TYPE DESIGN INFORMATION PAGE last updated on Wed Nov 20 11:19:43 EST 2024
FONT RECOGNITION VIA FONT MOOSE
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FontShop link. [Google] [MyFonts] [More] ⦿ |
Part of Prototype Experimental Foundry in New York City, this outfit designed the commercial Hebrew simulation font Kaiju (2002). [Google] [More] ⦿ | |
New York-based donationware font foundry. Site under construction. [Google] [More] ⦿ | |
Richard Kinch discusses the ruling in 1988 of the US Copyright Office. From the Federal Register, Vol 53, No 189, Thursday, September 29, 1988: "The purpose of this notice is to inform the public that the Copyright Office has decided that digitized representations of typeface designs are not registrable under the Copyright Act because they do not constitute original works of authorship. The digitized representations of typefaces are neither original computer programs (as defined in 17 USC 101), nor original databases, nor any other original work of authorship. Registration will be made for original computer programs written to control the generic digitization process, but registration will not be made for the data that merely represents an electronic depiction of a particular typeface or individual letterforms. If this master computer program includes data that fixes or depicts a particular typeface, typefont, or letterform, the registration application must disclaim copyright in that uncopyrightable data." [Google] [More] ⦿ | |
Aaron Burns, designer/typographer, was President of Lubalin, Burns & Co., Inc., New York City. In 1970, Aaron Burns, Herb Lubalin and Edward Rondthaler (from Photo-Lettering Inc.) founded the International Typeface Corporation (ITC), and Aaron Burns became its President. In 1959 he founded the International Center for the Typographic Arts (ICTA), and was a founding member of the International Center for the Communication Arts and Sciences (ICCAS). He is the author of "Typography," published in 1961 by Reinhold Publishers, Inc. From 1955 to 1960 he taught Advanced and Experimental Typographic Design at Pratt Institute, New York. He set up a type division at Rapid Typographers. There he helped promote the Typositor, or Photo Typositor (invented in Miami by Murray Friedel in 1959), which improved over the first photo type machine, the Rutherford. Rapid Typographers organized the Visual Graphics Corporation (or VGC) to make the best use of this new technology. Peter Bain writes: The owners of Rapid Typographers were impressed enough by Friedels invention to organize the new Visual Graphics Corporation. Initially the endeavor split its headquarters between the existing typographers address in midtown Manhattan and sunny South Florida. The Photo Typositor allowed an operator to see composition letter-by-letter as it was exposed, unlike the Rutherford. It also offered many of Photo-Letterings capabilities at a reduced price. The Typositor, as it became known, ingeniously used the same 2-inch film font format as the Filmotype. It speeded fashionably tight letter and word spacing, achievable in metal only with a razor blade after proofing, and had none of the size limitations of foundry type. VGC and its backers proceeded to convert metal typefaces to film, and pursued licensing with typefounders. [Google] [MyFonts] [More] ⦿ | |
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New York City-based designer of the hipster typeface Laser Gun Gothic (2014). Behance link. [Google] [More] ⦿ | |
During her studies at Pratt Institute in New York, Aasghan Shah created the handcrafted typeface Homemade (2015). [Google] [More] ⦿ | |
Great letterer and poster designer in Brooklyn, NY. Home page. I particularly like the music poster Peephole (2009) done for the Peephole Band. [Google] [More] ⦿ | |
Abby Leighton is from the New England town of Simsbury, Connecticut. Brooklyn, NY-based student at the Pratt Institute in 2017. Her typefaces:
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ABC ETC INC
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Any Body's Custom Design Embroidery from New York City offers about 40 embroidery fonts. [Google] [More] ⦿ | |
Designer in New York, b. 1989. Creator of the fat finger typeface Sarcastica (2013). Dafont link. [Google] [More] ⦿ | |
Graduate from the Emily Carr Institute (Vancouver) and the KABK in Den Haag in the Type and Media program (2009). Originally from Lethbridge, Alberta, Abi designed a modular type generator. At KABK, he created Arietta, a small family consisting of a simply constructed transitional roman and a bold roman, as well as multiple italic companions. He works as a graphic designer at Commercial Type in New York City. [Google] [More] ⦿ | |
Abrams Legacy
| The Abrams Legacy Collection was established to preserve and promote the legacy of renowned type designer and lettering artist, George Abrams (d. 2001). It is headquartered in New York City. The digital typefaces are managed and executed by Charles Nix. There are two type families, Augereau (a garalde in 13 styles) and Abrams Venetian (a Venetian in 6 styles). Abrams Venetian was designed in 1989 based on Nicolas Jenson's renaissance letterforms, but was not available until ten years later. Augereau was designed and released by George Abrams in 1997. [Google] [MyFonts] [More] ⦿ |
Abyss Type Company
| Or Mirko Velimirovic Iverson. Font engineer located in the greater New York City area, who has a BFA from Columbia College Chicago (class of 2013) and a type design diploma from The Cooper Union (class of 2017). From 2019 until 2021, he was the New York City chapter lead for Type thursday. In 2019, he set up Abyss Type Company. His typefaces:
Linkedin link. Home page. [Google] [More] ⦿ |
Illustration and design breau in Brooklyn, NY. They specialize in commercial display typefaces. Behance link. [Google] [More] ⦿ | |
A.D. Farmer
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Adagio Type Foundry
| From Amagansett, NY, Bill Troop's webless foundry: Bill Troop designed Adagio Didot (130 USD for 4 weights). Bill Troop's present company is Addict Inc., but I could not find a web page. Get News Gothic MM from the Bitstream Type Odyssey CD. See also here. [Google] [More] ⦿ |
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Rotterdam-based typefounder, b. 1754, d. Oldenbarneveld, NY, 1828. He published Proeven van Letteren die Gevonden Worden in de van Ouds Beroemde Lettergieterye van Wylen de Heeren Voskens en Clerk, Nu van A. G. Mappa (Rotterdam, 1781). I cite from that link: In 1780, the father of Adam Gerard Mappa bought a large part of the Amsterdam typefounding firm of Voskens&Clerk, and Mappa soon discovered that he had talent for typefounding. He began his own business in Rotterdam where he issued this specimen book, but moved to Delft a few years later. There he become embroiled in the Patriot movement and led a volunteer regiment in the unsuccessful revolution of 1787. He was banished from Delft, spent a few years in France, and in 1789, emigrated to America with his type foundry on the advice of the Ambassador to France Thomas Jefferson. Mappa set up his new business in New York. According to a contemporary letter, and supported by the type in this specimen, his foundry contained not only "the Western, but the Oriental languages at the value of at least [pound sign] 3,500 New York currency." There was not much call for type in exotic languages, and while Isaiah Thomas considered his Dutch and German type "handsome," his "roman were but ordinary." Mappa was not skilled enough to produce the type needed by the new nation, and the foundry was advertised for sale on 1 February 1794. At least some of Mappa's equipments was acquired by Binny&Ronaldson, although their business did not start until 1 November 1796. This specimen book came to them with Mappa's typefounding equipment. Harvard's Houghton Library has a copy of the 1781 publication which contains a handwritten note by Theo L. de Vinne (which I was not allowed to photograph by Harvard's tight-sphinctered librarians). So here is what this letter says: Dirk Voskens was a typefounder of Amsterdam, a coster of types, not a cutter of punches. In 1677 he bought the foundry of Bleau and it was kept by his heirs and successors, (1) Dirk Voskens (2) Weduwe van Dirk Voskens (3) Voskens&fils (4) Voskens + [illegible]. In 1780 the foundry was sued for 8974 francs. P[illegible] were J. Enschedé and Sons, Ploos van Amstel, Preiter, Posthmans, DeBruyn and deGroot. How Mappa acquired possession does not appear. [...] Mappa got into trouble and had to take refuge in New York, where he began business as a type founder. He did not succeed. It is not known which became of the material he had in New York. To this, Bullen added by hand: It was purchased by Binny&Ronaldson. P.M. Kernkamp kindly sent me additional information on Mappa. He points out that Mappa was typefounder in these cities: Rotterdam (1780-1782), Delft (1782-1787) and New York (1789-1792). The 1780 date is also put into question because Mappa's father died in 1779. Mappa was active in a small army of patriots in Holland, and after a defeat in 1787 against Prussia, he was banned from Holland for six years. It may explain his emigration to America in 1789. He lived in New York until 1792, then in Second River, NJ, until 1794 and finally in Oldenbarneveld (Oneida Co., NY). His foundry, then in Albany, NY, was sold in 1803 for 1200 guilders. [Google] [More] ⦿ | |
Adam Turnbull
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New York-based designer of the fat comic book font The Dood (2019). It was designed to accompany his pen drawings. [Google] [More] ⦿ | |
Adnauseum
| Adnauseum is an experimental design studio in Brooklyn, NY, run by Christian Acker, an American type designer (b. 1979, Norwalk, CT) who graduated from the Parsons School of Design in New York City in 2002. Christian occasionally guest lectures typography classes at Parsons. He set up Adnauseam in 2002 and Handselecta in 2003. He designed Sailor Gothic (2003), the Spanish-looking font Sailor Jerry (2002), Joker Straight Letter (2006), Mene One NY Throwie (2006), Mesh One AOK (2006), Meskyle Laid Back (2006), Sabe Ghetto Gothic (2006), and 24Hrs (2002, Cubanica). Klingspor link. [Google] [MyFonts] [More] ⦿ |
Art director in New York City who created the decorative typeface Kadavra in 2014. [Google] [More] ⦿ | |
Adrien Menard
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Graphic designer and illustrator in New York City, who created Bon Bon typeface in 2016. [Google] [More] ⦿ | |
Aenigma
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The free fonts: Arthritis BRK (2013), Alpha Beta BRK (2013), Amalgamate BRK (2013), Revert (2006), Gyneric (2006), Key Ridge (2006), 18 Holes (2006: Encircled letters and monograms), Double Bogey (2005), Hairball (2005), Whatever (2005), Dyphusion (2005), Blackonimaut (2005, blackletter), Snailets (2005), Vigilance (2005), Wager (2005), Janken (2005), Dented (2005), Syracuse (2005), Symmetry (2005), Nucleus (2005), Underscore (2004), Gesture (2004), Rough Day (2004), Sarcastic (2004), Galapogos (2004), Reason (2004), Slender (2004), Gather (2004), Quadratic (2004), Saunder (2004), NostalgiaBRK (2004), Kinkaid (2004), Jeopardize (2004), Pincers (2004), Fascii (2004), Grapple (2004), WaywardBRK, WaywardShadowBRK (2004), Obstacle (2004), False Positive (2004), Goosebumps (2003), Jargon (2003), Bewilder (2003), 90Stars (2003, snowflake font), Chumbly (2003), Synthetic (2003), Jawbreaker (2003), Mobilize (2003), GreatHeightsBRK (2003), Graveyard (2003), Bend 2 Squares (2003), Redundant (2003), Homespun (2003), Galvanize (2003), Dastardly (2003), Vantage (2003), Quarantine (2003), Knot Maker (2003, with a program for weaving Celtic knots), Combustion (2003), Knot (2003), Enthuse (2003), Weaver (2003), Foreshadow (2003), Rambling (2003), Mincer (2003), Intersect (2003), Technique (2003), Nominal (2003), Unlearned (2003), Brass Knuckle (2003), Quarterly (2003), Zirconia (2003), Zephyrean (2003), Whippersnapper (2003), Ryuker (2003), Discordance (2003), Graze (2003), Gravitate (2003), Edit Undo (2003), Persuasion (2003), Encapsulate (2003), Nymonak (2003), 36DaysAgo (2003), Vertigo (2003), Lights Out (2003), Sequence (2003), Rehearsal (2003), Yearend (2002), SupraGeniusCurvesBRK (2002), SupraGeniusLinesBRK (2002), Faux Snow (2002, snowflakes), Mishmash (2002), Brigadoom (2002), Gyrose (2002), Dystorque (2002), Upraise (2002), QuacksalverBRK (2002), Ravenous Caterpillar (2002), Bumped (2002), Tonik (2002), Jupiter Crash (2002), Mysterons (2002), Sideways (2002), Scalelines (2002), Pneumatics (2002), Granular (2002), Volatile (2002), Aspartame (2002), Bleak Segments (stencil font), Genotype, United, Lynx (2002), Lyneous (2002), Alpha Beta (2002, pixel font), Licorice Strings (2002), Syndrome (2002, futuristic font), Your Complex (2002), Nanosecond (2002), Binary (2002), Dynamic (2002, techno), Qbicle (2002), Flipside (2002), Amplitude (2002), Pindown (2002), Kurvature (2002), Euphoric (2002), Bobcaygeon (2002), Zoetrope (2002), Overhead (2002), Zelda DX (2002, pixel), Telephasic (2002), Hearts (2002), Lamebrain (2002), Compliant Confuse (2002), Line Ding (2002), AE Systematic, Acknowledge, Mini Kaliber, Upheaval (2002), The Code of Life font (2001), Amalgamate (2002), Bandwidth (2001), ClassicTrash (2001), XmasLights (2001, alphadings), Setback (2001), Qlumpy (2001), Regenerate (2001), Konector (2001), registry (2001), Stagnation (2001), Elsewhere (2001), Claw (2001), Cleaved, 8-bitLimit (4 weights), 10.15SaturdayNight-BRK-, Automatica-BRK (2001), Bendable-BRK (2001), BitBlocksTTF-BRK-, Kickflip-BRK-, Withstand-BRK-, Hyde-BRK-, Ecliptic (2000, a bold rounded monoline techno sans), Jekyll-BRK-, Larkspur-BRK-, NotQuiteRight-BRK-, Quandary-BRK- (an LCD font), Thwart-BRK-, Weathered-BRK-, AEnigmaScrawl, Aftermath, Blox (1999, 3d), CandyStripe (1999), Circulate, Collective (1999), Conduit, Corpulent Caps (2001), DarkSide, DashDot (1999), Dephunked (1999: halftone texture emulation), EmbossingTape (3 fonts), Exaggerate, Frizzed, FullyCompletely, Grudge, Hassle, Hillock, Impossibilium, Inertia, InkTank, Lethargic, MoronicMisfire, Numskull, Opiated, Phorfeit, PixelKrud, Powderworks, Pseudo, QuantumFlat, QuantumFlatHollow, QuantumRound, QuantumRoundHollow, QuantumTaper, Ravaged-By-Years-, Raydiate, Relapse, Sorawin-Plain, Spastic-, Splatz-, Stranded-, Swirled-, TRAGIC-, VacantCapz, Wobbly, XeroxMalfunction(BRK), Zenith, ZeroVelocity, Zoidal, simplton, Waver, SaffronColdWars, 3DLET, Bri's-Scrawl, TRAGIC-, AcidReflux, Arthritis, Ataxia (1999), AtaxiaOutline, BlockTilt, ChintzyCPU, ChintzyCPUShadow, Decrepit BRK (1999), Detonate, Draggle (2000), Draggle[overkerned], FatboySlimBLTC, Gasping, Hack&Slash, HeavyBevel, Jagged, Jasper, JasperSolid, Katalyst[active], Katalyst[inactive], LucidTypeA, LucidTypeB, LucidTypeBOutline, LucidTypeAOutline, Neural, NeuralOutline, ObloquyOutline, ObloquySolid, PlasmaDrip, PlasmaDrip[Empty], Queasy, QueasyOutline, Rotund, RotundOutline, SkullCapz (dingbats), Tearful, Tetricide, Turmoil, Ubiquity, Underwhelmed, UnderwhelmedOutline, Vanished, Xhume, Yonder, Yoshi'sStory, ZurklezOutline, ZurklezSolid, Gaposis, Naughts, Ink Swipes, Irritate, Perfect Dark, Forcible, Loopy, GaposisOutline(BRK), GaposisSolid(BRK), Head-DingMaker(BRK), JoltOfCaffeine(BRK), KirbyNoKiraKizzu(BRK), Orbicular(BRK), Xtrusion(BRK). Commercial fonts at CheapProFonts: Lamebrain BRK Pro, Dynamic BRK Pro, Phorfeit Bundle, Phorfeit Slanted BRK Pro, Genotype Bundle, Genotype S BRK Pro, Genotype H BRK Pro, Classic Trash BRK Pro, Vigilance BRK Pro, Technique Bundle, Technique BRK Pro, Technique Outline BRK Pro, Galapogos BRK Pro, Visitor BRK Pro (pixelish). [Google] [More] ⦿ |
New York-based designer of the experimental typeface Blue Notes (2011), which was inspired by the jazz of Billie Holiday. [Google] [More] ⦿ | |
Alex (Ahage16) lives in Western New York. He created the rough hand-printed typeface dkjasbnlkjfsa (2010). [Google] [More] ⦿ | |
Great graphic designer from Valencia, Spain. At Behance, she showed a trendy blingy smoky New York typographic poster (2009). In 2010, she made an equally fine poster for Berlin. [Google] [More] ⦿ | |
The typography awards in the AIGA competition [which are mostly but not exclusively for the creative use of type] in 2003 were: Archer (Hoefler), Retina (Frere-Jones at HTF), Interiors 3D type (Northern Illinois University, DeKalb, IL), Bjork Cocoon (Radical Media, NY), Copy magazine (Sagmeister, NY), AIGA "Voice" animation (Chermayeff&Geismar Inc, NY). [Google] [More] ⦿ | |
Art director in New York City. Creator of Aileen Handwriting (2011). [Google] [More] ⦿ | |
AisleOne
| Interesting graphic design and typography news and blog site by Antonio Carusone. His CV in his own words: Born in Queens, NY into a colorful Italian family, Antonio Carusone has been in the creative arts since he was a child. His early artistic talents led him to NYCs esteemed, High School of Art and Design, where he graduated in 1997. He then attended Pratt Institute in Brooklyn, NY and The Academy of Art College in San Francisco, where he studied Computer Animation. Currently Antonio resides in NYC, where he is a Senior Art Director at Ogilvy. Prior to Ogilvy he was an Art Director at Atmosphere BBDO where he worked on projects which have included Lays, Dial, Red Stripe, AOL, NFL, Gillette, Cingular, Audi, Verizon, and Bank of America. Type subpage. Commercial typefaces: Enotmik (2008, a monocase display typeface available in two weights, Light and Bold. Designed on a grid, Enotmik (2008) is made up of 90 and 45 degree angles). See also here. [Google] [More] ⦿ |
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] ⦿ | |
The Computer Duerer fonts are a metafont family developed by Alan Hoenig (John Jay College, City University of New York). This is a set of roman capitals introduced in a TUGboat article in 1990, entitled A Constructed Dürer Alphabet. Alan extended Duerer's design to generate related fonts in a bold, sans serif, typewriter-like, slanted, and casual style. Hoenig also developed Makor, a Hebrew TeX. The fonts in that package include OmegaSerifHebrew (like David), Ezra, Rashi and Hadassah. Another URL. [Google] [More] ⦿ | |
American designer of the very geometric typeface P22 Il Futurismo (1996), which was inspired by the graphic works of artists in the Italian Futurist movement (1908-1943), including Fortunato Depero, Fillippo T. Marinetti, Giacomo Balla, and C.V. Testi. [Google] [MyFonts] [More] ⦿ | |
Connecticut-based graphic expressionist painter and typographer, b. 1940, Bronx, d. 2017, Connecticut. He developed typefaces for brands like New York University and Revlon. After graduating from Pratt in 1964, Peckolick briefly worked in advertising before becoming an assistant to Herb Lubalin, who would become his mentor and lifelong friend. Coauthor with Gertrude Snyder of Herb Lubalin Art Director, Graphic Designer and Typographer (New York, 1985). He began painting professionally in 1998, a few years before he learned he had Parkinson's disease. Huffington Post obituary. New York Times obituary. [Google] [More] ⦿ | |
New York-based creator of the all caps slab serif alphabet Round Block that is featured on page 49 of John G. Ohnimus's Henderson's Sign Painter (1906). He also drew the wedge serif alphabet Romans for that book. [Google] [More] ⦿ | |
Rochester, NY-based designer of Aligned (2012), a typeface that was influenced by the shapes of the Cyrillic letters of the Orthodox church. One could call it a Cyrillic simulation typeface. [Google] [More] ⦿ | |
Student at the Rhode Island School of Design, class of 2013. New York City-based creator of Luc (2013), a geometric sans serif typeface inspired by Jean-Luc Godard's film titles. Behance link. [Google] [More] ⦿ | |
His typefaces include:
Speaker at ATypI 2013 in Amsterdam: Forma, Dattilo, Modulo. Nebiolo's last effort to produce a 'universal' typeface. Organizer of ATypI 2017 in Montreal. Speaker at ATypI 2018 in Antwerp. [Google] [MyFonts] [More] ⦿ | |
Alex Frukta
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Student at the School of Visual Arts who lives in Brooklyn, NY. In 2012, she created an unnamed typeface based on the tall, thin shapes that make up the London Bridge, the Houses of Parliament, and Big Ben. In 2013, she published Modular Type. [Google] [More] ⦿ | |
Creator of the erotic alphading alphabet Effing (2010). Alex lives in Brooklyn, NY, was born in New York City, and was raised in Los Angeles. [Google] [More] ⦿ | |
Alex O. Kaczun
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Alex Rodriguez (Bronx, NY) created Joust (2012), a typeface with gothic cathedral design elements. Cargocollective link. Behance link. [Google] [More] ⦿ | |
Alex Rosario
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Alex Rosario Type
| Alex Rosario (b. New York City) revived Roc Mitchell's retro-futuristic phototype Corporate as Corporatus (2018). As Neologix on FontStruct, he made these pixelish or modular typefaces: Harpoon Art (2016, loosely based on Dan X. Solo's Lampoon), Negesis (2014-2017, after the Sega Genesis logotype), New Era Software (2014-2017), Trigger (2011-2018: a pure pixel family). Alex explains: Descended from the classic Chicago font, Trigger Bold is a recreation of the original dialogue font from the award-winning game, Chrono Trigger. Other typefaces include Ensconce Sans (2017; free demo): Taking inspiration from the Univers family of typefaces, Ensconce is a project undertaken to recreate in a digital format the work originally performed by Girvin Design for the English branding of the Super Nintendo Entertainment System. Taking great measures to retain the design choices of the original logotype, Ensconce has been successfully used to recreate the SNES logo currently in use on Wikipedia. [Google] [MyFonts] [More] ⦿ |
Born in 1917 in Brooklyn, NY, Steinweiss became famous for his music album covers and the lettering used on them. Designer in 1939 of the curly hand-printed Steinweiss Scrawl, which was purchased by Photolettering Inc in the 1950s. It was revived in 1993 by Christian Schwartz as Hairspray (in Blonde, Redhead and brunette weights). Nick Curtis's 2005 font, Whirled Peas NF, revives Whitestone Crawl by Steinweiss. Michael Doret, with the help of Patrick Griffin, made a 2200-glyph curly script typeface called Steinweiss Script (2010), which captures a lot of the spirit of Steinweiss's album covers. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
He is the codesigner with Andreu Balius of SuperVeloz (2005, TypeRepublic), a digital version of his grandfather's typeface. It won an award at the TDC2 2005 type competition. Balius says about this typeface originally created by Joan Trochut from 1920-1980: Super-Veloz could be considered as an Ornamental type design, but in its core it is an experimental typeface based on a set of modular features that, with the combining of its modules, a great range of typefaces, ornaments ---even illustrations---, could be made. That is perhaps the most interesting experiment in early modern type design ever made in Spain during the immediate years after the War. The lecture, considering the borders between type design and ornament design, will introduce the context where Joan Trochut's Super-Veloz was produced (from sketches to published brochures and speciments) in 1942. Also will explain how Super-Veloz works. It is really a "type-ornament" design that could be considered on the edge of what we call type design. Alex has created design, illustration and typography for a diverse range of clients: Nike, Adidas, The Rolling Stones, Katy Perry, BBC, Coca-Cola, Pepsi, The Guardian, The New York Times and Time Magazine. Alex Trochut's lettering must be seen to be believed---it has to be genetic transmission. Recurring themes include adorned initials and modular types. His numerical all-caps alphabet for British Airways is phenomenal and pushes the bling-bling to the fashionable extreme. Stunning dollar sign drawn by him in 2007 for Acido Surtido. In 2009, he published Neo Deco at HypeForType. Noteworthy type treatments of that year include Nixon and the Futurecraft logo. In 2012, he designed Trojan Font (like Trajan). He also did some stunning multiline alphabet for V Magazine. Also noteworthy is a swashy calligraphic logo for Wiz Khalifa and Atlantic Records. In 2013, Barcelona-based creative agency, Herraiz Soto commissioned Alex Trochut to create an original typeface collection titled Raw for Notegraphy. In 2017, he made the color font Megazero at Fontself in Opentype SVG format. In 2018, Alex Trochut and Sudtipos cooperated on Utopian and Dystopian. Utopian is a color font family based on primary colors and pure geometric shapes, influenced by Bauhaus and De Stijl. Dystopian, its black and white companion with square features of Renner's original Futura drawings, emits a darker look and evokes Trumpian gloom and doom. Behance link. Debutart link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Alex Wiederin
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Designer at Designmachine.net in New York of Breakdown (1994, 3d lettering), and Myrna (2001, co-designed with David Heasty), an LCD type font that was named after the New York Art Directors Club's executive director, Myrna Davis. [Google] [More] ⦿ | |
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Designer in Brooklyn, NY, who made some unnamed hand-drawn typefaces in 2012 during his studies at Pratt (class of 2015). [Google] [More] ⦿ | |
Alexander Jay
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Graphic designer and illustrator in New York City. He created the black counterless art deco typeface Gummo (2011). Behance link. [Google] [More] ⦿ | |
Author, educator, historian and type personality who taught at Rochester Institute of Technology from 1947-1977. He wrote Anatomy of a Typeface (1990, David R. Godine). He died in 2002 in Sun City, FL. Obituary. [Google] [MyFonts] [More] ⦿ | |
Alexander Tochilovsky is a graphic designer, typographer, curator and educator, who graduated with a BFA from The Cooper Union (New York), and holds an MFA from Cranbrook Academy of Art (California). He is currently the Curator of the Herb Lubalin Study Center of Design and Typography. Since 2007 he has taught typography and design at the Cooper Union School of Art, and also teaches the history of typeface design at Type@Cooper, the postgraduate certificate program he co-founded in 2010. [Google] [More] ⦿ | |
New York-based designer of the revival fonts Preissig Antikva, Preissig Italika, Menhart Italika and Menhart Manuscript, which won awards at the TDC2 2001 competition (Type Directors Club). He is a professor of graphic design at the Hartford Art School of the University of Hartford, and specializes in publication design. Author of the bestseller How to Spec Type, Type In Use", The Elements of Graphic Design (2002, Allworth Press), and Thinking in Type (2005). [Google] [More] ⦿ | |
Designer at BA Graphics of Chicken Feet (2007). She was 11 years old whebn she drew this---the typeface was digitized by her grandfather Bob Alonso (1946-2007) who lived in the Bronx in New York. [Google] [MyFonts] [More] ⦿ | |
Alexandra (Ellie) Peters is the Rochester, NY-based designer of Clockpunk Dingbats (2013), which are designed to be paired with any old style typeface. This typeface was a school project at the Rochester Institute of Technology. [Google] [More] ⦿ | |
Graphic designer in Utica, NY. His typeface Neuro (2012) consists entirely of circular arcs. [Google] [More] ⦿ | |
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Alexey Popov
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Alexis Graf (Brookly, New York) created the avant-garde family Courtney Crawford (2012). Behance link. [Google] [More] ⦿ | |
AlfaType
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His typefaces:
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During her studies, Alice B. Cabrera designed the textured typeface ABC Rhythm (2015). [Google] [More] ⦿ | |
During her studies in New York City, Alina Zghen created Super Sharp (2014, FontStruct). [Google] [More] ⦿ | |
During her studies in Queens, NY, liyah NC designed the pixelish typeface Pilar (2017). Tumblr link. [Google] [More] ⦿ | |
Almanac Design
| New York City-based designer of Radio Corp (2015, an art deco family designed as a tributed to the 1920s New York City architect Ralph Thomas Walker), Circle Deco (2015), Insomnia Deco (2015) and the sketched art deco typeface Jingle Display (2015). Typefaces from 2016: Logic (a puzzle display font), Marine Terminal (based on maritime signage). Creative Market link. Almanac Design link. Behance link. [Google] [More] ⦿ |
Albany-based foundry, also called Franklin Letter Foundry (not to be confused with the Franklin Type Foundry in Cincinnati). It opened in 1825 and closed in 1832 when Kinsley died. The 1829 specimen book led James Puckett to develop the beautiful ornamental didone fat typeface Sybarite (2011), which comes in many optical weights. [Google] [More] ⦿ | |
Alphabet Soup (or: Michael Doret)
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Fonts sold by MyFonts. Behance link. FontShop link. His typefaces:
Creative Market link. View Michael Doret's typefaces. The typeface libray at Alphabet Soup. [Google] [MyFonts] [More] ⦿ |
A free on-line truetype font editor, developed by Golan Levin, with the help of Jonathan Feinberg and Cassidy Curtis. (Alphabet Synthesis Machine is a co-production of Art21, Inc., New York City, and The Arts Company, Cambridge, MA) It has a font archive with over 7,000 fonts created by visitors. All fonts created are of the inner city graffiti kind, so this is not meant to be a professional tool. I estimate that the archive gets about 50 fonts per day. See, e.g., here for M1. See here for Antarctica (2007) by Czar Choi. [Google] [More] ⦿ | |
Digital fonts that were inspired by Mucha:
CV. One of his alphabets. Viennese Secession link. View commercial fonts that descend from Mucha's work. [Google] [MyFonts] [More] ⦿ | |
Alpkan (b. Istanbul) moved abroad and studied graphic design at several art schools such as School of Visual Arts in New York and Rhode Island School of Design in Providence. After finishing college, Alp worked for Poulin+Morris, a New York graphic design studio focusing on environmental design projects. He obtained a Masters in type and media program at KABK. His graduation work at KABK was Baron or Grand Baron (2011): Baron is a modern display typeface inspired by super-ellipse shaped typefaces by Hermann Zapf such as Melior and Zapf Elliptical. Intended to be used in large sizes, Baron tries to differ from early pointed pen models with its friendly terminals and some asymmetric counters. Baron family consists of Baron Regular, Italic, and Bold. In 201 at the KABK, he emabarked upon the revival of Silvertype, a 1914 typeface of Sjoerd Hendrik De Roos for The Silver Thistle, a private press in The Netherlands. Vergi Regular and Vergi Stencil (2010) is a sans family created at RISD for the city of Istanbul. Typecache link. [Google] [More] ⦿ | |
Altemus Creative
| Altemus Creative Services sells dingbat fonts by Robert Altemus from New York, NY: Your premiere source for digital decorative fonts. Their commercial dingbats are sold by MyFonts. Partial list: AltemusBirds, AltemusBorders 1 through 4 (1992; Borders 4 containss pointing hands and flourishes), AltemusBursts 1 through 4, Altemus Bursts 1 through 4 (2002, contains snowflakes), AltemusChecks, AltemusChecksTwo, AltemusCorners, AltemusCrosses, AltemusCuts, AltemusCutsThree, AltemusCutsTwo, AltemusFlowers, AltemusHands, AltemusHolidaysOne, AltemusKitchen, AltemusPinwheels (1996), AltemusPointers, AltemusRays, AltemusRaysBold, AltemusRoughcuts, AltemusRounds, AltemusRules, AltemusSecurity, AltemusShields, AltemusSpirals, AltemusSpiralsBold, AltemusSpiralsBoldItalic, AltemusSpiralsItalic, AltemusSquares, AltemusStars 1 through 3, AltemusSuns, AltemusSunsBold, AltemusToolKit (2 fonts), Altemus Web Icons, EuropaArabesque, Games (cards, domino), Games 2 (mahjong, chess), Sports (balls), Sports 2, Leaves 1 and 2. Catalog, part I, part II. [Google] [MyFonts] [More] ⦿ |
Graphic designer in New York City who created Binghamton Sans (2012). Behance link. [Google] [More] ⦿ | |
While studying at Washington University in St. Louis in the Sam Fox School of Design & Visual Arts, this New Yorker designed the experimental typeface Dry Martini (2012)---this typeface consists of thick circles and arcs, and thin sticks. [Google] [More] ⦿ | |
Alyssa Tasevoli (Lindenhurst, NY) created the handcrafted typeface Charmed in 2015. [Google] [More] ⦿ | |
During her studies at The School of Visual Arts in New York, Alyssa Tornese designed the thin sans display typeface ease (2018). [Google] [More] ⦿ | |
Alzbeta Capkova (Squished Lizzard) is the New York-based designer (b. 1986) of Squished Lizzard Scrawl (2005, handwriting). Alternate URL. [Google] [More] ⦿ | |
Glen Spey, NY-based designer of a hand-drawn roman caps alphabet that was finished in Illustrator in 2013. In 2011, as abusch1 at FontStruct, she created the squarish typeface Mr. Roboto during her studies at York College in Pennsylvania. [Google] [More] ⦿ | |
As a student at Parsons in New York City, Amanda Chung designed the alphading typeface Alphabet Men (2016). Behance link. [Google] [More] ⦿ | |
Briarcliff Manor, NY-based graphic designer who created the scary Crow Font in 2013. [Google] [More] ⦿ | |
Recent graduate from the BFA program in Graphic Design at the Fashion Institute of Technology in New York City, who is currently living on Long Island and working at Curio Design in NYC. Proposer in 2007 of new letterforms that look a bit Armenian to me. [Google] [More] ⦿ | |
During her studies in Rochester, NY, Amanda Riekstins designed Strawberry Lemonade (2016), French Toast (2016), Whipped Cream (2016) and Pumpkin Spice Latte (2016, a curly typeface). In 2018, she published Jelly Jar. [Google] [More] ⦿ | |
Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the connect-the-dots typeface Estrela (2013, Friday Fonts. [Google] [More] ⦿ | |
Buffalo, NY-based designer of the experimental typefaces Henore (2014) and Rolex (2014). These were created during her studies at the University of Buffalo. [Google] [More] ⦿ | |
Their specimen books are classics:
A brief history of ATF by Carol Van Houten. Reference books. View the digital typefaces that are based (fully, or in part) on ATF's typefaces. See also here, here, and here. [Google] [MyFonts] [More] ⦿ | |
American Wood Type Co.
| One of two American wood type manufacturers with the same name. This one was started by Frank Gerhardt in Brooklyn, NY, in 1918. In 1922, the name was changed to American Brass and Wood Type Co. [Google] [More] ⦿ |
Wood type company that was located in Manhattan. Their catalogs include Wood Type Printers Equipment and Supplies (1938) and Printers Supplies Wood Type Metal Type (1960s). [Google] [More] ⦿ | |
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American Wood Type Mgf Co.
| American wood type manufacturer in New York City, est. 1932 by Rube Mandel. In 1936, it buys Empire Wood Type holdings. Around 1962, its name changed to American Printing Equipment and Supply Co. Its last catalog was printed in 1968, but the company lasted until 2001. [Google] [More] ⦿ |
A Handbook of Types (PDF catalog). [Google] [More] ⦿ | |
Co-designer with Christina Torre and Richard Kegler of P22 Victorian Gothic (2000), which was based on a typeface called Atlanta. [Google] [More] ⦿ | |
Graphic designer who has worked at the McGill Daily in Montreal (1997-1999) and at SUNY (New Paltz, NY, 2003-2004), where she obtained an MFA in Intermedia Design in 2005. She wrote a thesis in which features of OpenType are used to replace bad words with good ones. From 2006 until 2009, Amy was an Assistant Professor of Graphic Design at the University of Bridgeport in Connecticut. Currently, Amy is an Assistant Professor of Graphic Design and Foundation at the State University of New York at New Paltz. She is one of the cofounders of Alphabettes. Flash demo which does not work on several browsers. Scribbly handwriting fonts (no downloads) include Sugar and Spice, Shy Slacker, Francophile and Cranky Kid. [Google] [More] ⦿ | |
Graphic designer in New York City who created a calligraphic serif typeface called Tender (2012). [Google] [More] ⦿ | |
New York City-based designer of a typeface made up entirely of logos (2017). [Google] [More] ⦿ | |
In 2012, she created the tall high contrast fashion typeface Kilimanjaro. Her Textappeal lettering from 2014 is also noteworthy. Her experimental typeface Floating Typescapes won an award at ProtoType in 2016. Behance link. Old Behance link. [Google] [More] ⦿ | |
Prolific art director from Moscow who is now located in New York. Her work includes the fashion mag Latin/Cyrillic typeface Cadre (2014), the prismatic custom typeface Icon Face (2014, done for a make-up school) and a few other fashion industry fonts. Behance link. [Google] [More] ⦿ | |
Andi Jones/ Taylor Deupree
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Andrea Braccaloni
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Pine Bush, NY-based designer of Sin Rough (2013), an informal sans typeface. Behance link. [Google] [More] ⦿ | |
At Parsons School for Design in New York City, Andrea Johansson created the display typeface Dylan (2014). In 2016, she designed the art deco typeface family Garry and the octagonal typeface Michael. Behance link. [Google] [More] ⦿ | |
Reproducing his bio: I'm a graphic designer graduated from PUC-Rio and co-author of the illustration book "FUNK what beat is this," published in 2009 by Aeroplano. During 2010, I gave lectures on the development process of the book at PUC-Rio and ESDI. I have specialization in Printmaking at the Rhode Island School of Design and Business Management at IBMEC-Rio. I have worked at 19 design, O Globo Online and Yahoo! Brazil. I currently live in New York and attend the MFA in Communication Design at Pratt Institute. During the summer of 2012, I was part of the creative team of the Rio2016 Olympic and Paralympic games. His typefaces include Ubique Infotype (2013, with Rob Gonzales). Ubique overlays several typefaces to create a special effect. [Google] [More] ⦿ | |
Andree Ljutica is the design director of Origami Design Studio in New York City. Andree designed Own It Sans (2012). Behance link. [Google] [More] ⦿ | |
Andrei Robu
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Andrew Babb
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Andrew Bellamy
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West Harricon, NY-based student and graphic designer. Creator of Revolvo (2007), a sans with a surplus of testosterone. [Google] [More] ⦿ | |
Andrew Childs
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Andrew Childs Typography
| New York-based designer of the beautiful Internal Serif Bold, and of Printmaster (2002). While you are at it, check out his unbelievable work at AC/AC in Philadelphia, especially his web page for the Morimoto restaurant. He also made an unitled workhorse-type bitmap face, Pug (2004, another great bitmap face), and the great bitmap/pixel families Dumont (2004), Fourte (2004), Ledger (2004), Certive (2004), Düsseldorf (2004, a pixel serif family, including a slab serif), an unnamed cursive pixel face (2004), and Bitley (2004, a pixel serif face!). Andrew is one of the grandmasters of pixel typography. [Google] [More] ⦿ |
Student at the School of Visual Arts who lives in New York City. Creator of the thin condensed octagonal typeface New York City (2012). Behance link. [Google] [More] ⦿ | |
Type designer from New York City, NY, who created an art nouveau typeface in 1886. [Google] [More] ⦿ | |
New York-based designer who developed a display typeface as part of the rebranding of the American Museum of Natural History, which included logos, museum signage, retail, and website. Behance link. [Google] [More] ⦿ | |
Raised in New Jersey, Andrew Walunas lived in Savannah, GA, while attending SCAD for his BFA in Graphic Design, and currently lives in the greater NYC area. He created the slab serif typeface Kocan (2015) during his studies. Behance link. [Google] [More] ⦿ | |
Graphic designer in New York City, who published the poster sans typeface Loop in 2019. [Google] [More] ⦿ | |
From 2005 until 2018, Andy worked at the Hoefler&Co. type foundry, where he contributed to the typefaces Vitesse, Forza, Ideal Sans, Archer, Surveyor, and spearheaded the design of Operator and Obsidian (2015: a decorative copperplate engraved emulation typeface---various kinds of 3d illumination in Obsidian were obtained by an algorithmic process. In 2019, he co-developed Mingei Mono for the Mingei International Museum along with Yomar Augusto. In 2020, he released Tilt. Tilt is a family of (variable) typefaces inspired by three dimensional lettering found in storefront signage. Subfamilies: Tilt Neon (mimics the construction of neon tube lettering), Tilt Prism (based on prismatic lettering, cast or cut in a material), Tilt Warp (resembles peeling vinyl stickers). The variable fonts have two axes, horizontal rotation and vertical rotation. Github link. [Google] [More] ⦿ | |
New York City-based designer of the extra-condensed font Dementia (2014). [Google] [More] ⦿ | |
Freelance designer in New York City, who created the art nouveau typeface Mustache Gothic (2012). [Google] [More] ⦿ | |
Graphic designer in Ridgewood, New York, who created a few unnamed typefaces in 2013. [Google] [More] ⦿ | |
Angela Chan (School of Visual Arts, New York City) designed the blocky 3d typeface Boxy (2016). Behance link. [Google] [More] ⦿ | |
Angela Riechers has an MFA in Design Criticism from SVA in New York City. She is an art director and writer and the coordinator of Typography as Language: Theory and Practice, an SVA Summer Residency Program. Author of Random Characters: The Past, Present and Future of Generative Typography (Visual Arts Journal, Fall 2016 issue). Her examples include randomized typefaces, programmed typefaces, dynamic typefaces and parametric fonts. [Google] [More] ⦿ | |
Queens, NY-based designer of the monoline sans typeface Bittersweet (2017). [Google] [More] ⦿ | |
Angus B. Grieve-Smith
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Behance link. [Google] [More] ⦿ | |
Graphic designer in Binghamton, NY, who created the squarish pixelish typeface Krunch in 2015. Behance link. [Google] [More] ⦿ | |
New York City-based designer of the free grunge font Hellvetica (2017). [Google] [More] ⦿ | |
Annie Jen, a student at the School of Visual Arts in New York City, designed the fun Split Typeface (2012). Behance link. [Google] [More] ⦿ | |
Anselm Dästner
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Brooklyn, NY-based designer. Created of the floriated caps typeface Flourish (2013). Behance link. [Google] [More] ⦿ | |
Graphic designer from New York City, who made the ultra fat art deco typeface Booking (2009). Behance link. [Google] [More] ⦿ | |
Graphic designer from Massepaqua, NY, who proposed the avant-garde font Codegraphik in 2002. [Google] [More] ⦿ | |
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Anthony Melice (AMelice Design, Buffalo, NY) created the stencil typeface Breeding Ground (2014). [Google] [More] ⦿ | |
During his studies at the School of Visual Arts in New York, Anthony Zukofsky designed the display typeface Anode (2012). [Google] [More] ⦿ | |
Illustrator and typographer in Paris, who created the modular display typeface Impulsif (2014). [Google] [More] ⦿ | |
Graphic designer in New York, who made Fabrica (2012, an art deco typeface) and Invented (2010). [Google] [More] ⦿ | |
Graphic designer in the Bronx. Behance link. Designer of the multilined typeface Pzooms (2010). [Google] [More] ⦿ | |
New York City-based designer of the 3d experiment Type My Face (2015). Home page for DFMN. [Google] [More] ⦿ | |
Antonio Carusone
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Antonio (Tony) DiSpigna
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Anuthin Wongsunkakon
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Graphic designer in Nyack, NY. Creator of Modular Alphabet (2012). [Google] [More] ⦿ | |
She designed Magnimo while at Reading. Aoife writes: from the Latin Magna, meaning great or large, and the Indic Anima, meaning spirit or soul. Magnimo is a big-hearted typeface with many moods and voices. I am quite impressed by this three-style typeface (Regular, Italic, Upright Italic), which, with its lively angular design, seems just right for green party and energy drink magazines. All the extra features expected of a 2010 typeface are there, including a matching and nicely balanced Greek, and coverage of most European diacritics. Additional scans: i, ii, iii. In 2016, she published the free Google Font family BioRhyme (+Expanded). See also Open Font Library. Speaker at ATypI 2016 in Warsaw on Synoptic Translations. Speaker at ATypI 2017 Montreal, where she entertained the crowd with socially relevant typography and type for dissenting voices. Speaker at ATypI 2018 in Antwerp. [Google] [More] ⦿ | |
Designer and illustrator Apirah Infahsaeng ("Synthetic Automatic", Brooklyn, NY) made Elastic (2004), based on wrapping a series of rubber bands around a 3x3 pegboard grid. Four (2004) takes inspiration from the dot matrix display in the popular children's game Connect Four. Seven Board of Cunning (2004) is a modular paper fold typeface constructed with Chinese tangram puzzle tiles. In 2004, he also made an ascii typeface drawn from Helvetica Neue R, created and manipulated using Microsoft Word [sic], called Helvetica Neue R Microsoft Word. He studied art at the University of Connecticut. In 2008, he drew a custom didone display typeface for New York Magazine. [Google] [More] ⦿ | |
Atkinson Hyperlegible (2019-2020) is a free neo-grotesque typeface created by Applied Design Works for Braille Institute of America, Inc, which is based in Los Angeles. Named after Braille Institute founder, J. Robert Atkinson, it has been developed specifically to increase legibility for readers with low vision, and to improve character recognition. The project was the winner of the Graphic Design category in Fast Company's 2019 Innovation by Design Awards. In this video, Craig Dobie, Brad Scott, and Elliott Scott provide a behind-the-scenes look at the development of Atkinson Hyperlegible. Google Fonts link. The physical 4-style font family was designed by Elliott Scott, Megan Eiswerth, Linus Boman and Theodore Petrosky. Atkinson Hyperlegible differentiates common misinterpreted letters and numbers using various design techniques:
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April Pascua is a graphic design student at Pratt Institute. She resides in Brooklyn, NY. April created the floriated roman capitals typeface Dandi (2012). [Google] [More] ⦿ | |
Arabetics
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His typefaces include Zena (2009), Layal (2007), Mehdi (2005: follows the guidelines of the Mutamathil Taqlidi type style), Sabine (2008: it too follows the guidelines of the Mutamathil Taqlidi type style), Fallujah (2005), Mutamathil Falujah, Yasmine Mutamathil, Mutamathil Taqlidi, Arabic Mutamathil, Arabic Mutamathil Mutlaq (2004), Arabic Mutamathil Tibaah, Arabic Mutamathil Mutlaq Tibaah, Arabic Mutamathil Muttasil and Arabic Mutamathil Tibbaah Muttasil. Mutamathil and Mutamathil Taqlidi include optional Lam-Alif ligatures. See also Kufa Mutamathil (2011). Other font families: Nasrallah, Silsilah, Yasmani, Mutamathil, Yasmine Mutamathil, Amudi, Amudi Mutamathil, Anbar (2008), Handasi, Yasmine Mutlaq, Jazm (2010), Jalil (2011). In 2012, he added Nuqat, Nastarkib, Lahab, Ibrani, Hallock, Arabetics Latte (for Latin and Arabic), and Banan (Mutamathil Taqlidi type style). In 2005, he created Handasi, about which he writes: The idea behind Handasi, Arabic word for engineered, was to design a font without a single curve that would at the same time resembles traditional curves-rich Nask style. The font strictly uses straight lines. The design of Handasi is based on the Mutamathil Taqlidi design style where each letter is represented by one normal glyph assigned the basic Unicode number and an additional final shape glyph to letters capable of dual connection within traditional Arabic text. No initial, medial, or standalone shapes are provided. Arabetics Symphony (2012) is a sans serif Latin typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. In 2013, he published PF Nuyork Arabic at Parachute. His Arabetic fonts from 2013 include Nagham, Arabetics Harfi (for Latin and Arabic), Camille, Raqmi and Raqmi Monoshape. In 2015, he published Hazim (in Mutamathil Taqlidi style), Sada (for small devices, in Mutamathil Taqlidi type style), Khatt, which follows the Arabetics Mutamathil Taqlidi style. Typefaces from 2016 include Mashq, possibly the first typeface implementation ever of the early Quranic scripts of the Early Mashq, Mashq Kufi, and Mashq Ma'il. The font family design is primarily based on the scripts of the Quran manuscripts of the Topkapi Museum, the Bergstraesser Archive, and other scattered samples. Typefaces from 2018: Arabetics Detroit. Typefaces from 2020: Arabetics Aladdin. Hiba Studio link. [Google] [MyFonts] [More] ⦿ |
Arabic type site. Displayed font families include AT (by Tarek Atrissi), Al-Futtaim (by Mamoun Sakkal), and work by Nadine Chahine. Corporate calligraphy by Samir Sayegh. He holds a MFA in design from the School of Visual Arts in New York, a MA in interactive multimedia from the Utrecht School of the Arts in the Netherlands, and a BA in graphic design in his homeland, Lebanon. [Google] [More] ⦿ | |
During her studies at Kingsborough Community College, Queens, NY-based Aracely F. Calle designed the colorful typeface Salvador Dali (2018). [Google] [More] ⦿ | |
Archaica
| Archaica is the foundry for the fonts created in 2005 by David Yoon for ancient languages. Yoon was born in Kalamazoo, MI in 1964, and resides in Woodside, NY. Archaica Nabataean50 (2005) provides a typical set of characters for the ancient Nabataean language, used in what is now Jordan and adjoining regions during the period of the Roman Empire, based on lapidary letter-forms of the first century of the present era. Archaica Aramaic-450 (2005) covers the ancient Imperial Aramaic language, which was used in the Persian Empire during the sixth to fourth centuries BC. [Google] [MyFonts] [More] ⦿ |
New York City-based creator of the dot matrix typefaces Disorient (2010) and Disorient Pixels (2010), both made with FontStruct. FontStruct link, where he publishes as Archer03. In 2018, he designed the free all caps Greek font Inititiation Ritual. [Google] [More] ⦿ | |
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Graduate from the Academy of Art and Design in Arnhem (1998) and of the Cranbrook Academy of Art (2000) who designed the gorgeous neo deco font New Amsterdam (2001), Deadgun (2000, as a past tribute to Raygun), Yeehaw, Blood Thirsty, Wanted Dead or Alive, Diamond, and Al Capone Was Here. At Union Fonts, he published New Amsterdam, Are You In?, and Roger That, fonts also showcased at Cranbrook. In 2005, he decided to go public and make his fonts available for free: Becoming Animal, Free Doughnut, Human Behavior, Deadgun, Yeehaw, Blood Thirsty, Wanted Dead or Alive, New Amsterdam, Are You In?, and Roger That. Noordeman is an art director and a designer, and has offices in North Adams, MA, and Brooklyn, NY. [Google] [More] ⦿ | |
Arrow Type (or: Typefloundry, or: Recursive Design)
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Fontsquirrel link. [Google] [More] ⦿ |
Bronx, NY-based designer of the great connect-the-dots typeface Patience (2019). [Google] [More] ⦿ | |
At Parsons School of Design in New York, Arunima Sinha designed a modular typeface in 2019. [Google] [More] ⦿ | |
Author of the penmanship book Barnes's National Vertical Penmanship (New York: American Book Co., 1899). [Google] [More] ⦿ | |
Graphic and editorial designer in Northport, NY. He made a few interesting type posters in 2010: Bembo, Futura, Zebrawood. [Google] [More] ⦿ | |
During his studies at Parsons the New School of Design in New York City, Asaki Okamura created the typeface Arsenal (2014), which showcases parts of different firearms. Before that, he lived in Singapore, Tokyo and Rio de Janeiro. Behance link. [Google] [More] ⦿ | |
ASDDF
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Ash Silva (New York City) scanned water drops laced with ink to create a super-experimental Ink Drop Alphabet (2013). [Google] [More] ⦿ | |
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Rhinebeck, NY-based designer of the origami typeface Ribbon (2014). [Google] [More] ⦿ | |
Albany, NY-based designer of the custom mechanical ornamental caps typeface Resistance (2013). [Google] [More] ⦿ | |
Designer of Ashley Marie (2009) and Ashley's Handwriting (2009). Ashley (b. 1994) is from New York. [Google] [More] ⦿ | |
Designer in New York City who created the zipper-themed X Font in 2012. [Google] [More] ⦿ | |
Designer of the dingbat font Fin de Siècle (2002, Garagefonts). She also the head designer at Funny Garbage. During a study program at Type@Cooper in New York, she designed the sans typeface Telesync (2012) specially for reading at small sizes. FontShop link. [Google] [More] ⦿ | |
Astrolux
| Commercial foundry in Oak View, CA, est. 2011, by Glenn Parsons (b. New York City). Creator of UXB Stencil and its companion UXB Spray in 2011, rough stencil typefaces. He also designed the tattoo typeface Dragon Fang (2011), Sugarbang (2012, comic book style), and the octagonal wedge typeface Spacepod (2012). In 2013, Glenn created the comic book style typefaces Rocket Pop, Rocket Pop Outline and Koo Koo Puff. Signal 1885 (2013) is a vintage cursive script. In 2014, he published Hexxes (a hexagonal typeface family), the retro futuristic mutant typography typeface Redrail Superfast. Typefaces frrom 2015: Barn Owl (layered eroded wood style). Typefaces from 2016: Bonewire, Tin Sign (vintage weathered style). Typefaces from 2017: Digideco (retro-futuristic). Typefaces from 2018: Fabbabi (a retro headline type), Surfoid, Smilodon (crayon font). Typefaces from 2021: Fluffenhaus (a display typeface about which Glenn writes: The glyphs are soft serve ice cream, sorta Cooper Black after too much party. A fun playful look that suggests the 1960s and 1970s). Typefaces from 2022: Monoicono (encircled icons related to environmental, health, weather, emergency, quality control, and synergy). [Google] [MyFonts] [More] ⦿ |
Atomic Media (was: SmartDust)
| Matthew Bardram (b. New York City, 1965) is the Tucson, AZ-based [T-26] founder of Atomic Media, who specializes in bitmap fonts. He designed Atomic, Centrifuge, Bromide (at T-26), Crackle, Klaxon. At Nakedface (now gone), he made Arachnid, Bitpak, Bylinear, DhexInline, Genetica, Economy Large, Empiric, Hypersigna (2005, bitmap face), Montreal (the family) and two katakana fonts. His Bitpack includes the following pixel fonts: Bylinear (2000), Cellular (2000), Genetica (2000, free download), Genetrix, Macroscopic, Metodic, Microscopic, Noir, Scriptometer, Remote (2000), Monocule (2000), Joystik, Centrifuge, Quantaa (2000), Bionika, Megalon (2000), Wired, Badfish. Bardram's Digipak includes Atomic-Inline, Atomic-Outline, Bionika-Black, Bionika, Genetrix-Crossed, Genetrix-Square, Genetrix-SquareCore, Genetrix-SquareHollow, Joystik, Macroscopic-A, Macroscopic-B, Macroscopic-C, Macroscopic-D, Macroscopic-E, Methodic-Bold, Methodic, Microscopic, Noir, Scriptometer-SanScript, Scriptometer. Additional typefaces: a 3D pixel font called Boxer 3D (2002), Neuronic (2002-2004, nice outlined pixel font; see also here), Fusionaire (2002, a display font) and Wijdeveld, a squarish font based on the lettering of poster artist Wijdeveld from The Netherlands. In 2005, these fonts were added: Magnetica, Imperium, Ratio, Hypersigna, Sequence and Tempora, all by Matthew Bardram. Sausan Kare's pixel fonts at Atomic Media: Mini Food, Kare Dingbats, Biology, Everett, Harry, Ramona, Kare Five Dots, Kare Five Dots Serif, Kare Six Dots, Kare Six Dots Serif. Alternate URL. Interview. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Attention Earthling Font Foundry
| Typefaces offered by this company include Sawdust Marionette by Bonefish Sam and Fax-O-Matic by Greg Knoll from Larchmont, NY. Other fonts: Blahaus, Brillo, Dunlux. At T-26, he did Rant. [Google] [MyFonts] [More] ⦿ |
Designer of Punkgaraphy (2010), an experimental face. Audria is into adverting and graphic design and lives in Brooklyn, NY. Behance link. [Google] [More] ⦿ | |
Punchcutter born in Frankfurt am Main (1844), who died in New York in 1896. He worked for some time at A.D. Farmer&Son in New York, as well as at Conner Type foundry, and at Bruce Type foundry after his emigration to the USA in 1868. In Germany, he was a punchcutter at Flinsch and from 1864-1868 at Haas in Basel. McGrew says: Merrymount was designed by Bertram G. Goodhue for Daniel B. Updike's Merrymount Press in Boston, and was cut only in 18-point. This was used in an impressive Altar Book, which established the reputation of Updike and his Press. Steve Watts says the typeface was cut by Mr. [August] Woerner of A. D. Farmer&Son Type Foundry in New York. The original punches and matrices are preserved by the Providence (Rhode Island) Public Library as part of its extensive Updike Collection, where a note with the mats says, "Cut by A. Woener (sic), June 21st, 1895." His typefaces: Bruce No. 11, No. 13 and No. 21 (Bruce Type foundry), German no.91 (1876, Bruce), Penman Script No.2053 (Bruce), Merrymount (1896, Merrymount Press), and the following typefaces published at Farmer, Little & Co: Card Gothic (1893), Gotham (ca. 1890), Lightface, Old Style No. 5 (ca. 1887), Old Style No. 5 Italic, and No. 6, 15, 17, 18, 20 21, 22 and 23. [Google] [More] ⦿ | |
August T. Horvath
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Born at Fort Jackson, New York, in 1860, this well-known penman died in 1927. After studying at Gaskell's Business College in Manchester, NH, Palmer first worked in Indiana, Missouri and Iowa, before founding the A.N. Palmer Company in New York City to teach and practice penmanship. He introduced the Palmer Method of business penmanship, which soon became the most popular handwriting system in the United States. Author of these books:
Reference: In Spencerian Script and Ornamental Penmanship, Volume I (1989), by Michael R. Sull, we find a chapter on his life. [Google] [More] ⦿ | |
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] ⦿ | |
New York City-based designer of Hermetica (2018), a dingbat font that contains 750 cultural and religious symbols. [Google] [More] ⦿ | |
AvanType
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His Hebrew designs: Casablanca, Derby, Falafil, Girnata, Rituals, Talona. His Latin fonts include Adorey, Alluremda, Granada, Merkory and Stocky. He won an award at Bukvaraz 2001 for Maqsaf. At TDC2 2003, he won a Certificate of Excellence in Type Design for Falafil. His Arabic typefaces include Chiaka, Ghirnata (1996), Sinan (1992), Alwadi (1996), Onwan (1998), Shallal Ultra Light (1995), Saljook (1997), Barhoom (1995), Alkhoury (1997), Sayaf, Maqsaf and Qasab (1998). He won an award at TDC2 2006 for Hogariet (2005, a Hebrew face) and at TDC2 2008 for Al Rajhi (an Arabic text family). [Google] [More] ⦿ |
Swedish Brooklyn, NY-based designer of Teknisk and Teknisk Stencil (2016), designed to capture the mechanical feeling of the early machines. Behance link. [Google] [More] ⦿ | |
Ayako Ito
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Ayako Ito (and: Type for Ukraine)
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Commissioned typefaces include Bubble Tea (a bubblegum typeface designed for Stone And Strand, a NYC based jewelry startup), Kafeteria (a phenomenal geometric sans as part of the brand identity for Kafeteria, a new café at the Statens Museum for Kunst in Copenhagen by renowned Danish restaurateur Frederik Bille Brahe; just like the menu and experience at Kafeteria, the typeface combines Japanese minimalism with Danish culture), Good Girl (a sans designed for Stone And Strand, a NYC based jewelry startup), August KBH (custom typefaces for August Journal Issue 05: Copenhagen), Moet Hennessy, Gemic (a custom stencil typeface for Gemic, a global growth strategy firm with offices in NYC, Helsinki, Toronto, and Berlin). [Google] [More] ⦿ |
Mansourah, Egypt (and/or New York City)-based designer of the Latin sans typeface Firsta (2012). Now based in New York City, he also designed the free font Burnit (2012), and the rounded typefaces Cobera (2013), Limon (2013), Over Sea (2013), Bazyl (2013), Fada (2013), Fagr (2013), Coll 3D (2013), Cool Bold (2013), Maw (2013), Awesome Outline (2013) and MyBold (2013). He also made Up Down (2013), Carpenter Tools (2013, dingbats), Stop It (2013), Bold Box (2013), Youm (2013), Quick Run (2013), Gangnam (2013), Prison Tattoo (2013), Web Tools (2013, icons), Labels (2013), Social Media Font (2013), Shehab (2013) and Social Font Icons (2013). He runs Fontm.com. Home page. Dafont page. Behance link. Fontspace link. Another Behance link. [Google] [More] ⦿ | |
Aymie Spitzer created a Western typeface called Dumbo while studying type design at the Cooper Union in 2012: While studying typeface design at Cooper Union, I attempted to revive a French Clarendon. This design has always had a soft spot in my heart so I thought it was a perfect opportunity to make something fun for my first typeface. Taken from ATF's P.T. Barnum, I digitized this revival in about 2 months. [Google] [More] ⦿ | |
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BA Graphics
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John Bomparte wrote this obituary: Throughout his career at the legendary Photo-Lettering, Inc. (one that spanned four decades), Bob created original typefaces and tailored type by modifying, revising and filling out families, fashioning pieces of type for hand-lettered jobs, as well as being involved with the updating of a number of well-known logotypes. Bob was blessed with natural teaching abilities; and those in social and professional circles who had the good fortune to know him considered him not just a type designer but a mentor and a friend. As one such person close to him put it, he was a graphic technician [...] back when computers were not even in site for graphic arts, he would take on any intricate&complex graphic project that others would shy away from and come up with a solution that achieved a masterpiece. I'll always remember someone saying "this can't be done" and Bob saying let me see it and a short time later, there it was---done&perfect. I would like to think that attitude rubbed off on me. Along with this gift for teaching and explaining the complex, Bob exhibited a level of professionalism that was unsurpassed. A number of years ago when the need came to make the transition from the traditional to digital way of creating fonts, he rose to the challenge admirably. Towards the last few years of Photo-Lettering, Bob played a vital role in the conversion to digital, of many of the typefaces within the collection, notably those fonts that carry the prefix PL. More recently, Bob Alonso released several fonts through ITC, Adobe and his independent foundry, BA Graphics. Bob was on the cutting edge of his best work, and in the circumstance of his untimely passing, left a measure of unfinished designs. However, the spirit of his typographic talents and his fine sense of humor lives on through the many much-loved, and popular fonts he has left us: fonts such as Cookie Dough, Equate, Elephant Bells and Pink Mouse, to name a few. Alonso created these typefaces:
FontShop link. Klingspor link. View Bob Alonso's typefaces. View the BA Graphics typeface collection. An alphabetic listing of Alonso's typefaces. [Google] [MyFonts] [More] ⦿ |
Badson Studio
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Before Badson Studio, Kyle created the layered multiline typeface Pinscher (2013), the rounded sans typeface Penfield (2013), the experimental typeface Geoface (2013), the warm titling typeface Holden (2013), the multiline straight-edged typeface Countdown (2013), and the art deco family Flagpole (2013). In 2013, he received the 2013 SOTA Catalyst Award. Home page for Kyle Read. [Google] [More] ⦿ |
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As an illustration major at Pratt Institute in New York, Baily Crawford created a decorative caps typeface (2015), and a set of decorative vignettes called Horseradish (2015). Behance link. [Google] [More] ⦿ | |
BB&S was purchased by ATF about 1911 and it operated independently until about 1930. Typophile page on them. Text file with a list of the typefaces in their Catalog 25 (1925). Discussion of some of their typefaces and digitizations:
Digital typefaces that descend from Barnhart / BBS. [Google] [MyFonts] [More] ⦿ | |
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Creator of typefaces at VGC, such as Deutsch Black (1966). This unicase piano key typeface was revived in digital format by Nick Curtis as Blackbarry NF (2011). [Google] [More] ⦿ | |
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Born in New York in 1900, she died in London in 1969. A typographer, writer, and art historian, she worked for the British Monotype Corporation for most of her life, and was famous for her energy, enthusiasm and speeches. Collaborator of Stanley Morison. She created a typeface called Arrighi. She is famous for The Crystal Goblet or Printing Should be Invisible (The Crystal Goblet, Sixteen Essays on Typography, Cleveland, 1956, and Sylvan Press, London, 1955), which is also reproduced here and here. The text was originally printed in London in 1932, under the pseudonym Paul Beaujon. Here are two passages:
Drawing of her by Eric Gill. Life story. Beatrice Warde was educated at Barnard College, Columbia, where she studied calligraphy and letterforms. From 1921 until 1925, she was the assistant librarian at American Type Founders. In 1925, she married the book and type designer Frederic Warde, who was Director of Printing at the Princeton University Press. Together, they moved to Europe, where Beatrice worked on The Fleuron: A Journal of Typography (Cambridge, England: At the University Press, and New York: Doubleday Doran, 1923-1930), which was at that time edited by Stanley Morison. As explained above, she is best known for an article she published in the 1926 issue of The Fleuron, written under the pseudonym Paul Beaujon, which traced types mistakenly attributed to Garamond back to Jean Jannon. In 1927, she became editor of The Monotype Recorder in London. Rebecca Davidson of the Princeton University Library wrote in 2004: Beatrice Warde was a believer in the power of the printed word to defend freedom, and she designed and printed her famous manifesto, This Is A Printing Office, in 1932, using Eric Gill's Perpetua typeface. She rejected the avant-garde in typography, believing that classical forms provided a "clearly polished window" through which ideas could be communicated. The Crystal Goblet: Sixteen Essays on Typography (1955) is an anthology of her writings. Wood engraved portrait of Warde by Bernard Brussel-Smith (1950). [Google] [MyFonts] [More] ⦿ | |
Brooklyn-based Michigander, currently exploring custom type, coding, and motion design. Her typefaces include Ancho (2020), which includes a variable cut. Ancho is a wide-stanced sans with forms inspired by the Teotihuacan pyramids in Mexico. At Type Cooper 2020, she developed the vernacular display typeface Aguas, an experimental variable font that shifts in width and curvature and is inspired by hand-painted signs in Mexican food markets. [Google] [More] ⦿ | |
Behaviour (was: type behaviour)
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Fonts include OCRX, Aspirin, Interviewer, Songothic (1999), Behaviour, Keystonestate, Effectra, Hydrous, Ideologica, Waveeweekend, Matamorphosis, Berlidin (1999). Commercial fonts available at T26 and PsyOps (where he did Hydrous). Also, many dingbats by Nirut Krusuansombat, again without downloads. Custom-made Thai fonts too. [T-26] designer of Aspirin, Aspirin Advance, Aspirin Refill (hairline), Automate (2008), Behaviour, Berlidin (1999), Carbon, Cellular One, Cellular Two, Cellular three, Coupe, Datum, Dotto, Dotto Deluxe, Effectra, Harbinger, Hydrous (2009, PsyOps and T-26), Ideologica, Interviewer, Keystone State, Labelo Ext, Labelo Rom, Labelo Uni, Myers Sans, OCRBe, OCRX, QR-Type, Son Gothic (+New Son Gothic), Wavee Weekend (upright script, Foto (2006, dingbats), Harbinger (2004, stencil), Myers Sans (2005), Aspirin, Carbon (2003, an octagonal font, which reappeared in 2006 as Carbon C6 and in 2008 at Cadson Demak as carbon Plus), Coupe (2006, 4-weight sans family), Labelo (2003, octagonal, +Varsity), Dotto, Dotto Deluxe (2002, dot matrix font), Behaviour, Berlidin (1999: nice serifs), Ideologica (2000), Interviewer, KeystoneState (1999: a license plate font), Metamorphosis, SonGothic, WaveeWeekend (2000), OCRX (2001, T-26), and Effectra (2001, T-26), Cellular-Complete (2002, T-26), POBox (2002, T-26, dingbats of postal imprints), Datum (2002, pixel font), Baked (2007, T-26), Board (2004, T-26), OCR-Be (2006). Free font: Katan U Kata Way T (Thai font). Dingbats: Arvaiyava, Bahnpaburut, I'm Icons, Monsoon, Pixxo (pixel-based icons), Prajanbarn, SO-6. MyFonts sells the athletic lettering fonts Labelo Ext (2007, T-26), Option Sans (2009, T-26), Labelo Varsity and Board Deluxe, Enzyme (2010, Cadson Demak), Amino (2010, Cadson Demak: an organic family). Typefaces at Katatrad include Ra Bobb Thai (2012, octagonal). Typefaces from 2013: EQ Pro (+Rounded: Cadson Demak). Anuthin Wongsunkakon collaborated with Akira Kobayashi and Monotype Studio on Avenir Next Thai (2021). FontShop link. Klingspor link. View Anuthin Wongsunkakon's typefaces. [Google] [MyFonts] [More] ⦿ |
Chilean codesigner (with Dominique Tetzner) of the icon typeface Pictos Latinos, which won an award at Tipos Latinos 2014. In 2015, she published the serif typeface Manola from her new home in New York City, as well as the text typeface Ramiro and the angular italic typeface Violeta, which were created during her studies at Type@Cooper. Behance link. [Google] [More] ⦿ | |
Art director, type designer and illustrator working in Brooklyn, New York, who does mainly custom work for clients such as Entertainment weekly, ESPN, Fortune Magazine, grantland, GQ and NBC. His typefaces include
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Buffalo, NY-based designer, b. 1971, of the fat typeface Kong Quest (2018, a somewhat retro, bubbly and fun cartoon font), the drop cap typeface Sir Guppy (2017) and the liquid contour typeface Stone Skip (2008). In 2019, he designed the bone font Bone Brigade. In 2020, he released Alphabit Soup. [Google] [More] ⦿ | |
Ben Goetting hails from Brooklyn, but is now based in southern California. In 2014, he designed an all caps rounded blackletter typeface called Grandmaster Clash. [Google] [More] ⦿ | |
In 1995, Maurizio Osti reconstructed and redesigned Ben Shahn's Folk Alphabet, which was originally created as lettering in 1940, with the consent and approval of Bernarda Shahn, Shahn's second wife, and the Estate of Ben Shahn, under license from VAGA (New York). FF Folk (2003, Marizio Osti and Jane Patterson) is the only authorized and officially endorsed digital version of Shahn's well-known protest poster lettering. In the same style, we also have the fonts Bensfolk (2000) and Bensfolk Condensed (2000) by Harold Lohner. Jean Evans's Hatmaker (1996, Agfa Creative Alliance and later ITC) consists of two all caps typefaces, one of which was inspired by Ben Shahn's hand-constructed alphabet. Nick Curtis's Outgribe NF (2011) is a rough, raw typeface that is based on the lettering in Ben Shahn's iconic poster protesting the execution of Nicolo Sacco and Bartolomeo Vanzetti in 1927. That same poster also inspired Daniel Pelavin in his Book Country (2010). Charles Leroux created the Tuscan typeface Rendezvous GRP (2008) based on Ben Shahn's cover of Rendezvous with Destiny. At Esos tipos de la UTEM, one can download Nahueltoro (2007), an exceptionally beautiful comic book style headline face by Santiago Toro, based on the credits of the movie El Chacal de Nahueltoro by Vicente and Antonio Larrea, and on Ben Shahn's lettering. [Google] [More] ⦿ | |
Raisonné is a contemporary sans-serif typeface, designed by Benjamin Critton over the course of several months during the summer of 2010. It can be bought at Colophon Foundry. In 2012, Colophon published his Value Serif typeface. In 2013, the angular typeface Lydia Bold Condensed was published at Colophon: The typeface is a calligraphic sans-serif re-drawn and developed by Benjamin Critton after Warren Chappell's 1938-1946 designs. It is concurrently fluid and sharp; intended to appear wrought by both pen and machine. In 2016, Critton designed the Google Font typeface family Space Mono, which follows in the footsteps of 1960s headline typefaces such as Microgramma and Eurostile. He also designed the sans typeface Sunset in 2016. Github link. [Google] [More] ⦿ | |
Brooklyn-based graphic designer with an interest in lettering and typeface design. He studied graphic design in Raleigh, North Carolina and received a certificate in typeface design from the Cooper Union in 2019. Benjamin Tuttle is a volunteer at the collectively-run microcinema Spectacle Theater since 2017, contributing film programming, poster design, trailer editing, and more. He is Design Director at Ultravirgo. His typefaces:
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In 2007 he moved to the Netherlands to study type design through the Type and Media Masters course at The Royal Academy of Art in the Hague (KABK). Berton has resided in New York since 2008, and was a staff designer with Commercial Type from 2008 to 2013, when he left to start his own studio. Berton's typefaces have been awarded by the New York and Tokyo Type Directors Club, the ATypI, and the Brno Biennial. In 2012 he was awarded Print magazine's 20 Under 30 Award. Berton currently teaches typography at Parsons and has taught type design at The University of the Arts in Philadelphia and the Type@Cooper Extended Program at The Cooper Union in New York. His typeface Alda was designed to function at very small sizes while remaining expressive. The bold is macho and delicate at the same time. Alda won an award at TDC2 2009. In the same year Alda was also selected by the Tokyo Type Directors Club to be included in its annual publication. It was published by Emigre. At Commercial Type he co-designed the extensive family Stag with Christian Schwartz and Ross Milne. Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional special effects display variants. Stag Stencil followed in 2009. In 2010, he published the geometric sans serif family Platform at Commercial Type. It has a gorgeous circle-based hairline. In 2013, he published a 4-family 20-style French Renaissance typeface family called Portrait (+Text, +Inline, +Text), still at Commercial Type: Portrait started out as an experiment in drawing a display typeface that managed to be both beautiful and brutal, and both classical and minimalist. While its lighter weights are quietly elegant, the heavier weights show the influence of chiseled woodcut forms. Portrait draws its primary inspiration from the Two-line Double Pica Roman (equivalent to 32pt in contemporary sizes) cut by French punchcutter Maître Constantin around 1530 for the printer Robert Estienne. Portrait replaces the delicately modeled serif treatments of Constantin's original with simple, triangular Latin serifs, reimagining the Renaissance forms in a contemporary light. Portrait Text resembles the text types attributed by the printing historian Hendrik Vervliet to Constantin and used by the printer Estienne in the 1530s, which had a lighter and more open texture than the text types that preceded them, and marking the move to more elegant type that culminated in the work of Claude Garamont. The stripped-back simplicity of the Latin serifs gives Portrait a cleaner and sharper tone than a typical Renaissance oldstyle-influenced text face, bringing an active personality to text. In 2015, he created the sans headline typeface families Druk, Druk Text, Druk Wide, Druk Condensed and Druk Text Wide: Druk is a study in extremes, featuring the narrowest, widest, and heaviest typefaces in the Commercial Type library to date. Starting from Medium and going up to Super, Druk is uncompromisingly bold. It was meant as a companion of Neue Haas Grotesk. Of the families in the Druk collection, Druk Condensed is the most explicit homage to Willy Fleckhaus. Originally designed for the 2011 Year in Review issue of Bloomberg Businessweek, its flat sides make letters and words snap together in a clean and satisfying way. For MittMedia, he made the corporate sans typeface Duplex (2016). Still in 2016, Berton Hasebe published Styrene at Commercial Type. Their blurb: Styrene, a new sans serif by Berton Hasebe, is his latest exploration of proportion and simplicity in type design. The initial inspiration for the family was a charmingly awkward sans serif shown in an early 20th century Dutch type specimen. However, Styrene has an entirely ahistorical attitude. Its name was inspired by the purposefully synthetic feeling to its curves and geometry. The family is characterized by its proportions: typically narrow characters like f j r and t are hyperextended and flattened, adding openness in unexpected places. Styrene's two widths offer different textures in text: version A is dogmatically geometric, with a stronger overall personality, while version B is narrower for more reasonable copyfit, though not truly condensed. Schnyder (Commercial Type) was designed by Berton Hasebe and Christian Schwartz for the 2013 redesign of T, the New York Times Style Magazine by creative director Patrick Li and his team. Schnyder has the high contrast typical of a fashion typeface and has a large number of alternates. The stem thicknesses in each weight are identical across the widths, an unusual feature that allows the widths to be mixed freely in headlines, even within single words. It features three weights, four widths, and four optical sizes. Production assistance by Hrvoje Zivcic and Miguel Reyes. Schnyder Wide, Condensed and X Condensed were published in 2018. In 2020, he released Review (Condensed, Poster, Regular) at Commercial Type, which writes: Berton Hasebe originally drew Review (née Kippenberger) for T: The New York Times Style Magazine. In 2018, a new editor in chief pushed for a complete reimagining of the magazine. What had primarily been an image-focused publication evolved into a text-driven one, with the squarish, commanding Review doing much of the heavy lifting. To facilitate tight setting both horizontally and vertically, Hasebe sheared off Review's overshoots and blunted its exterior curves, producing a dynamic tension with its round counters. Produkt (2014, Christian Schwartz and Berton Hasebe) is Graphik with slabs added on. Christian Schwartz and Berton Hasebe originally designed Feature for T: The New York Times Style Magazine in 2018, and wrote: Diagonal stress, mismatched contrast between main strokes and serifs, and sharply angled head serifs conspire to give the face tension, dynamism, and immediacy. The collection has been expanded in 2021 for release by Hrvoje Zivcic, who expanded the weight range and drew italics for the entire collection. Feature Collection now includes Feature Text, Feature Display and Feature Deck. Feature [Google] [MyFonts] [More] ⦿ | |
Cheltenham was adapted, extended, and revisited by many, starting with Morris Fuller Benton from 1904-1911, who created a full family of Cheltenhams for ATF---Benton's Cheltenham is the Cheltenham we have today. The (British) Monotype version was Gloucester [it had an italic p with the normal closed bowl]. Stephenson Blake had Winchester [which may be distinguished by the curl of the ear in the g and the serifs of the s]. Intertype had Cheltonian. Berthold originally called their version Sorbonne (1905). In 1975, Tony Stan increased the x-height in his revival for ITC. Digital Cheltenham versions can be found at SoftMaker (Cheltenham Pro, and S790), Elsner&Flake (Cheltenham OldStyle EF), Berthold (as Sorbonne BQ), Adobe (ITC Cheltenham by Tony Stan), URW (Cheltenham Old Style, and the 2001 typeface Cheltenham D Bold Extra Condensed), Castcraft (as OPTI Cheltenham Old Style), Monotype (as Gloucester Old Style, Monotype's version of Cheltenham), Paratype (the 1997 Academy typeface family by Lyubov Kuznetosova and Alexander Tarbeev), Cheltenham Pro (2012, Softmaker), Bitstream (Cheltenham; also under the names Stubserif 705 and Stubserif 205 for the Extra Condensed versions), Font Bureau (FB Cheltenham by Jane Patterson, 1992), ITC (Tony Stan's 1975 version of Cheltenham; and ITC Cheltenham Handtooled, a 1993 openface family by Tony Stan and Ed Benguiat), and Scangrapghic (Chelten or Cheltenham Old Style SB). Mac McGrew on Cheltenham: The design of Cheltenham Oldstyle and Italic is credited to Bertram Grosvenor Goodhue, an architect who had previously designed Merrymount, a private press type. For Cheltenham he had the assistance of Ingalls Kimball, director of the Cheltenham Press in New York City, who suggested and supervised the face. Original drawings were made about 14 ' inches high, and were subjected to much experimentation and revision. Further modification of the design was done by the manufacturers. Some historians credit this modification or refinement to Morris F. Benton; another source says it was done at the Boston branch of ATF, which suggests that the work may have been done by Joseph W. Phinney. In fact, Steve Watts says the typeface was first known as Boston Oldstyle. Mergenthaler Linotype also claims credit for developing the face, but it was first marketed by ATF. Trial cuttings were made as early as 1899, but it was not completed until about 1902, and patented in 1904 by Kimball. It was one of the first scientifically designed typefaces. The thin lines were strengthened to avoid the emaciated look of many types of the period. It is almost a monotone, but with just enough difference between light and heavy lines to avoid monotony. The small serifs and short, compact lowercase make a high character count. Ascenders are unusually long, while descenders are quite short. This was done as a result of studies that showed the greater importance of the upper half of a line of type in creating readily recognizable word shapes and result ing readability. The typeface has had much adverse criticism, especially because of its short descenders and the unusual design of several characters---notably A with the extension of its thick stroke at the top, G with the curve extended at the bottom, and g with its angular, unclosed tail. The alternate form of r, with its arm raised above x-height, has also been criticized, but this is mostly the result of misuse. It is disturbing within a word, but adds a bit of grace at the end of a word. Oddly, original fonts had only this form, with the more regular r added later; most fonts for handsetting include both forms of r, but those for machine setting include only the normal form or in a few cases only the more exotic form. Morris Benton, ATF's chief designer, produced Cheltenham Bold in 1904 and a score of variations up to 1913, methodically exploring the possibilities of various combinations of weight and width, and making this the first true large type family. Benton's variations include Cheltenham Bold Condensed, 1904; Cheltenham Bold Italic, Cheltenham Bold Condensed Italic, Cheltenham Wide and Cheltenham Bold Outline, 1905; Cheltenham Bold Extra Condensed and Cheltenham Bold Extended, 1906; Cheltenham Inline, Inline Extra Condensed and Inline Extended, 1907; Cheltenham Oldstyle Condensed, 1909; Cheltenham Medium, 1909; Medium Italic, 1910; Cheltenham Extrabold, 1910; Cheltenham Bold Shaded, Bold Italic Shaded and Extrabold Shaded, 1912; and Cheltenham Medium Condensed and Expanded, 1913. Linotype, Monotype, and Ludlow each have duplicates of a dozen or more Cheltenhams, while Intertype has the same under the name Cheltonian. Nearly all of these are essentially the same, except for the addition of ligatures and diphthongs in some display fonts (as shown for Cheltenham Bold), and the modification of keyboard sizes to fit mechanical requirements, but this is substantial in some cases. A curious exception is C heltenham Bold Outline; in the original foundry version it is cut from the same patterns as Bold so they will register for two-color work, while Monotype display sizes have several characters rather crudely redesigned---note H, P, R, e, h, u shown separately. Some of these other sources have also added versions of their own, notably Cheltenham Cursive, designed by Robert H. Middleton for Ludlow, and Cheltenham Wide Italic on Monotype, probably designed by Sol Hess. The latter carries the modifications required for machine-set sizes into display sizes as well. There are several oddities in the Cheltenham family. Cheltenham Wide is identical with Cheltenham Oldstyle except for the lowercase, in handset fonts. The same figures and punctuation marks from these two typefaces are also shared by Cheltenham Oldstyle Condensed, again in handset fonts. In the specimens shown here, compare Oldstyle and Wide. The former, set in ATF type, has two forms of cap C, which that foundry supplied with both typefaces, while the latter, set in Monotype, has two forms of cap W, which that company made only for that face. The unusual paragraph, prime and double prime marks, as well as parentheses and brackets, were made by ATF in some sizes of all three typefaces, but by Monotype only in Cheltenham Oldstyle. There is no Cheltenham Condensed Italic, but Linotype has a Cheltenham Extra Condensed Italic (so-called), which is actually a little wider than Cheltenham Condensed (roman)---why it is called extra condensed is not known. It suffers from adaptation to straight matrices, with annoying gaps between some letter combinations. But Cheltenham Medium Italic was designed more successfully by Benton to fit straight type bodies without kerns. Figures in the medium, bold, and extrabold weights differ from those of the Oldstyle; also notice how the x-height increases with weight. Ludlow Cheltenham is distinguished by the greater slant of some of its italics, and by the rounder top on the roman lowercase a and the rounder lower spur on capital G, as shown in some of the specimens. Western Type Foundry copied several members of this family as Chesterfield. Hansen had the Craftsman series, differing most noticeably in the few characters shown; and other foundries around the world copied it under a variety of names. Also see Kenilworth, Lowell, Venetian. Books on Cheltenham include one by Thomas Hailing: Specimens of General Printing . Cheltenham (1882, Oxford Printing Works). Posters created on Cheltenham include one by Anna Brooks (2013). Klingspor link. Linotype link. FontShop link. View various digital versions of Cheltenham. See also here. [Google] [MyFonts] [More] ⦿ | |
During her studies, Syracuse, NY-based Beth Nellis created the heavy counterless display typeface Hawd (2013). [Google] [More] ⦿ | |
Bethany Lesko (Brooklyn, NY) made the cat alphabet Helveticat in 2013. [Google] [More] ⦿ | |
Bhanu Arbuaratna is a New York based Art Director, designer and illustrator. Behance link. Creator of the slab typeface Number & Symbols (2012). [Google] [More] ⦿ | |
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Brooklyn, NY-based designer of the free blocky font BC Block 25 (2018). [Google] [More] ⦿ | |
Bill Bogusky
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Bill Davis graduated from the Rochester Institute of Technology with a Printing Management degree. He was Vice President for Marketing at Agfa Monotype in 2003, and quit around early 2004. In 2004, he co-founded Ascender Corporation, where he was VP Business Development. Wnen Ascender was bought by Monotype, Bill made the jump to Monotype. At ATypI 2003 in Vancouver, his talk was entitled Steal this font: Fonts are at risk now more than ever before compared to traditional forms of software piracy. Type designers may not understand all the new software applications and technologies that allow End Users to distribute fonts with their documents on the Internet. What can type designers and font vendors do to address the threats and opportunities of these new technologies? This presentation will review the role of the EULA (End User License Agreement) and a variety of software applications and formats such as PDF, Flash and SVG. This abstract is subversive, starting with the innocent-sounding phrase "software piracy", as if fonts are software---they are not: they are just tables of data representing geometric forms. When I vectorize a Picasso painting, the data are not a program! This misreprentation is typical of Agfa and now Monotype. On various Agfa web sites (some of which pretended to be something else), the word "download" was used to invite friendly clickers, only to discover that in Agfa speak, "download" means "buy". It is ironic, then, that this deceptive marketing company joined forces in 2003 with the heavy-handed FAST (Federation Against Software Theft), as if "theft" is bad and "misleading" is not. On Typographica, Bill Davis says: We have worked for some time now to get FAST to recognize fonts in their software compliance programs. Fonts are software too. Almost every message of his pumps out this fiction, since, clearly, if fonts are not software, then there is no software copyright protection. On his web site, he is proud to be a policeman: Bill led the company's efforts to develop custom software to track unauthorized use of its trademarks and copyrights on the Internet, and to evolve their font software licenses to target the needs of e-books, web servers and other applications. Speaker at ATypI 2013 in Amsterdam: Enhanced Web Typography with OpenType fonts. [Google] [MyFonts] [More] ⦿ | |
New York-based creator (b. 1986) of the freescratchy fonts Screw This (2009) and Ink Bleed (2009), the fat finger font Lednar (2011), and the wood cut typeface Wood Is Good (2012). [Google] [More] ⦿ | |
Bill designed Busted (2008, Canada Type: grunge family) and the luxurious families Didot Headline (2009, Canada Type) and Didot Display. From 2009 until 2011, he cooperated with Patrick Griffin at Canada Type on a monumental revival of Alessandro Butti's Semplicità typeface---the new family is called Semplicità Pro. The designers write: Bill and I spent some time looking closely at Futura, the instant popularity of which in the late 1920s triggered Butti's design. This was for the most part a pleasant process of rehashing what constitues a geometric typeface, musing over the fundamental phallacy of even having such a classification in type while in reality very little geometry is left after the application of the optical adjustments inherently needed in simplified alphabet forms, trying to understand how far such concepts can go before entering into minimalism, and scoping the relativity between form simplicity and necessary refinement. Mostly academic, but very educational and definitely worth the ticket. [...] For an answer to Futura, Semplicità was certainly quite adventurous and ahead of its time. It introduced aesthetic genetics that can be seen in popular typefaces to this very day, which is to say eighty years later. Though some of that DNA was too avant-garde for the interwar period during which Semplicità lived out its popularity, much of it remains as an essential aesthetic typographers resort to whenever there is call for modern, techno, or high-end futuristic appeal. The most visibly adventurous forms at the time were the f and t, both which having no left-side crossbar, with the f's stem also extended down to fully occupy the typeface's descender space. Aside from those two letters, Semplicità's radical design logic and idiosyncracy become more apparent when directly compared with Futura. [...] Futura attempted to go as far as geometry could take it, which ultimately made it too rigid and considerably hurt its viability for text setting. Renner himself acknowledged some of its flaws, and even proposed alternate fucntionality treatments, with a more humanist aproach applied to some forms, all of which went nowhere because Futura's momentum and revenue were deemed undisruptable by some- thing so trivial as aesthetic or functionality. William Dwiggins' Metro design, a direct descendent of the Renner's design, went almost diametrically the opposite way of Futura, with the deco facets considerably magnified and the geometry toned down. Butti decided a design that finds the middle ground in that aesthetic tug of war was probably a better idea than either extreme. In 2016, Patrick Griffin and Bill Troop co-designed Bunyan Pro, which is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s---the most popular Gill text face in Britain from its release until well into the 1980s. [Google] [MyFonts] [More] ⦿ | |
Bill Troop
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Bjorn Ramberg
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Black Graphics
| New York City-based typographer and designer. She studied at the Queensland College of Art in Brisbane, Australia, and moved to Berlin in 1988, where she held the position of Art Director for the English-language magazine The Edge and later Art Director for The Berliner. In 1991 she relocated to San Francisco, where she started web design in 1996, doing a lot of branding for many years. In 2008, Karen relocated Black Graphics from San Francisco to New York. During her studies at Type@Cooper (2011-2012) she created the text typeface Reguat. [Google] [More] ⦿ |
Black Plum
| Trent Williams runs Black Plum in Brooklyn, NY. He designed several logotypes but is mostly concerned with graphic design and corporate identity. One of his typefaces is Olivo Verde (organic). [Google] [More] ⦿ |
Another URL. Behance link. [Google] [More] ⦿ | |
New York City-based designer. During his studies at Type@Cooper (2011-2012), he designed the angular text typeface Quarry, which evokes Czech type design masters such as Menhart and Preissig. [Google] [More] ⦿ | |
Graphic Design student at the Fashion Institute of Technology in New York. She created the über-curlified thin hand-drawn typeface Wanderlust in 2012. [Google] [More] ⦿ | |
Illustrator whose work has appeared in many children's books and in magazines such as Fortune, Esquire and Graphis. In U&LC vol. 11, No. 4, he published an interesting all caps Alphabet Puzzle (1984). [Google] [More] ⦿ | |
Bogusky2
| Bill Bogusky runs the design studio Bogusky 2 in Miami, together with his brother. He created Gonzo Bruno, Gonzo Monza and Gonzo Grosso (2007), Sundial (2006, Trajan lettering), Condo (2006, condensed), Ar Deco 1, 2, 3 and Deep (2006), Technia 1 and 2 (2006, athletic lettering or MICR applications), Sport (2006, dingbats), Macarena (2005: art deco), Zanzibar (2006: decorative), 42nd Street (2005: Broadway style lettering), Boffo (2005), Bronco Rose (2005, Wild West style), Decora (2005), Switchback (2005, a computerish face), Capzule (2005, a condensed black face), Tulip (2005, a decorated stencil face), Kondor (2005), Mah Jongg (2005, with many ornaments), Metro (2005, LCD face), Squircle (2005), Zeke (2005, artsy display font), Baby Blox (2005), Kurly (2005), Pipeline (2005), Dealer's Choice (2005), Stencille (2005), Terra, GogoBig and GogoSquat (were free at FontFreak site), Nouville (2006, art deco sans), Back Fence (2005, comic book face), Gogo Latin (2005, condensed), Zandakas (2006), Ameche Pisa (2005), Gogo Serif (2005), Bolo (2005), Hyline (2005), Compado (2005), Ameche Padua (2005), Tera (2005), Xtera (2005), Tudor New (2005), Boffo (2005), Byline (2005), Quazar (2005), Grafo Graffiti (2005), Acid Bath (2005), Benz (2005), Hulk (2005). These fonts are now commercial and can be obtained at MyFonts.com. A graduate of the School of Industrial Arts in New York City, he worked as an industrial designer in New York before moving to Miami, FL, where he opened Studio Bogusky 2. Dixie Bogusky designed Esquimaux Graphics (2006). [Google] [MyFonts] [More] ⦿ |
Bold Version
| Victor Coreas (Bold Version, Long Island, NY) designed these typefaces: Slim Kid (2015), Wild Pitch (2015: a free handcrafted baseball font), Donuts (2014), Cut Out The Jams (2014: free paper cut typeface), Cut Out Jams 2 (2013), and Version (2013, free hand-drawn poster typeface, Empire One Studios, VCAD), Version Type Pro (2016). Behance link. Creative Market link. Home page. [Google] [More] ⦿ |
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This firm originated as a branch of Elihu White's New York Foundry in 1817, but was sold and became the Boston Type Foundry in 1820. When stereotyping, a process which utilized printing plates made from set up type, was introduced in America, the Boston Type Foundry became a major producer of stereotype plates. Specimen book: "Specimen of Printing Types from the Boston Type and Stereotype Foundry" (Boston: Dutton and Wentwork, printer, 1828). Stephen O. Saxe edited Specimen of printing types from the Boston Type&Stereotype Foundry (New York, Dover, 1989, 184 pages). That original book dates back to 1832. [Google] [More] ⦿ | |
Bowery Studio (was: Hipster Font)
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Creative Market link for Bowery Studio. Behance link. Yet another Creative Market link. [Google] [More] ⦿ |
Bowfin Printworks
| Links to commercial foundries. Site done by Michael Yanega, who now lives in Washington State. Has an interesting script font identification guide. It also has a bibliography on type. [Google] [More] ⦿ |
Korean communication design student at Parsons in New York. Creator of the Bozzle typeface (2012). [Google] [More] ⦿ | |
Boyz and Girls
| Boyz and Girls is Anselm Dästner's successful New York-based design studio. His fonts include Omen, Boyz and Girls, Zygote, Ballistic, Kitchen and Pollen. [Google] [More] ⦿ |
Bran Dougherty-Johnson
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New York City-based designer, who created a blackletter typeface called Black Bayer (2013). He also made the über-frilly All Frills (2013). [Google] [More] ⦿ | |
During his studies, Brandon Schwartz (Old Bethpage, NY) created Pink Flamingo (2013, a script typeface). Behance link. [Google] [More] ⦿ | |
Brooklyn-based Brandon Sugiyama made a New York Subway Tile Font in 2013, based on pictures and research done on the NY subway. Squire J. Vickers was an architect and lead designer for the subway system from 1908 to 1942 and was responsible for 300 station designs. The New York Times identifies architects George C. Heins and Christopher Grant La Farge as those who designed, hand-lettered and manufactured the tiles in a Copperplate-like style. Behance link. [Google] [More] ⦿ | |
During his studie at Fashion Institute of Technology in New York, NY, Tyler Fields designed the experimental typeface 5ive-Se7en (2014), which was inspired by 1980's rockband logos, and type styles such as Babyteeth and Glaser Stencil by Milton Glaser. [Google] [More] ⦿ | |
During his studies, Brandon Underwood (Hempstead, NY) designed the ornamental Utopian Alphabet (2014). [Google] [More] ⦿ | |
Hudson Falls, NY-based designer of the pixel typefaces Mectra (2017) and Swiss Vapor (2017). [Google] [More] ⦿ | |
New York City-based designer of the connected Convival Script (2014). [Google] [More] ⦿ | |
At Parsons School of Design, manhattan-based Brendon park created the decorative typeface Coil (2016). [Google] [More] ⦿ | |
Graphic designer in New York City. In 2012, he created a beautiful modular geometric display typeface called Swag X. [Google] [More] ⦿ | |
New York-based foundry, also called Walker&Pelouze (set up in 1855 by Henry Lafayette Pelouze), Walker&Bresnan, and P.H. Bresnan type Foundry. [Google] [More] ⦿ | |
MyFonts link. [Google] [MyFonts] [More] ⦿ | |
Brian created the outlined art deco typeface Silver Spectacular (2014) for the New York Lottery. He explains: This outdoor campaign for the New York Lottery conveys the notion of spectacular wealth with custom art deco typography and illustration. Each execution features a different art deco style, inspired by the monuments of New York City art deco architecture; Rockefeller Center, the Empire State Building, and the Chrysler Building. Behance link. [Google] [More] ⦿ | |
Brian Kent
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In 2018, Brian LaRossa and Erica Carras co-designed the Bauhaus typeface Staatliches. The alphabet revives and extends Herbert Bayer's title lettering on the cover of the first Bauhaus exhibition catalogue from 1923. It features full sets of capitals, numbers, punctuation, and symbols, in addition to alternate widths, discretionary ligatures, and common Latin accents. Staatliches is free at Google Fonts. [Google] [More] ⦿ | |
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Digital and graphic artist from Buffalo, NY. Creator of a font based on broken arms of an umbrella and the umbrella itself. [Google] [More] ⦿ | |
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During her studies at St John's University, New York City-based Briana Scripture designed the multiline typeface Roads (2017). Behance link. [Google] [More] ⦿ | |
Fairport, NY-based designer of the curly (school project) typeface Regnant (2014). [Google] [More] ⦿ | |
Graphic designer in Waitsfield, VT, who created the display typeface family Blanch (2014). Behance link. [Google] [More] ⦿ | |
Born in Australia and raised in Indonesia, she is currently based in New York City to pursue a degree in Advertising and Graphic Design at the School of Visual Arts (class of 2017). In 2017, she designed a nice poster entitled Ella Fitzgerald. Behance link. [Google] [More] ⦿ | |
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Bruce Newman
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Bruce Type Foundry
| Founded in New York in 1813, and acquired by ATF in 1901, this foundry made fonts such as Bruce Old Style (now Bitstream), Madisonian (now available from Présence Typo), Ornamented No. 1007 (Mac McGrew: Old Bowery is an ATF revival, in 1933 and again in 1949, of Round Shade No.2, originated by Bruce, one of its predecessor companies, about 1854, as Ornamented No. 1007.), and Old Style 7 (Linotype, Adobe). Also called D.&G. Bruce, George Bruce, George Bruce&Co., George Bruce's Son, George Bruce's Son&Co., and V.B. Munson. They published a 592-page specimen book in 1901: Bruce Type Foundry: Our Handy Book of Types, Borders, Brass Rule and Cuts, Printing Machinery&General Supplies.. In 1869, George Bruce (b. 1791, Edinburgh, Scotland; d. 1866, New York) published An abridged specimen book Bruce's New York Type-Foundry (1869), now available as a free Google book. Page with specimen of Great Primer Ornamented No. 5, Meridian Black Open (blackletter), Canon Teutonic Ornamented, Small Pica No. 2, Double Pica Graphotype, all taken from An Abridged Specimen of Printing Types Made at Bruce's New-York Type-Foundry (1868) and stolen from Luc Devroye's web site. Fists by the Bruce Foundry. Revivals: Bruce Ornamented No. 6 was digitized by Iza W from Intellecta Design in 2006 as GeodecBruceOrnamented. Gold Rush (2008, FontMesa) is a family of Western style typefaces based on a Bruce type family from 1865. FontMesa also made Belgian (2008) based on a Bruce Type Foundry design from the 1860s. Bruce 532 Blackletter (2011, Paulo W, Intellecta Design) is an excessively ornamental blackletter face. Michael Hagemann's slab serif family Gold (2011) is based on Bruce's Gold Rush (1865) after removing the shadows. RMU Bowery (2019, Ralph M. Unger revives Old Bowery). [Google] [MyFonts] [More] ⦿ |
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New York-based designer of the free sans serif typeface Standard (2017-2019), Counter (2017), Evening (2017: a flared, incised typeface), Section (2017), Half (2016: a rectangular monospaced typeface), TCA (2015: a modular tape font), FontlabFont (2013: a pixel font). Github link. Library Stack link. [Google] [More] ⦿ | |
Buero New York
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Bunny Dojo
| New York-based type foundry, est. 2003 by graphic and web designer Tim Gengler. Creator of Rummy (2015, an octagonal mechanical font based on sports branding and 1940s films) and Rummy Tall (2016). In 2019, Gengler designed Kempt (a stencil family), Torch (a display sans), Guile (a squarish typeface family) and Pluot, which is characterized by mini-wedge serifs. In 2020, he released Afire (a thorny sans family). Typefaces from 2021: Upona (a 12-style Victorian family inspired by 19th century storybook lettering). [Google] [MyFonts] [More] ⦿ |
Burn Type
| BurnType is a small studio specializing in creating bold fonts that balance function with expression. The studio is run by founder Michael Bagnardi in Brooklyn, New York. At The Designers Foundry, they relaesed BT Brik in 2018. [Google] [More] ⦿ |
Bushwick Happy Hour is an American type foundry, est. 2014 in Brooklyn, NY, by Brian Haines (b. 1983). Before that, he was one of the parners in One by Four out of South Florida and then Brooklyn. Creator of the octagonal signage typeface Merchantry (2014) and of Matchbook (2009, a retro sans at One by Four). Dafont link. [Google] [MyFonts] [More] ⦿ | |
Buzzbum (was: Andy Babb, or:Planet Buzz Font Foundry)
| Fonts by Brooklyn, NY-based art director Andrew Babb: Dog Eared (2012, a paper fold typeface), Lava Vision (a great rounded original font), Polygon (2009, octagonal, gridded structure), First Attempt, Tuskey-San (2000), Gear Crank (2013), Oh Balloney (2000), Lestat (2001), and QuietInfinity (2000). |
Rochester, NY-based designer of the handcrafted condensed typeface PJM (2016). [Google] [More] ⦿ | |
Designer at Kikkerland Design in New York City. She designed the geometric outline typeface Captured (2012). Behance link. [Google] [More] ⦿ | |
Julia has a calligraphy service in New York City. She also seems to have some calligraphic and other handwriting fonts, and makes custom handwriting type. Font names on her site: Iva, Ethan, Beverly, Zachary, Laura, Pearl, Keifer. [Google] [More] ⦿ | |
Flushing, NY-based designer of the display typeface Splinter (2013). [Google] [More] ⦿ | |
Calvin Waterman
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Camile Weihsin Lin is a designer in New York City. She graduated from National Taipei Education University. Taipei and the Pratt Institute, New York. Behance link. In 2012, she created the purely geometric outline typeface called Cube Typography. Another Behance link. Cargo Collective link. Mysite link. [Google] [More] ⦿ | |
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IADT graduate who works in Brooklyn, NY. Behance link. She created the caps typeface Triangles (2012). [Google] [More] ⦿ | |
Cofounder of the P22 type foundry (in 1994), and, until 2017, CFO of P22, born in Buffalo in 1967. Designer at P22 of Art Deco Chic, Art Deco Display (2002) and Art Deco Extras (2002, with James Grieshaber and her husband and principal of P22, Richard Kegler). Co-designer (with Richard Kegler and Denis Kegler) of P22 Hieroglyphic. At ATypI 2004 in Prague, she spoke about the value of a font. Speaker at ATypI 2016 in Warsaw. [Google] [MyFonts] [More] ⦿ | |
At St. John's University in New York City, Carla Marques created the Victorian typeface Slender (2015), which is sprinkled with small teardrops. [Google] [More] ⦿ | |
Chief Operating Officer, Director of Licensing and Marketing, Hoefler & Frere-Jones, located in New York City. Carleen Borsella holds both a Master of Business Administration in Marketing and Management and a Bachelor of Science degree in Marketing and International Business from New York University's Stern School of Business. She joined H&FJ in 2002 with ten years of marketing and management experience in the financial services (JP Morgan Chase) and entertainment Industries (Time Warner, Bertelsmann AG). As Chief Operating Officer, Carleen supervises all aspects of the business, and is charged with continuing its growth and development. As Director of Licensing and Marketing, she oversees all of H&FJ's promotional activities, and directs H&FJ's Enterprise Licensing program which is responsible for providing customized licenses to corporate end-users. She is married to Jonathan Hoefler. In 2009, Carleen was credited with the design of Sentinel at H&FJ. Sentinel is a 12-weight slab serif family with italics. Some type designers think that Sentinel was not created by Borsella. In fact, both Sara Soskolne and Jesse Ragan claim that they did work on Sentinel. The motto at H&FJ has always been smoke and mirrors. They do not list any designers with their typefaces. [Google] [More] ⦿ | |
New York-based Puerto Rican artist, who designed the sports dingbat font DF Energetics (1995). Versions at Elsner&Flake, ITC and Esselte (original). This font was inspired by Picasso. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Designer of the informal typeface Fluxy Sans (2014). This typeface was developed during her studies in Rochester, NY. Behance link. [Google] [More] ⦿ | |
During her studies, Brooklyn, NY-based Carmen Mei designed an experimental typeface (2018). [Google] [More] ⦿ | |
Carol Wahler (Westport, CT) has been Executive Director with the Type Directors Club since 1983. She has a B.A. degree in Art History from from William Paterson University. Her husband Allan is president of A to A Studio Solutions in Stamford, CT. Carol is best known for her involvement, passion and hard work for the Type Directors Club competitions and exhibitions. Carol Wahler was honored with the 2018 SOTA Typography Award. [Google] [More] ⦿ | |
Graphic designer in Queens, NY, who created the squarish typeface Dexter (2015). [Google] [More] ⦿ | |
Textile designer Carolyn Presti (Queens, NY) was inspired by illuminated manuscript when she designed the display typeface Manuscript (2015). [Google] [More] ⦿ | |
The Melbert B. Cary, Jr. Graphic Arts Collection, a library on printing history located at the Rochester Institute of Technology in Rochester, N.Y. Check out the 18th century collection. The original collection of 2,300 volumes was assembled by the New York City businessman Melbert B. Cary, Jr. during the 1920s and 1930s. Cary was director of Continental Type Founders Association, a former president of the American Institute of Graphic Arts, and proprietor of the private Press of the Woolly Whale. Today the library houses some 20,000 volumes and a growing number of manuscripts and correspondence collections. Also included are impressive holdings on bookbinding, papermaking, type design, calligraphy and book illustration. The goal of developing the digital image database is to enable users all over the world to sample the wealth of rich materials housed in the collection. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of Illustrated Type (2014, a hand-lettered poster). Behance link. [Google] [More] ⦿ | |
Catherine Casalino is an Art Director at Grand Central Publishing and a book cover designer in New York City. Creator of the art nouveau script typeface Mandalay (2012). Behance link. [Google] [More] ⦿ | |
Catherine Mouttet
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New York-based designer (b. 2000) of the fat finger font Catriona (2014) and the handwriting font School Writing (2014) and of the hand-drawn Outline (2014). In 2016, she made the crayon font Art Class. Dafont link. [Google] [More] ⦿ | |
Graphic designer in New York City. Creator of the Mondriaan-inspired typeface Awchitek (2011). [Google] [More] ⦿ | |
Art student in Harrison, NY, b. 1990. She used Fontcapture to make Nerd Girl Chickenscratch (2009). [Google] [More] ⦿ | |
Channelzero
| About 15 original fonts by New York-based Andi Jones and Taylor Deupree: Smargana (great smeared white on black face), Miasm-Infection, Bento Box (Ichi and Ni), Hacker Argot (1998, a hacker face), Dead Letter (dingbats), Miasm, Beatbox, Broken Wing, Carpal Tunnel, Drum Komputer (another hacker face), Formation, Intercom, Keyboard Plaque, Seraphic Organism, Tarnished Halo, Volt (1998, see also here). Dafont link. [Google] [More] ⦿ |
Malee attended Parsons the New School of Design and graduated with a BBA in Design and Management. She is an entrepreneur and worked in branding in New York City before co-founding Sharp Type with Lucas Sharp in 2015 where, as CEO, she handles strategy, brand management, graphic design, sales, and communication. Malee is the founder of The Malee Scholarship, a non-profit offering financial support, and mentorship to women of color entering the type industry. [Google] [More] ⦿ | |
Character
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His typefaces:
Fontspace link. Dafont link. Fontspace link. And another one. See also at abfonts. Dafont link. [Google] [More] ⦿ |
Charles & Thorn
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Spencer Charles, a graduate of the University of Utah, worked as a Sign Artist for Whole Foods before moving to New York City to work as Senior Designer at Louise Fili Ltd (2011-2014). He currently teaches Typography at the School of Visual Arts and is enrolled in the Type@Cooper Extended Program at The Cooper Union. In 2018, Charles&Thorn published the (variable) backslanted Mollydooker at Future Fonts. [Google] [More] ⦿ |
New York-based designer of the free truetype bitmap fonts: Civil01B, Civil01R, Civil02B, Civil02R, Dukie01B, Dukie01E, Dukie01R, Pookie01, Pookie02, Pookie03. [Google] [More] ⦿ | |
Charles Ephraim Burchfield (b. 1893, Salem, Ohio-d. 1967, Gardenville, NY) was an American painter and semi-surrealist artist, known for his watercolors of nature scenes and townscapes. The largest collection of Burchfield's paintings, archives and journals are in the collection of the Burchfield Penney Art Center in Buffalo, New York, the city he moved to in 1921 and lived in for the rest of his life. In 2013, Richard Kegler (P22 Type Foundry) was commissioned by the Burchfield Penney to create the Charles E. Burchfield font to honor the artist. It is based on handwriting samples from the extensive archives. Kegler tried to imitate ther irregular style of the painter in his P22 Burchfield font, which was published in 2015. [Google] [More] ⦿ | |
Charles Nix
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Modern revivals of his scripts include
Credits: Several of the images below, as well as some biographical information, are courtesy of Charles's grandson, David Musgrave. [Google] [MyFonts] [More] ⦿ | |
Author of Alphabets and Other Materials Useful to Letters (1912, publ. D. Van Nostrand Co, New York). [Google] [More] ⦿ | |
Charles S. Wilkin
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During her studies in New York City, Charlotte Simons designed the fun brush-stroked typeface Nimis Absurdam (2016), which is named after a papal law to remove the Jews from Rome. [Google] [More] ⦿ | |
Designer and illustrator in New York City, whho created the delicate wedge serif typeface Aspirin (2012). [Google] [More] ⦿ | |
During her studies in Buffalo, NY, Vivian Cheng created the 3d typeface Cubes (2014). [Google] [More] ⦿ | |
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During her graphic design studies at The College of Saint Rose, Cheryl Ambrosio (Albany, NY) created a logotype (2014). [Google] [More] ⦿ | |
Chester Jenkins
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Chester Jenkins
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Chester Jenkins
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His fonts include Syzygy, Schmelvetica (at FontShop), Psyche (unreleased), Orbit (2003, with Rob Irrgang), Rheostat (1996, a grunge dot matrix font family), HateNote, Panderella (2000-2001, ultra geometric), Eclogues (1999, an absolutely stunning romantic high-ascender-descender family), LoveHateCollection, JohnHadANightmareLastNight (2001), Alexey (2003, a stencil family, with Rick Valicenti), Apex Serif (2003, with Rick Valicenti), Exchange (dot matrix), Pizzelle Italic, Phatso (2003), Satchel Paige (2003, a wood type typeface made with Tracy Jenkins), Pixella (2003, pixel font), Nillennium (2000, an octagonal family), Freedumb (2004), Galaxie Polaris (2004, a sans) and Virgil, the last twelve fonts at Thirstype. At Village, he published Mavis (2005), Apex Sans (2004, with Rick Valicenti), and then Apex New (2006), which has a hairline weight, Apex Thin, and Apex Rounded (2010). In 2009, he co-designed the large x-height text family Galaxie Copernicus with Kris Sowersby at Village. In 2010, he and Jeremy Mickel made the poster type family Aero, which took inspiration from Roger Excoffon's Antique Olive. It won an award at TDC2 2011. His custom-made typefaces from 2006-2007 include these: Rewards (with Kris Sowersby), Always Radio (with Markus Rakeng), 2Wice Egyptian, Apex Compact, Apex New Condensed, Baro Heavy, Baro Light, Baro Medium, Baro Super, DPA Gothic, Endzone, Galaxie Ariane, Galaxie Copernicus, LMVDR, Modernismo, Snickers. [Google] [MyFonts] [More] ⦿ | |
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In 2013, Taylor Childers, Jessica Griscti and Liberty Leben wrote the type classification survey paper 25 Systems for Classifying Typography: A Study in Naming Frequency in Parsons Journal for Information Mapping. They conclude with their own proposal, which I summarize here (text below quoted from the article).
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Ching An Wu (New York, NY) created the handcrafted alphabet Wonderland (2014). [Google] [More] ⦿ | |
Ching-Mai (Miko) Yu is a graphic design / advertising student in New York. Behance link. Creator of the ultra-fat square-sized typeface Funpix (2012). [Google] [More] ⦿ | |
During her studies at the SVA in New York City, Chloe Bush created the dot matrix typeface 9x9 Dot Alphabet (2013). [Google] [More] ⦿ | |
During her graphic design studies in New York, Chloe Zhang created the pixelish typeface Find H (2015). [Google] [More] ⦿ | |
Choosing a font editor in 2014
| Micah Rich (Brooklyn, NY), the founder of The League of Movable Type, discusses the choice of a font editor in his newsletter of August 2014:
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Chris Costello (b. 1959, Poughkeepsie, NY) graduated from Northeastern University in Boston. Since 1989, he works as a graphic, web and font designer and illustrator from his base in watertown, MA. From 2002 onwards, he has worked as a creative director and senior graphic designer for Coldwell Banker Residential Brokerage in Woburn, MA. Since 2010, hae also creates artistic designs and renderings for United States coinage and medal programs for the U.S. Department of the Treasury. He runs Costello Art, and is involved in graphic design and handlettering. His typefaces:
Klingspor link. Bio. MyFonts entry. Papyrus blog. FontShop link. Linotype link. [Google] [MyFonts] [More] ⦿ | |
Rochester, NY-based designer of the handcrafted typeface Swagr (2016). [Google] [More] ⦿ | |
In Richard Mehl's course at the School of Visual Arts in New York City, Chris Kim designed the hairy glyph typeface Tunisia (2011). [Google] [More] ⦿ | |
Buffalo, NY-based designer of the futuristic typeface Futur (2016). Behance link. [Google] [More] ⦿ | |
New York City-based graphic designer (b. New Jersey), art director and illustrator who studied at The Rhode Island School of Design. Creator of the rounded hexagonal typeface Extinction in 2015. Behance link. [Google] [More] ⦿ | |
Graduate of the Pratt Institute in New York. His typeface project in Jesse Ragan's class was called Slothrop (2010, sans). [Google] [More] ⦿ | |
Chris Papasadero
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Chris Philson's foundry, est. 2013, is located in Rochester, NY. Chris studied Graphic Design at the Rochester Institute of Technology. Designer of Philson Block (2013). [Google] [MyFonts] [More] ⦿ | |
Chris Risdon
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Christopher Rogers is a multidisciplinary designer in New York. After working for three years as a sign maker in Virginia, Chris moved to New York, attending SVA for Graphic Design, studying in the area of graphic identity, information design, illustration, packaging, and book design. Chris Rogers made the sans typeface Indicator in 2010 for Best Made. [Google] [More] ⦿ | |
San Diego, CA (and before that, Brooklyn, NY)-based creator (b. 1982) of the hand-drawn 3d typeface Hey (2014). Behance link. [Google] [More] ⦿ | |
During his studies at St John's University in New York City, Chrisley Luiz Santana created a curvy display typeface (2015). [Google] [More] ⦿ | |
Christian Acker
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Christian Acker
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New York-based creator of the hand-printed CD Writing (2009, Fontcapture) and The Kool Font (2009, Fontcapture). [Google] [More] ⦿ | |
Type designer born in Patchogue, NY, in 1976. He worked at Galápagos Design Group until 2004, when he joined Agfa Monotype. [Google] [MyFonts] [More] ⦿ | |
His presentations. At ATypI 2004 in Prague, he spoke about "The accidental text face". At ATypI 2006 in Lisbon, he and Paul Barnes explained the development of a 200-style font family for the Guardian which includes Guardian Egyptian and Guardian Sans. FontShop's page on his work. Bio at Emigre. At ATypI 2007 in Brighton, he was awarded the Prix Charles Peignot. Jan Middendorp's interview in October 2007. Speaker at ATypI 2009 in Mexico City, where he announced his new type foundry, simply called Commercial. FontShop link. Font selection at MyFonts. A partial list of his creations:
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Christian Schwartz
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Christina Huang (Minneapolis, MN, and later Brooklyn, NY) created the Latin typeface Fold (2013), which takes inspiration from the calligraphic strokes of Chinese. In 2015, she designed the karate chop alphading typeface Katatype. Home page. [Google] [More] ⦿ | |
During her studies at the Pratt Institute in New York City, Christina Nahas created the ultra-black all caps typeface 100 Bottles (2014). [Google] [More] ⦿ | |
During her studies in New York City, Christina Ruggiero created the multilined all caps typeface Wander (2014). Behance link. [Google] [More] ⦿ | |
During her BFA studies at SUNY New Paltz, Christina Sharp (Rome, NY) created a hand-lettered poster in 2012 entitled Filling The Void. Behance link. [Google] [More] ⦿ | |
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Rochester, NY-based designer of the curly decorative didone typeface Gardina (2014). Behance link. [Google] [More] ⦿ | |
Christine Aaron is a New York-based designer specializing in lettering and typography. She studied graphic design at the School of Visual Arts, with a focus in editorial design, branding, and motion graphics. | |
Designer in Pleasantville, NY. She created the geometric monoline avant-garde typeface Lemoncake (2012). Behance link. [Google] [More] ⦿ | |
Coauthor with Steven Heller in 2000 of "Letterforms: Bawdy, Bad and Beautiful: The Evolution of Hand-Drawn, Humorous, Vernacular, and Experimental Type", Watson-Guptill, New York. Christine Thompson, designer at the New York Times on the Web since the site's inception in 1995, has won multiple awards for her work in interactive media. She lives in New York. [Google] [More] ⦿ | |
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Originally from Brooklyn, Christopher K. Wright now teaches graphic design, web design and typography at Indian River State College in Florida. He created the commercial curly Victorian typeface family Exposition (2014). Creative Market link. [Google] [More] ⦿ | |
New York-based designer of fonts at Garagefonts, including Train Wreck (1997, with Simon Grennan). He designed Rant in 1996 at [T-26]. | |
Designer in 2011-2012 of the following free Latin / Cherokee fonts: Nikwasi, Tsiquilisda, Danisvdanvsgv, Alewisdodi, Gola Unole, Nvdaasdawadidohi, Atuyasdodi, Tsi yu gunsini (a copperplate design for Unicode Cherokee, named after a Cherokee chief called Dragging Canoe), Wilma Mankiller Old (2012, also for Cherokee), Gadaquali (flared face), Gageda (Cherokee font). Further typefaces: Grendel (2011), the tattoo fonts Maelstrom (2011) and Reign Sample (2010), the mechanical typeface Dans Hardware (2010), the graffiti typeface Stone Angel (2010), the Western typeface Mary's Cherry&Co (2010), the squarish typeface Dashboard Jesus (2010), the fat wood style typeface John Brown (2010), Dantone (2010), the fat roundish typeface Creamy (2010), Thermobaric (2011, Star trek face). Chung-deh Tien created a few Cherokee fonts including Nikwasi San (2012), Sequoya Bold (2012), Oconosota (2012), Kanagota (2012), and Tsalagi Ameliga (2010). Dafont link. Flickr link. Fontspace link. Another Fontspace link. [Google] [More] ⦿ | |
At FIT, New York City-based "Ci" designed the straight-edged typeface C33 (2018). [Google] [More] ⦿ | |
Designer of the wide sans typeface Oddjob (2019) ans the blackletter typeface Klostro (2020, Rip Type), which was commercially released in 2022. [Google] [More] ⦿ | |
Joe Clark about a storefront sign in Cinderella Man, a 2005 movie set in New York in the 1920s: Why why, thats [ITC] Benguiat, circa 1978. [Google] [More] ⦿ | |
C.J. Dunn
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CJ Type
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In 2017, he released the stunning 2-axis variable font Dunbar and writes: Dunbar is an exuberant geometric sans with a unique structure, including Tall and Low display versions for large sizes and a Text version for smaller sizes. Inspired by Jakob Erbar's Erbar-Grotesk, it is not a strict revival but interprets the design for contemporary applications, rediscovering some of Erbar's innovative ideas of alternate letterforms and proportions. Dunbar comes in large and small x-heights, Dunbar Tall and Dunbar Low. His other major typeface is Louvette (2017), a typeface with four optical sizes (Banner, Display, Text, Deck) and five weights. He explains: Louvette is a sharp, stylish, modern serif including a range of optical sizes from Banner to Text. The design of Louvette is optimized to maintain thin, elegant hairlines at a wide range of sizes. Ideal for publications and cultural institutions, exhibitions and fashion. The design process for Louvette started during Type at Cooper in 2010, under the guidance of Jesse Ragan, with an interest in reviving ATF Louvaine by Morris Fuller Benton for contemporary usage. After some helpful feedback from Christian Schwartz, the project soon evolved away from the source material to include a large optical size version with ultra thin hairlines, and to expand the weight into the fatface range of designs such as Ultra Bodoni, also by M. F. Benton. Further research into the italics led to sources such as Doppel Tertia Cursiv from J. F. Unger, Berlin, and the small heavy sizes drew inspiration from Compacte Romain by Enschedé, Haarlem. Typefaces from 2021: Pennypacker (a contemporary take on the Neue Moderne Grotesk lineage of early grotesks). Speaker at ATypI 2016 in Warsaw on A Proposal for a Common EULA. [Google] [More] ⦿ |
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Graphic designer in Brooklyn, NY. Behance link. Creator of the display poster typeface Stay True Chief (2011). [Google] [More] ⦿ | |
During her studies at Pratt, Claire Jardin (Brooklyn, NY) created the handwriting typeface Carly (2014). [Google] [More] ⦿ | |
Claire is a New York-based graphic designer. Graduate of TypeWest, class of 2021. Her graduation typeface, Matchstick, was inspired by inky pools that form at the beginning and end of calligraphic strokes. [Google] [More] ⦿ | |
Clare Marie Carroll studied at New York University. Still based in New York City, she designed the free handcrafted typeface Clar3 (2016). Behance link. [Google] [More] ⦿ | |
Claude Fayette Bragdon (b. Oberlin, OH, 1866-1946) was an American architect, writer, and stage designer based in Rochester, New York, up to World War I, and in New York City after that. He was known for his creative geometric ornaments. At some point, he proposed this modern American italic for architectural plans. Check also his set of modern small letters. This page shows his art nouveau art. [Google] [More] ⦿ | |
Claude Persons
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She created some remarkable ornamental caps, such as Dessert Rose, and a dollar sign. At Type Paris in 2015, she designed Iño, a humanist typeface influenced by Garamond. Type Paris link. [Google] [More] ⦿ | |
During his studies in New York City, Clay Matthewman designed the thin hand-printed stencil typeface Split Type (2012) and the monoline geometric typeface Skywork (2012). Behance link. [Google] [More] ⦿ | |
American penman, b. New York, 1864, d. 1937. He taught in business schools in san Antonio, TX, Buffalo, NY, Hutchinson, KS, and Sioux City, IA. From 1916 until his death he was at the Strayer's Business School in Philadelphia. In 1893 he won first prize in a world-wide contest conducted by the Penman's Art Journal. Author of The Clinton Clark Scrapbook. Parts two and three are here and here. [Google] [More] ⦿ | |
Cockrockdisco
| Musician and designer in New York City, who created the free punk /dada font Dead Block, the free dot matrix font Handdigital, the free experimental Half-Helvetica, the wacky Psyche Wide (free download) and Psyche Serif (free download), and the free handcrafted 57 Futura in 2017. He started the type magazine Curious Type. Behance link. Graphicriver link. [Google] [More] ⦿ |
Designer in New York City. Creator of Alpha Mail (2012, a rhombic typeface). [Google] [More] ⦿ | |
Illustrator from Poughkeepsie, NY, aka Zenand Groove. He made the free comic book font Strange Worlds (2009). [Google] [More] ⦿ | |
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Colophon Foundry
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Bespoke projects:
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Search for type books in Columbia University's extensive type collection (which comes mainly from Bullen and ATF). [Google] [More] ⦿ | |
Commercial Type (Was: Schwartzco)
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In house type designers in 2010: Paul Barnes, Christian Schwartz, Berton Haasebe, and Abi Huynh. Typefaces sold by them:
The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer, who worked at Commercial type from 2008 until 2013) and Mark Record (font technician). Miguel Reyes joined in 2013. Greg Gazdowicz joined in 2014. Hrvoje Zivcic helps with font production. View Christian Schwartz's typefaces. [Google] [MyFonts] [More] ⦿ |
Coniglio Type
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Other fonts: Aspersion, Grasshopper (dada), Burnt Toast (rounded fat finger face), Yardbord Numerals, Snyder Speed, Autocrat, NudE, Jack Rabbit, Felt Marker, Oregon Dry, Sublime, Omaha, Nomad, Aquacia (stencil), Rainmaker (stencil), Dirty Numbers (2021). Showcase of Joseph Coniglio's typefaces at MyFonts. The Coniglio Type typeface library. [Google] [MyFonts] [More] ⦿ |
New York-based foundry, also agents for Inland and Keystone type foundries. Specimens of printing types, borders, ornaments, brass rules, &c. made by Conner, Fendler&Co (New York, ca. 1898). [Google] [More] ⦿ | |
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Graphic designer and artist in New York City. He created The Tenderloin (2012), a yummy typeface. [Google] [More] ⦿ | |
Connor Fitzgerald (New York City) created the hand-printed poster typeface Ginga Freestyle (2011) for a series of ads for Ginga, a soccer company based in Toronto. [Google] [More] ⦿ | |
Ballston Spa, NY-based designer of the handwriting font Diamond (2017). [Google] [More] ⦿ | |
Constellation
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Continental Typefounders Association
| Continental Type Founders Association was founded by Melbert Brinckerhoff Cary Jr. (1892-1941) in 1925 to distribute foundry type imported from European foundries. Beginning in 1927 Continental also distributed typefaces cast by Frederic Goudy, and two typefaces for Doug McMurtrie. Doug McMurtie and Frederic Goudy were the vice-presidents in 1925 and 1927, respectively. At first Goudy's type was cast at his own Village Letter Foundry, but after 1929 these were cast by the New England Foundry. Despite imports being virtually cut-off during the war years, Continental was still issuing Goudy's types as late as 1944 and may have continued functioning even later. Located at 216 E. 45th street, New York around 1930. They published Specimen Book of Continental Types in 1929. Cary collected 2300 books about printing. After his death, the Cary Collection was presented to the Rochester Institute of Technology in 1969 by the Mary Flagler Cary Charitable Trust as a memorial to Melbert Cary. Its collection of 20,000 volumes is described as one of America's premier libraries on the history and practice of printing. Their typeface Nova Bold was revived by Nick Curtis as Maple Leaf Rag NF (2005). The European foundries represented by them:
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Cooper Hewitt
| The Cooper Hewitt Smithsonian Design Museum in New York City is giving away for free its bespoke house typeface, a sans designed in 2014 by Chester Jenkins, the founder of the Village type foundry. Even the original UFO files are made available. They write: Cooper Hewitt is a contemporary sans serif, with characters composed of modified-geometric curves and arches. Initially commissioned by Pentagram to evolve his [Galaxy] Polaris Condensed typeface, Chester Jenkins created a new digital form to support the newly transformed museum. The museum's director, Caroline Baumann, says distributing the typeface for free was a way to demonstrate the Cooper Hewitt's commitment to its mission. Quoting her: We're all about giving the public access to great design---to our collection online, to our typeface, to our programs---and this was a natural step for us. Open Font Library link. Cristiano Sobral's Tanohe Sans (2020) has re-worked style numbers, a shorter J, and a true italic lower case a. Fontsquirrel link. [Google] [More] ⦿ |
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Corinne Ang
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The Bronx, NY-based designer of the fat octagonal typeface Bark type (2015). [Google] [More] ⦿ | |
Cozy Fonts Foundry
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Creator of the Arabic simulation typeface Aladdin (2012), Skratchbook (2012), Toms Finger (2013, hand-printed cartoon typeface, +Toms Pinky, +Toms Thumb), Noodlerz (2013), Posterface (2014, +Sans; modular poster font family), Speener (hand-printed), Victory Script (2015), Archiva (2016: a useful rounded yet squarish condensed typeface family, +Stencil, +Dropline), Slenderz (2016: a handcrafted sans family), and Ds Hand (2016, based on the hand of Danielle Nikosey). Typefaces from 2017: Civic Sans (a 13-style sans family for billboards). Typefaces from 2018: Irongate. Typefaces from 2019: Flintlock. Typefaces from 2020: Planetype (futuristic, modular), Slatz (an ultra-condensed sans and serif family). Typefaces from 2021: CF Cozyscript (a monolinear retro school script), CF Nixt (a seven-style simple monolinear geometric sans in the mid-century American and Swiss traditions, perhaps leaning closest to Avenir). Typefaces from 2022: Neuliner (a 7-style metro-retro font). [Google] [MyFonts] [More] ⦿ |
Craig Hazan
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Craig Ward is a British graphic designer and art director wjho moved to New York City in 2009, where he set up Words and Pictures in 2011. In 2015, he created the experimental typeface Fe203, and wrote: To form the glyphs, a tiny amount of ferrofluid was placed between two glass plates and subjected to a combination of spinning vertical and horizontal magnetic fields. The result is an array of complex hieroglyphics and shapes - each one as unrepeatable as a snowflake - that simultaneously call to mind ancient indigenous markings or symbols from science fiction. Designer of nice typographic examples, such as his Hairy Futura (2008). He designed the fat didone display typeface Lovechild (2009) and the spurred typeface Killer (2013). Other typefaces: Go Vote (2012, a brush poster and modular typeface for the American elections), Dark White (didone), Epitaph (alchemic), NM Serif (2015, for the branding of Dior's new perfume, Sauvage), England World Cup Kit (2018). | |
Brooklyn, NY-based designer of the art deco typeface TypeSketch 02 (2010). Behance link. [Google] [More] ⦿ | |
Cruz Fonts
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Bio at Garagefonts. P22 link. FontShop link. PDF catalog. View Ray Cruz's typefaces. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Staten Island-based creator of the fat finger children's script Crystal (2012). [Google] [More] ⦿ | |
During her graphic design studies, Crystalyn Choong (Queens, New York) created the display typeface Velune (2015). [Google] [More] ⦿ | |
New York-based creator of the spurred Tuscan alphabet Ornamental Roman and Italics that is featured on page 25 of John G. Ohnimus's Henderson's Sign Painter (1906). He also drew Old English for Ohnimus's book. [Google] [More] ⦿ | |
CSA Creative Studio
| Curtis Canham (CSA Creative Studio, est. 2010, upstate New York) designed the vector-format typeface Chloe in 2015. In 2015, he started work on the book A-Holes: A Type Book. Home page. [Google] [More] ⦿ |
Curtis Canham
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Illustrator, graphic designer and concept artist based in Brooklyn, NY. Creator of a geometric solid typeface called Natho (2013). Behance link. [Google] [More] ⦿ | |
Her typefaces show calligraphic influences:
Bio at ATypI. Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
New York-born and Los Angeles-based designer at the Typebox foundry, where she designed Wirish, and co-designed the funny dingbat typeface TX Signal Simplifier (2002). Obtained an MFA in graphic design in 2000 from the California Institute of the Arts, and worked for some time after that at Disney. She also created the Medusa typeface. CV. FontShop link. [Google] [MyFonts] [More] ⦿ | |
New York City-based designer of the decorative caps typeface Clockwork Alphabet (2014) and of Mirrors (2014). [Google] [More] ⦿ | |
D. Jules Gianakos (Zapruder Design, Brooklyn, NY) is the Houston-born creator of Dealey (2012), an outline font based on HelveticaNeue LT 65 Medium. Behance link. [Google] [More] ⦿ | |
Dailey Crafton (Brooklyn, NY) is the principal of Live from Bklyn, and lectures at Shillington School, NY. In 2013, he designed the poster typeface Bypass Sans (2013). Behance link. [Google] [More] ⦿ | |
Phototype designer for Photo Lettering Inc in New York. Her typefaces there include the uncial / medieval style family Alcock, which includes Alcock Roman, (+Inline), Alcock Light Italic and Alcock Versal. [Google] [More] ⦿ | |
During her studies in Forest Hills, NY, Daisy Dalhae Lee designed the display typeface Marilyn (2013), which is named after Marilyn Monroe. [Google] [More] ⦿ | |
New York-based foundry, also called Damon Peets Co., George Damon&Sons, and Damon Type Founders Co., Inc. [Google] [More] ⦿ | |
Dan Cassaro
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Dan is an expert on Indic scripts, and spoke about that at ATypI 2011 in Reykjavik. His graduation typeface at Reading was Gina (2007), a serif about which the reactions are generally good (a Minion with character according to Stephen Coles, and an awful lot of Unger in one gulp according to Joe Clark). Gina covers not only Greek, but most European languages. I especially appreciate its attention to mathematical symbols and typesetting. In 2009, Ian Moore and Dan Rhatigan created Sodachrome, a typeface designed at The Colour Grey for Sodabudi, a forthcoming online store for art work inspired by folk art from India. Dan Rhatigan blogged about it here. When the two parts of the typeface are screenprinted in different colours on top of each other, they produce an optical effect. In 2010, his (free) rounded bold serif typeface Copse font was published at Kernest (free downloads). Kernest link. Google Web Font Directory carries his free typeface Astloch, a monoline blackletter face. Another download link. Clear Sans (2013) was designed by Daniel Ratighan at Monotype under the direction of the User Experience team at Intel's Open Source Technology Center. Clear Sans is available in three weights (regular, medium, and bold) with corresponding italics, plus light and thin upright (without italics). Clear Sans has minimized, unambiguous characters and slightly narrow proportions. Ryman Eco is a free multilined typeface created in 2014 by Dan Rhatigan and Gunnar Vilhjálmsson at Monotype that satisfies its two design goals---beauty and economy (it uses 33% less ink than a normal text font). Speaker at ATypI 2017 Montreal. Fontsquirrel link. CTAN download link. Klingspor link. Monotype link. Google Plus link. [Google] [More] ⦿ | |
Lettering artist from Texas who is based in Brooklyn, and specializes in chalk lettering and shop signage. [Google] [More] ⦿ | |
New York-based designer of the handcrafted 3d typeface Box (2014). [Google] [More] ⦿ | |
Miller is a supporter of free and open-source fonts, as well as free and open-source software. He uses FontForge for design, and releases all his work under free licenses: I really just want people to be able to use my designs, improve them and share them. First, on a pragmatic level, I know that my work will be imperfect, and I'd like others to be able to use their judgment to make adjustments (which I hope they'll also release under a free license). Second, I think that too much material (and not just fonts) is behind barriers of restricted access and artificial scarcity. This kind of thing---useful tools and information---wants to be free, so let it out for everybody to use. | |
Brooklyn, NY-based FontStructor who made Skinny (2011) and a few other experimental typefaces. In 2013, he made Monster Face. Behance link. [Google] [More] ⦿ | |
Daniel created the extreme-contrast art deco / fashion mag typeface Casanova (2011), which features two choices of tilt---positive and negative. The way in which this typeface is used by Brokstad is sheer genius. In 2013, he designed the decorative caps typeface Medic Type. In 2019, he published Lucifer Sans. This mammoth 162-style typeface family is rooted in Scandinavian geometry and minimalism, mixed with a healthy dose of black metal and irreverent attitude. Harsh vertical cuts and angles throughout the font creates a very strict and hard look, that can either be amplified or loosened up through its stylistic sets. In 2020, he designed the 10-style rounded octagonal typeface Geometrisk. [Google] [MyFonts] [More] ⦿ | |
Executive Creative Director at loyalkaspar in New York City, who studied at Art Center College of Design. Designer of the Disney movie font XDRA. This font was digitized by Alan Greene. Free download. [Google] [More] ⦿ | |
At KABK, supervised by Just van Rossum, Daniel Figueiredo (Sao Luis, Brazil) designed Modular Typeface (2016). [Google] [More] ⦿ | |
At Photo Lettering Inc in New York, Daniel Gelberg designed these mostly handcrafted or script typefaces: Chipper, Falcon Bold, Flurry, Grotesque, Informal, Sequin, Swifty Light, Swifty Bold, Swifty Upright. [Google] [More] ⦿ | |
Graphic designer in Brooklyn, NY. He designed interesting typographic identities such as for the Publican Brewing Company. His calligraphic book covers for texts by Gabriel Garcia Marquez are also remarkable. [Google] [More] ⦿ | |
As a young artist and film font manufacturer in New York City, Daniel Hunyady (b. 1941) designed the piano key typeface Hunyday Gothic for John N. Schaedler Inc. in 1974. Schaedler suggested the name Hunyady Parquet. That great typeface was digitized in 2017, with Hunyady's permission, by Tobias Herz. Presently, Hunyady runs Hunyady Graphics in West Kill, NY. [Google] [More] ⦿ | |
Daniel Ortega
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Pelavin was Chairman of the Type Directors Club, 2002-2003. In 2009, he designed the 1940s art deco face Bokar. In 2010, he created Marquue Faceted and Marquee Solid (which can be layered to make a 3d effect), China Market (oriental simulation), Setsuko, an oriental simulation face, Rilke (an adaptation of the lettering used by Gustav Klimt on his poster for the 1st Vienna Secession exhibition in 1898 and is named for Klimt's contemporary the poet Rainer Maria Rilke: caps only), Tribeca Script, Monograph (as if written with a Speedball B pen), Book Country (crude octagonal folksy face), Bing (art nouveau), HiFi (retro script), Twentieth Century (an art deco headline sans), and Safety (1930s style). In 2011, he added Tiki (a pair of Hawaiian typefaces), Salty Dog. In 2012, he created the monoline uprigt connected script typeface Mimosa, which was inspired by the packaging for Moulinard Jeune, a line of French toiletries from the 1920s. Typefaces from 2013: Forgia (Pelavin writes: Forgia is a result of my fascination with the beauty I find in utilitarian industrial objects like the riveted stanchions in New York subway stations, decorative ironwork in Grand Central terminal and the eloquent construction details of the urban infrastructure of the 19th and early 20th century.) Perhaps the steampunk typeface Rivets (2016) is an outgrowth of Forgia. Typefaces from 2016: Oscar (tri-lined art deco typeface that pays trbute to the Acadmy Awards), Plot (brushed or lined wood style), Camp (a wooden log typeface), Rosa (art deco). Typefaces from 2017: Neroli (2017, formal art deco), Taos (2017, a cactus font). Typefaces from 2018: Trilight (trilined typeface). Typefaces from 2019: Noir et Blanc (a deco poster typeface). Typefaces from 2020: Molly Louie (a patterned decorative caps typeface). Typefaces from 2021: Bedazzle (a movie marquee font), Bankster (a spurred bank note or financial document font with various hatched and shadow styles). Typefaces from 2022: Mr Porter (a robust monolinear rounded slab serif rooted in 17th century England: rich and full-flavored with notes of coffee, licorice and molasses). [Google] [MyFonts] [More] ⦿ | |
Buffalo, NY-based designer of Pascal Pixel (2017). [Google] [More] ⦿ | |
American penman. Author of Compendium of Practical and Ornamental Penmanship (New York, ca. 1883) and Ames' Guide to Self-Instruction in Practical and Artistic Penmanship (1884). The latter book contains some explicit alphabets: Roman, Italic Roman, Gothic, German text, Old English, Church Text, Medieval, Egyptian, German Round Hand, Marking and Rustic (elaborate caps). One of the initial caps in that text led Robert Fauver to create the free font Dirty Ames (2006). In 1890, Ames wrote Ames' Book of Flourishes. Handdrawn portrait of Ames found in "Real Pen Work" (1881, Knowles and Maxim). [Google] [More] ⦿ | |
Queens, NY-based designer of the deco typeface Bare (2015). This typeface was finished during her studies at St. John's University. [Google] [More] ⦿ | |
A native of Italy, Daniele Politini graduated from the Politecnico di Milano with a degree in Design of Visual Communication in 2001. Currently, he is a graphic designer living and working in NYC, where he works as Design Director at FutureBrand New York. Creator of Lady First (2010, an informal sans typeface developed at Bauer School in Milan). Behance link. [Google] [More] ⦿ | |
During her graphic design studies, Daniella Circelli (Bronx, NY) created an untitled art nouveau typeface (2015). [Google] [More] ⦿ | |
Graduate of Queens Borough College. Rosedale, New York-based designer of the squarish typefaces Bold Brick (2014) and the dot matrix typeface Regular Spot (2014). [Google] [More] ⦿ | |
Queens, NY-based designer of the fine display typeface Malibu (2017). Home page. [Google] [More] ⦿ | |
New York City-based student creator of a mechanical ransom font, Broken Angel (2013), and of an untitled ornamental typeface (2013). [Google] [More] ⦿ | |
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Elmont, New York-based designer of a barcode-inspired typeface in 2013. [Google] [More] ⦿ | |
New York City-based designer of the kitchen tile typeface Waffle (2014) and the thin techno typeface Angle Font (2014). Behance link. [Google] [More] ⦿ | |
Darden Studio
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New York City-based designer of the stunning deco display typeface Ophelia (2017). [Google] [More] ⦿ | |
Revivals of the wood types of Darius Wells include AWT Page Antique Black (2013, Dick Pape; after an 1828 typeface by Darius Wells) and AWT Wells Roman Extrabold (2013, Dick Pape; after an 1828 fat typeface typeface by Darius Wells). [Google] [MyFonts] [More] ⦿ | |
Successful graphic designer in New York City. As a student in Corvallis, OR, Darrin Crescenzi designed Darrin Type (2006), a roman caps face. Later, he created the octagonal typeface Gratton. [Google] [More] ⦿ | |
Designer from Chicago, IL, who is now in New York City. Home page. Creator of the Western typeface in the Italian style, called Umidità 1832 (2009), about which Darren writes: This re-interpretation of an 1832 wood cut by Caslon was created for the Spring 2009 edition of the literary-arts journal Ninth Letter. With Will Miller, he created the structural experimental typeface Skky (2011). Behance link. [Google] [More] ⦿ | |
Graphic designer in New York. Creator of Dash (2010), a slab experiment developed during a course given by Tonty di Spigno. [Google] [More] ⦿ | |
New York City-based graphic designer who created Concept (2012), an extreme contrast headline or poster face. [Google] [More] ⦿ | |
David Bergsland
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Born in Edinburgh, Scotland, David Bruce was the brother of George Bruce. Together, they ran the Bruce Type Foundry in New York from 1818 onwards. George gave his attention to the enlargement and development of the type-founding business, while David concentrated on stereotyping, a process he was the first to introduce in North America. [Google] [MyFonts] [More] ⦿ | |
Nephew of George Bruce and son of David Bruce, the founders of the Bruce Type Foundry in New York. Inventor of the Pivotal Typecasting machine in 1838. [Google] [MyFonts] [More] ⦿ | |
David Carson (b. 1955, Corpus Christi, TX) graduated from San Diego State University. Arguably one of the world's most famous graphic designers, he created a few fonts and is credited with launching the typographic grunge style in the 1990s. When people talk of "David Carson" fonts, they usually mean fonts he used in publications he helped realize, like Ray Gun and Eye magazines, and the End of Print book. A number of these fonts that have appeared in Ray Gun (for which he worked from 1992 until 1995) while Carson was art director are available for sale from Garage Fonts. A font designed by Carson (emulating hand/finger gestures) is included in one of Neville's FUSE series. At FUSE 7, he published Fingers. In 1995, Carson left Ray Gun to found his own studio, David Carson Design, in New York City. In 2000, Carson closed his New York City studio and followed his children to Charleston, South Carolina, where their mother had relocated them. Since then he has lived in San Diego, Seattle, Zurich, and Tortola. Currently he lives and works in NYC. Joe Clark ends an interview like this: I sent David Carson a copy of my published story via poste escargot, only to have it returned unopened with a handwritten note declaring: "Joe-- I'm not interested in your type of 'journalism.'" The design prima donna's antics are increasingly irrelevant now that he has been dismissed from Ray Gun (ding-dong!) and is now a meta-personality famous for being famous, rather like Zsa Zsa Gabor on The Hollywood Squares. No quantity of hagiographic Apple and other advertisements, David, can substitute for a genuine career. And your new magazine Speak comes dangerously close to monomania. Letting you lay it out and edit it and write it is the Peter principle brought to life. Though you're not interested in my type of "journalism," more and more readers are losing interest in yours. First, a font list of fonts attributed to David Carson (but read on about that after the list): Australis, BigEd, BigLazyBoy, ChicaShica, ChickenPlain, Coniption, Contrary, Copper, Cystfun, Darwin, Dead, Evangelic, FragileReg, Freeway, Fux, Gangly, Gunnnn, Hawkwindps, Heroin, JapanNetta, Johndvl, Manifesto, Macanuda Pro, Magical, Mexican, Newcent, Note, O, OCROver, One, Ooombabold, PhaseGothic, Pizzaface, Public, PublicEnemy, Serifedsans, Seven, Shurpa, SignSystem, Spicadog, Temblorosa, Thaitrade, Times, Timstypo, Wingnut, Wrongfont, Yoyoyo, Zwigaforma. This text was found on the web, by an anonymous poster: By Carson's own admission, he has designed "only a few typefaces." In fact, only one face from his own digital foundry (he is the founder of Garage Fonts) is credited to him---and even then it is in conjunction with Betsy Kopshina (Chicken Scratch). He has however, modified some existing faces from various designers for his own design work. Yet the majority of what you see labled Carson is "in the manner of," as he is generally recognized as the father of deconstructive (grunge) type and style, having lead the design of RayGun magazine and most notably being the author of "The End of Print." His style is literally taught at many design schools such as American Applied Arts, CalArts, and Cranbrook; where he is often a featured speaker. A substantial amount of work from schools such as these are incorrectly credited to Carson, when they're actually student assignments following his style. Still another portion are thought to be rejected submissions to Garage Fonts. And yet others are just misfilings (where no one took the time to get info). I have identified the source of many of the [fonts] credited to Carson. They are as follows:
Author of the successful text The End of Print: The Graphic Design of David Carson (Chronicle, 1995). Wikipedia link. Interview with Joe Clark (Toronto). Very readable bio. %d Apr 19 2000 [Google] [MyFonts] [More] ⦿ | |
New York-based designer of the pixel and dot matrix fonts 01-DigitGraphics (2002), 01-Digit (2002), 01-Digit2000 (2002), 01DigitMono (2002), 01Digitall (2002). Dafont link. [Google] [More] ⦿ | |
New York City-based designer of the tuxedo typeface Altitude (2011). David says that he was inspired by skyscrapers in the design. Dafont link. Behance link. [Google] [More] ⦿ | |
David Gonzlaez (Pencildrifter Studios, New York City) is an illustrator who uses great hand-drawn typography on his posters. Behance link. [Google] [More] ⦿ | |
David J. Perry
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During his studies at the School of Visual Arts in New York City, David Kim created the deli shop typeface Charlito's Cocina (2014). [Google] [More] ⦿ | |
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David Platt
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List of his typefaces, or revivals, at MyFonts: Bordeaux (Elsner+Flake), Bronx (Elsner+Flake), Agincourt (ITC), Aquinas (ITC), Blackmoor (ITC), Bordeaux (ITC), Bronx (ITC), Coptek (ITC), Digitek (ITC), La Bamba (ITC), Lambada (ITC), Latino Elongated (ITC), Letraset Arta (ITC), Marguerita (ITC), Mekanik (ITC), Milano (ITC), ITC Quay Sans (ITC), Robotik (ITC), Santa Fe (ITC), Scriptek (ITC), Teknik (ITC), Vegas (ITC), Titus (Linotype), Kade (Re-Type), Metallic Sky (SoftMaker), Foundry Sans (The Foundry), VLNL Hollandsche Nieuwe (VetteLetters). View David Quay's typefaces. Klingspor link. FontShop link. Linotype link. View David Quay's typefaces. [Google] [MyFonts] [More] ⦿ | |
Stony Brook, NY-based designer of the experimental typeface Spotlight (2014). [Google] [More] ⦿ | |
New York-born founder of the wireless publishing company AirMedia, who designed a character in the September 11 charity font done for FontAid II. CV at MyFonts. Author of An Annotated Bibliography of Typography, Letterpress Printing & Other Arts of the Book (2003, Five Roses Press, New York), of Overviews of Printing Types, and of Introduction to Letterpress Printing. [Google] [MyFonts] [More] ⦿ | |
His typefaces: Dancin' (1995), the dingbat ITC Dave's Raves One (1994), Expressions (1995), Faithful Fly (1994), ITC Juice (1995), Bang (1993), Mo Funky Fresh (1993, now at Linotype), Moderns (1994, influenced by masters such as Picasso and Kandinsky), ITC Snap (1995), Tag (1994), Bluntz (1994), DF Wildlife LET Plain (1994), and Kool Beans (2008, Umbrella Type). Linotype link. FontShop link. Klingspor link. View david sagorski's typefaces. [Google] [MyFonts] [More] ⦿ | |
David Soto (DS Designs, Forest Hills, NY, b. 1986) created Box Bend DS (2009, octagonal face) and Square Nic (2009), an experimental face. [Google] [More] ⦿ | |
New York-based illustrator and graphic designer who made the octagonal typeface Quadratus (2011) and the wiry typeface Monte (2011). [Google] [More] ⦿ | |
Shields holds a BFA from Memphis State University and a MFA from Cranbrook Academy of Art. He lived in Brooklyn where he co-founded the design studio Viewers Like You, and was a design consultant in New York. He designed Goofypop and Frank Rounded. Now an assistant professor at the University of Texas at Austin, Shields researches and catalogues wood type, and organizes the extensive Rob Roy Kelly wood type collection there. Speaker at ATypI 2009 in Mexico City, and at TypeCon 2012 in Milwaukee. [Google] [More] ⦿ | |
David Wise is currently (2013-2014) enrolled as a MFA candidate in 2D Design at Cranbrook Academy of Art in Bloomfield Hills, Michigan. Creator of the geometric sans typeface Peter (2013): A geometric sans-serif inspired equally by Futura, Kabel, and Benjamin Crittion's trendy and ubiquitous typeface Raissonne (see trendlist.org). He also designed Krimhilde (2013). [Google] [More] ⦿ | |
David Yoon
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New York, NY-based designer of the vintage railroad car and/or Far West font Cash West (2019). [Google] [More] ⦿ | |
D.C. Scarpelli
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Born in Bay City, MI. New-York based designer of Quicksilver (1976, Letraset), a neon / glass tube chrome all caps display typeface from the disco era. He writes: I am Dean Morris, the designer of the typeface "Quicksilver" that came out in 1976 as part of Letraset's Letragraphica range of rub-down fonts, the stylishly aggeressive ones in the yellow pages of the catalog. I named the typeface "Quicksliver" because it looked like bent thermometers - quicksilver being a nickname for mercury (I never meant it to suggest neon), and because "Quicksilver" had some of the cooler letters such as Q, K, E, and R. The name was my second choice, however. Letraset Englishly felt that my first choice, "Polished Sausage", would be "rather unpopular iln foreign markets". About the genesis, e says: I designed it as a 16 year-old kid in John Glenn High School in Bay City, Michigan, and sent Letraset a xerox of a tight sketch of 3" letters kerned with the heavy outlines slightly overlapping as I originally intended. I drew only the skinny S without an alternate and submitted no punctuation (what did I know?). Letraset must have wanted it real fast (fifties nostalgia and disco were WHITE HOT then, remember), because they did the finished art themselves at 5" high (they can't have known my age, maybe they had no confidence in my technical talent), starting with the E as did I in the design stage. And what a gorgeous rendering job they did in the pre-Mac days of ruling pens, straightedges, and hand-drawn curves (those aren't compass curves)! Letraset stayed very close to my tight sketch, designed the punctuation, and suggested an alternate but wierd wide S, which I approved, figuring there was probably no other decent way to design it. I imagined the punctuation would match the stroke width of the letters but they drew them narrower and slightly oddly, but I figured what the hell. If you wondered, "What was I thinking?" when you looked at the A, B, E, F, K, N, Q, R, and Y, I'll tell you. I was simply trying to describe part of the letter being drawn in the wrong direction. I thought I was so clever. For instance the E cross-stroke goes from right to left rather than from left to right like, oh, any other Roman cap E in history. R and Q diagonals came from waaaaaaaay on the other side, N goes waaaaaaay around the wrong way before starting the diagonal. "Chrome" letters can branch but these "glass tube" letters don't! And then the seventies ended. Dean: Alas, digitization came along eventually and fontographer technology followed. Crash went sales of rub-down type, and control of artwork was pirated without my knowledge and beyond my control, which I don't condone but I totally understand. The first album cover I saw with Quicksilver was Men At Work's first smash LP, then punk pioneer Stiff Records' logo appeared on 45 rpm labels with a clearly Quicksliver-inspired F. For about ten years I, family, and friends collected food packages, posters, took photos of signs, etc. with Quicksliver from around the world. I think it's about the easiest typeface to mishandle ever. Eventually I stopped trying to keep track of it. Maybe I'm overestimating its popularity now after 30 years (I totally forgot about it for about a decade), but to me seeing it around at all is itself a rave. Ray Larabie published Tight in 2007 at Typodermic, which is a digital revival of Quicksilver. Dean Morris's photo stream at Flickr. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Vintage seed packaging from the 19th century inspired Deanna McGeown in the design of a Victorian ornamental caps typeface in 2012. Deanna was a student in Queens, New York, at the time of that design. [Google] [More] ⦿ | |
Albany, NY-based designer of Thatched (2016). [Google] [More] ⦿ | |
Graphic designer from New City (not New York City), NY, who graduated in 2011 with a BA in Graphic Design from Binghamton University. He created Malai Sans (2011). [Google] [More] ⦿ | |
Deka Design
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In 2002, he designed the Venetian typeface family ET Bembo for Edward Tufte / Graphics Press. Tufte says that Bonnie Scranton and he himself co-designed the font but the extent of this collaboration is unclear. That typeface family is now available for free download from Tufte's Github site, where it is catalogued under the name ET Book. Later extensions enclude Daniel Benjamin Miller's XETBook (2019) and Michael Sharpe's ETbb (2020). [Google] [More] ⦿ |
Deliberate Design
| Eric Eaton is a graduate from the California College of Arts and Crafts, San Francisco, CA (1997). He is a design director at Wired Digital in San Francisco, since 1996. He has made some experimental fonts (not downloadable): Bricks Are is a 2001 take on Akzident Grotesque, JAT is a 2000 serif face. Deliberately (2001) is a stencil face, Labyrinth (1999) is the ultimate pixel face, 3 by 3. Popva (1993) is based on a version of a logo for the City of New York (Street Cinema). [Google] [More] ⦿ |
Codesigner of Cabarga Cursiva (ITC, 1982) with his son Leslie Cabarga. Demetrio lives in New York. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Brooklyn, NY-based designer of the counterless display typeface Dopeography (2015). Behance link. [Google] [More] ⦿ | |
New York City-based designer of Sinclair Old Style (2013). [Google] [More] ⦿ | |
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MyFonts wrote this analysis of his work: Dennis Ortiz-Lopez is a hugely talented New York type designer. lettering artist&typographer, with around 600 typefaces to his credit. Typographic quality in the magazine market doesn't get much better than Rolling Stone magazine---well, guess who was their typographer (as well as InStyle, Sports Illustrated, People, etc.). Dennis made a successful transition to the digital era around 1989, keeping up his prodigious output. Dennis is also known by his Hebrew name, Siynn bar-Diyonn. Dennis follows the footsteps of great American type designers such as Morris Fuller Benton and Herb Lubalin. And he likes contrasts, too: his typefaces are very narrow or very wide, very thin or very fat. If you love Franklin Gothic but always felt like it's not fat and wide enough. try [Google] [MyFonts] [More] ⦿ | |
Commercial fonts: Vector 3d (1996), Flash Cards Addition (1998), Clock-Digital, Film Strip, BabyBlock, DecorativeBorders (4 fonts), OldWest, Ceramic Tile (2005), I Beam (2005), Porthole (2000), SanSerifUltra Condensed, SanSerifOutline, OldWest 3D, Brick, ZebraLumber, SerifOutline, Dalmation, Vector (4 fonts), Brick3D, OldEnglishEmbellished (1999, Fraktur), ChainLink, Fractions, SanSerif 3DShadow, Serif3D Shadow, Marquee, First Grade (lined school font), Pennant, USA States, USA Map, Piano Keyboard, Gallya Ornamented (1995), Diamond Plate (2000), Clock Digital (1997), Picket Fence (2000). Shareware: Bobcat (2 fonts), Panther (4 fonts), Caracal Backslant (2 fonts), Lynx (4 fonts), Ocelot (4 monowidth fonts), Cheetah (2 fonts), Serval (2002), Puma (2000, 4 weights), Ceramic Tile (2005), Film Font (2006), One Stroke (2007, octagonal, hairline), Gallya (2008). The list of his fonts: Baby Block Brick, Brick 3D, Ceramic Tile, Chain Link, Clock - Digital, Dalmation, Decorative Borders, Decorative Borders 2, Decorative Borders 3, Decorative Borders 4, Diamond Plate, Filmfont, FilmStrip, First Grade, Flash Cards - Addition, Fractions, Gallya, Gallya Ornamented, Highway Broken Line, I Beam, Marquee, Old English Embellished, Old English Embellished Bold, Old English Embellished Bold Italic, Old English Embellished Italic, Old West, Old West 3D, One Stroke, Pennant, Piano Keyboard, Picket Fence, Porthole, PVC Pipe, San Serif 3D Shadow, San Serif Outline, San Serif Ultra Condensed, San Serif Ultra Condensed Bold, Serif 3D Shadow, Serif Outline, Vector, Vector 3D, Vector Bold, Vector Bold Italic, Vector Italic, PVC Pipe, USA Map, USA States, Zebra Lumber. Klingspor link. [Google] [More] ⦿ | |
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He made the copperplate-look typeface Thick Block (2012) for the upstart Brooklyn restaurant The Brooklyn Sandwich Society. Still in 2012, he combined the copperplate and Western signage styles in his Applewine typeface. In 2013, he created the Venetian typeface Stonewall Roman. He will extend this elegant and promising typeface to a full-fledged family in 2014. Ragehaus is the web presence of Derek and his wife Kim. Behance link. [Google] [More] ⦿ | |
New York City-based graphic designer, who has worked in London. Behance link. In 2010, he created the Model T Ford Face (2010), a typeface based on bent frames of glasses. The Porsche sunglasses led to Porsche Carrera Rear Ended (2010). [Google] [More] ⦿ | |
Design Culture (was: Cubanica Fonts)
| 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.
View Cubanica's library of typefaces. View Pablo Medina's typefaces. [Google] [MyFonts] [More] ⦿ |
Design Observer
| A design site where one sometimes finds discussions on type. The founding writers are Michael Bierut, William Drenttel (an ex-typographer practicing law), Jessica Helfand and Rick Poynor. From Bierut's CV: Michael Bierut studied graphic design at the University of Cincinnati's College of Design, Architecture, Art and Planning. Prior to joining Pentagram in 1990 as a partner in the firm's New York office, he worked for ten years at Vignelli Associates, ultimately as vice president of graphic design. His clients at Pentagram have included The Council of Fashion Designers of America, Harley-Davidson, The Minnesota Children's Museum, The Walt Disney Company, Mohawk Paper Mills, Motorola, Princeton University, the Brooklyn Academy of Music, and the New York Jets. Bierut's work is represented in the permanent collections of the Museum of Modern Art and the Metropolitan Museum of Art in New York, and the Musee des Arts Decoratifs, Montreal. He has served as president of the New York Chapter of the American Institute of Graphic Arts (AIGA) from 1988 to 1990 and is president emeritus of AIGA National. Michael was elected to the Alliance Graphique Internationale in 1989, and was elected to the Art Directors Club Hall of Fame in 2003. Michael is a Senior Critic in Graphic Design at the Yale School of Art. He writes frequently about design and is the co-editor of the four-volume series Looking Closer: Critical Writings on Graphic published by Allworth Press. In 1998 he co-edited and designed the monograph Tibor Kalman: Perverse Optimist. His commentaries about graphic design in everyday life can be heard nationally on the Public Radio International program "Studio 360." He received the AIGA Medal in 2006, and was a winner in the Design Mind category at the 2008 Cooper-Hewitt National Design Awards. He is a cofounder of the website Design Observer. Michael's book 79 Short Essays on Design was published in 2007 by Princeton Architectural Press. His collection of new essays, Now You See It, was published in the fall of 2017. In 2018, Michael Bierut and Village type director Chester Jenkins talk collaborated on the Sherman typeface designed as the linchpin of the new identity for Syracuse University. The typeface revives a design created by Frederic Goudy in 1912 which ended up in the possession of the University. Additional material and links on Bierut: The Atlantic Talks Typography: interview with M. Bierut, Pentagram link, Reasons to Choose a Particular Typeface For a Project. In 2013, Bierut redesigned the New York City parking signs. [Google] [More] ⦿ |
Broolyn, NY-based designer (b. 1987) of the free typeface Discharge (2015, brush type). Dafont link. [Google] [More] ⦿ | |
During his studies in New York City, Devon Bain designed the hexagonal typeface Hexagon (2017). [Google] [More] ⦿ | |
DIA (Dreamers Ink Aesthetics)
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In 2016, Monkey Type and Mitch Paone designed the typeface family Banana Grotesk and the wide monolinear all caps sans typeface Albert. In 2020, they released the sans typeface family Marcel. [Google] [More] ⦿ |
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Graphic designer and lettering artist in Brooklyn, NY. In 2016, she designed the Victorian era ornamental typeface Bushwick Brooklyn, and drew a decorative all caps typeface. Behance link. [Google] [More] ⦿ | |
Originally from Jerusalem and based in New Jersey. During her studies in New York City, Diana Marianovsky designed the experimental Mondriaan-inspired typeface Chiaroscuro (2016). Behance link. [Google] [More] ⦿ | |
Behance link. [Google] [More] ⦿ | |
Composer, poet and founder of Something Else Press. He designed Kenster (named after Fluxus Mail-artist Ken Friedman) and Magwitch. Marilyn Stablein's High in the Himalayas is set in Kenster. Interview. He was from Barrytown, NY, and died in Quebec in 1998. If anyone can track down these fonts, please let me know! [Google] [More] ⦿ | |
Dick Skinner
| New York City-based publisher of Dickface (2012), a font apparently made by Nicolas Guagnini and Bill Hayden. It can be bought for one dollar. Discussion at Typophile. Behance link. [Google] [More] ⦿ |
New York City-based designer of the connect-the-dots typeface Dotty (2016). [Google] [More] ⦿ | |
Housed at Columbia University, The Digital Scriptorium is a growing image database of medieval and renaissance manuscripts that unites scattered resources from many institutions into an international tool for teaching and scholarly research. [Google] [More] ⦿ | |
New York City-based designer of the handcrafted typeface Enfantin (2015). Behance link. [Google] [More] ⦿ | |
Creator in Brooklyn, NY, of a paperclip typeface in 2011. [Google] [More] ⦿ | |
Creator in New York City of the retro gaming font Retroact (2015). [Google] [More] ⦿ | |
Free pixelated fonts (for now) by "Ree Kee". Some commercial pixel fonts too. Fantastic web presentation! The free fonts: Arcadepix, Chicpix, RegupixBold, Regupix, ZXpix. Commercial: Mobypix, Sixpix, Fivepix, Slimpix, Flatpix, Xtrapix, Tinypix, Grandpix. John Johnson is Ree Kee's business partner at Dimenzioned Studio. [Google] [More] ⦿ | |
Disappearing Inc
| With Jason Lucas, Jeff Prybolsky (who designed Cowpoke, [T-26]) runs Disappearing Inc in New York. Commercial fonts: Thumtax, Supersonic, Desideratum, Ephemeral, Storybook, Cowpoke, Spoilsport, Cirque Detroit. Dead link. [Google] [More] ⦿ |
Company located in New York City, and St. Paul, MN, which sold stencils as standard equipment with the Style A-029 Stencillor. In 1930, they published the lettering book Display material catalogue. In 2013, Jeff Levine designed the typeface Floorwalker JNL, which is based on stencils made in 1926 by Display Material Company. [Google] [More] ⦿ | |
Dmitry Krasny
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Graphic designer in New York City. Behance link. She created the delicate Stained Glass Rosette type family in 2011. [Google] [More] ⦿ | |
In 2015, he published the (beautiful!) architecturally inspired hairline sans typeface Citarella Gothic and Citarella Gothic Ultra Light. MyFonts link. Dafont link. [Google] [MyFonts] [More] ⦿ | |
Ex-art director at Ballentine Books. Creator of MGB Patrician (1980, Letraset). Digital revivals or remakes include Verve (Dieter Steffmann), Mazama Plain (Harris Type), Aegina (Brendel Informatik GmbH), and Protea (Castcraft/Opti), In the MyFonts forum of 2005, J-Louise Heron writes: Don Munson, former Art Director of Ballantine Books, NYC---designed MGB Patrician. (The initials I believe were for him, his wife and partner, the Patrician for his daughter) At first it was a typositor exclusive at Haber. They would bill out 2 dollars a letter for each letter they set. Eventually, it was turned over to Letraset and made a rub-on transfer---with those great alternative "S"s... Mr. Munson left his job, Haber's shop moved into Image's shop, and old man Haber, left the office one night, took 4 steps outside the door, had a heart attack, and was found dead on the floor later that night. Lynda Graham-Barber informed us that MGB Patrician was co-designed by Ray Barber, her late husband, and Don Munson. The letters MGB refer to Don Munson, Lynda Graham and Ray Barber. [Google] [More] ⦿ | |
Don Rice in New York made four truetype fonts (all formats, 65 USD) for jazz sheet music: GoldenAgeMusic, GoldenAgeText, GoldenAgeTitle, GoldenAgeXtras. [Google] [More] ⦿ | |
At Type@Cooper in 2012, he reinterpreted Jaroslav Benda's 1952 typeface Betu, and published it as Benda. [Google] [More] ⦿ | |
Wood type collectors weho started building a collection in 1940 in Dobbs Ferry, New York. [Google] [More] ⦿ | |
Douglas Hayes is from Buffalo, lives in Brooklyn, and is involved in graphic design and type design. He cooperated on several typefaces at MCKL Type, Jeremy Mickel's typefoundry in Los Angeles. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the neon typeface Duodash (2015). Behance link. [Google] [More] ⦿ | |
DownHill Publishing
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The DownHill Publishing fonts are grouped into Print Writing, D'Nealian, Box Writing, Cursive Writing, Phonics, Sign Language, Seasonal, Decorative. [Google] [More] ⦿ |
DP Fonts
| DP Fonts (est. 2010) sells fonts created by two New York college friends, Jennifer DeAngelis and Amanda Pastenkos. Jennifer (b. 1985) lives in New Jersey, and runs the graphic and web design company Jennifer DeAngelis Design (est. 2008), which is also listed on MyFonts. The first DP Fonts font on MyFonts is the dingbat typeface Wintery Mix (2010). In 2011, Jennifer published the hand-printed 3d outline typeface Marquee and Mermaid NY (2011, dingbats). [Google] [MyFonts] [More] ⦿ |
Dresser Johnson
| Corporate identity and print design company in New Paltz, NY, est. 2003 in New York City by Kevin Dresser and Kate Johnson. Kevin Dresser (b. 1971, Rochester, NY), its head, was a type designer at Hoefler Type Foundry from 1997 until 2000, when he started Dresser & Sons. His work there included art deco typefaces and iconography for the signage program at Radio City Music Hall, a redesign of the classic Cheltenham typeface for The New York Times Magazine, a custom typeface in Hebrew for the Rodeph Sholom Synagogue, a grunge typeface for Florent Restaurant, custom typefaces for Architectural Design Magazine, iconography for The Museum of Modern Art, lettering for TypeCon 2005, and a few retail typefaces. In 2003, he published the 15-weight sans family General at Thirstype, which is now also available for licensing from Dresser Johnson. Kate Johnson is a graphic designer who graduated from the Rhode Island School of Design. Typefaces from 2012: Terminus (dot matrix face). [Google] [MyFonts] [More] ⦿ |
Art director in New York City. The fonts shown on his/her site are made by others. [Google] [More] ⦿ | |
Dunwich Type Founders
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Creative Market link. https://fonts.ilovetypography.com/fonts/dunwich-type-founders">I Love Typography link. Github link. Fontsquirrel link. [Google] [MyFonts] [More] ⦿ |
Dwi Yudha
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Easel Design
| New York City-based designer of the beveled typeface Emerald Cut (2017). [Google] [More] ⦿ |
Eastern Brass&Wood Type
| American wood type manufacturer, est. 1910 in New York City by Frederick Gerken. At some point it was in Queens, but it is unknown when it ceased operations. [Google] [More] ⦿ |
Edd Harrington
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Edition Studio
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Custom typefaces were done via Edition Studio for NY Nike Headquarters and Darcstudio. [Google] [More] ⦿ |
Edward A. Capen
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Ed Benguiat taught at SVA in New York for more than fifty years. Ed is a popular keynote speaker at major type meetings, including, e.g., at TypeCon 2011, where he entertained the crowd with quotes such as I do not think of type as something that should be readable. It should be beautiful. Screw readable. His typefaces---those from PhotoLettering excepted:
Links: Linotype, CV by Elisa Halperin. Daylight Fonts link (in Japanese). Catalog by Daylight, part I, part II. Pics harvested from the web: Portrait With Ilene Strivzer at ATypI 1999. One more with Strivzer. With Jill Bell at ATypI 1999. In action. At TypeCon 2011 with Matthew Carter and Alejandro Paul. At the same meeting with Carole Wahler and with Roger Black. FontShop link. Klingspor link. View Ed Benguiat's typefaces. Ed Benguiat's fonts. [Google] [MyFonts] [More] ⦿ | |
Master of business writing and business penmanship, b. 1872, Illinois, d. 1962. He worked mostly in Rochester, NY first for The Williams & Rogers Company and later as an independent penman. Author of Modern Business Penmanship (1903, American book Company). [Google] [More] ⦿ | |
Edward Dalton Pelouze
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Art director of the Matthews-Northrup Printing Works in Buffalo, New York and designer of Winchell. McGrew writes: [Winchell was] introduced by Inland Type Foundry in 1903 as especially adapted for use in fine catalog and booklet printing, as well as for commercial stationery, where something out of the ordinary is demanded. It is a bold, thick-and-thin display face, but more like a nineteenth-century design, with some characters seeming to be poorly proportioned or having awkward shapes. These faults are less noticeable in Condensed Winchell, introduced by Inland the following year, but patented by William Schraubstadter in 1905. Neither is a distinguished typeface by later standards. Compare John Hancock, Bold Antique. The Winchell typeface is a Clarendon styled slab serif that clearly has distinctive pre-modernist sensibilities. It was also made in wood by the Hamilton Manufacturing company in the mid 20th Century. In 2009, Richard Kegler made a digital typeface Winchell that is free for those who become members of the WNY Book Arts Center in Buffalo. In 2015, P22 Winchell became available for purchase. In 2021, Kegler released LTC Winchell. In 2014, Robert Donona also did a revival. [Google] [More] ⦿ | |
Edward McKnight Kauffer (b. 1890, Great Falls, MT; d. 1954) was an American artist and graphic designer who lived for much of his life in the United Kingdom. He worked mainly in poster art, but was also active as a painter, book illustrator and theatre designer. He studied at the Art Institute of Chicago (1912/1923) and moved to London in 1914. He is known for the 140 posters that he produced for London Underground, and later London Transport, covering diverse styles---from abstract, futurist, cubist and vorticist to impressionist and art deco. He returned to New York City in 1940 where his main client was American airlines between 1947 and 1954. Type designs that were influenced by his poster lettering:
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Designer of the decorative Funny Alphabet, some time between 1850 and 1864. It was published by McLoughlin Brothers in New York. [Google] [More] ⦿ | |
Born in 1799, died in 1876. Edward Pelouze was the second son of Edmund Pelouze, and a key figure in the Pelouze type foundry family. In 1817, he worked for the Boston Type Foundry, and later in Boston, he worked for Phelps, Dalton and Co, He moved to New York to work as a typefounder for White's (1829) and set up his own foundry, the Pelouze Foubndry, in 1830. In the central part of his life, he moved type equipment to San Francisco and set up a foundry there in 1848. But he returned to Boston, where he bought the Boston Type Foundry in 1853 with John K. Rogers, to form the John K. Rogers Foundry. His three sons, whom he had introducted to typefounding, would all become successful typefounders as well. Not to be coinfused with his son, Edward Dalton Pelouze or his grandson, Edward Craige Pelouze. [Google] [More] ⦿ | |
American illustrator, b. Brooklyn, 1866-1925, considered as the father of the American poster. Well-known for his art nouveau style posters, he created several alphabets. Penfield's posters inspired several digital typefaces. André Zottolo's AZ Harpers July was inspired by Edward Penfield's poster art. BU Penfield Deco by Michael Bosen (or Michael Bolen) is also based on Penfield's typography. [Google] [More] ⦿ | |
Editor/author of Life with Letters--As They Turned Photogenic, and Alphabet thesaurus; a treasury of letter designs (1960, Reinhold, NY). Volume 3 was published in 1971. In 1975 he was awarded the TDC Medal, the main prize of the Type Directors Club. In 2007, House Industries made this funny clip. Sadly, Ed died in August 2009. [Google] [MyFonts] [More] ⦿ | |
Edward Rondthaler
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Behance link. [Google] [More] ⦿ | |
Edwin Allen manufactured wood type for newspapers in South Windham, CT, from 1837-1840, after having invented in 1836 his own version of the router/pantograph for wood type manufacture. His wood types were sold exclusively through George Nesbitt in New York City. In 1845, two of his employees, William and Samuel Day, left to set up their own company in Ohio. Two other employees, Horatio and Jeremiah Bill, from Lebanon, CT, left in 1850 to start their own business as well. In 1852, Allen's company was purchased by John G. Cooley and production moved to New York City. Typefaces by Edwin Allen include Antique Open Shaded (1828), Antique Rose Ornamental (1838) and Antique English Ornamental (1838). [Google] [More] ⦿ | |
During his studies in New York City, Ege Dalaman created an art tape typeface (2015). [Google] [More] ⦿ | |
Graphic designer in New York City, who created the display typeface Tactile (2015), which comes in Combined (overlayed), Regular and Stylized versions. [Google] [More] ⦿ | |
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During her studies in New York City, Elba Lopez designed the display typeface Sylvia Plath (2016). [Google] [More] ⦿ | |
Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of Slant (2013, Friday Fonts. [Google] [More] ⦿ | |
New York City-based graphic designer. Behance link. Creator of the mechanically inspired Protopipe (2009). [Google] [More] ⦿ | |
Designer of a hand-printed typeface in 2012 during her studies at the Pratt Institute in New York City. [Google] [More] ⦿ | |
Font engineer and open source software advocate located in Seattle, WA. Before that, he studied mathematics at CUNY in New York. His typefaces:
Interview. Use Modify link. Github link. [Google] [More] ⦿ | |
As a student in New York City, Elianna Vann designed the techno typeface Huxley (2016). Behance link. [Google] [More] ⦿ | |
Eliza Gwendalyn
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Home page. Imaginary Alphabets link at Alphabettes. [Google] [More] ⦿ | |
Agfa Creative Alliance designer who made the art deco all caps typeface Brok (1995), which first appeared in 1919 as poster letters cut in wood by Chris Lebeau for the Willem Brok Gallery in Hilversum, Holland. At Font Bureau, she designed the heavy geometric slab serif family Constructa, which is based on Morris Fuller Benton's 1934 ATF design called Tower. Font Bureau link. Klingspor link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Native New York City artist who studied at Pratt Institute. Brookly-based designer of these typefaces in 2016: Beltoni (handcrafted, liquid), Pixatron, Mieszko, Noveta, Hideout (pirate font), Artigan (calligraphic). Behance link. [Google] [More] ⦿ | |
Brooklyn, NY-based graphic designer who created the text typeface Charlie in 2014. [Google] [More] ⦿ | |
Elizabeth McGuirl (Sea Cliff, NY) studies graphic design at Rochester Institute of Technology. She created Deadly Decay (2012, an all caps ornamental typeface inspired by coral). [Google] [More] ⦿ | |
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] ⦿ | |
Multidisciplinary designer, b. Melbourne, Australia, 1984. Currently working at R/GA, New York. Creator of the experimental dot-to-dot typeface Freckles (2012). Behance link. [Google] [More] ⦿ | |
Art director living in Williamsburg, VA, who studied at the Pratt Institute and the School of Visual Arts in New York. Creator of the experimental typeface Incognita (2012). [Google] [More] ⦿ | |
New York City-based design student who created the art deco all caps typeface Darling (2012). [Google] [More] ⦿ | |
Embossdesign.com
| Emboss was founded in 1995 by Stephen Boss (b. 1969, Michigan), and is located in Beacon, NY, and Camillus, NY. Stephen Boss lived in Gloucester, MA, then in Brooklyn, NY, and finally near Syracuse, NY. His fonts are sold by Monotype Imaging / ITC and Myfonts. Typefaces include Babalon, Oo La La, Chubbét (2010: sans family, +Distended), Tobago, Phervasans (pixel face), DNA, Elefont, Eurydome (2010, like Eurostile?), Thai One One (a Thai simulation font), Jerusalem Syndrome, Dramaminex, Crossell (2010, a sans family), FaxFont97, Embossanova (2012), Chubbét Extended (2012), EmBauhaus (2012), and Zyncho. [Google] [MyFonts] [More] ⦿ |
Mac MGrew: Murray Hill and Murray Hill Bold were designed by Emil Klumpp for ATF about 1956. They are smart, free flowing, modern scripts, nearly vertical, and letters are not connected. Their refreshing informality has made them popular for advertising as well as for stationery and announcements, while their nearly complete lack of kerns has made them durable, practical, and easy to set. The name, incidentally, is said to have come from a New York telephone exchange, before the days of all-numeric dialing, serving an area of the same name in which many large advertising agencies were located. He also made the informal script font Catalina (1955) as well as many photolettering typefaces. Catalina was digitized as Enamel Brush by Ray Larabie in 2009. His life and work are discussed in the link. MyFonts link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Swiss typographer (b. Zürich 1914, d. Basel, 1970), and type guru in the 50s and 60s. Ruder taught at the Basel School of Design (Kunstgewerbeschule), and founded the International Center for the Typographic Arts in New York, 1962. Author of Typographie: Ein Gestaltungslehrbuch - A Manual of Design - Un Manuel de Creation (Teufen: Niggli, 1967), and Typographie. Ein Gestaltungslehrbuch. Mit über 500 Beispielen (7th edition in 2001, Niggli). The Road to Basel (Helmut Schmid) is an homage to Emil Ruder by Helmut Schmid, one of Ruder's students, who headed a group of other ex-students and organized their contributions. The former students who participated are Harry Boller, Roy Cole, Heini Fleischhacker, Fritz Gottschalk, André Gürtler, Hans-Jürg Hunziker, Hans-Rudolf Lutz, Fridolin Müller, Marcel Nebel, Åke Nilsson, Bruno Pfäffli, Will van Sambeek, Helmut Schmid, Peter Teubner, Wolfgang Weingart, and Yves Zimmermann. Karl Gerstner and Kurt Hauert also contributed. Paul Shaw reviews this book and Ruder's contributions. Quotes from Shaw's piece:
IDEA Mag's special issue #332 entitled Ruder Typography Ruder Philosophy (2009), with articles by Leon Maillet (Tessin), Armin Hofmann (Lucerne), Karl Gerstner (Basel), Kurt Hauert (Basel), Lenz Klotz (Basel), Wim Crouwel (Amsterdam), Adrian Frutiger (Paris), Hans Rudolf Bosshard (Zurich), Andre Gutler (Basel), Juan Arrausi (Barcelona), Ake Nilsson (Uppsala), Fridolin Muller (Stein am Rhein), Harry Boller (Chicago), Maxim Zhukov (New York), Taro Yamamoto (Tokyo), Fjodor Gejko (Düsseldorf), Helmut Schmid (Osaka), and Susanne Ruder-Schwarz (Basel). Article on Ruder by Shane Bzdok, 2008. [Google] [MyFonts] [More] ⦿ | |
Emily Atwood is an independent designer based in New York City. She has previously worked as a Senior Designer at Pentagram Design in New York City for Paula Scher, leading identity, editorial, campaign and web design projects. In 2014, she earned her Bachelor of Arts in Visual Art at Fordham University in the Bronx, New York, and obtained a BFA in Graphic Design + Digital Media at Laguna College of Art + Design in 2017. She is currently involved in the Type at Cooper Extended Program Certificate in Type Design at The Cooper Union in New York City. She is also an adjunct instructor in the design departments for Laguna College of Art and Design in Laguna Beach, California and The School of Visual Arts in New York City. Her typefaces:
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At Nazareth College of Rochester, Emily Borden (Honeoye Falls, NY) designed the elegant display typeface Aurea Script (2017). [Google] [More] ⦿ | |
Buffalo, NY-based designer, who created the experimental typeface Lines (2012). [Google] [More] ⦿ | |
During a type design class of Kris Holmes, Emily Moore (Rochester, NY) designed Sanscery (2013), a calligraphic sans. [Google] [More] ⦿ | |
During her studies, Utica, NY-based Emily Mendoza designed the handcrafted typeface Humble Bumble (2017). Behance link. [Google] [More] ⦿ | |
During her studies in New York City, Emily Simpson designed Fragmented (2017). [Google] [More] ⦿ | |
During her studies in Rochester, NY, Emma Brooks designed the ornamental caps typeface Seals (2012). [Google] [More] ⦿ | |
Emma Grey (Brooklyn, NY) surveys typeface choices for various media. She compiled he following lists:
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Manhattan, NY-based designer of the thin modular typeface Gem (2014). [Google] [More] ⦿ | |
Empire Type Foundry
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Empire Wood Type Co.
| American wood type manufacturer in New York City, est. 1901 by Edward A. Capen. In 1936, the holdings were sold to American Wood Type Co., which was also in New York City. Examples of typefaces: Bulletin Script (1870, back slanted, a simulated psychedelic brush face). [Google] [More] ⦿ |
Author of Noyes's Penmanship (1839, Jenks&Palmer, New York). Samples from that book: calligraphy, German text, hand exercises, Old English. [Google] [More] ⦿ | |
Eric Eaton
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Eric VanDycke
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Eric Vasquez is a Brooklyn-based graphic designer. Eric has a BA in Graphic Design from the New England Institute of Art in Boston. In 2012, he created the ornamental caps typeface Royal Highness. Creattica link. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of Shell Type (2013). [Google] [More] ⦿ | |
In 2018, Brian LaRossa and Erica Carras (Brooklyn, New York) co-designed the Bauhaus typeface Staatliches. The alphabet revives and extends Herbert Bayer's title lettering on the cover of the first Bauhaus exhibition catalogue from 1923. It features full sets of capitals, numbers, punctuation, and symbols, in addition to alternate widths, discretionary ligatures, and common Latin accents. Staatliches is free at Google Fonts. During her studies at Type@Cooper in 2018, Erica Carras developed the calligraphic foliated text typeface Pyk and wrote: Inspired by Helmut Salden's brush lettering, the process of uniting a running hand (italic) system of calligraphy into an upright text face gave Pyk its unconventional letter shapes. Looking at the o, e, c and s, these traditionally round letters instead follow a triangular model, echoing the n's counter shape and the bouncing upstrokes that connect the stems. This upward motion directs the eye forward and also creates an even diagonal rhythm across the line of text. To increase legibility as a text face, Pyk has low contrast, uniform letter widths, and generous spacing. Pyk stands at the crossroads between calligraphy and type design, with a bounce in its step. Pyk won an award at the Type Directors Club's Type Design Competition 2019. Future Fonts link. [Google] [More] ⦿ | |
Erica is a graphic designer, Judaica artist, writer, community organizer, vocalist (mezzo-soprano) and performer. After 22 years in the Boston area, she relocated in September 2011 to the Upper West Side of Manhattan, where she lives with her partner, the actor Tom Giordano. Fontspace link. Creator of Erica's Handwriting (2007, Fontifier). [Google] [More] ⦿ | |
New York City-based designer of the Peignotian display typeface Accessories (2016). Behance link. [Google] [More] ⦿ | |
New York City-based designer of the squarish display typeface Neolithic (2014). [Google] [More] ⦿ | |
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Erin McLaughlin
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During her communication design studies in Buffalo, NY, Erin Redfield created the experimental typeface Cable (2014). [Google] [More] ⦿ | |
At Parsons School of Design, Brooklyn, NY-based Esther Klingbiel designed the modular shaded typeface Schoolteacher (2015, FontStruct). FontStruct link. [Google] [More] ⦿ | |
During her studies, Esther Lee (Brooklyn, NY) created the thin octagonal display typeface Moda (2015). [Google] [More] ⦿ | |
Etcetera Type Company (or: ETC; was: Finck Font Co)
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His typefaces:
Alternate URL, called The League of Movable Type. Typedia link. Kernest link. League of Movable Type link. Creative Market link, Klingspor link. Dafont link. Home page. Creative Market link. Abstract Fonts link. Google Plus link. YWFT link. Old home page. Behance link. Github link. [Google] [MyFonts] [More] ⦿ |
Brooklyn-based creator of Monel 400 (2011), a multiline art deco poster typeface commissioned by Duke University. [Google] [More] ⦿ | |
Typeface designer and calligrapher from New York City, where he worked at Mucca and studied typeface design at The Cooper Union's Type@Cooper Extended Program. Graduate of the Type Media program at KABK in Den Haag, The Netherlands, class of 2019. Presently located in Berlin. His typefaces:
Future Fonts link. [Google] [More] ⦿ | |
Ethan Paul Dunham
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EunJee Kim, also known as Joy, graduated from the Rhode Island School of Design with a BFA in graphic design, in 2012. She is actively working on her personal projects, and as a freelance graphic designer in New York. She did an experimental shaky version of Futura in 2013. [Google] [More] ⦿ | |
Graduate of the Rhode Island School of Design in 2012, who works in New York City. Creator of Experimental Typeface 01 and 02 (2012). [Google] [More] ⦿ | |
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Eva Kamieniak Cassetta is a graphic and web designer who studied at Virginia Commonwealth University in Richmond, VA. She now lives in New York City (was: Pearl River, NY). Her typefaces include
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During his studies at School of Visual Arts, New York City, Evan Pokrandt created the hexagonal typeface Honeycomb (2014) and the tall typeface Toothsome (2014). Behance link. [Google] [More] ⦿ | |
During her studies, Evelyn Bellreng (Niagara Falls, NY) used pieces of a can opener to design the experimental typeface Obscura (2017). [Google] [More] ⦿ | |
Larchmont, New York-based graphic designer. During his Electronic Design and Multimedia (EDM) studies at The City College of New York in 2012, he designed the simple monoline font Ever's Typeface. [Google] [More] ⦿ | |
New York-based publisher of Scroll Book (1876), which showcases some ornaments and borders. [Google] [More] ⦿ | |
Expert Alphabets
| George Abrams (b. 1919 or 1920, Brooklyn, d. 2001, Manhasset, NY) is the designer of the gorgeous font families Augereau, Abrams Caslon and Venetian, at Expert Alphabets in Great Neck, NY. Abrams taught lettering and typeface design at the Parsons School of Design, the New School for Social Research and at the Columbia University Teachers College. He had over 50 years of Madison Avenue experience designing ads, logos, typography and lettering for Fortune 500 companies and more. His early typefaces were photo types published by Headliners in New York City. He died on June 7, 2001 at age 81. About Augereau: This is the only digitized typeface by George Abrams [in fact, the digitization is due to Charles Nix, for George Abrams]. Its 28 weights include over 2,000 sorts including expert, OsF,&alts. Augereau is named for Antoine Augereau, who was a typographer who had a few claims to fame - one was that he was Claude Garamonds teacher, and two was that he was sentenced to death for heresy in 1544. Heresy for a typographer in 1544 meant that he printed something that the king or the Pope didn't like and died for it. I would like to thank Poul Steen Larsen for clarifying the history of Abrams' Venetian: The Abrams Venetian was donated to Mr. Poul Kristensen of Herning (in Jutland), then Printer to the Royal Court (which he has ceased to be in 1995). You are right about the font being today locked to Poul Kristensen' old Linotron, from which not even Linotype experts brought in to unlock it, could get it out for conversion into an up-to-date digital font. So the font will disappear from the type arena when Kristensens Linotron one day breaks down. You can trust me, for I was the one who established the contact between George and Mr. Kristensen back in 1986. The font was first used in 1989 in a book by Martin Lowry, British renaissance historian, with the title Venetian Printing. George Abrams' chalk drawings of the entire alphabet in regular and italic were scanned, more precisely vectorised on-screen and downloaded in Denmark by the Kristensens and therefore, in one sense, could be called the first Danish complete font. A sample of the first use of Abrams' Venetian. A second sample from "Venetian Printing". Abrams Venetian was digitized at some point by Jorgen Kristensen for Poul Kristensen Grafisk Virksomhed Printer. Apostrophe wrote this about Abrams Caslon: This was actually reviewed by Caflish and, if I remember correctly, Mark vonBronkhorst, so there are at least 3 or 4 copies of it out there, other than the Abrams' estate original data. Sumner Stone once said that this is the best Caslon he has ever seen. At least he has seen it; I haven't. The typefaces by Abrams (Abrams Venetian and Augereau) are preserved in the New York City-based Abrams Legacy Collection (see also here). Klingspor link. [Google] [MyFonts] [More] ⦿ |
Faire Type Foundry
| Sabrina Nacmias is a New York-based graphic designer, who graduated from Pratt Institute, and started studies at Type@Cooper in 2020. She co-founded Faire Projects in 2016 and Faire Type Foundry in 2020 with her partner Maxime. Based in Brooklyn, Faire Type Foundry published these typefaces in 2020:
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A phonetic roman-character based proposal by L. Craig Schoonmaker (New York). [Google] [More] ⦿ | |
New York City-based creator of the nicely tuned squarish typeface Sharp Turns (2011). [Google] [More] ⦿ | |
Farmer, Little&Co.
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Catalogs published by Farmer include Specimens from the A. D. Farmer&Son Type Founding Co. Including Book, Newspaper and Jobbing Type, Brass Borders and Rules, with Complete Price List, &c, New York, 1897. Farmer and Little published The Reduced Price List and Latest Specimens of Printing Types Etc. (In an Abridged Form.) Cast by Farmer, Little&Co., Type Founders in New York in 1882. In 1900, A.D. Farmer & Son published Typographic specimens: illustrated catalogue. Farmer, firm, type-founders, New York, a 607-page catalog. Linotype link. [Google] [MyFonts] [More] ⦿ |
Federico Perez Villoro is a Mexican artist and designer based in Brooklyn, NY. Interested in the sociopolitical implications of communication technologies, his work focuses on the relationship between language and identity. Federico holds an MFA from Rhode Island School of Design (RISD). In 2016 he was an artist in residence at California College of the Arts (CCA), where he taught in the MFA Design program. He is a critic at RISD, where he started teaching in spring 2017. As a student at Rhode Island School of Design, class of 2013, he created the display typeface Eme. [Google] [More] ⦿ | |
Graduate from the Rochester Institute of Technology in 2009 with a BFA in Graphic Design. Designer and art director in Brooklyn, NY, who created the experimental typeface Crushes (2014). Behance link. [Google] [More] ⦿ | |
Designer of the geometric New York City Typeface (2012), and of London (2012). [Google] [More] ⦿ | |
Aka Tata. Indonesian graphic designer and illustrator based in Jakarta and New York. She was born and raised in Jakarta, Indonesia and studied at Parsons School of Design in New York. Her typefaces from 2021: Sans Skript (Sans-Skript is a display typeface that is inspired by Javanese Script (or Sanskerta in Bahasa Indonesia), one of Indonesia's many traditional scripts that were commonly used by Javanese people from ca. 1450 until ca. 1950). [Google] [MyFonts] [More] ⦿ | |
FELTRON
| New York-based Nicholas Felton's fonts at FELTRON: the pixel fonts Remove (OpenType), Foss (caps inspired by Icelandic writing), Whip, Amtrix S (pixel type), Megabit, Sibilance, Amtrix 4, Amtrix 5, Amtrix 6. He also made the experimental geometric typeface Shipflat (2004, T-26), which won an award at the TDC2 2005 type competition. Klingspor link. [Google] [More] ⦿ |
Artist in Warwick, NY, who created the hand-printed typeface Femi Ford (2012, iFontMaker). [Google] [More] ⦿ | |
During his studies at UFC in Fortaleza, Brazil, Fernando Castello Branco created Niemeyer (2013), a display typeface that was influenced by Oscar Niemeyer's architecture. [Google] [More] ⦿ | |
Off-hand flourishing artist, b. Poughkeepsie, NY, 1845, d. 1924. He worked in many eastern states but reached the peak of his craft while teaching from 1883 until 1890 at the Gem City Business College in Quincy, IL. After that, he taught in San Francisco, Utica, NY and Boston, MA. [Google] [More] ⦿ | |
In 2006, the Filmotype collection was bought by Font Diner. In 2007, Font Diner started publishing digitizations of the collection: Glenlake (condensed Bank Gothic, by Mark Simonson), MacBeth (script), Alice (casual script), Zanzibar (calligraphic), La Salle (brush writing originally by Ray Baker in the 1950s, named after Chicago's LaSalle Street), Quiet, Ginger (Mark Simonson; masculine headline typeface genetically linked to Futura), Austin (paintbrush), Brooklyn (hand-printed), Honey (handlettered script), Jessy (handwriting), Modern (i), Vanity. In 2010, Stuart Sandler published a book entitled Filmotype by the Letter, in which he details the company's history. He also set up Filmotype as a foundry in Eau Claire, WI. Additions to the Filmotype collection in that year include the signage typefaces Filmotype Kentucky, Filmotype Kingston, Filmotype Harmony and Filmotype Hamlet, and the geometric sans Filmotype Fashion (orig. 1953). The signage typefaces were originally made by Ray Baker for Filmotype in the 1950s, and were digitized by Patrick Griffin and Rebecca Alaccari. Activity in 2011. Patrick Griffin and Rebecca Alaccari revived the condensed sans typeface Filmotype Giant (2011) and its italic counterpart, Filmotype Escort (2011), as well as Filmotype Prima (a sho-card face from 1955). Neil Summerour contributed Filmotype Horizon after an original signage typeface from 1954. Mark Simonson created Filmotype Gay, a tall monoline sans originally from 1953. Filmotype Ford (2011) and Filmotype Jamboree (2012, an informal script based on a 1965 original) are due to Stuart Sandler. Filmotype Quartz is an inline face. Activity in 2012. Alejandro Paul contributed two scripts, Filmotype Yukon (based on Palmer style penmanship) and Filmotype Zephyr (formal italic roman). Later in 2012-2014, the production took off, with many contributions by Patrick Griffin and Charles Gibbons (who created Filmotype Zeal in 2013 for example). Typefaces from 2021: Filmotype Kinzie (by Lily Feinberg), Filmotype Andrew (by Patrick Griffin; a bold and wide extension of the retro casual script font Filmotype Athens). [Google] [MyFonts] [More] ⦿ | |
Books on graphic design and typography. This store is located in New York (159 Prince Street, Soho), and takes electronic orders (free shipping in the USA). [Google] [More] ⦿ | |
Flavia Zimbardi
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Future Fonts link. Older Future Fonts link. Note: MyFonts incorrectly calls her Flavia Zambardi. [Google] [MyFonts] [More] ⦿ | |
Flëve
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Mobispot Regular (2013) is a beautiful contemporary geometric grotesque for Latin and Cyrillic, designed by Olga Balina and Vit Abramov at Flëve for Mobispot Social Systems, a company that creates cool applications for life and business based on NFC technology. |
Flëve Partners
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Bwehance link for Vit A. Behance link for lëve Partners. [Google] [More] ⦿ |
During her graphic design studies in Utica, NY, Flor Baumann created the display typeface Ents (2013). [Google] [More] ⦿ | |
Principal and founder of Fangohr LLC in Brooklyn, NY. iFontMaker who created Handvetica (2011). [Google] [More] ⦿ | |
Font & Co
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In 2021, he released Timbro (Italian for rubber stamp), an all-caps, decorative display typeface with flared terminals based on lettering from old Land Registry records. [Google] [MyFonts] [More] ⦿ |
Fontaste
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His graduation project consisted of two display typefaces, Naila (a wedge serif) and Rocco (a fattish round sans face). Typefaces at Fontaste, ca. 2013: Plastilina (+Display, +Deco: signpainter family), Sancho, Candela (signpainter script). He joined Commercial Type in New York City in 2013. Miguel's grandest achievement to date is Duplicate (2013, Commercial Type: with Christian Schwartz), a typeface family that comes in three substyles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Because the Ionic genre has long been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts. Duplicate Ionic won an award at TDC 2014. Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies. Gabriello (2015) is a soccer shirt font designed by Paul Barnes and Miguel Reyes: Inspired by brush lettering, Gabriello was commissioned by Puma. First used by their sponsored teams at the 2010 Africa Cup of Nations, it was later used at that year's World Cup, held in South Africa. It was used on the kits worn by Algeria, Cameroon, Cote d'Ivoire, and Ghana. Marian Text (2014-2016) is a grand collection of ultra thin typefaces designed at Commercial Type by Miguel Reyes, Sandra Carrera, and Paul Barnes. Marian Text 1554 depicts the old style of Garamond & Granjon; John Baskerville's transitional form becomes Marian Text 1757; the modern of Bodoni, with swash capitals and all, becomes Marian Text 1800, and the early Moderns of the Scottish foundries of Alexander Wilson & Son of Glasgow, and William Miller of Edinburgh, become Marian Text 1812. And like the original, a black letter: Marian Text Black, referencing the forms of Hendrik van den Keere. In 2015, Miguel Reyes designed the high-contrast sharp-edged yet curvy typeface family Canela at Commercial Type. It was followed in 2018 by Canela Condensed and Canela Text. Ayer is an elegant condensed display typeface designed by Miguel Reyes between 2016 and 2019 for the fashion magazine W. Ayer (Commercial Type) was designed to be malleable and to assert a strong personality at a variety of scales. Commercial Type writes: Ayer Poster has the extremely high contrast that is typical of a fashion typeface and features four different italic styles: the workmanlike italic featured in all optical sizes, a chaotically beautiful Cursive with a full complement of swash capitals, a sharply stylish Angular, and Miguel's decidedly non-traditional interpretation of the staid Blackletter genre. In comparison, Ayer also has high contrast, though less so than the Poster. Finally, Ayer Deck is a low-contrast sans serif with gentle flaring. Co-designer in 2019 with Paul Barnes of the fat face Isambard: The boldest moderns were given the name fat face and they pushed the serif letterform to its extremes. With exaggerated features of high contrast and inflated ball terminals, the fat face was the most radical example of putting as much ink on a page to make the greatest impact at the time. These over-the-top forms make the style not only emphatic, but also joyful with bulbous swash capitals and a wonderfully characterful italic. In 2021, he designed the inky script typeface Candy Darling (with Christian Schwartz; commissioned by Richard Turley for Interview magazine) and Canela Blackletter (inspired by the long tradition of blacketter in Mexico) at Commercial Type. In 2022, he designed the italic script typeface Eugenia at Commercial Type. Its four distinct fonts were derived from the 18th century work of Giambattista Bodoni. Eugenia was drawn to accompany Eugenio Serif, the design created for La Repubblica's weekly women's magazine D. [Google] [More] ⦿ |
Fonthead Design
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Fonts created in 1999: AppleSeed, Caterpillar, Chinchilla, ChinchillaBlack, ChinchillaDots, CrowBeak, CrowBeakLight, CyberMonkey, DanceParty, DingleHopper, FourScore, FourScoreTitling, Hopscotch, HopscotchPlain, Ladybug, Leaflet-Regular, LeafletBold, LeafletLight, ReadOut, ReadOutSuper, Smoothie, Swizzle, TwoByFour, VeryMerry. Made in 2001: ButterFinger, ButterFingerSerif, CatScratch, Catnip, FighterPilot, FrenchRoast, Handheld, HandheldItalic, HandheldRaised, HandheldRaisedItalic, HandheldRound, HandheldRoundItalic, Kingdom, OldGlory, Quadric, QuadricSlant. MyFonts page. In 2006, several dingbats fonts were added, such as the ClickBits Arrow series and the ClickBits Icon series. In 2008, he created InfoBits Things and InfoBits Symbols, Abigail, Assembler, Click Clack, Drawzing (children's font, crayon or chalk style), El Franco (grunge), Good Dog New (hand-printed), Helion (futuristic), Lead Paint (brush), Schema (architectural lettering), Skizzors (paper cut font), Tachyon (2008, techno, futuristic). Free font download. This place has Allise, Americratika, AppleSeed, AsimovSans, Asterix-Blink-Italic, Asterix-Blink, Asterix-Italic, Asterix-Light-Italic, Asterix-Light, Asterix, BadDog, BattleStation, Beckett, Bessie, BlackBeard, Blearex, BlueMoon, Bonkers, BraveWorld, Brolga, BrownCow, Carnation, CatScratch, Caterpillar, Chinchilla, ChinchillaBlack, ChinchillaDots, CircusDog, CornDog (2004), Croissant, CrowBeak, CrowBeakLight, CyberMonkey, DanceParty, Dandelion, Dannette-Outline, Dannette, DayDream, Democratika, Diesel, DingleHopper, DoomsDay, DraftHand, Flowerpot, Font-Heads, FourScore, FourScoreTitling, FunkyWestern, Goliath, GoodDog-Bones, GoodDog-Cool, GoodKitty, Greyhound, Grimmy, Gritzpop, GritzpopGrunge, Gurnsey20, HandskriptOne, Holstein-Bold, Holstein, HolyCow, Hopscotch, HopscotchPlain, HotCoffeeFont, HotTamale, Isepik, JohnDoe, JollyJack, Keener, Klondike-Bold, Klondike, Ladybug, Leaflet-Regular, LeafletBold, LeafletLight, LillaFunk, Log Jam (+Inline), MargoGothic, MarvelScript, MatrixDot-Condensed, MatrixDot, Mekanek, Merlin, Millennia, Mondo-Loose, MotherGoose, Navel, Network, Noel, NoelBlack, Oatmeal, Orion, Pesto, Randisious, ReadOut, ReadOutSuper, RedFive, Rochester, Samurai, Scarecrow, Scrawl, ShoeString, ShoeStringRound, SlackScript, SloppyJoe, SmithPremier, Smock, Smoothie, SororityHack, SpaceCowboy, SpillMilk, Sputnikk, StanLee-Bold, StanLee-BoldItalic, StanLee-Regular, Stiltskin, Submarine, Swizzle, TekStencil, Teknobe, Torcho, ToucanGrunge, TwoByFour, Tycho, Typewriter2, TypewriterOldstyle, VeryMerry, Vladimir, WashMe, Watertown-Alternate, Watertown-Black, Watertown-Bold, Watertown, ZipSonik-Italic, ZipSonik, ZipSonikSketch-Italic, ZipSonikSketch. Font Squirrel carries ElliotSix (simple handwriting), GoodDog (children's hand) and Millennia (squarish). In fact, in 2009-2010, Ethan Dunham became a very active web font persona, offering a commercial web font service, Fontspring, and a free font service, Fontsquirrel. Klingspor link. Creative Market link. [Google] [MyFonts] [More] ⦿ |
Fonts for microtonal music
| New York-based designer of shareware music fonts. From his page: "MICRO 2ß is a Postscript(c) font designed for the 1/12th-tone notation system developed by Ezra Sims for his own music and now taught in the microtone classes of New England Conservatory. " [Google] [More] ⦿ |
Fonts for Scholars
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Fontspace link. Klingspor link. [Google] [More] ⦿ |
Fontwala (was: Hindi Rinny)
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She designed Katari for her thesis. Originally from Milwaukee, she received a BFA in Graphic Design from the Minneapolis College of Art & Design before her MA at Reading. Erin created an angular typeface---à la Oldrich Menhart---, and added a matching Devanagari style---the harmonious ensemble is called Katari. This typeface earned her the 2011 SoTA Catalyst award. In 2015, she published the free Google Web Font typeface Khula for Latin and Devanagari. The Latin is based on Steve Matteson's Open Sans. GitHub link. Still in 2015, she published the useful free Devanagari typeface family Yantramanav at Google Web Fonts, to accompany Christian Robertson's Roboto. Adobe Kannada was also designed in 2015---the Latin part of that font was by Robert Slimbach. Typefaces from 2016 include Hubballi (a free monolinear typeface for Kannada; Google Fonts link). In 2019, she aided with the Devanagari part of the free Google Fonts typeface IBM Plex Sans Devanagari (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Erin McLaughlin). In 2021, Erin McLaughlin and Wei Huang developed the traditional workhorse sans serif typeface Tenorite for Microsoft for use as one of the default fonts in Office apps and Microsoft 365 products. Elements such as large dots, accents, and punctuation make Tenorite comfortable to read at small sizes on screen. In 2020, she published BhuTuka Expanded One at Google Fonts. BhuTuka Expanded One, originally designed in 2017, is a Gurmukhi companion to Aoife Mooney's BioRhyme Expanded Light typeface. Home page. Github link. Personal home page. [Google] [MyFonts] [More] ⦿ |
Fontworld
| "Quality-crafted multiple language fonts." Based in New York and run by Mark Seldowitz, they sell Arabic, Russian, Greek, Vietnamese, Hebrew, Baltic and Central European typefaces. Mark sold the Hebrew fonts made by his brother Israel Seldowitz, who studied in Israel with Henry Friedlaender, the creator of the Hadassah typeface. [Google] [More] ⦿ |
FONTypes
| Described as a "Typographic Asset Management System", and owned by The Fontypes Corporation (Astoria, NY), this is a vendor of fonts from foundries like Adobe, Monotype, LucasFonts, HVDfonts, Commercial Type, Font Bureau, House Industries, ProcessType, Village and You Work For Them. Fonts can no longer be viewed. No designer info. Fonts are marked up (40 percent typically) from the original source (MyFonts, whatever). [Google] [More] ⦿ |
In 1927, he published the monograph Depero Futurista, aka The Bolted Book, because it is famously bound together by two large industrial aluminum bolts. In 2016, a kickstarter movement was started to publish a new facsimile edition of this groundbreaking book. In 1928, Depero moved to New York City, where [acccording to Wikipedia] he experienced a degree of success, doing costumes for stage productions and designing covers for magazines including MovieMaker, The New Yorker and Vogue, among others. He also dabbled in interior design during his stay, working on two restaurants which were later demolished to make way for the Rockefeller Center. He also did work for the New York Daily News and Macy's, and built a house on 23rd Street. In 1930 he returned to Italy. In the 1930s and 40s Depero continued working, although due to futurism being linked with fascism, the movement started to wane. The artistic development of the movement in this period can mostly be attributed to him and Balla. One of the projects he was involved in during this time was Dinamo magazine, which he founded and directed. After the end of the Second World War, Depero had trouble with authorities in Europe and in 1947 decided to try New York again. This time he found the reception not quite as welcoming. In New York, he published So I Think, So I Paint, a translation of his autobiography initially released in 1940, Fortunato Depero nelle opere e nella vita. From the winter of 1947 to late October 1949 Depero lived in a cottage in New Milford, CT. His host was William Hillman, an associate of the then-President, Harry S. Truman. After New Milford, Depero returned to Rovereto. In August 1959 Galleria Museo Depero opened. Depero died in 1960 a bout of diabetes and spending the last two years unable to paint due to hemiparesis. Alan Kegler at P22 created a typeface, P22 Futurismo (1996) and P22 Futurismo Extras, based on Depero's work. P22 link. A second digital typeface is based on his work, Emporium NF by Nick Curtis. It is based on this poster by Fortunato Depero (1927). [Google] [MyFonts] [More] ⦿ | |
Foundry Group
| Grunge type, digital art. New York-based. Fonts created by Jon Armstrong. About 15 dollars per face. Fonts: BadNovel, Bizheads, HighSodium, Insecurity, Jiggy, MildHeadache, NoBleach, Rash, ToxicMarker. All formats except Windows PostScript. [Google] [More] ⦿ |
She created the free font Abraham Lincoln (2012, Lost Type). [Google] [More] ⦿ | |
Francesco Gianesini
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Francis Stephen Lestingi
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Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the calligraphic script typeface Forty Five (2013, Friday Fonts). [Google] [More] ⦿ | |
Frank Gerhardt
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Advertising artist (b. 1894, Joseph, Missouri) influenced by Oswald Cooper and Frederic Goudy, with whom he collaborated. He worked first as a lettering artist in New York and then as a free-lancer in Chicago. Designer at American Typefounders of the condensed and stocky slab serif typeface Contact (1944: see the TS Colonel family by TypeShop for a digital version) and the calligraphic script font Grayda (1939, ATF; +Initials). Grayda was digitized, expanded and modernized by Rebecca Alaccari as Genesis (2007). McGrew writes:
Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Frank Marciuliano
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Rochester Institute of Technology Professor Emeritus Frank Romano had a long career in the printing and publishing industries. He was the editor and publisher of TypeWorld between 1977 and 1990, and later Electronic Publishing, Computer Artist, and Color Publishing magazines. He is the author of sixty books, including the 10,000-term Encyclopedia of Graphic Communications (with Richard Romano). His books were among the first on digital printing, computer-to-plate, workflow, PDF, QuarkXPress, InDesign, and new media. His latest books include History of the Linotype Company (RIT Press, 2013) and History of the Phototypesetting Era (California PolyTechnic Institute GRcL Press, 2014). He is president of the Museum of Printing in Haverhill, MA which houses the only collection of cold type systems. [Google] [More] ⦿ | |
Their catalog is published in binder form in Film Alphabet Compendium Franklin Photolettering. In 1974, Paul E. Kennedy published Modern Display Alphabets: 100 Complete Fonts Selected and Arranged from the Franklin Photolettering Catalogue (Dover). Typefaces by them included
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Creator of typefaces at VGC, such as Heigemeir Bold and Bold Open, Modula (1972) and the art deco typeface Organda (1972). Organda became a Mecanorma face. Digital revivals of Organda include Organ Grinder (2019, SoftMaker). [Google] [MyFonts] [More] ⦿ | |
At Photo Lettering Inc in New York, Fred George designed Blowoulded. [Google] [More] ⦿ | |
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New York City-based designer of Game Point (2017), a typeface commissioned by the NFL. [Google] [More] ⦿ | |
His typographic work:
Author of Monotype Ornaments (1928, Lanston Monotype Corp) [this book is freely available on the web thanks to Jacques André]. Many ornaments in this book have been digitized; see, e.g., Arabesque Ornaments (for the 16th century material) and Rococo Ornaments (for the 18th century ornaments). Warde also published the following privately in 1926 with Stanley Morison: The calligraphic models of Ludovico degli Arrighi, surnamed Vicentino---a complete facsimile and introduction by Ludovico degli Arrighi. Digital fonts based on his work include LTC Metropolitan (Lanston), Centaur (Monotype and Linotype versions) and Arrighi BQ (Berthold; this font has romans by Bruce Rogers and an italic by Frederic Warde). Wiki page. Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
His life's work and his ideas on typography can be found in his great book, Typologia, Studies in Type Design \& Type Making (1940, University of California Press, Berkeley), but his views are already present in Elements of Lettering (1922, The Village Press, Forest Hill Gardens, New York). His own work is summarized, shown and explained in his last book, A Half-Century of Type Design and Typography 1895-1945, Volume One (1946, The Typophiles, New York). See also Frederic Goudy by D.J.R. Bruckner for Harry N. Abrams Publishers, New York. In 1936, Frederic Goudy received a certificate of excellence that was handlettered in blackletter and immediately stated, Anyone who would letterspace blackletter would steal sheep. He also wrote: All the old fellows stole our best ideas, and Someday I'll design a typeface without a K in it, and then let's see the bastards misspell my name. His 116 fonts include
Several foundries specialize in Goudy's types. These include P22/Lanston, which has an almost complete digital collection, Ascender Monotype, and Castle Type, which offers Goudy Trajan (2003), Goudy Text, Goudy Stout and Goudy Lombardy. WTC Goudy was digitized ca. 1986 by WTC. Links: Bio by Nicolas Fabian. Alternate URL. Andrew R. Boone's article on Goudy in Popular Science, 1942. Goudy's typefaces listed by Paulo W. Obituary, May 13, 1947, New York Times, Time Magazine, November 6. 1933, Amy Duncan's thesis at BSU entitled "Howdy Goudy: Frederic W. Goudy and the Private Press in the Midwest", A 2009 lecture on Goudy by Steve Matteson (TypeCon 2009, Atlanta), Melbert B. Cary Jr. collection of Goudyana. Wikipedia: List of typefaces designed by Frederic Goudy. Linotype link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Frederick Gerken
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Excerpts of his obituary in the Star Ledger: Graphic artist and designer renowned internationally as innovator in visual identity field, created many recognizable typefaces that bear his name. Freeman Godfrey Craw, 100, of Tinton Falls, N.J., passed away peacefully on Monday, May 1, 2017. Mr. Craw had lived in Tinton Falls since 2001. Prior to that, he had been a long-time resident of Short Hills, N.J. Known to family and friends as Jerry, he forged a highly distinguished and decorated career in graphic art, calligraphy, and topography. Born and raised in East Orange, N.J., Jerry graduated from Cooper Union For The Advancement of Science and Art in 1939. Upon graduation he became a designer with the American Colortype Company in New York City. In 1943, he joined Tri-Arts Press Inc. as its art director, and in 1958, he was named vice president of the company. In that capacity, he had complete graphic control over the most interesting and impressive printing produced in the U.S. during the 1950s and 1960s. During this time, he created unique visual identity programs for numerous prestigious business and institutional clients, including CBS and IBM. In 1968, he left Tri-Arts to establish his own company, Freeman Craw Design as a specialist in design-for-printing. As an independent design consultant and art director, Jerry maintained a full-time office of designers and artists to better serve the complete needs of his clientele. He provided a broad range of graphic and production services, including photography, typography, illustration, composition, platemaking and printing. He also served as manager of production and graphics for Rockefeller University Press at that time. Jerry was considered one of the best graphic artists in the world, and his body of work has been described by colleagues and industry insiders as "legendary." He was best known to fellow topographers for his many type designs commissioned by American Type Founders Company. Among these are Craw Clarendon, Craw Clarendon Book, Craw Clarendon Condensed, Craw Modern, Craw Modern Bold, Craw Modern Italic, Ad Lib, Canterbury, Chancery Cursive, Classic, CBS Sans and CBS Didot. Jerry's calligraphic works were held in such high regard that permanent collections were established at the of the Museum of Modern Art and the Cooper-Hewitt Museum of New York, a division of the Smithsonian Institution, as well as the Whitney Museum of American Art. He also had a number of one-man exhibitions in New York, Chicago, and London, and was an honorary member of the Gutenberg Museum in Mainz, Germany. Additionally, in 1946, he was a founding member of the Type Directors Club, which today is still the leading international organization devoted to excellence in topography. He was also the recipient of numerous national and international awards and citations for excellence in graphic design. Jerry wrote and designed for the following publications: American Artist, Fortune, Graphis, Print Magazine and the Saturday Evening Post, to mention only a few. He even found time as a guest lecturer at institutions including Yale University, Rensselaer Polytechnic Institute, Kean University, The New York School of Visual Arts, as well as the Universities of Alabama, Utah, and Maryland. His obituary contains this paragraph about Jerry's great personality: Jerry was warmhearted, gregarious, and passionate about his art. His intelligence and gentle nature always shined through. He was good humored, loved to be around people, and always seemed to get along with everyone, even strangers. He considered himself a "hopeless Francophile," and was heavily influenced by School of Paris painters like Degas, Braque, Picasso, and particularly Modigliani. Having traveled extensively throughout France, he developed a keen appreciation of French culture, French architecture and, of course, French wine. He even taught himself the language and became fluent in it. Jerry loved a good bottle of Chateauneuf du Pape, but would love sharing it with family and friends even more. His warmth, humor, and creativity will be sorely missed by all who knew and loved him. Designer of
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Frere Jones Type
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In 2016, he published the sans family for screen, mobile app and desktop, Retina, in seven weights, three widths and two sizes. Retina's MicroPlus styles are engineered to occupy the same space in any weight. To remain legible, deep notches and exaggerated carefully studied ink traps are applied. The Museum of Modern Art has recognized Retina as a milestone in type design, and acquired it for its Architecture and Design Collection. Retina was designed by Tobias Frere-Jones, with contributions by Graham Bradley, Nina Stössinger, Tim Ripper, Dave Foster, Octavio Pardo, Ksenya Samarskaya and Colin Ford. Exchange (2006-2017) was designed by Tobias Frere-Jones, with contributions by Nina Stössinger, Fred Shallcrass, Tim Ripper and Graham Bradley: Originally designed for newspaper text, Exchange strives for clarity and efficient copyfit across multiple platforms. Its strategy relies on an unorthodox collection of historical references, from nineteenth-century Britain to Depression-era America. The strategy for word shape coherence comes from the early Ionic style of slab serifs, while Bell Gothic offers a lesson in reinforcing the individual identities of letters. Sure-footed sobriety, inherited from Victorian text faces, runs throughout. The deep notches and amplified details make Exchange a kind of cousin to Retina, bringing the same defensive strategy to more traditional text settings. Early inspiration came from the British Ionic style of slab serif, Lynn B. and M.F. Benton's Century Expanded, and C.H. Griffith's Bell Gothic. In 2018, Tobias Frere-Jones and Nina Stössinger co-designed the modernized roman inscriptional typeface Empirica Headline (with contributions by Fred Shallcrass). It has original lower case letters and italics, and is largely based on Louis Perrin. Conductor (2018, Tobias Frere-Jones and Nina Stoessinger) is originally based on the delicate, blocky numerals from vintage Bulgarian lottery tickets. It also incorporates elements of vernacular shopfront lettering and mid-century type design. Conductor has power and pizzazz in all of its four widths, from condensed to wide. Custom typefaces: Sixty Thirty (for Cooper Hewitt), Donors Choose (with Nina Stössinger), TD Ameritrade Sans, Culver (for Hyperakt), Bosca, Essex Market (with Nina Stössinger), ACLU, Tableau (with Tim Ripper; for Tableau Software), AdAge (for OCD), Mallory Condensed (for Academy Sports), Topic (a piano key typeface), MSL Elzevir (for Martha Stewart Weddings). In 2021, Tobias Frere-Jones, Nina Stössinger and Fred Shallcrass designed Seaford for use in Microsoft's Office. They write: Seaford is a robust, versatile sans serif that evokes the familiarity and comfort of old-style seriffed type. With everyday Office users in mind---professionals typing up reports or correspondence, preparing school handouts or corporate presentations---we designed Seaford to be inviting, engaging, and effortlessly readable. A good font family for a miserable piece of software. At Frere Jones / Type Network, one can buy Tobias's older typefaces: Armada, Asphalt, Cafeteria, Citadel, Epitaph, Garage Gothic, Grand Central, Griffith Gothic, Hightower, Interstate, Interstate Mono, Interstate Pi, Niagara, Nobel, Pilsner, Reiner Script, Stereo. [Google] [More] ⦿ |
Frere Jones Type
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At FontFont, he designed the children's fonts FF Dolores (1991) and FF Dolores Cyrillic. At FUSE 15, he designed Microphone (1996). At FUSE 10, he published Fibonacci, a font consisting just of lines. His custom work includes WorthGothic (1996), WorthLogo1996 (1995), WorthText (1995), GQGothic (1995), Halifax, Commonwealth (1995), Belizio-TwentySix (Font Bureau), HermanMillerLogo (1999, Font Bureau). Cassandra, Vitriol (1993), Quandry (1992-1994) and Chainletter (1993). Retina Agate (2001, specially made for small-print stock listings at the Wall Street Journal) netted him a Bukvaraz 2001 award and an AIGA 2003 Design Award. From 1999 until 2014, he designed for the Hoefler Type Foundry, which he joined as an equal partner (and the new company became Hoefler & Frere-Jones (in 2004), or H&FJ). He claims that he brought with him to H&FJ a lot of typefaces including Whitney, Whitney Titling, Elzevir, Welo Script, Archipelago (Shell Sans), Type 0, Saugerties, Greasemonkey, Vive, Apiana, and Esprit Clockface. It is not expicitly stated at the H&FJ site which typefaces he had a hand in, but one can safely assume that it must have been nearly every typeface made since he entered into the partnership. In 2014, Tobias sued Jonathan for half of the company in a 20-to-80 million dollar lawsuit since he claims that Hoefler reneged on his promise to give him his half. The typefaces at H&FJ he had a hand in include:
Interview. Interviewed by Dmitri Siegel. He created Estupido Espezial for fun, but it actually made it into an issue of Rollingstone. Catalog of his typefaces at Font Bureau. Keynote speaker at Typecon 2014. View typefaces designed by Tobias frere-Jones. Another page with typefaces created by Tobias Frere-Jones. [Google] [MyFonts] [More] ⦿ |
Fresh Pressed Fonts
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In 2014, he published the rounded techno sans typeface Calvaux, Seaside Script, the vintage display typeface Privateer, Sourdough (a creamy script), the wood simulation typeface Fair Trade, the poster typeface Landscaper, and the octagonal typeface Cracker Jack. In 2015, he published the display sans typeface family Animus and the octagonal typeface Mylodon. Typefaces from 2016: Machinist (weathered industrial style), Halberd (semi-blackletter), Rematch (slab serif), Life Is Gouda (cheese-themed vector format font). Typefaces from 2017: Promises, Clout (octagonal and industrial). Behance link. Creative Market link (for buying his fonts). A newer creative Market link. [Google] [More] ⦿ |
Artist and printer, 1899-1950, who was based in New York City. He designed Bam-Stencil in 1937 for Ruttle, Shaw and Wetherill. Mac McGrew: Bam-Stencil was designed by F. L. Amberger and reportedly cut by Ruttle, Shaw&Wetherill, a Philadelphia typographic firm, about 1937. It follows the general style of Corvin us (Glamour) Bold, but is heavier and has stencil-like breaks in the strokes. No lowercase was made. [Google] [More] ⦿ | |
Funny Garbage
| New York City foundry, making mostly grungy or cartoony typefaces and dingbats. Partners Peter Girardi and Chris Capuozzo designed current fonts: 291, Alvin, Bild, Diary..., DirtDevil (1995, a T-26 font), Infidel, and KennelDistrict (1995). Cartoon fonts by Gary Panter to be added. [Google] [MyFonts] [More] ⦿ |
Fwis
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Designers of various tile-based fonts for New York's subway in 1901. Read about it in Lee Stokey's book, Subway Ceramics (1992). Two fonts by Nick Curtis were inspired by that tiling in New York's subway, Downtown Tessie NF (2006) and Midtown Tessie NF (2006). [Google] [More] ⦿ | |
During his studies at the School of Visual Arts in New York, Gabriel Gonzalez designed Characterize (2013, an experimental typeface). [Google] [More] ⦿ | |
Gabriel Lopes (New York City) designed 3d Analglyph (2013), an experimental geometric typeface. [Google] [More] ⦿ | |
Gail Anderson is well-known for her typography at Rolling Stone magazine. Coauthor with Steve Heller of New Ornamental Type and Type Speaks: A Lexicon of Expressive, Emotional, and Symbolic Typefaces (2021). [Google] [More] ⦿ | |
Flushing, NY-based student designer of the decorative caps typeface Style (2014). [Google] [More] ⦿ | |
Mark Simonson discusses the anachronisms in the type choices for Scorsese's Gangs of New York (2002), set in the 1860's--they were even using Avenir! [Google] [More] ⦿ | |
Type designer at Photo Lettering Inc in New York. His (phototype) typefaces there include Biscayne Vertical, Floridian, Greenwich and Miami. [Google] [More] ⦿ | |
Designer in New York, NY, who created Steampunk Teletyped (2016) from small circles. [Google] [More] ⦿ | |
Gavin Potenza
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GE Inspira (2004, free under conditions spelled out in an EULA) is a typeface designed for GE's brand based on ideas of Patrick Giasson (who worked at Wolff Olins and is now with Agfa Monotype UK). Giasson writes: A number of people were involved. I did the initial typographic development on the regular Latin weight, with Adam Throup (London) and Douglas Sellers (NYC) art directing the project. Further development was subsequently done by Mike Abbink (SF). Agfa Monotype US was then involved to create additional weights, and expand the family to cover roughly the WGL4 character set and finalize the fonts. [Note: the Agfa team consisted of Jim Wasco, Carl Crossgrove and others.] Mike Abbink writes: I actually spent over a year working on the design of Inspira. It was Patrick's [Patrick Giasson] early concept that GE was drawn to, but at that time, it was way too funky and more display like then they wanted. I then took patricks original thoughts and spent several months refining the roman and created an italic (which Patrick did not do) which was then handed to monotype to create more weights and refine a bit. What you see in Inspira now, is quit different from Patrick's original concept. However, the more unique forms from Inspira are indeed driven by patricks original drawings and are the interesting forms of the font (v, x, z, y). I was also involved with art directing and working with the Monotype team (for over a year) in developing all the other iterations of inspira. All told, there were many people involved in the refinement of the Inspira font family, but I must say I would have to take a large credit in the design of inspira along with Patrick. I believe Patrick's designs and my designs created a nice balance that has made Inspira what it is today and of course let's not forget the hard work of monotype in really taking the font to the next level with all the weights, the condensed version, and exotics (Greek, Cyrillic, Turkish, etc.). Mike now works at Wolff Olins in New York. GE Inspira Sans and Serif (Mike Abbink, Paul van der Laan and Pieter van Rosmalen, Bold Monday) won an award in the TDC 2015 Type Design competition. [Google] [More] ⦿ | |
Digital revivals include Vintage Ornamental (2016) and Gothic Ornamental (2016) by Ludmila Riumina. [Google] [More] ⦿ | |
General Type Studio
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In 2003 at ENSAD, Elbaz co-designed the experimental typeface Caffeine with Benjamin Raimbault and Eric Bricka. His Geneo (2008: an eight style nearly transitional serif) won an award at TDC2 2009. Geneo was published in 2012 by Typofonderie. Now an established designer, he created didone titling typefaces for the Stiletto mag in 2008. Other typefaces designed before General Type Studio was started: Sephora Pro (2015, ZeCraft), Galante (2005, a text typeface), Primota (2008, a strong grotesque), Etan (2008, an eroded text face), and PSFournier (2016, Typofonderie: a great revival of Fournier's French transitional typefaces). Typefaces at General Type Studio:
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Rochester, NY-based creator of a great set of single letter logos in 2011 for Modovare. Home page. [Google] [More] ⦿ | |
Geoffrey Krawcczyk is Creative Director at TVP Studio in New York City. In 2018, he designed the free all caps sans typeface Vain Capital. [Google] [More] ⦿ | |
Georg Salter
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George Abrams
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George Abrams
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Quoting From Appleton's Cyclopedia of American Biography, edited by James Grant Wilson and John Fiske. 6 vols. New York: D. Appleton and Company, 1887-1889.: Bruce, George, type-founder (proprietor of the Bruce foundry), born in Edinburgh, Scotland, 5 July, 1781: died in New York City, 6 July, 1866. He immigrated to the United States, where his brother David had preceded him in July, 1795, and at first attempted to learn the bookbinder's trade, but, his master being tyrannical and exacting, he left him, and by his brother's persuasion apprenticed himself to Thomas Dobson, printer in Philadelphia. In 1798 the destruction of Dobson's office by fire, and the prevalence of yellow fever, led the brothers to leave the city. George had yellow fever at Amboy, but recovered through his brother's care. The two went to Albany and obtained employment there, but after a few months returned to New York. In 1803 young Bruce was foreman and a contributor to the Daily Advertiser, and in November of that year printer and publisher of the paper for the proprietor. In 1806 the two brothers opened a book printing office at the corner of Pearl street and Coffeehouse slip. The same year they brought out an edition of Lavoisier's Chemistry, doing all the work with their own hands. Their industry and personal attention to business soon brought them abundant employment, and in 1809, removing to Sloat lane, near Hanover square, they had nine presses in operation, and published occasionally on their own account. In 1812 David went to England, and brought back with him the secret of stereotyping. The brothers attempted to introduce the process, but encountered many difficulties, which it required all their ingenuity to surmount. The type of that day was cast with so low a beveled shoulder that it was not suitable for stereotyping, as it interfered with the molding and weakened the plate. They found it necessary, therefore, to cast their own type. They invented a planing-machine for smoothing the backs of the plates and reducing them to a uniform thickness, and the mahogany shifting-blocks to bring the plates to the same height as type. Their first stereotype works were school editions of the New Testament in bourgeois, and the Bible in nonpareil (1814 and 1815). They subsequently stereotyped the earlier issues of the American Bible society, and a series of Latin classics. In 1816 they sold out the printing business, and bought a building in Eldridge street for their foundry. Here, and subsequently in 1818, when they erected the foundry still occupied by their successors in Chambers Street, George gave his attention to the enlargement and development of the type-founding business, while David confined his labors to stereotyping. In 1822 David's health failed, and the partnership was dissolved. George soon relinquished stereotyping, and gave his whole attention to type-founding, and introduced valuable improvements into the business, cutting his own punches, making constantly new and tasteful designs, and graduating the size of the body of the type so as to give it a proper relative proportion to the size of the letter. In connection with his nephew, David Bruce, Jr., he invented the only typecasting machine That has stood the test of experience, and is now in general use. His scripts became famous among printers as early as 1832, and retained their pre-eminence for a generation. The last set of punches he cut was for a great primer script. He was at the time in his seventy-eighth year, but for beauty of design and neatness of finish, the type in question has rarely been excelled. Mr. Bruce was a man of large benevolence, of unflinching integrity, and great decision of character. He was president for many years of the Mechanics' Institute, and of the type-founders' association, and an active member of and contributor to, the historical society, St. Andrew's society, the typographical society, and the general society of mechanics and tradesmen. [Google] [MyFonts] [More] ⦿ | |
George Bruce
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George Buxton Lothian
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New York-based art director and type brander. He created the identoty for New York-based industrial designer Lucy Tupu in which he makes frequent use of squares and quarter circles in his kitchen tile types (2008). [Google] [More] ⦿ | |
New York artist and letterer (b. Brooklyn, 1893) and designer of the brush typeface Hauser Script (Ludlow, 1934), in script and cursive versions. This typeface is now available from Red Rooster as Hauser Script RR, digitization by Steve Jackaman (1998), and from URW++. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Chappaqua, NY-based designer who is working on this strong-willed sans (2007). [Google] [More] ⦿ | |
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George Salter
| Georg Salter was a German graphic designer and illustrator, b. Bremen, 1897. After studies at Kunstgewerbeschule Berlin-Charlottenburg, he worked in Berlin as a book designer. In 1934, he emigrated to the United States and changed his first name to George. He became famous for his book jackets. Designer of the ribbon type Flex at Lettergieterij Amsterdam in 1937. He lived mainly in New York, where he died in 1967. Reference: Juergen Holstein: Georg Salter Bucheinbände und Schutzumschläge aus Berliner Zeit 1922--1934, (Berlin 2003). In 2021, Lucas Sharp created Salter Italic, which was inspired by the book jacket calligraphy of Georg Salter for The Transposed Heads (Thomas Mann, Alfred A. Knopf), published in 1941. Biography of George Salter by Sara Kratzok and Devyani Parameshwar. [Google] [More] ⦿ |
Type designer in New York City who created a display face in 1969 for Pennwalt Corporation in Philadelphia. Google patent link. [Google] [More] ⦿ | |
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Gerard Huerta
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Gerard Huerta Design
| Lettering artist, b. 1952, head of Gerard Huerta Design in Southport, CT. Lettering and logos of Huerta were used by Swiss Army Brands, MSG Network, CBS Records Masterworks, Waldenbooks, Spelling Entertainment, Nabisco, Calvin Klein's Eternity, Type Directors Club, the mastheads of Time, Money, People, The Atlantic Monthly, PC Magazine, Adweek, Us, Condé Nast's Traveler, Working Mother, WordPerfect, Scientific American Explorations and Architectural Digest, as well as corporate alphabets for Waldenbooks, Time-Life and Conde Nast. Designer and vice-president of New York's Type Directors Club. Based in Southport, CT. He made many famous logos and created several logo-fonts. Huerta worked for some time at CBS Records. His type designs include a custom Franklin Gothic in the late 1970s as part of Walter Bernard's redesign of Time Magazine. [Google] [MyFonts] [More] ⦿ |
Geri McCormick
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During his studies in New York City, Germain Ricardo designed Tangle (2013). [Google] [More] ⦿ | |
GetVoIP
| Ukrainian-born Michel Yunat is content curator at GetVoIP in New York City. In 2014, he was involved in the commissioning of a free 2-style typeface family simply called GetVoIP Grotesque. The typeface was made by Sergiy S. Tkachenko. Behance link. GetVoIP link. Dafont link. [Google] [More] ⦿ |
Gilbert Powderly Farrar
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Web and graphic designer in Buffalo, NY. In 2015, she created the display typeface Cosmiqu. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the squarish typeface Lissitzky (2019). [Google] [More] ⦿ | |
Tomomi, a Japanese designer living in New York, made a RubberDuckie alphading font (free). [Google] [More] ⦿ | |
Coram, NY-based creator of the Soda Pop typeface in 2012. [Google] [More] ⦿ | |
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Graduate of Florida International University. Brooklyn, NY-based designer of the squarish typeface Fprmat (2017). [Google] [More] ⦿ | |
Born in Seattle, raised in San Diego, and working in NYC, Glenn Pajarito currently is Senior Art Director at Saatchi & Saatchi X. Creator of a corporate hand-printed typeface family for Wendy's called Wendy's Breakfast (2012). [Google] [More] ⦿ | |
Glenn Parsons
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New York based creative director. Designer of a typographic portrait of Nicki Minaj (2013). Behance link. [Google] [More] ⦿ | |
Four fonts for 65USD by Donald Rice Music Preparation (75 Park Terrace E. #D-54 New York, NY 10034). Advertised for "professionally hand-copied sheet music ... for use in big band charts, lead sheets, jingles, record dates, ...". [Google] [More] ⦿ | |
New York City-based designer Friendship Code (2020). Kilshaw is the CEO of the Friendship Cube Group, 51 Astor Place, NY, NY. [Google] [More] ⦿ | |
Grafikarto
| Lee Iley (Grafikarto) is the New York City and/or Mexico City-based designer of Bolonat (2014). His commercial foundry and design studio is called Grafikarto. In 2018, he published Cobalt 27, a monoline typeface that is influenced by early constructivist posters, and Bolonat Hand and Bolonat Wash, two OpenType SVG fonts drawn and originally used for Bar Bolonat restaurant in NYC after vernacular cafe signage in Jaffa, Israel. Also from 2018 is the vernacular Mexicamn diner font family Comida. [Google] [MyFonts] [More] ⦿ |
Graham Bradley
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Graham Clifford is a type director and graphic designer in New York City. He was trained by his father before working for some of London's creative advertising agencies such as CDP and GGT. He moved to New York ca. 1993. President of TDC in 2013. Creator of Clifford AOL, a font made for AOL. In 2014, his typeface Amplify won an award at the Communication Arts 4th Typography Competition. Other (mostly custom) typefaces by Clifford include Tanqueray, Kmart Bold Italic, Digital, Moët&Chandon, Putnam Semi Sans. [Google] [More] ⦿ | |
Greg Knoll
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Greg Mihalko
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New York City-based designer (b. 1996) of the free futuristic stencil typeface Quantum (2018). [Google] [More] ⦿ | |
Gregory Shutters
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Griffin Moore
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"Founded in 1884, the Grolier Club of New York is America's oldest and largest society for bibliophiles and enthusiasts in the graphic arts. Named for Jean Grolier, the Renaissance collector renowned for sharing his library with friends, the Club's objective is to foster "the literary study and promotion of the arts pertaining to the production of books." The Club maintains a research library on printing and related book arts, and its programs include public exhibitions as well as a long and distinguished series of publications." [Google] [More] ⦿ | |
Ground Control (was: Penny Font Foundry, or: Pennyzine)
| As part of the (ex-) Chank Army, Jason Ramirez (b. 1978, Wisconsin) offers free and commercial fonts. He started out as Pennyzine or Penny Fonts, or Penny Font Foundry, with free fonts that were typically made with the Data Becker software program. Later, his fonts became commercial, and the new site changed its name to Ground Control. The list of their free fonts, which are mostly in the grunge style that was in vogue ca. 2000: Locals Only (2011), Cocaine Nosejob (2008), Made (2004, grunge blackletter), Strip Club Motion Sickness (2003), One Fell Swoop (2003, scratchy calligraphic), Fear of a Punk Planet (2005), Futon Revolutionist (2002), Bill Hicks (2002, grungy blackletter), Elliot Swonger (2002), Elliots Bad Day (grunge), Don Giovonni (2006, grungy typewriter), Don Giovonni Makin Enemies (2006), Gumuski (2002), DUMMY (1999), Acid Reflux Baby (2002), Avenge Me (2004, multiline, octagonal), Times-New-Omen (1999), punk rock rummage sale (2001), Thatluvinfeelin1 (2001, a sexual positions font), cut-n-paste (1999), Maydogg (1999-2002, handwriting), My-wife-sucks (1999), Stamped-out (1999), Stank (1999), StankII (1999), uncle-tom (1999), uno (1999), Coopdeville (2002), Dirtysocks, FourMoreYears (2003), Punkrockrummagesale (2001), Theregoestheneighborhood (2003), Thiskettle (2002, handwriting), Mr. Rogers (2003), Regime Change (2004), Hotel Coral Essex (2006, grunge), Limp Noodle (2006). Commercial fonts: Sparkle House (2011), Chompsky Fancy (2011), Redneck Superstar (2002, Chank's). Dafont link. Yet another URL. Fontspace link. Abstract Fonts link. Alternate URL. Direct downloads. Alternate direct download path. Ground Control web site. [Google] [More] ⦿ |
Group Type
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View the Group Type typeface libary. [Google] [MyFonts] [More] ⦿ |
Grow Design Work
| Bran Dougherty-Johnson runs a film-making studio specializing in motion-graphics, broadcast design, short film and typography called Grow Design Work. It is located in Shelter Island Heights, NY. Designer of the free fonts Change (2007, outline face), Chellovek (2006) and Grow Fat (2005), ultra fat art deco fonts. Fontspace link. [Google] [More] ⦿ |
Grym is an art director based in New York City. She studied Advertising/Graphic Design at the School of Visual Arts and graduated in 2011. In 2008, she created the geometric typeface Tiptoe. [Google] [More] ⦿ | |
GT&Canary
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In 2014, during his studies at Parsons in New York, he created the wedge serif typeface Eckford. In 2015, he published the free font Marsh Stencil (a revival of a stencil typeface produced by the American company Marsh Stencil Machines during WWII). Behance link. Graphic River link. Specimen of Kraftstoff. Another Behance link. [Google] [More] ⦿ | |
Brooklyn, NY-based creator of BAMQ (2013) and Brkln Regular (2013), a set of free fonts that were inspired by the modern minimalist architecture, and have an art deco feel. She also made Bklyn Iconic (2013). Behance link. Hellofont link. [Google] [More] ⦿ | |
Guy shared the following story with me from his days at Font Bureau (reprinted here with his permission): I was one of the kids who pushed points around developing Font Chameleon. I worked for the Font Bureau at the time, under the great David Berlow. Tobias Frere-Jones was there with me along with Elizabeth Holzman and Kelly Ehrgot Milligan, working obscene hours to get hundreds of fonts hinted. Never eating, barely sleeping, we lived in the studio at 18 Tremont at the time. At one point we picked up some gag "old lady" tourist sunglasses to shield our burning eyes from the glare of the old CRT monitors. Our "conference room" was empty beyond eight folding beach chairs, and at least one of us would be getting a tight 30 minutes of sleep in there through the days. But through it all there was time for meeting girls in the hall (I married the one I met. She is beside me now 28 years later.) smoking cigarettes and eating Junior Mints, dropping 60 pound monitors down the stairs, playing practical jokes on David, Sam Berlow and Harry Parker (I left and cut my hair for the first time in years and returned as my twin brother) and just general insanity in the Golden Age of digital font foundries. What fun it was to have Eric Spiekerman, Neville Brody, Matthew Carter, Roger Black and other design greats come by in the fog of war during the Font Chameleon project and others. [Google] [MyFonts] [More] ⦿ | |
During his studies at the School of Visual Arts in New York City, Ha Lim Kim designed the display typeface family Blah (2012). [Google] [More] ⦿ | |
Graduate of the School of Visual Arts, New York, class of 2014. New York City-based designer of a modular typeface in 2013. Behance link. [Google] [More] ⦿ | |
Habib Khoury
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Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)
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New York-based foundry, also called Hagar&Pell, W.&H. Hagar, Wm. Hagar, Jr.,&Co., William Hagar&Co., Hagar&Sons, and Hagar&Co. Specimen in Specimens of printing types, ornaments, borders, &c. from the type foundry&printers' emporium of Wm. Hagar, jr.&co. (French&Wheat, 18 Ann street, New York, 1858), Specimens of printing types, ornaments, borders, &c. from the type and stereotype foundry of W.&H. Hagar (New York: No.38 Gold street, between Fulton and John streets, 1854), and Specimen of printing types and ornaments, from the type and stereotype foundry of William Hagar (New York, 1850). [Google] [More] ⦿ | |
Graphic designer in Alfred, NY, who designed a display typeface in 2016. [Google] [More] ⦿ | |
Originally from Brooklyn, NY, graphic designer Haleema Nur is now located in West Palm Beach, Florida. In 2018, she designed the script typeface Georgia Roads. [Google] [More] ⦿ | |
Haley Fiege
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During her studies at St. John's University, Latham, NY-based Halle King designed the squarish typeface Digi (2016). [Google] [More] ⦿ | |
Hamilton Wood Type (HWT)
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In 2012, they published HWT American Chromatic (Richard Kegler, Terry Wüdenbachs), a multilayered Western or circus font based on 19th Century Chromatic. HWT Antique Tuscan No. 9 (2012) is a very condensed 19th century Tuscan style wood type design with a full character set and ligatures. This font was first shown by Wm H Page Co in 1859. It is the first digital version of this font to include a lowercase and extended European character set. HWT Borders One (2012) contains 80 modular decorative elements that are based on the designs offered by the Hamilton Manufacturing company at the end of the 19th Century. In 2013, Richard Kegler released the refreshing retro typeface HWT Bon Air, which is one of a series of script typefaces cut into wood by the Hamilton Manufacturing Company for the Morgan Sign Machine Co. (makers of the Line-o-Scribe showcard press) ca. 1950). He also digitized HWT Star Ornaments and HWT Republic Gothic (with Miranda Roth). In 2013, James Todd designed the wood type revival family HWT Unit Gothic for Hamilton Wood Type Foundry. The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907, and comprises a flexible range of widths from compressed to very wide. Still in 2013, William Page's Antique No. 4 is revived as HWT Slab (Antique, Columbian), one with unbracketed square serifs, and one with bracketed serifs as in Clarendons. In 2020, they added HWT Showcard Script (Terry Wüdenbachs) [Google] [MyFonts] [More] ⦿ |
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Handselecta
| Christian Acker (b. 1979, Norwalk, CT) and Kyle Talbott, two graphic designers in New York City, set up Handselecta on Long Island in 2003 as a division of Adnauseum, Inc. They have pages on graffiti art, graffiti and calligraphy, and graffiti-based typefaces: Espo, Joker (done with Jerry Inscoe), Sabe, Mesk, Mesk AOK. Run by Brooklyn-based Christian Acker. They are selling the graffiti fonts. MyFonts link. MyFonts sells HSMene One NYThrowie (2006), 24 HRS, Joker Straight Letter, Mene One Mexicali, Mesh One AOK, Meskyle Laid Back, Sabe Ghetto Gothic, and Sailor Gothic. Behance link. Interview by Ping Mag in 2006. In 2008, he made a custom graffiti font called Lebron6 for the launch of Lebron James's Sixth Shoe. View Christian Acker's typefaces. [Google] [MyFonts] [More] ⦿ |
Brooklyn, NY-based art director. Creator of the primitive script typeface Starbucks Barista (2014). Behance link. [Google] [More] ⦿ | |
New York City-based creator of a watercolored roman capital set of letters in 2014. This was done during her studies at the School of Visual Arts. [Google] [More] ⦿ | |
Hannah Frank (Rochester, NY) is a Graphic Design student at Rochester Institute of Technology. She experimented with type design during her studies. [Google] [More] ⦿ | |
Hannes Famira
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New York-based proprietor of private presses, first in partnership with Herbert Stuart Stone, then on his own as the Cheltenham Press in New York (1874-1933). At his instigation, Bertram Grosvenor Goodhue drew the Cheltenham design (ATF, around 1896). Available from Bitstream and Font Bureau. [Google] [MyFonts] [More] ⦿ | |
Hans Brehmer
| Type designer, b. 1840 Magdeburg, Germany. He went to the USA in 1865 to work at James Conner&Sons, and then moved on to other foundries, all in New York. He was for some time located in Stapleton, NY> Aka Henry Brehmer. His typefaces:
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Type designer (b. 1938, Switzerland, based in Paris) who studied typesetting in Zürich from 1954-1958. Later he studied with Emil Ruder and Armin Hofmann in Basel (1965-1967). From 1967 until 1971, he was a type designer with Mergenthaler Linotype in Brooklyn, NY, where he worked with Matthew Carter. From 1971 until 1975, he worked with Frutiger in Paris, and became a freelance designer in 1976. From 1990 until 2006, he led some labs at the Atelier de Recherche Typographique, NRT, in Nancy. From 1998 until 2002, he had his own design bureau together with Ursula Held: Atelier H. He has also taught at the Hochschule für Gestaltung und Kunst in Zürich. He codesigned CGP (used in Centre Georges Pompidou; 1974-94, with Jean Widmer, and Adrian Frutiger), Centre Pompidou Pictograms (1974, for the same project in Paris), Cyrillic (in 1970 with Adrian Frutiger for IBM Composer), Frutiger (in 1976 with Adrian Frutiger at Stempel), Gando Ronde (a formal script, with Matthew Carter in 1970; Linotype; called French 111 at Bitstream), Helvetica (with Matthew Carter in 1970; Linotype), Helvetica Compressed (with Matthew Carter, ca. 1974?), Iera Arabic and Iera Roqa Arabic (1983, Institut d'étude et de recherches pour l'arabisation; Honeywell Bull), Metro (in 1970 with Adrian Frutiger; used in the RATP), Univers and Univers Cyrillic (in 1970 with Adrian Frutiger; Linotype), and the Siemens custom type family (in 2001, a cooperation with URW). Siemens (2001-2007, URW++), the project he is best known for, won an award at the TDC2 Type Directors Club's Type Design Competition 2002. Siemens Sans, Siemens Slab and Siemens Serif are here. Siemens Sans Global (4000 Euros) covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Harbor Bickmore
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Co-founder with Edward Rondthaler of Photo-Lettering Inc in 1936 in New York City. He designed the firm's initial collection of typefaces by photographing existing metal designs. These included Carnival (a Western reverse stress typeface). Carnival was digitally revived at House Industries in 2013 by Dan Reynolds. [Google] [More] ⦿ | |
Harold Lohner
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Harold's Fonts
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Harriet Goren (Brooklyn, NY) holds a Bachelor of Arts degree in Art (concentration in Painting) from Yale University. Type designer of the Morire (1994, emotional grunge) family sold by [T-26]. It is inspired by the Moiré effect [a pattern created by the overlaying of lines or grids at slightly different angles]. She tells the story of Morire here: "When I made Morire, I had been a designer for a couple of years and was really bored with what I was doing. I spent a lot of time looking at contemporary typography and observing what was going on. I didn't really consider myself part of any movement. I read an article, in Time magazine of all places, of a school in Camden, Maine called the Center for Creative Imaging. The article said it was like being in Florence during the Renaissance. I immediately thought I have to go there. It was incredibly expensive, like $1,700 for three days, and there was an intensive weekend course called something like Experimental Typography. Now this is 1994 or 1993, so these concepts were fairly new. The teacher was P. Scott Makela, who died fairly young but was brilliant and part of that whole David Carson school. Not really knowing anything about the course, I registered, and paid the massive amount of money. The workshop turned out to be three people and the teacher in the class, and it was basically a three-day intensive experience. We didn't even sleep. It was just three straight days of type design. They had state-of-the-art computers, at that time Macintoshes, and I had never had facilities like that. Makela gave us an assignment and over the weekend I designed the whole typeface. I wasn't even on drugs." Makela was impressed enough to suggest sending the font to Carson. Goren, flattered and flush with doubt, copied it to a disc and sent it through the mail. A few months later, she bought a copy of Ray Gun; Morire was emblazoned all over the pages, fully credited and even used on the cover. Carson had previously left a voicemail expressing interest in the typeface, but had never guaranteed its inclusion. That was the nature of things: fast, inspired, and without pretense or hierarchy. Personal home page. [Google] [More] ⦿ | |
Illustrator in New York. Dafont link. She created the trendy fat techno typeface Fatsini (2009). [Google] [More] ⦿ | |
New York City-based and New York City-born student at the Parsons School of Design, 2011. Dafont link. He created a grungified Helvetica Bold called Smuckers (2011) and Numbafont (2011, glyphs are crafted out of numbers). [Google] [More] ⦿ | |
Designer (1936-2001) who studied at the School of Visual arts in New York. At Photolettering Inc, he made the phototype font Alef-Bet (Hebrew). [Google] [More] ⦿ | |
Author of the instruction book Lettering 60 Plates in a Variety of Alphabets (1950, Pitman Publishing Corporation. New York, NY). Reprinted in 1962. Digital revivals were undertaken by Jeff Levine. These include
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Director of art education in Buffalo, NY. In 1924, he published several lettering alphabets in his book, Alphabets and Letters for Lettering (Milton Bradley Co, Springfield, MA). [Google] [More] ⦿ | |
Harun Zankel (Brooklyn, NY) created the calligraphic Maya's Alphabet (2012). Behance link. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the medieval sword and dagger-inspired typeface Royal Guard (2011). Devian Tart link. [Google] [More] ⦿ | |
Haxon
| New York City-based designer of the decorative floral caps alphabet Magic Forest (2017). Behance link. Behance link for Shokouh Razavi. [Google] [More] ⦿ |
Swiss/French graduate of Ecole Cantonale d'Art de Lausanne (ECAL), who designed Chiavari (2011), a typeface that won an award at TDC 2012. Hélène Zünd (b. 1983) lives in New York. In 2014, she complained that Studio AnagramaGoogle] [More] ⦿ | |
Defunct film type era foundry started in 1954 in New York City. Its 1959 catalog has 458 typefaces, and its 1984 catalog had blossomed to 1319 photo types. George Abrams started out at Headliners. Headliners is also famous for its release of The Morgan Press collection of wood typefaces. Headliners moved to the suburbs of New York City and set the trend for some years with its Neo series in 1979. ITC and Headliners were then known for their typefaces with large x-height. [Google] [More] ⦿ | |
New York City-based designer of the prismatic / geometric typeface Extension (2016). [Google] [More] ⦿ | |
Youngest son of Darius Wells, and, just like his father, a wood type manufacturer in New York. His father's company had fallen into the hands of E.R. Webb, who died in 1864. It was then that Heber Wells, together with Alexander Vanderburgh and Henry Low took over, to form Vanderburgh, Wells&Co. Heber Wells buys out the others some time later, and the company becomes just Heber Wells. It was absorbed by Hamilton in 1898. Digital typefaces based on Heber Wells's work include Mansard ExtraBold (2005, Jordan Davies) and the following typefaces by Dick Pape: AWT Heber Well Teniers Unique (2013), AWT Page No. 851 (2013, after a font by William H. Page from 1878, but essentially the same as Mansard by Heber Wells), AWT Page Roman Aetna (2013, after an 1870 typeface by William Page, which is essentially Painter's Roman by Heber Wells; see also Doric by Morgans & Wilcox). Paul Hunt's HWT Bulletin Script Two (2014) is based upon William Page No. 111-113 and Heber Wells' Bulletin Condensed No. 1. [Google] [MyFonts] [More] ⦿ | |
Digital implementations of Metropolitaines:
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Brooklyn, NY-based student-designer of the modular typeface Veronica (2015), which was inspired by the curves of the art nouveau period. [Google] [More] ⦿ | |
Hello Velocity
| Laurianne Froesel is based in Strasbourg, France. iDuring an internship at Hello Velocity, a digital brand identity studio based in New York and Boston, founded by ex-RISD classmates Kevin Wiesner, Lukas Bentel and JS Tan, Laurianne designed the free color font Brand New Roman (2018), which consists of colored company logos, and pokes fun at capitalism. In 2019, Laurianne released Brand New Roman V2. [Google] [More] ⦿ |
Henry Brehmer
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Henry L. Pelouze Foundry (or: Richmond Type Foundry)
| 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
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His fonts: Pistilli Roman (VGC, see here; with John Pistilli), L&C Hairline (ca. 1966, VGC, with Tom Carnase), ITC Avant Garde Gothic (with Tom Carnase, Gschwind, Gürtler and Mengelt, 1970-77; see Avignon on the SoftMaker MegaFont XXL CD, 2002), ITC Busorama (1970), Ronda (1970), ITC Lubalin Graph (1974; see Square Serif on the SoftMaker MegaFont XXL CD, 2002; poster by Pablo Monachese), ITC Serif Gothic (with Tony DiSpigna, 1974; see Serenade Two on the SoftMaker MegaFont XXL CD, 2002). His companies: Herb Lubalin Inc (1964-1969), Lubalin, Smith&Carnase Inc (from 1975 onwards). In 1985, Gertrude Snyder and Alan Peckolick published Herb Lubalin. Art Director, Graphic Designer and Typographer (New York). Retrospective at ITC. Revivals: Receding Hairline NF (2014, Nick Curtis) revives L&C Hairline. Pudgy Puss (2007, Nick Curtis) is an ultra-fat modern digital display type based on Fat Face (Herb Lubalin, Tom Carnase). | |
Dedicated web site. FontShop link. Picture. Klingspor link. Revivals of his work:
A list of commercial typefaces based on Herbert Bayer's work. [Google] [MyFonts] [More] ⦿ | |
Herbert F. Van Brink
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Type designer at PhotoLettering in New York. His typefaces there include Bagatelle, Brush, City Script, Functional and Park. [Google] [More] ⦿ | |
Author of Draughtsman's Alphabets (1877). Apostrophe made the font Nero based on Hermann Esser's 1878 Rustic Capitals. Exclusive at the (now defunct) Fontsanon site. He explains: Specimens of the mid-to-late 1800s Herman Esser types were collector's items for the longest time. Between 1910 and 1925, Esser specimens was a craze of almost the same magnitude that comic books were in the 1980s. George Abrahms, a book and old typography collector from New York City, made a fortune from auctioning off his Esser collection. All of Esser's art vanished for a bit more than a decade after World War II came to a stop, and the majority of it never saw the light again. Much of it was burnt among Nazi propaganda material (the 1800s artist's name was the same as that of the Nazi secretary of state during the 1940s, so all of the Esser art found in Germany after WWII was mistakenly attributed to the Nazi Esser as opposed to the true originator of almost half a century prior to the war -- much like most of the watercolour paintings made by an artist named Adolf Hitler were mistakenly burned because they were thought to have been the work of the Nazi leader). In the late 1950s, there was a revival of typogpraphy specimen publications, caused by some, according to certain circles, inexplicable demand for "more than the standards defined by Jannon, Bodoni, Goudy, Gill, and their heritage" (Influence of Symbolism, by Frank P. Marshall, p. 186). The wave that started in 1957 with the re-publication of a few George Bickham sample calligraphy books continues to this present day. Specimen books are quite popular among typography and calligraphy enthusiasts, as well as more expensive than most other genres of publication relation to design in general. The only Herman Esser type that can be seen in any of the specimen books published during the past 55 years is called Rustic, and it consists of the capital alphabet made out of burned trees. One can speculate about how Rustic escaped the Nazi propaganda burnings, and how an originating date was attributed to it, but aside from a few theories out there, no "official" answer was reached. Rustic is still as starkly mysterious now as it may have been in 1878. Nero is an attempt at reviving Rustic and completing Esser's work. Esser's 25 capitals (he never did a J for Rustic) was turned into a typeface of more than 200 characters. Due to postscript limitations about the number of points in each glyph, only a true type version was produced. David Nalle revived Esser's Belphebe (1998, Scriptorium). [Google] [More] ⦿ | |
He studied typography from 1938 until 1941 in Paul Koch's workshop in Frankfurt. From 1946 until 1956, he was type director at D. Stempel AG type foundry, Frankfurt. In 1951 he married Gudrun von Hesse. From 1956 until 1973, he was consultant for Mergenthaler Linotype Company, Brooklyn and Frankfurt. From 1977 until 1987, he was vice president of Design Processing, Inc., New York (which he founded with his friends Aaron Burns and Herb Lubalin), and professor of Typographic Computer Programs, Rochester Institute of Technology, Rochester, New York. Students at RIT included Kris Holmes and Charles Bigelow, who together created the Lucida type family. Other prominent students include calligrapher/font designer Julian Waters and book designer Jerry Kelly. From 1987 until 1991, he was chairman of Zapf, Burns&Company, New York. He retired in Darmstadt, Germany, but consulted on many font projects until a few years before his death. In the 1990s, Zapf developed the hz program for kerning and typesetting. It was acquired by Adobe who used ideas from it in InDesign. Awards:
Some publications by Hermann Zapf: List of his typefaces:
Books and references about him include:
Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady, with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, at his 60th birthday party. Pictures of his 80th birthday party at Linotype [dead link]. Linotype link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Hex
| Hex was founded by Nick Sherman (b. 1983). Nick is a typographer and typographic consultant based in New York City and Los Angeles. He is a co-founder of Fonts In Use and a graduate of the Type@Cooper typeface design program at Cooper Union. He serves on the board of directors for the Type Directors Club, the Adobe Typography Customer Advisory Board, as well as the artistic board for the Hamilton Wood Type & Printing Museum. He has taught typography, typeface design, letterpress printing, and responsive design at MassArt and Cooper Union. He previously worked at Font Bureau, Webtype, and MyFonts, directing web design and promotional material for typefaces. Originally from Hyannis Port and Boston, MA, he studied graphic design at MassArt in 2005. His degree project there, entitled A Modern Day Specimen Book, is beautifully presented, and leads us through thoughts on type classification to the idea of type molecules, with the nodes in the molecules representing styles or descriptions or dates, and the edges representing typefaces. He is interested in wood type, and occasionally helps out the organizers of the TypeCon conferences. As a designer at MyFonts (from 2007 until 2010), he was in charge of the interviews, presentations, and web designs of their successful and useful pages. In 2010, he joined Font Bureau. Flickr page. He is the founder of Woodtyper, an online journal focused on large and ornamented type and related matters. He also set up the type documentation project Type Record together with Indra Kupferschmid. His type designs:
He wrote Type from the Crypt about horror fonts. He started the Flickr group called Manicule about pointing hands (fists; see, e.g., here and here). He wrote the long essay on printing fists called Toward a History of the Manicule (2005). Check out this pic he took of Lucha Libre posters in Mexico City in 2009. He also designed the poster for the 2008 documentary on wood type called Typeface. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. Future Fonts link. [Google] [More] ⦿ |
New York-based graphic designer and calligrapher. Agfa Creative Alliance designer who made the wacky Waddy typeface families in 1996. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Hijinx
| Hijinx Design is located in New York City. Under the Hijinx label, Parsons graduate Shelsey Catherine Mouttet designed the dingbat font Haircult (2006), which can be bought at MyFonts. [Google] [MyFonts] [More] ⦿ |
During her studies at the School of Visual Arts in New York, Hilda Wong designed the all caps sans typeface Anderson (2018). Behance link. [Google] [More] ⦿ | |
New York City-based multidisciplinary design studio. For the dentity and stationery system for Devona, an interactive agency, Hinterland created Devona Stencil Display (2015). Behance link. [Google] [More] ⦿ | |
Designer of the phototype poster font Alpha Midnight for John N. Schaedler (Liberty house Schaedler Inc, New York City) ca. 1969. It was digitally revived by Alan Jay Prescott as APT New Alpha Midnight (1996). [Google] [More] ⦿ | |
Hiscott Foundry
| Located in Ithaca, NY, the Hiscott Foundry started producing fonts in 2008: Piano (2008, inspired by piano keys), Asimov (2008, handwriting), Kopa (2008, hand-printed). Additions in 2009: Vapor (curly hand). [Google] [MyFonts] [More] ⦿ |
During her studies at Nazareth College of Rochester, NY, Hoa Nguyen performed plastic surgery on the O's and Q's of Caslon to create a fun children's storybook text face, Not So O Style (2013). Bulkie (2014) is a plump display typeface. [Google] [More] ⦿ | |
Hoefler (was: Hoefler&Frere-Jones, and Hoefler Type Foundry)
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Hoefler received Bukvaraz 2001 awards for HTF Guggenheim, HTF Knockout, HTF Mercury (1997, no relationship with Goudy's Mercury of 1936) and HTF Requiem. At ATypI in 2002, he received the Charles Peignot award. FontShop link. [Google] [MyFonts] [More] ⦿ |
Born in Memphis, TN, in 1908, Holland had a studio in New York. From 1926 to 1936 he traveled across the country, designing theatrical posters for various motion picture companies. He was art director for several advertising agencies, notably J. Walter Thompson. He specialized in lettering and typographic design for publishers and taught calligraphy and letter design at Columbia University. For Photolettering in New York in the 1970s, he created the film typefaces Holland Antiqua, Holland Seminar (a transitional typeface family from 1973, and the first typeface family released by Compugraphic), Holland Title, Beleza (a script) and Squire. Digital descendants of his typefaces include Holland Seminar by Monotype. [Google] [More] ⦿ | |
Holly Goldsmith
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Honey Design
| Rina Miele (Honey Design, Sleepy Hollow, NY) is a web designer and art director. She created Pug (2010, free here), Razor Blade (2010, futuristic), Untitled Fat Font (2010), Honey Hand (2010), and Honeyfit 250 (2010, octagonal). She also made the iFontmaker font Cloud Doodle (2010). She sells through I am a design whore. [Google] [More] ⦿ |
Hoon Kim
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During his studies at School of Visual Arts in New York, Hoseok Lee designed the modular molecular typeface HS Bio (2016). Behance link. [Google] [More] ⦿ | |
Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the curvy didone typeface Jaz (2013, Friday Fonts. [Google] [More] ⦿ | |
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Anton Scholtz's Pacific Script (2011) is also inspired by one of Trafton's alphabets. Klingspor link. [Google] [More] ⦿ | |
Hubert and Fischer
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Google Creative Lab approached them to design a typeface for the branding of the Rubik's Cube Exhibition "Beyond Rubik's Cube" the Liberty Science Center, Jersey City. They designed a slightly rounded heavyweight font (Rubik, 2015, Rubik One, 2014, and Rubik One Mono, 2014) in which the letters fit perfectly in a single cubelet of the Rubik's Cube. The font was expanded to include Cyrillic and Hebrew characters for the exhibition. Free downloads at Google Web Fonts (see also here), Github and Open Font Library. Rubik One was created by Elvire Volk Leonovitch under the art direction of Hubert and Fischer. Bickerton (2014) is a rhombic typeface. Other commissioned typefaces: Dumpling Grotesk (based on a hand-painted sign of a Chinese restaurant in New York and characterized by a two-legged m), Bickerton (based on the work of artist Ashley Bickerton), Akzidenz Grotesk Mono, Unterwirt Regular, Cold Comfort (2010, a sharp-edged typeface for the exhibition catalogue Cold Comfort of artist Rudolf Reiber), Stripe (by Sebastian Fischer: A signage system typeface developed for the high school Quinta das Flores in Coimbra, Portugal), EDP (by Sebastian Fischer: a thick geometric sans for Latin, Chinese, Hindi and Cyrillic), Oberkofler (a pixel script for the publication Blut im Schuh for artist Gabriela Oberkofler), Tiptop (a sans designed as headline for the publication Jugend Forscht), Morus (a hipster typeface family), Swollen. Behance link. Fontspace link. [Google] [More] ⦿ |
Illustrator and book designer (b. 1880, Prague, d. 1945, New York). He became German in 1907. From 1907 until 1933, he was professor of graphics at the Staatlichen Akademie fü Graphische Künste und Buchgewerbe in Leipzig. He fled Germany in 1933 and after a long voyage, ended up in the USA, where he died. Blackletter typefaces designed by him include Steiner-Prag-Schrift (1912, Genzsch&Heyse), Batarde (Bauersche Giesserei, 1916). Designer of Akzidenz und Kalender Schmuck (1912, C.F. Rühl, Leipzig). Some of his work is archived at the Department of Rare Books and Special Collections of the Princeton University Library. [Google] [More] ⦿ | |
At the Goethe Institute in New York City, Julieta Aranda, Fia Backström and R. Lyon co-designed a free hacker font in 2013, which they called Human Readable Type. Human Readable Type is also an open source international keyboard that protects human language from data mining. The Human Readable Type was available at humanreadabletype.com, but that site has now been hijacked by a Chinese company. [Google] [More] ⦿ | |
Queens, NY-based designer of the display typeface Daddy Long Legs (2016). Behance link. [Google] [More] ⦿ | |
Rego Park, NY-based creator of the free techno typeface Acid Structure (2011). Behance link. [Google] [More] ⦿ | |
Born in 1989, Ian Bates (iBates Designs) is a Graphic Design major at York College of Pennsylvania. He is from Fort Salonga, NY. FontStructor who made Blacktop (2010) as part of a typography project in school. Behance link. [Google] [More] ⦿ | |
New Yorker who is experimenting with type design in 2012. [Google] [More] ⦿ | |
During his studies, Bronx, NY-based Ian Cruz designed Next Alphabet (2015), a squarish typeface that was influenced by Wim Crouwel. [Google] [More] ⦿ | |
Ian Lynam
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Before Ian Lynam Creative Direction and Design, Ian was involved in Wordshape, and I guess he still is. The main people are Ian Lynam, Simon Gane and Selena Hoy. MyFonts link. Creative Market link. [Google] [MyFonts] [More] ⦿ | |
Graduate of the Pratt Institute in New York. His typeface project in Jesse Ragan's class was called Laser New Roman (2010, slab serif). [Google] [More] ⦿ | |
IC Fonts
| IC Fonts is graphic artist Daniel Ortega's foundry in New York City. They specialize in fun non-text typefaces. In 2012, IC Fonts published Devils Own Type, Alphabet Citi, Crown Peaks, Milf Man Drips, Lumps (a blood drip font), Nubby, High Sky (puffy cloud face), Megalith, Brick City, Dopey (2012, an outlined graffiti face), Eye Bets (2012, fat bubblegum letters), Dough Nuts (2012), and Bonerfied. Typefaces from 2013: Hip Mob (graffiti font), Graff3rd Row, Indian Joe (ornamental Indian-themed caps), Crown Decay 3D, Graffrow (graffiti face). Typefaces from 2014: Hip High, Crown Decay, Olds Cool (2014, a graffiti font), Oldscool Rock. [Google] [MyFonts] [More] ⦿ |
Ilana Griffo
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Ilektra holds a Bachelors in graphic arts from the Technological Educational Institute of Athens, Greece and a Masters in industrial design engineering from Aalborg university, Denmark. She works in Astoria, NY. Creator of an unnamed script family in 2012. Behance link. [Google] [More] ⦿ | |
Ilene Strivzer
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Iliana Siegel
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New York City-based designer of the bicolored typeface The Other Side (2018). [Google] [More] ⦿ | |
In 1992, Manfred Klein made Tokay-MK after one of Reiner's ideas. In 2004, he added VariationsForImre, a playful typeface based on Reiner's lettering, and this was followed in 2005 by Magyarish. Reiner wrote several books, including Modern and Historical Typography An Illustrated Guide (1946, Paul A. Struck, New York, and 1948, Zollikofer and Comp., St. Gallen). | |
in the habit
| Design firm of Tiziana Haug, a Swiss designer who lives in New York. Tiziana has made some custom type such as Typographica (2001, a circle and crosshair dingbat face) and a folded paper-theme alphabet font in 2007 called ADC Paper Expo. Other typefaces: Built (2005), Home Sweet Home (2005, stitching face), Trace (2004, Neon light simulation). [Google] [More] ⦿ |
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Firm based in New York [Artistic Computers, 601 8th Ave., 2nd floor, New York, NY 10018] which in the early 1990s sold high-quality fonts for Bengali, Gujarati, Gurmukhi, Hindi and Urdu. [Google] [More] ⦿ | |
Indograph
| New York-based designer of the brush script typeface Galpacink (2017). [Google] [More] ⦿ |
The RX fonts for the pharmacy (commercial). Barcode fonts (commercial). Signature/logo fonts. Based in Rochester, NY. [Google] [More] ⦿ | |
A punctuation mark to convey surprise and exclamation and wonder at the same time (as in ?!), which was introduced by Martin K. Speckter in 1962 in an article written for TYPEtalks Magazine. Quoting Jim Richardson: "American Type Founders issued a metal typeface in 1966 called Americana which included the INTERROBANG. Remington Rand included the key as an option on its 1968 typewriters, commenting that the INTERROBANG "expresses Modern Life's Incredibility." In 1996, a New York art studio designed variations of the mark for each of the fonts in its computer library." The Interrobang can be found in Wingdings2, for example. [Google] [More] ⦿ | |
Intertype
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MyFonts writes: Harris inherited the Harris-Intertype library, made up of the typefaces cut by Intertype to compete with Mergenthaler from the First World War. A small group of original typefaces centers on newspaper typefaces and scripts. In the thirties C.H. Griffith at Mergenthaler believed the linecaster to be unsuitable for the development of scripts, which led Ed Schaar at Intertype to claim this market as their own. Intertype became Harris-Intertype ca. 1960, and Harris ca. 1975. Cyrillic typefaces in their library, ca. 1930. The firm still exists as Harris Corporations in Melbourne, FL, but is no longer producing fonts. Leonard Spencer, in his article Linotype / Intertype Linecasting Machines How They Differ writes: Intertype started as International Typesetting Machine Company in 1911. Many of first machines were rebuilt Linotype bases with improvements patented by the new company. When World War I broke out, International Typesetting Machine Company was reorganized as the Intertype Corporation, and by 1917 had three machines for sale: Model A one magazine, Model B two magazine, Model C three magazine. Intertype was first in cold type with its Fotosetter in 1950. This machine continued the circulating matrix principle but had film image instead of the punched character. Stuart Sandler adds this piece of information: The Harris-Intertype Fotosetter was the first photo typesetting machine invented. It marks the beginning of the Cold Type era and is the machine responsible for it . . . Incidentally this is the machine that inspired the creation of the Filmotype by its inventor Allan Friedman when he saw it unveiled to US audiences in 1948. Instead of lead slugs, the Intertype which was a Linotype machine had replaced them with small film negatives and proceeded to set type as you would imagine the bastardization of a lead type and photo type machine only could. There are many reasons Cold Type caught on and it became the standard some time after that period till digital typesetting machines like the Alphatype came into their own. It wasn't until the release of the first MacIntosh in 1984 when Cold Type was eclipsed by desktop publishing. Mac McGrew: Ideal (originally called Ideal News) was designed by Herman R. Freund for Intertype in 1926, for the New York Times. It has much the appearance of Century Schoolbook, but with shorter ascenders and squattier capitals. The italic is a little closer to Century Expanded Italic, providing more contrast with the roman. Sturdy serifs, substantial hairlines, and open loops make it a practical typeface for the demanding production requirements of high-speed newspaper use. Ideal Bold is heavier than the Century bold typefaces. View a few digital typefaces with roots in the Intertype collection. Another famous type is Cairo. Mac McGrew: Cairo is Intertype's adaptation of Memphis, originally designed by Rudolf Weiss for Stempel in Germany about 1929, and first imported into the United States as Girder. Except for Litho Antique, this was the first of the modern square-serif typefaces, which are revivals of older typefaces known as Egyptians. The Intertype typefaces appeared in 1933 to 1940. Lining Cairo features several sizes of caps on 6- and 12-point bodies in the manner of Copperplate Gothic. Compare Memphis, Stymie, Karnak. Farrar is also the author of The Typography of Advertisements That Pay (1917, D. Appleton and Co., New York). Local download. [Google] [MyFonts] [More] ⦿ |
Ion Lucin
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Ionyc type
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New York City (was: Toronto)-based designer of the free naughty script typeface Sansual (2013). [Google] [More] ⦿ | |
Irene Scala is a fellow typophile and graduate of The Cooper Union for the Advancement of Science and Art, where she had the opportunity to study with educators such as Paul Rand, Lou Dorfsman, and Milton Glaser. After earning a B.F.A. from the Cooper Union, she went on to postgraduate study at The Bezalel Academy of Art and Design in Jerusalem. She now lives in New York City, where she is associated with Designing with Type: Designingwithtype.com is a web site devoted to the art and appreciation of typography. It offers a unique typographic resource for students, educators, and professionals, showcasing talent from around the world. Originally created by James Craig as a supplement to his popular textbook Designing with Type specifically for his Cooper Union students, it has grown to include contributions presented by fellow educators and designers to embrace a wider audience. In 2006, James Craig and Irene Korol Scala published the blockbuster book Designing with Type, 5th Edition: The Essential Guide to Typography (published by Watson-Guptill). Designer of a wonderful logotype entitled Cognac One (2012). [Google] [More] ⦿ | |
Graduate of the TDi program in 2018 at the University of Reading. Kim Irin is a visual designer in the Google Fonts team, based in New York City. She has focused on developing design systems and visual identities, and has contributed to UX/UI projects such as the Material Design guidelines, the SPAN design and technology conference, and surfacing variable fonts in Google Fonts. She recently led a project to add more Korean fonts to the Google Fonts library. Speaker at ATypI 2019 in Tokyo, on the topic of variable fonts in Google Fonts. [Google] [More] ⦿ | |
Irin Kim is a visual designer on the Material Design team at Google, based in New York City. She has focused on developing design systems and visual identities, and worked on variable fonts in Google Fonts. Kim recently led a project to add more Korean fonts to the Google Fonts library. Speaker at ATypI 2018 in Antwerp. [Google] [More] ⦿ | |
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Graphic designer in New York City, who created Hennes Modular Stencil (2014). Behance link. [Google] [More] ⦿ | |
Graphic designer in New York City who created the Times-Roman-inspired floriated typeface Tenar in 2015. [Google] [More] ⦿ | |
Isabel created the children's book font Quentos (2010) and an animal caps alphabet called Animaletters (2011). While studying at Cooper Type, she designed the quaint serifed typeface Olivia (2012), the elegant old-fashioned serif family Galea (2012: featured in the book Playing with Type: 50 Experiments by Rockport Press, 2013), and the revival typeface Laureate (2012), which was based on a 1906 typeface from Keystone Type Foundry. Galea Display won an award at Tipos Latinos 2016. Behance link. [Google] [MyFonts] [More] ⦿ | |
During her studies in Levittown, NY, Isabelle Podrasky created the grungy typeface 8Bit (2013). [Google] [More] ⦿ | |
Zapf wrote about him: The work of Ismar David can always be identified by his characteristic style. [...] His expressive drawings, with their undulating linear quality and unusual construction, show his elegant style in every detail. Helen Brandshaft and David Pankow wrote and edited the text The Work of Ismar David (RIT Cary Graphic Arts Press, 2005), which covers his entire oeuvre. Typophile discussion. One of his types, David, became a huge success in the digital era, thanks to a digitization by Zvika Rosenberg, although some say that it is not as elegant as the original pre-digital version. In 2012, Monotype published David Hadash (or New David). Substyles include David Hadash Formal, David Hadash Sans, David Hadash Script, and David Hadash Biblical. Meir Sadan was the lead designer in the David Libre project. David Libre, published in 2016 by Google Fonts, is a Libre David Hebrew, based on David Hadash Formal. Google has worked with Monotype to release the three book weights (Regular, Medium and Bold) under the SIL Open Font License and create a new version for use by the public. Some glyphs were updated, such as the Sheqel symbol---it was redesigned to be recognizable by contemporary Hebrew readers, since the original Sheqel symbol is too far from today's standard. Open Font Library link for David Libre. At the University of Reading, Shani Avni wrote a Masters thesis on David. In it, she presents David's design process and ground-breaking results, and tells the story of this lost design and offers reasons for its disappearance. Her graduation typeface there in 2016 was Gozalle. [Google] [More] ⦿ | |
Israel Seldowitz
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Manhattan-based visual and graphic designer. He also works as an illustrator. His Yellow Typeface (2010) is made with lines and arcs of circles. [Google] [More] ⦿ | |
They also published the magazine U&lc online, an online companion to ITC's printed publication, Upper and Lower Case. ITC's site was run by Tom Dunbar. ITC is mainly known for display type and for type families with large x-height, in vogue in the 1970s and early 1980s. On March 2, 2000, Agfa-Monotype acquired ITC for an undisclosed sum from Esselte. Some time later, Agfa-Monotype became Monotype. Catalog of ITC's typefaces. Alphabetic listing of ITC's typefaces. [Google] [MyFonts] [More] ⦿ | |
New York City-based designer of this serif face (2004), this serif face (2004), and this sans (2004). [Google] [More] ⦿ | |
Designer in Brooklyn, NY, who created the fifties diner typeface Luncheonette in 2012, while studying at SVA in New York City. [Google] [More] ⦿ | |
Zuwei (or Ivy) Liu is the Bayside, NY-based creator of Minimal (2013), a didone caps typeface with extreme contrast to the poit that the thin strokes actually disappear. [Google] [More] ⦿ | |
American penman. J. W. Payson, S. Dunton, W. M. Scribner, G. H. Shattuck and A. S. Manson published The Payson, Dunton, & Scribner manual of penmanship (1873, Woolworth, Ainsworth, and company, New York). See also here. Several typefaces are named after Payson: Payson Script (1882, Cincinnati Type Foundry), Payson Script (Chicago Type Foundry), and payson (2009, Jeff Levine). Local download. [Google] [More] ⦿ | |
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Author of articles Typodarium 2012 (Verlag Hermann Schmidt Mainz, August 2011), The 3D Type Book (Laurence King Publishing, June 2011), and Typography 31 / TDC 2010 Annual (Collins Design, Dec. 2010). He published Foundation: Process and Reflection (2011, The Cooper Union). His typefaces:
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During her graphic design studies in New York City, Jackelyne Castillo created Industrial Font (2014). [Google] [More] ⦿ | |
Jackson Cavanaugh
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Paul Jackson Pollock (b. 1912, Cody, WY-d. 1956, Springs, NY) was an influential and celebrated American painter and a major figure in the abstract expressionist movement. He was well known for his unique style of drip painting. An alcoholic, he died in a car accident while driving drunk. Several typefaces were made using or emulating Pollock's drip style:
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During her studies at Towson University, New York City-based Jacqueline Lavitt designed the thin display sans typeface LineUp (2016). Behance link. [Google] [More] ⦿ | |
James Nash (b. 1987, Poughkeepsie, NY) is a designer in New York City. He created the stencil typeface Breath (2011). Behance link. [Google] [More] ⦿ | |
19th century New York-based foundry, also called the United States Type Foundry, Conner&Cooke, James Conner&Son, James Conner&Sons, and James Conner's&Sons. Only a few of its typefaces have been digitized thus far. Among those, we have AWT Connor Tuscan Italian (2013, Dick Pape), Helena Handbasket NF (2005, Nick Curtis) which was modeled after Antique Light (1888). Buffalo Bill (2007, FontMesa) revives a decorative Western style poster font from 1888. Railhead (2007, FontMesa: 4 styles) is a revival of an 1870s type style that was originally available from both Bruce's New York and James Conner's&Sons type foundries. Warp Three NF (2008, Nick Curtis) is a Bank Gothic-style font that borrows its lowercase from Square Gothic (1888, James Conner). Gunsmoke (2010) is a revival of a James Conner's Sons font that has been around the block under different names such as Extended Clarendon Shaded, Original Ornamented and Galena. Ysleta NF (2010, Nick Curtis) revives Conner's Aetna (1888), also known as Painter's Gothic. Conners Corners NF (2010, Nick Curtis) was gleaned from the 1888 specimen books of James Conner's Sons United States Type Foundry. Fists dating from 1888. [Google] [More] ⦿ | |
James Grieshaber
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James Hultquist-Todd
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Graduate of SUNY Fredonia. Ithaca, NY-based designer of the squarish typeface Bear Sans (2013). [Google] [More] ⦿ | |
Buffalo, NY-based digital artist. Creator of the modular experimental AI Typeface (2010). [Google] [More] ⦿ | |
James Montalbano
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James Todd (or: JTD Type)
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Creator of the text family Garvis (2012), which was inspired by didones and the Dutch Fleischmann types. In 2013, he designed the wood type revival family HWT Unit Gothic for Hamilton Wood Type Foundry. The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907, and comprises a flexible range of widths from compressed to very wide. In 2015, he published the contemporary didone optically corrected typeface family Essonnes [MyFonts link]. In 2016, James Todd designed the 6-style sans typeface family Cresta and his garalde take on the (normally didone) fat faces, Gastromond. In 2017, he co-designed Biwa and Biwa Display, a grotesk typeface family, with Ian Lynam. Typefaces from 2018: Chapman (a large Scotch roman typeface family with lots of pizzazz), Stack. Typefaces from 2019: Elfreth (an informal blackletter), Glot (a 10-style flared terminal sans family by James Todd and Ian Lynam; see also Glot Round from 2020). In 2021, he was part of a big effort by P22 to revive and extend Johnston's Underground to P22 Underground Pro [13 styles: Richard Kegler (1997), Paul D. Hunt (2007), Dave Farey (2021), James Todd (2021) and Patrick Griffin (2021) contributed at various stages]. In 2021, he released Cambium---a text family based on roman inscriptional lettering in which special attention was paid to trhe lowercase---at Future Fonts. YTypefaces from 2022: Oculi. Behance link. Dribble link. Old Fontspring link. Old URL. Future Fonts link. [Google] [MyFonts] [More] ⦿ |
James Walker Puckett
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James Zachman (Chicago, IL) created the marker typeface Natalie (2012), which is sufficiently well-mannered for uses on architectural plans and technical or semi-official presentations. [Google] [More] ⦿ | |
In 2012, he designed the free brush stencil typeface Bombora (which was digitized by Brian Kent). Bombora is based upon designs for surfing. See also Bombora Pro (2012, Cheap Pro Fonts). [Google] [MyFonts] [More] ⦿ | |
Authors of Fine Hand Embroidery (1914, New York). This book contains many embroidered alphabets and monograms. Janon Co had offices in Paris and New York. Digital typefaces based on their work include Antoinette Monogrammes (2013, Ryoichi Tsunekawa). [Google] [More] ⦿ | |
Designer of the LeWitt typeface family (2013, Angular, Wave, Regular). Student at the Pratt Institute (New York) in 2013. [Google] [More] ⦿ | |
Jared Eberhardt
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Graphic designer in Brooklyn, NY, who has sold his soul to the devil: he made a custom typeface for the NRA (National Rifle Association) in 2010. [Google] [More] ⦿ | |
Graphic designer in Brooklyn, NY. Using Glypha 55 Light as a skeleton, she created the Sequence typeface (2012, experimental). [Google] [More] ⦿ | |
New York City-based designer of the sans typeface Strange (2015). [Google] [More] ⦿ | |
Art director, senior designer and illustrator in New York City. Creator of the following fonts, ca. 2013: Phys Ed Dept (grungy athletic lettering), Monogram, Wild Modern (spurred), Queendsbridge (bubblegum face), Motown USA, Wild Modern, Catholic Guilt (spurred). Behance link. [Google] [More] ⦿ | |
Jason Forrest
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New York City-based designer of the wavy typeface Current (2019). [Google] [More] ⦿ | |
Jason Mannix
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Not to be confounded with Jason Ramirez (Pennyzine, Brooklyn, New York). Jason R. Ramirez (who also happens to be in Brooklyn, NY, where he does book covers and book design at St. Martin's Press) did an experimental alphabet (2009) made on the basis of photocopies of a single string, and another one based upon cracks in stones called Urban Decay (2009). [Google] [More] ⦿ | |
Jason Ramirez
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Typographer who emigrated from New York to Montreal. His mostly unreleased fonts are of the "extreme" type: Compounda, Michalski Glacial Roman, and X-Height. He released Treble (2002), a techno font, at T-26. [Google] [MyFonts] [More] ⦿ | |
Javier Viramontes (Brooklyn, NY) was born and raised in El Paso, Texas. He holds a B.F.A. in Design from the University of Texas at Austin. He has worked for various multi-cultural advertising agencies including LatinWorks (Austin, TX), XL Alliance, and BBDO Contrapunto in Madrid. He also studied at The Cooper Union for the Advancement of Science and Art, and is presently Lecturer at the University of New Haven. His typefaces include Aldine (2011, Lost Type), a wood-look headline typeface based on original proofs of a 19th Century American Wood Type alphabet, Aldine Expanded, and embellished by Javier Viramontes at the University of Texas, Austin. In 2016, he published the display sans typeface Kawak that is characterized by an asymmetric mouth of its C, at Latinotype, which wrote: Kawak is a sans inspired by Mayan glyphs from the Tzolk'in ritual cycle. Kawak marries modernist typographic tradition with Pre-Hispanic formalism, creating a perfect blend between cleanliness, readability, objectivity, and the Mayan super-ellipse. Kawak was designed by Javier Viramontes during the Type@Cooper, Extended Program under the careful guidance of Jesse Reagan and an amazing repertoire of visiting critics. The project was finalized by Alfonso Garcia and the Latinotype team. [Google] [MyFonts] [More] ⦿ | |
Rochester, NY-based designer of the circle-based typeface Chanel (2015). [Google] [More] ⦿ | |
Jay Schechter (b. 1941, New York) studied art, design, and lettering at Hunter College. He managed photographic reproduction at TypoGraphic Communications in New York from 1966 until its demise in 1984 [TGC was a successor to Rapid Typographers]. He became the Director of Typographic Design at Characters, which also bought up the fonts from Techni Plus, until that company too closed its doors, ca. 1992. Creator of phototype typefaces at VGC, such as Jay Gothic and Jay Gothic Bold (1965) [these typefaces are available as OPTI Jaffa from Castcraft]. After TGC, he worked for Characters (which also bought up the fonts from Techni Plus) until that closed (approx. 1992). [Google] [More] ⦿ | |
Dafont link. Old URL. [Google] [More] ⦿ | |
New York City-based creator of the display typefaces Ouija (2013) and J Crystal (2013). Another Behance link. [Google] [More] ⦿ | |
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During her studies in New York City, Jeannie Zhang designed the experimental modular typeface Blaxes (2013). [Google] [More] ⦿ | |
Designer Jed Heuer (Brooklyn, NY) has done quite a bit of typographic work, short of making an actual font. Behance link. I quite like his anatomical alphabet (2010). [Google] [More] ⦿ | |
New York City-based graphic designer who created ObamaBats in January 2008, ten months before Obama's election as President of the United States on November 4, 2008. Since Jeff's font is only in "suit" format, I generated a bunch of other file styles without offering any guarantees: ObamaBats.zip. [Google] [More] ⦿ | |
An interview. Alternate URL. Yet another URL with his early free fonts. My pages on him. Dafont link. Abstract Fonts link. MyFonts link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Jeff Prybolsky
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Jeff Jarvis (Brooklyn, NY) makes custom typefaces (such as Elizabet Dee (2012)) as well as experimental ones. In 2012, he created the Western typeface Ye Olde Geometric, Strypeface (a beautiful multiline display typeface) and the rounded stencil typeface Alphabits. Typefaces from 2014 include the 3d cubic typeface IsoType. Behance link. [Google] [More] ⦿ | |
Jeff Vorzimmer is the New York-based designer of Vassallo (1993, handwriting), and the dymo font Plastique (1993, free). He writes about Vassallo: Vassallo was created from the handwriting of the girl who wrote the specials at the restaurant America on 18th Street (near 5th Ave.) in NYC. I thought her handwriting was very distinctive and I asked her if I could make a computer font of it. She seemed flattered by my asking. The font is named however for a girl was is an artist on the island of Malta. | |
Designer in Elmont, NY. In 2012, he used Futura as a basis for Arcade, a typeface used for wayfinding on a campus. [Google] [More] ⦿ | |
New York-based graphic designer. He created Frame Light (2008, glyphs inspired by frames). [Google] [More] ⦿ | |
Jenn Sager (Brooklyn, NY) works at a branding company. She created the tall condensed monoline typeface Sweet Heart (2011). [Google] [More] ⦿ | |
Calligraphic blog and calliggraphy service in Brooklyn, NY. [Google] [More] ⦿ | |
New York City-based graphic designer who made an alphabet that sure looks like it was made from clippings of pubic hair (2010). [Google] [More] ⦿ | |
New York City-based designer of the custom textured typeface Identity (2014). [Google] [More] ⦿ | |
Art director and illustrator in Brooklyn, NY. Behance link. She created the display typeface Lady Luck (2010). [Google] [More] ⦿ | |
Jennifer DeAngelis
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Jennifer Kinon
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New York City-based designer of Cyclops (2015, stencil typeface). [Google] [More] ⦿ | |
During her studies in New York City, illustrator Jensine Eckwall designed the typeface Pixolita (2013), which was inspired by the pixacao (graffiti) in Sao Paulo. Behance link. [Google] [More] ⦿ | |
At the School of Visual Arts, Jenson Marklund (Brooklyn, NY) designed the piano key typeface Winson (2016). Behance link. [Google] [More] ⦿ | |
Jeremy Mickel
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Designer in New York City who made Cash West in 2021. [Google] [More] ⦿ | |
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His typefaces:
Interview. Behance link. Interview by Lovers Magazine. [Google] [MyFonts] [More] ⦿ | |
In 2019, he co-designed Caslon Sans Serif Shaded with Paul Barnes: The addition of graphic effects to typefaces was one of the most popular fashions of the nineteenth century, with the most common being the shaded form. Fashionable throughout this period, they largely disappeared from the typographic landscape, but their simple graphic qualities offer much potential today. [Google] [More] ⦿ | |
Jessica Bronson graduated from Parsons School of Design in 2009 with a BBA in Design+Management. She lives in Savannah, GA, where she pursues an MFA in graphic design at Savannah College of Art and Design. Creator of the slab serif typeface Embargo (2012). [Google] [More] ⦿ | |
New York City-based designer of the modular techno typeface Quimica (2013). [Google] [More] ⦿ | |
She also has a site called Daily Drop Cap Cap, in which she adds a free drop cap every day (but this lasted four days only). Her drop caps typeface family Minot (2013) and her initals Penguin Drop Caps (2013: a series of twenty-six collectible hardcover editions of fine works of literature, each featuring on its cover a specially commissioned illustrated letter of the alphabet by Jessica in collaboration with Penguin Art Director Paul Buckley) won awards in 2014 at the Communication Arts 4th Typography Competition: 2014. In 2014, Jessica Hische created the script typeface Tilda at Font Bureau for Moonrise Kingdom. Klingspor link. MyFonts link. Behance link. [Google] [MyFonts] [More] ⦿ | |
Communication design student in Utica, NY. Behance link. Creator of the outline typeface Bubbly (2012). [Google] [More] ⦿ | |
During her studies at School of Visual Arts in New York City, Jessica Libby designed the foliated typeface Barley (2019) and the sci-fi typeface Interstellar (2019). [Google] [More] ⦿ | |
New York-based photographer and artist. She created an alphabet out of pictures of folded glasses in 2009. [Google] [More] ⦿ | |
During her studies at SUNY The College at Brockport, Jessica Smith created a experimental geometric typeface (2014). [Google] [More] ⦿ | |
For a project at Yale, she digitized Paganini (2010), an Italian typeface originally drawn by Alessandro Butti and Raffaello Bertieri in 1928. [Google] [More] ⦿ | |
Jessica Turcotte
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New York City-based designer who did several art deco type treatments for her clients in 2010. Behance link. [Google] [More] ⦿ | |
Behance link. [Google] [More] ⦿ | |
Korean graphic designer based in New York City. Creator of the experimental Hangul typeface Semo Nemo (2013). [Google] [More] ⦿ | |
Graduate of Seoul Women's University (2003), School of Visual Arts (New York, 2007: BFA) and Parsons The New School of Design (New York, 2011: MFA). She designed an unnamed display typeface in 2011. [Google] [More] ⦿ | |
Print and web designer in Brooklyn, NY. Home page. The project Oiseaux Retro (2011) is based on the art nouveau period and the 1974 French flick, Emmanuelle, and resulted in a great calligraphic poster by the same name. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the deconstructed didone typeface Lunera (2015). Behance link. [Google] [More] ⦿ | |
Web designer in New York City, who created the floral decorative caps typeface Les Bois (2014). Behance link. [Google] [More] ⦿ | |
Designer of Healthcare Symbols dingbats (1994). Located at The Communications Shop in Rochester, NY. [Google] [More] ⦿ | |
Graduate of Rochester Institute of Technology. Rochester, NY-based designer of the squarish all caps typeface Materialish Hue (2019). [Google] [More] ⦿ | |
Graphic and type designer in Brooklyn, NY. He made the constructivist / psychopathic dictator font Evill Labs (2009). Horn Design In. [Google] [More] ⦿ | |
New York-based designer. In 2021, he released the sharp-edged typeface Kik, which was inspired by the violence in Quentin Tarantino's movies. [Google] [More] ⦿ | |
New York City-based designer of the modular display typeface Fishbone (2013). [Google] [More] ⦿ | |
Korean type designer. Graduate of the School of Visual Arts in New York City. Creator of an architectural column typefaces called Erechtheum (2012). He was part of a Sandoll team that designed Typotheque's Greta Sans Korean (together with Yejin We, under the supervision of Chorong Kim). At Seoul, Korea-based Woohahan Brothers (Woowa Brothers Corp), Jinhee participated in the design of the Hangul typeface BM Hanna Air (2018: Woowa Brothers: Cheoljun Lim; Soyoung Lee; Taehyun Cha; Byungsun Park; Minjin Kim; Hyesun Chae; Myungsoo Han; Bongjin Kim; & Sandoll: Jooyeon Kang; Jinhee Kim; Dokyung Lee). [Google] [More] ⦿ | |
New York City-based designer of Punch Font (2014). Behance link. [Google] [More] ⦿ | |
Student at Parsons the New School for Design majoring in Communication Design. Behance link. Creator of the ultra fat blocky typeface Little Blocks (2011). You 've got to love her Whalee illustration. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the flowing typeface family Souq (2018). [Google] [More] ⦿ | |
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Joe Finocchiaro
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Joe Finocchiaro Design
| Joe Finocchiaro runs a corporate identity studio in New York, and specializes in custom typeface, symbol and logo design. His corporate font families include Roma 2002, the sans serif Ernst and Young family (1999), Air Canada (1994), the sans serif font Etna (2002), the sans serif family Largo (2002), a stencil font for the Performing Arts Center of Greater Miami (1999, based on Futura), the CHW font (1997) for Catholic Healthcare West (serif), Cargill (1994), the beautiful flared sans serif Wunderman Cato Johnson (1997), the PNC font (1993, for the PNC Bank, based on Fry's Baskerville, 1768), the Lincoln Life font (1994, in all-caps style like Bank Gothic), the Scotiabank corporate alphabet, the serifed Clinique (1997) for Clinique Laboratories Inc, Colgate (1993, based on Eras), the didone font Formica (1996), the didone family Tiffany, Tiffany Numerals, Tiffany SmallCaps (2000) for Tiffany&Co, the condensed sans family Schlumberger (1998), the sans family Orazio (2002), a logotype for Iberia (1997) and Univers AirService (1997), The NewYorkTimes (2000, a logo-matching typeface), some type for Avis (1999). He cleaned up the Cunard typeface (by Eric Gill), the Arthur Andersen typeface (1999) and the Deloitte Touche corporate typeface. Joe accepted money from the unscrupulous polluter Monsanto, the questionable Sultan Bin Abdulaziz Al-Saud Foundation and the crooks at Arthur Andersen. [Google] [More] ⦿ |
New York-based advertising designer. Codesigner with Herb Lubalin, Ed Benguiat and Antonio DiSpigna of the rigid slab serif typeface ITC Lubalin Graph (1974). Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Linotype link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Rochester, NY-based designer of Chipotle (2017). [Google] [More] ⦿ | |
Scottish type founder from Edinburgh who was active during the second half of the 17th century. He started out in St. Andrews in 1742 in partnership with Alexander Wilson when thwey co-founded the Wilson Foundry there, but moved in 1744 to Glasgow and in 1749 to London (when his partnership with Wilson ended) and in 1768 to Edinburgh. In 1787, he published "A Specimen of Printing Types, By John Baine&Grandson in Co", and emigrated to Philadelphia, where he set up a foundry. The elder Baine died in 1790, and his grandson continued until 1799, when he sold the equipment to Binny&Ronaldson for $300. [Google] [More] ⦿ | |
John Bark founded the Bark Design Studio in Stockholm in 1988, after several jobs in New York at the School of Visual Arts, Milton Glaser Inc, and Esquire. With Örjan Nordling, he designed DN Bodoni for use as headlines in the Swedish newspaper "Dagens Nyheter". [Google] [More] ⦿ | |
Ex-developer of U&lc, the well-known type magazine at ITC in New York. After ITC's demise, he moved to San Francisco, and is best known nowadays for his excellent articles on typography at CreativePro.com. He is the author and designer of Dot-font: Talking About Fonts and Dot-font: Talking About Design (Mark Batty Publisher, 2006), and the editor of Language Culture Type (ATypI/Graphis, 2002), Contemporary Newspaper Design, and U&lc: influencing design&typography. He also wrote Now Read This (Microsoft, 2004), a book about Microsoft's ClearType project. He writes and consults extensively on typography, and he has won numerous awards for his book designs. He lives in Seattle with the writer Eileen Gunn. John Berry was on the board of the Type Directors Club from 1999 to 2003, and was President of ATypI from 2007 until 2013. In 2008, he joined Microsoft as a Program Manager in the typography team. He is the founder and director of Scripta Typography Institute. At ATypI in Rome in 2002, he spoke about the Bukvaraz type competition. At ATypI 2004 in Prague, he spoke about newspaper type. John was the closing plenary speaker at ATypI 2007 in Brighton. Speaker at ATypI 2013 in Amsterdam and at ATypI 2019 in Tokyo. [Google] [MyFonts] [More] ⦿ | |
New York City-based designer of the fat face Slabalphabet (2010). [Google] [More] ⦿ | |
Designer in Rochester, NY, of an American flag-themed face (1972) done for The Singr Company. [Google] [More] ⦿ | |
New York-based creator of the art nouveau alphabet Rustic Roman that is featured on page 79 of John G. Ohnimus's Henderson's Sign Painter (1906). This typeface was digitally revived in 2018 by Brian J. Bonislawsky and Jim Lyles as MFC Sansome Monogram (at Monogram Fonts Co). Other alphabets in Ohnimus's book include Brush Letters (page 85). [Google] [More] ⦿ | |
American wood type designer/manufacturer from the 19th century, whose company started out in 1852 by taking over Edwin Allen in South Windham, CT. In 1864, he partners with Robert Lindsay, sells the South Windham factory, and moves to New York City as John B. Cooley and Co. In 1866, he enters into a partnership with Samuel T. Dauchy to become Cooley&Dauchy. In 1869, however, that company was bought by William Page, who ironically, had been Cooley's employee in 1855-1856. He published Specimens of Wood Type. Examples of their wood types: Antique Tuscan No. 1 (1859). Digital revivals: Jeff Levine's Winnetka JNL (2009) was inspired by Cooley Antique Tuscan Condensed from 1859. Compressed Wood JNL (2020, Jeff Levine) is extrapolated from J.G. Cooley's Roman Triple Extra Condensed Fifty Line. Finally, AWT Cooley Ant Tuscan XX Cond (2013) and AWT Cooley Grecian XX Condensed were released by Dick Pape. [Google] [More] ⦿ | |
Author of The theory and practice of handwriting (1894, New York: William Beverley Harison). Google] [More] ⦿ | |
John Nahmias
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American typographer. In 1954, he wrote Hammer Creek. The Hammer Creek Press Type Specimen Book (NY). [Google] [MyFonts] [More] ⦿ | |
Typefaces from 2014: Leonardo (grunge and geometry experiment). In 2015, he made the squarish typeface Cronin, the circle-based Can Pull, Flic Flim, the counterless typeface Winston, and the film noir typeface Cinema. Typefaces from 2016: Aeon (a custom pixel typeface family for Nike New York), Radford (a squarish modular typeface family), Pig, Loser (squarish). Behance link. Another Behance link. Old URL. [Google] [More] ⦿ | |
Tabasco and Paprika, geometric oddities with Paprika being the bilined variant, were revived in 2010 by SoftMaker as Tabasco and Tabasco Twin, respectively. Download Tabasco Twin here. Hiroshi Yamashita's Alpha Midnight (ca. 1969) was revived by Alan Jay Prescott as APT New Alpha Midnight. [Google] [More] ⦿ | |
New York City-based designer of the monoline typeface Miselu (2014). Behance link. [Google] [More] ⦿ | |
Brooklyn-based illustrator and designer who created a great typographic poster for a Bon Iver performance in 2009. Behance link. [Google] [More] ⦿ | |
John T. White
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In 1885, he patented another typeface. John west became manager of the small Chicago-based typefoundry, Indestructibe Type Co towards the end of the century. [Google] [MyFonts] [More] ⦿ | |
Jon Armstrong
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Lettering expert in New York City. [Google] [More] ⦿ | |
Jon H. Clinch
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New York City-based designer. He created the display typeface New Aviv in 2013 and wrote: This week is a collaborative project with designer Rami Moghadam, who hails from Germany but is currently based in Tel Aviv. He is also one of Print Magazine's New Visual Artists and a good friend of mine. Inspired by the cities that both of us live in, we decided to create a font that embodies some of the city characteristics that are most symbolic to us. Rami focused on Tel Aviv's Bauhaus Architecture Style with its clean lines and smooth curves, whereas I focused on my morning commute, typically met with a funneling of traffic slowly moving through the Lincoln Tunnel. Rami created the structure of the font and I traced over it by hand to create a pattern of abstract vehicles that are waiting in a never-ending line. We named our font New Aviv. Free download of New Aviv [broken link]. Behance link for Daydreams and Nightschemes. [Google] [More] ⦿ | |
Jonah Fonts
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Creator of the striped art deco typeface Hotpot (2012). [Google] [More] ⦿ | |
Jonathan Corum
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Klingspor link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Graduate of the Pratt Institute. New York City-based designer who created a nice unnamed display typeface in 2013. [Google] [More] ⦿ | |
Jonathan Hiscott
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Jonathan Hoefler
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Jonathan Hughes (b. Framingham, MA) is a graphic designer, musician and, now, type designer in Amherst/Buffalo, NY. Creator of Zandvoort (2008), an OpenType Font containing the numbers 1 through 99 in circles. Both open (black numbers in a black outlined circle) and closed (white numbers in a black circle) versions are included. Free. Fyra (2009) is another family of circled letters and numbers. MyFonts link. Home page. [Google] [MyFonts] [More] ⦿ | |
Art director in New York City. Creator of the painter's typefaces Matisse (2015) and Kline (2015), which are based on children's interpretations of the work of Henri Matisse and Franz Kline in 2015. [Google] [More] ⦿ | |
Jonathan Macagba
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Valley Stream, NY-based designer of the handprinting font Notepad. [Google] [More] ⦿ | |
During her studies in Brooklyn, NY, Joo Young Park (b. 1991) created a needle and thread typeface (2013). [Google] [More] ⦿ | |
Jorge José George Guerrero is a creative director in Mexico City. Designer of Brixie, a serifed typeface with calligraphic roots, which was developed in 2012 while Jorge was studying type design at The Cooper Union under Hannes Famira. [Google] [More] ⦿ | |
Located in New York City, Jose Antonio Contreras designed a colorful kitchen tile style typographic poster called Arts WFC Fall 2010 poster. Behance link. [Google] [More] ⦿ | |
Freelance graphic designer and illustrator in Brooklym, NY. Creator of the geometric solid typeface Moonman (2012). [Google] [More] ⦿ | |
Graduate of the Faculty of Fine Arts University of Lisbon, class of 2014. During his BFA studies at the School of Visual Arts in New York City, and a crash course at the University of London, he designed the scratchy typeface Impatient (2015), about which he writes: In 2014, at the Graphic Summer School at the CSM in the London University, José Maria was challenged to create a typeface in less than a day that had, as a theme, something to do with his personality. For this he chose his extreme levels of impatience. With the challenge of not using any digital media for this exercise José created a brush that would drop China ink relentlessly without any way of stopping it from the moment you started to the moment it would empty out, so as to impatiently complete it throughout. [Google] [More] ⦿ | |
New York printer and book designer (1897-1990), who designed Emerson for his own Spiral Press. In 1931, he traveled to Germany to have Louis Hoell cut the punches, which were then cast by the Bauer foundry for hand composition. First known as Spiral and exclusive to the Press, the typeface was renamed Emerson when Monotype released it commercially, with a companion italic, for machine composition in 1935. Reynold Stone wrote that it avoided the rigidity of a modern face and preserved some of the virtues of the classic Renaissance types. Signature, cited its "open counters, absence of fine lines and sturdy, though not heavy serifs." Monotype deemed it among the twenty classic faces. Jerry Kelly writes about his contributions in David Pankow's edited book, American Proprietary Typefaces. Mac McGrew: Emerson and Emerson Italic---a completely different style, unrelated to the one above---were designed by Joseph Blumenthal, New York printer and book designer. The original version was hand-cut by Louis Hoell in Germany, and the typeface was cast by the Bauer Foundry in 1930. It was called Spiral for the press at which this distinguished typographer produced many notable books, and was renamed Emerson when the Monotype Corporation of London recut it in 1935. It is a modernized oldstyle letter, adapted for photogravure reproduction, but retaining a reasonably light face, fairly condensed. Wikipedia on Emerson: The typeface's first appearance was in a special, private-press edition of Ralph Waldo Emerson's essay Nature, and so the Monotype version became known as Emerson. Emerson can be recognised for its distinctive foot serifs on the lowercase a, d and u, and its wide capitals (especially the M). The typeface shares characteristics with the classic renaissance types, and its soft, blunt appearance was designed to suit photogravure reproduction. For a digital revival of Spiral / Emerson, see Spiral (2014) by AR Types / Ari Rafaeli, or Emerson by Nonpareil Type. [Google] [MyFonts] [More] ⦿ | |
New York City-based graphic and print designer. In 2013, he created the techno typeface Rubikface. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of Stanloon (2014, a hand-printed typeface). [Google] [More] ⦿ | |
Joseph Coniglio
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Staten Island, NY-based designer of the all caps headline typeface Valen (2016). His company is called Sagittarian Design. Behance link. [Google] [More] ⦿ | |
New York-based designer who is working on this sans face (2006, see also here) and on Rapture (2006, display face). [Google] [More] ⦿ | |
Designer in New York City of the squarish typeface Ombre Pointu (2013). Behance link. [Google] [More] ⦿ | |
Joseph Miceli
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Graphic designer and photographer in New York City, who during his Communications Design studies at the Pratt Institute created the custom typefaces Eaves Junior (2017) and Proudface (2017: a heavy rounded sans). [Google] [More] ⦿ | |
Art director in Brooklyn, NY, who designed the experimental minimalist geometric typeface Croc in 2015. Behance link. [Google] [More] ⦿ | |
Designer of a decorative bird alphabet in 1989 at Pratt Institute, Brooklyn. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of Eyre (2017), a Victorian font influenced by the books of Charlotte Brontë. [Google] [More] ⦿ | |
Josephine Tansara
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Brooklyn-based graphic designer who created a squarish typeface called Joyce Dance Studio (2013). [Google] [More] ⦿ | |
Joshua Darden
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Joshua Langman
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Illustrator and designer in Queens, NY. She created two illustrative typefaces in 2012. [Google] [More] ⦿ | |
Juan Carlos Pagan
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New York City-based designer of the text typeface Huracan (2016). [Google] [More] ⦿ | |
New York-based designer of the sans headline typeface Exilia (2016). Behance link. [Google] [More] ⦿ | |
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Illustrator in Bronx, NY, who created the sans titling typeface Capibold (2014). [Google] [More] ⦿ | |
Juan Villanueva
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In 2020, he accused the TDC, of which he was a board member, of racism and resigned. A few days later, the TDC shut down, at least temporarily. [Google] [MyFonts] [More] ⦿ | |
At Parsons School for Design in New York City, Julia Benedetti Rutzen created the experimental typeface Sum1 (2017). [Google] [More] ⦿ | |
Designer and illustrator (b. 1988) who is based in New York City. Her Metropolis (2010) is a hand-drawn typeface created for a group project, incorporating the adjectives "friendly," "architectural," "hi-tech" and "Officina Serif." [Google] [More] ⦿ | |
Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the connect-the-dots font Wanderer (2013, Friday Fonts). [Google] [More] ⦿ | |
Voltage writes: Born and raised in NYC, Julia has created illustrations for the New York Times, Urban Outfitters, Target, and Victoria's Secret, to name just a few. In contrast to her firm city roots, she wrote and illustrated Farm Anatomy, a beautiful and all-inclusive look at agricultural life. Julia enjoys going on walks with her terrier Rudy, playing Boggle on the iPhone and rating Bloody Marys on a scale of 1-10. Creator of the hand-printed typeface Juker (2012). [Google] [MyFonts] [More] ⦿ | |
Graphic designer in New York City who created the Peignotian typeface Oddlong in 2017. [Google] [More] ⦿ | |
Julian was born in Brasil and grew up in New York City where he practices design and photography. Neu Kahlon (2012) is an italic-based sans serif font made up of thick geometric lines. Its design was influenced by fonts like Akkurat and Avant Garde. Behance link. [Google] [More] ⦿ | |
Julie Green
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Swiss type design student at ECAL. Creator of the techno typeface Kreislauf (OFL, 2010) and Dumbo (OFL, 2010). Some of the typefaces he is working on got started under the direction of Ed Benguiat during Julien's exchange semester at the School of Visual Arts in New York. Not to be confused with the other Swiss type designer called Julien Mercier. Open Font Library link. [Google] [More] ⦿ | |
Juliet Shen
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Brooklyn, NY-based designer of a molecular alphabet in 2019. [Google] [More] ⦿ | |
German industrial graphic designer, b. Emmerich, Hannover, 1883, d. New York, 1968. A disciple of poster artist Lucian Bernhard, he started his career in Berlin, and settled later in New York after he emigrated there in the 1930s. Typefaces by him at the Bauersche Giesserei include Femina (1913) and Majestic (1914). At the Wilhelm Woellmers Schriftgiesserei, Berlin, he designed Admiral and Admiral Halbfett in 1906. Revivals of Majestic include Chistoso (2019, Chuck Mountain). [Google] [More] ⦿ | |
Type designer from New York City who created pre-art nouveau typefaces for Barnhart&Barnhart in 1886 and 1888, and display typefaces in 1883 and 1888. For Bruce Type Foundry, he created a condensed typeface in 1890 and an art nouveau typeface in 1888. [Google] [More] ⦿ | |
Type designer born in 1861 in New York. At the Boston Type Foundry, he created Coburg, Facade Condensed, Makart (ca. 1886), Mural (1881), Quincy Script (ca. 1885), Rogers, Samoa, Webster (ca. 1888). At A. D. Farmer, he did Fashion Extra Condensed (some time before 1892). Facade Condensed, which has Victorian influences, is available in digitized form from Monotype. [Google] [More] ⦿ | |
In 2021, Alejandro Paul paid homage to Julius Herriet's Old Style Ornamented in his Plethora, an 18-style family and two variable fonts by adding various frills, ligatures, weights, exaggerating the design in true Victorian spirit. [Google] [MyFonts] [More] ⦿ | |
Graphic designer in New York City. He designed these typefaces:
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Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the connect-the-dots font Clutch (2013). [Google] [More] ⦿ | |
Kyoto-born Creative Alliance designer of Monolith, marketed as a Zen font. [Google] [MyFonts] [More] ⦿ | |
June is a Seoul-born, NYC-based designer who joined Occupant Fonts in 2017 and stayed on for three and a half years. After graduating from Cornell University with a BA in Art History, she studied graphic design at Parsons School of Design and later RISD, where she received her master's degree and has taught typography. Her work has been recognized by Type Directors Club, Art Directors Club, Communication Arts, and more. Co-designer with Cyrus Highsmith at Occupant Fonts of the informal typeface Occupant Oldstyle (2021). [Google] [More] ⦿ | |
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New York City-based designer of the sci-fi typeface Luna (2014). Behance link. [Google] [More] ⦿ | |
Photographer in Brooklyn, NY, who created Coffee Stain Alphabet (2014). Behance link. [Google] [More] ⦿ | |
Justified Type (or: Clinch Advertising)
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Resellers of his fonts include(d) Phil's Fonts, Precision Type, FontHaus, and Atomic Type. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Graphic designer in New York City who created the thin display typeface NYC in 2014. Behance link. [Google] [More] ⦿ | |
Justin Thomas Kay
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In 2020, she co-designed The Justine Collection with Rae Kaiser. It includes dingbat fonts including Crowns, Shoes, Christmas, Hearts+Swirls, Animals, People, Fall Holidays, Shoes+Purses, Flowerpots and Frames, basically all the fonts she designed eleven years earlier. [Google] [MyFonts] [More] ⦿ | |
During his studies in Brooklyn, NY, Juyeon Lee (b. Korea) created the circle-based typeface Metamorphous (2013-2015). Behance link. [Google] [More] ⦿ | |
Ilion, NY-based designer of the futuristic typeface Galactix (2017). [Google] [More] ⦿ | |
German designer, b. 1965. He created FF Koko (1998, FontFont). Since 1995, he runs Monkey See Monkey Do, Inc., a small design company based in New York City. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
From the fingertips of a guy in Brooklyn comes the cartoonish Helvedicka (2012), an alphabet that celebrates all dicks in the world. [Google] [More] ⦿ | |
Over 600 million people in the world are dyslexic. Kanny Yeung (New York City) started a typography project in 2012 to address two types of Dyslexia. Kanny introduced an alphabet that has very different glyphs, and is remotely related to Latin. In 2014, she made the organic typeface Kanny Sans. Behance link. [Google] [More] ⦿ | |
New York City-based illustrator and digital artist, who created the typefaces Pivot Regular and Pivot Deco in 2013. Karan is of Indian and Australian origins. Behance link. [Google] [More] ⦿ | |
Designer of a shoelace alphabet in 1989 at Pratt Institute, Brooklyn. [Google] [More] ⦿ | |
Karen Parry
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Graphic designer in Brooklyn, NY. Behance link. She created the squarish typeface EAV (2012) out of the East Atlanta Village logo identity. [Google] [More] ⦿ | |
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Duriing her studies, Karissa Wright (Minerva, NY) designed Pixel Dust (2017). [Google] [More] ⦿ | |
Her typefaces:
Behance link. Home page in New York City. Behance link. Klingspor link. Google Plus link. [Google] [More] ⦿ | |
Kasey Stevenson Buck
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Kate also made a partial typeface called Electric Forest (or Maya) in 2013. [Google] [More] ⦿ | |
New York-based designer of the handcrafted typeface Pumpernickel (2016). [Google] [More] ⦿ | |
Kate Gladstone
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Kate Gladstone: Handwriting Repairwoman
| Handwriting repairwoman living in Albany, NY, born in Brooklyn in 1963. "Yours for better letters." Another page on her. Author of Read Cursive Fast. [Google] [MyFonts] [More] ⦿ |
In 2014, Katharina Hoerath studied graphic design and architecture in New York. For the Milosz typeface competition, Katharina Hoerath designed a poster typeface called Milosz (2014) and wrote: The typeface Milosz is intended to reflect the spirit of Milosz writing - mystical and sensuous, conquerors and subtle, serious and still spontaneous. . [Google] [More] ⦿ | |
During her studies in New York City, Kathleen Kehres designed the organic typeface Stems (2016). [Google] [More] ⦿ | |
New York City-based designer of the all-caps font Godly (2014) on the theme Greek Mythological Gods from Alpha to Omega. While studying at Parsons in 2014, she also created Etiquette Icons. [Google] [More] ⦿ | |
Based in Brooklyn, NY, Kathrin designed the synthetic Hindi typeface Sprue (2003). [Google] [More] ⦿ | |
During her studies, Katie Klasmeier (Brooklyn, NY) designed the hand-drawn typeface Birthday (2013). [Google] [More] ⦿ | |
Graduate of the University of Buffalo, who lives in Batavia, NY. She created the ornamental typeface Systems Theory (2013). [Google] [More] ⦿ | |
New York City-based designer who created the heavy round hand-printed caps typeface Avocado (2013). [Google] [More] ⦿ | |
During her studies St. John's University in Queens, NY, Kayana Ternize designed the display typeface Hyper (2017). [Google] [More] ⦿ | |
Visual communication student at Farmingdale State College who lives in East Meadow, New York. During her studies in 2012, she created the fat counterless typeface Strand. [Google] [More] ⦿ | |
Gansevoort, NY-based designer of the comic book typeface Pow (2016). [Google] [More] ⦿ | |
At the School of Visual Arts in New York, Kee Wei Chin designed the semi-octagonal typeface Jinxed (2019). She also created Helvetica Redsign (2019), a pucker-and-bloat experimental treatment of Helvetica. [Google] [More] ⦿ | |
Born in 1972 and located in New York City, Keith Alan Morris created the handwriting font lucygooseyblack (2009). Home at Brand Architecture Inc. [Google] [More] ⦿ | |
Keith Bates
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Syracuse, NY-based designer of the monospaced sans typeface Moshion (2017). Behance link. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the bilined typeface Eclipse (2017), which is based on Futura. Behance link. [Google] [More] ⦿ | |
Illustrator and art director in Arlington, VA, who hails from upstate New York and studied in Glasgow, Scotland. Creator of three-style art deco family Baby Cakes (2012, TenDollar Fonts). Behance link. HypeForType link. [Google] [More] ⦿ | |
New York City-based designer of a typeface constructed based on squares, triangles and circles called Trinagle Circle square (2014). [Google] [More] ⦿ | |
Kelly Shami (New York City) is studying at The School of Visual Arts for a BFA in Graphic Design. She created the ball terminal experimental typeface Revolver (2012) and the flourished curly typeface Baby Jane (2012) during her studies at SVA. Behance link. [Google] [More] ⦿ | |
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During her graphic design studies in New York City, Kelsy Jensen created the art deco-inspired display typeface Rapture (2013). [Google] [More] ⦿ | |
During her studies at the Pratt Institute, Kelsey Lynch (Brooklyn, NY) created an untitled informal sans typeface in 2014. [Google] [More] ⦿ | |
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Kelvin Ma
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During his fgraphic design studies at SUNY Buffalo, Kenneth Cruz created a great natural handcrafted typeface, Ascending (2014). [Google] [More] ⦿ | |
Graphic designer in New York City. At Type Cooper 2021, he designed the heavy exaggerated reverse strees typeface Jellyfish. [Google] [More] ⦿ | |
During her studies at Parsons in New York City, Keren Hasson created the art nouveau tyle event poster Bacchanalia (2013). [Google] [More] ⦿ | |
Graphic designer on Staten Island, NY, who created the straight-edged typeface KC Lines in 2014. [Google] [More] ⦿ | |
Kevin Dresser
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Kevin Kegler is a Professor of Graphic Design at Daemen College in Amherst, New York. In addition, he is a practicing designer and sculptor. He created the dingbat font P22 ToyBox (Regular, Blocks, Animals; with Michael Want and Richard Kegler) and of the curly handwriting font P22 Aglio (2003). [Google] [MyFonts] [More] ⦿ | |
Kevin Yudha
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Foundry in Bay Shore, NY. Cretor of Bank Borders (1992). [Google] [MyFonts] [More] ⦿ | |
During her studies in the Macaulay Honors Program at the City College of New York, while pursuing a BFA in Electronic Design and Multimedia, Kia Delgado created the modular typeface Endelia (2014, FontStruct). [Google] [More] ⦿ | |
Or Ngan Le Kim. Or Ngan Le. Albany, NY-based designer, as a student at The College of Saint Rose, of the curly calligraphic piece called Anna Belle (2016) and the experimental typeface Potcharu (2017). [Google] [More] ⦿ | |
Kingdom of Awesome
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Old URL for Kingdom of awesome. Photos of her designs at Flickr. Behance link. Fontspace link. Fontsy link. Web Font Directory link. Klingspor link. Dafont link. Google Plus link. Newest Dafont link. [Google] [MyFonts] [More] ⦿ |
Graphic designer in Brooklyn, NY, and associate partner of Paula Scher at Pentagram. At Type Cooper 2021, she developed the playful blackletter typeface Regina. [Google] [More] ⦿ | |
Designer and illustrator in New York City, who made a great stencil poster entitled New York Fucking City (2012). [Google] [More] ⦿ | |
Kobi Benezri was born in Jerusalem, Israel, in 1976. He studied graphic design at the Bezalel Academy of Arts and Design in Jerusalem and completed his studies at the Cooper Union School of Art in New York. In 2003 he started working at I.D., the International Design Magazine in New York, and in 2004 he became the Art Director of the magazine. During his work at I.D. he has redesigned the magazine together with Nico Schweizer. In 2008 he opened his own studio, focusing on books, editorial, type, identities, and web design. LL Lettera (2008, Lineto) and Lettera Text (2012, Lineto) are sans serif typefaces designed by Kobi Benezri. They are based on Candia, a typewriter type created in the 1950s for Olivetti typewriters by Josef-Müller Brockmann and cover many languages. He added LL Lettera Mono (2019) and a new version of LL Lettera (2019). Typecache link. Lineto link. [Google] [More] ⦿ | |
New York City-based studio. They created a decorative ironwork all caps typeface in 2014. [Google] [More] ⦿ | |
Kris Holmes worked as a staff designer at Compugraphic Corporation in type design. She was part of the team that helped design the city fonts for Apple: Chicago, Geneva, Monaco, New York. [Kris did the truetype versions.] She founded the Bigelow&Holmes foundry in 1976 with Charles Bigelow. Kris Holmes has created over 300 typefaces, including the scripts Isadora, Kolibri, Apple Chancery, and Apple Textile. With Charles Bigelow, she co-designed Apple Capitals. Creator of the ubiquitous Lucida family around 1985 (with Charles Bigelow): Lucida Blackletter, Lucida Bright, Lucida Calligraphy, Lucida Casual, Lucida Console, Lucida Fax (1985), Lucida Handwriting, Lucida Math, Lucida Mono, Lucida Sans, Lucida Sans Typewriter, Lucida Typewriter (1994), Lucida. includes Greek, Cyrillic, Arabic, Hebrew, Thai, and Devanagari scripts. In addition to their popularity in computer operating systems like Macintosh OS X, Microsoft Windows, and Plan 9 from Bell Labs, Lucida typefaces have been widely used for scientific and technical publishing in Scientific American, Notes of the American Mathematical Society, and other mathematical, technical and scholarly books. Also with Bigelow, Kris designed the Lucida Icons, Stars, and Arrows fonts, which Microsoft later purchased and reassembled into Wingdings fonts. Other type designs by Holmes include ITC Isadora (1983), Sierra (1983, Hell: font now sold by Linotype), Leviathan (1979), Baskerville (revival in 1982), Caslon (revival, 1982), Galileo (1987), Apple New York (1991), Apple Monaco (1991), Apple Chancery (1994 [the Bitstream version is Cataneo]), Kolibri (1994, URW, since 2005 available as OpenType Pro with over 1200 glyphs), Wingdings (1990-1992, a dingbat font made with Charles Bigelow, now owned by Microsoft and Ascender) and AT Shannon (a simple lapidary sans family, with Janice Prescott, 1982, Agfa; now owned by Monotype Imaging). For the Go Project, Kris Holmes and Charles Bigelow designed the free typeface families Go and Go Mono in 2016. The font family, called Go (naturally), includes proportional- and fixed-width faces in normal, bold, and italic renderings. The fonts have been tested for technical uses, particularly programming. These fonts are humanist in nature (grotesques being slightly less legible according to recent research) and have an x-height a few percentage points above that of Helvetica or Arial, again to enhance legibility. The name Go refers to the Go Programming Language. . Fontsquirrel link. | |
Junior art director and graphic designer in New York City. Creator of the drop cap typeface Story Type (2012). [Google] [More] ⦿ | |
Graduate of the Pratt Institute in New York. Inspired by the vernacular type found in Brooklyn, NY, specially on the awnings of bodegas, Kristen Myers created Bodega Sans (2015). Behance link. [Google] [More] ⦿ | |
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Queensbury, NY-based student-designer of Mellow (2017, handcrafted) and Hacked (2017, pixelish). [Google] [More] ⦿ | |
Kristina Snyder
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New York-based designer of the hand-printed typefaces Swagger (2012), and Pick and Roll (2012). [Google] [More] ⦿ | |
Krysten Tom
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Ksenya created the decorative layered display typeface Blesk (2015). In 2019, at Rosetta Type, she published the rugged informal typeface Corsair Latin. [Google] [MyFonts] [More] ⦿ | |
Kten Fonts
| New York-based type foundry. Designer of the handcrafted typeface Pig Scratch. [Google] [MyFonts] [More] ⦿ |
K-Type
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Commercial typefaces:
His free fonts:
Custom / corporate typefaces: With Liverpool-based art director Liz Harry, Bates created a personalized font, loosely based on Coco Sumner's handwritten capitals, for the band I Blame Coco. Medium and Semibold weights of Gill New Antique were commissioned by LPK Design Agency. Stepping Hill Hospital and Bates created Dials, a pictorial font to help hospital managers input data about improvements. A custom font was designed for Bolton Strategic Economic Partnership. Abstract Fonts link. View Keith Bates's typefaces. Dafont link. Yet another URL. Fontspace link. Fontsy link. Behance link. [Google] [MyFonts] [More] ⦿ |
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Author of Type Specimens and Decorative Materials of America France Germany Holland and Great Britain (New York, NY). This book contains 275 specimens of borders and ornaments. [Google] [More] ⦿ | |
Rochester, NY-based designer of Grimletter (2016, a vampire script). [Google] [More] ⦿ | |
Based in Rochester, NY, this 3d motion designer created a brush stroke typeface in 2015. Behance link. [Google] [More] ⦿ | |
Marlboro, NY-based designer of the informal typeface Black Lotus (2016). Behance link. [Google] [More] ⦿ | |
Kyle Read
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Kyuwon Lee studied Communication Design at the Pratt Institute of Brooklyn, New York. Currently, he is a graphic designer in New York. Jyuwon made the groovy typeface SFRW (2012). [Google] [More] ⦿ | |
Steven Heller writes this about this Czech designer who was born in Pilsen in 1897, went on to become professor at UMPREM in Prague in 1923, emigrated to the United States in 1939, and died in 1976 in New York: Ladislav Sutnar was a progenitor of the current practice of information graphics, the lighter of a torch that is carried today by Edward Tufte and Richard Saul Wurman, among others. For a wide range of American businesses, Sutnar developed graphic systems that clarified vast amounts of complex information, transforming business data into digestible units. He was the man responsible for putting the parentheses around American telephone area-code numbers when they were first introduced. [...] Overshadowed by two contemporaries, El Lissitsky and Moholy-Nagy, Sutnar is a relatively unsung leader of Modern objective typography. Yet he was a household name in Prague. Exhibition about his work in Prague (2003). In 2013, Tomas Brousil created the roundish sans family Ladislav. He writes: The Ladislav font revitalises Sutnar's legacy, while not explicitly copying any of his original fonts. It however keeps true to their technicist character and initial principles of character creation - a simple modular system of combined geometrical segments. This approach affects all round shapes of capital and lowercase letters, as well as the shapes of the majority of numbers. In 2015, Robyn Henry created the modular typeface Ladislav Sutnar. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the compass-and-ruler typeface Bares (2017). Behance link. [Google] [More] ⦿ | |
Graphic designer in Brooklyn, NY, who created an art deco Arabic typeface called Abjad in 2018. [Google] [More] ⦿ | |
New York-based designer of the handcrafted typefaces Multifloral (2017), Cherry Blossom (2017) and Birthday Cake (2017). [Google] [More] ⦿ | |
Creator of the identity, logos, fonts, and design elements for the Mexico 1968 Olympics in the op-art or prismatic style. The multilined font, called Mexico Olympic, is due to Photoscript Ltd (I think). A digital font inspired by it is Olio Inline (2012, Max Little). For a free version, see Steve Harrison's Sixty Eight and Sixty Eight Plus (2021). Wyman, who is a branding specialist based in New York City, is known for his many excellent icons and logos for companies and events. Born in Newark, NJ, he is a graduate of Pratt in Brooklyn with a degree in Industrial Design. He made the Tipo Metro font in 1969 for Mexico City's subway, an adaptation of Eurostile. That font was revived later as Metro DF by Harold Lohner. A pixel version of this (by Kemie, is called Balderas). Lance Wyman worked with Rick Banks at F37 Foundry on the design of F37 Wyman (2021), which showcases his famous lettering style that goes back to the 1968 Olympics. | |
FontStructor who made the dort matrix typefaces R160 exterior Side (2011, after lettering on NYC subway cars), R160 Find (2011), and NCTA R46 (2011, based on the LCD displays found on the MTA NYC Transit R46 trains). [Google] [More] ⦿ | |
Land Line
| Adam Turnbull is an artist and graphic designer from Sydney, Australia, who is based in Brooklyn, NY. In 2016, he created the outlined and solid 3d typeface Luddite (2016). Behance link. [Google] [More] ⦿ |
Lanston Monotype Machine Company
| Extinct but influential foundry from the 19th and 20th centuries. P22, the present owner of the Lanston collection, writes: The Lanston Monotype Company was founded in Philadelphia at the end of the nineteenth century by Tolbert Lanston (d. 1913). In 1887 he received his first patent for a mechanical typesetting device. Later refinements led to the Monotype casting machine and the emergence of the Lanston Monotype Company as one of the most renowned type supply companies in the world. The Monotype caster was revolutionary and along with other automated typesetting machines helped to usher in a new age of printing technology. Typesetting had, until this time, remained the same as Gutenberg's first hand-set movable type. In the late 1800s, Tolbert Lanston licensed his technology to an English sister company and became a major international force, competing with the Mergenthaler company, whose Linotype was a slightly different approach to the same problem. Both cast type from molten lead alloy on demand, fresh for each job, then recycled it. But whereas the Linotype cast whole lines (or slugs) at a time, the Monotype cast single letters, composing them into a page with an action that is a joy to behold. Lanston Monotype grew rapidly with America's pre-eminent type designer Frederic Goudy as art director from 1920 to 1947. The type library was directed by Sol Hess, who also designed some of the typefaces. The Philadelphia-based company eventually parted ways with its English counterpart. The thriving English Monotype became simply known as Monotype. By contrast Lanston went through mixed fortunes and lost ground to Mergenthaler. A long-lasting labor dispute interfered with production and servicing of the Monomatic (an absolutely incredible typesetting machine) according to the man who would later own the company, master printer Gerald Giampa. Customers were upset, and the firm was sold on several times until American Type Founders bought it in 1969. Giampa continues the story: "They stopped manufacturing casters because they had always competed with their foundry sales. Then it became a department of Hartzel Machine Works that also manufactured moulds and re-built casters. Then on to Mackenzie and Harris, a type foundry in San Francisco, then purchased by myself and re-located in Vancouver." Lanston continued supplying the American market for monotype casters until January 21, 2000, when the hot-metal component of Lanston was tragically destroyed by a tidal wave. After this time Giampa, who was one of the earliest developers of PostScript fonts, focussed much more on digitization. Under his stewardship, Lanston's classic typefaces were digitized in a style that was true to the sources, which are the brass and lead patterns from which the metal type was made. The company relocated to Finland, then back to Canada. In November 2004 P22 type foundry of Buffalo, NY acquired Lanston Type. P22 studios will re-master Lanston's fonts, including the classic designs of Frederic Goudy and Sol Hess, along with newer designs by such contemporary masters as Jim Rimmer, Dave Farey, and Gerald Giampa himself. The Monotype specimen book of type typefaces (1922, Philadelphia) is a specimen book that is now on the web. View the typefaces designed by Lanston. [Google] [MyFonts] [More] ⦿ |
Lara has a Bachelor of Arts, Sociology (1993) from UCLA, a Masters in Fine Arts from the School of Visual Arts in New York City (2007), and a certificate in typography from the Cooper Union in New York (2011). She taught at Pratt in New York from 2007 until 2009, at the School of Visual Arts in New York from 2007 until 2011, and at the New Hampshire Institute of Art from 2012 onwards. Lara designed a few typefaces during her career. Behance link. [Google] [More] ⦿ | |
Hopewell Junction, NY-based graphic designer who has created some custom typefaces such as Birds (2009). The alphabet. [Google] [More] ⦿ | |
Creator of a photo-play font called Fingerhot Pepper (2012). Born and raised in Miami, she is presently in New York City. Behance link. [Google] [More] ⦿ | |
As a student in New York City, Laura Tien designed the experimental typefaces CSS (2015; inspired by sound waves) and Faze (2015). [Google] [More] ⦿ | |
Brooklyn, NY-based illustrator and graphic designer who created the floriated typeface Merci Beaucoup (2015). Behance link. [Google] [More] ⦿ | |
During her studies in Brooklyn, NY, Laurel Perry created the monoline organic sans typeface Perry Sans (2014). [Google] [More] ⦿ | |
Lauren Ashpole
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At the Partt Institute in Brooklyn, NY, Lauren Gilleland designed a handcrafted typeface in 2015. [Google] [More] ⦿ | |
Graphic designer in New York City. Behance link. Creator of Laced (2010), an experimental face. She also made the logotype Women Between Peace And War (2010). [Google] [More] ⦿ | |
Lauren Eliza Lee is the Manhattan, NY-based designer of the connected script typeface Wildera (2016) and the free rounded sans typeface Somatic (2016, Modular and Rounded styles). Behance link. [Google] [More] ⦿ | |
Graphic designer in Brooklyn, NY, who created the pixel typeface Fuck Off in 2017. Behance link. [Google] [More] ⦿ | |
During her studies, Oceanside, NY-based Lauren Sullivan created the paper-fold typeface Paper (2014). [Google] [More] ⦿ | |
Laurianne Froesel
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FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Lazy Dog Foundry (or: Franklin Type Founders)
| St. Paul, MN-based foundry run by Willie Ford, who at one point headed the graphic design deartment at Sarah Lawrence College in Yonkers, NY. Franklin Type Founders includes a collection of fonts from Lazy Dog Foundry but has also a library of fonts licenced from International Typeface Corporation (ITC) and, with the backing of URW++, from a number of smaller foundries. Some Lazy Dog fonts: Belmondo, Berliner, BigBlack, Boomerang, Bostonia (a gothic font), Chieftain Solid / Inline, Cypress, Durango, Emporium, Glorietta, GrecoDeco Solid / Inline, Harpers, Isadora, Little Louis, Manhattan, Medina, Minneapolis, Mississippi, Neuland Solid / Inline, Nova Bold, Riverboat, Schwere, Shrifteen, Socrates, Tombstone Outline / Solid, Thermo, Uptown, Yitsui. All fonts made in 1992. I have been looking for Willie Ford. The most interesting match is here. Font Factory sells these Franklin Type Founders fonts: Aster, Augustea, Barcelona, Baskerville Hancut, Berliner, Beton, Big Black, Blackboard, ITC Bolt Bold, Boomerang, Bordeaux, Bostonia, Brody, Bullfinch, Busorama, Cabaret, Camellia, Castle, Catherine, Chelmsford, Chieftan, Chisel, Colwell, Cypress, Diskus, Durango, Einhorn, Emporium, Erin Lynn, Fat Face, Flash, Glorietta, Greco, Harpers, Harris, Herald, Honda, Horndon, Ice Age, Isadora, Latin Tall, Lazy Script, Legriffe, Liberty, Lindsay, Little Louis, Madison, Magna, Magnus, Manhattan, Marker, Medina, Minneapolis, Mississippi, Nadall, national Modern, National Oldstyle, Nevision Casual, Nova, Pajamas, Phyllis Script, Piccadilly, Plaza, Primus, Punch, Quentin, Railroad, Recess, Riverboat, Rumpus, Scaffold, Schwere, Schrifteen, Slipstream, Socrates, Sophie, Sterling, Superstar, Synchro, Thermo, Timeless, Times Coop, Titus Light, Tombstone, Uptown, Victorian Script, Vienna, Weifz Rundfchrift, Windsor, Worcester, Yitsui. [Google] [More] ⦿ |
Lederhosen
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Designer in New York City who studied at the School of Visual Arts there. Now at McCann NY, she created several custom typefaces in 2012-2013. [Google] [More] ⦿ | |
Lee Iley
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Leftloft
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In 2014, Leftloft published the semi-techno wayfinding typeface family LFT Iro Sans at Type Together. It has a unicase set of styles. In 2020, he released the flared humanist sans typeface LFT Arnoldo at TypeTogether. Klingspor link. [Google] [MyFonts] [More] ⦿ |
New York City-based designer (b. 1994) of the free cartoon font Powerhouse Era (2015), which is based on The Powerhouse Era lettering shown on the Cartoon Network and originally made by Primal Screen. [Google] [More] ⦿ | |
Lena Wang, a graphic communication specialist for the United Nations in New York City, created Cactus Typeface (2012). [Google] [More] ⦿ | |
Leo Charre
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Leo Charre Art&Design
| Leo Charre Art&Design is founded by Leo Charre (b. 1976), who lived in Boston but now resides in Albany, NY. He created Gunlab (2001, dingbats; see also here), Pixelboy (2 pixel fonts), Chroma (pixel face). His site has a 200+ font archive as well. Alternate URL. [Google] [More] ⦿ |
LePine Studios
| Illustration and font creation studio. Commercial fonts by them include Sweety Pie (2010, curly), Rapière (sharp-edged comic book face), Métropole (condensed), Fökker, Gothique (grotesque), Phillip LePine is located in Williamsville, NY. [Google] [MyFonts] [More] ⦿ |
Illustrator and calligrapher in New York City, who won an award in 2014 for her experimental alphabet Planter (2013) at the Communication Arts 4th Typography Competition: 2014. Other alphabets by her include the hand-drawn Cloudy Day (2013) and Funny Together (2013). Behance link. [Google] [More] ⦿ | |
Leta Sobierajski is a multidisciplinary designer living and working in Brooklyn, NY. Creator of the spurred fashion mag typeface Marle (2012), which can be bought at The Designers Foundry. Behance link. [Google] [More] ⦿ | |
Letterpunch
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Typefaces from 2013: Liberty Sans, Maritime Tropical Neue (monoline informal script). Typefaces from 2014: Free Monogram, Rainbow Mansion, Sugarcubes. Typefaces from 2015: In Screaming Color (script face). Behance link. Dafont link. [Google] [More] ⦿ |
Letterspace
| Biannual newsletter of the Type Directors Club in New York. Very informative, with a nice book review section by Paul Shaw. His brief bio: he is a calligrapher and typographer working in New York City. In his 18 professional years as a lettering designer he has created custom lettering and logos for many leading companies, including Avon, Lord&Taylor, Rolex, Clairol and Esté Lauder. Paul has taught calligraphy&typography at New York's Parsons School of Design for over ten years and conducted workshops in New York and Italy. His work has been exhibited throughout the United States and Europe. His publishing credits include "Blackletter Primer" and "Letterforms", as well as articles for Print, Fine Print, Design Issues and Letter Arts Review. He is the recipient of awards from the Type Directors Club, AIGA, the New York Art Directors Club, Print and How magazines. He won a National Endowment for the Humanities fellowship to study the type designs of Morris Fuller Benton, and a Newberry Library fellowship to study the work of George Salter. Paul's experience in using research libraries to study historical manuscripts will be shared with tour participants wishing to visit the Vatican Library. He has been a partner in LetterPerfect since 1995. Paul Shaw's home page. [Google] [More] ⦿ |
New York City-based designer of a decorative geometric typeface in 2017. [Google] [More] ⦿ | |
New York City-based web and graphic designer (b. 1984, Los Angeles) who created the bilined headline typeface Doubletri (2011). She studied first at Tel Aviv University and then Instituto Europeo di Design i Barcelona. Home page. [Google] [More] ⦿ | |
Brooklyn, New York-based designer of Connectivity (2013), an alchemic typeface. Behance link. [Google] [More] ⦿ | |
New York City-based creator of the condensed display typeface Patra (2011). [Google] [More] ⦿ | |
New York-based graphic designer. She created the curly hairline script typeface DogDays (2012) and the display typeface Botanica (2012). [Google] [More] ⦿ | |
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New York City-based designer of the circle-based typeface Cut It Out (2014). [Google] [More] ⦿ | |
New York City-based designer of experimental typographical pieces in 2012. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the heavy display typeface Dad (2015) and its skeletal version, Chachki (2015). [Google] [More] ⦿ | |
During his studies, Lindsay Soto (Long Island City, NY) created the custom graffiti typeface Splittina Maul (2014). Behance link. [Google] [More] ⦿ | |
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New York-based type foundry, also called R.&J.&A.W. Lindsay, A.W. Lindsay, and Robert Lindsay&Co, active in the 19th century. Publishers of Lindsay Type Foundry Specimens of Printing Types. [Google] [More] ⦿ | |
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Lipton Letter Design
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I Love Typography link. Klingspor link. FontShop link. Type Network link. MyFonts interview. View Richard Lipton's typefaces. [Google] [MyFonts] [More] ⦿ |
Based in New York City, Liron Ashkenazi designed the display typeface Homilia (2014). Behance link. [Google] [More] ⦿ | |
Graphic designer in Brooklyn, who created Orbic Sans (2013). Behance link. [Google] [More] ⦿ | |
During her studies in New York City, Lisa Wong designed the modular typeface Wisper (2016, FontStruct). [Google] [More] ⦿ | |
Liz Bartucci
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A graduate of Type@Cooper in New York, she created Harper during Jesse Ragan's course. [Google] [More] ⦿ | |
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Loaded Fonts
| Raymond Michael Mullin III (b. Schenectady, NY, 1982) designed Bong God, Born Of Fire, Caliber, Cubie, Presidential Dingbats (2007), Scribal (2008). His outfit in Schenectady is Loaded Fonts. Klingspor link/ [Google] [MyFonts] [More] ⦿ |
New York City-based designer of the hairline display sans typeface Bisurk (2013). Dafont link. [Google] [More] ⦿ | |
New York City-based designer of an untitled 3d typeface (2014). [Google] [More] ⦿ | |
Lothian Type Foundry
| Type foundry that operated in New York from 1829-1842, founded by the eccentric George Buxton Lothian (d. 1851), a perfectionist with an incurable temper, but also one of the finest type founders of his generation. Before 1829, he had worked with John Watts (the first stereotyper of the United States), with Collins and Hanna, in his own foundry in Pittsburgh with the help of Peter C. Cortelyou (1819-1820), with the David and George Bruce Type Foundry, and again in his own foundry, Lothar&Pell (which existed from 1822-1823, with investor Alfred Pell). The equipment of the plant was bought by Peter Cortelyou in 1850. [Google] [More] ⦿ |
Or Lou Dorfsman. Celebrated graphic designer, b. 1918, Manhattan, d. 2008, Roslyn, NY. U&LC wrote in 1988: For more than forty years, Lou Dorfsman was responsible for much of the design and advertising done by CBS, Inc. As Vice President and Creative Director of Advertising and Design, his work has set a standard aspired to by corporate communicators around the world. This retrospective exhibition also includes graphic design, exhibition design and advertising done for other clients, including Dansk Designs International. The recipient of many design awards, Lou Dorfsman was elected to the Art Directors Club Hall of Fame in 1978, the same year that he was awarded the annual medal of the American Institute of Graphic Arts. By 1964, he was selected as the director of design for all of CBS and was later promoted to senior vice president and creative director for marketing communications and design in 1968. In this role he maintained creative control over the network's use of the CBS Eye logo to its proprietary CBS Didot typeface created in the 1970s by Freeman Craw. He would go on to win the TDC Medal in 1995. [Google] [More] ⦿ | |
His work influenced Burgues Script (2007, Sudtipos) and Jamaica script (2018, Alex Ivanov, Vates Design). [Google] [More] ⦿ | |
He created a gorgeous tall octagonal monoline typeface called Hudson Terminal (2012), which was apparently designed for Grove Street Bicycles. [Google] [More] ⦿ | |
She is co-author, with Steven Heller, of Italian Art Deco, British Modern, Dutch Moderne, Streamline, French Modern, Deco Type, Deco España, German Modern, Design Connoisseur, "Typology Type Design from the Victorian Era to the Digital Age" (Chronicle Books, San Francisco, 1999), Typology, Stylepedia, Euro Deco, Scripts, Shadow Type, Belles Lettres, Cover Story, and Stencil Type. Fili has also written Elegantissima, Grafica della Strada, Graphique de la Rue, The Cognoscenti's Guide to Florence, and Italianissimo. A member of the Art Directors Hall of Fame, she has received the medal for Lifetime Achievement from the AIGA and the Type Directors Club. Her book cover (done with Jessica Hische) won a design award at TDC 55. Fili was also honored with the 2018 SOTA Typography Award. In 2015, she made a futuristic counterless typeface, Mardell, which is named after retired Hamilton type cutter Mardell Doubek. It was published in 2016 as HWT Mardell in the HWT (Hamilton Wood Type) collection over at P22. In 2017, Louise Fili, Nicholas Misani and Rachel Michaud co-designed the art nouveau typeface Montecatini, which is inspired by Italian travel posters from that era. In 2019, Louise Fili, Nicholas Misani and Andy Anzollitto expanded this typeface to the 24-style Montecatini Pro. Marseille (2017) is co-designed with Nicholas Masani and Andy Anzollitto. It is an art deco-inspired letterform that is based on Louise Fili's cover design for the Marguerite Duras novel The Lover. Keynote speaker at TypeCon 2018 in Portland, OR. [Google] [MyFonts] [More] ⦿ | |
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Lucas Benjamin Sharp
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Lucas Cobb
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Lucas Cobb Designs
| Lucas Cobb (b. 1980) lives in Niagara Falls, New York. A designer and photographer, he made a few [still incomplete] fonts, including Blur (2009, hand-printed) and Jacked (2009, an art deco Broadway face). [Google] [MyFonts] [More] ⦿ |
Posters by Bernhard: An advertising exhibition in 1929 (with Fritz Rosen), Manoli Cigarettes (1912). Linotype link. FontShop link. Klingspor link. View Lucian Bernhard's typefaces. Showcasing the digital legacy of Lucian Bernhard. [Google] [MyFonts] [More] ⦿ | |
New York City-based FontStructor, born in The Philippines and raised in california, who made the modular typefaces Duo (2013) and Death Trap (2014). FontStruct link. Behance link. [Google] [More] ⦿ | |
Lucy Chen is a New York City-based based graphic designer who works for Pentagram. She has degress from the School of Visual Arts (2018), Fashion Institute of Technology (2017), and Isenberg School of Management, UMass Amherst (2013). At Type Cooper 2020, she designed the experimental hybrid display typeface Lilin, which interpolates between Times New Roman Condensed Bold and the hiragana font Matisse EB. [Google] [More] ⦿ | |
Ludi Sun (New York City) created several experimental typefaces in 2013, including one based on a grid of circles, and a connect-the-dots typeface. Lolo (2013) is a delightful fat titling face. [Google] [More] ⦿ | |
Student at Parsons in New York City in 2011. He created some experimental alphabets in 2011. [Google] [More] ⦿ | |
Student at the Fashion Institute of Technology in New York. Creator of the grungy ink splash typeface Phobia (2011). [Google] [More] ⦿ | |
Luke Connolly
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Designer of Heights (2015), a squarish bilined typeface based on a bird's eye view of Manhattan. Luke is based in New York City. Behance link. [Google] [More] ⦿ | |
Her typefaces:
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Saratoga Springs, NY-based cartoonist. Designer of the handcrafted typeface Obligation (2017) and the creepy pixel font 6Cents (2017). [Google] [More] ⦿ | |
Mackenzie Palma is a graphic designer from New York who studied in New York and Scotland, and has a BFA degree in graphic design. Since 2011, she has been working as a design intern at various companies, including the Food Network and Cooking Channel. In 2015, she created the decorative caps typeface Charlotte. Behance link. [Google] [More] ⦿ | |
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Graphic designer in Newburgh, NY. She created the experimental geometric typefaces Jazz and Caps in 2010. [Google] [More] ⦿ | |
New York City-based designer of several untitled typefaces in 2014. Behance link. [Google] [More] ⦿ | |
New York City-based designer of the display typeface Hit (2014). [Google] [More] ⦿ | |
Student in New York who created the dymo label typeface Lightbox (2012). [Google] [More] ⦿ | |
Graphic designer in New York City. She created some typefaces with letters, such as Shakespeare (2009). [Google] [More] ⦿ | |
New York City-based designer of Tetris (2017). [Google] [More] ⦿ | |
During her studies, Maleeha Ibrahim (Oyster Bay, NY) created the sans typeface Lyte (2015). [Google] [More] ⦿ | |
Together with Wendy Garcia, Nancy Martinez and Cindy Tan, Taiwanese designer Man-Ping Wu (New York City) created the Peignotian all caps typeface 3E in 2016 for a school project. [Google] [More] ⦿ | |
Corporation in Troy, NY, who made map and travel symbols in 1995, such as MapInfoShields, Map-Symbols, SPSSMarkerSet, MapInfoArrows, MapInfoCartographic, MapInfoMiscellaneous, MapInfoOil&Gas, MapInfoSymbols, MapInfoRealEstate, MapInfoTransportation, MapInfoWeather. Some can be found here. [Google] [More] ⦿ | |
Marciuliano Design
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FontShop link. Klingspor link. View Frank Marciuliano's typefaces. [Google] [MyFonts] [More] ⦿ |
Mareena Jacob (Mareena Design, Brooklyn, NY) created the experimental additive and subtractive typeface Sphota in 2014. She studied at the Pratt Institute in New York. Sadly, On October 15, 2014, Mareena Jacob committed suicide by jumping from her ninth floor dorm room. Linkedin page. [Google] [More] ⦿ | |
Margot Laborde (New York) designed the thin swashy didone typeface called Bon Bon (2011). [Google] [More] ⦿ | |
During her studies at The College of Saint Rose, Albany, NY-based Maria Balli designed the outline typeface Totally (2015). [Google] [More] ⦿ | |
Or Maria Smith. Or Maria B. Paints. New York-based designer of the outlined handcrafted typeface Pitter Patter (2015). Creative Market link. [Google] [More] ⦿ | |
Maria Gambino (Astoria, NY) created a modular typeface in 2012 that is based on apartment key tags. [Google] [More] ⦿ | |
Graduate of the communication design program at the University of Buffalo, NY. She created the slab serif typeface Jane Doe (2013). [Google] [More] ⦿ | |
Lake Grove, NY-based creator of an untitled octagonal typeface in 2014. Behance link. [Google] [More] ⦿ | |
American designer of the dingbat font P22 ToyBox. [Google] [MyFonts] [More] ⦿ | |
During her graphic design studies at Rochester Institute of Technology, Mariah Lamb created the italc sans typeface Virginia (2013). [Google] [More] ⦿ | |
Brazilian graphic designer who lives and works in New York at Fluid NY. Creator of the bold display typeface Cestaria (2012). [Google] [More] ⦿ | |
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Graphic designer who studied at the School of Visual Arts in New York City. Creator of the monster-inspired typeface Aaahh (2012), and of Hexaface (2012). [Google] [More] ⦿ | |
Art director in New York City. In 2017, she designed several stylish deco display typefaces. [Google] [More] ⦿ | |
Born in Monterrey, Mexico, in 1989, Mario Almaraz designed the prismatic art deco poster typeface New York in 2012. Behance link. [Google] [More] ⦿ | |
Graphic designer in Brooklyn, NY. During her studies at Brooklyn's Pratt Institute, she created an unnamed spurred all-caps typeface in 2013. [Google] [More] ⦿ | |
Ex-president of International Typeface Corporation (ITC) and of ATypI from 1995-2004. In 2004, he became Honorary President of ATypI. In 2002, he set up Mark Batty publisher LLC. He published a book on the life and work of Gudrun Zapf von Hesse: Gudrun Zapf von Hesse Bindings - Handwritten Books - Typefaces Examples of Lettering and Drawings (West, New York, 2002). He also published Warning (2005) on the warning signs and the multitude of funny/sad ways in which people can end their lives. [Google] [MyFonts] [More] ⦿ | |
MF Gaussian (2015) is a multiple-master didone named after the mathematical averaging process, since its bold regular weight is the average between a Didot and a Clarendon. MF Ferrans Sans and MF Alizarin were small projects from 2013. Buffalo (2014), mentioned above, is a digitization of Ed Benguiat's Benguiat Buffalo Ornamental. Based on Donald Roos's digitization of Benguiat Buffalo, it was created for Ben Kiel during an internship at Typefounding. This typeface is pending online distribution by House Industries. The luxury brand logo typeface MF Flair (2014) was the precursor of MF Gaussian. In 2016, he became graphic designer at BuzzFeedNews. Just before Election Day in 2016, he used samples of Donald Trump's scribbles to make the free comic book font BF Tiny Hand. Read what BuzzFeedNews's Ben King has to say. Behance link. Twitter link. Fontspace link for BF Tiny hand. [Google] [More] ⦿ | |
New York City-based designer of the glaz krak all caps font Splatter (2014). Behance link. [Google] [More] ⦿ | |
Type designer from Bay Shore, NY. [Google] [MyFonts] [More] ⦿ | |
Mark McCormick
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Mark Solsburg
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Market Sans
| eBay's new typeface in 2017 is called Market Sans. It was co-designed by Form&, and Swiss Typefaces, and, if I parse her text correctly, Josephine Tansara, who explains in advertising jargon: Market Sans captures the surprise of stumbling upon your perfect purchase, while conveying the optimism you feel while navigating eBay experiences. Review of eBay's redesign and Market Sans by Brand Design. Erik Spiekermann laments on that blog: The typeface combines the worst parts of both Arial and Helvetica. Born and raised in Jakarta, Indonesia, Josephine is a designer currently based in New York City. She graduated with a BFA in Interaction Design and Branding from the School of Visual Arts in New York. [Google] [More] ⦿ |
A typeface designed by Frederic Goudy in 1925. Mac McGrew: Marlborough was designed in 1925 by Frederic W. Goudy for a printer who lost interest before it was completed. As matrices for the 16-point size had been cut by Robert Wiebking, Goudy cast a few fonts, but was not pleased with the results. Revisions were drawn, but were not completed before his I. workshop was destroyed by fire in 1939. In 1942 the design was sold to Monotype, but there is no evidence that they did anything with it. The name is from the town in New York where Goudy lived and worked. In fact, Goudy died in 1947 in Marlborough-on-Hudson, NY. [Google] [More] ⦿ | |
Island Park, NY-based designer of the handcrafted typeface Hellen (2018). [Google] [More] ⦿ | |
Martian Design
| Martian Design is the studio of David Platt, a Creative/Art Director, consultant and designer based in New York, with experience in both digital and traditional communications. Creator of the pixel typeface Martian (2012). [Google] [More] ⦿ |
New York City-based designer of the beveled typeface Impetus (2016). [Google] [More] ⦿ | |
Maru Jimenez
| Maryann Jiménez is a graphic designer in New York City and North Bergen, NJ. She began her studies at Altos de Chavón School of Design and obtained a BFA in Communication Design at Parsons The New School, NYC. While living in New York City, she worked as Creative Coordinator for renowned British fashion label, Ben Sherman Clothing Inc. and currently is working freelance, specializing in Communication Design, Visual Identity, Branding, Print and Editorial. |
Designer of the pixel typeface Vade (2000, FontStruct), a font used in game development. Mary Ann teaches at Brooklyn Poly. [Google] [More] ⦿ | |
Mary Kate Baker (Amherst, NY) works for Apple. In 2015, she created the squarish sci-fi typeface Qube. [Google] [More] ⦿ | |
Maryann Jiménez
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Albany, NY-based designer of the experimental geometric typeface Angle (2016). [Google] [More] ⦿ | |
Teacher (b. 1964) of Visual Communication at the Politecnico di Milano and of Tools and Techniques of Graphic Design at the Rome University, La Sapienza. In 1995 he founded the Vitamina studio with Aldo Buscalferri, where he does graphic design work, calligraphy, photography, and illustration for industrial clients. In 2002, he became the creative director at Landor Associates in Milan. He is the vice-president of BEDA. His clients include MTV, Heineken, Onyx, Sony, Mediaset (TV network) and Blu (an Italian mobile phone company), for whom he created a company typeface, Blutype. He also made a hip version of Agenda, called Diario. Founder of Pitis e Associati, a design and consultancy studio based in Milan and Paris, and art director for Wired Italia. At ATypI in Rome in 2002, he spoke about type for branding and communication. [Google] [More] ⦿ | |
He dismissed Emigre as a garbage pail of design. Famous for his designs and opinions, he once said that a designer should only use these five typefaces: Bodoni, Helvetica, Times Roman, Century and Futura. Another quote along the samne lines: In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest. In his Vignelli Canon (free PDF book on design), he mentions these six: Garamond (1532), Bodoni (1788), Century Expanded (1900), Futura (1930), Times Roman (1931) and Helvetica (1957) [However, in that booklet he uses 8 different type families: the above six, and Gill Sans and Univers]. Yves Peters' reaction: Massimo Vignelli clearly hasn't got a clue. It's not the first time a quote of his makes me cringe. I hope you appreciate I'm trying real hard to stay polite. Frankly, if I ever heard anyone say: "a music lover should only listen to 5 artists: Elton John, Celine Dion, Billy Joel, Whitney Houston and Luciano Pavarotti" I'd go to great lengths to ridicule the billy sastard. Nevertheless, in the eyes of many designers, he is a role model and an icon. Vignelli published New York City Transit Authority Graphics Standards Manual (1970, New York, as Unimark International). Famous quotes:
Discussion of his work by the typophiles. Report of his presentation at ATypI 2006 in Lisbon. Wikipedia link. FontShop link. Klingspor link. [Google] [More] ⦿ | |
Matchbook Press
| Jessica Turcotte (Matchbook Press, Glens Falls, New York) designed the hairline display typefaces Retrograde and Susanna, and the paperclip typeface Squalor in 2017. Behance link. Dafont link. Another Behance link. [Google] [More] ⦿ |
Brooklyn, NY-based designer of these display typefaces: Cybergoth Chinese Food (2019), Dark Scripture (2019), Steak and Lemonade (2016: a geometric solid family). [Google] [More] ⦿ | |
New York City-based designer of the Escher style illusion typeface Prism (2016). Behance link. [Google] [More] ⦿ | |
Matt McInerney
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Matt Owens is the principal of Brooklyn-based design studio Volumeone established in 1997. He created DustUp (2007), a cloudy typeface. [Google] [More] ⦿ | |
Student at the Rochester Institute of Technology who created the asymmetrically serifed Blandish V1 (2006). [Google] [More] ⦿ | |
Poster art by Terich. Stephen Coles mentions these fonts in the same vein as Hitchcock:
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Matteo Bologna
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Matteo Federico Bologna
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Matter of Sorts
| Melbourne, Australia-based Vincent Chan trained as a graphic designer at Monash University in Melbourne and worked as a type designer at Commercial Type in New York between 2012-2014. He is currently a PhD candidate and teaching associate at Monash University. Speaker at ATypI 2018 in Antwerp. At Commercial Type, he helped with the designs of Giorgio Sans, Kommissar, Sanomat Sans, and Guardian Sans. Other typefaces by him include Recollection (2016), Quadrant Slab (2020), Quadrant Text (2020), and Mongrel Grotesque. He writes about Recollection: Recollection Text and Display were drawn in close collaboration with Dominic Hofstede: designer, teacher and adjunct senior research fellow at Monash University. They was designed specfically for the launch of the third iteration of the Re:collection archive in October 2016. The Recollection typefaces attempt to capture the spirit of Australian graphic design between 1960 and 1990. It refers to this rich period by looking inward, through the well-established intentions and aesthetic tropes of the time, to arrive at a familiar typographic form. [Google] [More] ⦿ |
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Matthew Aaron Desmond
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Free types as of 2010: Marble Roman, Environ regular, Dorkbutt, Europa, Exsect, Inthacity, Liquidy Bulbous, Lustria (2012, Google Web Fonts), Stomper. Commissioned types: 77kids (2007, for the children's brand; the sketched typefaces were done with Justin Thomas Kay), AE Aerie (2005-206, American Eagle Outfitters), AE Newburgh (2005-206, American Eagle Outfitters), AE Summer Fonts (2007, all for American Eagle Outfitters), EEL Futura (2006, for Enjoying Everyday Life), Nike World Cup (2006), Virgin America (2006). Typefaces from 2019: Starfire (2019, a retro geometric sans). Orphaned types that disappeared or were planned but never executed: BrotherMan, Caprice, Convolve, HipstersDelight, Lugubrious, ModestaSmallCaps, Serifity, Skitzoid, Sliver, ThrowupSolid, Auresh (1998, futuristic; Test Pilot Collective), Kcap6 (1998, with Cina; Test Pilot Collective), Epiphany (1997; Test Pilot Collective), Testacon (with Kral and Cina; Test Pilot Collective), Civicstylecom (1999; Test Pilot Collective), Lutix (1998; Test Pilot Collective), Xerian (1997; Test Pilot Collective), Swoon, Furtive (2004, a sans), the display typeface Flathead (2004), the blackletter typeface Bahn (2004), Mesotone BT (2006, Bitstream, a monoline sans), Practical (a monoline connec script, planned in 2007 but not published), Poliphili (planned in 2007, as a revival of an Aldus/Griffo font), Wutupdo (1996, Garage Fonts), GFDesmond (Garage Fonts), Drone, Golden Times (2014, a corporate small caps typeface for the University of Minnesota), Vapiano (2014: hand-printed typeface for Vapiano International). Behance link. View Matt Desmond's typefaces. Fontspring link. Fontsquirrel link. [Google] [MyFonts] [More] ⦿ |
In 2014, Matthew created the free sans typeface family Klima for the climate movement: Klima is my version of a more relaxed DIN: slightly wider, with a similar geometric foundation but more plainspoken. In three weights with obliques, free for non-commercial, non-climate denial use. It is exquisite and quite good, except perhaps that the italics are just obliques (slanted romans). In 2015, he made OCR-B, extending Adrian Frutiger's 1968 design towards more languages (by adding accents of all sorts) and making the weight lighter. The all caps sans typeface Graph was used in websites, signs and posters for the 2014 People's Climate March in New York City. It is designed to be a display-oriented companion to Klima. It was inspired by typefaces like DIN 1451 Engschrift, Tungsten and Trade Gothic Bold Condensed. In 2015, Graph was supplemented with Graph Paris in view of the major U.N. climate conference in Paris. It is characterized by the curvy elliptical A, V and W. | |
Matthew Bardram
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Matthew Desmond
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Brooklyn, NY-based graphic designer who has his own studio, Ampersanderson. Has a BFA in graphic design from the Cornish College of the Arts. Designer of this art deco typeface (2007). [Google] [More] ⦿ | |
Cooperstown, NY-based designer of Tabor Handwriting (2007). [Google] [More] ⦿ | |
Matthew Krupitsky (Brooklyn, NY) created the hand-printed Process Display Typeface (2013) at the Pratt Institute. Mathhew hails from Orlando, FL. Behance link. [Google] [More] ⦿ | |
Matthew Moffatt
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During his studies at SUNY Purchase, Matthew Romanski (NY) created the Peignotian all-caps typeface Ingram95 (2013). [Google] [More] ⦿ | |
Matthew Smith
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Graduate of York University, 2007. Now located in Brooklyn, Matthew Yu designed the experimental typeface FourEyes (2013). [Google] [More] ⦿ | |
Better known as Matt instead of Matthijs. Dutch designer who studied at ArtEZ Institue of the Arts,in Arnhem, The Netherlands, 1998-2002. He made a career in the United States as a successful and award-winning graphic designer, and is presently located in New York City. He created these typefaces:
FontShop link. Klingspor link. Behance link. [Google] [More] ⦿ | |
Brooklyn-based blogger, editor and writer, who was born in Dallas and studied law at the University of Florida. She used iFontMaker to create the clean hand-printed typeface Maud Print (2012). [Google] [More] ⦿ | |
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Born in Rimini in 1965, studied in Ravenna, and lived in Milan. He designed BabyMine (1997) and EctoPlasm (2001) at T-26 and Orbit Light (2002), Bioplasm (2002), Glass Flag (2002), Water Flag (2002), and Arab Stroke (2002) at Linotype. Mauro is a freelancer in New York. Before that, he and Stefano Domizi co-founded Limbo, a graphic design studio in which they worked mainly for fashion and furniture companies. At ATypI in Rome in 2002, he spoke about the fluidity of the typographic process. [Google] [MyFonts] [More] ⦿ | |
Swiss type designer and calligrapher, born in Winterthur in 1916. He died in 2004. Designer of Columna (Bauersche Giesserei, 1952-1955, originally a private typeface of the Benteli publishing house in Switzerland; revived in 2006 by Ari Rafaeli, and in 2011 by URW), a slightly-serifed roman capitals face. His teachers included Jan Tschichold and Imre Reiner. Trained as a compositor (1932-1936), het set some jobs from 1936-1943. In 1941-1942, he taught typography at the Allgemeine Gewerbeschule in Basle, and was art director of the Benteli printing works in Bern from 1943-1962. From 1962 until 1981, he was head of the graphics department and typography teacher at the Kunstgewerbeschule in Zürich He consulted on type design for IBM in New York from 1962-1966, for the Bauersche Gießerei in Frankfurt am Main from 1965-1966, and for the Dr. Rudolf Hell company in Kiel from 1972-1989. He worked as type consultant at Adobe since from 1990. Adobe published Caflisch Script (designed by Robert Slimbach). Columna is available from Elsner&Flake (as ColumnaEF), Linotype and URW. Linotype bio. Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg published F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). This publication was thoroughly mangled by SchumacherGebler, to the dismay of Caflisch. This story was written up in "Die Chronologie der Schneidler-Monographie 1985-2002: Die 16 Jahredauernde, mühselige Entstehungsgeschichte" (Max Caflisch, 2002, Theo Leuthold Press). Other publications include: "William Morris, der Erneuerer der Buchkunst", Bern 1959; "Kleines Spiel mit Ornamenten", Angelus-Druck, Bern, 1965; "Fakten zur Schriftgeschichte", Zürich, 1973; "Schrift und Papier", Grellingen 1973; "Typography braucht Schrift", Kiel 1978; "Die Schriften von Renner, Tschichold und Trump. Aus Rede und Diskussion", Typographische Gesellschaft, 1990; Schriftanalysen, Band 1 + 2, St. Gallen 2003. Also see the book by A. Berlincourt et al: "Max Caflisch. Typographia practica", Hamburg 1988. MyFonts page. Rudolf Bosshard's article about Caflisch's life (Comedia, 2004, vol. 2). Linotype link. [Google] [MyFonts] [More] ⦿ | |
Max Phillips
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Designer in New York City, who created a piano key typeface in 2014. [Google] [More] ⦿ | |
Alternate URL. He co-authored (with George Sadek, who died in 2007) Typography: Polyglot (1991) and its second edition, Typographia Polyglotta (1997). Bio in Russian. Maxim lives in the Bronx. Codesigner with John Hudson, Joshua Darden, Eben Sorkin, and Viktoriya Grabowska, of Omnes Cyrillic. [Google] [MyFonts] [More] ⦿ | |
Maxime Gau is a French graphic and type designer, living and working in New York City. He co-founded Faire Type, a foundry based in Brooklyn that offers custom type design and retail typefaces, with his partner, Sabrina Nacmias. Together they also run Faire Projects, a graphic design studio focusing on typographic solutions to graphic design projects; primarily branding and visual identity work, websites, and packaging design. Maxime studied graphic design at the Ecole Supérieure d'Arts et Design in Valence, France and pursued a postgraduate in typeface design from the Type@Cooper Extended Program. His typefaces:
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Type designer in the photo type era, who worked for Photo Lettering Inc and was based in New York. His typefaces include Bigtown Bold, Casual, Christmas (blackletter), Crayon Casual, Kerr Lightline, Madison Avenue, Kerr Stencil (+Bold) and Ultra Slim Light. [Google] [More] ⦿ | |
During his studies at Pratt MWP in Utica, NY, Maxwell Chambers created the hand-printed typeface Anarchy (2013) which was influenced by graffiti in New York City and Los Angeles. [Google] [More] ⦿ | |
During his studies at The School of Visual Arts in New York, Maxwell Beucler created the all caps typeface Bones (2013) and the scary typeface Slime Sans (2013). | |
Graphic designer in Brooklyn, NY. Creator of the humanist sans family Albion (2011). Behance link. [Google] [More] ⦿ | |
MCKL (was: Mickel Design)
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He is working on this VAR-Rounded sans serif style face (2007) that was based on plastic cut letters seen in New York's subway. See also here and here. Mickel's typefaces:
Klingspor link. Village link. Speaker at ATypI 2018 in Antwerp. [Google] [More] ⦿ |
New York City-based publishers of | |
mderpth
| Michelle Devlin (b. Guam) moved to New York in 2010, and currently lives in London. She graduated from RISD with a BFA in Graphic Design and a focus in HPSS (History, Philosophy, Social Sciences). Currently, Michelle is a graduate student studying Communication Design through the Royal College of Art's MRes programme, where she researches the intercultural collaboration behind the development of Korean typefaces for multilingual font families published by American tech giants such as Adobe, Google, and IBM. Graduate of TypeWest, class of 2021. Her typefaces:
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Rochester, NY-based designer of the hipster typeface Fleur (2015). [Google] [More] ⦿ | |
Designer in Brooklyn, NY, who made Pinned (2011). [Google] [More] ⦿ | |
Meg Paradise (b. Scranton, PA) and Lauren Sheldon created the typeface for this flowery Chopard poster (2010). Meg lives in New York City. [Google] [More] ⦿ | |
Californian designer of Ruban (2016) for a project at St. John's University in New York City. [Google] [More] ⦿ | |
In 2016, Megan Broyles (Noblesville, IN) extrapolated the four letters CODA on a Led Zeppelin album cover to a full-fledged multiline art deco typeface. From 2013 until 2017, she studied at Ball State University. In 2018, she moved to New York to work for The Participation Agency. [Google] [More] ⦿ | |
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During her studies at Rochester Institute of Technology under Kris Holmes, Megan Mosehauer designed the angular semi-blackletter typeface Lally (2013). [Google] [More] ⦿ | |
New York City-based designer (b. 1984) who graduated from the Pratt Institute in 2009. Creator in 2008-2010 of custom hand-drawn typefaces such as a roman inscriptional typeface, Neo Rounded (organic), and D-Code. [Google] [More] ⦿ | |
Brooklyn, NY-based creator of an imaginary book cover for a text on Thomas Edison in 2012. This was done during her studies at the Pratt Institute. [Google] [More] ⦿ | |
New York City-based designer of the school project font Wave (2013). No downloads. [Google] [More] ⦿ | |
New York City-based designer of the display typeface Elo (2017). Its design is inspired by the music produced by the Electric Light Orchestra in the seventies. Behance link. [Google] [More] ⦿ | |
Melbert Cary
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As student at the School of Visual Arts in New York City, Melissa Lu designed the boxy experimental typeface Calendar (2016). Behance link. [Google] [More] ⦿ | |
Plainview, NY-based creator of Bitmap Typeface (2013) and Modular Typeface (2013, experimental). [Google] [More] ⦿ | |
Brooklyn, NY-based designer and photographer who created the handwriting font Chalky (2004) with Fontifier. Alternate URL. [Google] [More] ⦿ | |
New York City-based designer of a typographic tattoo lettering poster entitled Rock the Belles (2013). Behance link. [Google] [More] ⦿ | |
Type designer at OurType in Belgium, who was born in The Netherlands and studied at KABK in Den Haag. She lives and works in New York. OurType Eva (2006) is a 36-style sans type family designed by Merel Matzinger and Fred Smeijers, characterized by script-like lower case v and w that stand out among the sea of sans glyphs. From OurType's documentation: It is informal and warm in character, thanks to the contrast in its strokes and the freedom with which they have been drawn. The friendly personality provides added interest at larger sizes. Yet its forms also have a notable clarity, and it works well for setting continuous text. Eva can be used in a wide variety of contexts, from personalised messages to mass-circulation publications. The name of the typeface comes from the ceramicist Eva Zeisel (born in 1906 in Hungary). It was the delicate, humane forms of Zeisel's industrially produced ceramics that gave inspiration to Merel Matzinger as she designed the first, one-weight version of Eva in 1999. Eva Zeisel's ceramics are warm and approachable for their fluid curving lines, for their simplicity, but also for their playful, whimsical nature. Indeed, it is Zeisel's 'playful search for beauty' that is the crucial connection between her and her audience. It is Matzinger and Smeijers' hope that the Eva typeface achieves a similar feeling and a similar connection. Eva finds a distinct place among existing 'informal sanserifs'. The contrast it shows between thick and thin strokes is less marked than with designs such as Optima or Pascal. So too the flairs at the terminals of its strokes are less marked than in the case of Optima. One could position it somewhere between these 'semi-sanserifs' and typefaces like Gill Sans, Scala Sans or Fresco Sans, which we now identify as belonging to the category of 'humanist sanserif'. The variety in the ways in which the stroke terminals are treated gives Eva much of its character. FontShop link. [Google] [More] ⦿ | |
Mergenthaler
| The Mergenthaler company was formed in 1886 to develop and market Ottmar Mergenthaler's (1854-1899) invention of the linecaster. Under Chauncey Griffith's typographic direction from 1915 to 1949 the company assumed the leading position in the Americas in both book and newspaper production, originating a large and varied library. Under the direction of Allied Corporation, the company lost control of the overseas companies and became the American marketing arm of Allied Linotype, which was based in Frankfurt. Some types, both metal and photo, were developed at the company by William Addison Dwiggins, Chauncey Griffith, Jackson Burke and others. Also called Mergenthaler Linotype. German postage stamp showing Ottmar Mergenthaler in 1954, designed by Hermann Zapf. [Google] [MyFonts] [More] ⦿ |
Brooklyn, NY-based designer of the pixel-based display typeface Cake (2016). Behance link. [Google] [More] ⦿ | |
Mete Erdogan (Brooklyn, NY) writes about his free typeface Mete (2014): Mete is a sans serif typeface inspired by my world travels. From Arabic curves to tall broadway characters, each letter is a sum of all parts of the world. Behance link. Dafont link. [Google] [More] ⦿ | |
Mi Chen is a graphic designer, typographer, filmmaker and tattooist based in New York. She was born and raised in Mainland China, and moved to New York City in 2017. She is currently enrolled in Parsons School of Design's BFA program for Communication Design and Film Production. Mi works on branding, editorial design, typeface design and motion graphics. In 2020, she released Aperture Display, an ink-trapped sans with a hipster lower case t. [Google] [MyFonts] [More] ⦿ | |
Micah Rich
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Brooklyn, NY-based contributor and administrator of The League of Moveable Type. Home page. In 2020, League Spartan Variable was released, thanks to Micah Rich and Tyler Finck. League Spartan was an early free font of The League of Moveable Type. Github link. Google Fonts link. [Google] [More] ⦿ | |
Stupak studied under Charles Bigelow at RIT from 2008 until 2010. Brooklyn, NY-based designer involved in several type projects:
Github link. [Google] [More] ⦿ | |
Klingspor link. FontShop link. FontFont link. [Google] [MyFonts] [More] ⦿ | |
During her graphic design studies in Brooklyn, NY, Michael Ann Cohimia designed the display typeface Refractor (2013). [Google] [More] ⦿ | |
Michael Bagnardi
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Graphic designer in Medford, NY. He created the soccer shirt number typeface Tuzografia for the Mexican soccer team Club Pacheco (2015-2018). [Google] [More] ⦿ | |
Michael Bierut
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Michael Bixler
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Oswego, NY-based designer of Lyuda Sans (2018). [Google] [More] ⦿ | |
Michael Doret
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During his graphic design studies at the Cooper Union in New York, Michael Gray created the monoline geometric typefaces Monticello and Monticello Dash (2012), and the flared Helvetica caps called Helvidot (2012). Behance link. [Google] [More] ⦿ | |
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Michael Pinto
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Michael Russem
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Michael Russem
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Minneapolis, MN-based and Rochester, NY-born designer of the rounded Lao typeface Nok (2016) and the Lao font Fohn Thohk (2016). Behance link. [Google] [More] ⦿ | |
During his graphic design studies, Michael scarso (Staten Island, NY) created an unnamed circle-based typeface (2013). [Google] [More] ⦿ | |
Michael Yunat
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During her studies in New York City, Michelle Chan designed a hairy typeface (2016). [Google] [More] ⦿ | |
Michelle Devlin
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Michelle Godfrey (b. 1988) lives in Buffalo, NY. I guess the city of Buffalo inspired her to make the dingbat / scanbat typeface BuffalO (2011). In 2012, she created Mustache Gallery. [Google] [More] ⦿ | |
During her graphic design studies, Brooklyn-based Michelle Mattar designed the stylish sans display typeface Oslo (2011). She will send it to you if you ask---it is askware. Euler Sans (2013) is based on an Euler graph representation of the letters (all vertices have even degree). Behance link. [Google] [More] ⦿ | |
Graphic design student in Rochester, NY. She designed a typeface based on outline crossovers in 2011. [Google] [More] ⦿ | |
Michelle Sjoberg (b. 1987) has lived and worked in Hong Kong, DSweden and New York City. Currently located in New York, she created the modular typeface Tic Tac (2012). [Google] [More] ⦿ | |
During her graphic design studie at the Pratt Institute, Michelle Wang (Brookyn, NY) created Synthetic (2013, a display typeface) and Cambridge (2014, a wedge serifed typeface that emulates wood type). Behance link. [Google] [More] ⦿ | |
During her studies in New York City, Michelle Yu created the blackboard bold typeface 2Boxy4U (2014, FontStruct). [Google] [More] ⦿ | |
Miguel Ibarra
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Miguel Ibarra Design
| Miguel Ibarra (Miguel Ibarra Design, New York) created the spurred Tuscan Western typeface Urban Cowboy (2013), the scary Halloween font Rebels (2015), and the heavy blackletter typeface Schwarz (2013). [Google] [MyFonts] [More] ⦿ |
Miguel Reyes
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New York City-based designer who practices Japanese minimalism and simplicity. She created the squarish typeface Mik (2014). Behance link. [Google] [More] ⦿ | |
During her studies at Pratt Institute, Brooklyn, NY-based Mikaela Elle (b. Hong Kong) designed the pixelish typeface Martian (2015). [Google] [More] ⦿ | |
Graphic designer in Queens, NY, who created the decorative caps typeface appendages (2014). Behance link. [Google] [More] ⦿ | |
Mike Essl is a graphic designer and educator, who co-founded at The Chopping Block Inc in 1996, a graphic design bureau in New York, and graduated from the Cranbrook Academy of Art, where he designed Eat Lightning (2001). At The Chopping Block, Essl-led projects have been featured by the AIGA, ComicCon, the Cooper Hewitt, and MoMA. Fontstructions by the Studio Of ME/AT in New York City [Mike Essl and Alexander Tochilovsky]: Delicate Essen (2009, blackletter, tiled), Rowland Grotesk (jazzy piano key face). Presently, he is Dean of the School of Art at The Cooper Union in New York. [Google] [More] ⦿ | |
Mike Fortress
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Mike Langlie
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Nova Scotian who works at GrammaTech in Ithaca, NY. Mike McDougall (ex-University of Pennsylvania Ph.D. student) created a random type 3 font called Tekla (1994) as an undergraduate student at McGill University, under the supervision of Luc Devroye. He used several handwritten samples as parents to create random offspring. A companion article entitled Random Fonts for the Simulation of Handwriting has appeared in "Electronic Publishing" in 1995. See also here. [Google] [More] ⦿ | |
Mike Perry works in Brooklyn, NY, where he makes books, magazines, newspapers, clothing, drawings, paintings, and illustrations. He has drawn a number of ornamental alphabets that as far as I know have not been turned into fonts (yet). These include Porn Beyond Sex (2010), Alphabet Town (2010), Animalphabet (2010), and Bikini Type (2010). Examples of his illustrations: Six (2009). Amsterdam (2009). [Google] [More] ⦿ | |
Graphic designer in Brooklyn, NY. Creator of the Firestarter typeface (2013, lava lamp font). [Google] [More] ⦿ | |
Mike Yanega
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Milan Zrnic (b. 1984) is a self-taught graphic designer who now lives in New York. In 2002, Milan created Idyll (2002, commercial sans serif font) while in the Chank Army. In 2003, Milan created and released the free typeface Raedr. [Google] [More] ⦿ | |
New York City-based designer of the squarish typeface Labolt (2018). [Google] [More] ⦿ | |
Military Aircraft Fonts
| Airplane photographer August T. Horvath is from Windsor, Canada, and lives in the United States, where he works as an antitrust and false-advertising lawyer in New York City. Around 2001, August T. Horvath published his Military Aircraft Fonts series: RAF_45D_851ATH, RAF_45D_841ATH, RAF_PW_ATH, RAF_WW2_841ATH, RAF_WW2_641ATH, RAF_WW2_851ATH, RCAF_60O_ATH, RCAF_60SQO_ATH, RCN_8O_ATH. These truetype fonts have letters taken from RAF, RCN and RCAF airplanes, but they are limited in two respects---all fonts have the name "New", and all glyphs are hidden in the Private Use Area, and thus not easily accessible to the amateur user. They were free, but all sites that had them disappeared. Link to August T.Horvath's airplane photography. Linkedin link. [Google] [More] ⦿ |
Millie Tien-Hui Lin is an art director and graphic designer who has worked in New York City, and in Taiwan (as art director of Ogilvy Action Taipei, since 2010). Her design studio is called From M. Creator of Chinese English Typeface (2012), an oriental simulation font. [Google] [More] ⦿ | |
Musings about life (dead link). Linotype link. FontShop link. A brief tour of Milton Glaser's typography. [Google] [MyFonts] [More] ⦿ | |
Mina Tung (Sweet Travelling Mina, New York City) designed the connected upright script typeface Amavi (2017). Creative Market link. [Google] [More] ⦿ | |
Alexandria, VA-based designer of the clean sans typeface Extraclear (2013) for a final project in a lettering and typography class taught by Bruce Willen and Nolen Strals at MICA. In 2016, she designed the free sans typeface Minee Sans. Behance link. Old Behance link. [Google] [More] ⦿ | |
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Creator of an alphabet with photographic light painting. Behance link. Miranda is a graphic designer in Albany, NY. [Google] [More] ⦿ | |
Mirek Janczur (Mirekulous, Albany, NY) created the free vector format halftone-themed texture typeface Burst (2015). Behance link. [Google] [More] ⦿ | |
Mirko Velimirovic
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At Parsons School of Design in New York City in 2018, Mitali Mehta designed Geometrique Grotesque. [Google] [More] ⦿ | |
Mitch Paone
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Mo Lebowitz
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New York-based designer (b. 1992) of Tight Pixel (2014, a pixel typeface created with the help of FontStruct). [Google] [More] ⦿ | |
As a student in Brooklyn, New York, Molly Fehr [who grew up in Philadelphia] created the floriated caps typeface Botanical (2015). Behance link. [Google] [More] ⦿ | |
Graphic designer in New York. Behance link. She created Three Kilometer Type (2012) by emptying her ballpoint pen (which apparently runs for three kilometers). [Google] [More] ⦿ | |
During her studies at St. John's University in New York City, Monique Meckelburg designed the caps-only display typeface Alpine (2016). [Google] [More] ⦿ | |
Queens, NY-based designer of the hand-printed caps typeface Diana (2013), named after the Princess of Wales. [Google] [More] ⦿ | |
Type foundry based in Berlin and New York. In 2016, Monkey Type and Mitch Paone designed the typeface family Banana Grotesk and the wide monolinear all caps sans typeface Albert. In 2020, they released the sans typeface family Marcel. [Google] [More] ⦿ | |
Monolith Foundry (was: Pilgrim Fonts)
| Griffin Moore is a designer based in Brooklyn, New York. While studying at Rochester Institute of Technology he was taught and inspired by Charles Bigelow. In 2014, Moore launched Pilgrim Fonts. Griffin Moore designed the versatile monospaced / programming font Range Mono in 2015. [Google] [MyFonts] [More] ⦿ |
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Morgans&Wilcox Mfg Co.
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On-line 1890 catalog by Robert Lee. On page 22, that 1890 catalog even shows a typeface called Belgian. Digitizations:
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Morning Type
| Morning Type was set up in Brooklyn, NY, by Matthew Smith. During his studies in Plainview, NY, Matthew Smith designed the curly display typeface Mystic (2016). [Google] [More] ⦿ |
Mortimer Leach was a lettering specialist. He worked on national accounts both in New York and in Los Angeles, and for twenty years maintained his own freelance studio. He was best known for his work in advertizing, and won many awards for lettering. During the 1950s, Mortimer Leach became Director of the Lettering Department at Art Center School, Los Angeles. He wrote Lettering for Advertising (1956) and Letter Design in the Graphic Arts (1960). The former book deals with American display lettering techniques in the Mid-Twentieth Century. Leach uses Caslon, Bodoni and Futura to demonstrate how, and how not, to create beautiful headline lettering for advertisements. His influence cannot be underestimated. His students include type designers like Rick Cusick. Inspired by Mortimer's lettering, Riley Cran named a 56-style didone typeface family after him, Mort Modern (2017). [Google] [More] ⦿ | |
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Mucca Design (or: Mucca Typo)
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His typefaces include Food Mucca, Hair Updown, Littoria, Filo Mucca, Mirra Mucca (gorgeous lettering), Mongo Mucca, Rigid Mucca, Rubens Mucca, Vox Mucca, Egizio Mucca, Latina Mucca, Joung Mucca and Pravda (cyrillic simulation font). Free fonts: Geo Mucca, Fax Mucca, Melt Mucca, Updown Mucca, Pepina Mucca (curly lettering). Mucca Design custom-designed Balazs, Decora, Moranda Serif and Grotesque, One Atlantic (a slabbed Garamond done by Joshua Darden), Faux Cyrillic (done for Manhattan's Pravda restaurant), Victoria's Secret Logotype. At iFontMaker, he did ItalianoAMano, and ItalianoAManoPieno. In 2015, he created the industrial squarish vernacular typeface NoExit. Originally designed for the Chicago Athletic Association Hotel, its inspiration was an old sign that said STAIRWAY found the hotel's old building. In 2017, Mucca Design (via Schriftlabor) created the custom typeface Sephora (Sans, Serif). [Google] [More] ⦿ |
Mucca Typo
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Free typefaces at Muccatypo include the useless grunge typefaces Fax Mucca, Geo Mucca, Pepina Mucca, Melt Mucca and Up Down Mucca. In 2014, Matteo Bologna served as President of Type Directors Club. He is an associate faculty member at the School of Visual Arts and Kean University. [Google] [MyFonts] [More] ⦿ |
Farmingdale, NY-based creator of a great Fengshui poster (2019). [Google] [More] ⦿ | |
Creator of phototype typefaces at VGC, such as Accant (1978) and Erwin (a comic book / psychedelic style face). Erwin was digitized by Nick Curtis and extended to Nerwyn NF (2010). At Photo Lettering (New York), he designed Erwin, Joanie, Off Beat (beatnik style), Space Age, Space Age A and Space Age Outline B. [Google] [More] ⦿ | |
Mussett Letterworks
| Neil Mussett (b. 1975, Denver, CO) is a computer programmer located in Amherst, NY. He created Debug (2007), a monospaced hand-printed typeface. In 2010, he added the flared display typeface Mickey Mono. [Google] [MyFonts] [More] ⦿ |
Graphic designer in New York. Creator of a nice 3d typography poster in 2011. Behance link. [Google] [More] ⦿ | |
During his graphic design studies in Manhattan, NY, Myungwon Seo created Handmade font (2014). Behance link. [Google] [More] ⦿ | |
Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the Bauhaus (piano key) stencil typeface Haeckel (2013, Friday Fonts), which was named after the German naturalist, philosopher, biologist and artist Ernst Haeckel, who promoted the idea of structure and symmetry in marine organisms and nature. She also created the experimental typeface Eliminated (2013). [Google] [More] ⦿ | |
Naked Fowl
| Naked Fowl is Brooklyn, NY-based Mark McCormick. He created a revival typeface called Latin Antique (2012), the quaint typeface Alfonso (2012), and produced several interesting pieces of lettering. Student at The Cooper Union. [Google] [More] ⦿ |
Creator of Locked Typeface (2015), which appears to be a school project at the School of Visual Arts in New York City. Behance link. [Google] [More] ⦿ | |
New York City-based designer of Bauchstaben (2013), a Bauhaus-inspired decorative caps typeface. Behance link. [Google] [More] ⦿ | |
Nancy Mazzei and Brian Kelly designed Backspacer (a white-on-black old typewriter font) for Smoke Bomb Studio in 1993. This was subsequently published at Emigre. They designed GLADYS and Teenager (1994) at GarageFonts. Nancy Mazzei works as the VP of off-air creative at VH1 in New York City. She was a partner in her own studio, Smokebomb, in the early 90's for 6 years. Her shop created original fonts for Emigre and David Carson/Raygun magazine. She taught typography for four years at The School of Visual Arts where she earned her BFA with honors in Media Arts. Mazzei lives in Manhattan with her husband Michael Wong. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Brooklyn, NY-based creator of Lovechild (2012), a typeface that uses the shapes of Gotham and is filled with frilly patterns. Behance link. [Google] [More] ⦿ | |
Designer in New York City who created the grungy typeface Metropolis (2013), which was inspired by Fritz Lang's movie Metropolis. Behance link. [Google] [More] ⦿ | |
Toronto-based freelance graphic designer who moved to New York City. Creator of the multiline typeface Neon (2007), the hairline avant garde typefaces Gisele (2014) and Daria (2014), and the display typeface Electro Font (2014). Behance link. [Google] [More] ⦿ | |
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Type designs from 2017: Closed Worlds (mechanical, octagonal; Closed Worlds is a new exhibition at the Storefront for Art and Architecture in New York), Open View Stencil (for the Boston-based venture capital firm Open View). In 2019, she released the multiline custom typeface family Building Cycles, and the custom pixel typeface Droit. Behance link. Pentagram link. [Google] [More] ⦿ | |
Natasha Maria Fernandez-Fountain
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Graphic designer from Elba, New York. He created this excellent type poster in 2009. Behance link. [Google] [More] ⦿ | |
Binghamton, New York-based creator of the artsy typeface Jacoski Inverse (2015). [Google] [More] ⦿ | |
New York City-based designer of the dot matrix typeface Bloc (2014). [Google] [More] ⦿ | |
During his studies at SUNY Potsdam, Malone, NY-based Nathan Duso designed a fun handcrafted typeface (2016). [Google] [More] ⦿ | |
Nathan Hauenstein (b. 1985) is an artist living and working in New York. He created a hand-drawn typeface, Dewey Library Hand Font (2013), and wrote: Following the instructions of Melvil Dewey in his 1887 publication "Library Notes: Improved Methods and Labor-Savers for Librarians, Readers and Writers," Craycroft practiced her library hand handwriting while Hauenstein transformed each written letter into a typeable digital font. [Google] [More] ⦿ | |
Canton, NY-based designer of the roman majuscule font shown here (2007). [Google] [More] ⦿ | |
Publishers of Rapid Writing: Rightmeyer's Penman's Paradise (1852, New York). [Google] [More] ⦿ | |
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Nazareno Crea
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New York City-based designer of the dot matrix typeface Trypo (2018). [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the Mondrian-inspired bilined typeface Mondri (2016). [Google] [More] ⦿ | |
During his graphic design studies in New York City, Ned Semoff (b. 1990) created the free experimental octagonal typeface Octo (2013). Dafont link. Behance link. [Google] [More] ⦿ | |
Neil Mussett
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Originally from Boston, Nelle McDade studied communicatrion design at Parsons in New York. Creator of an experimental pixelish CSS3-based typeface (2013). Behance link. [Google] [More] ⦿ | |
Nemek
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There is also a Tom Grunwald foundry on MyFonts. Behance link. [Google] [MyFonts] [More] ⦿ |
New Fonts
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Charles Nix digitized the Augereau family for George Abrams in 1997 and manages the Abrams Legacy Collection, which also offers Abrams Venetian. Typefaces in the New Fonts collection are derived from a rich variety of sources---from 15th century Spain to 21st century Sumatra. The Sumatran Series of fonts is inspired by hand-painted letterforms from commercial signage in the tiny village of Tuk Tuk on the island of Samosir in Northern Sumatra. The series consists of six typefaces: Batak, Nani, Tuk Tuk, Samosir, Melaka, and Huta Bolon. In May, 2015, Charles joined Monotype as a Senior Type Designer, and later became its Type Director. His work at Monotype:
FontShop link. Klingspor link. View Charles Nix's typefaces. Fontsquirrel link for D-DIN and Datto. [Google] [MyFonts] [More] ⦿ |
Some specimen books at the NYPL listed by Thomas G. Lannon. [Google] [More] ⦿ | |
Typefounder located at 14 Frankfort Street in New York which was active in the latter part of the 19th century. [Google] [More] ⦿ | |
New York City-based designer of the Super F typeface (2012), a rounded monoline sans with exaggereted art nouveau descenders. [Google] [More] ⦿ | |
A Ph.D. in linguistics, Ngo Thanh Nhan is involved in the standardization of Quoc Ngu, Nom, an ideographic script used in Vietnam for more than 1000 years, which is facing extinction, and Cham script. He is member of the Vietnamese Nom Preservation Foundation. Now a computational linguist at New York University, who built the Nom font used in the book of Ho Xuan Huong's poetry. He spoke at ATypI in Copenhagen in 2001. [Google] [More] ⦿ | |
New York City-based graphic designer. He created a geometric rounded monoline typeface in 2012 called GRD. [Google] [More] ⦿ | |
Clay, NY-based designer of the decorative Panda Food Font (2014). [Google] [More] ⦿ | |
Nicholas Felton
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Marseille (2017) is co-designed with Louise Fili. It is an art deco-inspired letterform that is based on Louise Fili's cover design for the Marguerite Duras novel The Lover. Behance link. [Google] [MyFonts] [More] ⦿ | |
Communication design graduate from the Pratt Institute in New York. He joined Karma in 2016 as a designer, and taught typography for some time at Parsons after 2015. He lived in Brooklyn. Designer of the industrial typeface Curfew (2011). [Google] [More] ⦿ | |
Brooklyn, NY-based letterer, illustrator and type designer. Behance link. Creator of nice type posters, as well as a few typefaces such as Copola Stencil (2009). [Google] [More] ⦿ | |
Behance link. Devian Tart link. [Google] [More] ⦿ | |
During his studies at The College of Saint Rose, Albany, NY-based Nick Paquin designed the beveled textured typeface Avaitor (2017). [Google] [More] ⦿ | |
During his studies at School of Visual Art in Manhattan, NY, Nick Perry designed the sharp-edged modular typeface Sweden (2017). Behance link. [Google] [More] ⦿ | |
Nick Sherman
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Graphic and web designer in Kingston, NY, who created the free font Crazy Cat Lady in 2016. Behance link. [Google] [More] ⦿ | |
He designed Albroni (1992, a revival of the slinky 1950 typeface Albro by Alexey Brodovitch), Hoboken-High (1998: an octagonal typeface), Typ1451 (1999, a very airy and open-bowled sans serif), LeCorbusier (great stencil font, 1999), Le Corbusier Condensed (1999), Gigaflop (1999) and Ultrateens (1999) at Lineto. Lineto link. [Google] [More] ⦿ | |
As a student at Parsons School of Design, New York, Nico Syjuco Siy (Richmond, BC) designed the futuristic typeface Interstellar (2016). [Google] [More] ⦿ | |
During her graphic design studies at Pratt, Brooklyn, NY-based Nicola Householder (originally from San Francisco) designed the display typeface Adler (2014) and Moiré typeface (2016). [Google] [More] ⦿ | |
Nicolas Guagnini
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Codesigner with Chank of the handwriting font Darling Nikki (2006). Nicole Blackman is a New York City-born performance artist, poet, author, vocalist, teacher, and former music industry publicist. She is also a top voice-over artist for television and radio. [Google] [MyFonts] [More] ⦿ | |
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Graphic designer in North Babylon, NY. In 2012, she created the hand-drawn Monospaced Unicase Typeface. [Google] [More] ⦿ | |
During her studies at Miami Ad School, Nicole Narvaez (Brooklyn, NY) created Headphone Type (2013). [Google] [More] ⦿ | |
New York City-based designer of Stamp Type (2016). This is a physical derivation of a didone font, as she explains: This type was created by drawing designs into the thick strokes of Bodoni letters. I transferred the designs onto linoleum and carved stamps. I then used black acrylic paint to stamp onto paper. The results are imperfect and messy. Behance link. [Google] [More] ⦿ | |
Graphic designer in New York City who created the neon typeface simply called Neon (2016). Behance link. [Google] [More] ⦿ | |
Niko Skourtis is a graphic designer practicing in New York since earning a BFA from California College of the Arts. For his thesis, he developed an interactive program called Typograph, which earned him the SOTA Catalyst Award in 2012. [Google] [More] ⦿ | |
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Graphic designer in Brooklyn, NY. He made the fat typeface Folded Stone (2010). Behance link. [Google] [More] ⦿ | |
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New York City-based designer of the modular typeface Inclined (2017). [Google] [More] ⦿ | |
During her studies at the School of Visual Arts in New York, Nishna Shah designed the script typeface Rush (2019) and the Indic style Latin typeface Mumbai (2019). [Google] [More] ⦿ | |
Graduate of the Parsons School of Design. In 2013, she created a children's typeface of the kitchen tile style called Celio. Behance link. [Google] [More] ⦿ | |
Noah Rothschild
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In 1995, Nobi Kashiwagi moved to Brooklyn, New York City, from Japan to study photography at Parsons School of Design where he graduated with a Bachelors in Fine Art. Nobi has been working at the acclaimed fashion-advertising agency AR New York, where he has managed several advertising, branding and design projects. His experience at AR includes editorial design of Influences Magazine which received a Typographic Excellence at TDC and Distinctive Design merit at ADC. Nobi also holds a black belt in Brazilian Jiu-jitsu. His design studio, Endash Space, is based in Brooklyn. He designs mostly commissioned typefaces, such as a rounded sans typeface for Art Asia Pacfic Magazine (2013), Didot Sans (2017), and Carl Fischer Font (2016). In 2014, he designed a lowercase for Trajan. In 2017, he tweaked Avant Garde and called it Avant Garde Grotesque. In 2018, he published the text typeface family Wintour, and in 2019 the text typefaces Saggio and France. [Google] [More] ⦿ | |
New York City-based designer of the display typeface Evelene (2015) and the textured typeface Counterclockwork (2017). [Google] [More] ⦿ | |
Communication design student in New York, NY. She created Tritype (2011), a triangle-themed typeface remotely inspired by graffiti. [Google] [More] ⦿ | |
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Noisecore Type (was Guerilla Type)
| Artsy free fonts for Windows (TTF and type 1): the out of focus Optik, HandW, the HackD series, MinaD, Flud, RustD and WeatherD. By Yuri Jossa from East Setauket, NY. Now also Yuri's Handwriting. [Google] [More] ⦿ |
Nord Collective (or: Fontfirma)
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In 2015, they published the great free Latin / Cyrillic headline sans typeface Kolikö. Typefaces from 2016: Bonecrusher, Turum (free). Typefaces from 2017: Kankin (a free Hitchcock era movie font). In 2018, he designed the free font Kirke. Typefaces from 2019: Kengo (handcrafted). Typefaces from 2020: Oko (pixelish), Accent, Skepta (a spurred horror font family). Typefaces from 2021: Ioto Animation (Alex Frukta). Earlier typefaces by Alex Frukta added to the collection: Kaori (2010: floral caps), Silverfake (2012). [Google] [More] ⦿ |
Graduate from the Cooper Union who created the abstract experimental commissioned typeface Open Lo in 2010. [Google] [More] ⦿ | |
New York City-based designer of these national park display typefaces in 2018: Sequoia (sans), Redwood (spurred), Eagle Sight. [Google] [More] ⦿ | |
NYC Type
| Photographed vernacular type in New York City. By Luke Connolly. [Google] [More] ⦿ |
OCD: Original Champions of Design
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Times Premier (for The New York Times) is a masthead blackletter done by Jennifer Kinon, Bobby C. Martin Jr, Matt Kay, Jonathan Lee and Michael McCaughley based on lettering by Matthew Carter. For the Museum of African Art, Jesse Ragan created the Afri Sans typeface family. In 2018, they created the custom branding and logo typeface Dartmouth Ruzicka for Dartmouth University, based on type on a bicentennial seal and plaque designed by Rudolph Ruzicka, a typeface designer who retired in Hanover, NH. [Google] [More] ⦿ |
Type and graphic designer in New York City who created the sans typefaces Grail Grotesque and Stake Regular in 2016. Behance link. [Google] [More] ⦿ | |
Okay Type
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Jackson designed Alright Sans (2009, clean sans) and Alright Display (voguish hairline sans). In 2012, he created The Harriet Series (with Harriet Text and Harriet Display subfamilies), a full Sotch Roman / Baskerville / didone family that won an award at TDC 2012. In 2016, he was asked by Mac Lewis, artistic director at Playboy, to design a new headline typeface for the magazine. Cavanaugh designed a heavy slab serif for the occasion. In 2019, he released the ultra-black typeface family Okay. [Google] [MyFonts] [More] ⦿ |
In 2008, she created Charlotte (Latin&Cyrillic). During her studies at British Higher School of Art & Design in Moscow, she created ALS Meringue (2009, a serif family for Art Lebedev Studio, done with Taisiya Lushenko). In 2009, she also created a dotted line pixel type for FLYmagazine. As a student project at the British Higher School of Art and Design in 2009, she made a Natural Alphabet using stone scratching. Mobispot Regular (2013) is a beautiful contemporary geometric grotesque for Latin and Cyrillic, designed by Olga Balina and Vit Abramov at Flëve for Mobispot Social Systems, a company that creates cool applications for life and business based on NFC technology. MyFonts link. Behance link. Behance link for Flëve. [Google] [MyFonts] [More] ⦿ | |
New York City-based designer. She created Penny Font (2010). [Google] [More] ⦿ | |
During her studies, Oswego, NY-based Olivia Basile designed the geometric typeface Electric Hooker (2012). Behance link. [Google] [More] ⦿ | |
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Omega Font Labs
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Typefaces: OmegaSwirls (a neat collection of spirals and swashes), Curbature (an earthy outline font), SpahrtyGirl (1998, a great curly typeface), Shamantics (music-inspired), Doodle Dudes of Doom (funny dingbats), BirthdayBats, Big Ham, Black Shirt Slime Trail, Bazzomba, Big Blocko, Androganamous, 52 Spheroids, Vadim'sHand, Tom'sWriting (nice), Kim'sHandwriting, Jennifer'sHand, Fanny's Treehouse, Chris's Handwriting, Armageddon, Awl Scrawl, Kim'sToons, Max's Handwriting, Frog Mess 1 (by Froggie), and Frog Dings 1 (by Froggie), Halloween Boosta, Blottooo, Border Bats, Death Valley, Runes of Omega, Retrobats, Pittoresk, Runes of the Dragon, Cthulhu Runes, the fantastic DocNimbusBats, SpaceWooziesExtraz, Oriental Patterns, OldTimeAdDings, MonsterMasher (to make a monster font), Monsters of Stone, Garden Dings, DaFunkBrothers, Cultural Icons, Celtic Patterns, Celtic Frames, Cerbature, Callallied, Callaxis, Asian Dings, 52 Sphereoids (very original), gothic hijinx (phenomenal!), Spazzz Caps, Oogie Boogies, XRayTid, XXonXXoff, SwampType, Speedy12, SlapHappy, Kaptain Kurk (OK font!), jaunty, GrungePuddles, Frankendork, Evil Signature, Elevator Buttons, Chewed Straw, Chilly Moe, 4 Star typeface Font, Amosis Technik, Space Woozies, Schizoid Trout, Halloween Border Bats, Bloody Stump (dripping blood face), BubblyFrog, Cathzulu (+Hollow, +Extraz), Chunk-o-Muffin, Kallamar, Lyarith (curlies!), PsiBorgZ, Purple Burple, and Quasidipitous. Archive at Font-A-Sea. Archive at Mouser Fonts. Alternate URL. And another one. Fontspace link. Dafont link. [Google] [More] ⦿ |
One by Four
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Font Squirrel link where one can download Matchbook. Dafont link. Natasha Maria Fernandez-Fountain's home page. [Google] [MyFonts] [More] ⦿ |
Orbis Typographicus
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In 2013, the web site Orbis Typographicus was set up by Joshua Langman. It features high-resolution scans, available for download, and a complete computer-searchable transcript. The web site also features an essay by Philip A. Metzger, the son of the printer, in which he shares his recollections of his father working on the project. Joshua Langman is a freelance graphic designer and typographer based in New York. [Google] [More] ⦿ |
Order is a Brooklyn-based design studio and publisher (Standards Manual) founded by Hamish Smyth and Jesse Reed. In 2021, it launched a new initiative, Order Type Foundry or simply, OTF. It serves as a distributor for new type designers, focused on presenting experimental, practical and research-based families. Their typefaces include Pastiche Grotesque and Plebeian which were designed in 2021 by Benjamin Tuttle. [Google] [More] ⦿ | |
Aka O2Creative, based in New York. Creator of an untitled black typeface in 2011. [Google] [More] ⦿ | |
Brooklyn-based designer of an ornamental typeface in 1906 in which typefaces can be drawn by combining different pieces. Link to the patent. [Google] [More] ⦿ | |
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Twentieth century book designer and calligrapher, b. Richmond, 1909, d. 1971. Ogg was an architecture graduate of the University of Illinois in 1931. The New York Times writes: He won recognition as one of the outstanding graphic artists of his time. His first book, Alphabet Source Book, published in 1940 by Harper, was a copy book of lettering styles. The 26 Letters, published by Crowell in 1948, a history of the alphabet from cave drawings to contemporary type fonts, was illustrated by 275 of his drawings. For Photolettering in New York, he designed these typefaces: Ogg Folio, Ogg Irish Uncial, Ogg Roman 3 and 4, Ogg Italic 3 and 4, and Ogg Semi Uncial. Digital revivals include Ogg (2013) by Lucas Sharp. Sharp's Ogg is a fashion mag typeface loosely inspired by the hand lettering of Oscar Ogg. Lucas Sharp's Salter Roman (2021) is based on two designs penned by Oscar Ogg in 1942. The first is his title page design for Design & Paper No.11 (Marquardt & Company, New York); the second is his design for Gates of Aulis (Gladys Schmitt, The Dial Press, New York) that same year. The former became the basis for the lowercase, while the latter informed the uppercase. [Google] [More] ⦿ | |
Otherwhere Collective (or: Ilott Type, Bellamy Studio)
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Andrew Bellamy designed 64-SRC (2017), a rare condensed monospace font inspired by IBM's Selectric type from the 1960s. His 57 Nao (2016) is a revival of a Japanese typewriter font from the 1950s called Messenjaa. They explain: Designed in 1950s Japan by Okanao & Kushiro, the perfect partnership until artistic temperaments drove them apart. The duo spent years crafting the font with the working title Messenjaa, Okanao bringing technical expertise to craft letterforms, while Kushiro made it his life, obsessively working late into the night to check pages for errors. For him the project was never about making money, it was an artistic endeavor to reprint the great Western works of literature. When he found out Okanao had secretly sold the rights of the font for use as a logo for a major Japanese manufacturer, Kushiro burned all evidence of the designs in a fit of passionate fury. The two reportedly never spoke again. Messenjaa was thought lost forever until a type specimen was discovered in a vintage typewriter box bought on eBay. Now redrawn and available as 57-nao, a faithful and beautifully crafted monospace characterized by what is considered Okanao's defining moment, the angular loop on the lowercase a. 52-Kfx (2017) is an extra tall sans typeface. 35-FTR (2017) was custom drawn specifically for the book Analogue Photography which required the timeless elegance of Futura and the compact utilitarian typesetting of Helvetica. In 2018, he designed the fashion mag typefaces 19Pra and Coutura Sans. In 2019, Bellamy published OC Bartok (a wedge serif), OC Pajaro (a sans family between Futura and Akzidenz Grotesk), OC Format Sans (a geometric grotesk sans serif that fuses the style of Futura with the rhythm and proportions of Akzidenz), OC Rey. Typefaces from 2020: OC Format Stencil (a variable font design inspired by the work of Bruno Munari, Paul Rand, and Max Huber), OC Format Collage, OC Format Shards. A special mention for the masking tape font OC Revolt, a variable display font made for the protest graphics of the NYC-based Trump Brexit era Non-Complicit project who initially made guerrilla type with masking tape applied directly in situ or to silk screens. Typefaces frm 2021: OC Highway Var (a free variable font based on Highway Gothic). It builds on Ash Pikachu's free Highway Gothic font. [Google] [MyFonts] [More] ⦿ |
Ottmar Mergenthaler
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Designer at RailFonts, who hails from Westchester County, New York, and has been interested in model trains and railroading since age five. Otto attended Rochester Institute of Technology where he received his BFA in Graphic Design. While at RIT, he founded the RIT Model Railroad Club, and has been an active volunteer with the Rochester Chapter NRHS, and the New York Museum of Transportation. Since leaving Rochester, he moved back to Westchester where he is currently production manager for Hudson Valley Magazine, and designer for Westchester Magazine. Otto is also a partner in the popular railfan web site RAILROAD.NET, where he is Creative Director. Many of his articles, track plans and illustrations have appeared in Railroad Model Craftsman over the years, and he is also a regular contributor to Railpace News magazine. In his free time, Otto is a leader for his local Boy Scout troop, and enjoys camping and the outdoors. His railroad-related fonts: JadeGreen (compare to the lettering once used by Penn Central), Consolidated (compare to the lettering once used by Conrail). [Google] [More] ⦿ | |
P22 Analog is an offshoot of Richard Kegler's P22 Type Foundry, a digital type house founded in 1994 and located in Aurora-on-Cayuga, NY. P22 Analog is dedicated specifically to hand-printing and hand-craft along with research related to printing, letterpress and typographic history. [Google] [More] ⦿ | |
P22 Type Foundry
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The fonts are: Industrial Design (an industrial look font based on letters drawn by Joseph Sinel in the 1920s---this font is free!), LTC Jefferson Gothic Obliquie (2005, free), Sinel (free), P22Snowflakes (free in 2003 and P22 Snowflakes (retail) in 2020, finishedd by Richard Kegler and Terry Wüdenbachs), Acropolis Now (1995, a Greek simulation typeface done with Michael Want), P22 Albers (1995; based on alphabets of Josef Albers made between 1920 and 1933 in the Bauhaus mold), Arts and Crafts (based on lettering of Dard Hunter, early 1900s, as it appeared in Roycroft books), Ambient, Aries (2004, based on Goudy's Aries), Arts and Crafts ornaments, Atomica, Bagaglio (Flat, 3D; in the style of Il Futurismo), P22 Basel Roman (2020, Richard Kegler: an update of a 2015 typeface, P22 Basel, based on a garalde font used by Johannes Herbst (aka Ioannes Oporinus) in 1543 to publish Andreas Vesalius' On the Fabric of the Human Body (De humani corporis fabrica) in Basel), Bauhaus (Bauhaus fonts based on the lettering of Herbert Bayer), Bifur (2004, Richard Kegler, after the 1929 original by Cassandre), Blackout, P22 Brass Script Pro (2009, Richard Kegler; based on an incomplete script fond in a booklet from Dornemann&Co. of Magdeburg Germany, ca. 1910 entitled Messingschriften für Handvergoldung; for years, P22 and MyFonts claimed that Michael Clark co-designed this, but Michael does not want any credit, as he did only about 20 letters), Cage (based on handwriting and sketches of the American experimental composer John Cage), P22 Casual Script (2011, Richard Kegler, a digitization of letters by sign painter B. Boley, shown in Sign of the Times Magazine), Cezanne (Paul Cezanne's handwriting, and some imagery; made for the Philadelphia Museum of Art), Child's Play, Child's Play Animals, Child's Play Blocks, Constructivist (Soviet style lettering emulating the work of Rodchenko and Popova), Constructivist extras, Czech Modernist (based on the design work of Czech artist Vojtech Preissig in the 20s and 30s), Daddy-o (Daddy-o Beatsville was done in 1998 with Peter Reiling), Daddy-o junkie, Da Vinci, Destijl (1995, after the Dutch DeStijl movement, 1917-1931, with Piet Mondrian inspired dingbats; weights include Extras, P22 Monet Impressionist (1999), Regular and Tall), Dinosaur, Eaglefeather, Escher (based on the lettering and artwork of M.C. Escher), P22 FLW Exhibition, P22 FLW Terracotta, Folk Art (based on the work of German settlers in Pennsylvania), Il futurismo (after Italian Futurism, 1908-1943), Woodtype (two Tuscan fonts and two dingbats, 2004), P22 Woodcut (1996, Richard Kegler: based on the lettering carved out in wood by German expressionists such as Heckel and Kirchner), Garamouche (2004, +P22 Garamouche Ornaments; all co-designed with James Grieshaber), GD&T, Hieroglyphic, P22 Infestia (1995), Insectile, Kane, Kells (1996, a totally Celtic family, based on the Book of Kells, 9th century; the P22 Kells Round was designed with David Setlik), Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Koch Nueland (2000), Larkin (2005, Richard Kegler, 1900-style semi-blackletter), London Underground (Edward Johnston's 1916 typeface, produced in an exclusive arrangement with the London Transport Museum; digitized by Kegler in 1997, and extended to 21 styles in 2007 by Paul D. Hunt as P22 Underground Pro, which includes Cyrillic and Greek and hairline weights), Pan-Am, Parrish, Platten (Richard Kegler; revised in 2008 by Colin Kahn as P22 Platten Neu; based on lettering found in German fountain pen practice books from the 1920s), P22 Preissig (and P22 Preissig Calligraphic, 2019), Prehistoric Pals, Petroglyphs, Rodin / Michelangelo, Stanyan Eros (2003, Richard Kegler), Stanyan Autumn (2004, based on a casual hand lettering text created by Anthony Goldschmidt for the deluxe 1969 edition of the book "...and autumn came" by Rod McKuen; typeface by Richard Kegler), Vienna, Vienna Round, Vincent (based on the work of Vincent Van Gogh), Way out West. Now also Art Nouveau Bistro, Art Nouveau Cafe and the beautiful ornamental font Art Nouveau Extras (all three by Christina Torre, 2001), the handwriting family Hopper (Edward, Josephine, Sketches, based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art), Basala (by Hajime Kawakami), Cusp (by James Grieshaber), P22 Dearest (calligraphic, by Christina Torre and Miranda Roth), Dwiggins (by Richard Kegler), Dyrynk Roman and Italic (2004, Richard Kegler, after work by Czech book artist Karel Dyrynk), Gothic Gothic (by James Grieshaber), La Danse (by Gábor Kóthay;), Mucha (by Christina Torre), Preissig Lino (by Richard Kegler), P22Typewriter (2001, Richard Kegler, a distressed typewriter font), the William Morris set (Morris Troy, Morris Golden, Morris Ornaments, based up the type used by William Morris in his Kelmscott Press; 2002), Art Deco Extras (2002, Richard Kegler, James Grieshaber and Carima El Behairy), Art Deco Display, the Benjamin Franklin revival font Franklin's Caslon (2006), Dada (2006) and the Art Nouveau font Salon (bu Christina Torre). In 2006, Kegler added Declaration, a font set consisting of a script (after the 1776 declaration of independence), a blackletter, and 56 signatures. Many of the fonts were designed or co-designed by Richard Kegler. International House of Fonts subpage. Lanston subpage (offerings as of 2005: Bodoni Bold, Deepdene, Flash, Fleurons Granjon, Fleurons Garamont, Garamont, Goudy Thirty, Jacobean Initials, Pabst, Spire). In-house fonts made in 2008 include Circled Caps, the Yule family (Regular, Klein Regular, Light Flurries, Heavy, Klein heavy, Heavy Snow, Inline; all have Neuland influences). Kegler / P22 created a 25-set P22 Civilité family in 2009 based on a 1908 publication from Enshedé, the 1978 English translation by Harry Carter, and a 1926 specimen also from Enshedé. P22 Declaration (Script, Signatures, Blackletter, 2009) is based on the lettering used in the 1776 Declaration of Independence. At ATypI 2004 in Prague, Richard spoke about Vojtech Preissig. Speaker at ATypI 2010 in Dublin, where he presented Making Faces: Metal Type in the 21st Century about which he writes: This film has the dual aim of documenting the almost-lost skill of creating metal fonts and of capturing the personality and work process of the late Canadian graphic artist Jim Rimmer (1931-2010). P22 type foundry commissioned Mr. Rimmer to create a new type design (Stern) that became the first-ever simultaneous release of a digital font and hand-set metal font in 2008. At ATypI 2011 in Reykjavik, he showed Making Faces. Typefaces from 2014: LTC Archive Ornaments (Richard Kegler and Miranda Roth). Typefaces from 2020: Showcard Script (by Terry Wüdenbachs, based on an original of Beaufont at the Hamilton Wood Type Museum, custom designed by the Morgan Sign Machine Company of Chicago). Typefaces from 2021: P22 Glaser Houdini (a layerable family, after Glaser's Houdini from 1964), P22 Glaser Babyteeth. Kegler writes: In 2019, P22 Type Foundry met with Milton Glaser (1929-2020) to initiate the official digital series of typefaces designed by Glaser in the 1960s and 70s. P22 Glaser Babyteeth is the first family released in the series. Milton Glaser's inspiration for his Babyteeth typeface came from a hand painted advertisement for a tailor he saw in Mexico City. He was inspired by that E drawn as only someone unfimilar with the alphabet could have concieved. So he set about inventing a completelly ledgible alphabet consistant with this model. P22 Glaser Babyteeth was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official Babyteeth fonts approved by Milton Glaser Studio and the Estate of Milton Glaser. The solid and open versions are designed to overlap for two-color font effects and can even be mixed and matched for multi layer chromatic treatments. In 2021, he published the 3d art deco shadow font P22 Glaser Kitchen which is based on Big Kitchen (1976). View Richard Kegler's typefaces. View the IHOF / P22 typeface library. [Google] [MyFonts] [More] ⦿ |
Pablo A. Medina
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Famous American movie title designer, b. 1935, Antilla, Oriente Province, Cuba, d. 2018. Pablo Ferro was raised on a remote farm before emigrating to New York with his family as a teenager. Ferro taught himself animation from a book by Preston Blair. In the mid fifties, he began freelancing in the New York animation industry for Academy Pictures and Elektra Studios. He met former Disney animator William Tytla, who became his mentor. Another peer was Stan Lee, the editor of Marvel Comics, with whom he created a series of science fiction adventure comics. In 1961 he became one of the partners to form Ferro, Mogubgub and Schwartz with animation stylist Fred Mogubgub and comics artist Lew Schwartz, and in 1964 he formed Pablo Ferro Films. Ferro worked on films such as Stanley Kubrick's Dr. Strangelove and The Thomas Crown Affair. Wikipedia: Ferro has won over 70 national and international awards, among them numerous CLIOs, a DGA Excellence in Film Award, and several Lifetime Achievement awards. He has also received nominations from such highly regarded institutions as the Smithsonian Cooper-Hewitt. In 1999 Pablo was awarded the prestigious DaimlerChrysler Design Award, and in 2000 Pablo was inducted into the Art Directors Hall of Fame. His beautiful and quirky movie titling inspired many typefaces:
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Pagan&Sharp
| Queens, New York-based designer and art director. He received his BFA from Parsons School of Design in 2006, and completed his postgraduate studies in typeface design at The Cooper Union in 2011. At Behance, he is showing some typefaces he created, such as Malleable Grotesque (2009), and Powell (2009, roman letters). Some of his posters, such as Three Olives Vodka, are also nice. In 2011, Lucas Sharp and Juan Carlos Pagan set up Pagan&Sharp in Brooklyn, NY. Foundry link at MyFonts. Together, Pagan and Sharp published Malleable Grotesque Regular (2011). Pagan and Sharp closed its doors (some time ca. 2015) and they went their own way: Carlos Pagan can be found at Juan Carlos Pagan, and Lucas Sharp continues at Sharp Type. In 2018 He received the Type Directors Club Ascenders Award which recognizes the work of designers who are 35 years of age and under for their remarkable achievement in design, typography, type design, and lettering. He is currently the founding partner and Executive Creative Director of Sunday Afternoon. [Google] [MyFonts] [More] ⦿ |
Parsons The New School for design (was: Parsons School of Design) | Design school in New York. Experimental typography course by Charles Nix. Experimental Typography: Spring 2002. Experimental Typography: Fall 2001. Book Design: A History in Latin. Current type design professors include James Montalbano. [Google] [More] ⦿ |
Partners and Partners
| A design practice in New York City focusing on print, exhibition, interactive and identity work with clients and collaborators in art, architecture, public spaces and activism. Designer in 2015 at MIT of the (free) Caslon 44 typeface family, and Sans 44 (which is based on GNU Free Sans). [Google] [More] ⦿ |
New York-based designer of Fellman Type (2011). [Google] [More] ⦿ | |
Patrick Branigan (Albany, NY) received my BFA in Communication Design from the University at Buffalo in 2010. Behance link. In 2010, he made the experimental geometric typefaces Mouse, Refresh, and EDM. [Google] [More] ⦿ | |
Bayville, NY-based graphic designer who created the hairline monoline sans typeface Sly (2012). [Google] [More] ⦿ | |
Patrick McGrath
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Drawing of her by Eric Gill. Life story. Beatrice Warde was educated at Barnard College, Columbia, where she studied calligraphy and letterforms. From 1921 until 1925, she was the assistant librarian at American Type Founders. In 1925, she married the book and type designer Frederic Warde, who was Director of Printing at the Princeton University Press. Together, they moved to Europe, where Beatrice worked on The Fleuron: A Journal of Typography (Cambridge, England: At the University Press, and New York: Doubleday Doran, 1923-1930), which was at that time edited by Stanley Morison. As explained above, she is best known for an article she published in the 1926 issue of The Fleuron, written under the pseudonym Paul Beaujon, which traced types mistakenly attributed to Garamond back to Jean Jannon. In 1927, she became editor of The Monotype Recorder in London. Rebecca Davidson of the Princeton University Library wrote in 2004: Beatrice Warde was a believer in the power of the printed word to defend freedom, and she designed and printed her famous manifesto, This Is A Printing Office, in 1932, using Eric Gill's Perpetua typeface. She rejected the avant-garde in typography, believing that classical forms provided a "clearly polished window" through which ideas could be communicated. The Crystal Goblet: Sixteen Essays on Typography (1955) is an anthology of her writings. Wood engraved portrait of Warde by Bernard Brussel-Smith (1950). [Google] [MyFonts] [More] ⦿ | |
American type designer. He published the grunge typeface Decomic Oblique at Volcano: Decomic Oblique is one of the handmade fonts of illustrator Paul Hoppe who lives in New York. The font was digitized by Boris Kahl in 2005. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Brooklyn, New York-based designer (b. 1992) of the free retro computer emulation font Data Twenty (2021). [Google] [More] ⦿ | |
Typefaces influenced by his lettering:
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New York-born graphic designer and art director (1914-1996). He is the author of Thoughts on Design, Design and the Play Instinct, The Trademarks of Paul Rand, and Paul Rand Miscellany, as well as numerous papers on design, art, typography. Paul Rand is best known for his corporate logo designs, including the logos for IBM, UPS, Enron, Morningstar, Inc., Westinghouse, ABC, and NeXT. He was one of the first American commercial artists to embrace and practice the Swiss Style of graphic design. Rand was a professor emeritus of graphic design at Yale University in New Haven, Connecticut where he taught from 1956 to 1969, and from 1974 to 1985. He was inducted into the New York Art Directors Club Hall of Fame in 1972, and was an inspiring speaker. In 1984 he was awarded the TDC Medal by the Type Directors Club in New York. Interview. Art Chantry called him a corporate whore and explained it this way: He sort of invented the term in graphic design circles. He even designed logos that went on nuclear warheads. His final project was the Enron logo. Despicable, really. His typefaces include Westinghouse Gothic and Westinghouse Gothic Light. Mac McGrew writes: Westinghouse Gothic is a contemporary condensed gothic of uniform line weight, developed in 1960 by graphics design consultant Paul Rand for Westinghouse Electric Corporation. It was derived from lettering Rand had done earlier for the company logotype and originally used on signs; that was condensed to save space with the long name. It is distinguished by the unusual st ligature, for use in the company name. In 1964 that company had matrices made by Monotype, with exclusive rights to the typeface for two years. A lighter version was cut a few years later. MyFonts writes: A giant of American graphic design, with the logos of IBM, Westinghouse, American Broadcasting Co., United Parcel Service, and NeXT Computer to his credit. Author of several books on the graphic design process. From 1935 he ran his own studio in New York. From 1956 he was a professor of graphic design at Yale. He continued designing until well into the 1990s. In his 1999 biography of Rand, Stephen Heller writes: He was the channel through which European modern art and design Russian Constructivism, Dutch De Stijl and the German Bauhaus was introduced to American commercial art. Author of these texts:
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Paul Shaw
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Paul Shaw
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On Ocober 15, 2018, he was attacked in New York City and severly injured. There is a GoFundMe site to help him pay his extensive medical bills. Designer of the Kolo LP art nouveau family (with Garrett Boge) in 1996 at Letterperfect Design. He was inspired by the lettering of Koloman Moser, Gustav Klimt, Alfred Roller, and other members of the Secession, Vienna's turn-of-the-century Art Nouveau movement, in the design of Kolo. Garrett Boge and Paul Shaw made the fun handwriting font Bermuda LP in 1996. At LetterPerfect (which he started with Garrett Boge in 1996), he co-designed Kolo (1996), Tomboy, Beata, Donatello, Ghiberti, Pietra, Pontif (roman capitals), Cresci (roman capitals), Old Claude LP and Uppsala LP (1998) with Garrett Boge. At Agfa/Monotype, you can buy his calligraphic fonts Göteborg LP (1998), Stockholm LP (1998, with Garrett Boge), and Uppsala. His books:
At ATypI in Rome in 2002, he spoke about the revival of the roman capital in the 15th century, and lettering in fascist Italy. At ATypI 2017 in Montreal, he spoke on the evolution of Dwiggins's Electra. Paul Shaw has been honored with the 2019 SOTA Typography Award. FontShop link. [Google] [MyFonts] [More] ⦿ | |
He created Library of the Printed Web, a curatorial project organized around artists who use screen capture, image grab, site scrape and search query to develop printed matter from content found on the web. He founded the design firm Soulellis Studio in 2001 and produces work for clients like Cornell University, TED, Waterworks, Esri, the Rockefeller Foundation and the Municipal Art Society of New York. Creator of two free typefaces:
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Graphic designer and typographer in Big Flats, NY. Behance link. He created a squarish logotype for Streeter Associates Inc (2010). [Google] [More] ⦿ | |
Hicksville, NY-based creator of the display typeface Louder (2013). Behance link. [Google] [More] ⦿ | |
Partner at Pentagram, who teaches design at SVA in New York City. TDC medalist in 2006. In her recent redesign of the visual identity for The New School, a private university in New York City, Scher commissioned Peter Bilak of Typotheque to design the (bespoke) variable font Neue. Neue's letterforms, based on Bilak's font Irma, are governed by a custom algorithm that alternates regular, extended and very extended widths of the same font within a block of type. Keynote speaker at ATypI 2017 Montreal. Recipient of the 2017 SOTA Typography Award. [Google] [More] ⦿ | |
Raised in Texas, and a graduate of Parsons in New York, Paulina Ho designed the copperplate script typeface Bedonir (2013). Behance link. [Google] [More] ⦿ | |
New York-based graphic designer who created Melodia (2011). [Google] [More] ⦿ | |
Valley Stream, NY-based designer of the Indic simulation typeface Indic (2018). [Google] [More] ⦿ | |
Peacelettering
| New York-based designer of the connected monoline script typeface Forest Hills (2017). [Google] [More] ⦿ |
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As a student at the School of Visual Arts in New York, Penny Sachdeva designed a typeface for a hypothetical Tokyo 2020 Olympics campaign, and a modular stencil typeface, lacuna (2019). [Google] [More] ⦿ | |
Michael Bierut studied graphic design at the University of Cincinnati's College of Design, Architecture, Art and Planning, graduating summa cum laude in 1980. Prior to joining Pentagram in 1990 as a partner in the firm's New York office, he worked for ten years at Vignelli Associates, ultimately as vice president of graphic design. Bierut's clients at Pentagram have included the Alliance for Downtown New York, Benetton, the Council of Fashion Designers of America, Alfred A. Knopf, the Walt Disney Company, Mohawk Paper Mills, Motorola, MillerCoors, the Toy Industry Association, Princeton University, Yale School of Architecture, New York University, the Fashion Institute of Technology, the Brooklyn Academy of Music, the Library of Congress, the Museum of Sex, and the New York Jets. His projects have ranged from the design of "I Want to Take You Higher," an exhibition on the psychedelic era for the Rock and Roll Hall of Fame and Museum, to serving as design consultant to United Airlines. Bierut's recent activities have included the development of a new identity and signage for the expanded Morgan Library and Museum; the development of environmental graphics for The New York Times Building; the design of an identity and public promotion for Philip Johnson's Glass House; the creation of marketing strategies for the William Jefferson Clinton Foundation; the development of a new brand strategy and packaging for luxury retailer Saks Fifth Avenue; and the redesign of the magazine The Atlantic. He has won hundreds of design awards and his work is represented in the permanent collections of the Museum of Modern Art (MoMA), the Metropolitan Museum of Art, and the Cooper-Hewitt, National Design Museum, all in New York; the Library of Congress in Washington, D.C.; the Museum für Kunst und Gewerbe, Hamburg, Germany; and the Musee des Arts Decoratifs, Montreal. He has served as president of the New York Chapter of the American Institute of Graphic Arts (AIGA) from 1988 to 1990 and is president emeritus of AIGA National. He currently serves as a director of the Architectural League of New York and of New Yorkers for Parks. In 1989, Bierut was elected to the Alliance Graphique Internationale, in 2003 he was named to the Art Directors Club Hall of Fame, and in 2006 he received the profession's highest honor, the AIGA Medal, in recognition of his distinguished achievements and contributions to the field. In 2008 he received the Design Mind Award in the National Design Awards presented by the Cooper-Hewitt, National Design Museum, Smithsonian Institution. Bierut is a Senior Critic in Graphic Design at the Yale School of Art. He is co-editor of the anthology series Looking Closer: Critical Writings on Graphic Design, published by Allworth Press, and in 1998 he co-edited and designed the monograph Tibor Kalman: Perverse Optimist. He is a co-founder of the weblog Design Observer and his commentaries about graphic design in everyday life can be heard nationally on the Public Radio International program "Studio 360." His book Seventy-nine Short Essays on Design was published by Princeton Architectural Press in 2007. Occasionally, we find Pentagram fonts in the wild. For example, Fontastic Beast (2015) was designed by them for a Warner Bros movie. In 2017, Pentagram and Chester Jenkins of Village type revived Frederic Goudy's Sherman (1912) for Syracuse University. In 2017, Pentagram expanded on iconic album artwork by the duo Hipgnosis to create a visual identity for Pink Floyd Records. The new alphabet was created in both solid and outline versions. The original stencilled lettering used for the band's 1977 Animals album has been extended into a full alphabet and used in a logotype for the group's record label. Pentagram's creative team, led by partner Harry Pearce, worked closely with Hipgnosis' Aubrey Powell to create the alphabet, which includes solid and outline versions of letters. It is based on the iconic typography on the album Animals, designed by Hipgnosis in 1977. [Google] [More] ⦿ | |
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Twitter page. [Google] [More] ⦿ | |
During his studies at the School of Visual Arts in New York City, Pete Russo (aka Voodo Bownz) created the arts-and-crafts typeface Bownz (2013). He writes: "Bownz" is a decorative sans-serif typeface that borrows elements from mystical voodoo symbols known as veve's as well as the distinct style of artist Charles Rennie Mackintosh. He also made NYC Marble Cemetery Type (2013), based on letters found at the entrance of that cemetery. Behance link. [Google] [More] ⦿ | |
Peter Bain
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Peter Bain Design (was: Incipit)
| Incipit, or Peter Bain Design, was Peter Bain's type and graphic design studio in Brooklyn, New York. It closed down gradually between 2007 and 2010. Peter Bain received his M.F.A. in Design: Visual Communications from Virginia Commonwealth University. He was type director at Saatchi&Saatchi Advertising in New York, and taught at Parsons/The New School for Design and Pratt Institute in New York. After Saatchi, and before Incipit, he was freelancing. After Incipit, he relacted briefly to Virginia to attend VCU and then went on to Mississippi, where he was Assistant Professor of Art, Graphic Design at Mississippi State University. He lived then in nearby Starkville, MS. He is currently located in Birmingham, AL. He is best known for his wonderful book Blackletter: Type and National Identity (1998, with Paul Shaw). His photocomposition display typefaces were reedited and available in reproduction proofs (for a short time). The photocomposition display typefaces are in two-inch film format, as formerly used on machines such as the Typositor and Filmotype. They are being held in storage, and are no longer listed for that reason. PDF format list. Text format of Bain's file. Bain says he built this from the Typositor type libraries formerly offered by Techni-Process Lettering and Pastore DePamphilis Rampone, which he bought at an auction. Report on his talk in London on blackletter type (2003). MyFonts sells the 4-weight Josef Albers-inspired stencil family Gridiot (2003-2011). His thoughts about the art of Albers: Remember, any idiot can design a typeface on a grid: Gridiot. Speaker at ATypI 2006 in Lisbon. Speaker at ATypI 2013 in Amsterdam. MyFonts link. Behance link. Peter Bain Design. [Google] [MyFonts] [More] ⦿ |
Peter Bain surveys the era of photo-typography. His introduction: In the 20th century photo-typography fully displaced a 500-year-old tradition of metal type, only to be superseded itself shortly thereafter. Yet most appraisals of type technology and histories of proprietary typefounding still favor type for text instead of eye-catching display. One characteristic feature of 20th century typography was the great effort devoted to ephemera and advertising. This survey is a local view of a half-century, concentrating on display type in New York City. Since New Yorkers have been said to believe they are at the center of the planet, it is fascinating to find a time when it could appear nearly so, typographically. He goes on to explain why and how New york became the typographic center of the globe: The city in the first half of the 20th century was an established communications center for a burgeoning national market. There is ample evidence of local interest in unique letterforms. Sometime Queens-borough resident and typeface designer Frederic Goudy received a commission from retailer Saks Fifth Avenue. The successful New York illustrator and letterer Fred G. Cooper had his distinctive forms included in the same publications that featured an unrelated Windy City designer, Oswald Cooper. Architect H. Van Buren Magonigle and industrial designer Walter Dorwin Teague had both skillfully rendered capitals for print, while their Manhattan offices pursued projects in three dimensions. One of the more curious examples of this fluency in letterforms was a 1943 booklet issued by the Brooklyn-based Higgins Ink Co. The largest portion was a portfolio of thirty-two script alphabets and fictitious signatures by Charles Bluemlein, each accompanied by a handwriting experts interpretation of the admittedly invented specimens. The requirements of publicity and publishing helped drive the demand for handlettering. By 1955, one knowledgeable estimate placed over 300 professional lettering artists working in New York at both comprehensive (layout) and finished levels. It was in a landscape of album covers and bookjackets, magazine and newspaper advertising, trademarks and slogans, store signatures and letterheads, billboards and signs (created by sign artists, not usually graphic designers) that display phototype was emerging in sharp focus. This may have been the peak of market demand for lettering. [Google] [More] ⦿ | |
American typefounder who was based in New York. In 1850, he bought the equipment of the Lothian Type Foundry of George Buxton Lothian. [Google] [More] ⦿ | |
Or Peter Fahrni. Graphic designer from New York, called Peter Fahrni at MyFonts and Peter Fahmi at Klingspor---this is a case of tight typesetting, rn being read as m or vice versa. Creator of the slabbed shadowed outline caps typeface Quadrus (Letraset, 1990). In 2014, he created an untitled squarish unicase typeface family. Klingspor link. Behance link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Peter Girardi/Chris Capuozzo
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New York-based foundry, which later became the Manhattan Type Foundry. [Google] [More] ⦿ | |
Phaedra Charles
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Phil Bracco
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Phil LePine
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New York City-based designer of the grungy Disabuser (2011). Home page at CLR Printing Plus. [Google] [More] ⦿ | |
Since 1992, he has been teaching typography at the Ecole Nationale Superieure des Arts Decoratifs. In 2012, the people at Nouvelle Noire in Zurich helped produce several of Apeloig's typefaces:
Alternate URL. Photograph. Winner in 2009 of the typographic design award of the International Society of Typographic Designers (ISTD). Nouvelle Noire Behance link. Klingspor link. [Google] [More] ⦿ | |
Photo-Lettering Inc.
| New York based photocomposition, lettering and digital type business active from 1936-1997, cofounded by Harold Horman and Edward Rondthaler in 1936 (in 1928, but only open for business in 1936). Its designers included Bob Alonso, Vincent Pacella, Vic Caruso, Herbert Post, Holly Goldsmith, and Ed Benguiat. It sold type drawn by the likes of Herb Lubalin, Milton Glaser, Seymour Chwast and many others. It was one of the earliest and most successful type houses to utilize photo technology in the production of commercial typography and lettering, employing over 200 people at its peak. It folded ca. 1990. Ed Benguiat: The alphabet styles in this collection, many of which took over 200 hours to complete, were drawn with pen and ink to exacting standards by veteran lettering artists. I know....during my 35 years employed by Photo-Lettering I produced over 500 complete fonts. In all, 6500 fonts were produced. A partial time line was offered by Peter Bain (italics are quotes from Bain):
In 2003, the entire collection was bought by House Industries. Its fonts included ITC Flatiron (a very wide caps typeface published by ITC in 1997), BenguaitCharisma (1993), FourthOfJuly (1992), Swinger (1992), Parchment (1993), ITC Musica (1996, which was Bel-Canto at Photo Lettering in 1968), and ITC Static (1996; called Bounce at Photo Lettering). Photo-Lettering Collection Revival link at MyFonts. View their typeface library. More images of digital typefaces based on the Photo-Lettering collection. [Google] [MyFonts] [More] ⦿ |
Several years ago, the "DPalatino" and "DTimes" fonts for Pali (Mac only) were available as part of Robillard's "Tibetan on the Macintosh" font package, at a cost of about US$70 from Snow Lion Publications (PO Box 6483, Ithaca, NY 14851-6483; Tel: 800-950-0313 or 607-273-8519). No web page known. [Google] [More] ⦿ | |
Pik Chu Ahmetaj (b. Hong Kong) studied at Tompkins Cortand Community College Upstate NY, and at the Fashion Institute of Technology in NYC. Her decorative caps Garden typeface (2013) is based on Century Gothic. [Google] [More] ⦿ | |
Pink Broccoli
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In 2012, Bracco published Mister Rii PB. In 2013, Phil Bracco designed Screwby (offbeat retro style that started out as a digitization of the film typeface Surf by Lettergraphics) and Contraption (an octagonal typeface family that started out as a digitization of a film typeface called Intrigue by Lettergraphics). Typefaces from 2014: Wonderbear PB (a cartoon typeface based on the title screens and comic books of the Hair Bear Bunch), Sackem PB (Bracco explains: Sackem started as a digitization of a singular film typeface called Benman Jumbo by Lettergraphics. From there, this mechanical typeface was expanded into a giant family of playful widths and obliques: from the condensed Slim style to the original Jumbo style). Typefaces from 2015: Beaucoup PB (Beaucoup started as a digitization of a film typeface called Bippie by Facsimile Fonts), Luckmeister PB (offbeat, retro and cartoonish, from the vintage record cover, Music from MR. Lucky, composed and conducted by Henry Mancini), Good Grief PB (which started out as a digitization of a film typeface called Carmel by Letter Graphics), MardiKrewe PB (funky psychedelic letters, described by Phil as delightfully insane; it started as a digitization of a film typeface called MardiGras by Lettergraphics). Typefaces from 2016: Cat Burglar PB (inspired by the titling of a 1961 Looney Tunes cartoon called "The Pied Piper of Guadalupe"), Birthday Wish PB (beatnik style), Flawless Flygirl PB (beatnik style), Jus Hangin PB (children's script inspired by the lettering on the cover of the 1999 Counting Crows album "This Desert Life"). Typefaces from 2017: Roadie PB. Typefaces from 2018: Roadie PB, Chilidog PB, Cattleprod PB, Varmint PB (an offbeat flared serif font inspired by the titling of the early 1970s Yosemite Sam & Bugs Bunny comics from Gold Key), Nudity PB (a revivo the film font Ad Shadow by LetterGraphics as a layerable font), Wintermint (a revival and extension of the flared almost psychedelic typeface Lori by LetterGraphics). Nudity PB, Wintermint, Patsy PB (beatnik style). Typefaces from 2019: Ridiculous PB (beatnik), Troubled PB, Blackhole PB (a digitization of a bullethole psycjedelic film typeface known as Circue Solid by LetterGraphics), Stacked Deck PB (a retro font), Mushmouth PB (based on Lettergraphics' cartoon font Albert), Rackem PB (a beatnik font that started as a digitization of a film typeface known as Eightball by LetterGraphics). Typefaces from 2020: Jughead PB (inspired by Cooper Black and Archie Comics). Typefaces from 2021: Uncanny Cat PB (a beatnik font), Goondocks PB (octagonal; a faithful recreation of the titling font from 1985 film, The Goonies), Friday Freak PB (a beatnik all caps typeface inspired by the 1976 Disney movie Freaky Friday), Soulfinger PB (a psychedelic and beatnik hybrid). |
New Yorker. Designer of the dingbat family Linotype Facts of Life (1999). [Google] [MyFonts] [More] ⦿ | |
Pixelspread
| Graphic designer currently working at Pentagram Design in New York. He graduated from Savannah College of Art and Design, and is originally from Western Massachusetts. At the Typesites page, Matt McInerney looks at sites that have great typographic design. He created Raleway (2009, a free hairline sans; the Google Web Fonts typeface Raleway Dots (2012) is by Brenda Gallo, Matt McInerney, Rodrigo Fuenzalida and Pablo Impallari; see here for a complete extension of Raleway between 2010-2013 by Matt McInerney, Pablo Impallari and Rodrigo Fuenzalida), New Alphabet (2008), an octagonal font based on Wim Crouwel's New Alphabet, using FontStruct. (For a commercial version of New Alphabet, check Architype New Alphabet (The Foundry). He also made Pentagrid (2009, on a 5x5 grid; +Pentagrid v2, +Pentagrid Alphabet), Dotserif, and Neuescreen, typefaces that are in the mold of New Alphabet. Orbitron (2009) is a great free futuristic sans family published at The League of Movable Type: it is a geometric sans related to both Eurostile and Bank Gothic. Romina Vespasiano made a great specimen poster for Orbitron in 2012. Allerta (+Stencil) (2010) is an open source typeface designed for use in signage. Allerta was designed to be easily and quickly read from a distance. Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other. Google Directory link. FontStruct link. Abstract Fonts link. Klingspor link. Home page of Matt McInerney. [Google] [More] ⦿ |
PixsHub
| New York City-based site specializing in vector format icons, possibly run by Sanjay Makasana. Most of their sets are free. They include Justicons, Stroke Gap Icons, Stokicon, 220Glyph Icons, Planetary Icon Set, 56 Free Line Icon Set, Rounded Icon Set, Crispy Icons, Pixelvicon Icon Set, PixelKit Icons, Line Icon Set, Abstract UI Icons, Kitchen Icons, and Wireframe Icons. Behance link. Behance link for Sanjay Makasana. [Google] [More] ⦿ |
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Graphic designer in Brooklyn, NY, who created an ornamental caps typeface called Type Fetish (2012). [Google] [More] ⦿ | |
Polygraph
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Queens, NY-based creator of the decorative caps typeface Patterns (2013). [Google] [More] ⦿ | |
Company in New York City that sells charts. In their collection, there are some nice typographic posters that explain the anatomy of type to beginners. [Google] [More] ⦿ | |
Popskraft Lab
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In 2018, he designed the spurless sans Alterhard and the plump script font AlPuzato. In 2019, he published the wide display sans typeface AlterGlam and Beebzz Rounded. Typefaces from 2020: Cattyfox, Alterglam (a wide and fashionbable geometric sans family, started in 2019), Neonlife (a multiline neon font). Typefaes from 2021: Arbus (a 9-style informal supermarket sans), Revolancer (letters turned ninety degrees; followed in 2022 by the 9-style display sans Revolancer ProBeaverist (a 9-style monolinear vernacular marker pen font), Exelancer (a 10-style futuristic typeface), Alterhard (a 9-style gaspipe sans) (a 9-style condensed spurless sans with large x-height, started in 2018). [Google] [MyFonts] [More] ⦿ |
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Postage Stamps by Type Designers
| Kat Ran Press (Cambridge, MA) has an extensive collection of postage stamps by type designers such as Peter Bil'ak, Neville Brody, Walter Brudi, Wim Crouwel, S.H. de Roos, Adrian Frutiger, Eric Gill, S.L. Hartz, Lance Hidy, Max Kisman, Jan Van Krimpen, Jean-Benoit Lévy, Gerrit Noordzij, Erik Spiekermann, Reynolds Stone, Georg Trump, Gerard Unger, Julian Waters, and Hermann Zapf. The Kat Ran Press was founded in 1994 by Michael and Katherine Russem. [Google] [More] ⦿ |
Free Bishnupriya Manipuri language fonts called Pouri and Uttam Singha (1999, truetype). By Pouri Computers, Jamaica, NY. Uttam Singha is the designer/owner. [Google] [More] ⦿ | |
Authors in 1879 of New Spencerian Compendium of Penmanship (1879), in which they continue the work of their famous father, Platt Rogers Spencer. [Google] [More] ⦿ | |
In 2019, they art directed the custom typeface Kymco for a motorcycle brand. Again, the type production was by Jordi Embodas (tipografies). [Google] [More] ⦿ | |
Some typography is taught in the Graphic Design program at New York's Pratt Institute. At one point, Jesse Ragan was a visiting instructor. [Google] [More] ⦿ | |
Precision Type
| Font vendor active from 1994 until 2004, when it closed. It was located at 47 Mall Drive, Commack, NY 11725, USA, and distributed the fonts of hundreds of designers. Michel Bujardet from Match Software whose fonts are partially sold by them complained that no sales were reported to him. His posting on a type list: "since TypeCon 98, the word was in the type design community that they never seemed to report any sales to the authors." Contact: Brenda Newman. This site reports the following in May 2006: Protocall Technologies Incorporated (OTCBB: PCLI) http://www.protocall.com/ today announced that Bruce Newman, the company founder and a member of the board of directors, has assumed the post of President and Chief Executive Officer, effective immediately. Mr. Newman succeeds former Chief Executive Officer Donald J. Hoffmann, who will continue in an advisory capacity with Protocall. [...] Protocall to Focus on Developing Opportunities in Entertainment DVD Market. [...] During Mr. Newman's earlier tenure at Protocall, he assembled the company's management, product development, operations and sales teams; managed equity financings; and secured first-time ever licensing agreements from Symantec, Intuit, Corel, Atari, Vivendi Universal and many other software companies to reproduce their products at point-of-sale locations. Additionally, Mr. Newman structured first-time electronic distribution deals with CompUSA and other major resellers. Prior to Protocall, Mr. Newman founded a software distribution company that became one of the world's largest niche distributors of high-end font software products to the book publishing and professional design industries. Mr. Newman is an inventor of record on two U.S. patents in the area of electronic product delivery and co-author of a book on computer typeface software for professional users. [Google] [More] ⦿ |
Three CDs with 5000 fonts from Adobe/Linotype, Agfa Type, Agfa Logos, Alphabets Inc., Andersen, Bear Rock, Bitstream, Carter&Cone, Diehl Volk, EmDash, FontBureau, TheFontCompany, FranklinTypeFound, Galapagos, HandcraftedFonts, Harris Design, Headliners Int., Intecsas, Int.Typeface Cor., Isis Imaging, Jack Yan&Ass., Key Borders, Lanston Type, Letraset, Letter Perfect, Monotype, NewYorkDesign, NIMX Graphics Page Studio, PolyType, Red Rooster, Russian Type, Christian Schwartz, Stone Type, Torah, Treacyfaces, [T-26], URW, Vanguard Media, ABC Design, Adagio, Addict Inc., Aerotype, Arthur Baker, Castle Systems, Coniglio, Design Lab, DS Design, Justified Type, Lunchbox Design, Maverick Design, mindCANDY, P22, Plazm Media, Psy/Ops Type, Richard Beatty, Synstelien Design. The book "Precision Type Font Reference Guide" by Jeff Level, Bruce Newman and Brenda Newman shows more than 13,000 typefaces. [Google] [More] ⦿ | |
Company in New York City, that created the handcrafted typefaces Squiggle (2016), Suzette (2016), Sugar Cake (2016), Candelabra (2016), Fresh Berry (2016), Glimmer (2016), and Olivia (2016). [Google] [More] ⦿ | |
Henry Pinkham's company in New York that published fonts like Poor Richard in 1994. Poor Richard is based on the Ben Franklin typeface by Keystone Type Foundry, ca. 1919. Possible download site for Poor Richard. The company was still active around 1996, but probably disappeared soon after that. [Google] [More] ⦿ | |
Prototype Experimental Foundry
| Commercial foundry, est. 1994 in Brooklyn by Charles Wilkin (b. Buffalo, NY). Designers selling their fonts through them include
Free fonts by Charles Wilkin: Creep (1995), Cypher (1997), Nude (1995), Pixely (2002). Alternate URL. At MyFonts. Dafont link. Personal web site. View Charles Wilkin's typefaces. [Google] [MyFonts] [More] ⦿ |
Prototype Studio (or: Equinox Studio, or: Kensington)
| Or Umi Kholifah, or Yudha Chibi, or Dwi Yudha, or Kensington, or Equinox Studio, or Prototype Studio, or Chouji Kripik, or Kevin Yudha, or Matt Diamond. Cirebon (or New York)-based Indonesian designer of Romantika (2017: signature font), Black Jack (2017: font duo), Kensington (2017: hairline connected script), Tanzania (2017: brush script), Dahlia (2017: brush script), Kalimantan (2017: calligraphic script), Crayonila (2017: an upright calligraphic brush script) and Altequera (2017: squarish typeface). Typefaces from 2018: Royal Script, Magic & Chic, Katulamp (font duo), Chateau de Gudanes, Taleful (brush script). Early Creative Market link. Creative Market link. [Google] [More] ⦿ |
Prototype-NY (was: Handcraftedfonts)
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Jonathan also made commercial fonts available via Phil's Fonts, such as the interesting Murder Mystery Font, EdoFont (great Japanese decoratives), Frankenfont, Frankenfont Careers, FunToUseFonts, HF American Diner (a 3d shadow typeface), Broadstreet, Exposition, Antique Row, Doodle, Libris (great!!!), Edofont (Japanese crests), Newgarden (more!!), and Poster. At Umbrella Type, he published Exposition and Exposition Rounded (2004, a type revival influenced by an Italian poster designed by Leopoldo Metlicovitz in 1906 for the opening of the Simplon Tunnel), Libris (2004, a great and very clean revival of a 12th century Spanish script), and Poster (2004, partially influenced by Egon Schiele's hand-lettered poster for the 1918 Vienna Secession. He also makes custom fonts, logos and signatures. Dafont link. Klingspor link. FontShop link. [Google] [MyFonts] [More] ⦿ |
Pucker(type)
| Chris Risdon (b. 1972, New York, NY) founded Pucker(type) in 2004. Rison holds an MFA in type design. Pucker(type) is located in Savannah, GA. He designed Cheek (techno family), SAV Display (2005, T-26), and Satellite (3-weight octagonal family). MyFonts sells Cheek PT, Satellite PT (octagonal) and SAV PT (2005, medieval). These fonts can also be found at T-26 and Monotype Imaging. Klingspor link. [Google] [MyFonts] [More] ⦿ |
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Quad Typographers
| A typesetting and font vending compnay in New York City, active in the 1960s and 1970s. It was run---I think---by Mo Lebowitz (b. 1932, Washington, DC). Quoting the RIT Library: earned a BA degree from the University of Maryland. He spent two years in the Air Force, and then worked in the Washington area as an agency art director. He moved to New York in 1960 where he served, in turn, as art director for American Machine & Foundry, Savitt Studios, and Needham, Louis & Brorby. He opened his own design office in 1966, specializing in, among other things, the promotion and packaging of wine. However, he may have produced his most creative work in the basement of his North Bellmore, L.I., home as the proprietor, or "Prop," of the Antique Press, established in 1960. As the name implies, the Antique Press consisted of an eclectic collection of letterpress equipment, fonts of metal and wood type, and innumerable dingbats (printers' ornaments and cuts), along with a "multitude of parts, pieces, etc., that are at times not even known to the Prop. until he finds them by luck." Here Lebowitz produced a steady stream of posters, broadsides, pamphlets, and other ephemera that were widely collected by his friends and acquaintances in the graphic design community. In an interview published in Print magazine (Nov./Dec. 1964), [Google] [More] ⦿ |
FontStructor who made R160 Interior (2011), a dot matrix typeface that is based on an LED typeface used in the R160 MTA NYCT subway cars. He also made R160 Int Resize (2011), R160 Exterior (2011), R142 Interior (2011, a grid typeface based on actual R142 font. Used on New York City Transit Subway cars) and R142A (2011, a dot matrix typeface used on the R142/A MTA NYCT subway cars. It is the interior LED sign). [Google] [More] ⦿ | |
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Graphic designer in New York City who made a straight-edged but rounded typeface called Cato (2013) and the avant-garde typeface family Bagel (2013). Behance link. [Google] [More] ⦿ | |
Rachel Ake (New York, NY) created the informal and bouncy display typeface Jambo (2012). [Google] [More] ⦿ | |
New York City-based designer of the connected copperplate calligraphic script typeface Scalino (2014). Behance link. [Google] [More] ⦿ | |
Spring Valley, NY-based designer of 16th Century Gothic Capitals (2016). [Google] [More] ⦿ | |
During her studies, Rachel Suflita (Schenectady, NY) created the lachrymal typeface Rosebud (2014). [Google] [More] ⦿ | |
New York City-based creator of Cubed Display Font (2012). [Google] [More] ⦿ | |
Rachid Aitouaissi
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At the Pratt Institute, Brooklyn, NY-based Rae Crawford designed the decorative caps typeface Beautiful Insects (2017). Behance link. [Google] [More] ⦿ | |
Rae (or Rachael) James (Brooklyn, NY) created the ornamental typeface Benchmark (2013). Behance link. [Google] [More] ⦿ | |
New York City-based designer of Metalgami (2014). [Google] [More] ⦿ | |
Student in Jamaica, NY. Creator of Slabtastic (2012). [Google] [More] ⦿ | |
Ramón Abajo
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Production designer in New York. He created two monoline sans typefaces called Prototype (2012). The first one has a geometric avant-garde look. The second set falls in the rounded squarish category. Behance link. [Google] [More] ⦿ | |
During his studies in Brooklyn, NY, Ranone Henry designed the heavy display typeface Candy (2016). [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the stained glass font Stained (2013). [Google] [More] ⦿ | |
Randy Jones
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New York City based graphic designer from Düsseldorf, Germany, who is currently working at Pentagram. At the University of Applied Sciences Düsseldorf, he designed the sans typeface La Nord. [Google] [More] ⦿ | |
Great handletterer (b. 1929 in Far Rockaway, Long Island of Russian parents) who grew up in New York City. He studied lettering with Paul Standard, Georg Salter and Leo Manso at The Cooper Union and graduated from The Cooper Union in 1951. He worked at the same studio as Milton Glaser for the next three years. Rahael become a designer and worked for some time for Lippincott and Margulies in New York. Raphael lived in Colorado for a long time, but is now based in Bellingham, WA. In 1969 he patented a squarish typeface for Tyco Laboratories in Waltham, MA. In 1972, he moved to Newport, RI and resumed his career in lettering, calligraphy and graphic design. His typeface Avia (VGC) was an expansion of a logofont he did for Abex Corporation, almost like a stencil. It is now at Font Bureau, where Jill Pichotta has added the Light and Bold in 2000. His typeface Visa (1966, VGC) won the Second Prize in the 1966 VGC National Type Face Design Competition. Others (thanks, Alexander Tochilovsky) confirm what I thought---that Visa and Avia are the same thing. Finally, Sloop Script Pro (1994, Richard Lipton, Font Bureau) is based on Boguslav's designs. FontShop link. MyFonts link. [Google] [MyFonts] [More] ⦿ | |
Behance link. [Google] [More] ⦿ | |
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Ray Barber created the iconic logo for Saturday Night Fever. He taught typographic design at Pratt in New York for over 30 years. With Don Munson, former director at Ballentine Books, he created MGB Patrician (1980, Letraset). The letters MGB refer to Don Munson, Lynda Graham-Barber and Ray Barber (Lynda's husband). Digital revivals or remakes include Verve (Dieter Steffmann), Mazama Plain (Harris Type), Aegina (Brendel Informatik GmbH), and Protea (Castcraft/Opti), In the MyFonts forum of 2005, J-Louise Heron wrote: Don Munson, former Art Director of Ballantine Books, NYC---designed MGB Patrician. (The initials I believe were for him, his wife and partner, the Patrician for his daughter) At first it was a typositor exclusive at Haber. They would bill out 2 dollars a letter for each letter they set. Eventually, it was turned over to Letraset and made a rub-on transfer---with those great alternative "S"s... Mr. Munson left his job, Haber's shop moved into Image's shop, and old man Haber, left the office one night, took 4 steps outside the door, had a heart attack, and was found dead on the floor later that night. [Google] [More] ⦿ | |
Ray Cruz
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Raymond Mullin
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New York and Dubai-based creator of the 3d display face Aurec and the geometric outline face Hinge (2010). Cargo Collective link. [Google] [More] ⦿ | |
Utica, NY-based graphic designer who created some stunning typographic art in 2014. [Google] [More] ⦿ | |
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Graphic designer in New York City, who created the geometric solid typeface Blue Hue (2013). Behance link. [Google] [More] ⦿ | |
During his studies at the School of Visual arts in New York, Rebecca Liebert designed bespoke typefaces for a Chilean guitarist, Overhand Sam (2012), and for LES Magazine (2012). [Google] [More] ⦿ | |
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Florida, NY-based designer of an untitled modular display typeface in 2013. [Google] [More] ⦿ | |
New York City-based publishers of these books:
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In 2016, during her studies, Regina Coraldi (Albany, NY) created the Frank Lloyd Wright Stained Glass Font. [Google] [More] ⦿ | |
Armonk, New York-based designer (b. 1992) of the thin hand-printed slab serif typeface Megan Serif (2013). Megan Serif was made during her studies at Parsons, The New School of Design. Earlier, she created Sharpie Based Typeface (2011). Behance link. Dafont link. [Google] [More] ⦿ | |
Resident
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The connecxted script series Mina was published in 2013. It contains a subfamily called Mina Calligraphic. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Graphic design student at SUNY Purchase, NY. Creator of a dot matrix experimental face in 2011. [Google] [More] ⦿ | |
Designer in New York. Creator of a beautiful squarish poster font called Barrio (2006). As SquarePeg at FontStruct, he made the Braille font family Braille Basic (2008), as well as blob, Ligne Claire (2009, tri-line font), Bonset (based loosely on a 1919 alphabet by Theo van Doesburg, whose pseudonym for Dada poetry was I.K. Bonset), ribbon_inline, Ribbon (octagonal stencil), Tape Writer (shadow font based on the Dymo label writers), InstaFrieze, International Morse Code Stacked, Prometheus, Prometheus Light and Prometheus Shadow (2008, all inspired by a Fonderie Peignot typeface simply called No. 1229, dated 1896, and on condensed Grecian typefaces by Darius Wells and William Hamilton Page), Brite Lite (white on black billboard light font), strata_blocks, strata_dots, strata_dots_inverted, Chocobot Solid (Dark, Milk, White; cloned from the Chocobot series by Lex Kominek), Strata Blocks Caps (2009), Strata Dots Caps (2009), and Strat Blocks 2.0 (fountain effect dot matrix font). Abstract Fonts link. Behance link. FontStruct link. [Google] [More] ⦿ | |
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Don Rice's 65USD jazz or show type font called Golden Age. [Google] [More] ⦿ | |
Richard Diaz Granados
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Richard Kegler
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Richard Kegler
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Richard Lipton
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New York and Pasadena, CA-based designer of the display family Hierarchy, which won an award at the TDC2 2001 competition (Type Directors Club). Rie studied with Jens Gehlhaar at the Art Center College of Design. [Google] [More] ⦿ | |
Rina Miele (Sleepy Hollow, NY) created the free hand-printed vector art alphabet Pug (2009). She also made the curly family Acrylic, and the free hand-printed poster typeface Thin Things (2011). [Google] [More] ⦿ | |
Rina Miele
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Founder of Glyph Co in Brooklyn, NY, and Arlington, VA. Designer of the free slightly flared text typeface family Petrona (2019), which has a variable style. Google Fonts link for Petrona. [Google] [More] ⦿ | |
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Future graduate of Parsons, The New School for Design, class of 2017. New York City-based designer of the modular octagonal typeface Gothic Twist (2015, FontStruct). [Google] [More] ⦿ | |
Illustrator in New York City who runs Rob Blackard Studio. In 2016, Rob designed Children's Alphabet Art Print, and the octagonal typeface Rooftop. Behance link. [Google] [More] ⦿ | |
New York City-based designer of the handcrafted typeface Beth Ellen (2018). He writes: Beth Ellen is a simple, joyful handwritten font crafted after the penmanship of my mom, Beth Ellen Jelinski who passed away from cancer on March 5th, 2017. Fontsquirrel link. [Google] [More] ⦿ | |
Robert Alonso
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Robert Altemus
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In 2013, he published the brush script typeface French Kiss. [Google] [MyFonts] [More] ⦿ | |
Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Graduate of the Rhode Island School of Design, 2009-2012, who lives in Queens, New York. Creator of the modular straight-edged typeface Pronta (2012). [Google] [More] ⦿ | |
Robert Engle
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Robert Haas (b. 1898, Vienna, d. 1997, Valhalla, NY) studied at the Technischen Hochschule Wien and, under Rudolf Larisch, at the Wiener Kunstgewerbeschule. He started his private press Officina Vindobonensis in 1925 and emigrated to the USA in 1938, where he set up Ram Press in New York. Designer of the blackletter typeface Helen Fraktur (Monotype Serie Nr 308). [Google] [More] ⦿ | |
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Robert Lee
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Robert Petrick (was: rwpstudio)
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His creations include Boink (a comic book typeface done at Letraset, 1994, and later ITC), Africana (2011, fat family), Boink Rounded (2012), Boink Dropshadow (2012, a variation on ITC Boink), Boink Scratchy Outline (2013), Gargoyle, Rhino, Streets, Tusk, Tutti Frutti, Blowfish (2012), Blowfish Inline (2013), Facade Caps, Angelica, Mirror (2011, +Mirror Two, 2012). Typefaces from 2012: Pepino (loosely based on the classic font Hobo), Cherry Hill (an art deco era sans typeface), Blurt (hand-printed), Big Country, Bloop (hand-printed), Tagline (based on New York City graffiti). In 2013, he published the display typefaces Invertigo and Candyman. Grendel (2014) is a plumpish food signage typeface. Typefaces from 2017: Meme (squarish). Typefaces from 2018: SweetiePie (a monoline script that he calls casual faux antique). Typefaces from 2021: Petrick Boink (a loony cartoon font based on his own ITC Boink from 1990). FontShop link. Klingspor link. View Robert Petrick's typefaces. [Google] [MyFonts] [More] ⦿ |
Graduate of the School of Visual Arts in New York City. He created Helvetica Style Avant Garde (2012). [Google] [More] ⦿ | |
Robert W. Petrick
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Robothaus
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Dafont link. [Google] [More] ⦿ |
Robyn Makinson
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In 2013, David Jonathan Ross and Roger Black revived Nebiolo's Forma for the redesign of Hong Kong Tatler, a fashion mag, supervised and commissioned by Roger Black, who was then based in Hong Kong. Read about the whole process in this piece by Indra Kupferschmid. Page specially dedicated to DJR Forma. Frequent speaker at type meetings, including, for example, ATypI 2006 in Lisbon, ATypI 2009 in Mexico City (as co-organizer and session chair) and ATypI 2017 Montreal (keynote). Home page. His current interests include web typography, typeface delivery for the web and small portable devices, newspaper design, and newspaper web design. [Google] [MyFonts] [More] ⦿ | |
New York City-based designer of Crystalline (2018). [Google] [More] ⦿ | |
His early fonts were released at VGC, the Visual Graphics Corporation: VGC Aquarius (2, 4, 5, 6, 7, 8, Outline) (1967) (this was digitized in 2007 by Steve Jackaman as Aquarius), VGCArnholm Sans Bold (1965), VGC Fovea (1977). Arnholm also designed WTC Veritas for the World Typeface Center, New York, 1981-85. He created these headline typefaces for the Los Angeles Times, 1980: L.A. Times Regular, L.A. Times regular italic, L.A. Times Bold and L.A. Times Bold Italic. MyFonts page. Linotype bio. FontShop link. Klingspor link. View Ronald Arnholm's typefaces. [Google] [MyFonts] [More] ⦿ | |
His fonts are available from ITC, Bitstream and Elsner&Flake (such as Pioneer No2 EF). | |
New York City-based student-designer of the grungy typeface Rust (2018). [Google] [More] ⦿ | |
Born in the Ukraine in 1982, Ros Knopov is creative director and type designer, and runs Anti/Anti, a NYC design studio. Ros has lived in New York for 20 years and studied graphic design at the School of Visual Arts, before working for various NYC creative agencies and founding Anti/Anti in the summer of 2007. His first typeface is Opera (2005), a sans done with rick Granados at Stereo Type Haus---it is a lively sans with creative counter spaces. [Google] [MyFonts] [More] ⦿ | |
During her studies, Rosemary Straney (Oneonta, NY) created the Hebrew simulation font Quest (2015). [Google] [More] ⦿ | |
This New Yorker created an alphabet with flapjacks, and then digitized his Pancake Type (2010). I think that this had already been done many years earlier by Jason Lewis. [Google] [More] ⦿ | |
Graphic designer in Brooklyn, NY. Behance link. Creator of a very original threaded typeface called Burning Man Bold (2010). [Google] [More] ⦿ | |
Ross Mills
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Rowen Frazer has a beautiful mind: a great headline for web page. Based in Brooklym he is the creator of the ultra-black square block font Coq Bloq (2012). [Google] [More] ⦿ | |
Roxaboxen
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During his studies at Type@Cooper in 2012, he designed Anacapa, and writes: Anacapa is an attempt to subtly express, in type, the identity of my home state: the cool, gray calm of beach volleyball courts in the early morning, the dispersed energy of Los Angeles, the warmth of the sunlight on the rocky Central Coast... It is an imagined piece of California's vernacular, designed to be as flexible and complex as the emotional range it seeks to capture. His typeface Madtown (2019, Future Fonts) is inspired by letters from the American West, in particular the styles that have a capital oh with wedge-shaped serifs. In 2019, he also released the arts and crafts-inspired Mara des Bois at Future Fonts. Other typefaces by Graham include Ogilvy Serif (2021, with Jeremy Mickel), and Bacterium (2014, a molecular typeface done for Alexander Issey Inc; it has multiple versions for each glyph). Graham also helps with type design at MCKL Type, Jeremy Mickel's type foundry in Los Angeles. Future Fonts link. Home page. [Google] [More] ⦿ |
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New York-based graphic designer who created an ornamental typeface based on his chest hair: Wax (2005). With Seth Labenz, he created the origami family Grus (2009, T26). [Google] [More] ⦿ | |
Rube Mandel
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During her studies at Pratt Institute's upstate campus PrattMWP, Ruby Ann Muñoz (Utica, NY) created the vampire script typeface Mer de Noms (2014). [Google] [More] ⦿ | |
Russell Maret is a type designer and letterpress printer working in New York City. He is a fellow of the American Academy in Rome and the current North American Chair of the Fine Press Book Association. He has written and lectured widely on the intersection of letter design, technology, and the private press book. In 2012, he used Kickstarter to fund a metal type project for Cancellaresca Milanese and its companion roman, Gremolata. He writes: Cancellaresca Milanese is based on a type that first appeared in Milan in 1541 in the books of Giovanni Antonio Castiglione. The type distinguishes itself in its combination of calligraphic energy with a minimal slope in its lower case and its comparatively small, upright capitals. Generally viewed as a descendent of the typefaces of Ludovico degli Arrighi, Castiglione's type has a darker, rougher quality than Ludovico's---its grace is a forceful one. In the design of Cancellaresca Milanese I have attempted to retain the liveliness of Castiglione's original type by resisting the temptation to "correct" the slightly modulating alignment or homogenize the finial strokes on the ascending and descending characters. The type is outfitted with both corsiva (as in the original) and formata descenders as well as a significant number of compound ligatured characters. He already did digital versions: I first developed the digital predecessor of the type for my book Aethelwold Etc in 2009 and I have used it in a few publications, taking each opportunity to redraw and refine the characters. I designed Gremolata in 2011 as a companion roman for Cancellaresca Milanese to be used in my book Specimens of Diverse Characters. For Gremolata, I designed a slightly larger set of capitals based on those in the Cancellaresca, and paired them with a lower case that is inspired, but not based on, Alpine typefaces of the mid-sixteenth century. [Google] [More] ⦿ | |
This machine was developed in New Jersey from 1928 until 1936 for the banknote industry. It feartured master alphabets on glass plates, effectively stating the photo-lettering era. Peter Bain writes: Only a mere handful of the Rutherford machines had been sold and put into use. The Electrographic Corporation, then owner of one of New York City's leading typographers, decided to launch a start-up proposed and staffed by departing Rutherford employees, notably Edward Rondthaler and Harold Horman. The new midtown firm of Photo-Lettering Inc., starting in 1936, took advantage of the underutilized technology, and claimed an early commercialization of phototype. While not text photocomposition, Photo-Lettering was never handlettering as the name implied. Photography freed the typographic image from the historic constraints of metal, allowing flexibility in scale, dimension, and position, variations which had previously required letter-drawing skills. [Google] [More] ⦿ | |
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His typefaces:
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Aussie designer in Brooklyn, NY. His beveled typeface Mosaic (2012) was inspired by the mosaic typefaces of the New York Subway. [Google] [More] ⦿ | |
Ryan Welch
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Ryan Wesley Brown is a New York City-based actor. He studied at Muhlenberg College in Allentown, PA. He graduated in 2009 with a BA in Theatre, Dance, and Russian Studies. He created Passé Simple (2011, iFontMaker), a condensed hand-printed typeface. [Google] [More] ⦿ | |
Designer based in Montreal, New York and Bern. Devian Tart link. He created the roundish high-contrast art deco typeface Artificial Timepiece (2011). [Google] [More] ⦿ | |
Saad Dean Abulhab
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New York City-based graffiti artist. The graffiti / tattoo script typeface Sabe Ghetto Gothic (2006) by Christian Acker is based on his original drawings. [Google] [MyFonts] [More] ⦿ | |
Sabrina Nacmias
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American grpahic designer, b. 1921, Waimea, Hawaii, d. 2010, Greenport, Long Island. He grew up in Honolulu. After high school there, he moved to Los Angeles, where he took classes at the Chouinard Art Institute (now Cal Arts). His studies were cut short in 1942 when, as the child of Japanese immigrants, he was relocated to an internment camp in Wyoming. He created the cover typeface for Mario Puzo's The Godfather (1969, The Manhattan Rare Book Company, New York), with the G and d extending and almost touching to make God. Obituary in the New York Times. [Google] [More] ⦿ | |
New York City-based designer. Creator of a hand-printed typeface called I Love New York Too (2013) and Sadi Tekin Script (2013). Behance link. Dafont link. [Google] [More] ⦿ | |
New York-based creator of the squarish display typeface Greyjoy (2013). [Google] [More] ⦿ | |
During his studies in Brooklyn, NY, Sam Peterson created Deckhand (2014, a poster typeface), Ribbon Script (2014). [Google] [More] ⦿ | |
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Brooklyn, NY-based designer of Pipe Type (2014). Behance link. [Google] [More] ⦿ | |
New York City-based creator of the Arabic simulation typeface Al Rahman (2013). [Google] [More] ⦿ | |
Graphic designer in New York City, who was also born there. A graduate of the Fashion Institute of Technology in NYC, she created the hexagonal typefaces Abeille (2015) and the modular typeface Bits (2015). Behance link. [Google] [More] ⦿ | |
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New York-based creator of Sam's Sharpie Marker (2009, Fontcapture). Aka Stray. [Google] [More] ⦿ | |
During her studies at the Fashion Institute of Technology in New York, Samantha Simon created Archaic (2013), a sans serif display typeface that was inspired by African tribal patterns. Behance link. [Google] [More] ⦿ | |
For Kris Holmes's class at the Rochester Institute of Techology, Samantha Watson designed the italic typeface Roth (2014). [Google] [More] ⦿ | |
Design student at the City College of New York. She created the smooth modular display typeface Chynna Cali (2012). [Google] [More] ⦿ | |
Graphic designer in New York City. She designed the display sans typeface Kelly Gordon in 2015. Behance link. [Google] [More] ⦿ | |
Designer and printer at the Golden Eagle Press in Mount Vernon, NY, b. 1891, d. 1971. He created Anacreon (Golden Eagle Press), Syrisch (Merganthaler) and Charter. [Google] [More] ⦿ | |
American penman, 1868-1938. He was associated with the A.N. Palmer Company for pver twenty years. Regarded as one of the masters of business penmanship in America, he served as the editor of American Penman and was a principal of the Palmer School of Penmanship in New York. [Google] [More] ⦿ | |
New York-based letterer and type designer, b. 1906, Blue Point, NY, who was also known as "Tommy". [Some sources have 1905]. He had a studio in New York City and was the author of several books on type and lettering. He died in 1967 in New York. His oeuvre includes
Author of these books: The ABC of our Alphabet (1942, London), The Script Letter: Its Form, Construction, and Application (1939, New York), How to render roman letter forms (1946, New York), Basic layout design; a pattern for understanding the basic motifs in design and how to apply them to graphic art problems (1950, New York), Script Lettering for Artist (1969, New York). [Google] [More] ⦿ | |
San Francisco Type Foundry
| Edward Dalton Pelouze was a typefounder, 1824-1864. Son of Edward Pelouze, Edward Dalton set up the San Francisco Type Foundry in 1853. His father had a few years before that moved type machinery to San Francisco fromn the East Coast. Edward Dalton returned to New York City in 1858 to work for James Conner. He was killed in a battle in the Civil war in 1864. The San Francisco Type Foundry was sold to Painter in 1866. [Google] [More] ⦿ |
Art director in New York City who created a display typeface in 2016. [Google] [More] ⦿ | |
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Sanjay Makasana
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Sansani Fonts
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Environmentally responsible designer in New York. Behance link. She created an animal alphabet for Wolf Awareness Week (2010). [Google] [More] ⦿ | |
She is working on a superfamily, and has written an in-depth study of the evolution of the sans serif lowercase in the types of the nineteenth century. She has taught type design at Yale School of Art, the Book Arts Institute at Wells College, and New York's School of Visual Arts and the Cooper Type Certificate Program. Her typefaces:
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Sarah Bachman
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Graphic designer in New York City. Creator of the display typeface Quasi (2012). [Google] [More] ⦿ | |
Sarah Joy Hood (Brooklyn, NY) created Stud Font (2012). Behance link. [Google] [More] ⦿ | |
During her studies at Rochester Institute of Technology in Rochester, NY, Sarah Ingerick created the monoline organic geometric sans typeface Mowgli (2015). [Google] [More] ⦿ | |
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Tonawanda, NY-based creator of the Nova (2013) for Ben van Dyke's Typography II class at University at Buffalo. [Google] [More] ⦿ | |
Brooklyn-based designer of a paper collage typeface called Fracture (2013). Behance link. [Google] [More] ⦿ | |
Sasha Prood
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Sasha Prood Studio
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Type design came as a by-product of his famous logos or movie posters. He designed the artsy Rainbow Bass (1982), as well as a gaspipe-style logo typeface for Alcoa (1963) to accompany his logo for Alcoa. Revivals and descendants of Bass's work:
Jennifer Bass (his daughter) and Pat Kirkham published Saul Bass: A Life in Film&Design (2011). The book's blurb: This is the first book to be published on one of the greatest American designers of the 20th Century, who was as famous for his work in film as for his corporate identity and graphic work. With more than 1,400 illustrations, many of them never published before and written by the leading design historian Pat Kirkham, this is the definitive study that design and film enthusiasts have been eagerly anticipating. Saul Bass (1920-1996) created some of the most compelling images of American post-war visual culture. Having extended the remit of graphic design to include film titles, he went on to transform the genre. His best known works include a series of unforgettable posters and title sequences for films such as Alfred Hitchcock's Vertigo and Otto Preminger's The Man With The Golden Arm and Anatomy of a Murder. He also created some of the most famous logos and corporate identity campaigns of the century, including those for major companies such as AT&T, Quaker Oats, United Airlines and Minolta. His wife and collaborator, Elaine, joined the Bass office in the late 1950s. Together they created an impressive series of award-winning short films, including the Oscar-winning Why Man Creates, as well as an equally impressive series of film titles, ranging from Stanley Kubrick s Spartacus in the early 1960s to Martin Scorsese s Cape Fear and Casino in the 1990s. Designed by Jennifer Bass, Saul Bass's daughter and written by distinguished design historian Pat Kirkham who knew Saul Bass personally, this book is full of images from the Bass archive, providing an in depth account of one of the leading graphic artists of the 20th century. Wikipedia page. [Google] [MyFonts] [More] ⦿ | |
As a student at Pratt Institute, Brooklyn, NY-based Savannah Elisabeth Jankosky designed the bilined typeface Post Eames (2017). Behance link. [Google] [More] ⦿ | |
SB Type
| New York City-based designer. In 2021, she designed Z3non, a groovy retro-futuristic typeface that fits in square blocks. [Google] [MyFonts] [More] ⦿ |
German company of Wolfgang Scheppe and Florian Böhm in München, with offices in Venice and New York. They are working on some type projects such as the minimalist typeface AmBig (2003), in which just seven glyphs suffice, by rotation, to cover all letters of the alphabet. The type project part is called Scarface. AmBig will be part of the FontShop library at the end of 2003. [Google] [More] ⦿ | |
Foundry created in 1993 by Tim Glaser and Josh Darden. Retail and custom fonts. Josh Darden left to work for Hoefler Type Foundry. The current contact person is Rob Irrgang. [Google] [MyFonts] [More] ⦿ | |
Scarlett Chang (New York City) created some experimental geometric typefaces in 2013. Behance link. [Google] [More] ⦿ | |
Howard Schatz (New York) has made an alphabet picture collection of a nude couple. Very artistic stuff. The files. [Google] [More] ⦿ | |
New York based design school where Steven Heller and Stefan Sagmeister teach. There does not seem to be a specific type design program at the moment. [Google] [More] ⦿ | |
Scott Vander Zee (New York City) is a graphic designer, typographer, typeface designer, and educator specializing in book and editorial design projects, typefaces, exhibitions, signage and wayfinding, and visual identity systems. Scott received a BFA in Graphic Design from the School of Art at Western Michigan University, and completed his MFA studies between two Swiss schools, the ECAL [Ecole cantonale d'art de Lausanne] and the HGK Basel [Hochschule für Gestaltung und Kunst Basel]. He ais adjunct professor at Rutgers University's Mason Gross School of Art & Design (since 2017) and at the Pratt Institute (since 2018). His typefaces:
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Scott-Martin Kosofsky
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Script and Seal
| Script and Seal consists of the duo of Gavin Potenza and Liz Meyer (a Type@Cooper graduate). In 2010, they created an animal alphabet. [Google] [More] ⦿ |
Company located at CAE Lake Shandalee Road, Livingston Manor, NY 12758-0131. In the early 1990s, they published bitmap and type 1 fonts for Hindi and Sanskrit for the Mac. [Google] [More] ⦿ | |
Illustrator and art director in New York City. Behance link. In 2009, he created the squarish family Shock The Monkey, which includes shadow and 3d styles. [Google] [More] ⦿ | |
Designer and art director who was active in New York City and Los Angeles from 2000 until today. At TypeParis 2017, he created Binge Watcher, a low contrast slab serif intended for big, bold messaging [Google] [More] ⦿ | |
New York City-based designer of the handcrafted typeface Innocent Hand (2016), which was a school project at SVA. Behance link. [Google] [More] ⦿ | |
Sebastian Fischer
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During his graphic design studies at the Cooper Union (class of 2015), Sedrick Chisom created the decorative typeface Dec (2013). [Google] [More] ⦿ | |
Graduate of the School of Visual Arts who lives in Brooklyn, NY. He created an experimental font in 2011. [Google] [More] ⦿ | |
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New York City-based graphic designer who made (I think) the teardrop typeface The American Dream (2013). [Google] [More] ⦿ | |
Seth Labenz
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Type and print conference with some great talks, all transcripted here. Most interesting is Font Free For ALL, a session with David Berlow, The Font Bureau, moderator, Matthew Carter, of Carter & Cone, BC Krishna, Microsoft's Robert Norton, Mike Parker of Design Intelligence, and Peter Vanblacklen. [Google] [More] ⦿ | |
He designed
FontShop link. Klingspor link. Linotype link. [Google] [MyFonts] [More] ⦿ | |
Brooklyn-based creator (b. 1993) of the handwriting font Dorkified Distortion (2009). Fontsy link. [Google] [More] ⦿ | |
During her studies at AiO, Rhinebeck, NY-based Shannon Ferguson created the quaint curly typeface Love Poems (2015), which was inspired by the poetry of Pablo Neruda. In 2017, she published the handcrafted Coffee Date, and Friends & Aliens. Typefaces from 2018: Hey Fox (comic book style). [Google] [More] ⦿ | |
During her studies at Pratt, New York City-based Shannon Kilbride designed the experimental typeface TPX (2016). Behance link. [Google] [More] ⦿ | |
Binghamton, NY-based designer of the floiate typeface Pixel Garden (2018). [Google] [More] ⦿ | |
Sharp Type
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Type catalog, 2010. [Google] [MyFonts] [More] ⦿ |
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Using only circles and squares, Sheila Cheng (Brooklyn, NY) created [Google] [More] ⦿ | |
Designer in New York City, of a sketched typeface (1958). [Google] [More] ⦿ | |
Shen Design
| Born in New York where her father was a translator for the United Nations, Juliet Shen (Shen Design) graduated from the University of Reading in 2006. Creator of Bullen (2006), named after Henry Lewis Bullen of ATF fame. It was inspired by typefaces found in the ATF catalogs. This quirky typeface was added to the Font Bureau catalog in 2011. Juliet was a speaker at ATypI 2007 in Brighton on Searching for Morris Fuller Benton. She currently is the principal of Shen Design, a graphic design studio she founded in 1989, and has taught design and typography at School of Visual Concepts, Cornish College of the Arts and Art Institute of Seattle. Current projects include type design for the University of Oxford Press children's division: in 2007, she made the Earlybird type family for Oxford University Press's educational division. In 2009, she made Lushootseed School and Lushootseed Sulad fonts for the Tulalip Tribes, Washington State. AwanZaman (2016, Type Together) by Mammoul Sakkal (Arabic part) and Juliet Shen (Latin part) grew out of the Arabic newspaper type Awan Sakkal had designed on commission for a Kuwaiti newspaper in 2007. Speaker at TypeCon in 2007 and 2008 and at ATypI 2009 in Mexico City. Speaker at ATypI 2013 in Amsterdam. Her Font Bureau bio mentions that she started out as a painter and became a graphic designer later. MyFonts link. Klingspor link. Typecache link. [Google] [MyFonts] [More] ⦿ |
A typeface designed by Frederic Goudy in 1912. Mac McGrew: Sherman was designed in 1912 by Frederic W. Goudy as a plate type for Frederick Sherman, a publisher and fine printer. Since Sherman already had an earlier type drawn by Goudy, the designer felt that a new type for him should be decidedly different. While the drawings were pleasing, the type as cut in 14-point was a disappointment to Goudy. Due to his inexperience, he says, he had believed that close fitting was essential to a typeface, and in this design he went to extremes. However, a quantity of the type was cast and shipped to Sherman. This was dumped after Sherman's death. Later a special casting was made by ATF for Syracuse University, where this specimen was obtained. In 2017, Pentagram and Chester Jenkins of Village type revived Sherman for Syracuse University after that university's Special Books curator William T. La Moy discovery of Sherman in the university's archives. For the occasion they made a completely new typeface, Sherman Sans, as a companion for Sherman Serif. [Google] [More] ⦿ | |
During her studies at Yale School of Art, Shira Inbar (Brooklyn, NY) created the curvy typeface Gunman Stencil (2014). Behance link. [Google] [More] ⦿ | |
Japan-born Sho Shibuya moved to New York City in 2011, where he works as a graphic designer. Creator of the slab typeface Malu Alvarez (2013). [Google] [More] ⦿ | |
Shokouh Razavi
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Graphic designer in New York City, who created a series of display typefaces called Gown Font (2013). Behance link. [Google] [More] ⦿ | |
Signal Type Foundry
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Signs of Gold
| Francis Lestingi (b. 1963, Long Island City, NY) started out in type design at Letterhead Fonts, where he made the calligraphic script typefaces Pierre (2006) and LHF Pierre Fancy (2007). In 1994, while teaching physics at the State University College at Buffalo, he started Sign of Gold, Inc. with his son Stephen. He enjoyed it so much, he took early retirement and went full time carving. As a "recovering college professor", Francis has garnered nine First Place Awards from the USSC Sign Design Competition and the International Sign Association since 1999, and has been profiled in Signs of the Times, Sign Business, and SignCraft magazines. His first commercial typeface at Signs of Gold is Fran Hand (2009), an architct's font. In 2010, he added the signage typeface Stefano. He lives in Williamsville, NY. [Google] [MyFonts] [More] ⦿ |
Type and graphic designer based in New York City. In 2020, he released the spaghetti western typeface Golemi Display, which was inspired by the Caslon Italian specimen from 1821. [Google] [MyFonts] [More] ⦿ | |
Silo Design
| Brooklyn, NY-based multidisciplinary design company of New Yorker Susanne Cerha and her Norwegian husband Terje Vist. In the type world best known for their spectaculrly beautiful Flash-based web page Type Is Art, where one can interactively make art from parts of typefaces. [Google] [More] ⦿ |
Graphic designer and illustrator in New York City. Creator of the ornamental caps Sexy Alphabet (2013). [Google] [More] ⦿ | |
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In 2012, he was based in New York City. In 2016, Simon published the free superfamilies Sean Slab and Sean Sans. The typeface is about to be renamed Canola. Github link for Metapolator: Canola is the first typeface created using Metapolator. It includes Sean Devanagari. As part of his Biblia Libre project, he addded Bold and Italic to Apostrophic Lab's free Day Roman font family (2020), which is based on François Guyot's 16th century types. [Google] [More] ⦿ | |
Turkish-born designer in Brooklyn, NY, who created the display typeface Beykoz in 2016. In 2014, Sinem published the curly Light Gothic Godo. [Google] [More] ⦿ | |
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Exhibition of accessible typography in January-February 2002 at Lighthouse International in New York, and in August 2002 at Parsons School of Design (66 Fifth Avenue, New York). [Google] [More] ⦿ | |
In 2012, he designed the hand-printed typefaces Scrappy Le Doot, On Kayak, The Low Down, Lunar Oatmeal, Datamost, Retro Supermarket, Konata, Luna Graph, Clark Summit, Real Toyz, Nocturne, The Snails, StPauls, Arking (graffiti style), Conspiracy, Skeluna, Lava Lamp, Summertime Lovin (outlined signage typeface), and Nonsense. Wub Machine and Spikes are playful typefaces. Penn Avenue and The Enemy Gene are fattish poster fonts. Get The Fuck Up and Des Pot) are outlined comic book typefaces, while Nammy Sans is a comic book typeface designed for balloons. Centipede is a squiggly typeface. Mega Sans and Ursa Cape) are outlined shaded typefaces. Ursa Minor is a sci-fi typeface. Retro Gamer is a horizontally-striped geometric typeface. Raditad) is a horizontally-striped sketch face. Iron Furnaces) is ultra-condensed. Nite Owl) is an avant-garde typeface. Red Fish) is a grunge typeface based on napkin writing. Ded End) is a grungy typewriter typeface. In Metro Caves is a grungy textured typeface. Super Rad) is a geometric sans typeface. Further typefaces from 2012 include Red Snapper, Metro Skies, Belle West, The Moon, Fisher, Alisky, Enjoy The Alien, Whisperings, The Real World, Swift Death, Tall Trees, Windsor Hand, Distort Me, Split The Atom, Ursa Drop, Klondike7, Belle West, Nammy Sans, Pixel This, Summertime Lovin (comic book lettering), Spikes, Monday Morning, Where My Keys, Firefly Navigator, Coconut Point, Clarks Summit Panic (blood drip typeface), First Impressions (hand-printed), Ocean City Park (hand-printed), Limit Break, Space Game, Sky Metropolis (hand-printed), California Rad (poster face), Yellowjackets (hand-printed), Organic Fear (scary typeface), Frenzy (ornamental caps), Green Surf, Sky Fanci, Killin It, Fix You (outlined face), Punkin Pie (3d outline font), Alligator Sky (hand-printed), Freaking Strange (grunge), Oh God Why (sketched face), In The Know (condensed and hand-printed), Kamikaze (brush face), Wintered Debts, Overhead (alchemic), Wintermint, Festivala, Freaking Strange, Whale Watching, Everything's Fine, Goodnight Freak, Twilight Ozone, Distort Me, Snow Fox, Bouncing on the walls, Sleeping on a cloud, Sketchbook Nasty, On the edge, Outta Da Box, Bold Universe, Splendid Stencil, First Impressions, Strange Rituals (an avant-garde geometric sans), Regular Font (hand-printed outline and shadow font), Shanty Hand, Strawberry Avalanche, Take Warning (blood drip face), Playtitle, Hairliner, Over Atlantic City (tall hand-drawn poster font), Skyliner (tall poster font), Retroland, Owl Creek (a campground font), Insanity, Lake Script, Lakeshore Drive (poster font), Gorilla Comix, Bamboo Brisk, Scranton Fancy, Ruby Glow, Happy Dreams Med Mono, Lost in the Sound (chalk font), Ice Cream Sandwich, Art Center, Shark Fighter, Minds Alike, Supersonic Love, Brushie Brushie, Rainy Day (thin poster font), Maggie Moo (comic book font), Kinda Messy, Midsummer Circus, Ocean Coastlines, Hillside Vista, Fox Connection, Cheap Frames, Problems, Rustik (grungy), Tribal Type, Songbird, Angry Mob, New Visions, Parachutes, Loud and Clear (scratchy typeface), From The Woods. Typefaces designed in 2013: Brinetext Black (a poster font), The Grand Staircase, Windsor, Spacecraft, Nevermore, Paper Airplanes, Whipped Scream, Paper Airplanes, Sing Out, Bright and Beautiful, Into The Vortex, Embxz, Awkward, Summer Jams (outlined face), Sombody (sic) to Love, Tekno Trance, Spinning Around, Up with the Birds, Campground, Linemaster (outline face). Typefaces from 2014: Supersonik, Whirly Birdie, The Ramble, Lazy Summer, Red Moon Rising (alchemic font), The Perfect Wave, Realistik (upright script), Brinetext Pattern (textured typeface). Typefaces from 2015: Wednesday Lettering Practice, Roundmarker, Dragon Night, Sinister Black (heavy brush), February 11 2015, February 10 2015. Typefaces from 2018: Spindle Refined, Moonrise (a geometric mulilayered hipster font), Clam Shack, Nicholson Gothic, Lake Giles, Anitype Journal (a fat finger font), Anitype Redwood, Wednesday Lettering Practice, Sinister Black, Garden (lapidary vintage caps, aka Lake Giles 26). Creative Market link. Old URL for Skyhaven Fonts. Dafont link. Fontspace link. [Google] [More] ⦿ | |
Small Cap Graphics
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She designed Novella (1996, DsgnHaus: an Arts and Crafts font), ITC Bodoni Six (1994, with Jim Parkinson, Sumner Stone, Janice Fishman), ITC Bodoni Twelve (1994, with Sumner Stone, Jim Parkinson and Janice Fishman), ITC Bodoni Seventy-Two (1994, with Sumner Stone, Jim Parkinson, Janice Fishman), Bossa Nova MvB (1995, at MvB Design), MVB Peccadillo (2002, with Alan Dague-Greene), Havergal (1994, Agfa), and ITC Vintage (1996, with Ilene Strizver). At Bitstream, she designed Melanie BT (a script typeface), Liorah (2000, a connected script), Hank BT, Missy BT, Ryan BT (2000, jungle font), Raven, Raven Evermore. Linotype link. FontShop link. Klingspor link. View Holly Goldsmith's typefaces. [Google] [MyFonts] [More] ⦿ |
Type distribution company that was founded in March 2003 by Jayne Moschella in New York City. Its (now defunct) URL was http://www.snapfonts.com. It was shut down after complaints from various sources after it renamed existing fonts. The typefaces sold by SnapFonts were made by a variety of designers (not named on the web page). A list of (mostly fifties style) fonts that could be found on their site: Boltimore, Factor Max, Pop's Type, Retro Clips, Soho, ToyType, Cowboy Angels, Snappy, Lollipop, Suffragette, Brighton, Chelsea, Liverpool, Carnaby Street, Kings Road, Piccadilly, Mersey, Portobello, Regent Street, Manchester, Belair, Jaguar, Cruiser, Stingray, Pink Caddy, Mini, Woody, Riviera, Mustang, Metropolitan, Happy Motoring Clips, Abandonado, CheerDown, DevilInHerHeart, FeverInFeverOut, GenericGirl, Georgia, LaVidaLoca, LessThanZero, RideSallyRide, Seven, ShyFatBoy, SnapOMatic, Woof, YoursSincerely, Big Easy, Bourbon Street, Cajun, Crawfish, Creole, French Quarter, Gumbo, Remy, Zydeco, Clifton Chenier, Benjamin, Color of Money, Euro, Fifty Xu, Galileo, Hell Notes, JFK Font, Sri Lanka, Two Pounds, Yen, Incense&Peppermints, Jeepster, Maria, Prebby Enough, Rent, Survive, Then Year Lie, Thirteen, Time ot Season, Time's Changin', Book of Love, Betrayal, Honor, Judas Mon Coeur, Kiss, Lovers&Liars, PPSI, Tattooed Fingers, Three Cigarettes, True Love Ways. Comments on Typographica: "Are these meant to be original fonts? On this page alone I can see Benguiat Frisky renamed "Metropolitan", House Industries' "Strike!" cunningly disguised as "Woody", and "ITC Anna" masquerading as "Cruiser". Amongst others. (Say, isn't that Brush Script?) Following a couple of links, I see that I can purchase all of these fonts, despite the egregious flouting of copyright laws. [...] They seem to have a good grasp of the import, transformation and weight-change functions in Fontographer (and little else). [...] This Snapfonts thing contains a boatload of crude knockoffs of commercial fonts-Murray Hill, Coronet, TF Avian, and others." So far for Typographica. I only disagree with the Murray Hill comment by John Butler: Elsner&Flake, ICG, Bitstream and others have versions of Murray Hill--can John Butler give us a list of the knockoffs among these, and devote equal time to all knockoffs? [Google] [More] ⦿ | |
Barcode professionals in New York selling, e.g., BarCodePro 3.5. [Google] [More] ⦿ | |
Snyder Studio
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New York-based designer. He made a TrueType version of the old Apple bitmap font Venice in 2006 and placed it at Dafont as Venice Classic. Another Apple bitmap font, Athens, was revived in 2007 as Athens Classic. He also remade Fixedsys 62 (2007), an old Windows systems font, complete with Greek and Cyrillic characters. Dafont link. Devian Tart link. [Google] [More] ⦿ | |
Type designer for Photo Lettering Inc in New York, specializing in Hebrew type. His typefaces include Israeli Modern (+Rounded), Israeli Oriental, Israeli Script and Torah. [Google] [More] ⦿ | |
Albany, NY-based designer of the textured display typeface Delirious (2016). [Google] [More] ⦿ | |
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New York-based youngster, b. 1994, who created Nowai (2006), a paper-cut simulation font. He also made SonicChao Handwriting -CAPS (2006). [Google] [More] ⦿ | |
Student at Parsons in New York. Creator of Dynamic (2009, experimental). [Google] [More] ⦿ | |
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Graphic designer in Ghent, New York, who created an octagonal typeface in 2015. Behance link. [Google] [More] ⦿ | |
In 2018, the (entirely North-American) Board of Directors consisted of Neil Summerour (Chair), Sharon Oiga, Delve Withrington, Mary Catherine Pflug, Theresa Dela Cruz, Grant Hutchinson, Xerxes Irani, Frank J. Martinez, Erin McLaughlin, Matthew Carter, James Grieshaber, Allan Haley, Richard Kegler, and David Pankow. Interestingly, while society has a strict DMCA policy, the board has people who have a checkered past in this respect. [Google] [More] ⦿ | |
Space Type Continuum is a Brooklyn-based type studio led by Lynne Yun and Kevin Yeh. The studio operates at the intersection of type, design, and technology. The studio specializes in creating experiential letterforms of all kinds, from typeface design to generative typography. Lynne Yun is a NYC-based type designer and educator who specializes in typography, hand lettering, and calligraphy. She was previously a full time type designer at Monotype and served on the board of AIGA NY and Society of Scribes. Prior to working at Monotype, Lynne held positions as a graphic designer at companies such as Apple Inc. She holds a BFA from the School of Visual Arts and a postgraduate certificate in typeface design from the Type@Cooper Extended Program. Her work has been recognized by organizations such as AIGA, Type Directors Club and Art Directors Club, notably the Ascenders award which honors designers under the age of 35 who show remarkable achievement in typography, type design, and lettering. Kevin Yeh is a NYC-based developer with a background in computer vision, graphics and robotic learning. He holds an MS in computer science and film studies from the University of Texas at Austin, and currently holds a full-time position at Nava PBC, where he works with government partners to build simple and reliable public digital services. As a technologist, his work reflects broad and varied interests to imagine, reconstruct, and relate to the natural world through the lenses of augmented reality, computer animation, and mobile hardware. Future Fonts link. [Google] [More] ⦿ | |
The sons of Platt Rogers Spencer are the authors of Theory of Spencerian Penmanship (1874), New Standard Practical Penmanship (1881) and New Spencerian Compendium (1879). See also here. [Google] [More] ⦿ | |
Spencer Charles
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30USD font family by PF Systems (Brooklyn, NY). "SquiggleFont is a font package for Mac's or PC's, compatible with all desktop publishing software. With computer generated layouts typeset copy becomes a distraction at certain phases of presentation. Scroll over your copy and let SquiggleFont turn text into hand comped squiggle type." Note: the font just adds squiggly things to text. [Google] [More] ⦿ | |
Designer of Stan Free (VGC, 1973) and the liquid font Amelia (1965, Visual Graphics Corporation). Amelia was later "stolen" by Bitstream and Linotype. Here is what Stan wrote: Bitstream and Linotype have stolen my "Amelia" font (their renditions of it are pathetic). My digitized version of Amelia and other fonts I designed are available at: highwoods@hvc.rr.com. Bio at Linotype. MyFonts site. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Stéphane Elbaz
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Type designer (b. New Jersey, 1967). He is involved in ornament design at the foundry of Charles Nix, New Fonts in New York, where he helped create Nani (2001, inspired by handpainted letterforms on the Sumatran island of Samosir, this typeface was awarded a TDC Certificate of Excellence in Typographic Design), NixRift (2001, based on W.A. Dwiggins's Eldorado), and Tuk Tuk (2001, based on lettering from the Tuk Tuk village in Sumatra). [Google] [MyFonts] [More] ⦿ | |
Graphic designer who graduated from Cranbrook Academy of art and now freelances in New York. Stella created the experimental arc-based typeface LOL ROLL LOL (2012). [Google] [More] ⦿ | |
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Designer (Brooklyn, NY) who is getting a second degree in Ecological Engineering. He made the comic book typeface Rhsxyn Kqrtwn in 2010 at You Work For Them. He also made the paper fold typeface Packing Tape (2011), Melting Beads (2011), and the feathered typeface Featherhead (2011). Home page. Behance link. [Google] [More] ⦿ | |
Based in Raleigh, NC, Stephanie Livesay created the art deco typeface Cade (2014). [Google] [More] ⦿ | |
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Designer in New York City who grew up in Atlanta. She created the ornamental caps typeface Montecastello (2012). [Google] [More] ⦿ | |
As a student in New York City, Stephanie Vera designed the futuristic typeface Modern Future (2015). [Google] [More] ⦿ | |
Stephen Boss
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New Paltz, NY-based designer of Toothface (2015, a tooth-inspired typeface). Behance link. [Google] [More] ⦿ | |
Graphic designer in Rochester, NY, who studied under Kris Holmes at RIT. Creator of a set of animal icons and of Hoefer Blackletter in 2013. [Google] [More] ⦿ | |
Stephen Nixon
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New York City-based designer of the condensed all caps grotesk typeface Astor Place (2020). [Google] [More] ⦿ | |
Stereo Type Haus
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At FontStruct in 2009, he made the Victorian family Cartelle (+Inline), the pixel family Microdot, and Chico. Granados spends his time between New York City and Austin, Texas. View Richard Granados's typefaces. [Google] [MyFonts] [More] ⦿ |
Steve Haslip is a graphic designer originally from a small village in the South of England, UK. He is currently in his final year on the MFA Design course at the School of Visual Arts New York. Since completing his undergraduate studies at Central Saint Martins he has undertaken internships and been working as a freelance designer. His type designs include Ave An Ear (2009, a black-bowl typeface based on the proportions of Avenir), and Flickird (2009, semi-sans). Behance link. [Google] [More] ⦿ | |
Graphic designer in Brooklyn, NY. He made the custom logortype Chimaera (2010) for a mediaeval-style cafe. Behance link. [Google] [More] ⦿ | |
Steven Canales (New York City) designed the blocky typeface Blockade (2013). [Google] [More] ⦿ | |
Prolific author, art director of the New York Times Book Review and founder and coChair of the School of Visual Arts, New York MFA/Design Program. He is the former editor of the AIGA Journal of Graphic Design and author or editor of over 170 books on popular culture, graphic design history, and political art. MyFonts page on him. Editor of The Education of a Typographer (2004, Allsworth Press). Some of his books closest to type design and typography:
The typeface Heller Sans JNL (2019, Jeff Levine) is named after Steven Heller as its designer digitized an experimental alphabet by Steven Heller. [Google] [MyFonts] [More] ⦿ | |
Graphic designer in Brooklyn, NY, and now in Minneapolis, MN. While working at Mucca Design and under the creative direction of Matteo Bologna, he designed a typeface for the identity of an Atlantic City restaurant called Teplitzky's (2009). He also made the art deco prismatic numerals called Lined Numerals (2009). Behance link. [Google] [More] ⦿ | |
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STIX Fonts
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The project is supported by six publishers, the American Chemical Society (ACS), the American Institute of Physics (AIP), the American Mathematical Society (AMS), the American Physical Society (APS), Elsevier Science, and the Institute of Electrical and Electronic Engineers (IEEE). The fonts are unicode-compatible. They are designed to be useful for mathematical documents in XML pages on all browsers. They say that they have awarded the font development contract to a respected font development company. Press release. Chairman: T.C. Ingoldsby, American Institute of Physics, Melville, NY. AMS page on STIX. CTAN page on Stix. In 2016, STIX Two, a major update, became available at CTAN. The letterspacing and kerning of the text fonts have been significantly improved. True small capital variants (Latin, Cyrillic, and Greek), accessible via the OpenType font feature smcp, have been added for all text fonts. Text (lowercase or oldstyle) numerals, available via the font features pnum and onum, have been added, in addition to natural-spacing figures. Alphabetic superscripts and numeric sub- and superscripts, accessible via the subs and sups font features, have been added. Fractions are available via the frac feature, as well as numerators (numr) and denominators (dnom). The STIX Two fonts consist of one Math font, two variable text fonts (STIXTwoTextVF-Roman and STIXTwoTextVF-Italic), and eight static text fonts (Regular, Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, and Bold Italic) derived from the variable fonts. Truetype versions of the family (2007) by Oleguer Huguet Ibars: STIXGeneral-Bold, STIXGeneral-BoldItalic, STIXGeneral-Italic, STIXGeneral, STIXIntegralsDisplay-Bold, STIXIntegralsDisplay, STIXIntegralsSmall-Bold, STIXIntegralsSmall, STIXIntegralsUp-Bold, STIXIntegralsUp, STIXIntegralsUpDisplay-Bold, STIXIntegralsUpDisplay, STIXIntegralsUpSmall-Bold, STIXIntegralsUpSmall, STIXNonUnicode-Bold, STIXNonUnicode-BoldItalic, STIXNonUnicode-Italic, STIXNonUnicode, STIXSize1Symbols-Bold, STIXSize1Symbols, STIXSize2Symbols-Bold, STIXSize2Symbols, STIXSize3Symbols-Bold, STIXSize3Symbols, STIXSize4Symbols-Bold, STIXSize4Symbols, STIXSize5Symbols, STIXVariants-Bold, STIXVariants. OpenType versions at the official site: STIXGeneral-Regular, STIXGeneral-Bold, STIXGeneral-BoldItalic, STIXGeneral-Italic, STIXIntegralsD-Bold, STIXIntegralsD-Regular, STIXIntegralsSm-Bold, STIXIntegralsSm-Regular, STIXIntegralsUp-Bold, STIXIntegralsUpD-Bold, STIXIntegralsUpD-Regular, STIXIntegralsUp-Regular, STIXIntegralsUpSm-Bold, STIXIntegralsUpSm-Regular, STIXNonUnicode-Regular, STIXNonUnicode-Bold, STIXNonUnicode-BoldItalic, STIXNonUnicode-Italic, STIXSizeFiveSym-Regular, STIXSizeFourSym-Bold, STIXSizeFourSym-Regular, STIXSizeOneSym-Bold, STIXSizeOneSym-Regular, STIXSizeThreeSym-Bold, STIXSizeThreeSym-Regular, STIXSizeTwoSym-Bold, STIXSizeTwoSym-Regular, STIXVariants-Regular, STIXVariants-Bold. Not all unicode ranges are covered, but math symbols, Greek and Cyrillic are. There are also monospace, blackletter, calligraphic scipt, informal script, and sans styles. But small caps are still missing. The general look is that of a Times font. The fact that any publisher can use these fonts free of charge (after signing a license though) is positive. The main negative is that the style chosen is slightly boring, but that is not unexpected for scientific publications. In 2018, Paul Hanslow, Ross Mills and John Hudson co-designed the free STIX Two family, which is based on Times Roman. At this CTAN site, one can download the entire STIX collection. Designer URL: MicroPress Inc. STIX Two (type 1) at the CTAN site. STIX Two (OpenType) at the CTAN site. Also worth pointing out is the free 163-font collection Schticks (2017) by Adam Twardoch, which is based on STIX Two. Google Fonts link for STIX Two Math. Github link for the STIX fonts. [Google] [More] ⦿ |
Stokoe Tempo Font
| StokoeTempo is a variant of TempoFont, a public-domain font by David Rakowski, for the Stokoe notation used in transcribing signed languages, particularly American Sign Language. This font was developed by Angus B. Grieve-Smith, and is free for individuals and educational institutions. Angus lives in Woodside, NY, and teaches languages and literature at Saint John's University in Jamaica, NY, since 2008. He obtained a PhD in linguistics from the University of New Mexico in 2009. [Google] [More] ⦿ |
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New York-based graphic designer. Creator of the graffiti families Form+Kaos (2004) and Fk (2006). [Google] [More] ⦿ | |
Studies in Pen Art
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Additional link. Another PDF file. Examples of Dennis's hand: a bird (1896), his signature (1896), Austin N. Palmer's name hand-printed (1896). [Google] [More] ⦿ |
Behance link. [Google] [More] ⦿ | |
Studio Hannes Famira (or: Famira Fonts)
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Typefaces by Famira include FF Blocker, FF Mutilated, H-Stamp, Tieshy, Bubblejet on Steroids, Plantijn, Humiliated, Kugelkopf Letter, Hernard, MaryPason. He also doescustom font work. At Kombinat Typefounders, he designed InterFamily (Interpol Sans, Interpol Correspondence, and Interpol Serif, 1992: zuinig or thrifty almost condensed typefaces), ScanLine Bundle (which includes the nice display font Mary Pason), H-Stamp, FF Blocker, Sonar Sans (2011, mixing gei=ometric and humanistic elements), JC Corrido (2001, letterpress emulation), JC Tieshy (1993, grunge), JC Bubblejet on Steroids (1992, grunge, based on cardboard box prints), and JC Kugelkopf (1996: an old typewriter font based on the IBM Selectric type ball). The letters JC stand for the Jetsam Collection. He explains the Futura-like Sonar Sans: Sonar is the attempt to marry the rule of geometric, historical form with the forgiving, human expression of early gothic typefaces. In fact, nothing about this typeface is truly symmetrical. The geometric nature of the underlying model merely served as a starting point to find the shapes of a low contrast expansion typeface. Through Sonar it seems that I have finally made peace with the Geometric Sans. Famira on Interpol Sans: it is a robust, low contrast typefaces designed for legibility in low resolution situations. It performs particularly well on media like television and computer screens or in projections and on lightboxes. FontShop link. Adobe link. Type network link. [Google] [MyFonts] [More] ⦿ |
Studioways
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In 2017, she teamed up with Boston-based type designer Jim Lyles to form the Studioways Studio, which specializes in calligraphic typefaces. Studioways features Eliza's own lettering as well as that of other popular calligraphers. Typefaces from 2017: Madison Street (a Spencerian set of fonts by Elaina DeBoard, Eliza Gwendalyn, and Jim Lyles, accompanied by a few styles that are based on the handwriting of Elaina DeBoard), Hart (by Virginia Lucas Hart, Eliza Gwendalyn and Jim Lyles), Boronia, Lady Slippers. Typefaces from 2018: Petunia Monogram (with Jim Lyles). Typefaces from 2019: Little Sprout (script; with Jim Lyles). Typefaces from 2020: Nerine (a brush-lettered script). Creative Market link for Studioways. Another Creative Market link for Studioways. [Google] [MyFonts] [More] ⦿ |
Design studio in New York City. They propose Stencilano, a typeface in which Zapfino is made into a stencil font. [Google] [More] ⦿ | |
Sugar and Type
| Rochester, NY-based designer of Griffin Bold (2016) and Ruthy Script (2016). Creative Market link. [Google] [More] ⦿ |
Digital artist in Philadelphia, PA, and/or New York City, whose web sie is in Denmark. He created the modular geometric typeface Pictobob (2010) and the hand-printed Pops (2013). Dafont link. Behance link. [Google] [More] ⦿ | |
During his studies in Brooklyn, NY, Sunghoon Kim created the high-contrast display typeface Encounter (2014). Behance link. [Google] [More] ⦿ | |
Born in Long Island, Susan Johnson lives in New Jersey and works in Philadelphia. During her studies at Rutgers University, she designed the multiline display typeface ContrAversy (2013). [Google] [More] ⦿ | |
Born in 1954 in Ithaca, NY, Susan designed some of the original bitmap fonts for the original Mac in 1983-1984, including Chicago, New York, Monaco (download), FiveDots, Geneva, Cairo (dingbat font), LosAngeles, Athens and San Francisco (1984, ransom note font), while being a Creative Director at Apple (1982-1985). For Danger Research, she created the bitmap fonts Hamilton 5, Hamilton 6, Waverley 5, Waverley 6, Bryant 7 (2000). Interview with Cybergrrl. Atomic Media sells these pixel fonts of hers: Kare Five Dots (family), Ramona (script pixel font), Harry, Everett, Kare Six Dots (family), Biology (dings), Kare Dingbats, MiniFood, Ned, Sampler. She explains the choice of names for the original Mac fonts: The first Macintosh font was designed to be a bold system font with no jagged diagonals, and was originally called "Elefont". There were going to be lots of fonts, so we were looking for a set of attractive, related names. Andy Hertzfeld and I had met in high school in suburban Philadelphia, so we started naming the other fonts after stops on the Paoli Local commuter train: Overbrook, Merion, Ardmore, and Rosemont. (Ransom was the only one that broke that convention; it was a font of mismatched letters intended to evoke messages from kidnappers made from cut-out letters). One day Steve Jobs stopped by the software group, as he often did at the end of the day. He frowned as he looked at the font names on a menu. "What are those names?", he asked, and we explained about the Paoli Local. "Well", he said, "cities are OK, but not little cities that nobody's ever heard of. They ought to be WORLD CLASS cities!" So that is how Chicago (Elefont), New York, Geneva, London, San Francisco (ransom note font), Toronto, and Venice (Bill Atkinson's script font) got their names. Kare is also known for the original set of Mac icons. The Apple fonts shown below are outline fonts made by Bigelow & Holmes on commission, based on Susan Kare's original pixel fonts. Susan Kare did not design the outline fonts sold by Apple at MyFonts. [Google] [MyFonts] [More] ⦿ | |
Susanne Cerha
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At the School of Visual Arts, Suyoung Yang (originally from Seoul, Korea) designed the geometric solid (Latin) typeface GeoType (2015) and an experimental circle-based typeface (also in 2015). Suyoung graduated from the School of Visual Arts in 2019, and started work at Everything Type Company in 2019. Suyoung is based in Brooklyn, NY. In 2018, her bold and eccentric display typeface Chiifer won a Gold Award at the Graphis competition in the category type design. In 2019, under the mentorship of Courtney Gooch and Paula Scher at SVA, she designed an experimental typeface for the Korean record label DRDR. Home page. [Google] [More] ⦿ | |
Webster, NY-based designer of the decorative caps typeface Crescent (2018). [Google] [More] ⦿ | |
Rochester, NY-based interior designer. Creator of the experimental geometric typeface called Shift (2012). [Google] [More] ⦿ | |
Swiss Miss
| Design blog by Tina Roth Eisenberg (Switzerland&New York City). Has subpages on type design. [Google] [More] ⦿ |
swissmiss
| Type blog by "Swiss Miss" Tina Roth Eisenberg, who now lives in NYC. [Google] [More] ⦿ |
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Symbolset
| Digital product designer and front-end developer based in New York City. Previously he was a partner and designer at Oak Studios, where he led projects for Village, Tobias Frere-Jones, Font Bureau, Monotype, and Facebook among others. Home page. Symbolset was started by Mike Fortress, a graduate of Type@Cooper. Its commercial icon sets include SS Community (2015, by Wen Ping Huang), SS Glyphish (2015, by Joseph Wain), SS Air (2015, by Jory Raphael), SS Elements (2015, by Jory Raphael), SS Forecast, SS Geomicons Squared, SS Gizmo (2013, by Dutch Icon and Oak Studios), SS Junior, SS Pika, SS Social, SS Standard, SS Steedicons, SS Symbolicons (2012, by Jory Raphael, Oak Studios), and SS UI. [Google] [More] ⦿ |
Design studio based in New York City. In 2017, they published Praha, a text typeface that revives Grafotechna's Praha (1968). Behance link. [Google] [More] ⦿ | |
Tabitha Ueblacker (Fashion Institute of Technology, New York) designed the experimental typeface Gnarled (2011) and the edieval outline typeface Secret (2011). [Google] [More] ⦿ | |
Tabo (Gustavo) Garcia (alternate URL) is based in New York. He designed these fonts:
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Digital artist in New York City who created the mysterious typeface Blossom (2019). [Google] [More] ⦿ | |
New York City-based creator of an oriental brush simulation typeface (2014). Behance link. [Google] [More] ⦿ | |
Takaaki Goto
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During her studies in New York City, Talia Ovadia Laniado designed the high-contrast deco fashion mag font Mayden (2016). [Google] [More] ⦿ | |
During her studies in New York City, Tamara Yakov designed an art deco set of numerals called October Calendar (2017). [Google] [More] ⦿ | |
Typographer and lettering artist in Manhattan, NY, who runs theWriting. In 2016, she designed a special hand-lettered typeface for fashion house Oscar De La Renta. [Google] [More] ⦿ | |
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In 2017, Tatiana Gancedo and Angelica Baini co-designed the free modular typeface Renasci. | |
New York City-based graphic designer. He created the aristocratic sans typeface Colonia in 2009. [Google] [More] ⦿ | |
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Ted Mook
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Graphic designer in Buffalo, NY, who created the experimental typeface Meow (2012). [Google] [More] ⦿ | |
Teknike
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Typefaces from 2016: Ithaka (script). Publisher of these handcrafted typefaces in 2017: Anamorphic, Evangelos, Passagem, Privé, Qipao (momospaced felt marker pen font). Teknike also created Nautis (sans), Cycladic (sans), Vantagram (blackletter), Uny (slab serif perhaps for athletic lettering), Fugues (star-studded textured style inspired by organic geometry as apparent in the work of Antoni Gaudi; started in 2015), Jadeite (sans) and Designator (a squarish modular monospace font). Typefaces from 2019: Omoshiroi (a handcrafted monospace typeface), Cote (a hand-lettered monospace font), Penzance (a monospaced handcrafted typeface), Monadic (a monospaced textured typeface), Chartreux (a geometric monospaced display sans typeface), Originator (a squarish monospaced font family), Quantour, Prive (a display handwriting font). Typefaces from 2020: Receptor (a monospaced squarish typeface), Departe (a dot matrix font), Eleusis (monospace, all caps), UNY (slab serif). All his fonts cover Latin and Greek. Some cover Cyrillic and Hebrew too. Typefaces from 2021: Ermou (a Greek emulation typeface). [Google] [MyFonts] [More] ⦿ |
Tenth Letter of The Alphabet
| Type, lettering and typography blog by Alexander Jay (New York City). For example, in mid-October 2011, the pages feature images from Samuel Welo's book. [Google] [More] ⦿ |
Terminal Design
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Montalbano designed custom corporate fonts for Condé Nast Publications, Warner Music, The American Medical Association, the U.S. National Park Service, Vanity Fair, Brides, Gourmet, Mademoiselle, Sassy, Details, Glamour, Jane, Self and Book. The list of font names, with links: Klingspor link. FontShop link. Linotype link. Behance link. View James Montalbano's typefaces done at ITC. [Google] [MyFonts] [More] ⦿ |
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Terry Koppel
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Terry Koppel Design
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Typefaces made by him include Anderson Gothic Squeezed, ESeventeen (a condensed wood type revival), SeriWood, WoodBlock Condensed, ETen, ETwentyFive, LuxorRev, Morgan, Morgan Gothic Caps, Woodtype Gothic Extended, and Haber Squiggle. Behance link. [Google] [More] ⦿ |
Photographer and designer in Brooklyn, NY. She created several typefaces, including the art deco typeface Trueheart (2011). [Google] [More] ⦿ | |
New York City-based designer of the free futuristic typeface 23XX (2016). [Google] [More] ⦿ | |
Graphic designer in New York City who hails from Beirut, Lebanon. In 2018, he created the display typeface Splash. [Google] [More] ⦿ | |
Thaddeus Ted Szumilas
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Thaddeus Typographic Center
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Klingspor link. [Google] [MyFonts] [More] ⦿ |
At the School of Visual Arts in New York in 2017, thao T.P. Nguyen designed the counterless octagonal typeface Oristic. [Google] [More] ⦿ | |
That That Creative (or: Utah Type Foundry)
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Type Department link. [Google] [MyFonts] [More] ⦿ |
New York-based programmer who created the free sans family Tuffy (2005). It has a large character set that covers Greek, Cyrillic, and Indic, and has the new rupee symbol. In 2010, Barta Karoly updated the Tuffy package and placed it here. Thatcher writes: Karoly Barta did a ton of work creating Greek, Cyrillic and accented characters for Tuffy, which he has generously contributed back to the public domain Tuffy. Also, Michael Everson created a Tuffy-derived font, Rupakara, which adds the new Indian Rupee Sign, plus many other currency symbols, and a full set of letters commonly used to transliterate Indian languages. Rupakara is under the SIL Open Font License, but Michael also agreed to let me merge his new characters into the public domain Tuffy. Kernest link. Klingspor link. Dafont link. Abstract Fonts link. Open Font Library link. [Google] [More] ⦿ | |
Nicholas Fabian on the American point system. [Google] [More] ⦿ | |
The Ampersand Forest
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The Cooper Union School of Art is a famous design (and type design) school in New York City. Starting in the fall of 2010, the Continuing Education Department of The Cooper Union, in conjunction with the Type Directors Club, offers a Certificate Program in Typeface Design, called Type @ Cooper. The faculty in 2010 included Jesse Ragan, Ken Barber, Stephen O. Saxe, Roger Black, Mark Jamra and Christian Schwartz. In 2019, the teachers were Karen Charatan, Ewan Clayton, Andy Clymer, Cara Di Edwardo, James Edmondson, St&eacue;phane Elbaz, Hannes Famira, Berton Hasebe, Daniel Morris, Jean François Porchez, Jesse Ragan, Christian Schwartz, Sara Soskolne, Sumner Stone, Alexander Tochilovsky, and Just van Rossum. Cooper Union Typography is a jump site for many typographic treasures. [Google] [More] ⦿ | |
The Digital Past
| Article by New York-based calligrapher and type specialist Paul Shaw. It talks about the main events in the timeline of digital type (but forgets to mention Computer Modern, does not stress Metafont enough, and omits any mention of the work of Bezier and de Casteljau on Bezier curves), and ends by formulating a strategy for increasing the price of type. [Google] [More] ⦿ |
On-line version of the 1918 book by William Strunk, Jr. (1869-1946), entitled "The Elements of Style" (W.P. Humphrey, Ithaca, NY, 1918), reprinted by Batleby.com, New York, 1999. [Google] [More] ⦿ | |
Darry Rehr on the history of typewriters. I cite: ... "It was called the "Sholes&Glidden Type Writer," and it was produced by the gunmakers E. Remington&Sons in Ilion, NY from 1874-1878." ... "The idea began at Kleinsteuber's Machine Shop in Milwaukee, Wisconsin in the year 1868. A local publisher-politician-philosopher named Christopher Latham Sholes spent hours at Kleinstuber's with fellow tinkerers." ... "Sholes proceeded to construct a machine to do the whole alphabet. The prototype was eventually sent to Washington as the required Patent Model. The original still exists, locked up in a vault at the Smithsonian." ... "Sholes lacked the patience required to penetrate the marketplace, and sold all of his rights to Densmore, whose belief in the machine kept the enterprise afloat. Remington agreed to produce the device beginning in 1873. The "Glidden" part of the name came from Carlos Glidden, one of the Kleinstuber Machine Shop gang, who had been something of a help to Sholes." [Google] [More] ⦿ | |
The Herb Lubalin Study Center of Design and Typography opened in 1985 in order to preserve Herb Lubalin's vast collection of work. Its goal was to provide the design community with a means to honor Lubalin and to study his innovative work. Herb Lubalin (1918-1981) is best known for his illustrative typography and groundbreaking work for the magazines Avant Garde, Eros, and Fact. The Study Center's core collection includes an extensive archive of his work, including drawings, promotional, editorial and advertising design, typeface design, posters, logos, and other materials dating from 1950 to 1981. The collection also includes work by other eminent designers including Otl Aicher, Anthon Beeke, Lester Beall, Will Burtin, Lou Dorfsman, Karl Gerstner, Tibor Kalman, Alvin Lustig, Elaine Lustig Cohen, The Push Pin Studios, Paul Rand, Bradbury Thompson, Massimo Vignelli, and many more. There is also a library of books and magazines about design and typography, an extensive collection of posters, myriad type specimen books, and pamphlets within the archive. The Study Center is located at The Cooper Union, 41 Cooper Square, Room LL119, New York. [Google] [More] ⦿ | |
Opened in 1985, the Study Center was created in order to preserve an unprecedented resource: Herb Lubalin's vast collection of work. Its goal was to provide the design community with a means to honor Lubalin and to study his innovative work. Herb Lubalin (1918-1981) is best known for his wildly illustrative typography and his avant-garde work for the magazines Avant Garde, Eros, and Fact. The Study Center's core collection includes an extensive archive of his work, including drawings, promotional, editorial and advertising design, typeface design, posters, logos, and other materials dating from 1950 to 1981. The collection also includes work by other designers including Otl Aicher, Anthon Beeke, Lester Beall, Will Burtin, Lou Dorfsman, Karl Gerstner, Tibor Kalman, Alvin Lustig, Elaine Lustig Cohen, The Push Pin Studios, Paul Rand, Bradbury Thompson and Massimo Vignelli. There is also a library of books and magazines about design and typography and an extensive collection of posters and type specimen books. The Study Center is located at The Cooper Union 41 Cooper Square, Room LL119, New York. The Lubalin Center is free and open to the public by appointment. Up to two people at a time, and up to two hours per appointment. [Google] [More] ⦿ | |
The Keystone Design Union (or: KDU) is a design studio in Brooklyn, NY. Behance link. Creative diurectors David Gensler, Jared Liner, Josh Vanover, and Zach Shuta created some fine retro posters in 2010. [Google] [More] ⦿ | |
The Letterfoundry of Michael & Winifred Bixler
| The Letterfoundry of Michael & Winifred Bixler in Skaneateles, NY has been devoted to the book arts, particularly the craft of fine letterpress printing, metal type founding, and traditional book typography, since 1965. Michael Bixler studiede at Rochester Institute of Technology. The Bixlers are known for their quality and ongoing preservation of the craft of typecasting. Some of its types are listed here. Their catalog of metal typefaces as of 2007: Albertus (+Titling), Baskerville, Bell, Bembo (+Bold, +Titling), Blado, Castellar, Centaur & Arrighi, Dante (+Titling), Ehrhardt, Fairbank Bembo Italic Condensed, Fournier, Garamond, Gill Sans, Joanna, Lombardic Capitals, Lutetia, Octavian, Old English, Perpetua (+Titling), Plantin, Poliphilus (+Titling), Spectrum, Sachsenwald, Univers, Van Dijck, Walbaum. Michael Bixler designed the metal typeface Bixler Roman in 1968. Matrices were cut in Japan and the typeface was cast privately. Bixler issued the blackletter metal typeface family Sachsenwald which is modeled after Berthold Wolpe's Sachsenwald (1936-1937; formerly known as Bismarck Script). In 2020, the Bixlers and P22 jointly published the ornamental typeface LTC Bixler Ornaments, and in 2021, they added LTC Bixler Ornaments Two. The digital versions are due to Terry Wüdenbachs. [Google] [More] ⦿ |
The Living End
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In 2011, she went commercial at MyFonts as Lauren Ashpole Foundry, located in Brooklyn, NY. Her fonts there include Starry Night (1998), Sewing Patterns (2010, silhouettes of women), Sewing Patterns 2 (2012), Origami Bats (2010), Horseshoes And Lemonade (1998), Forgotten Playbill (2011), Bikes (2011, dingbats), Paper Hearts (2012, a Valentine's Day font), and Candy Randy (1998). Typefaces from 2014: Hellmuth (2014, based on the Tuscan writing on the Hellmuth Building) . Typefaces from 2015: Herbaceous Border (2015, floral caps). Typefaces from 2016: Bar Book (dingbats), Parallel Lines. Typefaces from 2017: Sewing Patterns 3. Typefaces from 2018: Roundabout (a display type with circus font textures), Mistletoe (a color SVG font). Typefaces from 2019: Thornback (sketched). Typefaces from 2020: Sacremende (a chunky, slightly messy display font inspired by the retro California aesthetic and, in particular, old surf rock posters). Typefaces from 2021: Space Time (a starry stackable shadow font). Abstract Fonts link. [Google] [MyFonts] [More] ⦿ |
This manual by William Dana Orcutt and Edward E. Bartlett, dated 1923, and published by the Mergenthaler Company in Brookly, NY, is available for free download. The quality of the scanning is relatively poor though. [Google] [More] ⦿ | |
Museum in New York City. In 2015, Klim was commissioned by them to make a typeface family for their identity. This custom version of Klim Metric is called The Met Sans. Review by Mark Kingsley of the logo and identity by Wolff Olins. Armin Vit about the new logo: The first time I saw it, my gut reaction was to smash the banana I was eating into my eyes and then put my face in front of a hungry monkey. The Met Serif, in contrast, is nearly equal to Commercial Type's Austin Text. The museum itself put some weights of these fonts up for free download: The Met Serif Web-Roman, The Met Serif Web-Italic, The Met Serif Web-Semibold, The Met Serif Web-Bold. [Google] [More] ⦿ | |
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The Offices of Kat Ran Press
| Beautiful pages on typography by Michael and Katherine Russem, Syracuse, NY. They also print, and sell type ephemera. Of particular interest is a collection of images of postage stamps created by type designers. [Google] [More] ⦿ |
The Philidor Company
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The Type Studio
| Author of Type Rules!: The Designer's Guide to Professional Typography (2010, Ilene Strivzer Inc). Ilene Strivzer (b. 1953), the founder of The Type Studio in Westport, CT, writes: The Type Studio is a unique and innovative studio specializing in all aspects of typography and visual communications. Our services range from the technical to the aesthetic, and include font development, type direction and consulting, type-oriented graphic design, copy writing, workshops and seminars. She wrote this article as an advertisement for OpenType (read: make people pay once again for fonts they already have). She was production director of Upper and Lower Case Magazine and director of type production at ITC in New York City, where she developed more than 300 text and display typefaces in cooperation with Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, Phill Grimshaw and others. She organizes Gourmet Typography workshops. [Google] [More] ⦿ |
Frederic Goudy's foundry based in New York [2 East 29th Street] published a delightful little specimen book, A Novel Type Foundry (1914), which is about type in general, and presents Village Press borders, florets and ornaments, as well as type designs by Frederic Goudy such as Kennerley and Forum Title. [Google] [More] ⦿ | |
Biography by Nicholas Fabian. Bio at Britannica. Bio at Infoplease. His type styles were revived in 2010 by Jeff Levine as Publication JNL. Typophile Chapbook: Theodore Low De Vinne; was published by Carl Purington Rollins. View digital typefaces based on De Vinne's work. [Google] [MyFonts] [More] ⦿ | |
Thinstroke
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DiSpigna's typefaces:
FontShop link. Another MyFonts link. Logo. Klingspor link. Linotype link. [Google] [MyFonts] [More] ⦿ |
Thoma Kikis
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For a digital revival of some alphabets, see Jeff Levine's New Thin Roman JNL (2019) and Drafting Class JNL (2021). [Google] [More] ⦿ | |
In 2012, he designed the large award-quality copperplate family called Garçon Grotesque. Typefaces from 2013: Ductus (a five-style broad-nibbed calligraphic / medieval family). In 2015, he published Azote (a multilined typeface family inspired by the 1968 Olympic Games in Mexico City). In 2019, he released the free seven font family Lexend at Google Fonts, together with Bonnie Shaver-Troup. Github link. Dedicated site. Lexend now comes in subfamilies called Deca, Exa, Giga, Mega, Peta, Tera and Zetta. He writes that Lexend is empirically shown to significantly improve reading-proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. We will eventually release all seven families as a single variable font featuring its own custom axis. Lexend is thus an implementation of Bonnie Shaver-Troup's 2000 study, in which she theorized that reading performance would improve through the use of (1) hyper expansion of character spacing [which creates a greater lag time and reduces potential crowding and masking effects], (2) expanded scaling, and (3) a sans-serif font [to reduce noise]. Lexend is indeed hyper-widely spaced. Lexend also received support from Santiago Orozco and Hector Gomez. Additional links: CTAN link with TeX support. Github link by Brain Stone (Yannick Schinko). [Google] [MyFonts] [More] ⦿ | |
Thomas John Hayes is a designer, illustrator and photographer living and working in Brroklyn, NY. He holds a Bachelor of Fine Arts degree in communication design from Parsons the New School for Design. Behance link. [Google]
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New York City and New Jersey-based designer of the display typeface Wendel (2012). [Google] [More] ⦿ | |
Hymn writer and typefounder (b. New York City, 1812, d. Philadelphia, 1889). At age 14, MacKellar entered the printing company of Harper Brothers. In 1833, he moved to Philadelphia, Pennsylvania, and joined the type foundry of Johnson&Smiths as a proofreader. He subsequently became a foreman, then a partner, in the firm, which from 1860 was known as MacKellar, Smiths and Jordan. [Google] [More] ⦿ | |
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Creator of typefaces at VGC, such as Lincoln Gothic (1965), which won the National Typeface Competition. His clients over the years include Acoustic Sciences Corporation, AT&T, Continental Packaging Co., The Ford Foundation, GE, IBM, PepsiCo, RCA, Showtime, Abrams, Colliers, Harpers Magazine, Macmillan, McGraw-Hill, Random House, Harcourt/ Brace, New York Times, Simon and Schuster, and Viking Press. In 2006, Bitstream published New Lincoln Gothic, a 24-weight family starting with a hairline weight. This digital version was made in Fontographer from the old typositor strips by Lincoln himself. In 2011, Canada Type and Thomas Lincoln cooperated in the production of the roman sans family Roma. This typeface was published in 2012 at P22. Lincoln himself tells the story: My intention in designing Roma was to create a definitive, contemporary sans serif expression of the classic Roman majuscule as depicted in the Trajan Inscription at the base of the Trajan Column in Rome. The Capitalis Monumentalis letter forms of the Trajan Inscription, which date to 113 Ad, have been described by the noted type scholar, calligrapher and historian, Father Edward Catich, as "the best roman letter designed in the western world, and the one which most nearly approaches the alphabetic ideal." And in the 1902 publication, "The Practice of Typography", Edmund F. Strange stated: "No single designer, or the aggregate influence of all the generations since has been able to alter the form, add to the legibility, or improve the proportion of any single letter there in." Mr. Strange's pronouncement was true in 1902 and it is true today. Through the years various type designers have been inspired by the Trajan Roman to offer their own interpretations. Most notably, perhaps, Frederick Goudy's Trajan Title (1930), Warren Chappell's Linotype Trajanus (1940) and more recently, Carol Twombly's literal rendition of Adobe Trajan (1989) and John Stevens' spirited Stevens Titling (2011). There have been many other nice interpretations by other contemporary designers, yet it may still be said that none has improved the form, the legibility or the proportion of any single letter---though it can be said that the letters J, K, U, W, Y and Z, nonexistent in the ancient alphabet, have been added. Less common has been the interpretation of Trajan in sans serif form. Hermann Zapf's Optima (1953), Sumner Stone's ITC Stone (1987) and Ronald Arnholm's Legacy Sans (2000), among other nice sans serifs, reflect characteristics of Trajan but seem influenced by other factors as well, including fonts such as Gill Sans and Syntax. And, while I don't presume to speak for their designers, none of these typefaces seem designed specifically with Trajan in mind. My own Lincoln Gothic (1965), and its subsequent expansion as New Lincoln Gothic (2006), was a deliberate attempt to interpret the particular characteristics of the Trajan majuscule in a contemporary sans serif face. The most significant change in the later version was the addition of a lower case; a challenge that had simmered on my personal bucket list for several years. Roma, though, differs from Lincoln Gothic in one significant way: while the terminals of Lincoln Gothic are flat, in Roma the vertices of letters such as A,M,N,V and Z are pointed. I believe this change is the critical difference that moves Roma closer to my objective of honoring the original Trajan. As with Lincoln Gothic, Roma's strokes have an almost imperceptible entasis that terminate in a subtle flare; a vestige of the serif. The importance of this feature is that it imbues the font with a humanist quality. The serif, as Father Catich points out in his book, "The Origin of The Serif", almost certainly derives from a combination of the flat brush and the human hand; it is what ties the letterform directly to human anatomy and craftsmanship, integrating it in a fundamental way with the nature of man---as distinct from the machine. In 2020, he released Lincoln Electric at Canada Type. Lincoln Electric started its life as an in-house experimental film type Thomas Lincoln drew shortly after concluding his work as part of Herb Lubalin's famed crew in the late 1960s. The master alphabet was drawn on illustration boards using pen and ink and press-type lines. The digital retooling of this Bifur-style typeface (after Cassandre's Bifur from 1929) was done by Patrick Griffin. Klingspor link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Tien-Min Liao
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Pottersville, NY-based designer of Dotty (2016, a dot matrix typeface). Behance link. [Google] [More] ⦿ | |
Copywriter and art director in New York City who graduated from he School of Visual Arts. She created the bouncy poster font Gingerbread (2013). [Google] [More] ⦿ | |
Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of Zen (2013), an oriental simulation font published by Friday Fonts. [Google] [More] ⦿ | |
Under the tutelage of Andy Clymer (HFJ), he created an unnamed revival font in 2013. Behance link. [Google] [More] ⦿ | |
Tim Gengler
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Commercial Type link. [Google] [More] ⦿ | |
Born in 1956 in Ithaca, NY, Tim sale studied at the University of washington. At Comicraft, he published the comic book typeface family CC Tim (1999-2004). Subfamilies include Tim Sale Lower (2004), Tim Sale Brush (2004, together with John Roshell) and just plain Tim Sale (1999, with John Roshell). [Google] [MyFonts] [More] ⦿ | |
Graphic designer in Albany, NY. Creator of the display typeface Squair (2012). [Google] [More] ⦿ | |
Tina Roth Eisenberg
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Tina Roth Eisenberg
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During her studies, Ting Lin (Queens, NY) designed the decorative floral caps typeface Flora (2016). [Google] [More] ⦿ | |
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Tiziana Haug
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ToadFonts (was: AquaToad)
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Tobias Frere-Jones
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Tobias Frere-Jones
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Washington, DC-based art director at AARP Media who has worked for The York Times Magazine. He created some retail and custom typefaces such as Rittenhouse (stencil face), Colosseum (fat octagonal), Barbarossa (modular typeface) and a thin octagonal typeface, co-designed with Tom Brown, for Architecture Magazine. Behance link. [Google] [More] ⦿ | |
Tolbert Lanston
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Tom Censani
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Graphic designer, b. 1931, Glen Ridge, NJ. After studying at Rhode Island School of Design and Brown University, he founded Brownjohn, Chermayeff & Geismar (which became Chermayeff & Geismar) with Robert Brownjohn and Ivan Chermayeff. His typefaces include A&S Gallatin (1986, Linotype), which was originally designed as a corporate font for Abraham & Straus, a department store based in New York. The photocomposition font A&S Gallatin was done in 1976. [Google] [More] ⦿ | |
Tom Grunwald
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New York-based designer at ITC of the dingbats Primitives (1993), inspired by the work of 14th Century painter Pieter Breughel and 19th Century British illustrator Dick Doyle. The ITC site calls him Tom Lulevitch. Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Tom Nikosey
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Graphic designer in Brooklyn, NY, and student at SVA MFAD in New York City, who created a scanbat typeface called Porn Type (2013) and a set of sexula position icons called Typo Kamasutra (2013). Previously, he was a designer in Santiago, Chile. [Google] [More] ⦿ | |
Tomoko Takeue (b. 1975, Osaka) is the designer at Tomotomo.net of Exercise (2000), where the letters are made up of exercising figures. She studied at the Kyoto College of Art, did character design for Mach5 Design in New York, and now lives in Tokyo. [Google] [More] ⦿ | |
About ITC Garamond, Andreas Seidel writes: That one is a modern recreation that in my view breathes much of the 1970s feel and is generally considered the least historical "Garamond". The high x-height does not improve readability, as you will have to adjust the line-spacing accordingly. The Garamond wiki is equally negative about ITC Garamond. Happy (2005, Canada Type, Patrick Griffin) is the digital version of one the most whimsical takes on typewriters ever made, an early 1970s Tony Stan film type called Ap-Ap. Some of the original characters were replaced with more fitting ones, but the original ones are still accessible as alternates within the font. We also made italics and bolds to make you Happy-er (quote by Canada Type). The 1975 revival of Cheltenham by Goodhue (1896) and later by Morris Fuller Benton, resulted in a Cheltenham with increased x-height. Not everyone was pleased with that. Digital versions of ITC Berkeley Oldstyle besides that of ITC include University Oldstyle (SoftMaker), Californian (Font Bureau), B695 Roman (SoftMaker) and Venetian 519 (Bitstream). Linotype link. FontShop link. Klingspor link. View Tony Stan's typefaces. [Google] [MyFonts] [More] ⦿ | |
Topos Graphics
| Seth Labenz and Roy Rub of Topos Graphics (Williamsurg, NY) designed the paper-fold origami typeface Grus (2009-2010, T-26: three styles including an Outline). Typedia link for Seth Labenz. Topos Graphics link. [Google] [MyFonts] [More] ⦿ |
New York City-based creator of these typefaces, ca. 2012: Jolly, Flap, Flora, Flow, Heartbreak, Stain, A Happy Day. Behance link. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of Wave (2018). [Google] [More] ⦿ | |
Trent Williams
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Brooklyn, NY-based type and graphic designer. He created the spurred typeface Haymaker (2012, free at Lost Type Co-op) and the bold display typeface Laika (2012). With James T. Edmondson, he co-designed the wood type-inspired sans typeface Mission Gothic (2013). Home page. Dribble link. [Google] [More] ⦿ | |
Triboro is the Brooklyn, NY-based design duo of David Heasty and Stefanie Weigler. David Heasty (b. Texas) studied graphic design at Penn State University and began his design career working for Alexander Gelman at Design Machine in NYC. David teaches design at the School of Visual Arts in New York. Stefanie Weigler (b. Germany) studied visual communication at the University of Wuppertal. She went to New York in 2004 and worked at Design Machine with Alexander Gelman, product design firm Birsel+Seck, and at TODA. Stefanie teaches design at the School of Visual Arts in New York. They designed Everlane Sans in 2011. This typeface was expanded in 2016 by Letters of Sweden. [Google] [More] ⦿ | |
German designer from Düsseldorf, who moved to New York City in 2011 to work as senior designer at Chermayeff & Geismar. Creator of the sans typeface Kwartier (2012). [Google] [More] ⦿ | |
His graduation typeface at KABK was Brisbane (2013): Brisbane is a relaxed, self-assured sans serif designed specifically for pedestrian wayfinding in the city of Brisbane, Australia. The family has a range of three weights in five styles plus accompanying optical grades for inverted use. This makes Brisbane a solid candidate for orientation systems in the city or suburb.. This typeface has oomph and character, and should prove a sturdy and fun typeface for any city that uses it. For his revival project at KABK, he chose Nieuw Javaansch No.1 (2012). Nieuw Javaansch No.1 was the first text typeface designed by S.H. de Roos in 1909 while working at Lettergieterij Amsterdam (formerly known as N. Tetterode). It is a Javanese script. Behance link. [Google] [More] ⦿ | |
During his studies, Troy Vasilakis (Franklin Square, NY) designed the circle-based experimenal typeface Vulfpeck (2017). [Google] [More] ⦿ | |
Tuccicursive
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Typefaces from 2017: Malandrino (dry brush font). Typefaces from 2018: Whirly Birds (Great Lakes Lettering). [Google] [MyFonts] [More] ⦿ |
Twenty Six Types
| Craig Hazan (Twenty Six Types, Brooklyn, NY) created a gridded experimental typeface called Wembley Stadium (2012). In 2013, the dot matrix typeface family Neustade was published at MyFonts. [Google] [MyFonts] [More] ⦿ |
At the Fashion Institute of Technology, Brooklyn-based Tyffany Do designed the stencil typeface Pitch Black (2016) and wrote: A typeface that is created based on Futura Black and the Gonzo Movement. [Google] [More] ⦿ | |
Tyler Finck
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Franklin, TN (and before that, Buffalo, NY)-based designer of the rounded counterless typeface Korbin (2015) and the children's alphabet Monster (2015). [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the hipster typeface Crowly (2015) for Gypsé Eyes Magazine. Behance link. [Google] [More] ⦿ | |
New York City-based designer of an unnamed typeface in 2013. [Google] [More] ⦿ | |
New York City-based designer of the poster typeface Railcar (2016). [Google] [More] ⦿ | |
Graphic designer in New York City who created the thin monoline caps typeface Clockwork (2012). [Google] [More] ⦿ | |
During a type design class of Kris Holmes, Tyler Somers (Rochester, NY) designed Melondrop (2013), a sans typeface for signage. Behance link. [Google] [More] ⦿ | |
Meeting on September 25 1999 at the Tishman Auditorium, The New School, 66 West 12th Street, NYC, organized by the Type Directors Club. Speakers: Roger Black, Robin Williams, Fred Woodward, Allan Haley, Stephen Farrell, Frank Martinez, John Hudson, Brock Bohonas, Petra Weitz. 225USD. [Google] [More] ⦿ | |
Type Cooper: Display Type Design
| Over a period of ten weeks, a group of talented and highly motivated students from all over the world gathered in a virtual classroom during a global pandemic and an ongoing fight for racial justice to study display type design. The instructor at Type Copper (New York) was Juan Villanueva, a typeface designer, letterer, and educator in New York City. The students and their tyopefaces in 2020 and 2021: Adriana Garcidueñas, Ana Michel, Andrea Groisman, Asta Thrastardottir, Beatriz Lozano, B. Benedicto, Bree Rice, Christi Payne, Corinne Ang, Cristina Lopes, Deanna Laney, Ellie Henderson, Emily Kurek, Erica Holeman, Fio Gonçalves, Ghaya Bin Mesmar, Jaamal Benjamin, Jamie Otelsberg, Karen Cartas, Karla Pasten, Kenta Yoshioka, Kirstin H., Leo Vicenti, Leslie Badani, Lisa Chiueh, Lucy Chen, Lyam Bewry, Marissa Balbuena, Miguel Angel Contreras Cruz, Natalia Sálomon, Ravee Deshpande, Raven Mo, Shaily Patel, Tamara Segura, Thavin R., Vanna Vu, Vini Vieira, Whitney Wellmaker, Will Yang. [Google] [More] ⦿ |
Past presidents of this New York-based organization include James Montalbano and Mark Solsburg. The highest award of the TDC is the TDC Medal. [Google] [More] ⦿ | |
The students at Pratt Institute in New York formed a chapter of the TDC. Behance link. The typeface design projects in Jesse Ragan's clas include Laser New Roman (2010, by Ian Rousey) and Slothrop (2010, by Chris Nosenzo). [Google] [More] ⦿ | |
Formation: The Changing Faces of Typography is a day-long annual conference in New York City created to examine the role of design in our systems-based world. The 2020 event on March 27 at the Parsons School of Design features these speakers: Brian Collins, Sheila Levrant De Bretteville, Petr van Blokland, Michael Rock, Saki Mafundikwa, Andrew Blauvelt, Tori Hinn, Tracy ma, Stephen Coles, Frida Medrano, Andy Clymer, Anna Kulachek, and Mitch Paone. [Google] [More] ⦿ | |
David J. Perry (Rye High School, Rye, New York) provides links to the main fonts for Latin and Greek. [Google] [More] ⦿ | |
Type Innovations
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His early typefaces include Axion (2012, a futuristic, techno-looking type family; +RND, +SSF, +SER, +RX14, +STN (a stencil version)), BottleKaps (1992) at Linotype. Also at Linotype, he worked on the Fairfield family, designed in 1939 by Rudolf Ruzicka, completing the job in 1991. He also made outlines for Bell Centennial based on Matthew Carter's bitmaps. He runs Type Innovations. He designed the following fonts at Galapagos: Beatnik (1997), Android (2010, beveled techno family), Big Boy (2010, a heavy wood type), CaltexNovaSans (Galapagos), Contax (1997, Galapagos: Alex says about this family: Contax is the new Univers for the 21st century), Contax Sans (2011---this typeface is Peignotian in its light weights, and has subtle and not-so-subtle stem variations), Eclipse (1997, shadow beveled face), Extreme SDans (1997), Innovage (1997, a new Helvetica for the 21st century, in his own words), New Renaissance (1997, a true roman face), Shockwave (1997), Golum (1997), Swordtail (Galapagos, 1997, a hip hand-printed font), New Age (Galapagos, 2002), Extreme Sans (Galapagos, 2002). Other typefcaes: Kaczun Oldstyle Bold (2010), Doc Holliday (2010, a Western face), Hippyfreak (2010), Mister Twiggs and Misses Twiggs (2010), Geomatrix (2010, geometric stencil face), Oronteus Finaeus (2010, like lettering from a map dated 1531), Piccadilly Circus (2010, a Western face), Switched On and Off (Galapagos, 1997), Racetrack (2010: an octagonal multiline display face), Mandelia (2010: a wedge-serif display face). Typefaces from 2011: New Age Gothic (a kind of 21st century copperplate), Scion (wide techno logo family), Dexter (2011, an artsy grotesque), Metalica (2011, a pointy cult type family). Typefaces from 2012: Edgar No. 9 (heavy baroque slab serif in the style of 19th century wood type), Langston (outlined and octagonal), Ekeras V2 (inline face), Mecanica, Mariamne (a spurred typeface based on Contax), Axion SER (a triangle-serifed typeface), Beatnik Barbie (a beatnik font influenced by Jack Kerouac), Nadia (a modern stencil interpretation of Granjon Oldstyle). Typefaces from 2013: Directors Cut Pro (this geometric antique font was a second prize winner at the Canberra Typeface Competition), Ambriel (a curly didone that mixes in Victorian frillies), Sansational (or Sensational sans: an ultra-condensed sans family), My Darling (a bastardized didone fashion mag face), Envisage (grotesk). Typefaces from 2014: Renovatio Deco (a spurred stencil), Crypton (sci-fi face). Typefaces from 2015: Nadia (a stencil version of Granjon Oldstyle). Typefaces from 2017: Gothica (stencil), Decrypt H1, Decrypt He2 (hipster style), Decrypt 02, Decrypt 01 (this geometric sans with hipster capitals evolved from Contax Pro in 1997 and was finally published in 2017). Typefaces from 2018: Grande Sans (stylized caps with sharp triangular corners). Showcase of Alex Kaczun's typefaces. [Google] [MyFonts] [More] ⦿ |
Type design duo consisting of Mary Catherine Pflug (Boston, MA) and Lily Feinberg (Nw York City). [Google] [More] ⦿ | |
Type with pride
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Gilbert (2017) was designed by Robyn Makinson (who is based in New York City) and is the copyright of Ogilvy & Mather. A Chinese version was added in 2018 by Real (Tianjin, China). In 2020, Robyn Makinson added the curvy hipster typeface Bedrock Display. Robyn Makinson's home page. Robyn also uses the alias Robyn Mak. [Google] [More] ⦿ |
Typeco
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Klingspor link. Google Plus link. Behance link. Fontsquirrel link. [Google] [MyFonts] [More] ⦿ |
The annual SoTA meeting held on July 13-15 2001, at the Four Points Sheraton in Rochester, NY. Main speakers include Ed Benguiat, Matthew Carter, Joshua Darden, Chank Diesel, John Downer, Rodney Shelden Fehsenfeld, Tobias Frere-Jones, Frank Romano, Brian Sooy, Terri Stone, and El Mack de los Toros. Third event organised by the Society of Typographic Aficionados, to include discussion groups, panels, presentations, exhibition and social events. A bit too much emphasis in "this" TypeCon on the business and legal aspects of type, and not enough on the art. Report by Stephen Coles. Picture gallery by Tony de Marco. [Google] [More] ⦿ | |
TypeCon 2005 was held at the Parsons School of Design in New York City from 20-24 July. Speakers included Peter Bain, Ed Benguiat, Peter Bruhn, Louise Fili, Stefan Hattenbach, Alessio Leonardi, Yves Peters, and Paula Scher. Mark Simonson's report. Yves Peters' report. [Google] [More] ⦿ | |
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List of all (metal) typefaces available for sale from these six US typefounders:
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Typeji
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In 2021, she released Eliptico (a bold wedge serif family with diagonal stress). Future Fonts link. In 2022, she added Fig Grotesk, a 4-style playful sans. [Google] [More] ⦿ |
Typetanic Fonts
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Type cooperative in Barcelona and New York City, est. 2011 by Andrei Robu. Participants include Dan Cassaro, Fernanda Cozzi, Dominic Le-Hair, Ged Palmer, Jeff Rogers, Jeremy Pruitt, Maia Then, Neuarmy, Ryan Hamrick, and Tom Lane. [Google] [MyFonts] [More] ⦿ | |
Typeverything
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Andrei creates key visuals for branding, packaging, events and artist collections. He has worked with clients such as Adobe, Apple, Bloomberg, Nike, Jordan Brand, Stella Artois, Dailies, Fenwick London, Mastercard, Vodafone, VISA Epos, Coca-Cola, ESPN Magazine, Billboard, Wired, The Golden Globes, Exxon, Toyota, Hiscox. In 2011, he set up Typeverything in Barcelona. Typeverything features Andrei Robu's typefaces as well as those of other type designers such as Cahya Sofyan, Felipe Calderon, Natanael Gama, Adam Fathony, Matteo Broillet, Simon Walker, Drew Melton, Jason Carne, Lewis McGuffie, and Fer Cozzi. In his early type designs, we find extraordinary colored geometric experimental typefaces made in 2007 such as Idea, Trick Fun, Trick Squared, Trick (wow!). In 2009, he made Bs, Merci, Metropolis, Origami, and Think. In 2011, this was followed by Funky. These early typefaces are not featured in his foundry, Typeverything. His commercial typefaces:
Subpage with more experimental type. Flickr page. Behance link. Behance link for Typeverything. Old web site. Typeverything link. [Google] [MyFonts] [More] ⦿ |
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Typographics is a design festival for people who use type. The event series took place June 12-22, 2017, and is devoted to contemporary typography, with talks, workshops, and tours focusing on where typography is today and where its future may lie. It was held at The Cooper Union in New York City. The highlight of Typographics was a two-day conference (June 16-17) centered around the contemporary use of type. The conference director in 2017 was Alexander Tochilovsky. The Festival's director was Cara Di Edwardo. [Google] [More] ⦿ | |
Typographics is a design festival for people who use type. The event series took place from June 11-21, 2018, and was devoted to contemporary typography, with talks, workshops, and tours focusing on where typography is today and where its future may lie. It was held at The Cooper Union in New York City. The highlight of Typographics was a two-day conference (June 16-17) centered around the contemporary use of type. [Google] [More] ⦿ | |
Typographics is a design festival for people who use type. The event series took place from June 10 until June 20, 2019, and was devoted to contemporary typography, with talks, workshops, and tours focusing on where typography is today and where its future may lie. Held at The Cooper Union in New York City, the highlight of Typographics was a two-day conference (June 14-15) centered around the contemporary use of type. The speakers: Edward Fella, Sara De Bondt, Renald Louissaint, Zipeng Zhu, Janet Hansen, Pegah Ahmadi, Pouya Ahmadi, Tereza Ruller, James Edmondson, Elle Kim, Jerome Harris, Louise Sandhaus, Matthew Carter, Shira Inbar, Alan Rapp, Neil Donnelly, Joyce N. Ho, Marta Bernstein, Braulio Amado, Lisa Strausfeld, Giorgia Lupi, Chantal Jahchan, Armin Vit. The directors are Cara Di Edwardo and Alexander Tochilovsky. [Google] [More] ⦿ | |
Typographics is a design festival for people who use type. The event series took place from June 15 until June 20, 2020 at The Cooper Union in New York City. The highlight of Typographics was a two-day conference (June 19-20) centered around the contemporary use of type. The meeting this year was virtual due to COVID-19. [Google] [More] ⦿ | |
The main Typographics conference will feature an international line-up of 30 designers presenting talks about type and its use in graphic design, web design, publication design, book design, packaging, branding, corporate identities, advertising, motion graphics, and more. All Typographics events will be hosted online in this COVID year. The schedule for the main conference is spread out between June 1 and July 1, 2021, with talks taking place every Tuesday and Thursday for 5 weeks across a variety of time zones. The curators are Simon Charwey, Troy Leinster, Pegah Ahmadi, Bahia Shehab, YuJune Park, Caspar Lam, Shiva Nallaperumal, Gen Ramirez, Anuthin Wongsunkakon, Cesar Puertas, and Ilya Ruderman. [Google] [More] ⦿ | |
As a studet, Spring Valley, NY-based Tzippy Kaplan designed the shadow typeface Jolliday (2016). [Google] [More] ⦿ | |
Undercase Type
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In 2020, Phaedra Charles and Flavia Zimbardi co-designed the free decorative text typeface Fraunces at Undercase Type. Commissioned by Google Fonts, Fraunces is huge--it has over one hundred styles and covers four design axes: optical size (9pt to 144pt), weight, softness, and wonk. Fraunces is a display "Old Style" soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as Windsor, Souvenir, and the Cooper Series. Google Fonts link for Fraunces. At Lost Type and Undercase Type, Phaedra Charles, Kelly Thorn, and Flavia Zimbardi published the chunky art nouveau typeface Regina Black (2020; +a variable font). In 2018, Charles&Thorn published Phaedra Charles's (variable) back-slanted Mollydooker at Future Fonts. It was republished in 2020 at Undercase. In 2022, Phaedra Charles released the monumental flared serif typeface Mausoleum, which updates her earlier design, Whittington (2013), which as inspired by a plaque in Boston College. |
Unifonts (or: Unitype)
| Vendor of 1100 fonts, PC and Mac. Type 1 and truetype. The fonts have names that end with UT. This is yet another place that sells renamed or slightly modified fonts from the major foundries, although this one is a bit more careful in its delivery and details. No truly original stuff here. For example, there is no designer info, and no explanations of how or why the fonts were created, according to which models, and so on--stuff one typically finds in truly innovative foundries. Furthermore, the 150 USD price tag for a family of about 8 weights is quite steep. And finally, in a trademark of such hypocritical places, "download" means "click here to order". Owned by Victor de Castro from Monroe, NY. A sampling of their font families: Adriana, Aspecq, ArjorieMix, Alvarus, Audrey, ArjorieTall, Andrew, Arturis, Alessi, Andrew Sans, Arjorie, Ayres, Baltaz, Bonnick, Benton, Bonnick Condensed, Becker, Bueno, Caslon, Conde, Cyrano Modern, Caligra, Conde Serif, Ciantar, Camilla, Ciantar, Distin, Dodico Tall, Dodico, Dexter, Distin, Dodico Tall, Duhamel (+Condensed), Dyna (+Tall), Delgado, Escriba, Ednna, Elizalice (a rip-off of Harold Lohner's Roselyn), Every Condensed, Ebony, Every, Every Old Style, Fidalgo, Fernand (+Tall, Condensed, Sans Condensed), Felix, Florina, Fionelly, Garamond, Gloria Tall, Gloria, Gloria Condensed, Garrido, Gusman, Gibran, Gonzal, Grafia (+_Script), Heloisa, Heloisa Sans, Hudson (+Brush, Rough, Serif), Ismael, Ivano, Ivano Condensed, Jupiter, Juanito, Jonize, Kadlec Serif Condensed, Kandra, Kristin, Kadlec, Kadlec Serif, Manutius, McKay, Marcion, Moacyr, Munik, Munik Sans, Nanus Sans, Nanus, Nanus Tall, Nashua, Nerol Sans, Nerol Serif, Nerol Condensed, Neruda, Omaha, Odell, Oldorion, Phelps (+ Condensed, Olden, Sans), Pompeia (+ Inline, Serif: Pompeia Inline is also a direct ripoff of Adobe's Pompeia Inline), Popowitz (+ Sans), Quinte (+ Sans, Mix, Condensed, Sans Condensed), Quadrante, Rubert, Ryani (+Condensed), Sayuri (+Condensed), Sanlio, Sereno, Simonell (+ Condensed, Sans, SansCond), Stavros (+Condensed), Stedge, StedgeSans, Stubbs, Susset, Tarbone, TarboneSerif, TarcisSans, Tarcis, Tinga, TorniaiSansOS, Torniai, TorniaiSans, TrigleCond, Trigle, Unicentur, UnitechCond, Unichancer, UnitechSerif, Uniorion, Unitech, UnichancerInl, Verena, Vidon, Virginia, Winodell, Wizard, Wagner, WizardZig, WagnerSans, Zetron, Ziano, ZuccaMediaeval, ZetronSansCond, ZuccaSans, ZuccaSerif, ZetronCond, ZianoTall, ZetronSans. Free fonts: AndrewUTBoldItalic.*[abmd] CaslonUTLightItalic, EbonyUT, EdnnaUTBold, EscribaUTItalic, GibranUTDemiBold, KadlecUTBold, SanlioUTBoldItalic, UnisanShineUT, UnitechCondUTLight. Klingspor link. [Google] [More] ⦿ |
Free fonts made by New York-based Untype include the destructionist typefaces FutureDirt, BodoniBoldPieces, Tuertest, BodoniScratchedBold, Velvetica. All these fonts were made in early 2004 with the help of Fontifier. [Google] [More] ⦿ | |
Up Up Creative
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Typefaces from 2017: Holla (brush script). Typefaces from 2018: Stoic (a calligraphic script). Typefaces from 2019: Flatline (a stylish sans family), Thrift (a decorative high-contrast typeface with huge ball terminals), Meritocracy (a monoline script), Slight (a great formal penmanship font), Porcelain, Zoxi (calligraphic). Typefaces from 2020: Auteur (a flowing script), Kindly, Filia (a bold serif). Typefaces from 2021: Radiograph (a stylish serif), Think (a fine monolinear sans that plays on the the theme of wide and narrow), Ingo (advertized as a sultry display font), Ten Pounds (a vintage italic typeface), Flatline Serif (16 styles). Typefaces from 2022: Fifty Fifty (a stylish display serif), Filk (an ultra-bold script), Coax (a stylish sans with modulated stem widths). [Google] [MyFonts] [More] ⦿ |
Creator of the 3d paper-cut typeface Creased (2013), which was a school project at the School of Visual Arts in New York City. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the beautiful sketched typeface Unicorn Juice (2013). [Google] [More] ⦿ | |
New York-based foundry. Examples of wood types made by them: Concave Tuscan (aka Gothic Tuscan) (1867, based on an original by Bill, Stark & Co from 1853). Revivals include Painters Roman NF (2014, by Nick Curtis, of the 1878 wood type Painters Roman). [Google] [MyFonts] [More] ⦿ | |
Vanguard Media
| Based in New York, Michael Pinto designed a comic book font ComicBook in 1992-1993. Other typefaces, all techno: Freak, Hardcore, Radikal. [Google] [More] ⦿ |
Vanina Kim is a graphic designer in New York City. She graduated with a BFA in Communcation Design at Parsons the Newschool for Design and is currently working at a creative agency in Soho. She created the display typeface Thorns (2012). [Google] [More] ⦿ | |
Type specimen book published by Ralph C. Coxhead Corporation, manufacturers of vari-typer based in New York City, in 1946. [Google] [More] ⦿ | |
New York City-based design studio that designed the 3d marquee typeface Peep Show (2013). It can be bought here. [Google] [More] ⦿ | |
Version Type Foundry (was: Industrial-Organic.Net)
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V.H. Fleisher
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Victor Coreas
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Victor de Castro
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New York City-based icon designer. In 2014, he published 60 Vicons. In 2013, he designed 44 Shades, Thin Stroke Icons, and 80 Shades of White Icons. [Google] [More] ⦿ | |
Hammer's uncials have been revived in Neue Hammer Unziale I (1988, Adobe) or New Hammer Uncial or American Uncial (for example at URW++ in 1993). See also Monotype's Uncial, Thomas E. Harvey's Gael (1993), and SoftMaker's Unziale (2012). Mac McGrew explains Andromaque's genesis: Andromaque is a cursive form of uncial letter, mixing Greek forms of aeklmnstz with Roman forms of the other letters, yet retaining legibility and harmony. The original size was cut by Victor Hammer and cast in France. The 14-point size was begun by Hammer, but left unfinished at his death. The font was completed by his long-time friend, R. Hunter Middleton, in the early 1980s, and cast by Paul H. Duensing. Paul Baker did a digital version of Andromaque in 1995. Hammer was forced to emigrate from Vienna to the USA in 1939, where he settled in Aurora, NY. His life is described in Victor Hammer. Artist and Craftsman (by Carolyn Hammer, Lexington, 1981) and in Notes on the Stamperia del Santuccio (by Carolyn Hammer, Lexington, 1963). Mac McGrew: American Uncial was designed and cut by hand by Victor Hammer in 1943. This artist, who was born in Austria, had built a reputation for craftsmanship as a type designer, punch cutter, and printer in Italy. In 1939 he became professor of fine arts at Wells College in Aurora, New York, where he cut punches for this face. Matrices were made and type was cast by the Dearborn Type foundry in Chicago, last of the small independent founders. Later the design was recut and cast by Klingspor in Germany. Uncial letters date to times before the common use of separate capital and lowercase alphabets. They are the basis for the lowercase of this font, to which Hammer has added a set of capitals. There is also a set of Initials, which follow mostly the lowercase design but with some modifications. Compare Hammer Samson Uncial, Worrell Uncial. [Google] [MyFonts] [More] ⦿ | |
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Guatemalan designer and art director currently based in New York City. In 2017, she created the skyline typeface Sky. Behance link. [Google] [More] ⦿ | |
In 2015, she designed the Font Bureau font Marcia, a didone with many quirks and curvy surprises. In 2016, she designed Embury Text. Victoria explains: Contrasting characteristics like soft round curves, sharp end strokes, exaggerated oval counters, punched in slab-like serifs, and swelling swashes play subtly off of each other, offering an unexpectedly immersive experience to the reader. In 2017, she designed the connected script typeface Gautreaux, which is inspired by a lettering style from Tommy Thompson's The Script Letter called "free style lettering." In 2021, Victoria, together with Type Network and Kerns&Cairns, designed the corporate typeface Peacock Sans for NBC. At Future Fonts in 2021, she released the Spencerian script typeface Kadabra, which was started by (her late partner) Dai Foldes, who in turn was inspired by the work of calligrapher Jean Larcher. Lovegrove (2021) is a display typeface designed by Dai Foldes and Victoria Rushton for their wedding invitations. It was inspired by the calligraphy of Raymond DaBoll and has been expanded into a variable font with a swash axis. Interview in 2015 by Type Thursday. Font Bureau link. Type Network link. Future Fonts link. [Google] [More] ⦿ | |
Victoria Siemer (Brooklyn, NY) created Banana Type (2012). Behance link. [Google] [More] ⦿ | |
Victory Type Foundry
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Original designs include the free TrueType fonts Acme, Bark, Boxsoo, Markerz, Psychosis, Seventy, Splurge, Refund and Refund-Bold, Freon, Gaseous, Seriesorbit, Transit, Runamuck, Quarky, Mr Wick, Rat Poison, Muddy, Morkman, Series Orbit, Year2000Boogie, Year2000Replicant, and Arena. Not-so-free original designs such as the weathered font Mauvais, the jerky Junkyard, and many other fonts such as Alfalfa (2001, felttip pen), Quattro (medieval letter simulation), Industrial, Sloshed, Saturn, Badhaus, Basuhand, Lysosome, Friction, Balance (2000, a squarish face; +unicase), BayerSans, Beanstalk, Chlorine Sans/Serif, Dungerees, Embargo, Farmhouse, Grizzly, Jaggers, Lysosome, Mechanikschrift (nice!), Metrogothic, Nolkster, Quattro (grunge font), Sign Gothic. In 2009, she published Bayer Modern, which was modeled after Herbert Bayer's universal alphabet designed in 1925 (she based her letters on P22 Bayer Universal). Fonts from 2010: Surfside (2010) is pure Miami South Beach art deco. MCM Hellenic Wide (2010) is a revival of Hellenic Wide. MCM Monogram (2010) is an art deco / Bauhaus face. Cosmo (2010) is a set of two inline fonts inspired by the CNN logo and Toronto Blue Jays uniforms. Production in 2011: Barnum (a good old slabby Western poster face), Asteroid (the inline space age alphabet on the CNN logo, in the Sega Genesis, and on old Toronto Blue Jays uniforms). Dafont linkVictory Type [Google] [MyFonts] [More] ⦿ |
Based in Buffalo, NY, Vijay Bhat created the display typeface Kayak (2014). [Google] [More] ⦿ | |
Village
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Graphic designer in Staten Island, NY, who created the techno typeface Reinauer in 2015. This typeface was commissioned and is based on the characters in the Reinauer Logo [Reinauer is a tug boat company]. Behance link for Flying Pie Design. [Google] [More] ⦿ | |
Art director and graphic designer from New York City. He created some great type posters in 2009. [Google] [More] ⦿ | |
Vincent Chan
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Under a special license from the American Type Founders, Vincent Pacella modified the design for ITC and added some additional weights. ITC Cushing is slightly condensed with large, bracketed serifs. Pacella changed the capital letters to better complement the lower case and replaced the sloping serifs of the italics to linear type serifs to produce ITC Cushing. ITC Pacella was fashioned in the tradition of Century Schoolbook, Corona and Nimrod, accordung to Linotype. In the 1970s, he made a Photolettering Egyptian headline typeface called Blackjack, which was digitized in 2007 by Nick Curtis as Flap Jacks NF. His 1970s semi-psychedelic typeface Carousel became Nick Curtis's Vinnie Culture NF (2007). His Pacella Vega Extended 10 (Photolettering, 1960s) was digitized by Nick Curtis as Palo Pinto NF (2010). MyFonts also credits Pacella with AT Stratford Bold, a thick slab serif. His PhotoLettering fonts Pacella Barrel and Pacella Colossus inspired Nick Curtis to create the beautiful ultra fat western slab serif Earmark NF (2009). The Western poster font Pioneer was revived by Nick Curtis as Trailblazer NF (2010). Bingham (done for PLINC) led Nick Curtis to design the angular octagonal typeface Binghamton NF (2010). Designer of Plinc Goliath, a fat slab serif, based on Film No. 6206 in the PhotoLettering archive. Originally drawn in 1970 by Pacella, Goliath was digitized by Ben Kiel with Adam Cruz in 2011 for House Industries. [Google] [MyFonts] [More] ⦿ | |
Violet Office
| Violet Office is a brand design studio in New York. In 2020, they released Violet Sans (by Calvin Waterman, Max Ackerman and James Tae) for free to the world. This Eurostile-related font is owned by Violet Office and Calvin Waterman. Github link. [Google] [More] ⦿ |
Virgin Wood Type
| In 2010, the late Bill Jones and Geri McCormick, a graduate of Rochester Institute of Technology, bought the machine, originally created by the American Wood Type Manufacturing Company to cut trees into letters and sell them to printers. For the next two years Bill and Geri followed suit, eventually offering a total of 23 fonts represented a survey of Victorian and Contemporary type design. They offer pantograph-cut wood type in a variety of font schemes and sizes and work out of Rochester, NY. In 2017, prominent wood type collector John Horn commissioned Geri McCormick of Virgin Wood Type to recreate a usable wood type version of "the font with the screws on it", Mansard Ornamented, officially known as Page No. 122 (1879). James Grieshaber and Virgin Wood Type redrew it as vector art. Richard Kegler (P22) completed the digital version with all the requisites glyphs for a modern digital font. That font was published by P22 as HWT Archimedes (2017) in versions called Screw, Phillips, Hex, Star, and Without. Dedicated Behance page. In 2019, they published a colour print called Chromatic Ornate, which is based on William H. Page's Specimens of Chromatic Wood Types (1874). [Google] [More] ⦿ |
Virginia Lucas Hart is a calligrapher, illustrator and lettering artist in New York City. In 2017, she teamed up with Studioways (Eliza Gwendalyn and Jim Lyles) and published the retail calligraphic typeface Hart. MyFonts link. [Google] [More] ⦿ | |
San Francisco-based designer of Dysektid Grotesque (2014), an octagonalized grandchild of Akzidenz Grotesk. She was born and raised in New York, and received her design education from the Maryland Institute College of Art. Behance link. [Google] [More] ⦿ | |
Vit A
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Vit Abramov
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New York City-based designer of the bilined display typeface Conform (2013), which is based on Karl Marx's theory of alienation. Behance link. [Google] [More] ⦿ | |
During her studies at SVA in New York, Vivian Lee designed some drop caps (2017). Behance link. [Google] [More] ⦿ | |
A graduate of the Shillington School of Graphic Design, Vivian also holds an M.F.A. in Spatial design from HDK, University of Gothenburg, Sweden, and a BPS in Architecture from the University at Buffalo. Behance link. She created the thin Tuscan display typeface Split Ends (2011). [Google] [More] ⦿ | |
Graduate from Polytechnics University in Zagreb, and student at the New York Online School for Design. He created the fat counterless typeface Geometry Circle (2010). MyFonts link. Vjeko Sumic Design Studio, located in Serbia. Klingspor link. Behance link. Vand Studio link. [Google] [MyFonts] [More] ⦿ | |
New York City-based designer of the free modular typeface Pettit (2013). Behance link. [Google] [More] ⦿ | |
Wade Jeffree is a New York-based designer and art director from Melbourne, Australia. He currently works at Mother NYC. He created the display typeface Hardy (2014), which can be bought at The Designers Foundry. [Google] [More] ⦿ | |
Wally Olins
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New York-based designer (1901-1956) of these typefaces:
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Type designer (b. New York, 1890, d. 1955) who created the ultra-condensed Huxley Vertical (1935, American Typefounders), now sold by vendors such as The Font Company, URW, Bitstream and ICG. The name Aldous Vertical is sometimes used as well. Tom Wallace (HiH) extended this first to Huxley Alt (2005), and then to the 5-style Huxley Amore and later to Huxley Cyrillic (2008). FontShop link. As an afterthgought, I can't see why people even bother with an ugly duckling and unreadable goat such as Huxley Vertical. Well, URW did, in its URW Huxley Vertical (2011). [Google] [MyFonts] [More] ⦿ | |
Brooklyn, NY-based designer of of the futuristic typeface Fountain (2017). [Google] [More] ⦿ | |
Graphic designer in New York City, who created Today's Specials (2015, hand-printed), Perks (2015, hand-drawn), Spindle Nouveau (2015, a vampire font in art nouveau style), Ashe (2015, a brush typeface), Spiffy (2015, a thin script), and Tout de Sweet (2015, a handcrafted typeface). [Google] [More] ⦿ | |
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We Are Not You
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Penman in Brooklyn, N, who wrote Studies in Pen Art (1914). [Google] [More] ⦿ | |
Web Museum of Wood Types
| This web museum is run by Robert Lee of Unicorn Graphics in Garden City, NY. It has pictures of several wood type catalogs, such as those of Hamilton (#14, from 1899, #25, and #38), Morgans and Wilcox (1890), Day and Collins (1904), Delittle's (1967), am Wm. H. Page (1870, 1872, 1878, 1890). [Google] [More] ⦿ |
While studying in New York City, Weixi Zeng created the sci-fi typeface Steel Blade (2015). [Google] [More] ⦿ | |
Queens, NY-based designer of the experimental stencil typeface Neon (2014). [Google] [More] ⦿ | |
Creative director, graphic designer with a BFA from the Pratt Institute and an MFA from the California Institute of the Arts. Typography and design teacher at the School of Visual Arts and the Pratt Institute. Also working for Wolff Olins, NY. Designer of Baudrillard in the early 1990s at the California Institute of the Arts. Quoting Claudio Piccinini: Baudrillard is very methodic and sports even a set of connected numerals (!). [Google] [More] ⦿ | |
White's Type Foundry
| New York-based foundry, also called Farmer, Little&Co., White, Hagar&Co., John T. White, Norman T. White, and Charles T. White&Co. Farmer, Little&Co. was created in New York in 1862, and sold to ATF in 1892. John T. White existed before that, as they published "Specimen of printing types and ornaments cast by John T. White no. 45 Gold Street, New York" in 1845. [Google] [MyFonts] [More] ⦿ |
Why Not Smile LLC
| Korean-born, New York-based Hoon Kim is with design consultancy Why Not Smile. In 2015, he published the typeface family Pin at Colophon: Pin is a three-weight, nine-cut family of geometric sans-serif types, available in dot-matrix, stencil, and (monoline) solid variations. [Google] [More] ⦿ |
William E. Dennis
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New York-based typefounders who published their work in Specimen of printing types and ornaments, from the type and stereotype foundry of William Hagar (New York, 1850). William Hagar was born in 1798 in Rutland, VT. He moved to New York in 1816 where he worked with Elihu White at the White Type Foundry. In 1823, he took over George B. Lothian's part of the foundry of Lothian&Pell to form Hagar&Pell, who were the first to introduce Scotch to American printersi (Hagar had asked David Bruce Jr. to cut the punches for the lightface series). This company was dissolved in 1830. Hagar's Scotch never sold well---the first successful Scotch family was credited to James Conner, who had bought the original punches and a few more cuts by Edwin Starr. In 1835 Hagar returned to typefounding to buy an interest in the foundry of his friend, Elihu White. This became White&Hagar. White died in 1836, and Hagar continued until 1839. From 1840 until 1842 he was a partner of George B. Lothian, who had a legendary temper. The company William Hagar was established a bit later thanks to the purchase by Caleb Bartlett, Hagar's friend, of the machinery of James Conner who had financial problems. In 1845 Hagar purchased his partner's interests, and he was the sole owner until 1852 when he sold the foundry to his sons, William and John. He died in 1863. The business declined due to the inexperience of the children and the mounting competition and would later become ATF. In 1887, the business was sold to three other New York typefounders. Among digital revivals of its typefaces, we cite Apple Pie (2009, William Hagemann, FontMesa), an extension of an ornate Bodoni all caps typeface by Hagar, ca. 1850. See also AWT Hagar Concave Tuscan Shade (2013, Dick Pape. [Google] [More] ⦿ | |
New York-based inventor (with A.R. Gillmore) of the pantograph, which allowed fast and accurate copying of wood type, in 1834. He enters into a partnership with his father in law, J.M. Debow, to manufacture wood type commercially in Allentown, NJ. Production starts in 1836 under the supervision of E.R. Webb. George Bruce buys out Leavenworth and Debow and sells it to E.R. Webb, who promptly goes into a partnership with Darius Wells in 1839, at which time Wells&Webb was formed. Specimen of Leavenworth's Patent Wood Type Manufactured by J.M. Debow (1840s) is on-line at the NYPL. Digital revivals include Poplar (1990) by Barbara Lind at Adobe, and Gothic Leavenworth (Wooden Type Fonts). [Google] [More] ⦿ | |
New York-based creator of the text alphabet New York Roman that is featured on page 15 of John G. Ohnimus's Henderson's Sign Painter (1906). On page 17, he shows the sans (!) alphabet Egyptian. [Google] [More] ⦿ | |
Type designer for Photo Lettering Inc in New York. His typefaces include Car Card, Domino, Fleuron, Flourish (an upright script; 1940s), Graphic, Guild, Heroic, Ivanhoe, Manuscript Black, Marlboro, Megaphone, Modern Manuscript, Orientale and Preston (a fifties style script). Flourish was digitally revived by Jeremy Mickel in 2011 for House Industries as Plinc Flourish. [Google] [More] ⦿ | |
William Gillies (b. 1911, San Francisco) was an illustrator and lettering artist. He designed the clean hand-printed typeface Gillies Gothic for the Bauersche Giesserei in 1935, where he also published Florentina in 1934. Gillies Gothic is also called Flott. Mac McGrew writes: Gillies Gothic is an unusual monotone cursive style, rather than a gothic in either meaning of that term. It was designed by William S. Gillies of New York City in 1935, in two weights, but cast only by Bauer in Germany. Aside from the fact that it is not a connected script, it is somewhat similar to Kaufmann (q.v.), although many letters have unusual forms. Medium and hairline weights are said to have been designed, but not cut. For a digital version, see Giulio Pro (SoftMaker), Giulio No2 (2012, SoftMaker), Gillies Gothic (ITC), Gillies Gothic EF (Elsner+Flake), Gillies Gothic (Linotype), Gillies Gothic (URW++), Gillies Gothic SH (Scangraphic Digital Type Collection), Gillies Gothic SB (Scangraphic Digital Type Collection), Opti Goal Gothic Bold (by Castcraft), Gillies Gothic (by Philip Kelly, 1982), Gillies Gothic MN (by Mecanorma), G731 Script (by Softmaker), and Gillies Gothic Bold (by Dan Solo). FontShop link. Klingspor link. View William Gillies's typefaces. [Google] [MyFonts] [More] ⦿ | |
William T. Morgans
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William T. Morgans
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Willie Ford
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Disciple of Charlton V. Howe, who together with Howe was considered as the master of the engraver's script. Born in Santa Cruz, CA, in 1882, he died in Brooklyn, NY, in 1954. Partly educated by C.P. Zaner in 1909, he met William E. Dennis (for whom he penned some diplomas and did some other artwork) and became a partner in The Dennis and Baird Studio in Brooklyn. [Google] [More] ⦿ | |
Wilzon Design
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Wilzon Guaman
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Wolff Olins
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WO specializes in brand typing. One of their custom typefaces is Renault (1972). It is a somewhat industrial transitional typeface family. Digital versions include R690 Roman (on the SoftMaker MegaFont XXL CD, 2002), Renault (URW) and Renault EF (Elsner and Flake). In 1993, National Westminster contracted them to make the NatWest corporate family, which was then drawn by David Quay and Freda Sack, and digitized by Bruno Maag. Wolff also designed the beautiful Tate Gallery Corporate Typeface. During his employment at Wolff Olins (UK), Michael Barbosa started work on Metroplis (1995) for Metroplisboa, the Lisbon subway. This typeface was subsequently drawn by Freda Sack and David Quay at The Foundry, London. Typedia link. Linotype link. FontShop link. Wikipedia link. [Google] [MyFonts] [More] ⦿ |
Type designer who works as a digitizer at the foundry of Charles Nix, New Fonts in New York. [Google] [MyFonts] [More] ⦿ | |
Wordshape
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Speaker at ATypI 2019 in Tokyo on the topic of From Bijin-ga to Brutus, in which he explains the work of graphic designers Hokuu Tada (1889-1948) and Seiichi Horiuchi (1933-1987). [Google] [MyFonts] [More] ⦿ |
New York company founded by Tom Carnase before the digital era started. Its typefaces include most prominently, WTC Our Bodoni (1990, Massimo Vignelli) and Goudy WTC. WTC Veritas was designed by Ron Arnholm for WTC. WTC Cursivium was designed in 1986 by Jelle Bosma. David Weinz designed WTC Neufont (1987). Tom Carnase designed or had a hand in WTC Carnase Text, WTC Favrile (1985), WTC Goudy (sold by URW++), WTC Our Bodoni (with Massimo Vignelli), WTC Our Futura, and WTC 145. The current president seems to be Bert DePamphilis, who as director of Presstek has been sued for securities/stock violations. DePamphilis was a member of ATypI. [Google] [MyFonts] [More] ⦿ | |
MacArthur-award winner in 1999 for calligraphy. He was born in Chongqing, China in 1955 and grew up in Beijing. In 1975 he was relocated to the countryside for two years during the Cultural Revolution. In 1977 he enrolled in the Central Academy of Fine Art in Beijing where he studied printmaking. He received an MFA from the Central Academy in 1987. In 1990 he moved to the United States and he still lives there today, making his home in Brooklyn, New York. [Google] [More] ⦿ | |
Graduate of SVA. New York City-based designer of Line Font (2016) and the deco typeface Mo (2014). Behance link. [Google] [More] ⦿ | |
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Alternate URL. Kernest link. Old home page. Dafont link. [Google] [More] ⦿ | |
Designer in New York City who, I think, has made some typefaces in 2011. Not sure though. [Google] [More] ⦿ | |
New York City-based designer of the minimalist fonts Nomnom (2014) and Square (2013). In 2014, she made the curly typeface Moon, and in 2015 the circle-based display family Milk. | |
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Yip Yop
| YipYop offers free and commercial fonts by designer and illustrator Mike Langlie, who specializes in playful and even grungy type. Free: Spandy (pixel font), Sparky (pixel font), Foofah. Commercial fonts designed in 1998-1999: Chicken Parts (at Garage), Mongo (at T-26), Rezin (handwriting à la Treefrog, T-26), Sidewalk (T-26). Link at T-26. FontShop link. MyFonts link. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Behance link. [Google] [More] ⦿ | |
Advertising student in New York City, who created the sci-fi typeface Spaceship (2012). [Google] [More] ⦿ | |
New York City-based creator of an unnamed modular typeface in 2013. Jeju (2013, named after the South Korean island on which she grew up) is an ornamental didone typeface. Behance link. [Google] [More] ⦿ | |
Winner of an award at the Type Directors Club's Type Design Competition 2019 for the revival text typeface Crochet (2019), which was developed at the Type@Cooper Extended program. [Google] [More] ⦿ | |
Young and Morgans Mfg Co.
| American wood type manufacturer from the 19th century. William T. Morgans invented his own version of the router/pantograph for wood type manufacture and with George Young, he set up Young and Morgans Mfg Co. in Napanech, NY, to start producing wood type. A few years later, fire destroys the plant. Young sells his shares to H.K. Wilcox, at which point the company moves to Middletown, NY. In 1880, it becomes Morgans&Wilcox Mfg Co. [Google] [More] ⦿ |
During his studies in New York City, Young Gyun Woo (b. South Korea) designed the angular typeface Chisel (2016). [Google] [More] ⦿ | |
Young Jerks
| Young Jerks is Dan Cassaro's studio in Brooklyn, NY. Dan designed a copperplate style typeface Highway (2012) about which he writes: Highway is an attempt to capture the charm of hand-done early to mid-century Futura clones, the kind of beautiful lettering that happens when a human hand tries to recreate something mechanical. His blog. [Google] [More] ⦿ |
Youngha Park (Karim Rashid Inc, New York) created the experimental Quarterhaus typeface in 2011. [Google] [More] ⦿ | |
Commercial Chinese truetype font family for use with Yangtze Bridge 95 (YB95). 70 USD. From YR Soft in Brooklyn, NY. [Google] [More] ⦿ | |
During her studies in New York City, Yuky Hwang designed the fashion ad typeface Vanguard (2013). [Google] [More] ⦿ | |
Born in Japan. Designer who studied at the Parsons School of Design, New York City. Creator of this experimental typeface. Behance link. In 2010, she created New International. [Google] [More] ⦿ | |
Yuri Jossa
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Yve Ludwig studied graphic design at Yale College in 2000, and received an MFA in graphic design at the Yale School of Art in 2005. Before joining Pentagram, she worked as a graphic designer at Yale University in the Office of the University Printer, where she art directed and designed projects commissioned by clients throughout the university. Since 2012, she has her own studio. Yve made a custom piano key typeface for the North Carolina Museum of Art in 2012 under the art direction of Michael Bierut. [Google] [More] ⦿ | |
In 2017, during her studies at City College of New York, Haihua "Yvonne" Weng (Brooklyn, NY) used FontStruct to design Elegant Sans. [Google] [More] ⦿ | |
New York-based creator of Dunton Writing (2013) and Dunton Sophisticated (2013), and of the fat finger font Bre Noelle (2015). Dafont link. Old URL. [Google] [More] ⦿ | |
Creator of these fonts: Directions (upright connected script), Doghaus (upright unconnected script), PaperCut (a sans with ends cut off; discussed here), Bully (2006, a lively display face, discussed here). Gage lives in Pound Ridge, NY, and is a student. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the handcrafted typeface Tasty Paste (2016). [Google] [More] ⦿ | |
Designer of Venice Door Dingbats (2012) and Colombo (2012, text face). Creator of the typeface Matilda (2012) at The Cooper Union. Behance link. [Google] [More] ⦿ | |
Zimbardi (was: Zimbardi Calomino)
| The Brazilian duo of Flavia Zimbardi (b. Rio de Janeiro) and Caetano Calomino, a signpainter and lettering artist in Brooklyn, NY, formed Zimbardi Calomino. In 2018, using a speed stroke technique, Caetano developed the signpainter font ZC Casual together with Flavia. In 2019, Flavia Zimbardi released Lygia at Future Fonts: Lygia explores the duality of sharp and round forms with stylish cues and historical references from 16th-century masterpieces by Robert Granjon to the geometric approach of W.A. Dwiggins. An homage to Brazilian neo-concrete artist Lygia Clark, originally designed in 2017 as Flavia Zimbardi's degree project for the Type@Cooper extended program in New York. Lygia is a variable font with a weight axis. After Type@Cooper, Flavia settled in Berlin, Germany. In 2021, she released the companion typeface family Lygia Sans, with a further update in 2022. Future Fonts link. Older Future Fonts link. [Google] [More] ⦿ |
Brooklyn, NY-based designer of the playful slab serif typeface Dotable (2016) and casoino Icons (2015). [Google] [More] ⦿ | |
New York City-based designer of Electrica (2014), an animated stick typeface. [Google] [More] ⦿ | |
NewYorker, who made the Zoeknots (1995), Zoestationary (1995) and Zoeboxes (1994) dingbat fonts. [Google] [More] ⦿ | |
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Graphics editor for Science at the New York Times. 13pt is the New York-based design and type studio founded by 
New York City-based designer of Viability (2013), a family of typefaces designed to function well in body copy: Moderate stroke contrast is designed to enhance legibility on lower quality paper prints and smaller digital screens. In 2015, he created the sans family Aanthem. [
ABC ETC INC. is a font and logo design service (est. 2018) based in New York City, run by Nazareno Crea. Nazareno Crea (b. Cinquefrondi near Reggio Calabria, 1983) is a Brooklyn, NY-based book and type designer, who studied at ECAL/University of Art and Design Lausanne (class of 2006) and the Royal College of Art in London (class of 2010). His typefaces: 
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Brooklyn, NY-based designer and illustrator. He created these typefaces in 2009: 
Aenigma is the free font foundry of New York-based Brian Kent. The fonts often carry the string BRK in the name. 
Alessandro Colizzi (b. Rome, 1966) is associate professor at Milan's Politecnico, Department of Design, where he teaches graphic design history, typography, and type design. He was professor at the Ecole de design of UQAM (Montreal) from 2005 to 2019, and visiting professor at the Design Academy Eindhoven (2014/15). He holds a PhD from the University of Leiden (with a thesis on Bruno Minari), an MA in Type Design from The Hague's 
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Brooklyn, NY-based grandson of Joan Trochut of Super-Veloz fame, b. 1981, Barcelona. After completing his studies at Elisava Escola Superior de Disseny in Barcelona, Alex established his own design studio in Barcelona before relocating to New York City. 
Russian-born graphic designer, 1898-1971, who taught at various art institutes in New York, such as the School of Visual Arts. He was art director at Harper's Bazaar from 1934 until 1958, and is perhaps best known for his use of white space and unconventional photography and for his fashion mag typography. His typefaces include the slinky modern 
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Graduate of the Rietveld Academie in Amsterdam. Born in Syracuse, Sicily, he spent half of his life in New York City, and studied for four years in The Netherlands. He worked in Lithuania with a group called Alfa60, and is now based in Turin. 
Michael Doret is a commercial hand lettering artist in Hollywood, CA, but 
Born in Ivancice, Moravia (Czechia), in 1860, died in Prague in 1939. Famous for his sleek posters of women at the height of the art nouveau movement. In 1885 he studied at the Munich Academy of Art and then moved to the Academie Julian in Paris. In Paris, he took commissions for illustrations, portraits and decorative projects, but became most famous for his poster designs for plays, especially under the patronage of Sarah Bernhardt in the 1890s. The success of his posters led to a commercial career in decorative design for commercial and advertising products. Mucha also created jewelry designs, and briefly taught art in New York. In 1910, Mucha returned to Prague to work on nationalistic art, including murals, postage stamps, stained glass and bank notes. 
In 1892, twenty-three type foundries joined together to compete with the new typesetting machine, the Linotype [and later, the Monotype], to form ATF, which consolidated its type manufacturing facilities in a new plant in Jersey City in 1903. They were the dominant foundry in America until 1933, when ATF went bankrupt. Its collection remains intact at the American Type Founders Company Library&Museum at 
Wood type manufacturing company located in New York and Chicago in the first half of the 20th century. Images below are from their Catalog No. 36. [
Typeface importer and vendor and foundry located on Fourth Avenue and Park Avenue South in New York City, with offices in Burbank, CA, and Chicago, IL. Their typefaces included Annonce Grotesque. Amsterdam Continental ceased operations. 
Graduate of the European Institute of Design (IED) in Milan. Visual designer in New York and Milan, Italy, who revived the bullet hole typeface Lucky (André Pless, Mecanorma, 1973) in 2019. His version, also called Lucky, is 
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Brooklyn, NY-based designer of the 
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Andy Clymer grew up in Irvine, CA and studied at San Diego State University in 1998. At that time, he was working on 
Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of 
Anthony hails from Northern New Jersey and studied design at the School of Visual Arts in New York, where he earned an MFA in 2001. He has worked as a designer in New York (where he currently lives), San Francisco and Miami. Author of 
In the Type@Cooper Extended Program in 2014-2015, Brooklyn, NY-based Anthony Elder designed Benedictine, which is inspired by the first printed books in Italy by Konrad Sweynheym and Arnold Pannartz in the XVth century. 
Aoife is an Irish typeface designer and teacher. She has a BA degree in Visual Communications from Dublin Institute of Technology (2005) and an MA in Typeface Design from the 
Applied Design Works was founded in 2015, with offices in New York and Los Angeles. In their own words, Applied specializes in design, planning, strategy, and implementation for a broad range of mission-driven organizations. Their team includes Craig Dobie, Founding Creative Director, Brad Scott, Founding Managing Director, and Elliott Scott, Creative Director. 
Arabetics is run by the Iraqi-American New York-based type designer, librarian, and systems engineer 
Brooklyn, NY-based creator of the very friendly rounded arts and crafts typeface Thistle Display (2014), which was inspired by the lettering of Charles Rennie Mackintosh and Margaret MacDonald. [
Stephen Nixon (b. South Dakota) was an undergraduate student at the University of Minnesota in the Twin Cities. After that, he moved to New York City to work as a product designer at IBM. There, he focused on visual design & UX for software products, then moved into brand experience design within IBM Watson. Stephen lives in Brooklyn, NY, where he operates Arrow Type, taking on freelance type design & development work. In 2018, he graduated from the 
Asddf is a typographic practice founded in 2021 by Corinne Ang, a Filipino graphic and type designer based in Brooklyn, NY and Providence, RI, where she studied at the Rhode Island School of Design. In 2020, she released Mononbloc Sans and Fluoral. During a workshop at Type Cooper 2021, she developed 
Graphic designer in New York City, who created a font based on the mosaics of Gaudi called 
Israeli designer Habib Khoury (born in Fassouta, Upper Galilee, 1967) is presently Executive Creative Director of Avant Design Communications, which specializes in trilingual typography and communications. The type division, AvanType, offers commercial Latin, Arabic and Hebrew typefaces. He holds a Masters degree from Central Saint Martins College in London. Habib spent several years in Haifa, London, and New York, and is now based in Cathedral City, CA. 
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Ayako Ito is based in New York City and Tokyo, and graduated from Type@Cooper. She creates brand identities, books & magazines, typefaces, and illustratis in the fields of art, lifestyle and fashion. Ayako Ito set up 
During her graphic design studies in Brooklyn, NY, Ayushi Shah created a few pixel typefaces (2015). 
Badson Studio is a type foundry in Buena Vista (was: Denver), CO, launched by Kyle Read in 2014. Kyle Read (b. 1987 or 1988) hails from the American Northeast and lived in Chatham, NJ. He studied graphic design and printmaking at Savannah College of Art and Design (class of 2010), and has created typefaces for Abercrombie & Fitch in Columbus, Ohio. He studied type design at the Type@Cooper Extended Type Design Program in New York. We believe, but are not sure, that Kyle started 
During her studies at Rochester Institite of Technology in Rochester, NY, Bailey Knapton showcased the transitional typeface Neuton (2015), which was created by Brian Zick in 2010. [
Chicago-based foundry, which grew out of The Great Western Type Foundry in 1868 when the Barnhart brothers (newspaper publishers in Iowa who came to Chicago as advertising agents) bought out the Toepfer family in 1868. They retained Herman Spindler as the foreman, since he was the only typefounder in the group. Aggressive in business, BB&S became the largest foundry in Chicago. 
American cartoonist and illustrator, b. Cote Saint-Luc, Quebec, 1958, who grew up in Montreal, graduated from The Ontario College of Art and Design, and moved to the US in 1989. He is known for his New Yorker covers and as a regular contributor to the op-ed page of The New York Times. One of his favorite cartoon subjects is Donald Trump. Blitt creates his works in traditional pen and ink, as well as watercolors. His shaky handlettering is distinctive, yet unexplored by the type design community. 
Born in Brooklyn in 1940, he graduated from New York City Community College. Barry worked for Sandgren & Murtha, New York as a graphic designer. 
New York-based designer of the Type Directors Club 1999 award-winning design 
Frankfurt-based foundry started in 1837 by Johann Christian Bauer. At the end of the 19th century, the new owner was Georg Hartmann. On its staff, it had designers such as Konrad F. Bauer [
Behaviour was founded in 1996 by Anuthin Wongsunkakon and Nirut Krusuansombat in Bangkok. They do graphic design, mainly. Type Behaviour is the font library of Behaviour. Anuthin teaches graphic design at School of Art and Design, Bangkok University and Chulalongkorn University. 
American lettering artist, painter and social realist, b. Kovno, Lithuania, 1898, d. New York City, 1969. He is best known for his works of social realism, his left-wing political views, and his series of lectures published as The Shape of Content. Author of 
Benjamin Critton (b. 1983) is an American designer, typographer, art director, publisher, writer, editor and curator. He lived in New Haven, Connecticut, where he studies towards an MFA in graphic design at the Yale School of Art, and is now based in Brooklyn, NY. In 2010, he joined the British type foundry 
New York architect, designer and artist. Born in Pomfret, Connecticut in 1869 and died in New York in 1924. He is most famous for designing Cheltenham (1896) for the Cheltenham Press in New York, a long-ascender classical American typeface created initially for Ingalls Kimball at the Cheltenham Press. He also designed 
During her studies in New York City, Bianca Alcantara designed the geometric solid caps style Box Alphabet (2015). Earlier, at UFMA (Federal University of Maranhao, Brazil), in 2014, she created the vernacular typeface Traço together with 
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Graphic designer who was first in New York City and later in Venice, CA. Artist who sells via 
Bonnie Clas has completed her B.F.A. and M.F.A. at Savannah College of Art and Design as a major in Graphic Design with a minor in Drawing. She has been developing her career by taking positions as a designer, illustrator, and letterer for SpotCo, Rodrigo Corral Design, and Hsu+Associates in Manhattan. She lives in New York City. Creator of 
Art director in New York Mills, NY, and/or Rabat, Morocco, whose web site was called Hipster Font, and is now called Bowery Studio. Designer of Adasmine (2017), Denarrio Script (2017), Arminia Script (2017), Blanca Script (2016, brush script), Amazing (2016), Anatalia Brush (2016), Grace Elegant Script (2016), Daisy Script (2016), Miraluna (2016), Antype Script (2016), Antype Sans (2016), Saser Script (2016), Asmae (2015, brush script), Rinoshare (2014, a sketched font), the octagonal typeface Hipster Grunge One (2014), the poster font Ice Cube (2014), the spurred tattoo font Athena (2014), Bushcraft (2014, 
Graphic designer from Virginia who graduated at Virginia Commonwealth University in 2011. He works at DDB in New York. Creator of 
Raised in Atlanta, Brian earned his Bachelor's and Master's degrees from MICA in Baltimore, MD. He currently lives in Brooklyn, NY. He is an alumnus of Milton Glaser's Summer Program and a founding member of The Children's Publishing Design Forum. A designer, artist and illustrator recognized by many awards, Brian designed these art-historical typefaces in 2014: 
During his studies at School of Visual Arts in New York, Brian Lemus (Bayside, NY) created the thin typeface Slab Lace (2014) and the plumpish Nueva York Sans (2014). [
Brian Xiao (Brian Xiao Design, Hacienda Heights, CA) designed the text typefaces Keyserling (2014) and Galatea Bold Italic (2014). [
Designer and illustrator in Tuxedo Park, NY. Creator of a rounded sans logo and logotype, Nakamichi (2014). [
Art director in Nw York City, who was in Saltillo, Mexico, before that. His neo-grotesque typeface 
New York City-based studio founded in 2001 by creative director Alex Wiederin. Creator of the fashion mag display typeface Carine (2014). 
During her studies at Parsons in New York, Candice Ralph created an art nouveau-inspired typeface called 
Prolific Woodland Hills, CA-based typophile and type designer (1937-2013) whose portfolio consisted largely of revivals and who used the alias Character for his typographic work. The Los Angeles Times posted 
Charles&Thorn (Brooklyn, NY) is the design and illustration studio of husband-and-wife team Spencer Charles and Kelly Thorn. They first met as designers at 
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Charles Percival (or just Percy) Bluemlein (b. 1891) served in the 346th Infantry in World War I. In 1920, he married Mildred Vanderbilt and settled in Brooklyn, NY. He died in 1944 and is buried in the Long Island National Cemetery in Farmingdale, NY. Famous for his scripts and penmanship, his best known book is 
Designer in New York City. In 2016, she created a Chinese brush typeface called Alphebats. [
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With just one name (the other one was lost in an accident!), Chester, the type designer, was born in Montreal in 1971. In 1995 Chester moved to Chicago to work with Rick Valicenti and eventually become a partner in his digital type foundry, Thirstype. In 2004, he started up the type coop 
Student at Pratt Institute, class of 2013, who grew up in Singapore and Vietnam. Brooklyn-based creator of a faux Mandarin typeface called 
Located in New York, Chris holds an MFA in Graphic Design from the Rhode Island School of Design, and an undergraduate degree in Architecture from UC Berkeley. Creator of 
Christian Schwartz was born in 1977 in East Washington, NH, and grew up in a small town in New Hampshire. He attended Carnegie Mellon University in Pittsburgh, Pennsylvania, where he graduated in 1999 with a degree in Communication Design. After graduation, he spent three months as the in-house type designer at MetaDesign Berlin, under the supervision of Erik Spiekermann. In January 2000, he joined Font Bureau. Near the end of 2000, he founded 
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Graphic designer in New York City who created the ornamental caps typeface 
Co-designer with Richard Kegler of several fonts at P22 type foundry, which she joined in 2000. She graduated from the State University of New York at Buffalo with a BA in Communication Design. She worked at the Pushpin Group in NYC and at Dog Eat Dog Advertising, Inc. in Buffalo, NY. Her typefaces: 
During his graphic design studies in Brooklyn, NY, Christopher Lee published the free 6-font sans family Canter (2013, 
American designer in Jackson Heights, NY (b. 1965), associated with the Cherokee Nation. He created the graffiti font Chase Zen Jackulator (2015), Chase Zen Jingletruck Karachi (2015), the tattoo font Chase Zen Holy Monkey (2015), the art nouveau typeface Chase Zen Paris (2014), Chase Zen Sprawl (2014), Chase Zen Blight (2014), Chase Zen Punjabi (2014), Chase Zen Basmati (2014), and Chase Zen Bangladesh (2014). 
Ciaran is a Brooklyn-based designer who set up 
C.J. Dunn has a background in graphic design and typeface design, and studied under Ed Benguiat at The School of Visual Arts in New York. He worked on typefaces for Font Bureau, and continued his relationship with the Berlows at Type Network. He is a graduate of Type@Cooper, a postgraduate certificate program in typeface design, where he also assisted Sumner Stone & Sara Solskone in teaching typeface design. He started 
Celebrated Swedish sculptor, b. Stockholm, 1929, who lives and works in New York. His work influenced many (mostly modular) type designs. A partial list: 
Claudia grew up in the south of Brazil and moved to the USA to attend college. She has BFA in Graphic Design from the School of Visual Arts in New York City where she has also taught. Claudia worked for nearly 10 years as a designer and Art Director in New York before moving to San Francisco in 2013 to serve as Design Director at WIRED. She has worked for The New York Times, T: The New York Times Style Magazine, Blender, More Magazine, New York Magazine, Domino Special Editions, Gourmet Special Editions and Men's Health. In 2012, Claudia redesigned Real Simple Magazine, marking the beginning of her design studio with WIRED pal Margaret Swart. 
Type designer from Buffalo, NY. His typefaces were mostly developed at P22. 
Colophon Foundry was a London and Los Angeles-based digital type foundry established in 2009. Its members comprised Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design was complemented by independent and interdependent initiatives in editorial design, publishing, curation, and pedagogy. It grew out of the Brighton-based design studio, The Entente (Anthony Sheret&Edd Harrington) in April 2009. Benjamin Critton (Brooklyn, NY) joined them later. In December 2023, it was 
Foundry, est. 2009 or 2010 by Paul Barnes (London and New York) and Christian Schwartz (New York). Their own blurb: Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Schwartz and Barnes, their staff, and outside collaborators, and also represents the two when they work together on typedesign projects. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Schwartz and Barnes were awarded the Black Pencil from the D&AD. The team were also nominated for the Design Museum's Designer of the Year prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper. 
Delta, CO (and, earlier, Stamford, CT)-based 
New York-based foundry, also called the United States Type Foundry, Conner&Cooke, James Conner&Son, James Conner&Sons, and James Conner's&Sons. [
Constellation is a creator and publisher of contemporary typefaces and is run by its two partners, Chester Jenkins (based in New York, born in Montreal) and Tracy Jenkins. They also feature typefaces by Magnus Rakeng, Patrick Giasson, Kris Sowersby, Rick Valicenti, and Jeremy Mickel. Constellation contains the main elements of the previous Village and Thirstype foundries. Typefaces including 
New York City-based designer who is originally from Perth, Australia. Designer of these typefaces: Vinum (2014: a gothic psychedelic typeface inspired by Electric Wizard's "Dopethrone" album), Inflated (2015, an oily bubblegum typeface), and 375 (2015: a striped experimental typeface in 3 weights, Window, Facade and Earthquake). 
Type designer (b. 1951, New York) in New York City, who studied at Pratt. His type foundry, Cozy Fonts, is located in Bell Canyon, CA. 
Cynthia Batty (formerly, Cynthia Hollandsworth) was born in Washington, DC in 1955 (MyFonts) or 1956. She studied at the California College of Arts and Crafts in Oakland, CA, and managed the department of type design and development at Agfa Compugraphic in Massachusetts. She was President of AlphaOmega, a design studio dedicated to typeface development. She was also the Director of Typeface Development at High Technology Solutions, in Poughkeepsie, New York. Currently (?), she is the vice-presdident of Simon&Schuster in New York. For a few years, she was Executive Director of ATypI, involved, in particular in the ATypI meetings in Vancouver and Prague. 
Daniel Rhatigan (
Daniel Benjamin Miller (b. 2000, New York) is an undergraduate student in philosophy at McGill University. His type design work: 
Daniel Brokstad lived in Australia where he graduated from RMIT University in Bachelor of Design. He returned to Stavanger, Norway, in 2011, and later joined Sagmeister & Walsh in New York City. 
American type designer, born in Detroit, who lives in New York City. His early typefaces include 
Brooklyn, NY-based designer of the blocky typeface system Chunkfunker (2017). 
Joshua Darden is an exceptionally gifted typeface designer with a studio in Brooklyn, NY. Joshua Darden (b. 1979, Northridge, CA) founded the 
This New York printer, was the first to produce wood type commercially, in 1827, after having invented the lateral router with David Bruce. Saxe says that the preferred woods were maple, pear, and cherry, and to a lesser extent boxwood, mahogany, and holly. Maple won out by 1850. His first specimen book (1828) now resides at Columbia University. Wells, the inventor, was born in Johnstown, NY, in 1800, and died in Paterson, NJ, in 1875. His company was first called D. Wells&Co., but becomes Wells&Webb in 1839 when Wells forms a partnership with E.R. Webb, who had earlier that year bought the company of Leavenworth and Debow from George Bruce. In 1854, Wells sells his partnership to Webb, and so we have E.R. Webb&Co. Webb dies in 1864, and the company reverts to Heber Wells, the youngest son of Darius Wells, Alexander Vanderburgh and Henry Low---it is now Vanderburgh, Wells&Co. Hever Wells buys out the others, and the company becomes just Heber Wells. This last company was absorbed by Hamilton in 1898. 
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New York City-based writer and editor who designed several nice book covers that employ innovative typographic styles. [
British type and graphic designer (b. 1948, London) who graduated from Ravensbourne College of Art&Design in 1967, and after working as a graphic designer in London, founded Quay&Gray Lettering with Paul Gray in 1983. David Quay Design started in 1987, and finally, in 1990, he co-founded 
Born in Kansas, David Sagorski moved to southern Florida to study at the Art Institute of Fort Lauderdale. He then moved to New York City and created several display typefaces and picture fonts for ITC and Letraset. David worked on oil rigs and pipelines in the bayous of Louisiana. He was encouraged to peruse type design based on the suggestions of friends and associates who admired his handlettering and other works of art. 
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Dmitry Krasny is the founder and creative director of Deka Design, a visual communications firm in New York City. He has been teaching courses in typography, information design, and book design since 1994, and served as Chair of Communication Design Department of Kanazawa International Design Institute (KIDI), Japan. He served on the jury of the TDC2 Type Directors Club's Type Design Competition 2004. 
American designer of the fonts P22 Bauhaus Extras, P22 Bauhaus Extras, P22 Bayer Shadow, P22 Bayer Universal, P22 Cage Extras, P22 Da Vinci, P22 Da Vinci Extras, 
Prolific NY-based designer (born in East Los Angeles) who specializes in faithful revivals of old masters and logotype, in Latin and Hebrew. He made over 500 fonts including. He is also a translator and illuminator of Biblical period Hebrew and Aramaic. His clients include The Vatican (Pope John Paul II's Holocaust commemerative CD) and Hadassah, the Women's Zionist Organization of America. His specialties are translations worded in the language and style of the period in which the Biblical text was composed. His translation and enumeration of kabbalistic writings, otherwise known as Hebrew Mysticism and numerology, demonstrate the mathematical base of Biblical miracles. 
Original fonts as well as font links (about 1800). All fonts made by Dennis Palumbo, a writer from New York, who used to make fonts for Atari. Some fonts were free, but most are now pay fonts, it seems. 
Creator of the free eye chart font Sloan (1990-1994, Metropia Ltd), which is based on Louise Sloan's design, which in turn has been designated the US standard for acuity testing by the National Academy of Sciences, National Research Council, Committee on Vision (1980, Adv Ophthalmol, 41, 103-148). The standard specifies only the letters CDHKNORSVZ, whereas the font file provides a complete uppercase alphabet A-Z. This font was developed for the 
Brooklyn, NY-based graphic designer, who also claims Norfolk, VA, as his home. He deconstructed a hairdryer---its pieces made up the glyphs of 
Creative production studio in New York City led by Mitch Paone. In 2012, they created the sans typefaces 
Dian Feng (Chicago, IL, then New York City, and then Hong Kong) designed the delicate oriental simulation typeface 
Designer from Brooklyn, NY [now living in Helsinki], who graduated from The School of Visual Arts in 2007. Creator of Numbers (2013), a beautiful circuit-inspired octagonal set of numbers. She also made the Peignotian fashion mag typeface 
Based in New York City, 
Donald Partyka is the Creative Director of the policy journal Americas Quarterly, which he launched in 2007 and still oversees. Previously he has art directed numerous consumer and academic magazines, including the National Magazine Award-winning Linguafranca. Other recent projects include the design of the monograph Typography, Referenced. A graduate of The Rhode Island School of Design, he is also an adjunct faculty member at The City College of New York. 
Free and commercial school fonts by Ramón Abajo, all made in 1999 or 2000: Ramon is a high school Spanish teacher in California. His fonts are floating around in 
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Type designer from Jackson Heights, NY, who created an 
Born in New York in 1927, Ed grew up in Brooklyn. He died in 2020. Ed was once a very prominent jazz percussionist playing in several big bands with Stan Kenton and Woody Herman, among others. He has created a large number of typefaces between 1970 and 1995. About his career, he once said: I'm really a musician, a jazz percussionist. One day I went to the musician's union to pay dues and I saw all these old people who were playing bar mitzvahs and Greek weddings. It occurred to me that one day that's going to be me, so I decided to become an illustrator. He designed more than 400 typefaces for PhotoLettering. He played a critical role in establishing The International Typeface Corporation (or ITC) in the late '60s and early '70s. Founded in 1971 by designers Herb Lubalin, Aaron Burns, and Ed Ronthaler, ITC was formed to market type to the industry. Lubalin and Burns contacted Benguiat, whose first ITC project was working on Souvenir. Ed became a partner with Lubalin in the development of U&lc, ITC's famous magazine, and the creation of new typefaces such as Tiffany, Benguiat, Benguiat Gothic, Korinna, Panache, Modern No. 216, Bookman, Caslon No. 225, Barcelona, Avant Garde Condensed, and many more. With Herb Lubalin, Ed eventually became vice-president of ITC until its sale to Esselte Ltd. 
New Yorker, b. Bethlehem, PA, 1905. In 1928, 
Brooklyn, NY-based creator (b. 1989) of the ornamental caps typeface 
Modern American design pioneer in New York City, b. 1927, Jersey City, d. 2016. Wife of Alvin Lustig (1915-1955). In his book, 
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Lettering artist and graphic designer in Brooklyn, NY, who runs the design studio, The Letter Office, and teaches typography and design at City College. She specializes in text-heavy publications and information graphics. Her typefaces: 
Born in Cambridge, MA, in 1970, and educated at the Rhode Island School of Design (1988-1993), Eliabeth now lives near New York City where she is Principal of Elizabeth Cory Studios. From 1993 until 1995 she was senior font designer at Font Bureau, and from 1996-1998, she was font manager and designer at Meta design in Berlin. 
Lettering artist from New York. ATF sales manager and director of typeface design. He created the often-copied calligraphic Murray Hill (now available as Murray Hill EF) in 1956. Versions of Murray Hill are in different places, including most shareware archives. Commercial versions at SoftMaker (
Emily Moore (Rochester, NY) created an experimental shadow caps typeface called 
The Empire Type Foundry of Delevan, New York was established in 1893 remaining active until it's demise in 1970. According to Annenberg, this foundry was not a part of, or affiliated with, The older Empire State Foundry, which apparently closed at least a year prior to the opening of The Empire Type Foundry. Even though the casters used by Empire were Monotype machines, the type produced was well formed and of a high quality. It was initially owned by Wilbur F. Persons and Claude Persons. A picture of 
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Brooklyn-based book and type designer. During her studies at Type@Cooper in New York (2011-2012), she designed the elegant text typeface family 
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Graphic designer and musician (b. 1982) at the New York studio AWP who grew up in Maine and is currently based in Ithaca, NY. In 2018, he founded Etcetera Type Company, which is based in Spencer, NY. 
During her studies at the School of Visual Arts in New York, Long Island City, NY-based Eunsung Do created Fontissimo (2014, a Peignotian typeface) and Ink (2014, a plump didone typeface). In 2011 and 2012, she studied interior design at Kookmin University in Korea. [
In Kris Holmes's class in Rochester, NY, Eva D'Ignazio designed the blackletter-inspired typeface 
New York City-based designer of Harvest Display (2015: an Italian art deco-inspired geometric sans typeface) and Orbit Display (2015, an all caps fashion mag didone typeface). It seems that Harvest Display was renamed Precita after one day. In 2017 he designed Meca. [
New York-based foundry, also called White's Type Foundry and A.D. Farmer Foundry. It was created in New York in 1862, and sold to ATF in 1892. Many of its typefaces were digitized in recent years, such as the art nouveau typeface Palm (1887), which resurfaced as 
Flavia Zimbardi is a type designer and visual artist from Rio de Janeiro, based in Berlin. From 2005 to 2013 she worked for some of the leading magazines in Brazil. Flavia is a graduate of the Type@Cooper Extended Program at the Cooper Union, class of 2017. In 2018, she started 
Founder and creative director at Flëve in New York City. 
Brand design consultants in New York City. In 2014, under the guidance of partner Holga Balina and founder and creative director 
Font & Co. is an independent type foundry established in 2017 by Francesco Gianesini, co-founder and Creative Director of Gianesini Design, a multidisciplinary design studio based in New York City. He started Gianesini Design with his wife Tina in 1994. In 2018, he published 
Miguel Reyes (b. 1984) is a graphic and type designer from Puebla, Mexico, who studied at Benemérita Universidad Autónoma de Puebla. He obtained a Masters in Type Design from Centro de Estudios Gestalt Veracruz. Since 2010, he cooperates with Typerepublic in Barcelona. Founder of Fontaste. Graduate of the 
Fortunato Depero (1892-1960) was an Italian futurist painter, writer, sculptor and graphic designer. Born in Fondo/Malosco, Depero grew up in Rovereto serving as an apprentice to a marble worker. On a 1913 trip to Florence that he discovered a copy of the paper Lacerba and an article by one of the founders of the futurism movement, Filippo Tommaso Marinetti. In 1914, Depero moved to Rome and met fellow futurist Giacomo Balla. In 1915, Depero and Balla coauthored the manifesto Ricostruzione futurista dell universo. In the same year he was designing stage sets and costumes for a ballet. In 1919 Depero founded the Casa d'Arte Futurista in Rovereto, which specialised in producing toys, tapestries and furniture in the futurist style. In 1925 he represented the futurists at the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Modern Industrial and Decorative Arts). 
A native of Wichita, Kansas, Frances MacLeod completed a Bachelor of Fine Arts in Advertising Art Direction and Graphic Design at Columbia College Chicago. She also studied at Type@Cooper and has worked with teams in Chicago and New York, most notably the Department of Design at Leo Burnett. She is currently based in Brooklyn. 
Photolettering foundry in the 1970s, located at 211 43rd Street, New York City 10017. One of my correspondents explains: Franklin Photolettering was the smaller film type joints catering to the major publishing and advertising industries in New York City in the 60s and 70s. They started out with a few originals to get into the game, but within a year or so they started putting out copies or slight modifications of existing stuff from Photolettering and VGC (you can see how that happens---someone comes in for some ad copy in Barker Flare, for example, and he asks if they have something like Eightball, so they say "sure, we can do that"). Even though they did have a bit of original stuff, they didn't have not enough to stand out like PL, Mecanorma, VGC or Letraset---also the sheer number of film fonts available on the market by the mid-70s meant that unless you dumped a lot of money on marketing, big-time design would ignore you----so not much room was left for smaller film type houses. 
Painter, sculptor and type designer, b. ca. 1930. Graduate of the Kunstschule Augsburg, Germany. Since 1976, he is an active member of the Woodstock Artists Association and Museum. Based in Rifton, NY, his paintings can be seen in many places, such as 
Type designer active at New York-based Frere-Jones Type, who grew up in New Zealand, designing magazines, lettering and type for cultural and commercial clients. His typefaces: 
Born in Wells, Minnesota as Arthur Frederick Ward, 1894, d. New York, 1939. He enlisted in the United States Army in 1915 and attended the Army School of Military Aeronautics at the University of California, Berkeley during 1917-1918. On demobilisation he worked as a book editor for Macmillan&Co before undergoing training on the Monotype machine, after which he worked for the printers Edwin Rudge. He had met Beatrice Becker in 1919 and they married in December 1922. Warde was Printer for Princeton University (1922-1924). The couple moved to England in late 1924 for Warde had been offered work by the typographer Stanley Morison, designing for The Fleuron and the Monotype Recorder. The marriage did not last; they separated in 1926, and quickly divorced, though the break-up was an amicable one. Afterward Warde lived in France and Italy, where he became involved in Giovanni Mardersteig's Officina Bodoni. In 1926 Mardersteig printed The Calligraphic Manual of Ludovico Arrighi - complete Facsimile, with an introduction by Stanley Morison, which Warde issued in Paris while working for the Pleiad Press. He had his name changed several times, first his last name to Warde, and then his first name first to Frederique and then to Frederic. Warde returned to America permanently and he worked again for Edwin Rudge from 1927 to 1932, and also designed for private presses such as Crosby Gaige, the Watch Hill Press, Bowling Green Press, the Limited Editions Club and Heritage Press. Warde worked as production manager for the American office of the Oxford University Press from 1937 until his death in 1939. 
One of the great type designers of the twentieth century, 1865-1947. Born in Bloomington, IL, he made over 125 typefaces. He founded the Village Press with Will H. Ransom at Park Ridge, IL, in 1903. From 1904 until 1906, it was in Hingham, MA, and from 1906-1913 at 225 Fourth Avenue, New York City, where a fire destroyed everything except the matrices on January 10, 1908. From 1913 until 1923, it was located in Forest Hill Gardens, Long Island, and from 1923 until his death in 1947 at Deepdene, in Marlborough-on-Hudson, NY. He was an art consultant for Lanston Monotype from 1920-1940. 
Or Freeman Godfrey Craw. Type designer from East Orange, New York, born in 1917, who was associated with ATF. He died in 2017. 
Freight Collection is simply a place to sell Joshua Darden's successful Freight superfamily. Freight was originally developed at Garage Fonts between 2004 and 2009. This extensive all-round family of typefaces includes 
After his break-up with Jonathan Hoefler, Tobias Frere-Jones set up shop as Frere Jones Type in Brooklyn, NY, in 2015, and joined 
Celebrated type designer, born in 1970 in New York City. Frere-Jones received a BFA in Graphic Design from the Rhode Island School of Design in 1992. He moved to Boston, where he worked at the 
Fresh Pressed Fonts is the foundry of Ryan Welch, who graduated from RIT in 2013. Based in New York City, he created the blackboard bold multi-textured font family 
Fwis is a graphic design group in Portland, Cupertino and Brooklyn. One of its art directors is Chris Papasadero. As a sideline, they will design an occasional font. 
Penmanship book written in New York in 1867 by D. Williams and S.S. Packard. It has a few blackletter and other alphabets, and many freehand drawings of birds and animals. Selected alphabets: 
General Type Studio is a New York-based type foundry founded by 
Type-founder (b. Edinburgh, Scotland, 1781, d. New York City, 1866). He and his brother David emigrated to the United States, where they started the Bruce Type Foundry in New York City in 1813. David was precoccupied with a new printing process, stereotyping, while George was the type-founder who created many beautiful and refined designs. Together, they invented a useful type-casting machine. In 1865, George Bruce published 
American designer, b. Rockville Centre, NY, 1950. George Ryan held senior positions at Linotype and Bitstream since 1979, where he has been involved in the production of over 2500 fonts. In 2004, Ryan joined Agfa Monotype, and is now a Monotype typeface designer. 
New York City-based designer of a great set of fat didone numerals (2014). 
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Graduate in 1992 from the Rochester Institute of Technology with a BS in Printing. While a co-op student for Monotype Typography in California, she hinted fonts. She has also carried out research at Microsoft with Robert Norton. She joined Font Bureau in 1994, but moved a few years later to Southern California. 
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GT&CANARY, a New York City design lab, was founded in 2004 by Takaaki Goto (b. 1966, Japan), a.k.a. GT, who specializes in global brand identity and package design. Takaaki Goto designed the slightly arched 
Talented Bauru, Brazil (and now, New York City)-based creator of the 
New Yorker who did custom work for 
In 2009, 
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Hamilton Wood Type (HWT), established in 2012, is a joint venture between P22 type foundry and the Hamilton Wood Type & Printing Museum. The designs in this collection are based on printed specimens and actual wood type from the historic Hamilton Museum in Two Rivers, WI. HWT is based at P22 headquarters in Buffalo, NY. Typefaces are contributed by its founder, Richard Kegler, but also by Miranda Roth and Terry Wüdenbachs. 
Designer and art director currently working at Google Creative Lab in New York (previously in London). Her typefaces: 
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Harold Lohner was born in upstate New York in 1958. He received an MFA in printmaking from the University at Albany and is Professor of Visual Arts at Sage College of Albany. He began making fonts in 1997 and starting distributing them the next year through Harold's Fonts. He lives in Albany, NY, with his partner, Al Martino. Originally, most of his typefaces were freeware or shareware, but gradually, he started selling most on his site or via 
Hector Guimard (b. Lyon, 1867, d. New York, 1942) was an architect, who is widely considered today to be the most prominent representative of the French Art Nouveau movement (1890-1905). Designer in 1901 of the art nouveau font Metropolitaines used in the Paris metro (see 
Born in New York in 1918, Herbert Frederick Lubalin died there in 1981. Founding editor and art director of U&lc from 1973-1981. Co-founder of ITC in 1969, together with Edward Roundthaler and Aaron Burns, as a result of the marriage of Lubalin Burns & Co (est. 1969) and PhotoLettering Inc. Professor at the Cooper Union in New York from 1976-1981. Director of the avant garde magazine Fact between 1965 and 1967. 
Prolific master calligrapher and type designer, born in Nuremberg in 1918. Most of his life, he lived in Darmstadt, where he died in 2015. He is best known for Palatino, Optima, Melior, Zapf Dingbats, Zapfino, and ITC Zapf Chancery. He created alphabets for metal types, photocomposition and digital systems. 
Born in 1970 in New York, Jonathan Hoefler ran the 
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New York City-based designer of Atletico BK Jersey Font (2016). For the 2016 NFL draft he created two brush typefaces, Draft 16 and Digidraft. 
Illustrator and graphic designer in New York City. Using Georgia and a bit of Garamond as a model, he molded and uniformized the serifs and terminals in the creation of his free font 
Trafton (b. New York, 1897, d. 1964 or 1946) spent most of his life in New York as an artist, teacher and designer. At the Bauersche Giesserei, he created typefaces such as: 
Founded by Philipp Hubert (based in New York) and Sebastian Fischer (based in Stuttgart), Hubert & Fischer is a design studio with offices in New York and Stuttgart, Germany with a global client base. The studio specializes in creating editorial design, type design, visual identity, print, application, websites and e-commerce design from concept to production. 
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Graphic designer (b. Plattsburgh, NY, 1972) and type designer who studied graphic design at Portland State University and the California Institute of the Arts. He currently runs a multidisciplinary creative studio specializing in unique solutions for international clients. The studio has been based in Tokyo since 2005. Lynam writes for a number of design, typography, and cultural publications including Font Magazine, This American Life, PingMag, and Neojaponisme. In 2008, he released his book Parallel Strokes, an investigation into the intersection of type design and graffiti. He created these commissioned fonts: Diesel Sans, Tri (dot matrix as in billboard lights). He also made Hanger, Garland Sans (based on stencil letters used by British designer, educator and theorist Ken Garland, 1929-2021), Inversion (uncial), Cruller (a fantastic handlettered typeface based on a German lettering book from 1910), Bon Appetit (a custom cut Antique Olive for Bon Appetit magazine), Cooper Pink, Cooper Swash Italic Traditional & Cooper Swash Italic Custom, Cooper Italic (2010, after Cooper's original from 1924), Cooper Initials (2010), 
Typographer, architect, designer and 
New York-based print designer who made the 
Defunct foundry. One of its typographic directors was Gilbert Powderly Farrar (1886-1957), who designed Bert Black. Intertype's typefaces include 
New York City (and before that, Madrid)-based illustrator who created the minimalist typeface Minim (2012), the scratchy typeface Displaced (2013), the 
Irina Lee received a Masters of Fine Art from the School of Visual Arts, a post-graduate certificate in Typeface Design from the Cooper Union, and a Bachelors of Art in Studio Art from the University of Maryland. She designed the vontage typeface Auggie (2016) and writes: Auggie is a serif typeface with contrast that mimics a ballpoint pen, ball terminals, and serifs inspired by merangue. It can be used for display, packaging, corporate identity and signage. Auggie has warm, friendly, humanistic characteristics, with sweet details in the glyphs, slightly curved forms, and exaggerated merengue peaks. [
Isabel Urbina is a graphic design graduate from ProDiseño School of Design and Visual Communications in Caracas, Venezuela. She was born in New York City, grew up in Venezuela and is currently working as a freelancer in Brooklyn, NY, where she also attended 
Letterer and calligrapher Ismar David (b. Breslau, 1910, d. New York City, 1996) designed the immensely popular David Hebrew in 1954 (published by Intertype and Stempel). He emigrated to Palestine in 1932 and lived in Jerusalem until 1952. During this period he worked as a graphic designer and developed the David Hebrew typeface. From 1953 onwards, he lived and worked in New York City as a book designer, lettering artist, calligrapher and architectural designer, and as an instructor at the Cooper Union and Pratt Institute. Ismar David's prolific design career was donated in 1997 to the Cary Graphic Arts Collection at RIT. 
International Typeface Corporation, located at 228 East 45th Street / 12th Floor, New York, NY 10017. Established in 1970 by Aaron Burns, 
Jaamal Benjamin is founder and designer at Studio Grand. Formerly a dancer/choreographer in Hip-Hop dance theatre, Jaamal's interests as a designer, artist and educator lie mostly in crafting parallels between the black experience, mark-making, social change, movement, and music. Jaamal holds a bachelors degree in Graphic Design and graduated in 2021 from the Type Design at Cooper Union's Extended program. At the Cooper Program in a Principle of Display Type workshop at Cooper in 2020, he developed 
New York City-based type and brand designer, who has a BFA (2008-2011) from California State University at Long Beach, and used to work in Los Angeles. He studied typeface design at The Cooper Union for the Advancement of Science and Art in 2011. 
Brooklyn, NY-based designer, who created several typefaces, such as 
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During studies in New York City, Jackson Green (or just Jack Green) designed the sci-fi typeface Memphis Sans (2016) and the blackletter typefaces Heutig (2016) and Iron-On Blackletter (2016). 
Instructor at the New York School of Industrial Art. Coauthor with Dan X. Solo of 
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Chicago, IL, and/or Fredonia, NY, and/or Philadelphia, PA-based designer, who runs 
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Australian creator of the informal monoline sans family 
Buffalo, NY-based creator of the logotype typeface 
During his studies at Parsons The New School for Design in New York, Jean M. Wojciechowski designed the 
New York City-based designer of Sans Bass (2015), a dadaist typeface created in honor of Saul Bass. In 2015, Marques was studying at the Institute of Technology in New York, after earlier studies at Sao Paulo State University. [
Curitiba, Brazil-based graphic designer, who spent some time in New York City. His typefaces: 
Prolific type designer in Florida, b. New York, 1952. His fonts were originally free and consisted largely of dingbats. Around 2005 he went commercial, and now sells his work (over 350 fonts as of 2009) via 
Jeff Rogers (or Rodgers in some publications) was born in Texas and lives in New York City where he works as a designer and illustrator. He has created custom lettering for such clients as Nike, The New York Times, Good Magazine, Metropolis Magazine, Blue Q and others. Jeff is also a partner at Abidesco, a Texas based design collective. With the help of the crew at YWFT, he created three typeface families: 
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American type designer who co-designed (drew?) the great hand-printed memo-note typeface family 
Originally from North Carolina (b. 1979), Jesse Ragan studied type design at Rhode Island School of Design. After college, Jesse designed typefaces at Hoefler&Frere-Jones, where he had a hand in Gotham, Archer, and several other families. Since 2005, he has worked independently in Brooklyn, developing typefaces and lettering for a variety of clients. His work can be found at Font Bureau, House Industries, and Darden Studio. He also teaches typeface design at Pratt Institute and Cooper Union. He won an award at 
Jesse Vega, born 1976, is a type designer based in New York. He has an industrial background in Fine Arts and is a graduate of the Type @ Cooper type design program at Cooper Union. Vega began crafting letterforms in 2009 and has since collaborated with several New York-based foundries, assisting in the design and production of typefaces for both corporate and editorial use. In 2014, he co-designed 
Jessica Svendsen is a designer working in identity, editorial design, and illustration. She is currently an Associate Creative Director at Dropbox (2016-). Jessica previously worked as a designer at Pentagram in New York for partner Michael Bierut (2013-2015) and at Apple (2015-2016) on the global communications team. She teaches design as adjunct faculty at Parsons The New School and the Pratt Institute. She received a MFA in Graphic Design from the Yale School of Art and a BA in English Literature from Yale University. 
Taiwan-born designer in New York City, who created the display caps typeface 
Wurtsboro, NY-based designer of the brush typefaces Sweetstuff (2017), Time To Celebrate (2017), Chalk Menu (2017, 
American designer (b. 1914, New York, d. 2003, Orlando, FL) of ITC American Typewriter (1974). Joel Kaden designed the light and medium styles. Tony Stan made the bold weight. Ed Benguiat finished the italic in 1989. Other digital fonts that mimic ITC American Typewriter: Typewriter (Softmaker), Modern Typewriter (Softmaker), Typewriter 911 (Bitstream), Memorandum (Corel). Posters of ITC American Typewriter by Sophia Dragoudi (2011): 
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Art director in New York City. Born in Britain, he is a typographer, illustrator, painter, branding specialist and graphic artist. His largely experimental type design work includes the retro techno typeface 
John N. Schaedler was an old school New York type designer, who had his own studio in the city. In the 1970s, Schaedler published Swinger, a film type by Ray Cruz. Around the same time, the psychedelic typeface Loose New Roman was designed. In 2010, Nick Curtis revived the latter typeface as 
Charles S. Hazlett of Boone, IA, and John West, of Chicago, co-designed a script typeface for BBS in 1890. When he 
Type and logotype company in Polanco (and now Mexico City), Mexico, run by 
Artist, illustrator, designer, hand letterer, and sign painter living in Brooklyn, New York. Jon has a BFA from Carnegie Mellon University. He currently works as a senior artist and designer for Trader Joe's. 
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Graphics editor for Science at the New York Times. Founder of 
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Josh Finklea grew up in Austin, Texas. Finklea received a Bachelor of Fine Arts in Graphic Design at Art Center College of Design (Los Angeles). He has worked as a designer in Los Angeles, Amsterdam, New York City (where he worked at Design:MW), and is currently based in Austin, Texas. His typefaces were published at 
Originally from Michigan, Josh Levi moved to New York City in 2005. He worked briefly at the Benetton Group's communication's research center in Treviso, Italy, and served as a designer and art director for Colors Magazine. In 2011-2012, during his studies at type@Cooper in New York, he designed the strong text typeface 
New York-based Garagedesigners who made 
Brooklyn, NY-based creator of the comic book style display typeface Ginga Caps (2014), advertized as a typeface designed for the 2014 World Cup in Brazil. 
Originally from Peru, Juan Kafka graduated from the Type@Cooper Extended Program in 2014. His typefaces: 
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Born in 1818 in Braunschweig, Germany. He emigrated to the United States where he worked as a type designer for various foundries in New York. His work includes these typefaces: 
Creator in Utica, NY, of the display typeface 
Jon H. Clinch (b. New York) is the award-winning author of Finn and Kings of the Earth. As an aside, he is also a type designer. Most, but not all, of his typefaces were published by Monotype, ca. 1994-1995. These include: 
New York-based designer of dingbat typefaces at Outside the Line (with Rae Kaiser): Hearts and Swirls Too (2009), Just Christmas (2009), Just Flower Pots (2009), Crowns (2009), Hearts And Swirls (2009), 
Graduate of the Rhode Island School of Design, class of 2010, who worked at Cocoroe in Tokyo (2010-2015) and then at Todd Oldham Studio in New York (2015-). New York City-based designer of the text typeface Chorus (2016). She explains: Chorus was designed to be used as a text face in Haruki Murakami's novels. The letterforms were inspired by musical and rhythmic references used in his stories. 
Polish / American designer who writes: Karolina Lach is a graphic designer, web designer and typographer residing in New York. She currently works as the Senior Designer for Kiwibox Media, a social network and online magazine for teens. A graduate of The Cooper Union for the Advancement of Science and Art, she has studied under Mike Essl, Emily Oberman, James Craig, Maxim Zhukov and Hannes Famira. Graduate from the type design program at the 
New York City-based creator of the lipstick crayon font 
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Brooklyn, NY-based designer of Incheon (2015), a fantastic poster typeface that is inspired by Seoul and emulates Hangul, and Retrograde (2014, an astrologically-inspired alphabet). 
Born in Reedly, CA, in 1950. She studied calligraphy at Reed College with Lloyd Reynolds and Robert Palladino, and she studied roman brush writing in a workshop with Fr. Edward Catich. In New York, she studied lettering with Ed Benguiat at the School of Visual Arts. Later she studied calligraphy and type design with Hermann Zapf at Rochester Institute of Technology. She received her B.A. from Harvard University and her MFA from UCLA School of Theater, Film and Television, specializing in Animation. In 2012, she was honored with the Frederic W. Goudy Award in Typography from Rochester Institute of Technology, for her achievements in the lettering and typographic arts. Kris Holmes teaches type design at the Rochester Institute of Technology. 
During her studies at School of Visual Arts in New York City, Kristen Sorace created Cavatappi Script (2015, a decorative display script, named after the restaurant it was designed for). [
Ksenya Samarskaya (b. Saint Petersburg, Russia) studied at the University of Oregon and New York University (class of 2010). From 2007 until 2011, she worked for Hoefler&Frere-Jones in New York. After a brief stint as type consultant for Apple in Cupertino, CA (2012-2013), she set up her own design studio, Samarskaya & Partners, in 2015, in Brooklyn, NY. That same year, she co-founded Alphabettes. Samarskaya has taught typography and design at Harbour.Space University in Barcelona, University of the Arts in Philadelphia, and the School of Visual Arts in New York. She splits her time between Brooklyn, NY, and Lisbon, Portugal. The typefaces she worked on at Hoefler include Exchange, Ideal Sans, Landmark, Retina, Sentinel, Sterling, Verlag, Archer, Forza, Gotham, Historical Allsorts, Numbers, Shades, Tungsten, Vitesse and Whitney. Her contributions covered design direction, drawing, kerning, interpolation, opentype features, hinting, production, testing and troubleshooting. 
New York City-based illustrator and designer who drew an 
Designer who became famous because of his work on wayfinding and branding projects, and his designs for massive urban systems, airports, zoos, and museums. Over the course of his career he has created systems for the Mexico 1968 Olympics, Mexico City Metro, National Zoo, American Museum of Natural History, New York Penn Station, National Mall, Minnesota Zoo and Jeddah International Airport. Wyman taught corporate and wayfinding design at Parsons the New School for Design in New York for forty years, from 1973 until 2013. He lectures internationally and is still designing. The first compendium of his work, Lance Wyman: The Monograph, was published by Unit Editions. 
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New York City-based illustrator and designer (b. 1955) who co-created 
Founded in 2006, Lederhosen is a small design studio in New York City specializing in typeface design. Principal and designer is Bjorn Ramberg. Ramberg's typefaces include 
Leftloft is a visual communications studio in Milan, founded in 1997 by graphic designer Andrea Braccaloni (b. Bologna, 1973), Francesco Cavalli, Bruno Genovese and David Pasquali. The studio is mainly engaged in corporate identity, and now also has an office in New York. Andrea Braccaloni teaches visual communication at the III Faculty of Architecture/Design at the Politecnico di Milano. At 
Letterpunch, Kelvin Ma's web site, makes a strong and convincing case for font freedom and open source fonts. At Behance, Kelvin Ma is Kelvin Song from Riverhead, NY. American creator in Long Island of 
Lily Feinberg grew up in Georgia and studied at the University of Georgia, class of 2011. She presently works as a graphic designer in New York City. With Mary Catherine Pflug, she is one half of 
During her studies, Lindsay Muir (New Paltz, NY) created the decorative outlined blackletter typeface Smackletter (2015). 
Ling studied graphic design and art direction at Portfolio Center in Atlanta, Georgia. She holds a B.S. in Marketing from Clemson University. In New York City, she created a Fournier Revival in 2014. Later in 2014, now from San Francisco, she created Terrarium. 
Calligrapher, sign painter, and graphic and type designer from Milton, Mass., who was born in New York, studied design and photography at Harpur College there (graduating in 1975), did some lettering in Syracuse until 1977, worked for Bitstream in Boston from 1983-1991, and made a career afterwards as a staff type designer at Boston's Font Bureau. In 2016, he joined 
During her studies at RIT in Rochester, NY, Liz Wells designed Kooi (2014, a calligraphic typeface) under the guidance of Kris Holmes. 
Penman, b. 1859, San Antonio, TX, from Hungarian parents. [Some say January 20, 1860] His maternal grandfather, Ladislaus Ujhazi, was Governor of Kameron and the Count of Saros. He traveled a lot and was a versatile and multi-dimensional person. He worked in Sterling, IL, Jersey City, NJ, and Poughkeepsie, NY. He spent most of his life in New York, and died in 1910 in San Francisco. Author of 
Graphic designer in New York City, who heads the St. George Press. Born in manhattan, and raised on Staten Island, he attended The School of Visual Arts in New York. 
Founded in 1989, Louise Fili Ltd is a graphic design studio specializing in brand development for food packaging and restaurants. Formerly senior designer for Herb Lubalin, Louise Fili was art director of Pantheon Books from 1978 to 1989, where she designed close to 2,000 book jackets. She has received Gold and Silver Medals from the Society of Illustrators and the New York Art Director's Club, the Premio Grafico from the Bologna Book Fair, and three James Beard award nominations. Fili has taught and lectured extensively, and her work is in the permanent collections of the Library of Congress, the Cooper Hewitt Museum, and the Bibliothèque Nationale.
New York City-based design agency (est. 2003) specializing in commissioned fonts and brand design. Their custom typefaces include 
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Vienna-born type designer who lived from 1883-1972, and whose real name was Emil Kahn. He died in New York, where he lived most of his life. He studied at the Munich Academy, which became a center of poster design. In 1910 he co-founded the magazine Das Plakat. During WWI he designed posters for the German War effort. In 1920 he was appointed as the first professor of poster design at The Akedemie der Kunst, Berlin. He moved to New York in 1923 and continued his poster work. He also continued his teaching at the Art Students League and at New York University. 
Lynne Yun is a type designer based in Brooklyn who specializes in lettering and calligraphy. She holds a BFA from School of Visual Arts and a postgraduate certificate in typeface design from Type@Cooper. Lynne has worked with a broad range of clients (including Anheuser-Busch, Samsung, Sherwin-Williams and London Book Review to name a few) and held positions at Apple, Publicis, Deutsch, and was a full-time type designer at Monotype, starting in 2017. Lynne Yun is the founder of the Brooklyn-based studio 
New York-based designer. Creator of the 
Fonts made by New Yorker Frank Marciuliano: at Linotype, Abstract, 
During her studies at St John's University, New York City-based Mariana Guilarducci created these typefaces: Angels (2016: handcrafted), Homi (2016: based on an antique tobacco package seen in Casa Loma, Toronto), Escorrega (2016: a fancy typeface based on the lettering on old cachaca bottles). At the Universidade Federal de Pernambuco in 2014, she designed the pixelish typeface Tetris (2014). [
Type designer based in Brooklyn, NY. In 2014, as an intern at Typefounding (St. Louis, MO), he developed a typeface pending distribution by House Industries. In 2015, he joined Font Bureau, where he designed MF Ambulia Text (his graduation project at Type@Cooper in 2015), MF Abagnale (original headline sans from 2014), and MF Gaussian, under the umbrella of Font Bureau's Senior Font Designer, Cyrus Highsmith. 
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Mark Solsburg is the head of the Type Directors Club and of Fairfield, CT-based 
Famous Italian typographer and graphic designer, b. 1931, Milan, d. 2014. Designer, with Tom Carnase, of WTC Our Bodoni (1989). In 1966, he set up Unimark International in New York City, which became the largest disign firm of its day. He left Unimark in 1971, to set up Vignelli Associates in New York City with his wife Lelli. 
Type designer and poster artist who digitized 
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At the College of Saint Rose in Albany, NY, in 2017, Mattew Carrera designer a great monogram. [
Or Matthew Hinders-Anderson. Climate activist and lead designer for 
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Dutch multidisciplinary designer and design strategist. During his studies at Parsons School of Design in New York City, he created Kollektiv (2017), an amalgam of the top 40 sans serif typefaces. 
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Maxim Zhukov (b. Moscow, 1943) specializes in multilingual typography. He was a typographic coordinator for the United Nations in New York from 1977 until 2003. Solomon Telingater was one of his mentors. Early on, he designed some typefaces such as Meandr (1972). He taught at the Moscow Printing Institute in 1984-1985, and at the British School of Art and Design in Moscowand is affiliated with the Type Directors Club and ATypI. He now teaches at Parsons School of Design in New York. He also taught a course on advanced typography at The Cooper Union, also New York. 
During her studies at St. John's University in Queens, NY, Meagan Driscoll designed the prismatic typeface Handmade (2015). [
At the School of Visual Arts in New York City, Megan Daley designed the squarish tilted display typeface Folden (2015). She also created a squarish typeface for a children's book in 2015. 
New Paltz, NY-based designer of the Latin wedge-serif typeface Décongelant (2014). 
Mike Abbink (b. 1967) earned a BFA in Fine Arts, and another one in Graphic Design and Packaging from Art Center in Pasadena. Born in 1967, he was a graphic designer at Meta Design San Francisco doing corporate and web design. In March 1999 he co-founded Method, Inc., a San Francisco-based company specializing in communication strategy, interaction and graphic design. Mike Abbink is the Executive Creative Director of the Brand Experience and Design Team within IBM Studios. Before that, he worked as a Creative Director for the Museum of Modern Art, Wolff Olins (New York), Saffron Consultants, Method (also co-founder) and as a Design Director at Apple Computer. His typefaces: 
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Designer and art director originally from Indianapolis who woeks in New York City since 2010. His typefaces include Wax (2014: a heavy techno typeface) and Keystone (2014: designed for a pitch for a vodka brand). [
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Milton Glaser (b. 1919, New York, d. 2020) was an important American graphic designer who founded Push Pin Studios (in 1954) in New York where he worked with Seymour Chwast. He left in 1970 and founded Milton Glaser Inc in New York in 1974. He taught classes at SVA, where according to 
Designer in Brooklyn, NY, who created the circular compass-and-ruler virtual identity typeface Brooklyn Bridge Park in 2016. Its glyphs are sectioned for easy coloring and stretching. 
New York City-based 
Morgan Press is located in High Point Road, Scarsdale, New York. They published wood type specimen books such as 
New York City-based graphic design student. She created 
American wood type manufacturer from the 19th century, set up in 1880 by William T. Morgans and H.K. Wilcox. The latter had taken over Young's shares at Young and Morgans Mfg Co., prompting a company name change. It was located in Middletown, NY. Morgans and Wilcox was absorbed by Hamilton Manufacturing. 
Extraordinarily talented type and graphic designer in New York City, who is the uncontested fashion magazine type designer. Before New York, he was in Jerusalem, where he studied at Bezalel Academy of Art and Design. He also did one exchange student term at OCAD in Toronto. His work is geared toward the fashion industry and fashion publications in general. 
New York City (was: Zaporizhzhia, Ukraine)-based designer of color display typefaces for Latin and Cyrillic such as Fargo (2019), Baku (2019: rounded, fat, textured and layerable), Arco (2019), Ryde (2019: an engraved "money font"), Wellington (2019: SVG format), Fairbanks (2019), Frat (2018: layerable, octagonal, athletic lettering) and Moscow (2019: Western style). [
Born in Milan in 1965, Matteo Federico Bologna emigrated to the United States, where he founded Mucca Design in 1999, a company involved 
Established in 2005, Muccatypo's is a group of three type designers that form a subgroup of Mucca Design in New York: 
Graphic designer in New York City, who created 
Natasha Jen (BFA 2003) and her team at Pentagram designed the stretchable typeface Herita Geo in 2015 
American wood type manufacturer that existed from 1876 until 1895, and was set up by John Stevens and William Wood in New York City. They In 1874, they had patented a process for laminating celluloid to wood to produce celluloid wood type. Example of that: 
Tom Grunwald is the Brooklyn, NY-based type founder of Nemek. Creator of the beefy ultra-heavy slab typeface 
New York-based foundry run by Charles Nix (b. 1967, Ohio), who studied tye design at The Cooper Union. Charles Nix is professor of Typography and Book Design at the Parsons School of Design, New York. His foundry was helped by Wong Chee (digitization) and 
New York City-based designer of several great mosaic-based lettering pieces in 2017. In 2017, Louise Fili, Nicholas Misani and Rachel Michaud co-designed the art nouveau typeface 
Graduate of the College for Creative Studies, who works in Seattle, WA (and before that, in Brooklyn, NY). He created 
New Yorker (b. 1969) who graduated from the School of Visual Arts in New York in 1993 and set up a studio in Hoboken, NJ. In 2004, Nico moved to Tuscany, and then Switzerland with his young family. He started a line of wooden children's toys in 2005, and later he ran a small agency for identity and website design in Zurich. He returned to the NY area in 2013, and since 2016, he has been a design director at The New Yorker magazine. 
Graphic designer in Brooklyn, NY, who created the art deco typeface Au Papier in 2014. During 
Designer in Brooklyn, NY, who drew many ornamental capital letters in 2013 during his graphic design studies. [
Born in Kuala Lumpur, Malaysia, in 1987. Graphic designer in Brooklyn, NY, who created Kama (2015), an experimental typeface inspired by the work of Russian suprematist Kazemir Malevich. She also drew great cosmic typographic illustrations for Bullett Magazine in 2015. 
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A joint venture by 
Branding and design agency in New York City. 
New York City (ex-Moscow)-based art director and graphic designer Olga Balina was born in 1988. She is associated with Flëve, a design agency in New York that was founded by Vit Abramov. 
During her studies, Brooklyn, NY-based Olivia Kane designed the text typeface Vreeland (2017), which is naqmed in honor of Diana Vreeland, famous for her imaginative quotes. 
Freeware fonts by Eric VanDycke from Warnerville, NY, aka Dr. Nimbus. Original and very very enjoyable creations from 1997-1998. The site was closed in March 1999, unfortunately! Thanks to CybaPee, you can download the whole collection now. 
One by Four is a four-person design studio in South Florida, and later in Brooklyn, NY. The main type designer in the group is South Florida-based Natasha Maria Fernandez-Fountain (b. 1985). The others are Alejandra Abad, Brian Haines and Bruno Torquato. Typefaces by Natasha include Geomancy (2010, +ExtraBold, +Hairline; a 
Orbis Typographicus is a set of twenty-nine 9x12 letterpress broadsides, designed by Hermann Zapf and printed by Philip Metzger of Crabgrass Press between 1970 and 1980. The broadsides feature quotations on art, science, nature, faith, and the human condition, from authors ancient and contemporary. The text includes poetry, prose, anagrams, and palindromes, in English, German, Spanish, French and Japanese. Hand set by Philip Metzger, the set showcases many of the typefaces of Zapf and his wife, Gudrun Zapf von Hesse. 
American artist in New York, 1871-1956. He studied with the well-known anatomist, J. H. Vanderpoel, at the Art Institute of Chicago, Illinois. He moved from Chicago to New York in 1893. Known for the richness of his work in pen and ink, he drew in 1898 fifty illustrations for The Choir Invisible. By 1907, he was employed at Life magazine, at that time a 
British born designer Andrew Bellamy worked for agencies in London, Oslo, and Miami, and is currently developing various global brands as Design Director at JKR in New York City. He started Ilott Type and then 
Pablo Bosch (Valencia, Spain) developed the legible typeface Atiza (2013) during an intensive study program at Type@Cooper in New York. He writes: Atiza is a text face for editorial purposes but with characteristics to also be used in newspapers. High X-hights, relatively low contrast and strong asymmetrical serifs make Atiza a very legible typeface in small sizes with a perfect behaviour in sizes between 8pt and 11pt, but with also with extraordinary legibility at 6pt. 
Paul Beaujon was the pen name of Beatrice L. Warde. Born in New York in 1900, she died in London in 1969. A typographer, writer, and art historian, she worked for the British Monotype Corporation for most of her life, and was known for her energy, enthusiasm and speeches. Collaborator of Stanley Morison. She created a typeface called Arrighi. She is famous for 
Paul Peter Piech (b. Brooklyn, NY, 1920, d. 1996) was a poster and linocut artist who spent most of his professional career in Britain. He produced a large number of original prints on social, political and literary themes over five decades, combining innovative lettering with original artwork and bold colours in a unique style. Concerned with social and racial injustice and annoyed by some political classes and Richard Nixon in particular, he is known for a print of Nixon with the word dicktator inscribed above. 
Paul Soulellis (b. 1968) is a Providence, RI (was: New York)-based artist and creative director, maintaining his studio in Long Island City, NY. Paul was trained as an architect and is a graduate of Cornell University's College of Architecture, Art and Planning. He is the founder/director of Queer.Archive.Work, a non-profit community reading room, publishing studio, and community space, and Associate Professor of Graphic Design at the Rhode Island School of Design. 
Graphic designer and illustrator in Brooklyn, NY, who created the fun all caps alphabet Vicious Type (2016). 
Located in Ronkonkoma, NY, this outfit published Middleton, Rick, 
Pentagram (New York) has about 20 partners, including Michael Bierut. In 2011, Michael Bierut, Daniel Weil and Jennifer Kinon developed a new identity for Benetton. In this project, Gill Sans was replaced by Benetton Sans, a typeface created by them. The partners (in 2011): Lorenzo Apicella, Michael Bierut, Michael Gericke, Luke Hayman, Angus Hyland, Domenic Lippa, Abbott Miller, Justus Oehler, Eddie Opara, Harry Pearce, Naresh Ramchandani, John Rushworth, William Russell, Paula Scher, DJ Stout, Daniel Weil. One of the cofounders was 
During her studies, Bronx, NY-based Perla Herrera designed the stunning Platz Stencil typeface (2016). [
Assistant Professor of visual communications and a professional designer based in West Henrietta, NY. Creator of the fat typeface Belladoni (2014). 
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French type designer (b. Paris, 1962) who designed the experimental fonts Carré, Octobre (a stencil in the De Stijl genre), and 
Foundry located in Westbury, NY, and run by Phil Bracco (b. 1981, Big Horn, MT), a graduate of the Pratt Institute. Creator of the festive signage fonts Charming Charlie PB (2009), Hip Hopper PB (2008, inspired by the lettering on an art poster by Patrick Owsley for the cartoon character Hoppity Hooper), 
Jason Mannix is a graphic designer from New York, who lives in Washington, DC. He is a German Chancellor Fellow, currently working on a new typeface at the Typographische Gesellschaft München e. V. (Munich Typographic Society). 
Alexey Popov, or Alex Pop for short (Popskraft Lab, Buchardo, Argentina, and now New York City) designed the children's book / cartoon font family 
During a summer course called 
Studio based in Barcelona and New York. In 2020, they designed the custom Basque typeface Arbizu for the Basque electronic music company Zetak. Its glyphs are inspired by old funerary inscriptions, engravings, gravestones, and lintels from the Basque Country. The typeface was produced by Jordi Embodas. 
Original fonts, clip art, signature fonts by New Yorker (and ex-Philadelphian) Jonathan Macagba, and Gregory La Vardera. Macagba used to run Handcraftedfonts, then Adcrobatics, and finally 
During her art studies in Troy, NY, Qinglu Guo designed MyGlobe, a Latin text typeface that imports the stroke endings and typographic elements from Chinese. 
During her studies, Rachael Alling (Ballston Lake, NY) created the marquee art deco typeface Empire (2015). [
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New York City-based art director who drew an exquisite set of initials in 2013 called 
Creative director for Starwood Hotels. New York City-based designer of the mosaic tile font Straphanger (2015). [
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Rea Irvin (b. San Francisco, 1881, d. US Virgin Islands, 1972) was an art director for the New Yorker magazine. In 1925, he designed Irvin, the typeface that became the alphabet used by 
New York City-based designer of Culture Caps (2014), a collection of drop caps from various cultures. 
Graphic designer in Buffalo, NY. Creator of the display typeface 
Brooklyn, NY-based designer of the ball terminal-laden display typeface Cloud Atlas (2015), which was finished during his studies at Pratt. [
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Illustrator and graphic designer who is Director of Creative Investigation at 
Artist and art director in New York, b. 1910, Chicago. As a lettering designer, he was associated with ATF from 1933-1942. He was the art director of the New York World's Fair in 1939. Smith created 
Brooklyn, NY-based designer of the art deco typeface 
Patrick McGrath (Robothaus, Queens, NY, b. 1977) is the creator of the sketch typeface 
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Professor of Art Graphic Design at Lamar Dodd School of Art, part of the University of Georgia, Athens. Born in 1939 in Barre, VT, Arnholm designed the lapidary typeface 
American designer in New York associated with ITC, d. 2015. Creator of these typefaces: 
New York-based designer of the display typeface Wilton (2016) and the large x-height stylish thin Stilson Sans (2016). 
A Lebanese American, Graham Bradley grew up in Pasadena, CA. He studied twentieth-century European history at the University of California, Berkeley, and graduated in 2009. He also graduated from the Type@Cooper program at The Cooper Union in New York. Graham designs printed materials, lettering, typefaces, and the occasional website. He is located in California. Before founding Roxaboxen, Graham was the first employee at Frere-Jones Type, where he worked with Tobias Frere-Jones on Mallory and Retina. He is an instructor at Type West at the Letterform Archive. 
Graphic designer located in New York City. 
Designer in New York City. He created several typefaces such as Wilber (2012-2013, an inline typeface that won an award in 2014 at the 
During his studies in 2014, Ryan Breeser (Brookhaven, PA) created the masculine display sans typeface Orca. [
Ryan Bugden is an independent graphic and type designer based in Brooklyn. Before graduating from 
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Designer of Addressograph. Sam Potts and Sam Potts Inc are located in Brooklyn, NY. His sketches of Addressograph are based on lettering from a vintage ad for the Addressograph-Multigraph Corporation, manufacturers of the Addressograph addressing machine that stamped out dog-tag-like plates that were used to print mailing labels at high volume. The glyphs of Addressograph follow the gaspipe lettering style popular in the United States in the 1930s and 1940s. In 2014, Jesse R. Ewing (Midwest Type), created the retail typeface 
Graphic designer and illustrator in Brooklyn, NY. Alex Sheyn and Samantha Dion Baker co-designed the patterned typeface ATC Overlook Baker (
Graduate of RISD, 2012, who worked at the Walker Art Center in New York. Seoul, Korea-based designer and art director. Creator of the Latin text typeface 
Toronto, Canada-born type designer best known for her work at Hoefler&Frere-Jones type foundry (where she is a senior designer) on such typefaces as Gotham. Ex-student at the University of Reading (MA, 2003) who designed 
During her studies in New York City, Sarah Liriano created the geometric experimental typeface Apex Tria (2014). [
Sasha grew up just outside of Philadelphia, PA, and trained at Carnegie Mellon's School of Design, St. Gallen, Switzerland's Schule fur Gestaltung and Cooper Union's typeface design certificate program, Type@Cooper (2011-2012). She is a full-time freelance designer, illustrator and artist who currently resides in Brooklyn, NY. In 2010, she drew several (watercolor and other) painted alphabets. At Type@Cooper in 2012, she designed the art deco typeface 
American graphic designer and Oscar-winning filmmaker, best known for his design of motion-picture title sequences, film posters, and corporate logos. Born in the Bronx, NY, in 1920, he died in Los Angeles in 1996. Bass worked for some of Hollywood's most prominent filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese. Among his best known title sequences are the animated paper cut-out of a heroin addict's arm for Preminger's The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper in Hitchcock's North by Northwest, and the disjointed text that races together and apart in Psycho. Bass designed some of the most iconic corporate logos in North America, including the Bell System logo in 1969, as well as AT&T's globe logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines' 1968 jet stream logo and United Airlines' 1974 tulip logo, which became some of the most recognized airline industry logos of the era. 
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Belize City, Belize and now New York City-based designer who specializes in high tech and futuristic type designs. He created Borgita (2021: a plump rounded display typeface), Cyberpunk (2021), Cyberto (2021: cyberpunk), Cyberia 3D (2021: a 3d customizable font), Spacegate (2020), the puffy or bubblegum font Funfood (2020), the calligraphic font Wayout (2020), the techno family Vortex (2020), the techno / paperclip font family Mazeline (2018), the signage script Lettercraft (2017), the robot and drone-inspired Robodron (2017), Gempire (2017), the rounded organic typeface Airy (2017), Radon (2017), the outline typeface Ply (2017), the paperclip typeface Garde (2017), the blackboard bold typeface Aberration (2016), the striped typeface Karma (2016), the logotype font Advio (2016), the ribbon or monogram font RibOne (2016), the tech font Line Tech (2016), the curly Wonderscript (2016), the prismatic typeface Lineat (2016, +Lineat III), the plump logotype Airy (2016), the bi-lined typeface Freeline (2016), the robot-inspired Stingo (2016), the display typeface Food Craft (2016), the bilined logo and monogram font Sentaline (2016), the script typefaces Curline (2016) and Article (2016), the children's font Happy Kids (2016), the futuristic font Digitalium (2016, +Condensed), the multiline titling typeface Sentagram (2015), Forest Line (2015, thin squarish headline sans), Sweet Ink (2015), and the ribbon typeface Sentaband (2015). 
Graphic designer born in New York in 1931, who worked with Milton Glaser at Push Pin Studios in New York from 1954 onwards. Many of his fonts were sold by Photo Lettering. 
Lucas Sharp is a designer (b. 1986, San Francisco) set up Sharp Type in Brooklyn, NY, and later in New York City proper. Before that, Lucas Sharp was involved with 
Brooklyn, NY-based designer of BMT (2016, a dot matrix typeface) and Rost & Brew (2016, a coffee bag stencil typeface). 
Signal Type Foundry & Drawing Office is a type foundry in New York City, est. 2012 by Max Phillips (b. 1957, New York City), a typographer, graphic designer, toy designer, creative director and novelist who moved to Dublin, Ireland, in 2013 with his Irish spouse. His typefaces: 
Brooklyn, NY-based designer of custom typefaces for SuperBowls 48, 49 and 50 in 2014-2016, on commission for the NFL. 
Brooklyn NY-based designer of the fine all-caps typeface Shadow Sans (2014). In 2014 and 2015, she designed custom sans headline fonts for the NFL's Super Bowls 48 and 49. In 2016, she designed a custom sans headline font for the NFL's Super Bowl 50. 
Swiss art director who has done substantive typographic work for some clients. For Tess model agency in London, he custom-designed 
Designer and illustrator in New York City. Creator of Bubble Wrap Type (2015, dot matrix font), Turnover (2015, decorative caps done for the identity branding for Turnover, a new product design, as part of a startup company with Katie MacLachlan and Robyn Donnelly), and Hearst Holiday (2015, an ornamental caps typeface done for Hearst's holiday invtations). 
Skyhaven (Alex, b. 1993) is located in New York City. He designed free typefaces between 2012 and 2015, and turned professional after that. 
Holly Goldsmith has a BA in Art from Brooklyn College. She worked first at (Mergenthaler) Linotype, then at Photo Lettering and World Typeface Center before moving to Los Angeles. In LA, she worked at Xerox's type design department for a few years before starting her own company, Small Cap Graphics, where she is engaged in both graphic design and custom type design, with clients such as Agfa Monotype, ITC, DsgnHaus, Disney Corporation and Margo Chase Design. 
Snyder Studio (New York) is run by Kristina Snyder (CEO b. Sweden) with her partners, John Foster and Gary Cunliffe. In 2018, they designed the 
New Providence, NJ-based designer of the spurred typeface Arch (2014). Inspiration came from Indian Mughal arches, and the application Sonal had in mind was fashion magazines. Arch was created for a course at SVA (School of Visual Arts) in New York. She also created a set of pictograms for Ariisto Realtors in Mumbai. [
Cordelia (2015) was designed by Sophia Del Plato in the 15 week typeface design course taught by type designer Kris Holmes at the Rochester Institute of Technology's School of Design. Cordelia was inspired by the aesthetic of American Horror Story: Coven. Sophia writes about this tall-legged vintage typeface: This typeface was therefore influenced by witchcraft, femininity, spookiness, grandeur, and death. This face was initially named after one of the show's main characters and became unbelievably fitting, being itself old-fashioned, mature, and elegant. [
The Society of Typographic Aficionados (SOTA) was founded in 1997 by Bob Colby. One of its first presidents was Tony Di Pietro. He was succeeded by Tamye Riggs, and Deborah Gonet. [The presidents were originally called directors and then chairs.] The main activity nowadays is the organization of the annual 
Graduate of The Cooper Union, who was born in Brooklyn in 1938. He taught at The Newark School of Fine Arts and was art director at L. W. Frohlich in New York. Stan lives in Saugerties, NY. 
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Rome, NY-based creator of a typographic poster called Pediophobia Fear of Dolls (2013). [
New York City-based creator of the fun Swiss cheese-inspired typeface Swisch (2015). [
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Bay Shore, NY-based designer of the deco typeface Aqux (2016). [
Non-profit free font project, which started in 2001. The (free) fonts were released in May 2010. The designer is Ross Mills, Tiro Typeworks Ltd, with portions copyright of MicroPress Inc., and with final additions and corrections provided by Coen Hoffman, Elsevier (retired). From the web page: The mission of the Scientific and Technical Information Exchange (STIX) font creation project is the preparation of a comprehensive set of fonts that serve the scientific and engineering community in the process from manuscript creation through final publication, both in electronic and print formats. Toward this purpose, the STIX fonts will be made available, under royalty-free license, to anyone, including publishers, software developers, scientists, students, and the general public. 
Brooklyn, NY-based type foundry, est. 2013. In 2014, they created 
A PDF file of the book Studies in Pen Art (by Brooklyn, NY-based penman William E. Dennis, 1914, A.N. Palmer Co). This 95-page booklet has beautiful specimens of alphabets, from display typefaces to calligraphic scripts, blackletter types and ornamental types. There are also reproductions of 
Studio Domahoka in New York City published the elegant thinly serifed Latin / Cyrillic / Greek caps typeface 
Hannes Famira, who runs Studio Hannes Famira, was born in Buchholz in der Nordheide, Germany in 1966. Hannes Famira studied graphic and typographic design at the Royal Academy of Fine Arts in The Hague in the Netherlands. He worked as a type designer in the Hague and used to work at Buro Petr van Blokland. Hannes started his own design studio Das Kombinat in 1999 and the Kombinat-Typefounders in 2001, and renamed it FamiraFonts in 2016. He taught various typography and typedesign classes at the SfG, School for Design in Basel (CH), at the University of the Arts in Philadelphia, at the New Jersey City University, at the City University of New York, at Rutgers University, at the Hochschule für angewandte Wissenschaft und Kunst Hildesheim/Holzminden/Göttingen (HAWK), at the Kunsthochschule Kassel, at The Cooper Union, and at SVA the School of Visual Arts. He is presently based in Brooklyn, NY. 
Calligrapher in New York City. In 2016, she published the copperplate calligraphic script typeface 
New York City-based designer of the school project 
Ukrainian motion graphics designer/letterer in New York City, who created several beautiful calligraphic pieces in 2014. [
New York-City (and before that, Miami, FL)-based dillustrator and graphic designer. Creator of the octagonal typeface 
The annual TDC2 competition. The jury was headed by Gary Munch, and consisted of Jill Bell, John Downer, Dennis Pasternak and Richard Weltz. The winners are 
Thoma Kikis is a New York City-based graphic designer, photographer, filmmaker and entrepreneur. 
Terminal Design is the company of 
Graphic designer and illustrator, type designer, writer and humorist, who studied TV and film at Howard University in Washington, DC, and communications design at the Pratt Institute in New York. He creates comic book style typefaces for his work. These include the layered chiseled 3d typeface family 
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Creative director in Brooklyn, NY. His wood-inspired typefaces can be bought at 
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Graduate of SVA in New York who works as a graphic designer in New York. He made these commercial typefaces at his foundry, That That Creative (est. 2020, based in Utah): 
Scarpelli's design and production clients have included the California Attorney General's Office, Napa/Sonoma Magazine, the American Cancer Society, Catholic Healthcare West, UC Hastings School of Law, Chevron, Frito Lay, the Oakland A's and the San Francisco Giants. He regularly designs theater graphics for companies throughout the Bay Area, and is resident Graphic Designer for 42nd Street Moon, Bay Area Musicals, and Silicon Valley Shakespeare. Additionally, he has created and edited several art books in the collection of the San Francisco Museum of Modern Art. His original training is in the theater. With his husband Peter Budinger, he has written and directed several plays, and appeared in numerous productions. They were theater majors, playwrighting students, and improv disciples together at Yale University. Scarpelli is currently Associate Director of the School of Web Design + New Media at the Academy of Art University, San Francisco. He designed these typefaces: 
Free fonts made by Brooklyn, NY-based (and before that, Huntington Beach, CA-based) Lauren Ashpole (b. 1982, Corpus Christi, TX): 
The custom fonts used, as of 2018, by the New York Times include Fact Display (Commercial Type, Christian Schwartz: 2018), Graphik (Christian Schwartz: 2008), Graphik XCond (Christian Schwartz: 2011), Kippenberger (Commercial Type, Christian Schwartz: 2018), NYT Cheltenham (2001, 2008-2014: Carter and Cone), NYT Franklin (2012-2014: Carter and Cone), NYT Imperial (2007, 2008-2014: Carter and Cone), NYT Karnak (1993-2014: Font Bureau and later Carter and Cone), NYT Mag Sans, NYT Mag Serif (2015: Henrik Kubel), NYT Mag Slab (2015: Henrik Kubel), NYT Stymie (1990-2014: Carter and Cone), and Schnyder M Cond (Berton Hasebe and Christian Schwartz: 2013). [
Scott-Martin Kosofsky (b. 1953) was based in Boston for 40 years, and is now located in Rhinebeck, NY, where he heads The Philidor Company. Among many other things, he was also the principal designer of most Titanic Records packaging, and designed a book on the holocaust. He designed a number of Hebrew types for his own use---several are licensed to various major rabbinic organizations. Over the years he has become the leading designer, producer, and editor of the bilingual Jewish prayer books that are used by the majority of Jews in the English-speaking world. Some of his type designs: 
American printer (b. Stamford, CT, 1828, d. New York, 1914). In 1848, he entered the shop of Francis Hart in New York City, where he became owner after Hart's death in 1877. It continued as Theo. L. De Vinne&Company until 1908, when it was incorporated as the De Vinne Press. De Vinne was the best-known American printer of his day. He was neither a type designer nor a type cutter. His books include 
Italian type designer, b. 1943, Forio d'Ischia, Italy, who emigrated to the USA. Di Spigna graduated from from New York City Community College in 1964 and then from Pratt Institute in 1967. His first design job was at Bonder&Carnase. In 1969, he joined Lubalin Smith Carnase Inc. He founded his own studio, Tony DiSpigna Inc in 1973. DiSpigna taught typography at the Pratt Institute, the School of Visual Arts and the New York Institute of Technology. In 2009, Tony Di Spigna and Bill Hilson (a colleague at Pratt) founded 
American type designer, born in Rochester in 1966, who has worked for various foundries including Monotype. He graduated from the Rochester Institute of Technology. He lives in Madison, WI, and is currently employed by Monotype, after a short period at Ascender. He co-designed a revival of W.A. Dwiggins' beautiful 
Scientific lettering expert, 1871-1944. His book 
Type designer in Brooklyn and/or Holbrook, NY, b. 1986, who studied at the Parsons School of Design and the inaugural Type@Cooper program. He lived in Portland, OR. 
New York-born book designer, painter, type designer and illustrator, b, Brooklyn, NY, 1880, d. Danbury, CT, 1964. He was mainly involved with ATF. 
Graphic designer and lettering artist, born in 1939 in Eugene, OR. He studied with Douglas Lynch at the Museum Art School in Portland and later apprenticed with Lynch. Lincoln studied calligraphy with Lloyd Reynolds and Arnold Bank at Reed College in Portland, OR. After a stint as an agency art director producing national ads for Pendletons womens fashions, Lincoln moved to New York City, where he joined the studio of Herb Lubalin. In NYC he continued his involvement with academia, exploring film at The New School and an intensive workshop with Milton Glaser. Eventually Lincoln started his own studio (occupying the space on east 32nd Street where New York Magazine was born), combining a design practice with teaching at New Yorks School of Visual Arts. Lincoln has served as Art Director at TCA (Benton & Bowles) in Westport, CT, as Creative Director, Redington, Inc., Stamford, CT, as Principal, Thomas Lincoln Design & Motion Graphics Communication, Westport, CT, as Freelance in residence Art Director, Baden & Co., Eugene, OR, and in 1992 returned to consulting and design through his own design office, Lincoln Design, based in Eugene/Springfield, OR. 
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Designer of the grotesque fonts 
Tim Ripper (b. 1986) is a type designer at 
Tina Smith is an independent art director and designer in New York City who specializes in typography-driven branding, editorial design, and art direction. She has worked on brand identities, campaigns, editorial design, films, websites and packaging for Google, The New York Times, and Target. She also has an independent practice of lettering and type design. She holds a BFA in Graphic Design from Montana State University and studied at The Cooper Union in 2018 and 2019. Her typefaces: 
At School of Visual Arts in New York City, Tiyasha Ghattak designed the splendid modular display typeface Lambu (2018) and an icon set called Snowflakes (2018). [
Randy Jones, who runs AquaToad and ToadFonts, is a free lance graphic designer who was in New York, but now lives in San Francisco, CA, where he is a freelance graphic designer and principal of Aquatoad Design. His typefaces: 
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Type designer Thomas Paul Carnase was born in The Bronx, New York City in 1939. He graduated from New York City Community College in 1959. Carnase started making fonts in the photolettering era, and lived through the transition to digital. In the 1960s, he opens the studio Bonder & Carnase Inc. From 1969 until 1979, he is vice-president and partner of the agency Lubalin, Smith, Carnase Inc. In 1979, he founds the Carnase Computer Typography studio. In 1980, Carnase becomes co-founder and president of the World Typeface Center Inc., an independent type design agency. He manages the in-house magazine Ligature published by the World Typeface Center from 1982 to 1987. Besides type design, Carnase has designed graphics for packaging, exhibitions, corporate identities and logos for numerous clients, including ABC, CBS, Coca-Cola, CondéNast Publications, Doubleday Publishing and NBC. He has held teaching positions at the University of Cincinnati in Ohio, the Pratt Institute in New York, the Herron School of Art in Indiana, the Parson's School of Design in New York, the Cleveland Institute of Art in Ohio, the University of Monterrey in Mexico, and the Rochester Institute of Technology in New York, among others. 
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New York-based type designer at ITC, 1917-1988. Tony Stan did a version of Jean Jannon's Garamond (ITC Garamond, 1977). Other typefaces: 
Troy Leinster is a graphic designer from Brisbane, Australia, who is based in Amsterdam. Before studying 
Tuccicursive is an American type foundry, est. 2016 by New York-based lettering artist, screenwriter, 
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Type Directors Club is an international organization for all people who are devoted to excellence in typography, both in print and on screen. Founded in 1946, today's TDC is involved in all contemporary areas of typography and design, and welcomes graphic designers, art directors, editors, multimedia professionals, students, entrepreneurs, and all who have an interest in type: in advertising, communications, education, marketing, and publishing. 
Gilbert Baker (1951-2017), the creator of the iconic Rainbow Flag, was both an LGBTQ activist and artist, and was known for helping friends create banners for protests and marches. To honor the memory of Gilbert Baker, NewFest and NYC Pride partnered with 
New York City-based designer (originally from Taiwan) who created Ribaasu (2019: a reverse contrast typeface for Latin, Japanese and Chinese that won awards at the 22nd Annual TDC Typeface Design Competition and---in the kanji category---the 2019 Morisawa Type Design Competition) and Min Sans (2019: a modern high-contrast sans serif typeface with sharp and clean cuts, useful for fashion mags). 
Typetanic is the personal foundry of graphic and type designer Greg Shutters (New York City). Founded in 2013, Typetanic aims to create original designs as well as adapt historic lettering and type styles for the needs of an ever-changing design market. In addition to being the principal of Typetanic Fonts, Shutters also currently works as Communications Associate for the SS United States Conservancy, a non-profit organization interested in the preservation and redevelopment of the historic ocean liner SS United States. In 2022, Typetanic joined 
Typographics is a conference at the Cooper Union in New York City, June 8-18, 2015. Several workshops organized between June 8 and June 11, and June 14 and June 18, while the conference itself will took place on June 12 and 13. Speakers at the main conference: Roger Black (possibly the main organizer), Jonathan Hoefler (speaking on The Modern Type Foundry), Louise Fili and Steven Heller, Paula Scher, Seymour Chwast, Erik van Blokland (on animated type), Jackie Goldberg (on type at Yahoo), Marko Dugonjic (speaking on responsive web typography), Abbott Miller, Alexander Tochilovsky, Alex Trochut, Marty Hall, Carrie Gee, Christian Schwartz (!!!), Barbara Glauber, Anand Naorem, Neelakash Kshetrimayum, Adrian Shaughnessy, Juan Carlos Pagan, Sue Apfelbaum, Matteo Bologna, Bethany Heck, Mike Fortress (speaking on the typographic language of icons), Bruno Maag, Alessia Nicotra. [
A two-day type and design conference held on June 17 and 18, 2016, at The Cooper Union in New York City. The program was put together by Roger Black and Alexander Tochilovsky (of the Herb Lubalin Study Center). Speakers: Jakob Trollbäck, Fiona Ross, Dan Rhatigan, Tracy Ma, Emily Oberman, Stephen Doyle, Francesco Franchi, Caspar Lam, Nina Stössinger, Tobias Frere-Jones, Eduardo Danilo, Juliette Cezzar, Elizabeth Carey Smith, Riley Cran, Gabriele Wilson, Anuthin Wongsunkakon, Victoria Rushton, Marta Cerda Alimbau, Douglas Riccardi, YuJune Park, Rob Giampietro, Indra Kupferschmid. [
Julie Green (Up Up Creative) is a graphic designer, illustrator, font designer, and letterer, based in Rochester, NY. She designed the thin connected script typeface Bundt Cake in 2015. Bundt Cake comes with more than eleven hundred glyphs. Later in 2015, she designed the poster typeface Pinafore. 
Brooklyn-based 
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New York-based advertising designer associated with Photo-Lettering Inc. and ITC. His typefaces: 
Austrian designer, printer, type engraver and teacher (b. Vienna 1882, d. Lexington, 1967) who made mainly uncial typefaces at Klingspor such as Hammerschrift (1923, a modern pseudo-Gaelic uncial), 
Victoria Bellavia is a letter designer based in New York City. Her portfolio is outstanding. She created the curly typeface 
After attending high school in Singapore, Victoria Rushton (New York City) studied at RISD (the Rhode Island School of Design) and graduated in 2013 with a degree in Illustration. In 2014 she joined Font Bureau and later Type Network as a staff designer, and lived in Boston. Under the guidance of Cyrus Highsmith at RISD, she created the text typeface 
Foundry st. 1998 by 
American lettering artist and type designer from New York. Creator of 
Brooklyn, NY-based but German born creator (with Arnold A. Lister) of a 
Born in Richmond, VA, 1904, d. Charlottesville, VA, 1991. Typographer, illustrator, letterer, and type designer. He made two type families: 
Los Angeles-based group interested in art direction, typography, print design, branding and graphic design. They designed these typefaces: 
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Brooklyn, NY-based designer of these typefaces in 2018: Luzy, Vogu, Wythe (a flared typeface), Prime Type. [
Author of 
Wallace "Wally" Olins (b. 1930, London; d. 2014) co-founded the famous design company Wolff Olins in 1965. Presently, it has offices in London, San Francisco, Barcelona, New York and Tokyo. This company is guilty of many custom typefaces, and employed at some point people such as Jeremy Tankard. 
Commercial fonts at this boutique type foundry and publisher operating in Tokyo, jointly run by Ian Lynam and Thien Huynh. 
Yanky Goldman runs a design boutique in Brooklyn, NY, since 2014. In 2018, he created 
French graphic designer who moved to New York in 2007. Designer of 
During her studies at Type@Cooper in New York in 2015, Ying Chang designed the didone typeface family Evelina. 
Yoni Weiss (b. Brooklyn) lives in New York City. He created the inline typeface 
Born and raised in Turkey, Zeynpep moved to New York City to study at the Parsons (The New School for Design). She graduated in 2010. She lives in Brooklyn, NY. 
Brooklyn, NY-based creator of the simple hand-printed font Cometbus (2010), which was based on Aaron Cometbus's handwriting in the Cometbus zine. Blokus (2011) is a gridded face. In 2019, she released the blocky white on black typeface Four Four. 
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