.

In 2005, he left House and started his own company eventually called Type Supply. Type Supply designs typefaces for corporations and publications. Their typefaces:

• Baxter. An informal typeface used as a casual typeface in MyPublisher's BookMaker software. Commissioned by Christian Schwartz.
• Bullet (House). Bullet is based on a bit of lettering drawn by Ken Barber for the House Industries Pop Art package.
• Burbank (2006-2007, House Industries), a bouncy signage, animation, and package lettering family, about which Christian Schwartz writes: Well-drawn one-off display typefaces are easy to find, especially bouncy sans serifs. Complete suites of typefaces in this genre, however, are nearly impossible to find, especially families that are crafted with as much care as Burbank. I really appreciate seeing the attention to detail that usually goes into serious text family put into a family primarily intended for display use.
• House Gothic 23. Tal Leming writes: The family was originally designed by Allen Mercer for use on the company's commissions, most notably the legendary promotions for Custom Papers Group. In 1995, House released the family to the public with modest success, but it was largely relegated to the back of House's catalogs. House went through a bit of a sans serif obsession in the early 2000s and decided that it was time to give House Gothic its time in the spotlight. Rich Roat asked me to polish up House Gothic and make it a bit more usable. I completely reworked Allen's original drawings, making the letterforms work better in headlines, added accented glyphs, reorganized the styles and more. Once that was done, I added completely new Extended and Text styles. The family more than doubled its size into 23 total fonts and was rechristened House Gothic 23.
• Marigny (2014). He writes about this pleasant casual roundish typeface: Marigny, designed by Tal Leming, is a casual typeface that was drawn with serious typography in mind. It has the same basic proportions as classical oldstyle typefaces (think of Garamond and friends) and these give it a similar typographic rhythm to one that we have known for several hundred years. The hand-rendered forms transform this familiar texture into something very warm and pleasant. In a way, dipping into a block of text set in Marigny is like putting on your favorite pair of comfortable slippers.
• Mission and Control. An athletic lettering family commissioned by Reebok for their 2008 NFL Sideline and NHL Center Ice collections.
• Ohm (2009). A neon type family.
• Queue and Queue Mono (2021). A sans typeface family.
• Runway (House). Runway is an ode to House's sans serif obsession of the early 2000s.
• Shag Lounge. a signage family: When I was working at House Industries, we decided that we should develop a font kit inspired by the work of Josh "Shag" Agle. Josh hadn't done much lettering work so we asked him to send us samples of lettering that he liked. Many of the things he sent featured whimsical, hand-cut lettering from the 1960s. We were really into this as well, so that formed the starting point for Shag Lounge. The typeface evolved into an amalgamation of a neo-grotesque style sans serif and hand-cut lettering.
• Timonium (2012) can be bought from Type Supply.
• Torque. An octagonal family with a great inline style. Torque (2009) began its life as an amalgamation of an American athletic lettering style and classic space lettering styles. There were also references to the video games, laser games and 1980s pre-teen sci-fi action movies of my youth.
• United Ark. A military stencil face: Clint Schultz hired me to create a custom version of United for use on props in a Paramount feature film. The main goal of the project was to perfectly match stenciled lettering seen in a film released 27 years earlier. How exciting was it to make a typeface for a sequel to a classic film that I grew up with? Very, very, very, very exciting. This font is not, and will never be, available for relicensing, so please don't ask.
• United. House industries commissioned me to develop the United family as an homage to stereotypical U.S. Military lettering styles. [...] United has become quite popular since its release and it has been seen just about everywhere from NFL coverage on FOX to the New York Times editorial page.
• Balto (2007-2014) is a large American Gothic family.
• In 2016, Tal Leming created 90 Minutes, a typeface that is exclusive licensed to the United States Soccer Federation in perpetuity. He writes: I wanted to introduce some more American typographic and lettering influences. We have a rich history from Morris Fuller Benton's iconic work to the impactful lettering on Works Progress Administration posters to the bluntness of wood type on letterpressed event posters. I wanted to subtly reference these to make the typeface as distinctively American as possible. The typeface her 37 unique styles partitioned over three families, 90 Minutes Display, 90 Minutes Kit (a set of styles developed exclusively for use on uniforms, taking into account FIFA regulations), and 90 Minutes Text (drawn specifically for use in small sizes, paragraphs and tables of statistics).
• Stoneleigh. A fashion mag Caslon revival done for Martha Stewart Living. Stoneleigh is licensed exclusively to Martha Stewart Living through October 2019.
• Smoosh (2015-2020). A super-compressed high-contrast typeface with thorny serifs designed to work in very big sizes.
• Iota (2021). A geometric sans family that he made only because of his fear of not being innovative. And not because every other foundry is making its own geometric sans. But he could not resist throwing in some distractions that make Iota a geometric with a tantrum.
• Epoxy (2022). An experimental sans with odd shapes.

At ATypI 2008 in St. Petersburg, his talk (shared with Ken Barber) was entitled Pac-Man fever, quantum mechanics and the design of digital type.

Tal Leming's personal web site. Village link. Author of Letters. [Google] [MyFonts] [More]  ⦿

Uppercase Type
[Zach Risso]

Baltimore, MD-based foundry of Zach Risso (b. 1988), an American novelist who is attended Maryland Institute College of Art for a BFA in graphic design. Risso designed the dot matrix typeface Found Receipt (2008), Schriftbild Grotesk (2008), and the rune typeface Elder Futhark (2008).

Alternate URL. Home page. Dafont link. [Google] [MyFonts] [More]  ⦿

Urban Seiberg

Bethesda, MD-based designer of these modular typefaces in 2019: Dotted, Blocks 93d), Binary, Childhood (circle-based). [Google] [More]  ⦿

Vicki Qian

Baltimore, MD-based student-designer of Futura Glass (2017). [Google] [More]  ⦿

Vocal Type Co (or: Studio Seals)
[Tré Seals]

During his studies at Stevenson University in Washington, DC, Tré Seals (Baltimore, MD) created the Kesura bitmap typeface (2013), the sheared techno typeface Seized (2013), and the free vector format ribbon typeface Unveil (2013). In 2014, Tre Seals designed the vector font Mixed Media.

In 2015, he created a lower case stencil font for Wink.

In 2016, he published a few socially responsible typefaces and set up the activist type foundry Vocal Type Co. Early activist typefaces by Tré Seals include Draft (based on a banner carried by a group of students marching against conscription (1972)), Mom's Stencil (inspired by the image of the Civil Rights Movement of the 1960s, in which a child carries a sign at Jefferson Bank and Trust Co. in a demonstration against alleged discrimination in hiring practices at the bank in St. Louis on Aug. 31, 1963), and Martin (a unique sans serif typeface based on the placards carried by followers of Dr. Martin Luther King Jr. during the Memphis Sanitation Strike of 1968).

Washington (2016) and Bayard (2018) are civil rights era sans-serif fonts, inspired by the-hand painted advertisements created for the momentous March on Washington in 1963.

Typefaces from 2017: S Thing (a display family based on various condensed S's), VTC James (a stencil font family inspired by signs carried during one of the demonstrations that led to Title VII of the Civil Rights Act).

Typefaces from 2018: VTC Eva (Duarte, Peron, Maria) (inspired by banners carried during a 1957 women's demonstration in Buenos Aires in front of the National Congress By Law For Universal Suffrage), VTC Du Bois (based on infographics by William Edward Burghardt Du Bois, an American sociologist, historian, civil rights activist, Pan-Africanist, author, writer, and editor. After completing graduate work at the University of Berlin and Harvard, where he was the first African American to earn a doctorate, he became a professor of history, sociology, and economics at Atlanta University).

Typefaces from 2019: VTC Ruben (inspired by journalist Ruben Salazar and remnants of the 1970 National Chicano Moratorium), VTC Ruby, VTC Marsha Bold (inspired by the vertical sign that once hung outside of Stonewall, and named after Marsha P. Johnson, an African-American transgender woman from New Jersey, whose activism in the 1960's and 70's made her one of the most prominent figures in the Stonewall uprising of 1969).

Typefaces from 2020: Carrie (inspired by the October 23, 1915, march by 25,000 women up Fifth Avenue in New York City to advocate for women's suffrage), Broome (a bespoke typeface for Umber Magazine), The Neue Black (a free gaspipe font based on the signage of Martin Luther King Jr's and the Southern Christian Leadership Conference (SCLC) Chicago Freedom Movement).

Typefaces from 2021: VTC Spike (a custom typeface for Spike Lee's book, Spike).

Behance link. Older Behance link. Creative Market link. Seals Studio. Youtube video by Naresh Ramchandani on Tré Seals (2021). [Google] [More]  ⦿

Vy Vu

Graphic designer in Baltimore. During her studies in 2012, she made the informal sans typeface CàPhê (Coffee). [Google] [More]  ⦿

W. Moultrie Tisdale

During his studies in Baltimore, MD, W. Moultrie Tisdale designed the typeface Victoria (2015). [Google] [More]  ⦿

WeWorkForThem

Commercial typefaces at this site: 6x7OCT (I think, it's hard to read: anyway, it's a dot matrix font made in 1997), Blackgold (2000, pixel), Blessed (2001, pixel), Formation (1999, octagonal font), Macil (1999, octagonal), Pakt (1999), Reversion (1999, pixel), Trisect (1998, tri-line font), Ultramagnetic2 (1996), Unfinished (2001, pixel), Unisect (1998). One of the subdivisions is YouWorkForThem. Offices in Baltimore, MD, and Minneapolis, MN. The fonts are all (I think) by Mike Cina. [Google] [More]  ⦿

William S. Peterson

William S. Peterson is a University of Maryland professor, who had some nice pages on modern fine printing, with interesting contributions on George Allen, William Morris, Charles Ricketts, Henry Stevens, Daniel Berkeley Updike, and Emery Walker. Reservocation publishes an interview regarding his book The Well-Made Book (2003, a collection of Daniel Berkeley Updike Essays).

I quote a passage: In the first half of the twentieth century, the best typefaces were almost always produced by Monotype, but that firm unfortunately fumbled the ball when the era of hot metal came to an end. Monotype's digital versions (and, slightly earlier, the versions for phototypesetting) of its own library of typefaces were often embarrassingly bad: Perpetua, Bembo, Bell, and Centaur, for example - all great Monotype triumphs in the days of letterpress printing - seem to me, now essentially unusable in their present forms. The Monotype typefaces that still look good in the twenty-first century are mainly ones that were a bit heavy to begin with, such as Poliphilus, Bulmer and Ehrhardt. [...] Of the typefaces designed since the digital revolution, my favorites for bookwork are Adobe Caslon, Founder's Caslon, Minion, Galliard, and Miller. [Google] [More]  ⦿

Winnie Lee

Baltimore, MD-based designer of the experimental typeface Futunie (2018). [Google] [More]  ⦿

Xia Meng

Baltimore, MD-based designer of the experimental typeface Dicut (2018), which is derived by deconstructing Didot. [Google] [More]  ⦿

Xiang Dong

Baltimore, MD-based design of the sans typeface XD (2018). [Google] [More]  ⦿

Yadie Hagins

Montgomery Village, MD-based student-designer of the typeface Violinist (2015: based on MT Corsiva). [Google] [More]  ⦿

Yael Goldstein

As a student in Baltimore, MD, Yael Goldstein designed the diamond-studded decorative didone typeface Gambit in 2016, which is advertized as a playing card font. [Google] [More]  ⦿

You Work For Them (or YWFT; formerly Cinahaus or TrueIsTrue)
[Michael Cina]

Michael Cina (Minneapolis) is the cofounder of WeWorkForThem and YouWorkForThem (in 2002), also known as YWFT. Before that, he ran TrueIsTrue, and before that was partner in Test Pilot Collective (which he left in 2001), and before that he ran Cinahaus. YWFT is located in Knoxville, TN and/or Baltimore, MD. The creative director is Michael Paul Young.

Cina's fonts include the pixel fonts YWFT Caliper (1998), YWFT Bit (1998), 6x7oct (1998) and BlackGold; the handwriting font Cinahand; Blessed (1999, techno), YWFT Cam (1998, a slab serif based on industrial lettering), CommunityService, Crossover (1998, dot matrix with stars instead of dots), Composite (1998, octagonal), Formation (1999, a big octagonal family), Jute (2004, a masculine, military, sans-serif), YWFT Maetl (1999, octagonal, angular family), YWFT Moteur (a technical, retro, machine-like design; it briefly went under the name Alloy---in the early 2000s it was heavily used in the video gaming magazine Playstation), YWFT Novum (2002: a heavy block font that draws inspiration from a typeface originally used by the Swiss graphic designer Siegfried Odermatt), Pakt, Reversion (1997, squarish), Selector, Selek (1998, pixelish), YWFT Blackgold (2000, pixelish), Service (2001-2002, an octagonal family), YWFT Signature (1998), Trisect (1999, three-lined family), Unisect (1999, organic monoline sans), YWFT Ultramagnetic (1996, a popular rounded gothic typeface family), Ultramagnetic2 (1999), YWFT Ultramagnetic Expanded (2011), YWFT Ultramagnetic Rough (1996-2017), Unfinished. Bastard (1998), Kcap6 (with Matt Desmond), Cheese (1998), Novum (2002), Overcross (2002, unfocused letters), Stem (1998), Testacon (with Kral and Desmond, 1999), Praun (2002, pixel typefaces), OneCross (2002, pixelish stitching family), Estenceler (2004, a great stencil family a bit related to Milton Glaser's Glaser Stencil), Graphium (2004, octagonal Western style family), Expos (2004, graffiti or poster face), YWFT Pixacao (2007, after the Brazilian graffiti style), Vox (2007, monoline sans), Militia Sans (2007, like a Russian constructivist stencil), Jupiter (roman), Militia (2007, heavier stencil), Merc (2007, grunge), Guild (2007), Clarendon Text (2007, a complete revival), Jezebel (2007, script), Ambassador Script (2007, a digital revival of Novarese's typeface by that name), Enam (2002, influenced by Crouwel), Enigmatic Hand (2007), Dusty (2007, a Tuscan-eared Western font), YWFT Poplock (2007, experimental), YWFT Pakt (2004, geometric sans), Sudsy (2007), Black Sabbath (2008, ultra black slab serif, by Stefan Kjartansson), YWFT Belle (2008), YWFT Agostina (2008), YWFT Bitwood (2007-2017, pixelish Western typeface), YWFT Mullino (2009, letterpress emulation), Trithart (2008, grunge by Emma Trithart), YWFT Tapscott (2008-2017, informal and nostalgic all caps family, in the style of Rennie Mackintosh), Habano (2008, script), Amorinda (signage script), Retron (2008, connected script), MD01 (medical-themed dingbats), Adelaide (script), Centennial Script (calligraphic), Alexia (calligraphic), Ultramagnetic (experimental), Nash (1997, grunge), Amber (kitchen tile), Fab (3d), 6x7 Oct (1998, pixels and dots), Wool (2009, stencil), YWFT Matter (2009, a wide bold grotesque), YWFT Merriam (2009, a Clarendon-styled slab serif), Agostina Alternate (2011, with Michael Paul Young and Taechit Jiropaskosol), Ramsey (2012), YWFT Dessau (2013, schizograms and capitals like Bauhaus on drugs), YWFT League (2014, inspired by college football jerseys), YWFT Yoke (poster typeface done with Pintassilgo), YWFT Illuminati (2015, abstract capitals).

Blog. His lovely g poster (2010).

House fonts at YWFT by unknown designers: YWFT Knit (2010: knitting patterns), YWFT Motif (2015), Ramsey Condensed (2015), YWFT Roamer (2016), YWFT Whisky (alchemic), YWFT Psychosis, YWFT Processing (2001-2010: YWFT Processing was developed in 2001 for Casey Reas, the co-creator of the Processing programming language. We created this display face to be sharp, tall, unique and interesting...much like Mr. Reas himself. The font was derived from an original logo that already existed, and we continued the idea into a fully working six-weight font family. YWFT Processing was converted to Opentype format in 2010), YWFT Filbert (2012), YWFT Nim (2012, combining the hipster style with overlays for bevel and shadow effects), Dogma (2012, alchemic), Attic (spooky poster face, in EPS format), YWFT Yoke (textured all-caps), Riblah (2003, dot matrix), YWFT Fraktur (tattoo face), YWFT Burls (2013, fat poster typeface), YWFT Coltrane (2011, handdrawn poster typeface), YWFT Symplify (2013: haute couture snowflakes), YWFT Smoothie, YWFT Chance (2016), YWFT Skipper (2016), YWFT Wheatgrass (2016), YWFT Estee (2002-2017), YWFT Watermelon (2017), YWFT Ink (2017, originally designed in 2008), YWFT QUE, YWFT Burtonian (2017, named after Tim Burton), YWFT Crew (handcrafted), YWFT Maudlin (2017), YWFT Liana (2017; perhaps plumbing dingbats, who knows?), YWFT Victoria (2010: a bonbonnerie type), YWFT Valley (2017: a Memphis movement type), YWFT Wellsworth (2017), YWFT Harmony (2008-2017, a curly calligraphic script), YWFT Edger (2017), YWFT Chateau, YWFT Gummy (2002-2018), YWFT Blender (2018), YWFT Fluctuant (2018: a variable font), YWFT Gavin (a ransom note font) (2021), Ramsey (2021: a 54-style rounded squarish typeface), YWFT Hugo (2021: a child's hand).

View Michael Cina's typefaces. Alternate URL. Behance link. Interview. [Google] [MyFonts] [More]  ⦿

You Zhang

Graphic designer in Baltimore, MD. Creator of the display typeface Fey (2014). [Google] [More]  ⦿

Zach Risso
[Uppercase Type]

[MyFonts] [More]  ⦿

Zachary Font Page
[Edward A. Leach]

Kid's writing fonts designed by Edward Leach from Greensboro, MD. These include Adonais (1994, chisel font), McParland and Franks (1994). Here, we find his Cygnet (1994). Leach also made Zachary (1997), Odin (1995, with K. Brubaker) and Marcie (1994, with Marcie Sophir). Fontica carries his font Athletic (1994). [Google] [More]  ⦿

Zak Crapo

Graphic designer from Burlington, Vermont, who, during his studies at the Maryland Institute College of Art in Baltimore, created Espresso Alphabet (2014). Behance link. [Google] [More]  ⦿

Zehra Sikandar

Zehra Batool Sikandar is a recent graduate from The Art Institute of Washington where sheobtained a Bachelors of Fine Arts in Graphic Design. She specializes in illustration, brand identity, typography, layout, package design and print, and lives in Lanham, MD. Behance link. She created the poster typeface Zesana (2010). [Google] [More]  ⦿