Fashion mag typefaces

Abdullahal Mamun

Graphic designer in Dhaka, Bangladesh. Creator of an unnamed softly rounded Bangla font in 2013. He writes: In Bangla, Bidyasagar style font (Sutonny MJ) created by Bijoy is the only Bangla font that is almost perfect. Rest of the fonts has problems such as baseline alignment, x-height alignment, character gap and unfinished characters. If we analyze the logic of Bijoy, we see that other than Bidyasagar (Sutonny MJ), rest of the fonts does not work perfectly with Bijoy. All Bangla fonts are monospace fonts which does not use kerning. Creating kerning feature fonts which will run in Bijoy platform is technically impossible. It is because Bijoy using those Unicode glyphs conflicts with kerning code. With the problem in hand, I have attempted to design and create a finished, perfect curve font with perfect baseline and x-height alignment, which will run smoothly with Bijoy. [Google] [More] ⦿

Achraf Amiri

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

Adam Howard

Saint Louis, MO-based graphic designer who created several typefaces in 2012, including Helvy, Stitch, Digiti, Exposed, Skinny Jeans (hairline caps), Golden Age (fashion mag caps), Tunnel Vision, and Grand Penn (ultra-condensed caps). [Google] [More] ⦿

Adrián Cattalini

Graduate from FADU, University of Buenos Aires, who created the typeface Tormes (2010), an upright connected script of fashion mag quality. [Google] [More] ⦿

Adrien Midzic

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

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

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

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

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

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

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

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

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

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

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

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

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

Aftertime Studio
[Mohammed Nor Miftahul Huda]

Kediri, Indonesia-based designer of the luxurious fashion font Venarotta (2021). [Google] [MyFonts] [More] ⦿

Agung Syaifudin
[Vuuuds]

Ahmad Jamaludin
[Dharma Sahestya (or: Dharmas Studio)]

Ahmad Ramzi Fahruddin
[Arterfak Project]

Ahmed Eraqi
[Eraky]

AJPT
[Alan Jay Prescott]

Pottstown (Philadelphia)-based designer and PostScript font hacker who ran Prescott Design and now Alan Jay Prescott Typography, but was also involved in other ventures such as the Black Walnut Winery. Originally from Greenfield, MA, he graduated from Saddleback College, and worked for some time as a typesetter in New York. He advertizes himself as a leader in PostScript Open Type Font development specializing in the revival of print-only letterforms into digital typographic materials. He operates as APT and more recently as AJPT. In 2019, he announced that he would stop making typefaces altogether. His work can be partitioned into time periods. For this reason, Prescott's oeuvre is split over several pages:

His late period (2017-2019). In these three years, he showcased his work on Facebook, and was mainly involved in reving 19th century typefaces, about half of which were from the Victorian era. The annotations in the list below are quoted from Prescott's pages.
- Absolution Cursive (2017). When I was a typesetter in New York City, I had one of the largest collections of typefaces from CompuGraphic's library available for setting. One of the faces I never used in two decades of work was a rather ungainly decorative font called Abel Cursive. Apparently it was designed by Bernie Abel (perhaps one of CompuGraphic's employees) and I'm not sure it got much use, since I don't recall seeing it anywhere except my type catalog. Before I sold my equipment and closed my business for good, I made a scan of every typeface at 72-point size that I owned for future development, if there ever came a time to work on something crazy like that. Most of those 2,000 scans were lost when I changed computers a long time ago, but Abel Cursive survived and I made a down-and-dirty mow-and-blow font back then. I have recently worked on it extensively to make it usable as a multilingual slightly redesigned font in OTF format. I would classify it is as neo-Victorian medium-contrast decorative italic. It is definitely an oddball and may never see use.
- Algol (2017). Based on a scan from Dan X. Solo, Algol is a vastly expanded character set for Algernon, a typeface that clearly presages Machine and other "octics." I don't have any source material for the original design, but it may have been a Dan Solo original.
- Aloysius and Aloysius Ornamented (2017). This is a digital revival of the original Algonquin, cut by J.F. Cumming in the late 1880s for the Dickinson Type Foundry in Boston. While this was not my most challenging project, it was a doozy.
- Alpenhorn Roman (2017). Another oddball typeface is revived here, renamed from the design called Alpine by Henry Schuenemann for the Cleveland Type Foundry in the 1880s. Buried in the "gingerbread" of this weird face is technically a Latin serif, but otherwise it is an entirely unique letterform for which I had a heart soft enough to revive here in digital form.
- Androgen Roman (2017). I know next to nothing about this ultra-geometric blackletter called Anderson that I found displayed in a Dan X. Solo catalog, but it is another oddball that is attractive and very simple to revive in digital format. It is one of those projects I would recommend to a beginning revivalist who wanted to cut his or her teeth on a moderate challenge after mastering some basic tools in font development software.
- Angolan Text (2017). I found Angular Text in a Solo catalog and revived it as a digital font with diacritics and other characters for expanded typesetting possibilities. It was designed by Herman Ihlenburg in 1884 for MacKellar, Smiths & Jordan, which information I found in a link from Tom Cruz for a fellow named Toto who revived the font as well; he has several glyphs I do not have and I like his showing better. Interesting to see what others have done with the exact same typeface and scan and some research for tantalizing missing glyphs...kudos.
- Antiochia Series (2017). This collection of typefaces represents a revival of several bold slab-serif wood types with the name Antique that are related. Their individual histories will follow at another time, but note that several here are useful derivatives that add to the variety of this letterform's impact.
- Azurine Roman (2017). Azurine is a digital revival of a typeface known as Aztec, drawn by an unknown designer for the Union Type Foundry before 1889.
- Beltane Roman (2017). The very complicated story behind the work on this revival is too long for this space (and perhaps too boring to most), but suffice it to say that this letterform started out in 1886 as drawn by the great Herman Ihlenburg as Artistic and assigned to MacKellar Smiths & Jordan. Dan Solo called this face Belmont but only showed caps and was suspect anyway. I was able to find specimens elsewhere and a motherlode of other interesting things in the Inland Printer. I developed my first full-featured OTF using this typeface and designed Greek and Cyrillic glyphs as well. I also fitted it out with a set of small caps to make a font that now has 4,000 glyphs for nearly every non-Asian language. To top it off, Robert Donona revived the decorative caps for this typeface, an excruciating task that I once considered for myself but was lucky enough to have this other crazy person take up. The number of hours dedicated between Robert and myself in reviving this complete series digitally is probably unprecedented.
- Bernhard Swirl (2019). This is a digital revival of the letterform of the same name. It is equipped only with the upper case, an ampersand, a spacer dingbat and the numerals. The numerals are quirky, not only in design, but the fact that they seem to have been intended as old-style figures with the exception for the 4 and 7. Lucian Bernhard is either the designer of this limited-use typeface or inspired a reworking of his "wobbly" poster typefaces for which he is known as an innovator. I have reworked the scanned samples I had used as templates and drew them with a little more consistency than the originals to improve color on the page.
- Bireme Roman (2017). Below is a digital revival of a typeface called Bijou. As I have come to understand, several people have revived this face already. It is similar to Flirt in many respects. I will update information as I come across it, but I wanted to post my version here for your appreciation.
- Blackguard (2018). This is a digital revival of a typeface known as Black Cap. William E. Loy writes that Black Cap was designed and cut by Charles H. Beeler Jr. for MacKellar, Smiths & Jordan. The earliest-known commercial specimen was advertised in the January 1891 edition of The Inland Printer, so he probably created it in 1890.
- Blackminster (2017). One of the more interesting treatments of blackletter forms in the 19th century is this beauty called Black No. 544 designed by Henry Brehmer in 1889, who assigned the rights to Bruce Type Foundry. Originally I was unable to locate certain key glyphs in this font, but they were graciously supplied by others in our crazy network of type geeks. More information on the people behind these projects will follow in other articles.
- Bleak (2017). Bleak is a series based closely on a typeface called Stark. As with nearly all typeface names, there are several unrelated fonts developed in recent years that bear no resemblance to this gorgeous sans serif.
- Brotherly Roman (2017). Among many "antiqued" letterforms developed in the late 19th century, Ben Franklin was offered by Keystone Type Foundry in Philadelphia. Several glyphs were missing from my best showing of the font, but I was luckily able to find them, as well as logotypes, two ornaments, several alternate characters and some punctuation. There had already been a digital revival of this typeface kicking around as shareware in the 1990s, but it was very poorly drawn and incomplete. I believe it has been rendered nicely and consistently here for posterity.
- Busker Contour (2017). Burlesque was the name given by Solo to a typeface originating through Caslon or Figgins around 1843 and shown in German specimens a couple of years later.
- Cane Gothic (2018). Cane Gothic was designed and cut by Edwin C. Ruthven c.1886; he patented it in March–April 1886 and assigned the rights to David Wolfe Bruce (son of George Bruce, holder of the first design patent in US history). The Bruce catalog number is unknown. The tradename Cane Gothic, an apt description of the caning patterned background, may have been assigned by Dan X. Solo, who had revived the face for his photo-lettering service, but it has previously been considered impossible for digitizing. Although the average character in this font contains something like 3,000 Bézier control points, it turned out to be doable once I figured out the original mathematics that Ruthven must have used to guide his design objectively. It is digitized for posterity and I thank Anna Allen once again for the patent specimen (No. 16,643) indicating, if extremely faintly, five missing glyphs from my otherwise excellent scan. Thus I've generated the border glyphs and a pound Sterling symbol to augment this letterform. As far as I can determine, this character set is complete, and I have generated three fonts in order to accommodate chromatic typesetting with very little effort.
- Cantini Casual (2019). This is a digital revival of the typeface of the same name (or at least that is the name Solo gave it in the type specimen book from which it was scanned). It is a great example of the exuberant fancy characters that came to ascendance during the 1960s and 1970s. It is a medium-weight Latin italic with unusual decorative details in addition to crazy swash choices. I do not have any information on the history of this trippy face, but it is likely it was revived at some time in the recent past. It includes a large number of alternate glyphs as well.
- Capulet (2017). This is a revival of a typeface called Caprice that was patented in 1888 by Arthur M. Barnhart and assigned to Barnhart Bros. & Spindler of Chicago. This letterform is a prime example of the explosion in design ideas occurring before the turn of the century, hundreds of which remain to be translated into digital format.
- Carmenite Roman (2017). This beautiful digital revival covers a letterform drawn by the Bauer Type Foundry of Stuttgart, Germany sometime before 1896. It was originally called Carmen and has been referred to as Carmencita in the Solo books.
- Centrum Text (2017). This is my digital revival of one of the more complex decorated blackletters, among my favorite and most difficult projects to work on and just finished today. It is identified as Celebration Text on p. 18 of Solo's "Gothic and Old English Alphabets." The lowercase for this letterform is also presented for two other typefaces, Testimonial Text and Innsbruck in his larger catalog, presenting some confusion. But I believe all three were drawn by the same designer, although I have no idea how old they are. The lowercase may simply have been used for all three decorated capitals, since they are a very good match. Intentional, who knows? It is a real beauty and I'm going to perhaps revive the other two in this triplet of great examples of decorated capitals.
- Chapterhouse Roman (2017). This is an interesting typeface known as Ecclesiastic from Caslon around 1870. It was also known as Albion and Chapel Text No. 30. Most of those names were applied to completely unrelated designs, adding to the confusion that permeates typographic development and history to this day (and only gets worse over time). There are probably more alternate characters out there, but this is the best showing I could make with the resources I have and it is now available from me as a digital font.
- Chapterhouse Roman (2017). This is an interesting typeface known as Ecclesiastic from Caslon around 1870. It was also known as Albion and Chapel Text No. 30. Most of those names were applied to completely unrelated designs, adding to the confusion that permeates typographic development and history to this day (and only gets worse over time). There are probably more alternate characters out there, but this is the best showing I could make with the resources I have and it is now available from me as a digital font.
- Clarence Roman and Dotted (2017). Clarence Roman is a revival of Clown Alley and Clarence Dotted that of Cooktent (also called No. 515). Wood typeface Cooktent comes from W.H. Page before 1890 and the other looks to be a back-formation from it.
- Commissioner Script (2017). The typeface known as Commercial Script was designed by Morris Fuller Benton in the early twentieth century and enjoyed widespread use for decades. There have been many variations from other foundries, varying mostly in contrast; but as far as I know there was ever only one rather bold weight produced. I have redesigned the letterforms for consistency on the way to producing the ten weights shown here. It is interesting to see the font in lighter weights that accentuate the beauty lurking in this standard, and the heavier weights to see that the design still holds up under even heavier lifting.
- Courtesan Roman (2017). Among the dozens of wood types I have revived digitally is Courier, here called Courtesan. Many of these letterforms have been revived by others, all slightly different in their interpretations. More information on wood types will follow in articles I plan to write in the future on various areas of interest in the field of revival in particular and typography in general.
- Cranston Ornamented (2017). This is one of the most difficult digital revivals I have worked on. It started as Crayon, another masterful design from the prolific Ihlenburg, available at MSJ in 1885. There are sister fonts in an Open and a Solid that differ slightly in design and will be available from me at some point in the future.
- Creekside Playful and Calligrapic (2018). These are two digital casual scripts of my own creation based loosely on hand-drawn types from the 1950's. One is a calligraphic interpretation and the other is a more mono weight design that is a bit more slanted, both available for multi-language setting.
- Criticism (2017). This is a digital revival of Critic, a typeface designed by William F. Capitain in the mid-1880s with rights assigned to Marder, Luse & Co. Several logotypes had been designed for this letterform and many alternate glyphs. I added a few of my own, as well as diacritic marks, for balance to this surprisingly modern face that can be rendered multilingually as well.
- Crosby Roman (2017). This is a digital revival of the typeface known as University Text, designed in 1862 and shown by MacKellar, Smiths & Jordan in 1869 as Crosier. It was also known much later as Morningside. It is a stylized Latin with great charm.
- Crossan Roman (2017). This is digital multilingual OTF revival of a typeface called Cross Gothic, another one of those unique, nearly unusable letterforms I adore. I got a million of 'em.
- Cullane Roman (2017). Cullane is a digital revival of Herman Ihlenburg's Culdee, patented in 1885 and offered through MSJ. Others helped me scour the literature for missing glyphs and no one is sure we've got them all, but this is a wonderful showing of what we think is available until something randomly shows up in the future.
- Currier (2018). J.B. Lieberman, Ph.D. identifies it as Deberny & Peignot Lettres Ombrés Ornés (ornamented shaded letters) and adds that it was originally cut by Gillé in 1820, thus making it one of the oldest typefaces I have revived digitally. It is an exuberantly decorated engraved shadowed heavy-weight Egyptian.
- Danuvius (2017). Danube is the original name for this letterform, again found in a Solo catalog, and its links with medieval letterforms is obvious despite the trends toward modernization at the time it was first produced. I otherwise have no information on this face.
- Devonian Roman (2017). This is a digital revival of a wood typeface known as DeVinne. More information updated later.
- Dorothy Series (2017). The original Doric Chromatic was designed as a wood typeface and made its appearance in the United States in the 1850s, though it probably got its start in France in the 1840s according to Rob Roy Kelly.
- Doughboy Roman (2017). This series of decorative caps is shown as Dodge City in Solo. I am not sure it is very old; it may very well have been a photographically slanted version of an older wood typeface in the Thunderbird category with flourishes added on at the same time. This has been revived before because of its simplicity, but I made my own version a little more consistent and they make attractive drop caps.
- Enclave Roman and Expanded (2017). These two related digital revivals represent Enchorial in two versions. The roman came out of the Caslon Type Foundry in 1884 and was extremely popular (sometimes known as London). Petzendorfer showed the expanded Enchorial around 1903.
- Esteban (2017). Esteban is an original design I developed around 2010, named after the recently deceased Esteban Arriaga, a leading seascape painter in the area of Málaga in Spain. It is a medium-contrast sans serif produced in nine weights plus italics. Currently it is available only for the Macintosh OS, but an OTF cross-platform font is anticipated.
- Euclid, Euclid Initials,Euclastic, Elberon, Astral, and Auroral (2018). Elberon existed by November 1886 from Cleveland Type Foundry in The Inland Printer. Euclid (a lighter version of Elberon with a few different glyphs) is an obvious derivative from Illinois Type Founding Co. in Chicago in August 1890. Euclid appears with several Euclid Initials, a full sample of which appears as "Grant Iniitials" from Minnesota Typographic Co. Auroral (basically a shaded form of Elberon) appears in January 1887 from Central type foundry. Astral, also from Central type foundry, (the almost exact shading concept) whose base form is a condensed, heavier form than Euclid) appears in December 1886. Euclastic is my name for a complete set of weights, from a Hairline at the extreme end of lightness, through Black at the other extreme, using redesigned examples of Euclid and Elberon.
- Farmerboy and Farmergirl (2017). Although these two typefaces have both been called Fargo in the past, they are distinctly not the same letterform despite sharing some characteristics. They are both probably late 1850s, early 1860s and some sources say they are German. In any case, two interesting oddballs with no usage in the last century-and-a-half are revived digitally by AJPT.
- Fastidious Series (2017). The typeface known as Fashion started out in 1876 and was patented by Andrew Little for A.D. Farmer & Son. There are a total of five related typefaces in the same design: the prototype, condensed, ornamented, antique and extra-condensed. It turned out that the samples I had available when I originally revived these two were rather suspect and I have to consider going back to these and try to figure out what the "real" glyphs are. I believe that the Solo ornamental showing was rather a hatchet job on the base font, so I consider these two on hold pending further research, but they are interesting to view how they are so far.
- Flare Serif Striped (2018). This is a digital revival of a face called Ornamented 1,079. This over-the-top candy-cane-with-curls design was created by Henry Brehmer, who patented it in December 1884–January 1885. The application was submitted and approved on the same days as Ornamented No. 1,077 (Hermann Ihlenburg), and the rights to both were assigned to David W. Bruce of the Bruce TF (New York) [USPTO D15748]. It was advertised in The Inland Printer of October 1885. Thanks again to Anna Allen Conroy for the background on Ornamented 1,079 and for the patent samples giving a good idea of the design of glyphs missing from the catalogs. I have produced AE and OE ligatures as well as a decent set of diacritical marks for setting in a few important languages, but it is not at OTF font at the moment and exists only as PostScript for Mac only.
- Flippant Roman (2017). This fun font is a revival of a typeface known as Flirt. Although it has that 1960s feel, like many fonts popular then, I believe it has a much older pedigree. I will supply more information as I come across it. (There is currently an unrelated script font called Flirt on the market now, designed in 2009.)
- Fusion (2017). i developed three weights (including small caps) for the popular typeface Futura, all of them lighter than the Futura Light that is widely available. You can never be too thin.
- Gallantry Roman (2017). The earliest known specimen of the original Gazelle is found in the 1893 catalog of ATF in Cleveland and designed by Henry Schuenemann. This digital revival has multilingual capabilities and is quite unusual, demonstrating again the almost limitless possibilities of type design over the centuries.
- Gamut (2017). The Gamut series of very condensed sans serifs is based on a wide range of typefaces that all began with the letter "G": Galaxy, Gable, Garfield, Giant, Gamma, etc. (Their italics began with the letter "E", perhaps to come at a later time). I produced these typefaces under the same name to keep them all in one place, all ten weights that are floating around somewhere undigitized until now. They are currently available from me as Mac-only fonts, but OTF may be developed over time. They are members of the large "family" of typefaces whose members can be difficult to separate, such as the Helveticas, Trade Gothics, Standard Gothics, etc. I believe this was a well-designed condensed face that has nice nuances.
- Gironde and Gironde Extended (2017). Giraffe is the original name for this digital revival. It has been difficult to find a complete character set for this typeface, as I'm sure whatever existed in the roman also existed for the extended version. I revived what I could find, but it is a rather simple design and other characters can be imagined that are congruent with what is seen here. I'm not sure how much use these two oddball typefaces got in their time, but they were designed by Charles Beeler, Jr. in 1891for MacKellar , Smiths & Jordan.
- Gothic Decorated (2018). This is my temporary name for the digital revival of a typeface once called Ornamented 1,078. In the past couple of weeks, I have revived the "ornamenteds" on either side of this number. I have no information on this other than that it appears in the Inland Printer of October 1885 from George Bruce's Son & Co. TF in New York City.
- Goudy Flare Extra Bold (2019). This is a digital revival of another typeface in the Goudy superfamily, titled originally as simply Goudy Flare. I don't know the provenance of this particular letterform, but it was found in a Solo publication and could very well be one of his own creations, since I have never seen it used in print. It turns out that this is a modification of Goudy Old Style Extra Bold, and so I was able to find a suitable digitized version that matched the base forms very closely and modified the existing characters to accommodate these rather simple swashes. A reader added: "Goudy Flair was created by Mr. Phil Martin of Alphabet Innovations, that is he took Goudy Extra Bold and added swashes to this."
- Goudy Long Fancy (2019). This is a digital revival of the typeface of the same name, again another addition to the large Goudy family. There is a tremendous selection of swashes and alternate characters in this font, especially the upper case. It is an extra bold italic Goudy whose slant is less steep than normal for this family. There are no figures or punctuation provided for this letterform; those provided in the scan from which I worked were incorrect, and possibly back-formations from a different Goudy, so they were not produced for this version.
- Goudy Swash Heavy Italic (2019). This is a digital revival of the typeface of the same name. There are literally hundreds of revivals of letterforms in the Goudy "family" of typefaces. Nearly every foundry has produced its own version of this popular form, with many nuances between them. There are many weights, italics, various alternate characters and swashes galore, but I haven't seen a revival of this particular set of gorgeous swashes and alternates. Thus, I worked on very good printed samples, perhaps from a photolettering catalog half a century ago.
- Goudytype Antique (2019). This is digital revival of a typeface designated as Goudytype in a Solo catalog, with a slight twist. There is no punctuation for this font, but several nice swash alternates, a dollar sign and an ampersand. I decided to draw this as an "antique," because the ink spread in the original lent itself to this sort of treatment. Although a bit tedious, it can be used in the same way as other faces, such as Packard, Benjamin Franklin, Caslon Antique, Papyrus (heaven forbid) and others. Although one would assume this is in the Goudy superfamily, there are some characteristics that set it apart. The stresses and some other features are rather reminiscent of Palatino. And the slant is so slight as to make it unlike both typefaces' italics.
- Gracile (2019). Gracile is based closely on Greyhound Script, but has been expanded and standardized to include weights on either side of the two available in Solo. It is a semi script, since not all characters can be joined, and thus has a more casual feel. It is a strictly monoweight letterform in all six stroke thicknesses, with several alternate glyphs. There are digital versions in two medium strokes available from others, but those I was able to locate are rather poorly realized despite having diacritical marks for foreign languages. They can readily be designed and added to my interpretations, but I have chosen to do this later if anyone requires them.
- Griego Wood Series (2017). Several typefaces classified as Grecian were produced in wood for large sizes. Here I show Full Faced (William Page, 1859); Condensed and X Condensed (Wells & Webb/L. Johnson, 1846); X Condensed Bold (probably handmade, Nebraska, before 1885), and XX Condensed (John Cooley, 1859). I had revived some of these digitally years ago, but I revisited them recently and gave them a real facelift. They have undoubtedly been revived before because of their relative simplicity.
- Grosgrain (2017). This is a revival of a typeface called Grotesque No. 120. The lineage of the most famous typeface in the world, Helvetica (and, sort of, Arial) is evident in the early "grotesques." Although there are distinct differences in many of the characters of this very light typeface designed for mostly display use with alternate flourished glyphs, its resemblance to the later sans serifs of the twentieth century is striking. Marder, Luse & Co. of Chicago shows this face in 1885. Another similar typeface from around the same time called Circular Gothic is even closer to the Helveticas and derivatives of today. The alternate characters are revived from the sister font called Grotesque Fancy.
- Grounded Series (2017). I have revived Abramesque again, this time in congruence with the series from which it originated, thus it is called Grounded Ornamented. The original types started with Gothic Rounded. There was a Roman, an Outline, an Open and an Ornamented. The story behind these beauties is (as usual) too long, but briefly, information from Anna Allen: Old Bowery and Abramesque were originally called Rounded Open and Rounded Ornamented and have led interesting lives. Nicolette Gray identifies them with Caslon c1844. As a teenager, Rounded Open visited the Bruce TF (c1854), where she was called Ornamented No. 1007. After a suspected Bruce facelift as Gothic Round Shaded (≤1869), she was reintroduced by ATF as Old Bowery in 1933. McGrew writes, “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.“ Only an ornamented version, different from Abramesque and not illustrated by Gray, is shown in Bruce 1856. At a recent Oak Knoll event, Nick Sherman shot a photo of the page in Caslon's 1844 catalog showing Rounded, the solid prototype of these faces (not documented by Gray) and shared it at flickr.com. Albert-Jan Pool (designer of DIN and keen historian of sans-serif faces) observed that the footer is dated “September 1836,” so it was reprinted (probably as a stereotyped page) from an earlier Caslon publication. Until then, the earliest specimen examined by THP is shown in Caslon 1841. All agree that, so far, it is the earliest-known rounded sans-serif face in history—and this pleasingly plump family of three is as appealing today as ever! Of a very similar wood-type face tradenamed Gothic Round, Kelly reports: “First shown by George Nesbitt in his 1838 specimens. … The Nesbitt design was an Outlined or Rimmed Gothic Round. The Caslon Foundry issued several Gothic Round designs, of which an ornamented one (Abramesque), in particular, came into general usage in America around mid-century.” George Nesbittt, a New York printer, distributed wood types produced by Edwin Allen (Windham, CT ). Sherman adds that “Miguel Sousa at Adobe is in the process of making a digital revival of this face (Gothic Round|Old Bowery) for the Hamilton Wood Type Foundry.”
- Heraldry Roman (2017). This is a digital revival of a typeface called Heraldic, patented by John K. Rogers in 1880, an agent of the Boston Type Foundry.
- Hinterland (2017). Attached is a revival of an exuberant, heavy sans serif called Hibernian in Solo's catalogs. I've included alternate glyphs that I know of, but there may be some floating out there somewhere. The origin of this typeface is obscure, but there is some evidence it may have been from Genzsch & Heyse around 1893 according to one knowledgeable source.
- Hopscotch Roman (2017). Hopscotch is a revival of a wood typeface known as Hopkins.
- Jackdaw (+Open) (2017). This is a revival of a wood typeface known as Jackpot in Solo's catalogs, but was originally named Tuscan Shade No. 1. I have also produced a derivative called Jackdaw Open. Otherwise, I have little information on this bizarre beauty.
- Jeffers Contour (2017). Another decorative cap discovered as Jeffrey in a Solo catalog has been digitally revived here.
- Jeremiad (2018). A digital revival of Jenson Old Style, a typeface cut by Hamilton with the permission of American Type Founders in 1906. It has undoubtedly been revived before, as many wood types already have, but this is my interpretation and has been given a measure of consistency without losing its charm. I post this now, but it was produced a couple of years ago and I overlooked posting
- Joshua Contour (2017). I found a rather odd display typeface called Joseph in a Solo catalog, and it seems not to have a history longer than that, so who knows?
- Juvenilia Roman (2018). Juvenilia is a revival of a semiserif medium-weight typeface called Jumbo. Anna Allen's description follows: This slick stylized sans serif was designed and patented by Ernst Lauschke in 1887; he assigned the rights to Arthur M. and Alson E.Barnhart. This letterform is very unusual in having the tops of the characters generally devoid of the expected serif. Overall the design has medium contrast, which would be expected of a serif face. Several characters reflect missal-style influences (e.g. T, M), which was common for the time, but they are sprinkled in with standard types. The ampersand is influenced by wood types of the era. It is a distinctly odd species, another Lauschke innovation and unique.
- Katy Beth (2017). I discovered in the Inland Printer typefaces called Katherine and Elizabeth that were identical to each other and I was able to piece together a complete set of glyphs between the two to make a full digital revival.
- Kodiak (2017). Kodiak is a revival of Komet, an exuberant calligraphic sans serif produced by Roos & Junge Type Foundry around 1902
- Latchkey Roman (2018). This is a digital revival of Lattice, a face designed by Carl/Charles E.Heyer (1841 Berlin–1897 Chicago). He patented it in October–December 1883 and assigned the rights to Arthur M. and Alson E. Barnhart by name (the firm was not yet incorporated). Among other things, his unique hooked C was probably inspired by the hint of a hook in Copley (a sign-painter face dated before or in 1877 and cut by J.F. Cumming in 1881-1884). As Heyer's talent flourished at BBS (Chicago, 1868–1929), he led his new employer from one loathed by traditional TFs for bartering stolen designs for newspaper advertising space to one at the forefront of truly innovative display types. In the history of this TF historically regarded as great, he conceived at least 50% of their designs. Thanks to Anna Allen for the background on Lattice. Thanks to Dan X. Solo for the complete specimen, which although inconsistent and ink-heavy for some characters, was complete as far as I know. I have substantially reworked this typeface to bring a consistency for modern-day typesetting, but it is entirely faithful to the original cutting. Several of the characters are adventurous for their time (the C and ampersand, for example).
- Latin Fancy (2018). The Latin Fancy Engraved Shade version of these three fonts (the two others are derivatives) started life as Ornamented No. 1,077. Thanks again to Anna for the research that follows and for a patent specimen that gave a very rough idea of glyphs that did not appear in the catalog showings. It has ben digitally revived for posterity and is available for now as Mac-only. It appeared in October 1885 in the Inland Printer. Herman Ihlenburg, usually associated with MacKellar, Smiths & Jordan (Philadelphia), designed and cut this sizzling all-caps Latin face for the Bruce TF (New York). The patent application, submitted and approved on the same days as the one for Ornamented No. 1,079 (Brehmer), was likewise assigned to David W. Bruce (New York) [USPTO D15752]. A caveat for purists out there: The "A" has been drawn to compensate for a cutting or design error that appears in all examined versions of the typeface. No alternate has been provided for the misdrawn A.
- Lipo Caps Series (2017). Lipo Caps is a typeface series whose members are related in the sense that they have never existed as digital fonts (as far as I know), they are hand-lettered (probably by the same person), they were unlikely ever to have been developed as typefaces at the time they were drawn, and they were found in the same publication of bizarre letterforms. I have given them consistency without sacrificing the hand-drawn qualities and produced two versions of each one that I found, five fonts altogether (with "undecorated" versions as the lower-case keystrokes in each case). It is interesting to see great drawing technique that nevertheless never resulted into typography until now.
- Livornese Roman (2018). This is a digital revival of Livonia, an art nouveau-inspired typeface for which I have no information. There is a full set of alphanumerics, but no punctuation. It is a monoweight bold condensed sans serif with minimal descenders and an x-height that is at the maximum allowed visual percentage of cap height. This is another example of a face I revived in the 1990s but has been tightened up considerably for consistency and professional typesetting.
- Lubricious (2018). This strictly monoweight rounded sans serif typeface was referred to as Lute Medium in a Dan X. Solo publication, but I otherwise have no information on this letterform. It is influenced by the Art Nouveau movement and I have drawn a plausible Light and Bold as well; it seems that either one or both must have existed if it was referred to as a medium and I have made a rough guess as to the stroke weight. I think this face is quite pretty and has several innovations that are not over the top.
- Luring Series (2017). Luring is a faithful rendition of MacKellar , Smiths & Jordan's Luray and patented by Charles H. Beeler around the mid-1880s. Because the lining work in each was different depending on the point size of the metal type used (in order to achieve the same visual "grayness" when printed), I have developed each of these in such a way that when the same size is selected for each font, the optimal relative size is actually produced. The same technique was used for the equally challenging typeface called Tinted.
- Luscious (2017). This is a revival of a typeface called Lulubelle found in Solo's catalogs. It has been rendered in 7 weights, several of which correspond to known weights of this interesting sans serif condensed Art Deco-influenced letterform.
- Maggie Tried (2018). This is my digital revival (there have been others) of a typeface called Margit. According to sources I believe to be reliable, it was designed in 1969 by Phil Martin. An inquiry from a follower of this page generated a look back at a face I had once revived in the 1990s, but it was not as well-rendered as it could have been. I started from scratch and brought it back to life in a way more congruent with my current skills. It is a lovely example of letterforms developed in the late 1960s and early 1970s.
- Maltic (2018). In the six original sizes advertised and an additional three sizes to fill the gaps: This is a revival of the typeface by the same name, since it may not have been patented or trademarked by anyone until further notice. This typeface may never have been used and certainly is rather odd, but it can be seen that it must be one of the oldest forerunners of typefaces that were built from discrete "pieces" into a dot pattern, presaging the use of pixelation on monitors a hundred years later, as well as many other examples of typefaces built from pixels, dots, rectangles, stars and numerous other doodads and dingbats. In this case, the strict grid is violated for diagonals and many other interesting work-arounds; there are actually three different shapes used to build this geometric sans serif letterform. Information by Anna Allen: "Maltic is an interesting sans-serif face built from geometric motifs, was shown by the Illinois Type Foundry in The Inland Printer edition of December 1886. The specimen is marked patented, but extensive THP research finds no verification of this claim. This typeface is a complete mystery to me, as is the Illinois TF [Chicago, 1872–1892]… Annenberg (who bewails the lack of history details) reports that it was originally a distributor for the BruceTF (New York) and no record exists of any types that were originated by the Illinois Type Foundry. A showing of ornamental borders in the August 1890 edition of The Inland Printer advertises that they were Western Agents for Conner (New York) types as well."
- Margarethe (2017). It is hard to believe, but the original typeface was shown by Eduard Haenel (Berlin) in 1847 and was later adopted by American type houses. Eventually it was called Marble Heart, but most samples show only the upper case. Eventually I was ably to put together a large character set for multilingual setting after a rare, complete lower case specimen was discovered. This digital revival also covers typefaces variously known as Ornamented No. 11, 13 and 33. It is an early forerunner of faces known as grotesques (sans serifs that resemble Helvetica, Standard Gothic, etc.) This is another very difficult drawing exercise, but made all the more enjoyable after valuable sleuthing for missing glyphs by Anna at Type Heritage Project.
- Minster (2018). Minster was yet another style ground-breaker by Herman Ihlenburg, who patented the design in May–June, 1878 with assignment to MacKellar, Smiths & Jordan. This rimmed dual-case ornamented Latin beauty was consistently shown by MSJ and by ATF as late as 1897. It was also distributed by the Franklin TF (Cincinnati) [aka Allison & Smith]. Charles H. Smith, foreman, was the son of Lawrence Johnson's former partner (Johnson & Smith, 1833–1843). It has been digitally revived for posterity and took about two weeks to produce the full set of glyphs. Thanks to J. Choi and Anna Allen for very good specimens of printed materials.
- Molto (Fiorito, Ombreggiato and Nero) (2018). Molto Fiorito is a digital revival of MoléFoliate, whose history below has been researched by Anna Allen. Ombreggiato is a derivative with just the shadow, and Nero is the central characters adapted for separate setting, Bodoni or Didone letterform with high contrast and thin slab serifs. It has been produced in multiple sub-fonts for a wide variety of pin-register multicolor setting. Researching the topic on Fonderie Générale (Paris, 1834–1912) raised some perplexing questions about the history of this famous ornamented Didone. Twentieth-century historians attribute the design to Joseph Moléin c1819. Indeed, the conservative styling is compatible with fonts intended for title pages of scholarly and literary books, mainstay of the publishing industry during this period. The 1835 catalog issued by Tarbé (Molés successor) states that text, titling and display faces are offered therein. Even so, none resembling MoléFoliate is shown by any Molésuccessor in five digital specimen books dated 1835–1896. On the contrary, surface ornamentation is limited almost exclusively to Tuscans and Egyptians. Jaspert et al. (2001) note the then-current letterpress font source as Stephenson Blake & Co. Ltd. (Sheffield). Millington explains that the face was "redrawn by S.L. Hartz from a design by the Parisian typefounder Molé". Sem L. Hartz was associated with the Enschedé TF (Haarlem). SB introduced it in 1958 as "An Exotic Display Type". Did Molétransfer rights to this design before Tarbé's acquisition in 1835? If so: to SB? Enschedé? Another TF in existence at the time? Did Moléhimself design the leafy ornamentation attributed to him today? Or… Did Hartz superimpose his own concept on the surface of a MoléDidone roman? An anonymous developer digitized free revivals of this font and a matching plain one in 1997. They are difficult to find now [and are poorly executed].
- Montrose Roman (2017). Montrose is a display typeface with many interesting features, an example of numerous "banner style" letterforms produced at the time, such as Stephen Ornate and Arboret. It was called Motto (a design claimed by John P. Rogers for the Boston Type Foundry in 1879) and I understand there is still a typesetter who has the original metal matrices. Mine was produced from rather poor scans, so some interpretation was necessary. It came out quite nicely, but not quite exacting enough for some standards. It is definitely of historical interest.
- Moocher Roman and Moocher Open (2018). These digital revivals are based on Moorish and Moorish Open as described below: Moorish was designed, cut and patented by German immigrants Julius Schmohl and Ernst Lauschke, who assigned the rights to Barnhart Brothers & Spindler in April–May 1891. Commercial specimens consistently showed Moorish Open on the same page or in a spread. As advertised, this handsome stylized Latin was meant for multi-color effects.
- Morton Roman (2017). It is plausible for reasons too long to explain here that Ludwig S. Ipsen of Boston designed the typeface known as Mother Hubbard sometime before 1886 when it was offered by Dickinson Type Foundry. There were numerous swashes and alternate characters for this typeface, and I'm certain some will never be discovered. (The unadorned caps of this font bear a close resemblance to Monopol from Petzendorfer in 1903 and I have heard a rumor that a lower case alphabet was designed in modern times. As with many typefaces, the stories behind the letters are sometimes fascinating to those who are interested to know more.)
- Muralla Text (2017). This is a digital revival of Music Hall text. I have no information about it except that it appears in one of Dan X. Solo's publications, but it is quite pretty. Robert Donona added: "This was called Teuton Text, shown in MacKellar, Smiths & Jordan type specimen books, it is also shown in the 1898 book entitled Shriftatlas by Ludwig Pfetzendorfer of German and also shown in some German Printing periodicals entitled Archiv für Buchdruckerkunst by Alexander Waldow, this publication ran from 1864 to the early 20th century."
- Mystica (2019). Mystica was found in a Dan Solo publication on swash alphabets. It consists of the upper and lower case only, but is a very pretty example of a slightly quirky calligraphic letterform that appears to have been hand-drawn. There are several features that I retained when digitizing, and there are others I standardized without sacrificing the overall feel. I'm not sure whether this was ever really a typeface; until now it probably would have been classified as ephemera.
- National Pride (2018). This is a digital revival of a typeface known as National or National Gothic that is surprisingly old, and more surprisingly, not digitized until now despite being a rather obvious project. It was completed a few weeks ago, but it required a little massaging to get a few parameters more in line with afterthoughts I had. Thanks to Anna again for research and some good specimens to go with mine. In his correspondence with William E. Lo , German immigrant Julius Herriet Sr. (then in his 80s, with a life-long career in type design/cutting) recalled producing this face during the few years he worked in Philadelphia. As was customary at the time, his boss, the "hyper-active" Lawrence Johnson, patented it in 1856 [USPTO D760]. Johnson's patent affidavit explains that the design was geared to chromatic separations for printing with blue and red inks with white paper as the third color. What a great idea 150+ years later! Incidentally… It is said that Mr. Johnson [1801-1860] "worked himself to death." In the process, he promoted three of his employees to partners and groomed them to succeed him: Thomas MacKellar, John F. Smith and Richard Smith (sons of his first partner, Johnson & Smith). Together with Peter A. Jordan (the CFO of his time), these men built on Johnson's foundation to become the "largest and most celebrated type foundry in the world."
- New Orange (2017). New Orange is a revival of a typeface called New Orleans but originally called Romantiques No. 3 in catalogs from the 19th century. The Decorated is the original design and the roman is one I created for special interest. Like many of these decorative typefaces from the 19th century, they can be produced as dual fonts for chromatic separations on special request.
- Nile (2017). Nile is an original work based loosely on typefaces called Egyptians, particularly that of VGC. I've greatly expanded the possibilities of this letterform by generating 8 weights with accompanying italics and small caps, suitable for a wide range of languages as well as English, both text and display.
- Nova Sandra Script (2017). Novelty Script has been revived as Nova Sandra. I've produced the typeface as an Extra Light, Light, Roman, Medium, Bold, Extra Bold and Black. (The Bold is a revival of the Novelty Script available from specimens.) The six other weights were added as an extra-special challenge. It is a beautiful connected script that has many unusual quirks unique to this design. There are several alternate characters and I have supplied a full set of “beginning forms” as well. I have also created a reasonable set of punctuation that did not exist in the original. It is a connected script, and therefore, one of the most difficult projects to undertake.
- Octic Latin Drop Shade (2018). This is my digital revival of a typeface that started out life around 1884 at Illinois Type-Founding as Octagon Shaded. Several typefaces over the years have had "Octagon" somewhere in their name, but this is really an octic Latin with distinctive features such as a certain curviness where one would expect linearity, so not a true octagon type, and it in any case has a Latin serif, which was itself applied differently in later Latin designs. It has a wonderful drop shade that gives it great depth. There is no known lowercase for this font and the showing in Inland Printer was nearly complete.
- Octuple (2017). This is a digital revival of a very old wood typeface called Octagon, which seems to have been first shown by George Nesbitt in specimens from 1838, believed to have its origins in France.
- Partisan Ornamented (2017). One of the most challenging projects I've undertaken in the digital preservation of antique letterforms is this remarkable typeface that started off as a reference to "French 1838" and what Figgins showed as Parisian in 1843. Johnson & Smith showed it as Ornamented in 1841, but it was also known elsewhere as Dandy and Ornate No. 6. The principal trouble (beyond the sheer work involved in reviving this monster) lies in assembling anything like a complete character set. Showings in catalogs for nearly all typefaces have been several letters and perhaps a figure or two, but it is often impossible to get enough glyphs from even a dozen showings; Q, X, Z, J are commonly not shown. I revived the letter N to see whether it was even feasible to start the project and estimated it would take two months to complete, even if the missing letters could be found. Beyond my wildest dreams, several people were able to track down every missing letter and even the numerals and the AE and OE ligatures, in varying degrees of resolution from ancient catalogs. I was able to generate this type over many enjoyable, hellish hours.
- Pattycake Condensed (2017). Attached is a digital revival of a lovely monoweight casual serif font called Pastel Condensed. I have seen revivals of this typeface, but I believe mine is a more complete and consistent version, and includes diacritical characters for setting in a wide variety of languages.
- Paymaster Roman (2017). This wood typeface was called Painter's Roman and cut by both Page and Wells, being made available in the 1870s. It was revived a while ago by a major font developer with many glyphs added, but my cut retains some of the quirkiness of the sample I had available from Rob Roy Kelly's masterpiece, American Wood Type 1828–1900. Its numerous specimens are the source of many of my wood type digitizations.
- Pencilings (2018). Pencilings has been digitally revived in three versions known to exist. Pencilings One was originally shown as Paragon Pencilings. Pencilings Two was originally shown as Paragon Pencilings No. 2 and uses the same caps as Pencilings with the lower case characters at 75% the size of No. 1 and with different cuts; both showings have several ligatures and alternates. Pencilings Three is a rendition of Solo's version, which was much heavier and was shown in "Grunge Alphabets" on page 65. The alphabet I scanned for One and Two is shown by Marder, Luse & Co., January 1885 in The Inland Printer. This is a lovely if somewhat inconsistent example of early explorations of typefaces that mimicked handwriting, particularly printing as opposed to calligraphy or penmanship. As such, these irregular examples are sometimes called casuals, a large group that includes brushes and bounces.
- Pisa Semiscript (2017). A seldom-used font available from Bitstream, Piranesi Italic is nevertheless a lovely letterform whose designer I do not know. I have discovered that there was also a bolder version at some time in the past, but have never seen it except in type catalogs existing before digital typography, so quite rare. Despite its being called an italic, there never was a "Piranesi Roman." I have produced nine weights, both lighter and heavier than the original, completely redrawn for consistency and available in OpenType PostScript multilingual cross-platform fonts.
- Precocious (2017). Preciosa was the original name for this little gem and it dates from around 1898 from Bauer & Co. in Stuttgart. It has been fonted before as freeware from Klaus Johansen of Svendborg, Denmark, but did not include lowercase. I'm not quite sure the lowercase I came across is the one designed for that face, as it comes from a Solo catalog, and occasionally he used lowercase alphabets from other faces to accompany his perhaps all-caps blackletter fonts, so who knows? More on that subject later as I revive a couple other drop-cap Gothic beauties whose lowercase characters are the same.
- Protagonist (2018). This series is a digital revival of a face known as Program. Thanks to Anna Allen for the following research as well as a few critical scans from materials I didn't have in my possession: According to William E. Loy, this typewriter-like Egyptian was designed and cut by William F. Capitain [1851–1915]. Carl Müler, an executive of Marder, Luse & Co. (Capitain's employer since November 1874), patented the design in November 1881–April 1882 and assigned the rights to [USPTO D13862]. Contrary to USPTO regulations effective in 1874, he got away with identifying the intended commercial tradename. It was advertised in The Inland Printer of April 1885. In February–May 1885, Capitain himself patented Inclined Program, a dual-case back-slant derivative [USPTO D161054]. Like Program, it was shown in the Marder, Luse catalogs issued in 1889 and 1890. Unlike Müler, he retained the rights.
- Rochelle (2017). This series is intended as an extension of Herb Lubalin's 1970 creation, Ronda. It has always been available in several weights, but I extended the utility of this face to some lighter forms as well as the inclusion of small caps (except in the bold).
- Rose Madder (2017). This is another example of reviving a letterform that may never have been a typeface. It was found unnamed in Carol Belanger Grafton's "Bizarre & Ornamental Alphabets" on pp. 96–97.
- Rosemary Series (2017). Rosemary is a revival of various Roman woods found in "100 Wood Type Alphabets," by Rob Roy Kelly. Ornamented (p. 230) first shown by George F. Nesbitt in 1838 specimens (Shadow and Expanded are derivatives); X Condensed (p. 234) same Nesbitt; Condensed (p. 233) same; Extended (p. 231) same; Roman (p. 232) first shown by Darius Wells 1828.
- Ruinous Titling (2018). This is a digital revival of a face called Parable that appears in one of Dan X. Solo's publications. It would be strange if no one has revived this face, and I do so solely as a demonstration of how it is that people get into doing the sort of work I do, even as an occasional hobby and nothing more. With the right software and a little determination to learn something new, the average person can produce a typeface in a few hours, albeit one this simple and lacking anything more than the capital letters. It whets a lot of folks' appetites for something more challenging, but rarely ending up where I am at a level of astonishing self-inflicted pain! The typeface was less than two hours from turning on the scanner, through drawing and spacing to a usable font.
- Rye Roman (2017). This is a digital revival of a typeface identified as Ryan Jackson on p. 85 of Solo's "Victorian Display Alphabets," but I have found no other reference so far as to its origins before that publication. Technically, it is a moderately decorated low-contrast Latin.
- Saluzzo font (2017)> Giambattista Bodoni, one of the first rockstars of typography and printing, flourished in the latter half of the eighteenth century in Parma, Italy. His fans included Benjamin Franklin, Napoleon and Pope Pius VII. The typeface we know as Bodoni has been developed by numerous foundries, particularly in the late twentieth century, no two of which are identical. It has generally been drawn as a high-contrast serif and was itself based on some of the transitional forms originating in Baskerville's studios at the time Bodoni ran his printing business. I have developed a unique Bodoni myself, slightly lower in contrast to render it more readable at smaller sizes. I have produced the letterform in Open Type PostScript format for cross-platform use in eleven different weights, italics and small caps (in the roman only), for a total of 33 multilingual fonts. Saluzzo is named for Bodoni's birthplace in Italy.
- Santa Claus (2018). This is a self-named digital revival of Santa Claus and Santa Claus Initials, both No. 1 and No. 2. This irresistible pair of fun faces was introduced by Central TF in the December 1885 edition of The Inland Printer. A patent pending notice was displayed in at least one commercial specimen; no such patent exists and none was claimed in the post-ATF catalog issued by the Central /Boston TFs in 1892. According to policies of the US Patent and Trademark Office in effect at the time, Santa Claus was positively new, novel and non-obvious and absolutely worthy of a design patent. No approved applications for design patents were filed by Central executives nor assigned by others after 1886. Apparently this notice was of the "beware of the (non-existent) dog" variety. The designer is unknown. William E. Loy does not account for Santa Claus in his biographies of Gustave F. Schroeder or Nicholas J. Werner, Central's staff type designers/punch-cutters until 1889, when they partnered an independent business. In 1891, Schroeder moved to California; he and Werner continued to contract design commissions from Central and other clients.
- Saprophyte Roman (2018). Saprophyte is a digital revival of a typeface that started out as Ornamented No. 1060. Thanks to Anna Allen for the commentary on its provenance. This Latin gingerbread face was designed and patented by Julius Herriet, Sr. in 1878–1879. He assigned the rights to David Wolfe Bruce , the last family member involved with the Bruce TF. After the USPTO established the trademark division in 1870–1874, the Bruce TF switched from naming its new faces to numbering them. Presumably, this expedient circumvented payment of additional attorney and registration fees. The name Safari may have been dubbed by Dan X. Solo. Those comparing my version with Solo's and the patent specimen will find there to be discrepancies with Solo. The patent specimen was poor but indicated significant changes that occurred by the time Solo had samples. I went as best I could by indications from the patent application of 1878 in regards to overall form and design and had to rely on Solo for only several details. It is my creation based on the information I have available and is nevertheless stunning and unique.
- Shifty Wide (2017). Shifty is a revival of a typeface identified as Shimmer Wide in Solo's "Victorian Display Alphabets," p. 88. I don't otherwise know the origin of this letterform, but because of its regularity I don't believe this was a wood type, or at least the version I'm seeing comes from a metal face that may have been based on a wood design. There is a resemblance to Antique Tuscan No. 1, a wood face from the 1850s.
- Snitch Script (2017). Based squarely on one of the most familiar scripts, Snell Roundhand, my version has several major design changes. Charles Snell developed this letterform many decades ago and it was translated by Matthew Carter into phototype in the mid-1960s with a total of three weights made available. I have developed a total of 12 weights of this very difficult connected script, all the way from a Hairline to an Extra Black, beyond the ranges previously available—keeping in mind that this form has some very different glyphs in place of the originals, and quite a bit of standardizing in ways the original designer would perhaps find offensive. But I love it, so there.
- Solomonic, Cliffhanger and Deerfield (2017). I revived Solar, Climax and Dearborn Initials consecutively, since they had been shown in many catalogs adjacent to one another and were offered by Barnhart Brothers & Spindler in the late 1880s. They are decidedly modern-looking display faces, and as I always say, all of our best ideas were stolen by designers of the past!
- Spiral Swash (2019). This is a digital revival of the typeface of the same name, found in one of Solo's publications. Technically it is a higher-contrast extra-bold, wide, extreme flare-serif with ball swashes. It is reminiscent of the Euclids I revived last year and would work well as drop caps with the entire range of undecorated forms from that revival. It is equipped with a very nice range of alternate characters, but there is no punctuation supplied. I don't know the designer of this face or the time period, but it looks to be something that would have appeared in a photolettering catalog in the late 1960s and early 1970s.
- Springfield Roman (2017). This is a revival of a previously undigitized typeface called Spangle in some catalogs but has been also named Uncle Sam, Carnet de Bal, Ornate No. 3, Ornamented No. 851 and Romantiques No. 1; which demonstrates with one font the tremendous problem in type identification. In any case, it's hard to believe this was designed in the 1830s by Laurent & de Berny of Paris, calling it Ornamented No. 1071.
- Sprinkle Roman (2017). Based on the original typeface called Spring, this is a display letterform that I digitized a few years ago from one of Dan X. Solo's catalogs. It is notable for containing a huge number of alternate characters that make it a lot of fun to work with for a distinctly retro feel. Also called Bonaparte by Photo-Lettering, and Radiant Flair by OptiFont.
- Stakeholder Roman (2017). This wood typeface was called Staccato by Solo, but was originally released as Tuscan Extended by W.H. Page before 1872. I suspect this is another letterform that has been revived by others.
- Stengel Roman (2018). This is a digital revival of Sterling. There have been other unrelated typefaces with the same name, but the history of Sterling follows. Again, thanks to Anna Allen for the sleuthing: A far cry from ATF Sterling (Morris F. Benton, 1917), this suave stylized Latin has just the right slinky curves! The designer, Charles E. Heyer, reprises his trend-setting hooked C and extends the style to the G with a new interpretation for this stunning all-caps alphabet [with two alternates, an E and an L]. His patent application was promptly approved in September–October 1890; rights were assigned to Barnhart Brothers & Spindler, his employer since 1878. It was shown by BBS until at least 1909. A few of my own comments on this letterform follow. For its time, it is certainly a departure from standard interpretations of alphabets. To begin with, we are finding terminals in some of the characters that are unexpected, swashes where we would expect traditional terminals. The A is square with a swash crossbar, echoed in the H, and the H itself is like the M and H in being bandy-legged. The W is practically an inverted M. The J and the U are very wide. All characters are quite a bit wider than usual, in line with Clipper, which it resembles in some respects; but the question mark is super-condensed. The A, B, E, F, H, P and R have compressed upper stories, giving the face a top-heavy look, which became very popular in the Art Nouveau craze. The curves are much thicker than expected, perhaps a bit outside acceptable for good color, so a high contrast in places where you would not expect. The serif is minimal and difficult to discern in my specimens, so I interpolated somewhat. Its modern sort-of-equivalent look is like Newtext, Americana or the modern Copperplates. I worked mostly from the patent specimen, because it was quite different from all the printed materials I examined.
- Stigmata (2018). Only rock-solid project management, determination and a tolerance for tedium will get a typographic revivalist though the gantlet in bringing back to life one of the most complex typefaces ever designed, Stipple. The history of this unique letterform is provided by Anna Allen as follows: The brilliant Herman Ihlenburg completed design of this masterpiece in 1889; in January–February 1890, he patented it and assigned the rights to MacKellar, Smiths & Jordan [USPTO D19660]. Concurrently, he patented a set of related ornaments for line finials and a semi-rectangular frame [USPTO D19659]. The earliest commercial specimen examined was shown in the June 1890 edition of The Inland Printer by Shniedewend & Lee Co., then MSJ's Chicago agent. Widely considered unvectorizable, it was thus a challenge I undertook because the number of good specimens was high enough to consider the challenge. The rest of the story of this revival is too long and technical to relate, so I will describe this is as a maximally decorated modified bold Latin banner typeface. Just one of these characters contains around 2,000 data points, close to the maximum possible to create a font that will not crash. Thanks to all and sundry for a few rare specimens and particularly the US Patent Office for its poor but complete specimen of the 48-point characters; and several others for the serendipitous discovery of a couple important 36-point characters. The bang, question, period, comma and colon were designed by me to make the font more usable. Stipple is now available for the first time in 130 years.
- Sundog (2019). This 9-weight series is a revival of a typeface shown as Sunningdale (in three weights from Dan X. Solo). It is a slab face Egyptian italic with very nice swashes, but there is no punctuation for this letterform. It contains a large range of alternate characters. Although I don't know the origin of this typeface, it is almost certainly the same designer as Whitley Sans, revived most recently by me. The lighter weights in this series are almost strictly monoweight, but there is an increase in contrast from Light through Heavy, as in the original forms.
- Sunnybrook Script (2019). This is a very light monoweight upright semiscript of my own design with a lot of features found in traditional scripts of 150 years ago. The exuberant swash capitals are very loosely based on Flemish Script but have been modified a great deal and standardized across several glyphs. It can be set in a wide variety of languages.
- Superior (2018). This is a digital revival of Superior, whose first showing I have as April 1886 from Great Western Type Foundry in Chicago. It is a slightly decorated extra-light condensed Latin existing only in caps as far as I can tell. There is a full set of numerals and minor punctuation. Superior is a rather simple revival in relative terms and requires only a few hours because of that simplicity and paucity of other glyphs. It has perhaps been revived by other developers, but I am not sure.
- Tanglewood (2017). This revival ranks in the top five of the most difficult projects I've undertaken, not only because of the sheer amount of work involved in drawing the characters but in addition because of the number of glyphs that happened to be available. The name of this face was originally offered as Conner Ornamented No. 43, patented by James M. Conner in 1881. My undying thanks must go to Robert Donona, who supplied an incredibly good specimen from Graphic Compositions, Inc.'s phototype specimen book wherein the typeface is called Tangier. Diacritical marks, superior and inferior characters and basically enough glyphs to complete a large OTF file were evident in the specimen. Specimens of such completeness are rare in the world of typography, but having them available for viewing makes the revival process a time-consuming, if satisfying, venture. It required an absolutely stupid amount of time to finish. Several people have said this is my magnum opus...so far at least!
- Tasty Gothic (2018). This is a digital revival of typefaces variously known as Tasso, Gotham and No. 205). 1890 (Tasso, Gotham), Barnhart Bros. & Spindler; 1895 (No. 205) George Bruce's Son. Some hunting around was necessary to find missing glyphs, but my version appears to contain everything that was originally designed for this very pleasant monoweight gothic.
- Tender Regard (2018). This is a digital revival of a graceful letterform originally known as Tendril. The design for Tendril was patented by Herman Ihlenburg [1843–1905] in 1878. Along with Camelot (Goudy-Phinney/ATF Boston 1900), his application was one of the fastest-approved in 19th-century history. Rights were awarded in less than three weeks during November and assigned to MacKellar, Smiths & Jordan [MSJ ] of Philadelphia.
- Thursday Roman (2017). Attached is my digital revival of Thurston, a letterform appearing in one of Dan Solo's numerous type specimen books. I don't have any information on the source of this form, but like other postings here, this will be updated at some point in the future for the curious. This face is strongly reminiscent of the Peignot types, sans serifs with relatively strong contrast, but in this case with quirky ornamentation.
- Tiberius (2017). Tiberius is a revival of a typeface called Tirolean. This is another strange letterform that has distinct Art Nouveau influences, but I'm not at all sure of the history of this face except that it was found in a Solo catalog.
- Tinting Series (2017). Tinting is a faithful rendition of MacKellar, Smiths & Jordan's Tinted and patented by Charles H. Beeler around 1885. Because the lining work in each was different depending on the point size of the metal type used (in order to achieve the same visual "grayness" when printed), I have developed each of these in such a way that when the same size is selected for each font, the optimal relative size is actually produced. The same technique was used for the equally challenging typeface called Luray.
- Trinitro (2018). This super-sophisticated stylized Latin (known originally as Trinal) was patented by British immigrant William F. Capitain [b1850] of Chicago in September–October 1888. The Marder Luse Type Foundry (a.k.a. Chicago Type Foundry ), his employer since 1874, advertised it in The Inland Printer edition of November 1888. It was shown by ATF until c1900. Trinal has been digitized, containing many of the variously decorated characters that make up a large font. I am not at all sure I found everything, and it took the sleuthing of several other fanatics to find anything like a final set of everything that may have been produced.
- Tunbridge Shadow Ornamented (2017). This is a revival of Tungsten, another oddball ornamented style probably originating in the late 19th century.
- Unitary Roman (2017). Unitary is a revival of a wood type published as Unique. I have no other information as to the provenance of this typeface except that it was taken from a Dan X. Solo publication.
- Valor Shade and Rimmed Shade (2017). These digital revivals started out in 1847 at V & J Figgins and there were several other variants in wood type at the time. Van Horn, Zebra and Tuscan Condensed Shade were other names used over the years, but the latter best describes the letterform. This is a moderately challenging revival that can be made available for chromatic separations, as many of these complicated characters were intended originally.
- Venetian Tulip Wood (2018). The story of this revival is unfolding, but to make it short, this was digitized from a very large point-size specimen of what purports to be wood type from Kelly's collection. But upon further investigation, it is unclear whether this sample was a drawing made from an impression (or printed specimens) or whether it is an actual impression of wood type itself. I suspect the former, but it is indeed a legitimate typeface (and an important early 19th-century face) that existed in several different decorated forms. It is unclear which came first, the metal or the wood letterform. Technically this is an exuberantly decorated drop-shadow concave Tuscan.
- Vicarage Initials (2017). This challenging revival took many hours to complete for digital font use, but well worth it. Vatican Initials was found in a Solo publication and much has been done here to achieve consistency of color and design without sacrificing the nuances of this rare beauty.
- Warpath (2017). Warpath is a revival of a wood typeface called Wampum in Dan Solo's publication; otherwise, I don't know the provenance of this letterform.
- Whitestone Sans (2019). This is a digital revival of a very unusual face called Whitely Sans, found in a Solo publication. It is a medium-weight sans serif italic with very nice swashes and an interesting treatment of shading. There is a wide variety of alternate glyphs, including rare "ending forms," several of which I produced on my own to make it a little more consistent with typefaces supplied with ending forms.
- Wood Types Numbers 154, 500, 506, 508 & 510 (2017). These are five unrelated wood types that were occasionally used in foundries setting metal type because of their availability in large sizes. No. 154 is a modified Tuscan; Nos. 508 and 510 are flared sans serifs; and Nos. 500 and 506 are Latins. Like most wood types, the character availability was usually quite limited.
The free sans typeface families done in 2003: Clemente, Ultima, Passion Sans (a Peignotian family).
His 19th century series, all made in 1995 or 1996: APT New Abramesque, APT New Alferata (psychedelic), APT New Armenian, APT New Belmont (Victorian), APT New Brenda, APT New Cabinet, APT New Caprice, APT New Dawson, APT New Euclid, APT New Linden, APT New Madison, APT New Moorish, APT New Mystic, APT New Rollo (Victorian), APT New Slapstick (wooden plank font), APT New Spiral, APT New Stephen Ornate, APT New Teahouse, APT New Viola, APT Novelty Script.
The wood type collection of Alan Jay Prescott.
- APT Antique Wood Double Outline Shaded 1995, APT Antique Wood Extended 1996
- APT Caslon Wood w: Alts 1996
- APT Clarendon Wood Extended 1996
- APT Columbian Wood w: Alts 1996
- APT Courier Wood 1997
- APT Doric Wood 1995
- APT Gothic Wood (+Alts) 1997
- APT Grecian FullFaced Wood 1996
- APT Jenson Old Style Wood 1996
- APT Kurilian Wood w: Decorated Alts 1997
- APT Modified Gothic Wood Cond 1997
- APT New Venetian Wood 1996
- APT New Woodcut Shaded Initials 1995 (Houtsneeletter)
- APT Roman Wood 1994-1995
- APT Tuscan Antique Wood (+Alts) 1995-1996
- APT Tuscan Concave Wood 1996-1997
- APT Tuscan Contour Wood 1996
- APT Tuscan Gothic 1 Wood 1996, APT Tuscan Gothic 2 Wood Cond w: Alts 1996, APT Tuscan Gothic 3 Wood Cond w: Alts 1997, APT Tuscan Gothic Pointed Wood w: Alts 1997 (Ironwood)
- APT Tuscan Italian Wood 1997
- APT Unique Wood 1995
- APT Wood 1995-1997
- APT Wood No. 501 1996 (orig Wm.H. Page 1887), APT Wood No. 508 1997, APT Wood No. 51 1997, APT Wood No. 510 1997, APT Wood No. 515 1996
Stencil typefaces designed in 1995 and 1996: APT Crystal Ship (1995), APT New Acapulco Light (1995; after the phototype Acapulco Light VGC), APT New Alpha Midnight (1996; after a typeface from 1969 sold by John Schaedler), APT New Beans w/ Alts (1996, after Beans by Dieter Zembsch, 1973), APT New Checkmate (1995---not a stencil type, really, but rather a modular typeface; after the film type Checkmate), APT New Zephyr (1996).
Computer fonts designed in 1995 and 1996: APT Bugsy (1995), APT New Quote (1996: bilined).
Art nouveau typefaces designed in 1995 and 1996: APT New Abbott (1995; after Joseph W. Phinneys' abbott Old Style, 1901), APT New Ambrosia (1995, after Peter Schnorr's 1898 Jugendstil typeface), APT New Baldur (1996; after Baldur by Schelter (1895) and Julius Klinkhardt (1903)), APT New Jagged w/ Alts (1996), APT New Jason (1996), APT New Livonia (1996), APT New Margit w/ Alts (1996), APT New Nightclub (1995), APT New Quaint (1995), APT New Quaint Open (1995).
Decorative typefaces designed between 1995 and 1997: The Bizarre series (decorative caps), Advertisers Gothic PD (2010: a large family based on Robert Wiebking's ugly original from 1917), APT Antique, Crayon PDS (2013, a decorative Victorian family), APT Caslon 76 (1997, based on a Compugraphics original), APT Feinen Inline (1997, after Henry Mikiewicz, 1983), APT Millais (1995, unknown origin), APT New Abel Cursive (1996, a revival of Bernie Abel's Abel Cursive (Compugraphic, 1974)), APT New Artcraft (1996), APT New LSC Book (1996, after a 1970 original by Lubalin Smith Carnese), APT New Classic Rubber Stamp (1996: based on DeVinne by G.F. Schroeder, 1890; F.W. Goudy 1898), APT New Hearst (1995, based on an original from Inland Type Foundry, 1901, which was famously ripped off from Goudy; the Italic was by Carl Schraubstadter, 1904), APT New Ticonderoga (1995-1996), APT New Woolly West (1995), APT Horizon Initials (1995), APT New Gill Floriated (1995), Old Gothic Initials Plain (1995: Lombardic caps), Pfister Bible Gothic APT Cameo (1997, blackletter caps), APT Saint Nick (1995: snow-themed caps), APT Black Dog (1995), APT Blacksmith Heavy (1995), APT New Airedale (1995, after an original tattoo / poster from the 1930s), APT New Blade Display w/ Alts (1996), APT New Cugat (1995; a wedge serif letterpress emulation typeface), APT New Fieldstone (1995), APT New Static (1995), APT New Trump Gravur (1995; after Georg Trump, 1954), APT New Yagi Bold (1996), APT New Courtier Italic (1996, Vanity Fair), APT New Harlequin (1996), APT New June (1996, after Fournier le Jeune).
Avant Garde typefaces: APT Avant Garde Alts and Display (1997), APT Lubalin Graph Alts (1997; to be used with BT Lubalin Graph, Ed Benguiat, 1974).

Local download of some of his fonts. [Google] [More] ⦿

Ake Thanantreesak
[Nobu Collections (or: Ake)]

Alan Jay Prescott
[AJPT]

Alan Luna

Alan Luna (Monterrey, Mexico) created the high-contrast fashion mag art deco typeface Camila and the techno futuristic typeface Gretta Display (2014).

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

Alan Meeks

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

His oeuvre (sold via MyFonts) includes:

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

Galadriel, Kornelia and Sparky are floating around freely in cyberspace.

FontShop link. Linotype link.

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

Alberto Romagosa

Barcelona-based designer, b. 1989. He studied at the Swiss-School of Barcelona. His typeface AR Vulcano (2011-2012) has a high-contrast condensed octagonal design for application in fashion mags.

Alcode
[Sukjana Almunandar]

Banda Aceh, Indonesia-based designer (b. 1993) who specializes and excels in formal calligraphic typefaces. Creator of the thin calligraphic typefaces Yesterday (2017: upright) and Jazzi Script (2017), and the swashy formal calligraphic typefaces Peaches (2017), and Sinday College (2017).

Typefaces from 2018: Malikon, The Duality, Karmila Script (a signature font), William Duke (a great formal calligraphic script), Differenlight (Spencerian calligraphic), Stipa Willington (formal calligraphic), Gatlik Saphir (formal calligraphic), Lile Dahliya (formal penmanship calligraphy), Bulgattie (copperplate calligraphy).

Typefaces from 2019: Laront Monoline, Claristy, Graceful (a thin Spencerian script), Beduga (a signature script), Desirable Calligraphy (Spencerian), Fantera (a baseball script).

Typefaces from 2020: Colfige (a fashion mag typeface), Claristy, Dalgond Script (formal calligraphic), The Duality (a formal calligraphic script), Peaches (a penmanship script), Imagine (calligraphic), Willmaster Calligraphia (a Spencerian penmanship script), Quntas Script (a hairline calligraphic font), Kota Datoma (wild calligraphy).

Typefaces from 2021: Betting Soker (a brush script), Tugafy (fashion mag font), Mole Display (a distorted font), Avole (a hipster fashion mag font), Qanthorely Castigra (a wild Tree Frog genre script), Bolgifam (a triptych of stylish typefaces including a formal copperplate calligraphic style), Matilost Wikly (script), Silta The Farming (a brush script), The Kaluge (a feminine display typeface), Silta The Farming (a brush script), Tylaco (an art nouveau typeface), Dofta (a high-contrast decorative typeface), Dofta (a high-contrast decorative typeface), Batick Rodist (a wild script in a font duo), Blosta (a fashion serif and a copperplate calligraphic script), Piguet Script, Migueto (a fashion mag typeface), AvOle Serif (a fashion mag typeface; identical to Migueto).

Typefaces from 2022: Roti Brown (an elegant wild script). [Google] [MyFonts] [More] ⦿

Alejandro Inler

Graphic designer who studied at FADU, University of Buenos Aires, from 1997 until 2005. Creator of these typefaces:

Elsie Swash Caps (2012, with Ana Sanfelippo). Free at Google Web Fonts. The this a fashion mag display didone with plenty of additional ball terminals: Elsie is inspired by feminine energy. This new typeface was created to celebrate the world of women, glamour and fashion. It combines the strength of Bodoni with the softness of italics. Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features.
Elsie (2012, with Ana Sanfelippo). Free at Google Web Fonts. Elsie was Alejandro's graduation typeface at FADU-UBA.
Wendy One (2012). Free at Google Web Fonts, it is loosely based on the Stabilo logotype, and shows the quirkiness of retro futurism.

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

Alex Dujet
[Futur Neue]

Alex Joganic
[1871 Project]

Alex O. Kaczun
[Type Innovations]

Typographic picture by TDC55.

Alex Tatro

During her studies at the University of Kansas in Lawrence, KS, Alex Tatro designed the fashion mag sans typeface V Fancy (2017) and an experimental noisy screen typeface (2017). [Google] [More] ⦿

Alex Tatro

During her studies at the University of Kansas in Lawrence, Alex Tatro created the experimental typeface Chevwrite (2014). In 2018, she published the free fashion mag typeface V Fancy. [Google] [More] ⦿

Alex Trochut

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.

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
[Buero New York]

Alexander McCracken
[Neutura]

Alexander Selg

Augsburg, Germany-based designer (at Coburg University of Applied Sciences and Arts) of the fashion mag typeface Clara Antiqua (2019). [Google] [More] ⦿

Alexandra Damalan

Graduate of the Design Department of the National University of Art in Bucharest, Romania. Bucharest-based creator of Fashion Typeface (2011, ornamental caps).

Another URL. [Google] [More] ⦿

Alexandria Hepburn

Graphic designer in Atlanta, GA, whose typeface Vixens (2013) is presented as a fashion typeface. It has the modularity of a FontStruct font. [Google] [More] ⦿

Alexey Brodovitch

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 Brodovitch Albro (1950, or Al-Bro, for Alexey Brodovitch; published by Photo-Lettering Inc) and the stylish Vogue (1950s). Albro has a digital revival by Nico Schweizer called Albroni (1992, Lineto). Brandon Alvarado used Al-Bro as a model for Brodovitch (2011). [Google] [More] ⦿

Alexey Popov
[Popskraft Lab]

Alicia Grady

Sarah Anne (2009) is an experimental typeface that was inspired by fashion designer Sarah Leach and her current brand Sarah Anne. [Google] [More] ⦿

Alisa Nowak

French type designer who studied at Fachhochschule Düsseldorf (2009) and at the Ecole supérieure d'art et de design d'Amiens, France, class of 2011. At ESAD her graduation typeface was called Eskapade. In 2012, the blackletter typeface Eskapade Fraktur was published by Type Together. The angular weights Eskapade Regular and Eskapade Italic were added in 2012.

With Sebastien Degeilh, she is a partner in Nowak & Degeilh, a French type foundry started in 2012. At Nowak & Degeilh, she created the 3d geometric overlay font family Carton (2012).

For the next few yours, her work was published by Fontyou:

She co-designed the stylish Egyptian typeface Achille FY (2012) with Gia Tran, Gregori Vincens, Valentine Proust and Bertrand Reguron, and Achille II FY (2014) with Valentine Proust and Gregori Vincens.
With Gia Tran, Gregori Vincens, Valentine Proust and Elvire Volk, she co-designed the monoline sans display typeface Younion FY (2013). Younion One FY is free at Dafont.
Codesigner of Kaili FY (2013): an exotic typeface with crazy ligatures, inspired by Indian scripts, designed by Gregori Vincens, Bertrand Reguron, Gia Tran and Alisa Nowak.
The EPS format display typeface Alice FY (2013). Co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust. Alice FY was inspired by Adrien Genevard's lettering. Sub-themes are Alice in Wonderland and playing cards.
The EPS format frilly script typeface Lullaby FY (2013), co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It too was inspired by Adrien Genevard's lettering.
Exquise FY (2013). A fashion mag didone co-designed by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou.
Bruum FY (2013) by Gia Tran, Alisa Novak, Micaela Neustadt, Bertrand Reguron and Grégori Vincens. Bruum FY is a curvy stressed elliptical sans typeface.
Four typefaces done with Luis Gomes and Jeremie Hornus: Booster FY (2013: a rounded sans), Gauthier FY (2013: a transitional typeface family, followed in 2014 by Gauthier Next FY), Lean-O FY (2013: a slab serif with leaning asymmetrical brackets; see also LeanO Sans in 2014), Marianina FY (2013: a contemporary condensed 24-style headline sans family with simple strokes. Characterized by kinks in the ascenders).
Gregori Vincens, Gia Tran, J&eacxute;rémie Hornus and Alisa Nowak co-designed the humanist sans typeface Klaus FY (2013).
The slender display typeface Sérafine FY (2013). Co-designed with Jason Vandenberg and Jérémie Hornus.
Codesigner with Mr. Zyan of the alchemic hipster font Pyrenees FY (2013).
She collaborated with Jérémie Hornus and Fabien Gailleul on the design of the astrological simulation typeface Astral FY (2013). The same group of three collaborated in 2014 on Naive Gothic FY.
In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days.
Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak co-designed the very humanist sans family Saya FY and Saya Semisans FY.
Luis Gomes, Jérémie Hornus and Alisa Nowak co-designed the rounded sans typeface family Booster Next FY in 2014.
Joao Costa co-designed the thin lachrymal typeface Zitrone FY in 2014 at FontYou with Jérémie Hornus and Alisa Nowak.
In 2014, Monica Munguia, Alisa Nowak and Jérémie Hornus co-designed the blackletter typeface Blackmoon FY.
In 2014, Matthieu Meyer, Alisa Nowak and Jérémie Hornus co-designed the wedge serif typeface Ennio FY at FontYou.
The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.
In 2014, Joachim Vu, Jérémie Hornus and Alisa Nowak co-designed the classical copperplate script typeface Vicomte FY.
Codesigner with Jan Dominik Gillich of Sperling FY (2014, FontYou), a didone-inspired headline or fashion mag display typeface family.
Designer of Marianina Wide FY (2014).
In 2014, Alisa Nowak, Gregori Vincens and Andrey Kudryavtsev created Achille II Cyr FY.
Codesigner of Hansom Slab FY (2014, Gia Tran, Jeremie Hornus and Alisa Nowak).
Still in 2014, Julien Priez, Hugo Dumont, Jérémie Hornus and Alisa Nowak co-designed Rowton Sans FY, a sans family patterned after Gill Sans in six weights, from Hairline to Bold---named after Arthur Eric Rowton Gill, it has the Gillian lower case g but italic lowercase is a bit too far afield for my own taste, especially the squeezed g.

In 2015, Jérémie Hornus, Clara Jullien and Alisa Nowak co-designed the spurless / organic slightly inflated sans typeface family Diodrum at Indian Type Foundry. Diodrum Rounded (2020, by Manushi Parikh, Jérémie Hornus, Clara Jullien and Alisa Nowak) is a spurless organic sans family.

In 2016, Alisa Nowak designed the all caps art deco / avant garde typeface family Inbox that comes with many great ligatures and interlocking glyph pairs. It was published at Indian Type Foundry.

Alpinist (2016) is a humanist sans with a small x-height optimized for magazine design and other editorial applications. The edges are slightly rounded for easy reading. It was designed by Jeremie Hornus and Alisa Nowak. Somehow, it evolved into Alpino at Fontshare.

In 2016, Jeremie Hornus and Alisa Nowak released Associate Sans and Slab (+Stencil), and Associate Mono at Indian Type Foundry. This is a family with an American gothic look.

Vesterbro (Jeremie Hornus, Alisa Nowak, Ilya Naumoff, Black Foundry, 2017) is a high-contrast Latin / Cyrillic typeface with a Viking feel that won an award at Granshan 2017.

Papelli (2016) is an informal typeface family by Alisa Nowak and Julie Soudanne.

At Fontstore / Fontshare, she released the 6-weight sans typeface Excon in 2017. Excon is named after and a tribute to French designer Roger Excoffon (1910–1983). Excon's letters are top-heavy, a rarely-explored idea in type design Excoffon himself experimented with.

In 2017, Jérémie Hornus, Théo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu co-designed Bespoke Sans, Bespoke Serif and Bespoke Slab at Fontstore / Fontshare. In 2020, Bespoke Stencil was added.

In 2017, Jérémie Hornus, Julie Soudanne and Alisa Nowak designed the attractive titling didone typeface Zesta.

Zodiak (2021, Jérémie Hornus, Gaetan Baehr, Jean-Baptiste Morizot, Alisa Nowak, and Théo Guillard at Fontshare) is a free 24-style text family with Century-like newspaper roots and sturdy bracketed slab serifs that was originally named Claire (2020).

In 2020, Jeremie Hornus, Theo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu co-designed Bespoke Stencil (2020, Fontstore). [Google] [MyFonts] [More] ⦿

Alit Design (or: Gurita Hitam)
[Alit Suarnegara]

A graduate of Institut Seni Indonesia Denpasar Bali who is based in Denpasar, Bali, Alit Suarnegara (Gurita Hitam, b. 1986, Denpasar) created these typefaces:

2022: Psychofun (psychedelic), Lhont Down (a bouncy baseline serif), Spidro Marley (a flared display serif), Bellyman (an art nouveau boutique serif), Hulahoy Typeface (a formal reverse stress script), Bulone (a display serif with curved stems and terminals), Mankey (glyphs with wavy kinks), April Blossom (a scrapbook script), Soka (a 28-style display sans), Mollyn (a 14-style casual sans), Mongek (a 13-style display serif with funky curves), Round Saetan (a ribbon typeface), Putrey (a 9-style display grotesk), Rosehot (a display serif), Maglony (a 9-style font with sharply cut edges and terminals), Nillota (a 13-style display serif), Romans Lovers (a 12-style decorative serif), Maboth Typeface (blackletter), Belong Faith (a spurred tattoo (?) blackletter), Hello Mytoys (a modernized blackletter), Belligoes (blackletter), Boiller (a 14-style Peignotian sans).
2021: Mybook Again (a great swashy calligraphic script meant for romantic events), Radja Lover (a calligraphic font with hairline connectors), Brohoney (a 13-style text family), Two Race (a race car font family), Piersob (a very wide display sans reminiscent of the old Porsche logo font), Black Mild (Victoriana), Decondor (a 14-style delicate mini-serif), Gathell (a 13-style fashion mag serif), Hero Beam (spurred, Victorian), Vaclice Script, Nokarin (a bold calligraphic script), Horseboy Boots (Western, with terminals that emulate hooves), Mokgech (blackletter), Sutray (a rather formal upright script), Mister Honey (Tuscan), Nandola (a fine calligraphic script), Bungker (a layerable hand-drawn slab serif), Brolimo (a 14-style Peignotian sans), Takashimura (a Japanese emulation font), Bunker (a layerable marquee font family), Dronefly, Miloner (a 14-style fashion mag serif), Mono and Friends (handcrafted and rounded), Roby Soho (a simple flared display sans in 12 styles), Saihat (emulating Arabic calligraphy), Gofienda (a calligraphic script), Rusty Store (Victoriana), Chalk and Friend (a sketched typeface), Grunge Decade (art nouveau), Kenoky Coffekan (a 15-style decorative sans and script duo), Botaky and Botaky Script (a wavy display font), Hidrofont (vintage), Roller Alika, Mistic (a decorative serif), Burgie (14 styles: an ink-trapped swashy and inky display serif), Hand Real (a thin monolinear script), Assox (a reverse contrast Tuscan typeface), Balian (a textured typeface that is based on Balinese carvings), Handy Quomte (calligraphic), Brohillo (a display serif).
2020: Karmila, Shary (a 52-style sci-fi sans font that could also be useful in sports), Brave Eighty One (techno, squarish), Mollas (a decorative serif), Crying, Milk and Balls (a 28-style display typeface with rhombic tittles, wedge serifs and razor blade edges---the connection with milk or balls will forever remain mysterious), Boiling, Mallent (brush script), Bemalla (script), Marons (a script/serif hybrid).
2019: Black Quality (inline, vintage), Caibojog (watercolor brush), Bonillo, Balimoon, Mofita, Nahye, Pintgram, Subscriber, Lovina Script , Bolehdong (script), Zamrack, Melloner, Melloner Fun, Beautiful Lovina, Localghost (a signature script).
2018: Controwell (a Victorian script and text collection), Raustila, Rollete Qaku (dry brush), Norffo, Nermola Scripcy Font, Braton Composer.
2017: the script typefaces Rumble Brave Script (as part of the vintage typeface Rumble Brave), Mellony (2017: dry brush script), Raph Lanok (brush style), Jandys, Jandys Dua, Billy Ohio (2017: dry brush), Localghost and Valledofas, and the vintage tattoo typeface Young Heart.
2016: the thin connected script typeface Mooglonk, the signage script Altoys, the decorative didone Florva, the connected script typefaces Asfrogas, Rofitaste (brush style), Qarvic (a sans), Qarvic Icon, Morva (a decorative didone), Young Heart (a free vintage typeface with spurs), and Brushgyo.
2015: Bromello (brush script), Vroffloow (in script and sans styles), Godfeem, Mooglonk, Floren (a display serif), Lawasth, Mooglonk Serif, the brush typeface The Faino, the tattoo font Alitide, the watercolor brush typefaces Roomfer and Norffo, the connect-the-dots typeface Circle Line, and Kemayu.
2014: the beveled typeface Piramid.
2013: the spurred signage typeface Starck.

Creative Market link. Another Creative Market link. Dafont link. Graphicrier link. [Google] [MyFonts] [More] ⦿

Alit Suarnegara
[Alit Design (or: Gurita Hitam)]

Almarkha Type
[Abdul Malik Wisnu]

Indonesian designer of the brush script Sometimes (2019), the high contrast serif typeface Quakiez (2019), the serif typeface Romerio (2019), the condensed all caps piano key typeface Romestone (2019), and the script typefaces Cherolina (2019), Photorichies (2019), Photography Script (2019), Retrochips (2019), Mountecarlo (2019: monoline), Beautinela (2019: monoline), Ophelie (2019, Script+Sans), Denalova (2019), Shelline (2019), and Mathelline (2019).

Typefaces from 2020: Banana Juice, Bella Sweety, Bubble Bobble (a bubblegum font), Dear Sunshine, Oatlander (retro baseball script), Sweet Purple, Monieta (an inky and creamy rabbit ear script), Orange Milk (a playful handcrafted typeface), Rockbitz (a children's book font), Seathera, Avocado Creamy, Bolyvina, Charlie Angela (an inky calligraphic script), Lovemy, Chadelova (an enhanced script), Grumbear, The Mezirane, Charlotte Amalie, Crash Soul (a dry brush script), Costiera (a dry brush script), Handestonie (a monoline script), Mentality (a signage script), Technovier (a monolinear squarish sans), Antiquesta (a dry brush script), Belgium Catherine, Cronisse (a display serif), Pronave (an all caps display typeface), Uniser (condensed all caps sans), Westack (a display serif), Avone (a stencil serif), The Roletta (a dry brush script), Waluxe (a fashion mag all caps sans with flared stems), Dear Sunshine, Mikalotta (poster script), Walker Knight (a vintage all caps typeface), Towards (stencil), Cronisse (a decorative serif), Avaneonz (a neon font), The Heista Killer (a dry brush horror font), Someone (a dry brush font), Vicenza (an all caps skyline font), Bristone (a wide sans in six styles; perhaps for car tire ads), Shutterlocks (a dry brush script), Romantics (a creamy script), Revoxa, Yippie Yeah, Wonderful Day (calligraphic), Girly (a girly script), Kamelitta (a wild curvy script), Roadstore (a spurred vintage all caps typeface), Springloved (a paper cutout typeface and a a fine inline poster font), Saturated, Choxr, Blackheat (a super condensed all caps sans), Retrohols, Alibabe, Lordcorps (an octagonal sports or military font; with a stencil style), Headcorps (a sports shirt or military stencil font), Pineforest (with soft spurs), Airborne 86 (a military stencil), Orchide (a dry brush script), Beneficha (wild calligraphy), Radens (a retro bold signage script), Brokenz (a heavy condensed sans), Delninoys (a playful sans), Lorenza (sans), Elcatraz (Mexican simulation font), Hubby Bunny, Rosadetta (script), Swingsnug, Chickens Lovers, Rollinkland, Grumbear, Bubble Bobble (a bubblegum font), Blackheat (a heavy ultra condensed typeface), Brokenz (a muscular display sans), Lorenza (a fashion mag sans), Belgium Catherine (a signature script), Amazed Breath (script), Rockmore (a brush script), Empirez (an octagonal slab serif sports font), Amazed Breath.

Typefaces from 2021: Neurock (pure sci-fi), The Cheelaved (spurred, Victorian), Headbears (a sports font), The Antique (a vintage typeface), Vespalogy (a vintage display font), Bestorika (a decorative serif by Abdul Malik Wisnu and Rivo Adriansyah), Quakerhack (a rough brush font), Balietta (a flowing script), Brothery (a retro signage script), Beauticella (a signature script), Glamorez (a luxurious serif), Reloaded (a military stencil font), Austragen (a bold sharp-edged display typeface), Bearetta (script), Keawneta (a display font), Racerz (a speed font), Stangith (a decorative serif co-designed with Rivo Adriansyah), Quick Letter (a wide signature script), Arcinoll (a graffiti font), Charlie Brocklin (a thin signature script), Retrolight (a multiline neon sign typeface), Mokalatte (a wild script), Thugolatz (an all caps typeface with many interlocking ligatures), Author Think (a signature script), Bionetha (calligraphic), Bouncyland (a stylish wild script), Little Knight (a scrapbook typeface), The Brushentica (a beautiful dry brush script), The Soulmate (a dry brush script), Bettawork (a dry brush script), Philips Dutcher (a signature script), Recons (a techno font), Heezpiero (futuristic), Milky Quaker (a playful supermarket font), Rostemary (a fat finger font), Therestone (a Flintstone font), The Checkmate, Chick Chack (a heavy rushed script), Retroman (an Italian Western font), Brown House (a national park font), Emeralde Chamerions (a serif and script duo), Redzein (an octagonal slab serif), Rostera (a bold script), Sketchup (a sketched font), Thealiens (a condensed all caps sans), Williesh (a meaty display serif), Amazing Sweety (a scrapbook font), Heellaaz (an all caps children's book font), Almeira, Americans Classy, The Corps 86 (a military stencil), Brexo (a techno font with solid and stencil versions), Romeline (a scrapbook font), Yippie Yeah (a rounded monolinear marker pen font), Avaneonz (a neon or paperclip font), Sangira (a stylish serif), The Blackheads (a bold script), Kandaline, Marinaga (a creamy brush script), Mochalosta (script), Morning Sweety, Rockmore (a bold script), Deloire (a 4-style all caps sans), Montelova (script), Quinger (a monolinear decorative serif), Wonderella, Wonderful Sunset, Bellachia (a scrapbook script), Choxr (a very condensed all caps sans), Keepsmile (a rounded children's book font), Lovely Sweetie (a scrapbook font), Melanista (a wild script), Rollinkland (a brush font), Bellamona (a monolinear script), Bettanesia (handwriting), Bonalisha (script), Overwave (wavy), Beautimy (a wild script), Melatie (a wild script), Memorita (a wild script), The Handnature (a Treefrog script), Heinch (a 5-style all caps sans), Sweetie Banana (a scrapbook script), Sweetie Moment (a wild calligraphic script), The Dear (a retro script), Winterline (a wild script), Young Evaline (a signature script), Salt + Pepper, Sindenetta (a signature script), Autumnilla, Bella Ciao, Rosadetta (a wild calligraphic script), Saturated (a wild calligraphic script), Wondiletta, Bubblez, Lovely Orange, Milkalotta, Luxoorea (a stylish fashion-model-skinny all caps typeface), Momotako (a paper cutout font), Neonblitz (a neon font), Unione Force (an octagonal sports or military font; with a stencil style), Westman (a Western font), Delamoore (an all caps high-contrast display serif), Delaproza (an all caps display serif), Kinglead (a cartoonish font), Modesfa (an all caps display serif), Hexore (a slab serif), Deluxes (a stylish display sans), Kenzomaru (an oriental brush font), Lumbero (wooden plank font), Pineforest (a Victorian label or sign painting font), Beneficha (a wild calligraphic script), Brokenz (a bold condensed sans), Orchide (a dry brush script), Revoxa (a 4-style sans), Romantics (script), Schein (a sans and slab serif pair), Someone (a dry brush script), Towards (a minimalist stencil font), Averox (a futuristic all caps sans), Chicken Lovers (a playful informal font), Hubby Bunny (a cute display sans), Swingsnug (an informal monolinear sans).

As Typotypea">Typotypea, he published the script typeface Manthoels (2020) and the roman all caps typeface Stinker (2020).

Typefaces from 2022: Signattimes (a signature script), Thematheka (a constructivist font published on the day Putin invaded Ukraine), Overbillions (a dry brush script), Brolachess (a stylish all caps semi-serif), Suntage (a wide vintage all caps font).

Typefaces from 2021 published by Gassstype but made by Abdul Malik Wisnu: Ruthless (a heavy dry brush font), Timeless Nature (script), Unranked (a rough mural font). Creative Fabrica link. [Google] [MyFonts] [More] ⦿

Alpha Design

Chinese studio that made the Latin script typefaces Agile Script (2015), Belle Script (2015), Lovepen (2015, connected), Smooth handwriting (2015), Caligraphy (2015), Golf (2015), Fancy Signature (2015), Vina (2015, fashion mag headline sans) and Candy Sticks (2014). In 2015, they made Sickle Blade, Bigoo, Bubble (display type), Pipe (art deco), Shuimu (hand-printed typeface), Begade (display type), Guilloches (a textured wavy op-art decorative typeface), Pio, Graffito (a painted graffiti font), Dome (a thin techno sans), and Hemiyong (a script typeface).

Typefaces from 2016: Dorae Script, Agile Script, Happly Script (connected), Quick Script.

Typefaces from 2017: Notetail Script, BrushWork, Alisa Serif (swashy), Wedding Script, Jasmine Script, Signature. [Google] [More] ⦿

Alphard Type
[Fitria Rahmadhani]

Indonesian type designer. Typefaces from 2022: Steglstan (a luxurious serif with plenty of hairline ligatures). [Google] [MyFonts] [More] ⦿

ALT Foundry
[Andreas Leonidou]

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

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

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

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

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

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

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

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

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

Typefaces from 2017: Rekt, Rogue (free).

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

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

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

Alter

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

Aluyeah Studio (or: Cupcake Std)
[Linggar Sundoro]

Indonesian designer of Al Lebaker (2019), the octagonal industrial typeface Al Valenciaga (2019), the interlocking display sans Le Porsche (2019---and amazed that the auto maker has not complained about this name), the monoline script Aaleyah (2019), the display sans typeface Al Chevrola (2019), the fashion mag typefaces Al Veshion (2019) and AL Nevrada (2019), and the script typeface Vigrand (2019).

Typefaces from 2020: Nevrada Neue (decorative serif; like Veshion), Embryotic, Muberry (artsy), Roshella (brush), AL Valenciaga (octagonal, mechanical), AL Lebrush, Olla Julietta, Qristalla, Shlasa Bella, Michellate, Allietta, Mother Vanilla, Mishella, Amstallova, Bostvina (a fashion mag typeface), AL Hermaiona (a formal calligraphic script).

Typefaces from 2021: Al Boldest Enough, Al Crushider (a dry brush script), Al Bizantheum (a stylish display serif), Al Murberry (a stylish unicase font), Al Motherva (a display serif), Al Marshland Beauty (a display serif), Al Evagrande (a display serif), Al Embryotic (a decorative serif), Al Crystasea (a sharp-edged wedge serif display typeface), Bavista Soulvare, Al Black Emerald (a decorative serif), Al Britania Ligatura (a decorative serif), Al Brachella Drumal (a vintage all caps serif), Al Magensburg (a swashy decorative serif inspired by ethic arches).

Typefaces from 2022: Al Mangsi (a notched display serif), Badlooking Brush (a dry brush font). Blogspot link.

Creative Fabrica link. Dafont link for Aluyeah Studio. [Google] [MyFonts] [More] ⦿

Amanda Childress

During her studies, Amanda Childress (Apple Valley, CA) created the fashion mag typeface Amity Pro in 2014. This typeface is inspired by Didot and Avenir. Creative Market link. [Google] [More] ⦿

Amanda Ranit

As a student at Portland State University, Amanda Ranit (Portland, OR) created the high-contrast compressed didone typeface Gracie (2015). [Google] [More] ⦿

America Cantarino

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

Ana Gomez Bernaus

Letterer, illustrator, art director and designer in Los Angeles (was: New York City). Creator of Octave (2011): Octave has been created with the intention of fusing together the graphical elements of written musical composition with the English alphabet.

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] ⦿

Ana Sanfelippo

Argentinian illustrator, calligrapher and graphic designer based in Buenos Aires. Creator of the part calligraphic part Lombardic text family Almendra (2011, free at Google Web Fonts). Almendra, which has been suggested by Ana for use in children's books, won an award at Tipos Latinos 2012 in the typeface family category. It was her graduation typeface at FADU-UBA. In 2012, Google Web Fonts published Almendra Display and Almendra Small Caps. CTAN page for TeX support.

Ruluko (2012, Google Web Fonts) is a free typeface created by Ana Sanfelippo, A. Díaz and M. Hernández. Google: Ruluko is a typeface designed to aid those learning to read. The shapes you see are related to the handwriting typically used at schools in Argentina. The concept is that those who have learned to read this handwriting style may recognise this type style more easily than other typefaces often used in this context. But as a warm and stylish sans serif text type, you may use Ruluko for any purpose. Ruluko won an award in the text category at Tipos Latinos 2012.

In 2012, Ana Sanfelippo and Alejandro Inler published the fashion mag didone typeface Elsie at Google Web Fonts. It was accompanied by Elsie Swash Caps.

Yoshimi Regular won an award at Tipos Latinos 2014.

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

Anass Qara
[Qaratype]

Anastasia Allakhverdova

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] ⦿

Andrea Braccaloni
[Leftloft]

Andrea Wirth

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

Andreas Leonidou
[ALT Foundry]

Andrei Robu
[Typeverything]

Andreu Balius Planelles
[Type Republic]

Andreu Balius Planelles

Born in Barcelona in 1962, Andreu Balius studied Sociology in the Universidad Autonoma de Barcelona (1980-1984), and graphic design at IDEP in Barcelona (1985-1989). He holds a PhD in Design from the University of Southampton (UK). He founded Garcia Fonts&Co in Barcelona in 1993 to show his experimental designs. He cofounded Typerware in 1996 with Joancarles P. Casasín. Typerware existed until 2001 and was based in Santa Maria de Martorelles, a village near Barcelona. He cofounded Type Republic (see also here), and ran Andreu Balius (tipo)graphic design. He is presently an associate professor at Pompeu Fabra University in Barcelona.

Balius won a Bukvaraz 2001 award for Pradell. Pradell also won an award at the TDC2 Type Directors Club's Type Design Competition 2002. SuperVeloz (codesigned with Alex Trochut) won an award at the TDC2 2005 type competition.

At ATypI 2005 in Helsinki, he spoke on Pradell and Super-Veloz. Speaker at ATypI 2006 in Lisbon. At ATypI 2009 in Mexico City, he spoke about the Imprenta Real. Coorganizer of ATypI 2014 in Barcelona.

Author of Type at work. The use of Type in Editorial Design, published in English by BIS (Amsterdam, 2003).

FontFont link. Linotype link. Behance link.

His production:

Garcia/Typerware offers about 50 fonts, including some very artsy typefaces, such as Fabrique (Andreu Balius), Futuda, Garcia Bodoni (Typerware), Alkimia (Estudi Xarop), Ariadna (pixel font, 1988-1989), Garcia Bitmap (1993), Playtext (Andreu Balius, 1995), Matilde Script (Andreu Balius, 1994: an embroidery face), Fabrique (1993, Andreu Balius) and Dinamo (1993, Balius and Casasin at Typerware), Helvetica Fondue (1993-1994), Futuda (1993), Ozo Type (1994), Tiparracus (1994, dingbats), Mi mama Me Soba Script (1994), Parkinson (1994), Garcia Bodoni (1995), Garcia snack's (1993-1995), Juan Castillo Script (1995, irregular handwriting), and Vizente Fuster (1995), all by Andreu Balius and Joancarles Casasin, 1993-1995; Water Knife (Laudelino L.Q., 1995); Alquimia (Estudi Xarop, 1995); Jam Jamie (Malcolm Webb, 1996); Network (Alex Gifreu, 1996); Panxo-Pinxo (David Molins, 1996); Euroface 80 mph (Peter Bilak, 1996); Inmaculatta (Roberto Saenz Maguregui, 1997); Proceso Sans (by Argentinan Pablo Cosgaya, 1996); Afligidos deudos (Adria Gual, 1996); Route 66 (Francesc Vidal, 1997); Popular (Sergi Ibanez, 1997); Visible (handwriting by Fabrice Trovato, 1997); SoundFile (Reto Brunner, 1998); Ninja type (kana-lookalike alphabet by Charly Brown, 1995); Vertigo (Charly Brown, 1996); Loop UltraNormal (Franco and Sven, 1996); Inercia (Inigo Jerez, 1996).
Fontshop: FF Fontsoup.
ITC: ITC Temble (1996, a great subdued ghoulish face). With Joancarles P. Casasin, he created ITC Belter (1996) and ITC Belter Mega Outline (1996).
Typerware: Czeska was developed from Vojtech Preissig's woodtype typefaces. Andreu Balius completed the design and included an italic version and a large variety of ligatures (both for regular and italic).
Type Republic: Pradell, Trochut, SuperVeloz, SV Marfil Caps (2004), SV Fauno Caps. Pradell was freely inspired from punches cut by catalan punchcutter Eudald Pradell (1721-1788), and is considered to be Balius' main work. Trochut is based on specimens from the 1940s by Joan Trochut. SuperVeloz is a collection of the type modules designed by Joan Trochut and produced at José Iranzo foundry in the beginning of the 40's, in Barcelona. Digitized and recovered by Andreu Balius and Alex Trochut in 2004. Example of such composition of modules include the great art nouveau typefaces SV Fauno Caps and SV Marfil Caps. In 2007, he added Taüll, a blackletter type. Still in 2007, he did the revival Elizabeth ND, which was based on an old type of Elizabeth Friedlander.
In 2008, he created the Vogue mag like family Carmen (Display, Fiesta, Regular), which are rooted in the didone style. Carmen, and its flirtatious companion Carmen Fiesta, were both reviewed by Typographica.
Barna (2011) and Barna Stencil (2011).
In 2012, Trochut was published as a free font family at Google Web Fonts. It was based on Joan Trochut-Blanchard's Bisonte.
Lladro (2012) is a custom sans typeface done for the Lladro company.
Rioja (2013) is a grotesque typeface that was custom-designed for Universidad de La Rioja.

[Google] [MyFonts] [More] ⦿

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

Andrew H. Leman
[E-phemera (was: HPLHS Prop Fonts, and earlier: Prop Fonts)]

Andrew Pixel (was: Timm Design)
[Andrew Timothy]

Estonian graphic designer who created these (mostly display sans or decorative serif style) typefaces:

In 2017: Heraldry (decorative caps), Spacious (sci-fi).
In 2019: Orlande, Mjölnir (a runic or Nordic script emulation), Ravenstar, Cyber (a mosaic font), Carmina Burana, Great Glory (brush), Galileo (serif), Galilei (script), Living Dream (font duo), Marie (sans), Curie (script), Pomino (a tall stylish serif), Chara (Sans+Serif), Moccha (Sans+Serif), Turin (Sans+Serif), Torres, Rustic Jack, Alchemy, Bushel (a spurred Tuscan typeface), Misty Meadow, Fiver (prismatic), Heleen Script, Xavier, Saint James, Vernazza (a condensed sans/serif pair), Torres (a free sans and Slab pair).
In 2020: Tiny Twig, Claro, Grove, Black Echo, Porto, Reval, Decora (geometric, art deco), Laura, Crasus, Cecilia Octavia, Rosalia, Boutique Serif, Flora, Magic Spell, Flare, Starglow, Sunday Sunshine.
In 2021: Alfa (sci-fi, stencil), Beauté.
In 2022: Polygon (triangulated), Verdant (a foliated font), Freco (a wedge serif), Wild Dreams.

Envato link. [Google] [More] ⦿

Andrew Timothy
[Andrew Pixel (was: Timm Design)]

Andrey Ovchinnikov

Izhevsk, Russia-based creator of the LED-style typeface Old Style Zip Code (2011) and the fashion mag Cyrillic typeface Mopoko (2011). [Google] [More] ⦿

Andrey Sharonov
[Aurora Type Co]

Andriy Dykun
[NREY]

Angga Suwista
[Sans and Sons (was: Agga Swistblnk)]

Anna Dulska

At the 15th Typeclinic, held in 2017, Anna Dulska (Poland) designed the fashion mag text typeface Glam. [Google] [More] ⦿

Anna Tribelhorn
[Three Horn Faces]

Anna Zakharchenko
[Anza Letters]

Annemette Foged

Graphic designer in Haderslev, Denmark, who created the hairline fashion mag typeface Balonzo (2012). [Google] [More] ⦿

Anthony James

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

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

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

Anthony Neil Dart

Graphic and motion graphics designer in Johannesburg, South Africa, where he worked as Ontwerp.tv (Idea currency) Pty Ltd. He is now located in Seattle, WA.

He created several experimental alphabets, often of a geometric nature, such as Geometric Chic (2008-2009) and Beauty (2009).

The Bends (2011) is a hairline curly-yet-straight display face. SansGoma (2011) is a hairline slab poster face. Nu Gothic (2011), Nu Modern (2011) and especially Vironica (2011) are fashion mag display typefaces. Neu Nouveau (2011) is a curly art nouveau face. Numera (2011) is an organic fashion mag face. Killoton (2011) is super-fat and beautiful.

Creations in 2012: An art deco example in his Janelle 1945 work. Vorm Type, inspired by the work of Wim Crouwel, is a rounded blocky typeface that is monospaced in the x and y directions.

Typefaces from 2013: Canada (alchemic).

In 2015, he created a series of posters called Vignelliisms illustrating one-liners by Massimo Vignelli.

Typefaces from 2017: Canada (I can't believe that he has trademarked the name Canada). Home page. Behance link. Ontwerp link. [Google] [More] ⦿

Antonio Cerri
[CRR TNN]

Antonio Lechuga
[Antonio Mejia Lechuga]

Mexico City-based designer, b. Huauchinango. He studied graphic design at Universidad del Valle de Mexico in Queretaro City, and received a diploma in corporate identity from LISAVA in Barcelona in 2005. He opened his own graphic design studio in Mexico City in 2016.

With the Latinotype team, he designed the high-contrast fashion mag headline typeface family Gabriela Stencil (2016), which was inspired by 19th century didones. Gabriela Stencil won an award at Tipos Latinos 2018.

In 2018, Antonio Mejia Lechuja designed the handwriting typeface Handasa (programming by Ivan Moreno, Veracruz, Mexico). Handasa imitates the handwriting of architect Pedro Pablo Velasco Ochoa in his thesis Handasa: La epica en la arquitectura.

In 2019, he added Gabriela (Latinotype) and Trust Sans (Latinotype Mexico: for corporate branding).

Typefaces from 2021: Planetazul (a corporate font for Planeta Azul), Bruna (a 16-style sans family named after Dutch children's book illustrator Dick Bruna (1927-2017)).

In 2021, he designed Gatopardo Display for the Mexican magazine Gatopardo, as well as Mestiza (a 12-style serif with sharp terminals).

Typefaces from 2022: Mestiza Sans (a 12-style flared lapidary sans). [Google] [MyFonts] [More] ⦿

Antonio Mejia Lechuga
[Antonio Lechuga]

Antonio Rodrigues

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

Anza Letters
[Anna Zakharchenko]

Miass, Russia-based type designer offering mainly handcrafted script or brush fonts. Her typefaces from 2021: Fruity Morning (a color SVG font), Coffee Break, Gradient Quirky, Aster Glow, Vintage, WMN Power, Carnival (and party masks), Snowflake Christmas, Cupid, Vegan.

Her typefaces from 2020: Orchid (an ornamented sans), Avocado (a stylish display serif), Wanderlust, Snowflake, Warmth (a retro brush font for Latin and Cyrillic), Sunshine, Breaking Rules (a paper cutout typeface), Feel Free, Bravo (a prismatic SVG font for Latin and Cyrillic), Virgo (a serif stencil), Grotesque, Ander, America, Quirky Spring (a playful rounded hand-drawn typeface), Retro Vibes.

Typefaces from 2019: Nuova (a modern stencil family), Caramel (an upright script), Daenerys (a script and serif duo), Didone (an over-the-top swashy ball terminal didone), Mood Board (script), One Upon A Time (an octagonal and script font duo), Abstract, Summer in Paris (font duo), Nordic Dream, Organic, Poster (a heavy sans), Throne (a free dry brush SVG font), Primavera (brush script), Emotion Sans, Emotion SVG, Emotions Brush, Mobile (a modular sans), Fleuriste (a decorative duoline font), Lovely (a tall monoline script), School SVG, Aloha SVG (a watercolor script), Sport, Alpha & Omega (a signature script), Rio Love, Delight Grunge, Quirky, Oh My Child (textured).

Typefaces from 2018: Protect, Shadow (an all caps fashion mag titling sans family in ten styles), Ultra Violet (sans), Fall in Love Script, White Christmas (a brushed SVG font), Golden Leaves Script, Alesya (script), Rush. [Google] [More] ⦿

Apfel Type Foundry

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

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

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

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

Arevik Shmavonyan

Armenian type and graphic designer and illustrator. She was a student at the National Academy of Fine Arts in Yerevan, Armenia (2005-2009). The Devian Tart site mentions that she lives in Bulgaria. Arevik created the dingbats font Fashion Plate (2007, Paratype).

Devian Tart link. [Google] [MyFonts] [More] ⦿

Ariel di Lisio
[Nodo Type Foundry]

Ariel Di Lisio
[Negro]

Arif Fadilah
[Luhop Creative]

Arne Freytag
[Fontador (was: Arne Freytag)]

Arodora Type
[Serdar Ozturk]

Sakarya, Turkey-based designer of the free display typeface Memba (2018), the free modular typeface family Ocean (2018), the elegant poster sans typeface Fancy (2019), and the display sans typeface Reva (2019).

In 2020, he released Gabara Sans (in 20 styles), Monas Grotesk (in 20 styles), Eymen Pro (an 18-style quirky sans), Arodora Pro (a 16-style geometric sans family) and Memba (a free techno sans).

Typefaces from 2021: Actay (a 60-style geometric grotesque), Plena (an 18-style all caps techno family), Mavel (a 48-style semi-formal sans with some contrast), Kurye (a 20-style organic geometric sans), Gatter Sans (an 18-style humanist sans with small contrast), Rota (a free geometric sans in 20 styles). [Google] [MyFonts] [More] ⦿

Artem Nevsky
[Nevsky Type]

Arterfak Project
[Ahmad Ramzi Fahruddin]

Ahmad Ramzi Fahruddin (aka Ramzehhh and as Ramz Fahruddin, b. 1993) established Arterfak Project in 2015. He is the Palembang, Indonesia-based designer of the display typefaces Aidah (2015, spurred), Temenyut (2015, spurred), Basenglah (2015, a geometric solid typeface), Local Genius (2015), Oropitem (2015, blackletter), Cakmacak (2015), Maeninaja (2015), Yagitudeh (2015, a free doodle font), Cagar (2015, free), Pletakrutuk (2015) and Beguyur (2015), the free experimental techno typeface Semravut (2015), the lava lamp typeface Cagar (2015) and the free spurred vintage typeface Outromoro (2015).

Typefaces from 2016: Anehena (a beveled ornamental typeface), Bongoknian (spurred), Sebasengan (sketched, arched, stitched, textured, eroded and embossed substyles), Sekatoon (Victorian), Bekelakar (Victorian), Sambeltigo, Wayawaya (free bilined art deco), Geroboktuo, Bedengkang, Ringam, Cindo Kato (spurred Victorian typeface), Ngopi Doken (a layered handcrafted typeface family), Bedesau (Victorian), Temenyut (spurred Victorian style), Sirugino (a spurred tattoo / blackletter type), Buyanbengak (spurred), Geradakan (dry brush type).

Typefaces from 2017: Martinez (Tuscan), Hughoney, Rockrace, Monabelia (Victorian), Philosophiya, Love Quake, Childwood, Circulat Decorative Frames, Dakmodal, Yasaman, Bsakoja, Meringam, Besigetz (Victorian), Bedempank, Ngamboel (a modern inline), Jemahok (an inline typeface), Sirunian (decorative blackletter), Belinjangan (brush style), Cerudikan, Kanjian (Victorian deco).

Typefaces from 2018: Mirandah (monoline, vintage), Subversia (Victorian), Bertha (a free display family that includes Shadow Line, Sans and Spurred substyles), Quickers, Marchelle (art deco), Lourena, Mellynda, Leophard (octagonal), Wishteria, Slashback, Katheryna, Febiolla, Tropicane, Maretha (a monoline script).

Typefaces from 2019: Requeiro (a spurred inline vintage font), Mourich (an all caps display typeface), Newston (a tall condensed news headline typeface family), The Black Sugare (blackletter-inspired), Magnies (an elegant stencil), Hermona (a spurred vintage label font), Bronzier (a sports font), Mayhena (a monoline script), Amnestia (a vintage all caps typeface), Highrush (font duo), Humeira (for children's books), Montheim (retro signage font), Hodgeson (a slab serif family), Delaroca, (a spurred black metal band font) Banda Niera, Bargers Distressed (spurred, Victorian), The Realita, Newston (a compressed skyline-style font), Ariestha Script, The Black Square, Requiem (Victorian or rococo inline caps), Invasible, Ferguson (an almost monoline slab serif family), Mirenath (a rounded vintage monoline typeface), Afolkalips (a tribal painted font inspired by the Papuan culture), Mellandry, Masterson (a slab serif western font), Marsheila (art deco), Kanjian, Belinjangan, Sirunian (a decorative spurred typeface), Quickers, Marcheile (slightly art nouveau), Marcheile, Monabelia, Nourishe (a fashion mag sans).

Typefaces from 2020: Trashbone, Burgery (a monolinear all caps children's book font), The Brande and Lotaline (a decorative serif), Rimba Andalas (a tribal font), Bronela (a decorative serif), Wonder Night (a beatnik font), Malinsha (a signage script), Marones (spurred, vintage, all caps), Katenila (a fat finger font), Meliana Script (a brush script), Romelio (sans / script pair), Bondrians (a vintage label font), Black Ravens (a dry brush font), Shinkoya (vernacular lettering), Brothership, Novante (stylish caps), Almatine Script (a flat pen calligraphic script, with perhaps a touch of Arabic script emulation), Almatine Sans, Wargate (a military stencil font family), Bragley (a cartoon font), Varino (a rounded unicase sans family), Ranille (a bold display serif), Neilvard (a vintage label font family), Nagietha, Khodijah (an Arabic emulation font), Sometimes Rough, Savaneta (a vintage all caps typeface), Valmera (a Peignotian sans), Hargalia (classic calligraphy), Cherione (a unicase font), Revans (a display sans).

Typefaces from 2021: Larantuka (an informal font with a dancing baseline), Bolandes (a weathered monoline sans), Delauney (a formal art deco typeface), Chieezy Burger (grungy, vernacular), Ranmor (a vintage slab serif), Andalia (a signage script), Insiders (a dry brush script), Granesta (a dry brush font), Abigral (a Peignotian serif), Suzanstein (a dripping blood font), Broken Console (a retro video game pixel font), Naluka (a tiki or nature park font), Lovatine (a scrapbook script), Rushen (vintage caps in curvy, regular, distressed, stencil and shadow versions), Siegra (futuristic), Komersie (a bold supermarket font), Borensa (a reverse stress font), Rashavine (a dry brush font), Blankone (a brush font), Montagna (a monolinear script), Hadnich (a heavy signage script), Sallomae (a scrapbook font), Vankours (a dry brush font), Wonderful Melanesia (a decorative serif), Albertson (a Tuscan font), Rantika (a bold brush script), Rusthack (a stylish brush typeface), Mustopha (an upright typeface in arabesque style), Marviona (a marker pen font), Marviona (a marker pen font), Niquitta Mirzani (script), Shikamaru (emulating a Japanese brush), Mortend (a 5-style expanded all caps sans), Barlock (an all caps and spurred varsity font), Northash (stencil), Motteka (a beatnik font), Sharely (a brush font), Rompies (a condensed titling sans), Beardsons (a vintage label font), Broken Crush (dry brush).

Typefaces from 2022: Bradrock (a vintage semi-Tuscan Western font), Market Written (a fat finger font), Almalik (Arabic emulation), Vanitha (a brush script), Rambors (prismatic caps with four parallel lines), The Last Shuriken (emulating Japanese), Warzone (an all caps echno / sci-fi font), Kalidony (calligraphic with heart-themed tittles), Lemands (a stocky condensed display typeface).

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

Arthy Type
[Sani Sanjaya]

Aka Opentypes. Indonesian designer, b. 1983, of Gelat (2021), Mantra (2019: signage script), Tokyo Drift (2019: a speedster font), Louvre (2019: a fashionable display sans), Billian (2019: an autocrat's sans), Sigma (2019), Angettypes (2019: a bold script), Neuron (2019: sans), In The Dark (2019: based on the ACDC logo), Bodhi (2019: a wild brush font), Sylvanna Script (2019), Emely Script (2019), Tom Harvey (2019: a weathered script), Brave Heart (2019: Victorian), Riogrande (2019: a retro signage script), Reaverock (2019: a spurred black metal typeface), Brotherjhon (2019, Bold and stencil), and Gajetto (2019: a bold geometric sans). Creative Fabrica link. [Google] [More] ⦿

Atipo

Design studio in Gijon, Spain, set up by Asturian designers Raul Garcia del Pomar and Ismael Gonzalez. One of them studied graphic design in Salamanca. Atipo produced the donationware typeface Cassannet in 2012. This beautiful sans typeface is modeled after art deco lettering by Cassandre. It was adjusted and expanded to six styles in 2016 as Cassannet Plus.

In 2012, they published the free twitterware round sans family Bariol, which has its own dedicated web page. This was followed by the wonderful set of icons called Bariol Icons. In 2015, they published the tweetware / donationware rounded typeface family Bariol Serif.

Typefaces from 2013: Salomé (a fat didone, +Stencil, +Italic, +Deco). Dedicated web page.

The text typeface Calendas (2011, Paula Gutierrez). Additional weights were custom-made for the magazine Town & Country.

They created a bespoke wayfinding font / icon set for London Luton Airport in 2014.

Typefaces from 2015: Geomanist---I guess the name comed from geometric and humanist. In general, I can't imagine a worse marriage but this one actually works.

Typefaces from 2016: Seville (a custom font for Fitbit Blaze, based on Bariol), Semcon (for the Swedish engineering firm Forsman & Bodenfors).

Typefaces from 2017: Archia (a technical / architectural sans family), Noway (Noway was originally designed as a corporate and signage typeface for London Luton Airport. It has 159 icons and five weights, and is an ideal wayfinding font family), Noway Round.

Typefaces from 2018: Solano & Catalan (a corporate typeface), Aceña (a corporate typeface), Silka (a geometric descendant of Futura), Musetta (a fashion mag thin sans), Basier (a Helvetica-style neutral sans family with horizontal and vertical terminals, with a choice of round or square tittles).

Typefaces from 2019: Parking (an all caps art deco by Marc Valli), Basier Mono, Bould, Chaney (caps only, for display).

Typefaces from 2020: Sawton (a 15-style monolinear condensed geometric sans family consisting of Circular, Industrial and Bauhaus subfamilies), Silka Mono, Wotfard (a malleable geometric sans: time for soulful functionality), Argesta (a fashion mag typeface).

Typefaces from 2021: Novela ( a rational serif for use in texts), Izoard and Izoard Soft (a monolinear sans inspired by the text on the monument atop the mythical Col d'Izoard in France which is frequently featured in the Tour de France), Strawford (a 14-style monolinear neo-geometric sans), Scilla Display ( an elegant high-contrast serif typeface inspired by the shapes of the flowers with sharp edges and organic curves).

Typefaces from 2022: N27 (an over-the-top hipster sans classified as avant-garde by Atipo), Stampa (an all caps sans serif typeface inspired by La Stampa's nameplate used by the weekly's sports supplement in Turin in 1902).

Behance link. Bariol site. Interview in 2012 by Unostiposduros. [Google] [More] ⦿

Atlas Font Foundry
[Christoph Dunst]

Berlin-based foundry, est. 2012 by Christoph Dunst.

Creators of Novel Mono (2012, Christoph Dünst), Novel Sans (2012), Novel Sans Rounded (2012), and Novel Sans Condensed (2012), Novel Sans Office Pro (2013), Novel Sans Hair Pro (2014), Heimat Sans (2010), Heimat (2010), Heimat Mono (2013), Heimat Stencil (2013), Novel Sans Office Pro (2013), Heimat Didone (2014: a 72-style family of high-contrast didones; some styles should be useful for fashion mags), Heimat Display (2015: characterized by an inverted tail of the y), Novel Display (2017), Edit Serif Pro (2017), Edit Serif Cyrillic (2018), Edit Serif Arabic (2018).

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

Attract Studio
[Muammar Kadafi]

I thought that he had died in 2011, but no, there is an actual Muammar Kadafi in Aceh, Indonesia (b. 1995) who designs type. He has no relationship with the respected Libyan role model, Muammar Gaddafi.

Designer of the script typefaces Ayrton Pight (2020) and Bella Riosa (2020).

Typefaces from 2021: Bagoni Type (a clean and visually elegant font inspired by the serif typography used in editorial media in the 80s), Justina Duo (calligraphic), Gradia (a 6-style display serif), Ronsley Font Duo, Kimberlie Display (a display serif), Best Girl (a scrapbook font), Kastela (a semi-formal script), Bastrid Script, Lady July (script), London History (font duo), July Girl (script), Babyface (a script), Justine Garden (a scrapbook script), Abiyah Script (an upright script), Angel Paradise (script), Matcha Latte (a curvaceous upright script), Candylove (a scrapbook script), Hontana (a bold script), Stay Line (a monoline script), Lovely Nathalie Script Duo, Gladista Script (an almost upright script), Hello Cartel Story Script Duo, Bromley Hatch, Brittensy, Dourcha, Oraghon Script, Sandria Script (calligraphic), Baby Dualistic.

Typefaces from 2022: Sarlotte (a swashy teardrop serif), Dealoras Font Duo (a delicate display serif), Holen Vintage (a soft retro display serif). [Google] [MyFonts] [More] ⦿

Atypical
[George Triantafyllakos]

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

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

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

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

Audun Stien
[Prikken over Stien]

Augustine Wong

Fashion typography page by Augustine Wong. [Google] [More] ⦿

Aulia Rahman
[ShowUp Type Foundry]

Aurelia Jessica

During her studies at NTU School of Art, Design in Singapore, Aurelia Jessica designed the elegant thin fashion mag sans typeface Aureal (2016). [Google] [More] ⦿

Aurora Type Co
[Andrey Sharonov]

Donetsk and Kiev, Ukraine-based designer of the bubblegum / cartoon font Balloon (2015), the brush typefaces Adelina Script (2015) and Supertramp (2015), and the free signage typeface Candy (2015).

Typefaces from 2016: Americus (a weathered sign painting emulation font), Legend (Script, Serif, Sans Serif), Makers (brush), Heartland.

Typefaces from 2017: Bourbon House, Aurora Script (formal calligraphic script), Bjola (an informal children;s book font full of joie de vivre).

Typefaces from 2018: Gastro Kultura (handcrafted).

Typefaces from 2019: Amoresa (a vintage calligraphic script), Special Place Script, Palmer Script, Palmer Sans, Bonita Melodia.

Typefaces from 2020: Migura Sans (an 8-style fashion mag sans), Delirian (a calligraphic script).

Typefaces from 2021: Reika (a soft signage script), AS Palmer (a retro script), Acris (a stylish typeface with Cruella-style long fingernails).

Typefaces from 2022: Brokson (a vintage set of fonts that includes signage scripts and serif fonts). [Google] [MyFonts] [More] ⦿

Authentype (or: Mix Jpg)
[Ekayasa Ekayasa]

Aka Ekayasa. Bali, Indonesia-based designer of the display serif typefaces Wano Quin (2020), Black Wano (2020), Mix Dimly (a wild calligraphic script) (2020), Horst More (2020) and Barsillago (2020), the funeral parlor font Mixink Std (2020), the signature script typefaces Milly (2020) and Weisy (2020), the script typefaces Amelo (2020: monolinear), Quritta (2020) and Battic (2020), the nature font Foturest (2020), the display typeface Yougats (2020), and the signage script typeface Qaylla (2020).

Typefaces from 2021: Wave Vero (a stylish display serif family), Cavas Nera (a decorative serif in nine styles), Balune (an extra-condensed hipsterish sans), Balune Handwrite (script), Sarony (script), Ayulia Molga (script), Qustyle (Victorian), Sand Forest (Victorian), selga (a decorative serif), Magero (a decorative serif), The Calonue (a decorative serif), Cavas (a decorative serif), Calonue, Daylosta (a bold monolinear script), Ayulia Molga (curly), Syake (a swashy display sans), Roses Bolero TP (a 9-style sharp-edged display typeface family), Sand Forest (Victorian), Silagus Modern (a signature script), Milysa Signature, Barsillago, Sinelys Brush, Hildor San (a 9-style display typeface), Hildor (an elegant semi-script).

Typefaces from 2022: Dolego (a 9-style display font), Valute (a 9-style display sans with asymmetric shoulders), Margic Tp (a flared display serif), Reclamo (a wide fashion mag sans in 18 styles). Creative Fabrica link. [Google] [MyFonts] [More] ⦿

Avalon Design

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

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

Aviv Studio
[Luis Miguel Torres]

Aviv Studio in Monterrey and Mexico City consists of Diego L. Rodriguez (from Madrid, Spain) and Luis Miguel Torres. Typefaces:

The funky futuristic alchemic caps face Alquimia (2011). Its ornamental caps are based on mathematical objects. Joint work of Torres and Rodriguez.
Destroy (2013). A sharp-edged techno face.
Jagger (2010-2011). A sans family created by Torres.
The futuristic alchemic typeface Kinesis (2011).
Qabalah (2012). A fashion mag face.

[Google] [More] ⦿

Ayako Ito
[Ayako Ito (and: Type for Ukraine)]

Ayako Ito (and: Type for Ukraine)
[Ayako Ito]

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 Type for Ukraine in 2022 to help the people in Ukraine. All proceeds are donated to Doctors without Borders and the Voice of Children Foundation. Her typefaces:

Rinko.
Flora Roman (a headline serif) and Flora Display (2022). Simply exquisite.
Jasmine Display (2022). A calligraphic fashion mag serif.
Gabriel.
Luna.

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] ⦿

Ayelén Starzak

Graduate from FADU, University of Buenos Aires, who created the fashion display typeface Column Roman (2009). In 2008, she created a pair of graffiti typefaces.

FontShop link. Klingspor link.

BA Graphics
[Robert Alonso]

Bob Alonso (b. Bronx, NY, 1946, d.2007), the founder of BA Graphics in 1994, was a prolific American type designer. With 33 years of experience at NewYork's Photo Lettering, he specialized in calligraphic script typefaces, but not exclusively so. BA Graphics was located in Chester, NY, and later in Toms River, NJ, and now sells its fonts through MyFonts. Many of its fonts published after Alonso's death in 2007 were completed by John Bomparte.

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:

Alex (1996). A child's hand script.
Alexandra Script (1996). A beautiful formal wedding / calligraphic script.
Allure.
Alons Antique.
Alons Classic.
Alonso Flair (2008). A flared pants typeface fnished after his death by john Bomparte.
Angular.
Animated Gothic.
Bad Boy.
Barnboard.
Beaches and Cream (1996). A sans turned into a connected scrip).
Bedrock.
Black Rising (2006). A black military style face.
Blog (2007). A 1890's style display egyptian).
Bodoni Roma (1993).
Brawn.
CEO Roman (2007).
Cabernet Sauvignon (2007). Atake on Didot---I can't believe BA Graphics trademarked this name!
Cafe Aroma. A formal script.
Calafragalistic (1992).
California Sans.
Caslon Manuscript (1992).
Cedar Key.
Champ Ultra (1995). A Western billboard font.
Chardonnay.
Chicken Feet (2007).
Chicken Soup (1993).
Chunky Monkey.
Clearmont.
Coffee Black.
Cookie Dough.
Crackers.
Crescent.
Damage Control (1993). Grunge.
Deco Inline.
Deep Rising (2006). Constructivist.
Dime Store.
Down Under.
Elegante.
Elephant Bells.
Ellington Manor.
Equate (1993).
Extreme (1996). A chalk writing font.
Fashion Didot (1994).
Felicity Script.
Flix.
Fools Gold. An inline typeface.
Footloose (2015). A dynamic script typeface that was unfinished when Alonso died. John Bomparte finished it.
Fraggle.
Freaky Friday Extreme.
French Vanilla.
Galactic.
Geo (2000).
Grandeur.
Granny Smith.
Gusto Black (2003).
Happy Trails.
Hatari.
Headline Gothic.
Hey Dude (2016). Hand-crafted.
High Intensity.
ITC Aftershock (1996). A linocut font.
ITC Outback (1997).
ITC Serengetti (1996).
ITC Ziggy (1997).
Island Sans.
Italian Didot.
Jr High (1994). Sports lettering.
Ka Boink.
Ker Pow.
Key West.
Klingon.
Kresson Black.
Linear Gothic.
Lorraine Script (2000). Originally named Gonzales Jeanette and designed by Francisco Gonzales for Photo-Lettering in the early 70s. Jeanette was based on Brandywine. Similar fonts are Italian Script (Bitstream), Gaston, Candice, Julia Script and Benguiat Charisma.
Malibu Heights.
Manchester.
Mango Gothic (1991).
Mardi Gras.
Mega (1993). A fat mini-spurred didone.
Metro Gothic.
Milano (2004). A didone typeface.
Mission Hills.
National Gothic.
Nightmare.
Nine One One BA (2007). Grunge.
Oh Sweet Pea.
PC Gothic (2005).
Paladium Gothic (2007). A sans typeface.
Pecos.
Pimento (1998).
Pink Mouse (1992). Psychedelic.
Queen Of Hearts (1991). a script typeface.
Radiance Brush (1997). A casual brush script.
Rancho Grande (1995).
Range Gothic.
Ravenwood.
Red Dawg.
Relaxed Fit.
Richmond Hill.
Road Gothic (1996).
Robertson.
Rust Bucket (1994).
S+L Gothic.
Sahara Bodoni (1996). One of his most popular typefaces.
Senegal.
Serendipity (2006).
Shadow Gothic.
Shangrala.
Shazam.
Shooby (1992).
Shore Bodoni.
Sign Gothic Bold Condensed.
Slam Dunk.
Sleepy Hollow.
Sleezy.
Snaggle.
Snip Tuck (1994). A headline typeface.
South Beach.
Spice.
Squat (2011). A stunted black wood style face.
Steel Magnolias (1995). Blackletter.
Steeplechase (1992). A Wild West saloon font..
Sugar Shack (1995). A curly script.
Summer Nights (1993).
Swank Gothic.
Tequila (1992). A bouncy play on Didot.
Thats Amore.
Title Gothic Light.
Torino Modern.
Triple Condensed Gothic.
Triumph Gothic.
Vinchenso Regular (2003).
Wackado.
Waimea (1992). A poster font..
Wall Street Gothic.
Wonka (1996). Named after Willy Wonka..
Yakety Yak (1994).
Zany.
Zipty Do.

View Bob Alonso's typefaces. View the BA Graphics typeface collection. An alphabetic listing of Alonso's typefaces. [Google] [MyFonts] [More] ⦿

Bagerich Type Foundry (was: Zealab Fonts Division, Zea Fonts, Zea Lab, Zeaspace)
[Reza Rasenda]

Founded in Bandung, Indonesia in the middle of 2019 by graphic designers Reza Rasenda (b. 1993) and Riska Chandra Dewi, Zealab Fonts Division specializes in and is inspired by urban culture, luxurious brands and street posters. Reza Rasenda designed these typefaces in 2020: Crenzo (a free sci-fi typeface), Pherome (a fashion-conscious display serif), Arguman (an aerodynamic or speed font), Oldblue (an interlocking retro font), Digitany (pixelized), Ethique, Brightfate (with Riska Candra Dewi; a sharp-edged typeface that conjures up images of a guillotine), Bagerich (an art nouveau genre display typeface by Reza Rasenda and Riska Candra Dewi), Digitany (pixelish), Rigeko (a refreshing display typeface), Chillion (in the heavy rounded serif genre), Anglestein (a sans inspired by retro car and amplifier lettering), Millik (a sturdy angular poster typeface), Bellinzo, Shirens, Roundlane, Oldblend (a 4-style circle-based sans family, possibly renamed Oldblue), Richson (a sans inspired by pop punk, rock, hardcore music and skateboarding), Airbolt (a futuristic racing font), Roseford (a display typeface), Qultiva (a display typeface), Ethique, Hochland (tall, condensed, urban), Rodenberg (a beer bottle font), Aveline (a display serif), Quilla, Monschone (a fashion mag sans in one style).

Typefaces from 2021: Neima (a decorative serif), Nagoda, Chuten (a display typeface), Ephidona (a decorative serif), Claycozoa (an intestinal typeface), Elgista (incised and hipsterish, with mostly trapezoidal stems), Amovand (a decorative serif), Willton, Olieva, Waffold, Bogam (a great free black display font), Voca (brutalist, in their view), Gover (a gaspipe sans, +stencil), Agne (a decorative serif).

Typefaces from 2022: Vifellia (an experimental condensed display serif, in which the left side serif is curved and the right side serif is straight).

Type Department link for Zealab. Type Department link for Bagerich Type Foundry.

Typefaces from 2022: Guffonia (a hyper-decorative hipster typeface), Baunk (futuristic). [Google] [MyFonts] [More] ⦿

Balibilly Design
[I Wayan Bill Natih]

In 2010, Bali-based Bill Natih founded Balibilly Design. Creator of script or handcrafted typefaces. In 2020, he published Moro Baby (an all caps children's book font), Siganture Photopedia (a signature script), Qene G (an artsy font duo that evokes a belle epoque atmosphere), Kage (a fashion mag serif family), Kitahara (script and brush), Native Miles, Patahola and Risalove.

Typefaces from 2021: BD Megatoya (a slightly boxy simplified sans family in 40 styles; plus a variable font), Onamura (an 11-style Victorian typeface family with roots in medieval blackletters), Gegor (14 styles; a decorativbe serif), BD Megalona (a 26-style serif that attempts to improve Times New Roman).

Typefaces from 2022: Kage Pro (a 24-style (+variable) condensed luxury serif).

Creative Fabrica link. Type Department link. [Google] [MyFonts] [More] ⦿

Barbara Bigosinska

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

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

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

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

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

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

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

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

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

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

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

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

Baron WNM
[Rahmad Mulyadi]

Banda Aceh, Indonesia-based architect, b. 1987. Designer in 2020 of Darkness (a blackletter or death metal font), Chalysta (a wide signature script), Rhomantics (a handcrafted sans), Hillusy, Qeuliner (an oblique techno / sports font), Comicbon (a comic book font) and Dhaique (a tall monolinear sans).

Typefaces from 2021: Aront (mixing art deco with the rounded sans genre), Jabirah, Redmarch (a hairline signature script), Mane (a techno / speed font), Channe (a fashion mag font), Engrave (an upright calligraphic script), Whitegone, Good Monday (script), Culpa (a fat finger font), Kutaraja (a great upright inky script), Vorticella (an inky script). [Google] [MyFonts] [More] ⦿

BaseLAB
[Joancarles P. Casasín]

Barcelona-based foundry involved in custom font work, est. 2005. Original fonts: Inclusive (2007), Urbanium (2005, a bold display face), Handwritten, Eixample (2008, octagonal and rounded), Screech (2008) and Begyptienne. Modified fonts (or re-fonts in their words) include Le Grand Palais (stencil, for La Force de l'Art, Paris, 2006), BeTV (for a Belgian TV channel), and VijfTV (a modification of Chalet for a Flemish TV station). Their custom types include Atrapalo, Kipling (a fashion mag family done in 2011), STM Montreal (2011, for the Montreal transportation system), Dialogue, Kidswa, Hangar and Costa Design. One of the main collaborators is Joancarles P. Casasín. Behance link. [Google] [More] ⦿

Beasts of England
[Simon Walker]

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

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

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

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

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

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

Belen Ramos Medina

Almeria, Spain-based designer of the fashion mag typeface Miscela (2019). [Google] [More] ⦿

Ben Buysse

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

Zeedraak (2012). A free typeface inspired by sea monsters and blackletter typography.
World Cup Typeface (2016). For ESPN Magazine World Cup special issue.
Fancy Pants (2016). A classy stylish sans.
Beach Drink Icons (2016).

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

Benjamin Weymann

Aka Jonathon the Dog, Benjamin Weymann is located in Kassel, Germany. Behance link. Yay (2011) is a thin elegant geometric avant-garde (or vogue) face. [Google] [More] ⦿

Benz Tanadech

Thailand-based designer of the fashion mag typeface Genderless (2019). [Google] [More] ⦿

Bernardita Espinoza

Madrid, Spain-based designer of the Latin fashion mag typeface Estilosa (2018). [Google] [More] ⦿

Berton Hasebe

Berton Hasebe (b. 1982, Honolulu, HI) moved from Hawaii to study and work in Los Angeles, where he obtained a BA from Otis College of Art and Design in 2005.

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] ⦿

Bertrand Reguron

French designer of Achille FY (2012, a slab serif typeface done with Gia Tran, Alisa Nowak, Valentine Proust, Elvire Volk, and Gregori Vincens). This typeface was published at Fontyou.

Codesigner of Kaili FY (2013: an exotic typeface with crazy ligatures, inspired by Indian scripts, by Gregori Vincens, Bertrand Reguron, Gia Tran and Alisa Nowak) at Fontyou.

The EPS format display typeface Alice FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It was inspired by Adrien Genevard's lettering. Sub-themes are Alice in Wonderland and playing cards. The EPS format frilly script typeface Lullaby FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It too was inspired by Adrien Genevard's lettering. Exquise FY (2013) is a fashion mag didone co-designed by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou. Gia Tran, Alisa Novak, Micaela Neustadt, Bertrand Reguron and Grégori Vincens co-designed the curvy stressed elliptical sans typeface Bruum FY (2013). In 2013, Denis Moulin, Bertrand Reguron, Valentine Proust and Laurène Girbal co-designed the hipster typeface Theory FY (2013, alchemic).

In 2014, Gia Tran and Bertrand Reguron co-designed the zombie script Vidok FY (free at Dafont).

The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.

Bertrand Reguron, Alice Resseguier and Gia Tran co-designed the retro signage script typeface Coco FY (2014). [Google] [MyFonts] [More] ⦿

Big Cat Creative
[Erica Hartwick]

Designer in 2018 of the script typefaces Lovely (a retro monoline script), Ellisa (font duo), Jolly, Unleash, Dawn and Edmonton, the art deco typeface Empire, the display font duo Wild One, the fashion mag typefaces Lucky and Vienna, the curly serif Erica, the display typeface Abigail, the layerable shadow typeface Peachy, and the sans typefaces Super Basic, Neon, Lumina (Peignotian), Jolly Sans, Unleash Sans, and Tropicana.

Typefaces from 2019: Audrey, Just Keep Breathing, Firefly, Iridescent, Qraffito (a classy bold sans). [Google] [More] ⦿

Bill Troop

Bill Troop, a phenomenal wordsmith, runs Graphos. Just read this quote: Typeface Design is obtuse, incomprehensible, unsuitable, unremunerable, and irresistable. With the aid of the computer, it has never been easier to design a typeface, and never easier to manufacture one. Because of PostScript, TrueType, and font creation programs like Fontographer, Font Studio, and Font Lab, there have never been more typeface designs available, nor have there ever been so many typeface designers active. Yet, just as at all times and places there is very little good of anything to be had, so there are remarkably few fine typefaces available today. Printers now have merely a fraction of the first rate types they had in 1930. He is active in the typophile community, where he is a fervent supporter of high quality and ethical typography. Bill Troop (b. Montreal) grew up in New York and London. He studied classical piano, type design, photography and writing. He is married to the novelist Elspeth Barker, and lives in England.

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] ⦿

Blue Vinyl
[Jess Latham]

Blue Vinyl (est. 1997) has free and commercial designs by Jess Latham (b. 1974, Birmingham, AL).

The early typefaces (before 2003): Grumble (1999, grunge), Hot Fudge (2003), Dia De Los Muertos BV (2003, Halloween-style dingbats), Delorita BV (2003), Dance Craze (2002), Redford (2002, black display font), CharmsBV (2002, dingbats), LearningCurve BV (for children), HornyDevils, Princess (girls stuff dings), TurnTable (2001), Vinyl Smooth (2001), StereoLab, 60sChic, Airwave, Cafe Noire, Lucky Charms, Punk Rock, Chains, Slasher, Blue Melody, Sugar Coma (1999, junk food dingbats), Metal on Metal, Hearts, Crushed Out Girl, Nuwave, Deco Cafe, Screen, Rock Star (dingbats), Gothic Ultra Trendy, Film Star, Mary Jane, Turning Japanese, Lushus, Rockabilly, (my favorite thick display letters) Moma Grape, Modular 2000, Cyber Phonic, Comic Zine (3d), Grrlz Stuff, Retro Bats, Terrible Nervz, Pop Up, Moonbow, Tropicana (Luau dingbats), Tiki Tooka, That 70's Ding, Karaoke Superstar, Pippi, Pocket Calculator, Kool Ding, Kool Ding 2, LittleTroubleGirl, Grumble, SeeingStars, AllStarBV, Awesome80sBV, HellcatsBV, HotRodGangBV, Stereolab, SweetHeartsBV, BumbleBeeBV, CandyStoreBV, CHAINSColorFill, ComicZine, CHAINS, EeronautsBV, Charms, Film-Star, JimmyDoodles, LooseCruseBold, LooseCruse, MODULAR, MonkeyWrench, OneTrickPony, PubertyStrike, PUNKROCKColorFill, PUNKROCK, Plexifont (see-through letters), SeeingStars, SooperDooper, TerribleNerves, Pandamonium BV, TrickorTreatBV, WebstarBV, Sonic Reverb (2003), Jacks (2003), Rodeo Girl BV (2003, handwriting), Jacks BV (2003, free), Majorette, Albedo, Retroclassics (two dingbat fonts), Westmore BV, KnockOut, Spellbound (2000), Speedway, Chocolate Mint Surprise, Pinky, Sparky, Glamorous, Bohemian Garden Party (1999), Fashionista (brush), Pink Martini, ValentinesBV, Macrame BV One (2002, single, double and triple-lined commercial font), Macrame Super Triline (2002), Redford BV (2002), Charms, Wedding Wishes (2002, dingbats), Bric A Brac BV (2002), Meringue BV (2002, handprinting), Retro Classics 3BV (2002, dingbats), Roller Baby BV (2003).

2004: Swan Song (calligraphic), Shimmer (connected cursive handwriting), Spin Cycle, Rock Star 2.0 (dings), Gros Marqueur (marker pen typeface).

2005: MyScars, My Bleeding Scars, Azuki (Japanese brush simulation), Taroca, Taroca Extras.

2006: BV Sans (2006), PrintClearly (2006, children's orthographics).

2007: Save Her (ecological dingbats), Confection (fancy script), Parsley Script, Pointed Brush.

2008: Synthetique (dot matrix), Lavender Script (calligraphic), Giant Head (ultra fat signage face), Synthetique (thin dot matrix), Print Clearly, Dashed and Bold (simple sans), Disko (comic book style).

2010: Darlena (a swashy didone), Italian Hand (a connected script), Love Romance (Valentine's day dingbats), Patchouli Display (2009-2010), Secret Admirer (connected script).

2011: Fancier Script (signage face), Garden Brush (a flowing brush script).

2013: Blue Vinyl (signage script). Barmbrack (a decorative, almost sign-painted typeface).

2014-2015: Felt That (connected marker script).

2016: Relation (connected retro brush script).

2017: Head Turn (handwriting), Said In Script (handwritten cursive script).

2018: Enticing Script.

2020: Fudge Sauce.

Fontspace link. Font Squirrel link. Dafont link. Klingspor link.

View the typefaces made by Blue Vinyl. [Google] [MyFonts] [More] ⦿

BluGraphic (or: Graphic Pear)
[Wassim Awadallah]

BluGraphic (Wassim Awadallah, Beirut, Lebanon; but also claimed to be in Bern, Switzerland) specializes in free vector format graphics and typefaces. These include the modular sans typeface family Form (2014), and a collection of vector format icons (2013), weather symbols (2013) and arrows (2014). In 2017, he designed the tall sans typeface Giraffey, Viana Script, Valencia, Quenos (didone caps), Soigné (italic fashion mag typeface), Rhama Gothic (blackletter), Florence Script, Alvania, Prink Script, Virtuous Slab, Less Sans, Amigo Script and Holland Script. In 2018, he designed Strain and Tempo (a free modular typeface).

Typefaces from 2019: Lemon&Fresh, Germany (script), Cremona (a free fashion sans), Designer (sans). Behance link. BluGraphic link. [Google] [More] ⦿

Bold Decisions
[Mads Wildgaard]

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

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

[Google] [More] ⦿

Bonnie Cheung

Hong Kong-based designer of the high-contrast display typeface Boni (2015), which was developed during her studies at SCAD Hong Kong. [Google] [More] ⦿

Bonnie Clas

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 TWD Sans (2011, semi-blackletter), Mecano Neue (2011), Kule Script (calligraphic, for a clothing brand), Kule Slab (2011, didone), Lady Chatterly (curly fashion mag face), Lacie (curly typeface for Latin and Cyrillic), Methodenstreit (2011, arts and crafts face), Habana (2011, Lost Type), Feverish (2011, experimental), Burlesque (art deco). She also did the lettering for tens of projects. [Google] [More] ⦿

Bramaji Dipa Manggala
[Moonbandit]

Brandon Alvarado

Iowa-based typographer and graphic design who was born in California. He created Brodovitch (2011), a fashion mag modern decorative typeface based on Alexey Brodovitch's 1951 typeface Al-Bro. Behance link. [Google] [More] ⦿

Brenners Template
[Ryul Davidson]

Korean designer of these typefaces:

Metaverse Display (2021). a squarish family.
Aleesya Rose (2021). A fashion mag font family in 14 styles. This led to Aleesya Serif by 2022.
Kymer Awon (2021). A stylish all caps display typeface.
Tilaa (2021, sans and serif). A 4-style mini-serif and sans typeface pair in which many adjacent letters are connected by hairline threads.
Amonos Display (2021). An 18-style circle-based sanswith truncated descenders.
Gernsheim (2021). An 18-style condensed sans for logos and headlines.
Along Sans Rasoe, Along Slab Work, Along Sans Rounded (a fat rounded monoline sans), Along Serif BSC (a contrast-rich serif family in 18 styles) and Along Slab, all released in 2020. Along Sans Grande (an ultra-condensed sans in 18 styles) followed in 2021.
Ensley (2020). A serif font in 18 styles.
Claudia Fiesta (2020). A high contrast fashion mag style typeface.
Belong Sans (2020).
The script typefaces Minnesota (Solid, Brush; almost in Treefrog style), Caminode (a wild script), Lewis Script and Blessing (a dry brush script in OpenType SVG format), all released in 2020.
Along Sans (2019). An organic and geometric sans family designed for headlines and logos. It is characterized by a wind-swept ascender on the k.
Quenbach (2019). A 36-style sharp-edged geometric sans.
Reost (2021). An 18-style monolinear organic circle-based sans.
Zenoa (2022). A 14-style luxuriant hipster serif.
Gibeon (2022). In 27 styles. A unicase display family characterized by its tall x-height, psychedelic traits and hipster era curves.

Creative Market link for Ryul Davidson (2021). [Google] [MyFonts] [More] ⦿

Brinnan Wimberly

Anderson, SC-based designer of the fashion mag typeface Beaton (2014). [Google] [More] ⦿

Bropix
[Dirk Schuster]

Bropix is a foundry in Trier, Germany, est. 2011, by Dirk Schuster. Bropix created Nouvelle Vague (2010-2011), a fat didone fashion mag headline face.

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

Buero New York
[Alex Wiederin]

New York City-based studio founded in 2001 by creative director Alex Wiederin. Creator of the fashion mag display typeface Carine (2014). Behance link. [Google] [More] ⦿

Burhan Afif
[HansCo]

Calamar Art (or: Calamar Studio)
[Oksana Petrenko]

Lviv, Ukraine-based designer of these typefaces in 2017: Buenos Dias (brush script), Gillian (brush script), Wisteria (irregular script), Bellamy (doodle brush script), Holly Jolly.

Typefaces from 2018, mostly calligraphic: Creamy, Ambrose, Saint Amour (calligraphic script), Montpellier (a signature font), Galanthia (a great thin script), Giselle Script (calligraphic), Laster, Better Letter, Roselyn Script, Amelie Script, Stream, Bubbles, Dessetum (brush style).

Typefaces from 2019: Euphoria, La Roche.

Typefaces from 2020: Modernist (calligraphic), Wildflower (hand-printed), Crystal Noir (art deco caps), Solange (a decorative serif), Olivie Font Duo, Edith (elegantly flared), Le Major (a fashionable all caps typeface), Ms Claudy (formal calligraphy), Jadore Vous, Modern Symphony (a connected script), Desert Song (a wild script), Wonder Garden, Le Grand (a fashionable serif), Monologues.

Typefaces from 2021: Saint Viet (calligraphic, for Latin and Cyrillic). [Google] [MyFonts] [More] ⦿

Calum Rudd

Wigan, UK-based typographer and graphic designer, who created the high-contrast fashion mag font Myth (2010). Currently studying at Staffordshire University. Behance link. [Google] [More] ⦿

Candra Hamdani
[Vultype Co]

Carles Rodrigo

Carles Rodrigo (Mucho) won a D&AD 2011 award in the typeface design competition for his Art Out. He set up Carles Rodrigo Studio in London, and specializes in branding and corporate type design. His creations there are visually striking:

Splash Rounded. Corporate type design for Barcelona-based LED screen display company. Planned as a rounded version of Avant Garde.
Peppurat Outline (2011). Headline typeface especially designed for the book "Pepe Andreu---Thinking Furniture". The typeface was planned as an outline version of Akkurat.
Primera Bold. A stencil didone designed for the Primero Primera Hotel.
Lexus Inline. Corporate identity type design for Lexus Design Awards, which took place in Tokyo.
Art Out (2010). A blackboard bold typeface that was created for Fundación Arte y Mecenazgo in Spain.
Monaco Book (2015). An art deco sans based on Geo Ham's racing posters from the 1930s.
Zarzuela Poster (2009). Typeface developed for hypothetical rebirth of Zarzuela. an important genre of Spanish folklore. The structure of the typeface is based on the genre's 17th century origin, and is a hybrid between the transitional roman and the didone.
Bhldn Display (2015). An extreme contrast custom fashion mag and wedding typeface in five styles based on Hoefler Display. It was created for an American clothing company.
Sarda Display. This display typeface was especially developed for the book "Andres Sarda Moda Amor Arte". It is based on ITC Grouch (1970, Ronne Bonder and Tom Carnase).

Behance link. [Google] [More] ⦿

Carmel Type (or: Just Lucky)
[Drew Melton]

Drew Melton (Carmel Type and Just Lucky, Los Angeles, CA) is a graphic and type designer, letterer and occasional illustrator. He has worked for a wide range of clients including McCann, Saatchi & Saatchi and Penguin Books. Many of his typefaces are exquisite.

He created the vintage shaded typeface Lastra (2014, improved in Lastra Display in 2015), Westward Numerals (2014), Steel Cut (2014, numerals), Chisel (2014, numerals), Show Stopper (2014, a signage typeface), Ballpoint Script (2014; released in 2019 at Typeverything), Awning Display (2014), Brite Script (2014, Ten Dollar Fonts), Handsome Script (2014, a calligraphic copperplate script), the signage typeface Sideshow (2014) and the Tuscan typeface Magnifique (2013, +Inline, +Shadow).

Typefaces from 2015: Numerals (Book Club, Butcher Block, Chisel, Chisel Shadow, Chisel Fill, Elegante, Elegante Fancy, Yuma), Dolcetto (a stunning swashy calligraphic copperplate script for stately occasions), Lumber Co (an Italian Western wood style font family at The Designers Foundry; together with Jason Carne), Rubber Boots (a text typeface with considerable contrast), Stockpile (numerals), Luxus Gothic (blackletter), Yuma Numerals. In 2015, Jason Carne and Drew Melton co-designed the large condensed titling typeface family Skyward and wrote: Robust, towering, and geometrically refined, Skyward is a surefire classic cocktail of equal parts utility and elegance. Stuffed Crust, bold and loud, will be a hit too. Drew writes: Big and greasy never looked so good.

Typefaces from 2016: Boulangerie (a Tuscan typeface by Drew Melton), Motor City (by Drew Melton and Jason Carne; an industrial strength slab serif; the name Motor City was already taken by Casey Cole in 2012, so we'll wait and see if there will be a name change in the works).

Creative Market link. Behance link. Ten Dollar Fonts link. Carmel Type link. [Google] [MyFonts] [More] ⦿

Catharsis
[Christian "Cinga" Thalmann]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Charles Daoud
[North Type (was: Charles Daoud Type, or: CD Type)]

Charlie Zinno

Argentinian graphic and type designer, b. 1984. Director of Name Agency. Award winner at Tipos Latinos 2010 and selected in 2010 to be part of the Premios de Diseño Joven del Centro Cultural de España for his text typeface Latinité Roman and The Dot (2009-2012, a fashion mag ornamental didone typeface).

Charlie writes: Latinité is a text typeface inspired by an French artistic movement called La Graphie Latine. The design of this typeface is based on the calligraphic gesture. The typeface proportions and low contrast make it suitable for small text sizes. The design was influenced by ITC Mendoza, all of Crous-Vidal's work, and even Bram de Does's Lexicon.

For The Dot, inspiration came from the original fonts in Vogue and Harper's Bazaar, Herb Lubalin's take on contrasted typefaces, and François Boltana's Stilla. He writes: When I was in the final stages of the creative process I started to relate The Dot with the image of a soprano singer. Usually they are beautiful, neat and full bodied women. They have a sort of elegance which is transmitted by their voice and completed by their image, and I wanted something like that for The Dot. The Fat version was finished and it was impossible not to imagine how it might look if it become Extra Thin. So, if The Dot Fat was a Soprano The Dot Extra Light would be the Contralto. For the eight weights of The Dot, Ricardo Santos helped out. The Dot was part of an exhibition called Efervescente produced by CCEBA in Rosario, Argentina.

Personal web site. MyFonts link. Old URL to Estudiomínimo. [Google] [MyFonts] [More] ⦿

Charlotte Wiltz

Parisian designer of the stylish fashion mag semi-didone typeface Vague (2014) and of the modular typeface Point Barre (2014). [Google] [More] ⦿

Chase Babb

Californian designer (b. 1993) with a great motto: No I won't design something just for you. If I make it, it has to be publicly available.

Creator of Liquid Crystal (2012, the ultimate LCD typeface family), Linkin Park (2012), Unbound Pro (2012, a free industrial stencil typeface), Adele, a monoline avant garde sans headline face, modeled after the cover of the CD album Adele 21 by singer and song writer Adele. Couture Bold (2012, free font) is a solid thick sans all caps typeface based on the Chanel logo.

Open Font Library link. Home page. Devian tart link. Aka styrofoamballs. [Google] [More] ⦿

Chester Jenkins
[Constellation]

Chiara Dozio

Merate, Italy-based designer of the fashion mag piano key typeface Muscle (2015). [Google] [More] ⦿

Chong Chun Mei

George Town, Malaysia-based designer of the display typefaces Madelene (2018) and Paradox (2018; influenced by Karl Lagerfeld). [Google] [More] ⦿

Chris van Niekerk

During his studies at Leeds College of Art, Chris van Niekerk CVN Design) created the fashion mag typeface Modern No. 4 (2012) and Amstersans (2012). [Google] [More] ⦿

Christian "Cinga" Thalmann
[Catharsis]

Christian Schwartz
[Commercial Type (Was: Schwartzco)]

Christina Stougaard

Graphic designer in Haderslev, Denmark, who is studying graphic design and communication at the School of Visual Communication in Denmark. Behance link.

In 2012, she created the high-contrast fashion mag typeface Reddish. [Google] [More] ⦿

Christoph Dunst
[Atlas Font Foundry]

Christoph Ruprecht

Christoph Ruprecht is an art director in Karlsruhe, Germany. He created several typefaces in 2013, including Solyaris (an ultra-sophisticated fashion typeface). Before that, he designed Cygnus Alpha (2009, a techno family), Code (2009, a 3d face), Psychodelics (2010), and Typolyrics (2009).

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

Cindy Kinash
[Cultivated Mind]

City Davies

Cape Town, South Africa-based designer (b. UK) of the high-contrast fashion typeface Agnes (2018). [Google] [More] ⦿

Claudia Mendez Cordero

Graphic designer in Huelva, Spain, who created the fashionable typeface New Didonas Sans Serif (2013). [Google] [More] ⦿

Claudio Guzmán

Graduate from FADU, University of Buenos Aires, who created the typeface Queen (2010), a hairline fashion mag face. [Google] [More] ⦿

Closefonts
[Simon Schmidt]

Closefonts is a foundry that was set up in 1997 by Simon Schmidt (b. 1968, Hamburg). He studied graphic design and typography at Parsons School of Design, New York and at Kunstschule Alsterdamm in Hamburg, Germany. After three years as an art director in advertising, he became aa self-employed graphic and type designer specializing in corporate design. His typefaces can be found at Fontomas and Closefonts.

They include Monolith, Delay (2001, has kitchen tile weights), Beta, Hybrid, Ogra, Ograbic (Couscous, Falafel, Kebab: Arabic simulation typefaces), Hybrid, Schlager (50s diner font), Ness, Lorem Ipsum, Maxpo, Call (free), Gridder (1999, free), Dotter (free), CloseRaceDrive (2000), CloseRacePark (2000), CloseCall, CloseGridder.

Some of Simon Schmidt's fonts can be bought at Fountain: Delay, Hybrid, Monolith, Ness, Schlager. He designed the pair Park and Drive in his Race series at fontomas.com in 2000. He created Hookline in 2001 at Fontomas. His 2007 fashionably elegant Vogue-style sans typeface Mondän is stunning.

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

Colin Whitlock
[Surplus Type]

Type Today link for CSTM Fonts.

Coline Kupiec

During her studies at École de Design Nantes Atlantique, France, Coline Kupiec created the condensed fashion mag typeface Essertine (2014) and the plumpish didone typeface Roundness (2014). Behance link. [Google] [More] ⦿

Colmena Studio
[Gabriela Rodriguez]

Graphic designer in Monterrey, Mexico, who operated as Gabriela Roh. Designer of the (originally free) fashion mag typeface Chula (2013), a blackboard bold geometric sans sold by Colmena at MyFonts starting in 2019. [Google] [MyFonts] [More] ⦿

Commercial Type (Was: Schwartzco)
[Christian Schwartz]

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. Klingspor link.

In house type designers in 2010: Paul Barnes, Christian Schwartz, Berton Haasebe, and Abi Huynh.

Typefaces sold by them:

Austin (+Cyrillic): Designed for British style magazine Harper's&Queen, Austin is a loose revival of the typefaces of Richard Austin of the late 18th century for the publisher John Bell. Working as a trade engraver Austin cut the first British modern and later the iconoclastic Scotch Roman. Narrow without being overtly condensed, Austin is a modern with the styling and sheen of New York in the 1970s. Designed by Paul Barnes and Ilya Ruderman from 2007 until 2009. Has a Cyrillic.
Giorgio (+Sans): Giorgio and its matching sans were designed for Chris Martinez at T, the New York Times Style Magazine, bringing runway proportions to the page in contrasting ways. Designed by Christian Schwartz, 2008-2009.
Graphik: The dominant trend of the mid twentieth century simple sans serifs still reverberates in visual culture. Graphik proves that it is still possible to create something refreshing inspired by this era. Taking cues from the less-known anonymous grotesques and geometric sans serifs, Graphik is perfectly suited for graphic and publication design. Originally designed for the Schwartz's own corporate identity, it was later finished for Condé Nast Portfolio and then expanded for Wallpaper and later T, the New York Times Style Magazine. Designed by Christian Schwartz in 2009.
Guardian (Egyptian Headline, Sans Headline, Egyptian Text, Agate Sans): What happens when you try to make a new sans serif by chopping the slabs off of an Egyptian? That was the original inspiration behind this modern classic designed for Mark Porter and the Guardian newspaper. Comprised of several interrelated families: Sans and Egyptian for headlines; a Text Egyptian; and an Agate Sans, every possible typographic need of a daily paper is fulfilled. Serious news headlines, expressive features, readable text, tiny financial listings, info graphics, and everything in between can be capably handled with ease. Designed by Paul Barnes and Christian Schwartz, 2009.
Lyon Text: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. Designed by Kai Bernau, 2009.
Neue Haas Grotesk (2011).
Stag (+Sans, Dot, Stencil, Sans Round): 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 display variants that are probably best described as special effects. Designed by Christian Schwartz, Berton Hasebe and Ross Milne, 2008, 2009.
Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator. Extended to Atlas Typewriter in 2012.
VF Didot (2013) is a custom Didot by Paul Barnes and Christian Schwartz for Vanity Fair, as requested by its design director, Chris Dixon. Based on work of Molé Le Jeune, a punchcutter used by the Didot family in the early part of the 19th century, VFDidot has 7 optical sizes and up to 5 weights in each size, plus small caps and even a stencil style.
Zizou or Clouseau (2011). A reworking (from memory) of Antique Olive (1960, Roger Excoffon). This was published at the end of 2013 as Duplicate (2013, with Miguel Reyes). In three styles, 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. Beecause the Ionic genre has ll ong been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts.
Kommissar (2014, Schwartzco). A condensed sans family with little contrast that was inspired by 1920s type styles like Vertikal and Paul Renner's Plak.
Produkt (2014, Christian Schwartz and Berton Hasebe). This is Graphik with slabs added on.
Sanomat (2013-2017). This custom typeface by Paul Barnes was originally commissioned by Sami Valtere in 2013 for his acclaimed redesign of Helsinging Sanomat in Finland. Sanomat is now available for retail via Commercial Type in two subfamilies, Sanomat (serif) and Sanomat Sans.
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.
The Commercial Classics series from 2019:
- Brunel (Paul Barnes): Elegant and hardworking, Brunel is the Anglo variant of the high contrast Modern style. Based on designs that were cut first for Elizabeth Caslon at the end of the eighteenth century, we have expanded them to encompass a range of weights and sizes: from a roman to an emphatic black and from a text to a hairline for the largest sizes.
- Caslon Doric (Paul Barnes): The sans was the natural progression of nineteenth-century innovations. From the pioneering faces of Caslon and Figgins in the second and third decades, they quickly became a phenomenon across Europe and the United States, but it was only in the second half of the century that the British foundries would embrace lowercase forms and make faces that could be used in multiple sizes. Caslon Doric is the synthesis of these styles, from narrow to wide and from thin to heavy.
- Caslon Italian (Paul Barnes, Tim Ripper, Christian Schwartz): Perhaps the strangest and ultimate example of experimentation in letterforms during the early nineteenth century was the Italian. Introduced by Caslon in 1821, it reverses the fat face stress---thins becomes thicks and thicks become thins---turning typographic norms on their heads. This new version extends the forms into new territory: a lowercase, an italic, and another one of the more unusual ideas of the time, the reverse italic or Contra.
- Isambard (Paul Barnes and Miguel Reyes): 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.
- Caslon Antique (Paul Barnes and Tim Ripper): The slab serif or Egyptian form is one of the best letters for adding a drop shadow to. Its robust nature and heaviness support the additional weight of a prominent shading. First appearing in the 1820s, the style was pioneered and almost exclusively shown by the Caslon foundry, who introduced a wide range of sizes and, eventually, a lowercase.
- Caslon Sans Serif Shaded (Jesse Vega and 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.
- Christian Schwartz collaborated with Richard Turley, the art director behind the famous redesign of Bloomberg Businessweek (for which Druk was initially commissioned), in 2019 on a custom typeface for the windows of Barneys, a near-century-old New York department store, which recently filed for bankruptcy. AIGA link.
- In 2019, Christian Schwartz, Paul Barnes and Mark Porter were asked by the Nature journal to develop a new typeface, Harding.

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] ⦿

Conjectatione

Kiev, Ukraine-based designer of the great decorative didone typeface Mayotto (2019) and the free curly vector format font Lollipop (2019). [Google] [More] ⦿

Constellation
[Chester Jenkins]

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 bespoke typefaces by Chester Jenkins:

Aero (2011, Chester Jenkins and Jeremy Mickel). Based on Roger Excoffon's Antique Olive.
Apex Sans (2003), Apex Serif (2003), Apex New (2005) and Apex Rounded (2010). All by Chester Jenkins. Apex Serif and Apex Sans were co-designed with Rick Valicenti.
Apollo. A bespoke multiline typeface for the Apollo Theater.
Arbor (2010). Arbor was originally commissioned by the New York Times magazine for use in their 2008 Hollywood special issue. The source was Rob Roy Kelly's book of woodtype samples, and the D and H from Caslon's Italian of the 1820s. An original representative of this Western genre.
Barclays Center (2012). A bespoke athletic lettering and stencil family.
Brooklyn (2013, a brutalist typeface) and Brooklyn Stencil (2013, an octagonal stencil). The original was commissioned in 2007 by Michael Bierut for a sports complex.
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. Even the original UFO files are made available.
Cosmica (2018).
Endzone Slab (+Condensed) and Endzone Sans (2017) are bespoke typeface done for the NFL.
Galaxie Cassiopeia (2006). A round connected upright script. By Chester Jenkins.
Galaxie Copernicus (2009). An interpretation of Christophe Plantin's Plantin (cut by Robert Granjon) and Frank Hinman Pierpont's Monotype revival of Plantin. By Chester Jenkins and Kris Sowersby.
Indestructible Language (2006, with Mary Ellen Carroll): The Precipice Alliance, a non-profit corporation collaborating with artists to direct public attention to global warming, launched with this inaugural artwork by the contemporary artist Mary Ellen Carroll. This lettering was a collaboration with Ms. Carroll to design letterforms that could be rendered 8-feet tall in neon tubing. Each neon letter was to be placed, in a 900-foot-long installation, in the window bays of all five former American Can factory buildings in Jersey City, New Jersey to be exhibited from November 2006 to April 2007. The 8-foot high, carbon neutral neon letters were clearly visible (and legible) to drivers on both the Pulaski Skyway and the New Jersey Turnpike, and by planes heading to and from Newark International Airport.
Maharam (ca. 2017). A bespoke Futura revival typeface for Maharam.
A bespoke sans titling typeface for the NYC Opera.
Galaxie Polaris, Galaxie Polaris Condensed (2004-2013). Two sans families by Chester Jenkins.
Oz (1999). A round typeface family by Patrick Giasson. Designed as an homage to Oswald Cooper (whose nickname was Oz), whose Oswald Cooper inspired the fat shapes.
Pink Sans, Pink Slab and Pink Outline are bespoke typefaces for Victoria's Secret Pink campaign.
Radio (1998). A retro script family by Magnus Rakeng.
Robledo Stencil. For Slanted Magazine.
Sharpie Script. a bespoke script typeface for the identiy of Michael Kors.
A revival of Frederic Goudy's lost Sherman type for Syracuse University with Michael Bierut and his team at Pentagram.
For Snickers, Chester designer Chiat Day.

[Google] [More] ⦿

Cosimo Lorenzo Pancini

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cotbada Studio
[Nicolas Isfani]

Bireuen, Indonesia-based designer of the swashy script typefaces Restafi Script, Marchelina Script, Malika and Agus, the signage script Aqlima, Angelines, and the curly Ragetti Script in 2017.

Typefaces from 2018: Sofiebestin, Gallisia Design Script, Jodie Badiston Script (a signature font), Crolinesy Daggaes Script, Chalifor Dalsatic (an SVG script), Mottingham Script, Mathanifo Script, Dhanikans Signature, Sophier Rotties.

Typefaces from 2019: Julie Brious, Rollgates (monoline sans), Rollgates Luxury, Rollgates Victoria, Rollgates Fabulous, Bernitha, Angelica Berkeley (script), Cartines Script, Betharia Script, Mark Rasford (a signature font), Young Love, Sanger, Proper Lady, Mexabetto, Happy Monday, Genjutsu (a comic book font), Gasttula, Funbold, Deep Feeling, De Califortia, Blongoc Script, Kaget Botalies Script, Romans Rexamples (font duo), The Blagious Bold Script, The Bextrias Script, Alessa Beilaire (a calligraphic signature font).

Typefaces from 2020: Gabrielly (Regular, Script: for fashion mag applications).

Typefaces from 2021: Streamline Moderne (a vintage display typeface), Yipes (a display sans). [Google] [MyFonts] [More] ⦿

Courtney Jones

During her studies in Hamilton, New Zealand, Courtney Jones designed the high-contrast fashion mag sans typeface Seria (2016). [Google] [More] ⦿

Craft Supply
[Nazzar Saputra]

Kediri, Indonesia-based designer of the monoline script and sans typeface Quetty (2017), the rhythmic script font Quitman (2017), the geometric sans typeface Francy (2017), the signage script font Danilla (2017), the all caps sans typeface family Stockport (2017), Stockport Rounded (2017) and the great creamy super-heavy signage script typeface Kidding Script (2017).

Typefaces from 2018: Rustelyn (script), Sweet Buttermilk (Script, Sans), Lucylane (a monoline script), Blusty Script, Riffle (a skyline typeface), Melvis, Deluce (a luxury serif), Dutchy, Aguero (a luxury serif font), Finland, Finland Rounded (rounded monoline sans), Coldiac (an all caps luxury serif), Tigreal (a vintage slab serif), Road Race, Road Race Extra, Logam (sans), Houston Sports (spurred), Studly (a layered font), Morning Gold, Houston Italic, Comodo (sans), Rainly (brush SVG), Offlander (condensed sans), Offlander Rough (free), Salvalyn, Bafora (dry brush SVG font), the sans typeface Bondie Condensed, Bondie Extrude, Troye Serif (display didone), Troye Sans, Troye Script, Boardley Script (layerable retro signage font), Rotterin (a free signage script), Giveny (caps only fashion serif), CS Mulan (Victorian), Pastelyn, Belgium (a distinguished all caps sans), Finland (sans), Rickies (brush), Bravely, Houston (a semi-octagonal font by Wahyu Hadi Yuana), Pommel (a free script by Wahyu Hadi Yuana), Prestage (condensed all caps sans), Prestage Outline, Lovelyn (display serif), Espoir (a Peignotian font by Wahyu Hadi Yuana and Nazzar Saputra), Espoir Serif, CS Juicy (a color font), Retrocycles (monoline display sans), Fadelyn (script and sans), CS Gordon, CS Harley (sans), CS Maria, CS Nancy (sketched), CS Rocky, CS Roger, CS Rosalia, CS Sandreas.

Typefaces from 2019: Giroud (a free copperplate font), Cattus, Rovey, Vendeur, Colbiac, Angelic Bonques Script, Angelic Bonques Sans (a formal sans), Railly (dry brush), Gold Coast (vintage, all caps), Gold Coast Rough, Souther (brush script), Passtyn (Script, Sans), Larissa, Duskey (a weathered vintage typeface by Wahyu Hadi Yuana and Trio Nazzar Saputra), Rolves, Kitten Days, Jadyn Maria (signature script), Betty Rose, Fenord (a heavy sans), Adelya, Groce, Qualey, CS Nancy Inline, Manyland, Marques (wedge serif), Jocker (a vintage layered spurred typeface family), Nordin (sans), Masitha (script), Croco (Peignotian sans).

Typefaces from 2020: Marques Vintage, Monocole (all caps sans), Mondeur, Espano (all caps, serif), Celine Peach (Sans, Script), Marlyn.

Typefaces from 2022: Funkley (funky and psychedelic). [Google] [MyFonts] [More] ⦿

Creative Corner
[Kurnia Harahap]

Designer in 2020 of the all caps display typefaces Mavis (futuristic), Royale, Noma (modular), Carla Sans and Classy Taylor, and the decorative serif typeface Vickey.

Typefaces from 2021: Camelia Sans, Canera, Kaelia, Levior, Lorena, Madson, Maquna, Monalesa, Origin, Polaris (futuristic), Serave (a rounded sans), Tsuki, Volgue (a fashion mag sans). [Google] [More] ⦿

Creative Media Lab
[Kadek Adi Mahardika]

Bali, Indonesia-based designer (b. 1983) of Baruna (2018: vintage decorative font), Brotherley (2018), the hilarious Chef Characters Icons (2018), the sans typeface Drupadi (2018), the ball terminal typeface Cameo Sweet Gothic (2018), the handcrafted typefaces Miyake Signature (2018), Kiddo Handwriting (2018), Puralova Script (2018) and Children Alien (2018).

Typefaces from 2019: Jollin, Jollin Family, Popstick (an ultra-smooth popart style rounded sans), Yellost (blackletter), Chalk and Pamor, Little Pea, Tropiello (Tuscan, Victorian), Pink Shark, Molga, Othelie (swashy and medieval), Brume, Little Pea, Kuashe (monoline), Lordish (blackletter), Blue Angel, Black Cameo (spurred), Puralova, Milova (a great calligraphic typeface).

Typefaces from 2020: Zolina (a decorative sans, with a variable font added), Black Mango (a chic 10-style display sans with some flared stems; +a variable font), Mesdag, Prettywise (a decorative serif), Loubag (an elegant short-ascender vintage display typeface in ten styles), Kooka (a variable width stylish exaggerated wedge serif family), Belle Story (a high contrast display serif), Losta Masta (a decorative serif), Matterdi (a fashion mag family with an extremely large x-height), Popstone (psychedelic, with a variable font), Carpellon (a tattoo font), Dorris (a swirly psychedelic font), Losta Masta, Mavera (a modular display font), Rajjah Famillia (a blackletter), Allaina (a Victorian serif), Kaoly (a stylish bold serif), Cattedrale (blackletter).

Typefaces from 2021: Losta Bonita (psychedelic), Black Mango (Kadek Mahardika) (display sans), Naskle (psychedelic), Reggy (psychedelic), Losta Frida (a curvy display serif), Parka (a decorative saber-edged stencil typeface in nine styles), Missy Voya (a decorative serif), Greyst (a fashion mag display typeface), Skinny Joe (revisiting the bell bottom 1980s in a wonderful wide display family), Morgy (intestinal), Magrit (an ultra-fat high-contrast display typeface), Pretty Boy (a decorative serif family), Catavalo (a 6-style fashion mag typeface), Voire (a swirly lachrymal serif family consisting of 18 fonts), Viva Kaiva (an intestinal and perhaps psychedelic typeface), Pink Crestelle (a ten style display typeface, and a variable font), Benoa (a 7-style decorative serif).

Typefaces from 2022: Losta Nova (11 styles), Mango Style (10 styles; a stylish wide display sans with straight terminal endings: +a variable font), Cobya (a variable fashion mag family in 28 styles, influenced by ocean waves and liquids), Missy Voya (a stylish display serif), Losta Nova. [Google] [MyFonts] [More] ⦿

Creative Ultra (was: Creative Whoa, Symufa, or Creative Tacos)
[Syed Faraz Ahmad]

Lucknow, India-based designer who started out as Symufa, and then as Creative Whoa. Designer of the handcrafted Rushda (2016), Papercutting (2016), Aiza Shine Serif (2016), Holiday Craft Girly (2016, by Aiza Fatima), Christmas Script (2016), Emily Gold Awesome (2016), Slim Taco (2016) and Ibrat (2016), the fat brush script font Usama (2016) and the brush typeface Symufa Flow (2016).

Typefaces from 2017: Damean, Candace, Christmas Script, Ulyssa, Hanma, Carla, Abasalom, Amidala, Vanett, Kaayla, Habel, Cabales, Barden, Zayley, Ceica, Maleah Sans, Vannah, Ireene Serif, Jerrick, Perkin, Talissa, Stay Wanderer, Immani, Acacio serif, Charlton, Earwyn Serif, Catheryn, Ailish (free), Adney, Ackley, Lisandro, Janecia Serif (angular style), Hagito Serif, Abiah Sans, Hadwin Serif, Erynn Serif, Ethan (wedge serif), Alodie, Ainsley Sans, Adyson Sans, Jesusa Serif, Jerricca Serif, Chrys Sans, Cartland Serif, Brydon Serif, Orrick Slab Serif, Adenn Sans, Dayleen Sans, Cordaro Sans, Carra Serif, Adriell Sans, Diedra Serif, Cleantha Serif, Cordaro Serif, Carra Serif, Birtle Serif, Axell Serif, Ahijah, Aderes Serif, Achazia Serif, Brycen Serif, Jaavon (fashion mag serif typeface), Cheston Slab Serif, Treyton, Shaaron, Severn Sans, Darrion (slab serif), Naava (slab serif), Tabner, Garvin (slab serif), Jotham, Sumer, Sharis serif, Jerrad, Orrick (slab serif), Ethan (wedge serif), Zack Thin, Abril, Haytham Slab Serif (free), Khwaja, Jennet Brush, Asma (curly script), Jaraad Script, Yessica Sans, Rockley (sans), Cason, Carita (text typeface), Glennda, Starlyn, Hommer (mini-serifed), Adouliss Mag (a great angular design), Wrenn Sans, Medric Serif, Erica Script, Timm Serif (high contrast fashion didone), Veera Serif, Sondra Serif (lapidary, flared), Abira Sans, Montrell Serif, Spark Serif, Jassmine Hand Written, Berton Sans, Beacher (sans), Varina, Mercuric Fancy, Deron Sans, Edina Sans, Adley (sans), Aariel (sans), Hurst (sans), Azel, Aaliyah (fashion font), Barnes Serif, Zimra Serif, Zisel (sans), Bethan (sans), Abner, Abed Serif, Aludra (serif), Myron Serif, Aster Slab Serif, Anaan (sans), Aara Serif, Zack Serif, Alex Sans, Vengeance (sans), Aaron (sans), Aaron Serif, Adon, Alex, Maaz Serif, Thomas Mag (fashion mag family), Zahra, Zack, Aagaz, Barden, Erica, Asbah, Aiden, Anzil, Zahra, Alayna, Aaminah, Atifa Serif, Barkat, Adouliss, Amirah, New Year 2017, Dr. Usama, Yadon (a fashionable Peignotian), Tyra, Abell (an angular typeface family), Akiva.

Typefaces from 2018: Saarah Fresh, Pierson, Moisses, Wensley (roman caps), Cammron Serif (roman caps), Enrique Sans, Zevida, Aimen Serif, Aarianna, Farhan, Nasya, Mahlon, Jadrien, Ahsan, Gayora Slab, Haana Slab, New Year 2018 Brush, Carolin, Galvin Slab Serif, Sharoon, Bellinor, Fonzy, Hacca, Abeetha.

Typefaces from 2019: Adrina, Solomon, Qanaya, Yarelli, Edingu, Eadita, Daecca, Cansu, Madelin, Caelan, Banquo, Haddie, Aabel, Hyman, Maiah, Walcot, Hyogo, Fabyen, Gerard, Hadasa, Yafeu Sans, Benett, Yahir, Raanan, Geldwine, Karlton, Abrasha, Linnett (a geometric sans), Cador (a fashion mag font), Daaron (sans), Yessica, Ammar, Eadfrid, Boulia, Stay Writer, Soulmarker, Dusty Chalk, Xantheus, Adallyn, Badrick, Paulose, Labor Union Serif.

Aka Symufa. Creative Market link. Dafont link. Home page. Aka Creativewhoa. Creative Fabrica link. [Google] [More] ⦿

Cristina Cia

Cadiz, Spain-based art director, who designed the fashionable typeface Promise in 2019. [Google] [More] ⦿

CRR TNN
[Antonio Cerri]

Antonio Cerri (b. 1972, Catania, Italy) freelances in web, graphic and motion design from San Giovanni La Punta, Sicily. He created some typefaces in 2010, such as the futuristic CRR NTN (+Outline).

In 2011, he made Labyrinthus, a multilined all caps family: inspect each glyph and note that there is one point of entrance and one exit. Still in 2011, the decorative family Atlantide and the futuristic all caps typeface Silver Chisel appeared.

In 2012, he designed the techno family Steel.

Typefaces from 2013: Firebird (techno, automotive, speed font family).

In 2014, he made Luna Crescente, a layered multicolor 3d typeface.

Typefaces from 2016: Xandra (script), Xova (a 5-layer techno/logo font), Xova Rounded, Maria Script (heavy signage script).

Typefaces from 2020: Bilya Layered, Xova Layered, Labyrinthus Rounded.

Typefaces from 2021: Astralys (futuristic caps), Labyrinthus Pro (labyrinthine).

View Antonio Cerri's typefaces. [Google] [MyFonts] [More] ⦿

CSTM
[Ilya Ruderman]

CSTM Fonts is a digital type foundry in Moscow founded by Ilya Ruderman and Yury Ostromentsky in 2014. Educated as graphic designers, Ilya and Yury have created many custom typefaces and Cyrillic versions for a well-known Latin typefaces. Since 2008 Ilya Ruderman is curating the Type and Typography course at the British Higher School of Art and Design (Moscow).

Closely associated with Commercial Type, Ilya Ruderman added Cyrillic versions to Paul Barnes's Austin (2003) typeface in 2009 and 2016.

In 2015, Ilya and Yury published Kazimir, a didone typeface family for Latin and Cyrillic, taking as a model the typeface used in The History of Russian Philology by P. N. Polevoy (1900, A. F. Marx Publishing House). It was followed in 2016 by Kazimir Text.

In 2017, they published the almost brutalist wayfinding sans typeface family Navigo (which was used by Gillibrand's presidential campaign in 2019 and 2020, and by Moscow's Zoloto Group), and the experimental (hipster) typeface CSTM Xprmntal 01.

Pilar (2015) is a poster sans for Latin and Cyrillic. Giorgio Sans Cyrillic (2016, Ilya Ruderman) is a cyrillization of Christian Schwartz's condensed fashion didone typeface Giorgio Sans.

In 2017, he published Stratos Cyrillic (at Production Type, with Yury Ostromentsky; a Cyrillic version of Yoann Minet's 2016 geometric grotesque typeface Stratos: it received a Type Directors Club New York Certificate of Excellence 2017).

In 2020, Ilya Ruderman and Yury Ostromentsky released the variable sans typeface Normalidad, which started in 2019 as a custom design for MTS, a Russian mobile network operator.

In 2021, CSTM Fonts released the 42-style sans family Loos (Latin, Cyrillic, Georgian), a typeface designed by Yury Ostromentsky, Ilya Ruderman, and Daria Zorkina. Advisers on Georgian included Alexander Sukiasov and Lasha Giorgadze. Behance link. Type Network link. Future Fonts link. [Google] [MyFonts] [More] ⦿

Cultivated Mind
[Cindy Kinash]

Cindy Kinash is an apparel graphic designer from Canada. She started the Cultivated Mind foundry in 2012, and made a reputation as a script font designer. She published the hand-printed poster typefaces Amour (2012), Happy Cloud (2012), Have a nice day (2012, +Ornaments), Gionni (2012), Dreamy Hand (2012), Taluhla (2012) and Hello I Like You (2012). Requiem (2012) is grungy.

Cocobella (2012) is a delightful Treefrog-style connected brush script. Luella (2012) is a vintage poster font family. It includes several typefaces with ornaments.

Typefaces from 2013: Pacific Northwest (hand-drawn poster typeface), Mimbie (+Kitschy Ornaments, +Spooky Ornaments, +Social Media Icons), Maisy.

Typefaces from 2014: Westcoast Letters, the curly typeface Veronia (2014, with Callie Hegstrom), Local Market (with Charles Gibbons), True North (with Charles Gibbons: a set of letterpress emulation and poster typefaces in all caps; +Extras), Ciao Bella (with Charles Gibbons: a hand-drawn copperplate script emulation with four lovely hand-drawn sets of floral ornaments), La Chic (sic) (a poster font family on a didone body, with several sets of frilly frames), Pacific Northwest Letters, Pacifc Northwest Labels, Azaelia (hand-painted; comes with a dingbat font that has handmade frames, page dividers, ribbons and fancy flourishes).

Typefaces from 2015: Mulberry Script, Glamour Brush, True North Textures (letterpress emulation; with Charles Gibbons), Wanderlust (watercolor brush script), Wanderlust Collection (including Wanderlust Letters Pro, Decorative, Boho, Chic, Shine, Gold, Caps, and Ornaments).

Typefaces from 2016: Viva Beautiful, Garden Grown (brush script; +US B, +US C Caps), Local Brewery (vintage script). Local Brewery evolved in 2020 into Local Brewery Collection, and includes Icons, Extras, a monoline script and a tall all caps monolinear sans.

Typefaces from 2017: Northwoods (handcrafted sans).

Typefaces from 2018: Beauty Club (a script and a didone text family), City Streetwear, Beauty Style, Bushcraft (a geometric monoline script).

Typefaces from 2019: Garden Collection, Viva Beautiful Collection, Northwoods Rough, Eastville Square (signage script).

Creative Market link. YWFT link. [Google] [MyFonts] [More] ⦿

Dalia Sherif

Designer in Cairo, Egypt. In 2016, she designed the Arabic poster typeface Methali, which is based on Naskh and Diwani scripts. In 2015, she designed the decorative Latin didone typeface Couturier. [Google] [More] ⦿

Dalila Capelli

Bergamo, Italy-based designer of Dalila Garamond (2015), a hybrid of Garamond and Bodoni/Didot targeted for use in fashion mags. Dalila Garamond was a student project. [Google] [More] ⦿

Damelev Studio (was: Logo Labs, Tanziladd, Rawi Project)
[Nyapa Tanzil]

Yogjakarta, Indonesia-based type foundry, est. 2016, whose designer is Nyapa Tanzil, who also used the alias Tanzil Adduha (b. 1991), who operated as Logo Labs before changing the name to Damelev Studio.

Their first typefaces include Fadillah (2016, brush script), Raya (2016, spurred Victorian style), and Cabe Brush (2016). Typefaces from 2017: Candelion, Audrey Script, Mentkent (monoline connected script), Jansky Script (signage brush font), Bandalaka Script (connected brush script).

In 2018, he designed Malbrock (or Malbrouck Script: a classic calligraphic penmanship script), Nayland Script, Avital (font duo), Windpeak Script, Andamar (Script, Serif), Montante (calligraphic), Adamantine, Caernarfon, Diandra (signature script) and Quinshawna.

Typefaces from 2019: Behofeel (a gorgeous crisp calligraphic script), Marmoreal (formal calligraphic), Munchen Script (script font), Chasmophile (a formal calligraphic script).

Typefaces from 2020: Daizen Script, Alqaisumah Script (formal calligraphy), Brandoneir Signature, Elika Gorica, Bornice (a decorative serif), Broger Display (hipster meets arabesque, The Herera (a baseball script), Roberston Display (intestinal style), Armies Display, Dalglish (a display serif with clean lines), Anaximander (a condensed swashy fashion mag wedge serif typeface), Herschel (font duo), Gorga, Fringland (calligraphic), Almerian (a monoline script), Milestone (a signage script).

Typefaces from 2021: Naguboty (art nouveau), Bayanaka, Noeran (a dashing display serif with exaggerated ink traps), Avaunt, Merson, Claude, Rokurou, Reinhart Script, Monfem, Gunsan Serif and Script (an art nouveau-inspired font duo), Northway (a dramatic bold display typeface), Ardmore Display (psychedelic). [Google] [MyFonts] [More] ⦿

Daniel Barba

Designer and illustrator in Mexico City. Creator of the fashion mag display typeface Isadora (2013) and the high-contrast display typeface Jericho (2013). [Google] [More] ⦿

Daniel Brokstad

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.

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] ⦿

Daniel Hernandez
[Hernández Type (was: Estudio de diseño Calderón)]

Daniel Keith Bale
[DKB Fonts]

Dario Vazquez

Designer in Guadalajara, Mexico, whose studio is called Bimabel. He created the Peignotian fashion mag caps face Animex (2011). [Google] [More] ⦿

Dave Rowland
[Eclectotype (was: Schizotype)]

David Jonathan Ross
[DJR Type]

David Massara

Lausanne, Switzerland-based graphic and type designer who studied at Eracom & ECAL. iHis diploma typeface was Ripley. He also designed Neptune (2014: a sans typeface with hipster options; free trial) and Seingalt (2017: a high-contrast fashion mag didone with a free trial).

In 2020, he joined the Swiss type foundry newglyph. [Google] [More] ⦿

David Rudnick

Born in 1986, David Rudnick is a graphic designer in the UK. He created quite a number of typefaces ca. 2013. These include:

Sans: Caszius Caps (titling sans, +Hebrew), Caszius Hallow, Zoa (+Zoa Wassenaar, a sans after Piet Zwart), Amos, Poptimo Blast (heavy and condensed beauty), Ezekiel, J Smith (named after signwriter and typographer Percy J. Smith, 1882-1948).
Grotesks: Clinic Grotesk, Erhard Grotesk (after Nuremberg-based woodcutter Erhard Schön, 1491-1592), Erbar Grotesk Light (after Jakob Erbar).
Avant garde sans: Specter.
Rune simulation: Jerusalem (straight-edged).
Geometric display types: KapilDev.
Lapidary / flared: Neu Symbol (after Philip Bouwsma's Neuhengen), Alsatian.
High contrast fashionable sans: Arcelor.
Octagonal/techno: F Type.
Trajan: Petrus.
Blackletter: Hyperzeit (2013).
Pixelish: Eclipser (2020).

Typefaces not listed above: Alastor, Etude, Ezekiel, HyperTerra, HyperZoa, Kala Light, ManMake, Mandem, Marathon, Tranz Mono, Unity Terminal, Verseau. [Google] [More] ⦿

Daylight Fonts
[Shinya Okabe]

Japanese foundry with excellent web pages on early 20-th century type design. Shin Oka, or Shinya Okabe (b. 1976, based in Himeji) created various revival fonts in or just before 2009, many connected in some way to Tom Carnase and the phototype era. He specializes in 1970s and 1980s typefaces, often with open counters and high contrast. His fonts:

Bentley (2010). This is the same as Avant Garde Gothic.
Bernhard Neo DF (2010).
Caslon223 DF (after ITC/LSC Caslon 223 by Tom Carnase). Other Caslons include Caslon Headlione DF (2010) and Caslon Swash DF (2010).
Didot DF (2008).
Garamond DF (2010).
Grouch DF (after ITC Grouch by Tom Carnase and Ronne Bonder)
Lubalin Graph DF (after ITC Luabalin graph by Herb Lubalin, Ed Benguiat, Joe Sundwall, and Tony DiSpigna)
Busorama DF (after ITC Busorama by Herb Lubalin and Tom Carnase)
L&C Hairline DF (after L&C Hairline by Herb Lubalin and Tom Carnase)

Additionally, they identified the fonts on many covers and albums from the 1960s and 1970s. Further revivals of photolettering era fonts:

Baby Teeth (2009): after the art deco typeface of Milton Glaser, 1968, PhotoLettering.
CBS Didot (2009): after the original by Freeman Craw, 1970s.
Indigo (2009): after a font by Albert Hollenstein, 1970s.
Pacella Collegiate (2009): after Vincent Pacella's typeface at PhotoLettering.
Penny Bee (2009): a Peignot lookalike.
Tiffany Heavy With Swash (2011). A swashy Didot display face. This type was used by Quentin Tarantino's movie Jackie Brown in 1997. Tiffany Heavy (Ed Benguiat, Photolettering) is basically identical to Benguiat Caslon Swash (1960s) and to Foxy Brown (1974). Similar typefaces include LSC Book with Swash by Herb Lubalin and Tom Carnase (ca. 1970).
Wexford (2009): after the typeface of Richard A. Schlatter, VGC, 1972.

They are working on Permanent Massiv (after a 1962 Ludwig&Mayer font by Karlgeorg Hoefer---comparable to Impact or Compacta in its massiveness and masculinity), Michel, Didoni, Tiffany, Ginger Snap, Patriot, Motter Ombra, Pistilli Roman, Benguiat Caslon (a large size display Caslon by Ed Benguiat at PhotoLettering; digitized at House Industries by Christian Schwartz and Bas Smidt), and Via Face Don.

In 2020, Shin Oka released the caslon-sinspired Ivy Ivy, the piano key version of a fat Bodoni, the fashionable Gara Gara, the 1970s font Bern Bern, Super Bodo Bodo, the art deco / Bauhaus typeface Sophi Sophi, the art deco typeface Fifty Four, the fashion mag typeface Rache Rache, the Peignotian sans typeface Mid Mid Sun Sun, and the display didone Fau Fau. [Google] [MyFonts] [More] ⦿

Dean Nugraha
[Sansakerta (or: DN Art)]

Deduk Suandana
[Made Deduk]

Deeait Creates
[Mathias Doblhammer]

Mathias Doblhammer (DeeAit) is a graphic designer and illustrator from Vienna, His typefaces include Benchmark (2007), Fashion Victim (2009, hairline avant-garde face), Bowler (2008, rounded and ultra-fat), the octagonal / rhombic typeface Symbolis (2012), and Lazy Fox (2009, connected octagonal experiment). [Google] [More] ⦿

Dejan Cirkvencic Kralj

Dejan Cirkvencic Kralj (Re-Format, Ljubljana, Slovenia) created the free high-contrast smooth-edged fashion mag typeface Sundari (2011). [Google] [More] ⦿

Dene Studios
[James Partington]

Known as James Dene or James Partington. Malaga, Spain-based designer of the handcrafted typefaces Rune (2018), Calx (2018), Calligraphy Rough (2018), Back to School (2018). In 2019, he published Barleycorn, Atomic, Lost in Space, Centuria (a clean modern sans), Nadir, Geneva, Control, Cosmic, Myrkheim (a Norse or hipster font), Perehilion (a paperclip font), Aphilion (stencil), Equinox (a connect-the-dots typeface), Revolve (hipster style), Ascension, Orion (circle-based), Nova (sci-fi), Voyager (stencil), Black Velvet, Quamir (a hipster sans), Norse Elder Futhark, Interlace (a multiline typeface), Exoplanet, Orson (a serif typeface), Dr Jekyll & Mr Hyde, Sterling, Queen, Horace, Amos (a fashion mag sans), Allegra (serif), Archibald (slab serif), Cuneiform, the medieval typeface Reznor, the blackletter typefaces Griffin, Edgar and Deimos, Matrix, Egyptian Hieroglyph, Elder Futhark and Detective (a fingerprint texture font).

Typefaces from 2020: Horizon, Barleycorn, Ancient Language Package, Perihelion (a paperclip typeface), Maze, Lost in Space, Quick, Assassin, Constantine, Drastica, Grace, Orson, Alistair, Antoinette, Bernard, Edgar, Lila, Anastasia, Angelica, Annabelle, Black Velvet, Centuria, Jinx (handcrafted). [Google] [MyFonts] [More] ⦿

Denis Serebryakov
[Serebryakov Type Foundry (or: Serebryakov TF, S TF; was Onetypethree Foundry, or: Dzianis Serabrakou)]

Dennis Ludlow
[Sharkshock]

Derek Guo

Designer in British Columbia who created the fashion mag high-contrast typeface Kursive (2013).

Desmond Wong

Desmond Wong studied at The Cooper Union (2011) and at Pratt Institute (2009-2013) before setting up shop in New York City. He designed some typefaces such as Mandelbrot (a Type@Cooper fractal emulation project from 2011 named after Benoit Mandelbrot), Bema (2013, a reinterpretation of a typeface originally created by Michael Freiburger, Martin Kranz, and Ulrich Gering for the first Bible printed in France---designed during Jesse Ragan's typeface design class at Pratt Institute), OM Steiner (designed at Other Means with direction from Gary Fogelson, Phil Lubliner, Ryan Waller and Vance Wellenstein for Yeasayer's Fragrant World), Export (2012, for Jesse Ragan), Vogue Sans (2013, a class project done with Kathleen Creighton), and four typefaces crated for his senior thesis project in 2013 jointly with Frank DeRose and Brendan Griffiths: Chinatown, Woodworm (with art nouveau stencil hints), Plant, Classified.

In 2017, Christina Janus and Desmond Wong co-designed Authentic Sans.

He won the People's Choice award for Untitled in 2016 at the Morisawa Type Design Competition 2016. Linkedin link. [Google] [More] ⦿

Desplus Studio
[Mirdhatillah]

Lhokseumawe, Indonesia-based designer. His typefaces from 2020: Viona Monoline, Monica Script, Lemone, Vallen Sans (Peignotian), Wouston Vintage.

Typefaces from 2021: Carlosea (a display serif), Shunsine (a thorny serif), Chellinda (a rhythmic retro script), Nathallia (a plump display serif influenced by Windsor), Niguella (a fashion mag serif), Xavierace (a speed font). [Google] [MyFonts] [More] ⦿

Dharma Sahestya (or: Dharmas Studio)
[Ahmad Jamaludin]

Aka Dharmas. Malang, Indonesia-based designer (b. 1998) of the handcrafted and script typefaces Serenity (2018: monoline script), Monatia (2018), Real Kindly (2018), Just Sunday (2018), Olivia (2018: a monoline script), Roselyne Script (2018), Youthness (2018), Effort (2018: calligraphic), Aprils Sans (2018: free), Rhesmanisa (2018) and Shefilla (2018). Other fonts include the monoline display typeface Brotherhood (2018).

Typefaces from 2019: Average (a sharp-edged text typeface), George, Simplicity Angela, Bottomland, Pamella, Audrey and Reynold (calligraphic, as for weddings), Rotterdam, Grandiose (script), The Britney (calligraphic), Germany Script, Germany Sans, Magenta (a signature font), Effort (calligraphic script), Aprils, Calorie, Setting Fires (a monoline script by Dharma Sahestya).

Typefaces from 2020: Cyrano (all caps, art deco), Mattire (a stylish bold display typeface), Margin (a chubby serif font), Just Sunday (a lively upright script), Bargie (a chubby decorative serif), Transcity (a swashy display serif), Senja Mentari.

Typefaces from 2021: Nambya (a display typeface with angles reminiscent of Gothic cathedrals), Etnyca (a groovy reverse stress display typeface), Gunydrops (a groovy psychedelic typeface), Nighty (a plump display typeface), Bright (a display serif), Bon Foyage (a decorative serif).

Typefaces from 2022: Kelpo (a groovy retro typeface), Stager (a boudoir font), Salty Mussy (intestinal), Seraya (decoration gone wild, with an unrecognizable lower case f). [Google] [MyFonts] [More] ⦿

Diana Sanchez

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 Victoria (2013). Other typefaces include Travel Type (outlined style) and Gemma (2014, beveled).

Didot: Brands

Didot is everyhere, on fashion mag covers like Vogue and Bazaar, on billboards, and in brand logos such as Hilton, Dior, cK, Boss, Yves Saint-Laurent, Giorgio Armani, Zara and Guess. [Google] [More] ⦿

Diego Maldonado
[Notdef Type]

Diego Massaro

During his studies at Isia Urbino (Italy), Diego Massaro (Imola, Italy) designed the display typeface Residua (2019) and the Japanese emulation typeface Fukuro (2019).

In 2020, he puvblished the stylish modern serif typeface Angustina. [Google] [MyFonts] [More] ⦿

Dimitris Chatzelas

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

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

Dino dos Santos
[dstype]

Dirk Schuster
[Bropix]

Dirtyline Studio
[Hendra Maulia]

Banda Aceh, Indonesia-based designer of the script typefaces Humblle Rought (sic) (2015), Nirmana (2015, brush type), Cecilia Script (2015), Stay High (2015, graffiti influence), Gracias Script (2015), Bowlist (2015), Miguella Script (2015), Islander Brush (2015), Zailla Script (2015), Funkiess (2015), Scarlet (2015), Amanda (2015, calligraphic), Natasya (2015, a creamy signage font), Violla Script (2015), Seulanga (2015), Cornish (2015), Butller (2015), Twice (2015), Evelyn (2015), Steelmond (2015), Humble (2015; also spelled Humblle with two l's), Swirlesque (2015) and Jeumpa (2015). Aka Dirty Line Type.

Typefaces from 2016: The script typefaces Tendencia, Bull Stander (+Slab), Black Pearl Sans, Befolk, Wild Heart, Kick Hornet (brush style), The Beard, Drama Queen Script, Valiente Brush, Beautiful Dreams, Tropical (2016, in Brush Script, Brush, Brush Caps, Sans and Monoline styles), Rising Script, Rising Brush, Be Grateful, Sweetline, Lightening Sript, Zailla Script, Adorabelle Script, The Luxury, Harbour (brush type). In addition: Mortuguais, Black Heat (Victorian), Sweetline and Neptern (a Saul Bass style font).

Typefaces from 2017: Significent, Lindsey Smith Script (signature font), Axewell, Matchstic (retro signage), The Booster (baseball script), Cursive Script, Kindness Typeface (signage brush), Conquer (dry brush), Significant, The Boundaries (signage script), Blinded (fat brush script), Maldives Script, Mind Blowing (brush), Skywalker (brush script), Reshuffle Script.

Typefaces from 2018: Specta Retro Script (2018, a signage script by Hendra Maulia and Aulia Rahman), Hype Beast (brush font), Shockwave (SVG brush font), Humblle Rought (sic), Brewery (SVG font), Shanders (brush script), Hoodson (signage script), Emberblaze (brush font).

Typefaces from 2019: Blackink (a tattoo font), Hatch (brush script), Matao Serif (a decorative didone typeface done with Aulia Rahman), Black Theory (brushed), Magnison Script (signage script), Hoodson Script, Hyperflow, Baby Boomer, Hereditary, Stereohead (dry brush), Metafora, Metafora Sans (free).

Typefaces from 2020: Dx Sitrus (a 12-style display family), DX Rigraf (a 55-font sans, with a variable typeface on the side; the i and f are slab serif glyphs though), Hedgehock (a signage script), Hatch Brush (a dry brush script), Skywalker (a brush script), Matriver (a dry brush script), Adolle Bright (a quill pen script), Emerat (a heavy script), Nagaiya (a 15-style display sans (+a variable cut) characterized by sharp spurs; by Aulia Rahman and Hendra Maulia), Balecimo (a wild script), Scalter (a 42-style sign lettering typeface with Serif, Sans, Script and Variable options), Hazzard (script), Casta (a display serif in 55 styles; with a variable font), Cynthia Blooms (a signature script), Baby Boomer, Significent, Aliva Brush Script, Reshuffle Sans, Ancient Zurich, Rustler Barter (a display font done with Aulia Rahman), Neue Metana (a wide display sans by Aulia Rahman and Hendra Maulia), Mabrick Serif, Mabrick Signature.

Typefaces from 2021: Wagon (an 18-style sharp-serifed typeface family with a dancing baseline), Dx Gaster (a 15-style display or headline serif, with two variable fonts tossed in the mix), Magtis (a 10-style retro fashion mag serif by Aulia Rahman and Hendra Maulia), Scalter, Harmond (a 47-style display serif family with art nouveau charm), Cigra (a decorative serif by Aulia Rahman and Hendra Maulia).

Type department link.

Typefaces from 2022: Garcia (a Picasso-esque display typeface by Aulia Rahman and Hendra Maulia), Consta (an 8-style display serif by Aulia Rahman and Hendra Maulia). [Google] [MyFonts] [More] ⦿

District (was: CV Type)
[Galen Lawson]

CV Type, since 2013 called District, is Galen Lawson (b. Greensboro, NC, 1975), an artist who specialized first in graffiti type and logotypes and then expanded to cover all bases, including several distinctive masterpieces such as Blancmange and Hoban. He lives in Washington, DC. In 2013, CV Type became District.

His creations from 2010 until 2012: Aeron (2010, semi-serifed family, with a crippled lower case h), Hijinx (2009, a headline face), Verlico (2009, a take on Optima), and Frusta (2010, a 5-style slab serif family), Level (2010, an elliptical sans family), Reverie (2011, a curly sans), Encoder (2011, a slabby stencil family), Blancmange (2012: a tall informal semi-brush family), Reverie OT (2012).

Typefaces from 2013: Hoban (Light and Bold, a pair of high-contrast fashion mag typefaces), Fair Sans (unicase), Fair Sans Text.

Typefaces from 2014: Coupler (Coupler is a sturdy text face with low contrast, airy counters, and a strong baseline for smaller sizes and extended reading), Fair Sans Text.

Typefaces from 2015: Steady Sans (a sans with curvy dynamics), Emeritus (a lapidary typeface influenced by carved letters found on buildings and monuments in Washington, DC).

Klingspor link. Behance link.

View Galen Lawson's typefaces as CV Type. View Galen Lawson's typefaces as District. [Google] [MyFonts] [More] ⦿

DJR Type
[David Jonathan Ross]

DJR Type (Conway, MA, and before that, Deerfield, MA, and before that Los Angeles, CA, and before that, Lowell, MA) stands for David Jonathan Ross Type. Originally from Los Angeles, he was a student at Hampshire College in Amherst, MA, where he studied information design and typographic tradition. In 2007, he joined Font Bureau as a junior designer and was assisting with custom projects and expanding Font Bureau's retail library. Soon after that, het set up DJR Type. In 2016, DJR Type joined Type Network and pulled all his typefaces from MyFonts. He also runs Font of the Month Club.

In 2018, he was the tenth winner of the Charles Peignot Prize. His typefaces:

Manicotti (2010). An ultra reversed-stress Western saloon style typeface that won an award at Modern Cyrillic 2014. DJR Manicotti won an award at TDC2 2007. For a free lookalike, see Plagiacotti (2009, Saberrider).
Lavinia.
Climax Text (2006) is a text and display series that was designed for Hampshire's student newspaper.
Trilby (2009, Font Bureau). Trilby is based on a 19th century French Clarendon of wood type fame.
Condor (2010, Font Bureau). This is a 60-style art deco family. By 2020, it had a 3-axis (weight, width, italic) variable version.
Turnip (2012) is an angular and manly text face, also published at Font Bureau.
In 2013, Ross and Roger Blcak 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. In 2021, Belgian national broadcaster VRT picked DJR Forma for all its entire range of media.
Bungee (2013, Google Fonts) won an award at TDC 2014. This homeless typeface, which comes in Regular, Hairline, Inline, Outline and Shade versions, is free: Bungee is a font family that celebrates urban signage. It wrangles the Latin alphabet to work vertically as well as horizontally.
In 2014, David Jonathan Ross created the formidable 168-style programming font family Input (Font Bureau). Input is free for private use. It won an award at Modern Cyrillic 2014 and in the TDC 2015 Type Design competition. See also the proportionally spaced typewriter family Input Sans.
Gimlet (2016). A 112-style Opentype family loosely based on Georg Trump's 1938 typeface, Schadow, and advertized as funky and functional. Ross writes: Gimlet is half Schadow, half imagination, and nothing else. And like its namesake beverage, Gimlet is a little tart, a little sweet, and can really pack a punch. Gimlet Variable Bold Condensed followed in 2019. Gimlet XRay (2020) is an An experimental colorized version of Gimlet that exposes what goes on under the hood of a variable font, visualizing control points, bounding boxes, kerning, etc. Amazingly, this variable color font has six axes, weight, width, oncurve point size, offcurve point size, glyph utline weight and point outline weight.
Fern and Fern Micro (2014, Font Bureau). A Venetian typeface designed for screen.
Output Sans.
Fit (2017, by David Jonathan Ross and Maria Doreuli). A tall black display family that runs from ultra-compressed to very wide. It screams Use me for the Oscars! Fit was first developed as a variable font. It won an award at Granshan 2017.
DJR Lab, or Lab Variable (2017), is a free pixelish variable font.
Under miscellaneous, we find an untitled French Clarendon and an untitled semi-serif.
Font of the Month Club fonts from 2017: Nickel, Roslindale (Roslindale is a text and display serif that takes its inspiration from De Vinne, a Victorian oldstyle typeface named for the nineteenth century printer and attributed to Gustav Schroeder and Nicholas Werner of the Central Type Foundry), Zenith (blackboard bold), Crayonette (a revival of Henry Brehmer's scriptish Crayonette, 1890), Bild (a compressed headline font based on the American gothic type styles from the 20th century; a variable font followed in 2019), Pappardelle Party (spaghetti Western style), Roslindale Text, Klooster (followed in 2021 by Klooster Thin).
Font of the Month Club fonts from 2018: Bradley DJR (a revival of the blackletter typeface Bradley, 1895, William H. Bradley), Extraordinaire, Rhody (slab serif), Map Roman (an all caps vintage mapmaker font), Output Sans Hairlines, Rumpus Extended, Roslindale Light, Merit Badge (a variable color font).
A tech type virtuoso, he charmed me with his art deco variable font Extraordinaire (2018) that was influenced by the diamond-shaped forms found in the center of the city of Sao Paulo, Brazil.
Typefaces from 2019: Heckendon Hairline, a condensed Clarendon.
Typefaces from 2020: Dattilo (a variable style revival of Aldo Novarese's slab serif Dattilo (1974)), Pomfret.
Typefaces from 2021: Rustique (rustic capitals), Megazoid (a chunky geometric sans), Job Clarendon (with Bethany Heck, who wrote: Job Clarendon is an homage to job printing---display-heavy designs made for posters and flyers in the heyday of letterpress printing. This style of Clarendons was wildly popular in this genre of work, and I've always been interested in how adaptable they were. The style was fattened, squished and stretched to accommodate lines of text both short and long and type foundries across the globe each found their own unique features to contribute to the Clarendon stew. Ross pulled the design to both extremes but had his work cut out as he explained: The chasm between Hairline and Black was far too wide to interpolate across effectively, so I incorporated new drawings in the Extra Light, Regular, and Bold weights to act as additional tentposts to support the design).

Speaker at ATypI 2016 in Warsaw and at ATypI 2017 in Montreal. Klingspor link. Home page. Adobe link. [Google] [MyFonts] [More] ⦿

DKB Fonts
[Daniel Keith Bale]

Located in Casino, NSW, Australia, DKB Fonts is Daniel Keith Bale's outfit. A graphic designer and illustrator, his first typeface is Aurélie (2005), a curly fashionable display face. [Google] [MyFonts] [More] ⦿

Dmitrij Greshnev
[Green Type]

Dmitry Arakelov
[Fontop]

Dominic Pedruco

Based in San Francisco, Dominic Pedruco created Vendre (2014), a sans typeface for fashion magazines. Behance link. [Google] [More] ⦿

Dominique Zalewski

Graphic designer in Buenos Aires who created the art deco caps typeface Cover Type (2013), which is based on a typeface created by Eduardo Garcia Benito for Vogue, 1917-1920. [Google] [More] ⦿

Donis Miftahudin
[Nathatype]

DooType
[Eduilson Wessler Coán]

Curitiba-based Brazilian digital type foundry, est. in 2008 by the successful and talented type designer Eduilson Wessler Coan (b. 1983, Curutiba). Myfonts link. Coan joined Fabio Haag Type. Their fonts:

Estado Serif (2006), co-designed with Ericson Straub (Straub Design) and Fabio Augusto for use in the Jornal O Estado do Paraná.
DooSans (2006): custom design for the magazine abcDesign.
Ninfa (2006-2008), an organic serif face. He calls it a modern semi-serif. Whatever. Ninfa won an award at Tipos Latinos 2008 in the non-text typeface category. Ninfa Serif followed in 2012. Ninfa Serif won an award in the typeface family category at Tipos Latinos 2012.
Encorpada Black (2011) is a fat didone display face. It was extended to Encorpada Pro in 2012. Encorpada Classic was published in 2013. Encorpada Classic and Encorpada Pro won awards at Tipos Latinos 2014. In 2014, he published Encorpada Essential. In 2015, Eduilson added Encorpada Classic Compressed and Encorpada Classic Condensed.
Fluence (2012) is a calligraphic typeface family. Fluence won an award at Tipos Latinos 2012.
Tres Tres Chic (2012) is a very thin geometric fashion mag headline face.
Maestra (2012) is a calligraphic copperplate script. Gorgeous, mouthwatering, heavenly, just about the perfect font. Future brides and grooms need look no further than this for wedding invitations.
Niks Sans (2012).
dT Delicatta (2012, revised in 2017) is a formal connected calligraphic script face, destined to win many awards.
Unimed Sans, Unimed Slab and Unime Serif (2013) is a bespoke typeface family done for a Brazilian health insurance company, Unimed.
Typefaces from 2014: Bommer Slab and Bommer Slab Rounded. Bommer Slab won an award at Tipos Latinos 2014. Accura (2014, a sans typeface created together with Thiago Bellotti).
In 2015, he designed the techno sans family Sica (+Expanded, +Condensed) with Volnei Antonio Matrté Coan at DooType. Sica won an award at Tipos Latinos 2016.
Bommer Sans (2016). A Latinized (i.e., curvy) humanist sans.
dT Jakob (2017). This typeface started out in 2007 as a revival by Gustavo Soares in Paul van der Laan's class at KABK of Jakob Erbar's grotesk from 1927. It was refined and completed in 2017 at dooType with the help of Eduilson Wessler Coan. In 2018, Gustavo Soares and Eduilson Coan developed the variable inline and shadow font dT Jakob Variable Concept.
dT Ampla (2018). A sans with some warmth.
Salva (2021, Fabio Haag Type). A versatile workhorse sans family: Eduilson Coan was the lead designer. He was assisted by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.
Seiva (2021, by Henrique Beier, Eduilson Coan and Fabio Haag). A distant relative of Didot, this exotic sans family is partitioned into Text, Display and Poster subfamilies, and welcomes variable font technology.

Klingspor link. Creative Market link. Behance link. MyFonts interview. [Google] [MyFonts] [More] ⦿

Dora Typefoundry
[Zahratul Laila]

Indonesian designer of Magilla (a decorative serif) (2020), Renika Slab (2020: a lively Western style slab serif), Adecion (2020: a 4-style headline sans), Respace (2020: a decorative serif), Chelvin Serif (an elegant ligature-based serif), Crayond (2020: a fashion mag sans), Gramers (2020: all caps, Peignotian), Madeira Script (2020), Mansheen (2020: a chunky bold font), Fieasto (2020: a decorative serif), Siabella Script (2020), Andalush (2020: a heavy script), Mosscave (2020: a display typeface), Tahura (2020: a bold display sans) and Maria Aishane Script (2020).

Typefaces from 2021: Sispany (a high-waisted decorative typeface), Miegha (a decorative serif), Stiepa (a sharp-edged display serif), Braston (an elegant fashion mag serif), Religan (a thorny almost hairline serif), Qolling (an artsy fartsy sans), Astonia (a fashion mag serif), Karlotte (a fashion mag typeface), Magiona Display (a vintage display serif), Stanger (a display typeface with large x-height), Helter Slab (a reverse stress slab serif), Himalia Callisto (a stylish decorative typeface), Chemre (a display sans influenced by the hipster trend), Savinder (an all caps display serif), Allogist (a fashionable display serif), Erotick (minimalist and futuristic), De Alandia.

Typefaces from 2022: Bellabio (a stylish experimental serif), Cholleo (a play on inscriptional typefaces), Rhiffiral (a thin fashion mag serif). [Google] [MyFonts] [More] ⦿

Drawwwn Studio
[Ryan Thomas]

Drawwwn is a multi disciplinary design agency based in Bristol, UK, and sewt up in 2012. Ryan Thomas is the Bristol, United Kingdom-based designer of these stylish display typefaces in 2020: Geeeki, Koooky (a wonderful set of plumpish caps), Mooono (monospaced), Maaarka (painted, SVG format), Juuuicy (a heavy signage script), Traaam (inspired by the Sydney tram), Aaarp (paper cut style), Eyyye (a retro reverse contrast display typeface), Squaaar, Haaari (inspired by George Harrison and the "Haaari" Krishna movement), Fattty, Sorro (retro Italian and squarish).

Typefaces from 2021: Maaark (a dry marker pen font), Kofffi (art deco, SVG format), Zzzang (vintage futurist woodblock font, made for manifestos, proclamations and protestations), Paxxx (an ultra luxurious serif), Geeeki Soft.

Typefaces from 2022: Raaagu (pasta-themed). [Google] [MyFonts] [More] ⦿

Drew Melton
[Carmel Type (or: Just Lucky)]

dstype
[Dino dos Santos]

Established in 1994, dstype used to offer free fonts but has gone commercial now. It is run by Dino dos Santos (b. 1971, Oporto) from Oporto, Portugal. He graduated in Graphic Design at ESAD, Matosinhos. He received a Masters degree in Multimedia Arts at FBAUP, Porto. MyFonts place. In 2006 he won the Creative Review Type Design Competition in the Revival/Extension Family. At ATypI 2006 in Lisbon, he spoke about Portuguese lettering since 1700. Interview in 2007. Klingspor link. Author of A Letra Portuguesa, a book about Portuguese calligraphy. Dino created these typefaces:

Access (1997).
Acta, Acta Display and Acta Poster (2011, +Poster swashes). A didone fashion mag family. First designed for Chilean newspaper La Tercera in 2010, DSType's Acta family is a clean information design type system. It includes Acta Symbols, an extensive dingbat family. Acta Var (2020) has two axes, weight and optical size.
Acto (2012). Acto is a type system designed as the sans serif counterpart of the previous released Acta. Both type families were designed in 2010 for the redesign of the Chilean newspaper La Tercera.
Andrade Pro (a modern) and Andrade Script Pro: based on the calligraphy of Andrade de Figueiredo, ca. 1722.
Anubis (2003): a unicase face.
Aparo (2013). A plumpish elegant high-contrast script face.
Apice (2022). A highly structured calligraphic typeface with five optical sizes.
Apud and Apud Display (2010): a high-contrast serif family.
Aquila (2004).
Ardina (2016). Done with Pedro Leal, this text typeface family has three optical sizes.
Boldina (2004). A fat informal poster family with 18 weights and styles.
Braga (2011, Dino dos Santos and Pedro Leal). This is a layered font design family. Dino writes: Braga is an exuberant baroque typeface, named after a portuguese city, also known as the baroque capital of Portugal. Our latest typographic extravaganza comes with a multitude of fonts designed to work like layers, allowing to insert color, lines, gradients, patterns, baroque, floral swashes, and many other graphic elements. Starting with Braga Base, you can add any of the twenty-three available styles, to create colourful typographic designs.
A type system from 2014: Breve News, Breve Display, Breve Slab Title, Breve Sans Title, Breve Title, Breve Slab Text, Breve Sans Text, Breve Text. The Breve system includes modern design elements in the skeleton and ball terminals, transional elements, almost wedge-serifs in the serifed styles. As with most of dos Santos's typefaces, even the sans and slab styles exhibit Latin warmth and exuberance.
Capsa (2008): a family that was inspired by, but is not a revival of the Claude Lamesle types Gros Romain Ordinaire and Saint Augustin Gros Oeil.
Ception (2001): a futuristic sans family.
Cimo (2017). A distinguished condensed sans.
Cultura, and its improved version Cultura New (2013), a text book typeface family.
Decline (1996).
Denso (2019). By Dino dos Santos and Pedro Leal: a great condensed variable font with weight, serif and optical size axes.
Digno (2022). A fuzzy text typeface family.
Dione (2003): a sans; redone in 2009 as Dobra at TypeTrust. See also Dobra Slab (2009).
Enorme (2020). Ultra massive and modular 3000-glyph mastodont of a constructivist font, by Pedro Leal and Dino dos Santos.
Esta (2004-2005): extensive (transitional) text and newsprint family.
Estilo (2005): a gorgeous and simple art deco-ish geometric headline face. This was accompanied by Estilo Script (2006), Estilo Text (2007, a 6-style rounded sans family), and later, Estilo Pro (2010, +Hairline).
Ezzo: a sans family.
Factor (1997).
Finura (2009): this typeface has hints of University Roman.
Firme (2014). A geometric sans for corporate use.
Fragma (2003): squarish techno family.
Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed in 2012 together with Pedro Leal at DS Type.
Glosa (2008): Glosa is a meaty multi-style didone family. Glosa Text and Glosa Headline all followed a bit later in 2008, and Glosa Display in 2009.
Hades (2012). A yummy and free blackletter typeface.
Hypergrid (2002): octagonal.
Ines (2015). A classic 7-style text typeface.
Isento and Isento Slab (2017). Both are loosely based on ATF's Times Gothic.
Lucius (Sans, Serif) (2022). The Lucius type family began as an attempt to reproduce the Principios Methodicos para as Letras Aldina e Roman---Typo Portuguez, but went went way beyond that in its multi-faceted execution.
The Quase family (2017): Quase is a very free interpretation of the types found in the Specimen of Printing Types by William Caslon from 1785. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Subfamilies: Quase Headline (12 styles), Quase Poster, Quase Display, Quase Text.
Idem and idem Display (2021).
Dino dos Santos and Pedro Leal published Jules in the summer of 2015---a fat fashion mag didone 45-style family inspired by several plates from Portuguese calligrapher Antonio Jacintho de Araujo; it comes in Big, Colossal and Epic. They followed up in 2017 with Jules Text.
Kartago (2005): based on Roman inscriptions from Cartago.
Keiss (2017) and Keiss Text (2021). A Scotch roman with a lot of contrast. Keiss Text comes in twelve styles and features short descenders and ascenders, along with three very distinct optical sizes. It was designed with contemporary newspapers in mind. In 2021, he added Keiss Title, Keiss Condensed, Keiss Big (14 styles) and Keiss Condensed Big.
Large (1999) and Large Pro (2006).
In 2020, Dino dos Santos and Pedro Leal designed Larga, which was inspired by the typefaces shown in the specimens of the Fundiçãao Typographica Portuense from 1874. Larga is a wide all caps family and comes with a variable opentype format.
Leitura, Leitura Headline, Leitura News, Leitura Sans, Leitura Symbols, Leitura Display (2007): the 31 styles were all made in 2007.
Logica (2016). A classical text typeface.
Maga (2012). A text family.
Methodo (2005): calligraphic penman typefaces.
Missiva (2004).
Monox and Monox Serif (1998-2000): a monospaced family.
Ni Sans, Ni Slab, Ni Serif (2018).
Musee (2006): a transitional family with ornaments and borders.
Nerva (2004). A subdued Trajan typeface with flaring.
Nitida (2017). A 114-font family with five optical sizes.
Nyte (2012). A serifed text family.
Otite (1995).
Outside (1996): grunge.
Parco (2021). A compact headline typeface with large x-height.
Plexes (2003). See also Plexes Pro (2006).
Pluma (2005): a series of three exquisite calligraphic flowing scripts called PlumaPrimeyra, PlumaSegunda and PlumaTerceyra). Inspired by the typographic work of Manuel de Andrade de Figueiredo that was published in 1722: "Nova Escola para Aprender a Ler, Escrever e Contar, offerecida a Augusta Magestade do Senhor Dom Jao V, Rey de Portugal".
Poesis (1999).
Pratico UI and Pratico Slab UI (2022).
Prelo (2008): A sans family for magazines, it has styles that include Hairline, Hairline Italic, Extra Light, Extra Light Italic, Light, Light Italic, Book, Book Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic, Slab and Prelo Condensed.
Priva Pro (2006): a sans family that includes Greek and Cyrillic).
Prumo (2011-2012). A 92-font family originally created for the redesign of the Argentinian newspaper La Nacion. Released to the public in 2013, it covers low and high contrasts, and has slab serif styles as well as Scotch Roman styles. So, it is more a type system or type collection than one single typeface: Prumo Banner, Prumo Deck, Prumo Display, Prumo Poster, Prumo Slab, Prumo Text.
Quadricula (1998).
Quaestor and Quaestor Sans (2004). Roman inscriptional typefaces.
Recita (2019). A sturdy oldstyle text typeface family.
Resea (2004) and Resea Consensed: Bank Gothic style typefaces.
Solido (2012) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts. In 2020, a variable font was added to Solido. Codesigned with Pedro Leal.
Synuosa (1999): an experimental typeface showing only the top half of the characters.
Tecla (2018). After Printype, a typeface developed in the early twentieth century for the Oliver Typewriter.
Terminal (1996).
Titan and Titan Text (2003).
User (2012), User Upright (2012), and User Stencil (2012). Monospace type families.
Velino (2010): an extensive family including Velino Text, Velino, Velino Condensed, Velino Compressed, Velino Poster, Velino Sans, Velino Sans Condensed, Velino Display (+Compressed Display, +Condensed Display). This didone superfamily is sure to win a ton of awards.
Ventura (2007): based on the calligraphy of Portuguese calligrapher Joaquim José Ventura da Silva, ca. 1802, who wrote Regras methodicas para se aprender a escrever os caracteres das letras Ingleza, Portugueza, Aldina, Romana, Gotica-Italica e Gotica-Germanica in 1820. It had a "Portuguese Script". Do not confuse Ventura with Dieter Steffmann's font by the same name made many years earlier. Ventura won an award at TDC2 2008).
Viska (2015, by Dino dos Santos and Pedro Leal) is designed for small print.
Volupia (2005): a connected advertising face.

DS Type also has typefaces by other type designers, such as Pedro Leal. They worked with leading companies, world scale events and well-known design agencies including: Appetite, Banco CTT, Banco Economico, BBDO, CondéNast, CTT Correios de Portugal, Electronic Arts, Errea Communicacion, Erste Bank, ESPN, Expo 2020 Dubai, Fifa World Cup 2018 Russia (the Ducha typeface), Garcia Media, Gatorade, Gruner + Jahr, Hearst, Innovation, King Games, McCann-Erickson, Meredith, Palmer Watson, Pentagram, Sagres, Starbucks, The New York Times (the Nyre typeface), Vox Media and Wolff Olins.
View Dino dos Santos's typefaces. DS Type's typeface library. [Google] [MyFonts] [More] ⦿

Duet Atelier
[Rebecca Allen]

Houston, TX-based designer of the flashy typeface Culture Display (2019) and Fashion Diaries Script (2019). Home Page. [Google] [More] ⦿

Dunwich Type Founders
[James Walker Puckett]

Dunwich Type Founders (or: DTF) in Boulder, CO (was: New York City) is run by James Walker Puckett (b. 1978, Virginia), who graduated from the Corcoran College of Art and Design in Washington, DC. Blog. Behance link. Fontspring link. Type Library. Typefaces:

Armi tage (2010). A grotesque sans family.
The squarish signpainting family Downturn (2009).
He is working on a (nice!) revival of Fry's Baskerville, which is based on a scan of types cut in 1768 by Isaac Moore.
Lorimer (2011) is a gothic sans serif that was inspired by 19th century inscriptions in the yard of New York's St. Mark's Church. Some weights are free. In 2011, this was followed by Lorimer No. 2 and Lorimer No. 2 Condensed. In 2012, there was an announcement that Lorimer was no longer being distributed. But that was contradicted in 2015, when James placed Lorimer No. 2 Stencil (2011) at the Dafont site for free download.
New Constructivist Beta (2007).
Recovery (2008, TypeTrust). The grunge version of Recovery is Black Monday (2009, with Silas Dilworth): it has several glyphs for randomization.
The 1829 specimen book of Alonzo W. Kinsley's Franklin Letter Foundry led James Puckett to develop the splendid ornamental didone fat face Sybarite (2011), which comes in many optical weights.
The friendly superelliptical black poster typeface Gigalypse (2012).
Becker Gothics (2013). A revival of five typefaces from Ornamental Penmanship (1854, George Becker): Egyptian, Egyptian Rounded, Stencil, Tuscan and Concave. All have Western and wood type influences.
Ironstrike and Ironstrike Stencil (2014). Ironstrike pays homage to industrial and constructivist lettering.
Uniblok (2015). A free blocky font.
Rhodium Libre (2015, free at Google Fonts), designed for use on screens at small sizes and the Latin and Devanagari scripts. Historical models for Rhodium's design are Fortune (aka Volta; by Konrad Bauer and Walter Baum) and Rex (by Intertype).
Padyakke (2015) is a libre Kannada font.
Antarctican (2017, Dunwich Type Founders): Antarctican hybridizes ruler and compass geometry and American wood type. Some styles are monospaced.
Barteldes (2018). A fashion mag typeface family.
Margherita (2021). A free sturdy typeface family based on urban lettering in Italy.

Creative Market link. https://fonts.ilovetypography.com/fonts/dunwich-type-founders">I Love Typography link. Github link. Fontsquirrel link. [Google] [MyFonts] [More] ⦿

Dusan Jelesijevic

Serbian graphic designer located in Gornji Milanovac, Serbia. Cofounder in 2009 with Slobodan Jelesijevic, his father, of the Serbian foundry Tour de Force. Creator of these typefaces:

Dusan Script (2009, Ascender: a monoline informal hand-printed script).
Artvod (2009, slabby and octagonal at the same time).
Qiltray (2009, handwriting for long texts).
Punkerro Crust (2009, delicious scratchy type).
Rough the Type (2009, blackboard style).
Shuma (2009, handwriting).
Dolina Script (2010).
Econs (2010, ecology dingbats).
Sensor (2010, an ink-trap monoline face).
Enforcer (2010, an elliptical headline sans).
Epruveta (2009).
Passage (2010, a great art deco family, including Initials and Borders).
Amanet (2011). A flared display face.
Osmacka azbukovica (2011). A Cyrillic font made by his kids in school.
The clean-cut semi-humanist sans family Centim (2011).
The Egyptian typefaces Saxophone Soprano and Saxophone Baritone.
Debelly (2011), one of the best typefaces to come out of Tour de Force. They say about this elegant fat poster face: Debelly is catchy fat typeface, with lovely geometric shapes. Inspired with contrast strokes, with square joins, Debelly gives an impression of retro style combined with contemporary trends. It is designed specially for packaging, posters, logotypes or headlines, even it can be pretty handfull in smaller sizes. Contains 375 glyphs.
Epitet (2011). A simple monoline family built around elegant elliptical shapes.
Refren (2012): A monoline script face.
Equator (2012): An avant-garde caps headline family.
Brisko Sans (2013). A straightforward sans family. Extended to Brisko Display (2012).
A day before Serbia was crushed by the Belgian soccer team, Dusan published the organic sans typeface Publio (2013).
Kamenica (2013). A display sans. Followed in 2017 by the gorgeous Kamenica Texture typeface family.
Nervatica (2013). A children's book font.
Lasta (2013) is an informal serif typeface advertized as poetic.
Selektor (2013). A geometrical almost techno sans family. This was followed by Selektor Slab (2013).
Bartender (2013). A copperplate typeface.
Lumier (2013). An all caps geometric sans family inspired by art deco posters from the interwar period. Followed by Lumier Texture and Lumier Rounded (2018).
Scholle (2014). A bouncy two-style inline family with cartoonish elements.
Hedon and Hedon Display (2014). A hedonistic sans that exhibits the sort of contrast one finds in inscriptional types.
Lumberjack (2014). A bouncy fat cartoon typeface. Not to be confused with Thiago Bellotti's Lumberjack (2013, Mushroom Type), it was renamed 24 hours after its first appearance to Lumberjacky.
Trampoline (2014). A funky typeface.
Dondolare (2014). A primitive hand-drawn typeface.
Balcon (2014) and Balcon Round (2014, a condensed rounded sans).
Scripton (2015). An urban wall brush type.
Manzello (2015: a workhorse text typeface).
Pleyo (2015). Hand-crafted, perhaps for children's books.
Dusan Script (2015).
Fartitudo (2015). Just for the name alone, this typeface deserves a medal. Fartitudo is a 3-style handcrafted all caps poster family in a genre that was kickstarted by Pintassilgo in Brazil.
Avram Sans (2016).
Dambera (2016) and Dambera Retro (2016). A connected script, perhaps suitable for children's books. Crazymond (2016). Hand-crafted semi-connected script.
Lunatino (2016). A poster script.
Plonker (2016). An all caps hand-printed typeface.
Fine New Bonbons (2016). A quaint candy store script.
Napolitanka (2016). A delicate high-fashion hifgh-contrast didone.
Businessland (2016). A rough handcrafted poster typeface.
Escondida. A high-contrast connected script.
Alonga (2017). A serif family with considerable contrast characterized by sharp triangular serifs.
Nula (2017). A 22-style humanist sans typeface family.
Mymoon (2017: a geometric sans in 22 styles), Mymoon Stencil, Mymoon Stencil Texture.
Landsick (2018). An intense script.
Blond (2018). A sans family that tends towards the humanist side.
Penfriend (2018). A script typeface.
Modny (2018). A fashion mag Peignotian sans family with a gorgeous inline style.
Stropha (2018). A compact slab serif family.
Hlad (2018). A distinguished 5-weight incised / lapidary typeface family.
Masny (2019). A no-nonsense modern sans family in 22 styles.
Connectica (2019). A retro connected script.
Dietal (2019). A condensed squarish military parade slab serif. Accompanied by Dietal Sans (2019).
Mondish (2019). A stylish sans family, perhaps best suited for fashionable environments.
Edicia (2019). A charming serifed typeface family.
Plaisir (2020). A serifed text family that oozes style.
Roanne (2020). a 44-style sans family characterized by a yawning lower case a.
Prego (2020). A 23-style Peignotian sans.
Prelom (2020). A retro wedge serif family in 15 styles.
Hartia (2020). A 10-style serif.
Silqa (2020). An art deco typeface on Novichok.
Finoteca (2020). A beatnik font.
Kondes (2020). A 20-style condensed squarish sans with variable styles.
Lupio (2021). In 20 styles: a variable and static geometric sans family.
OK Moral (2021). A Western font.
Ragazzi (2021). A 21-style with a didone skeleton but dwarfed serifs and sharper terminals.
Metropola (2021). A Victorian era sans accompanied by a variable font.
Stray (2021). An 18-style geometric sans for Latin and Cyrillic, with pinched connections.
Ancress (2021). A wide geometric sans in 14 styles.
Klaud (2021). A 14-style slab serif of Clarendon pedigree.
Fabular (2021). A twelve-style display serif.
Cat Fight (2021).
Bottled Moon (2021). A Victorian serif.
Povetarac (2021) and the superfamily consisting of Povetarac Didone, Povetarac Display, Povetarac Sans (2022). Each subfamily has 6 or 12 styles and contains a variable font.
Poruka (2022). A monolinear script.
King of August (2022). A retro signage script.

Behance link. MyFonts link. His most popular typefaces showcased. Fontspring link. Klingspor link. View Dusan Jelesijevic's typefaces. [Google] [MyFonts] [More] ⦿

Dysa Studio
[Yusup Saputra]

Indonesian designer of these tyypefaces in 2020: Badbad (a monoline script), Nofela (a dry brush script), Marida Cole (a rope font), Meiloly, Own Friday, Hantlay (a dry brush script), Castya, Maesha, Beslin, Catetin, Katika, Latton, Luloy (a brush script), and Mongoill (a signature script).

Typefaces from 2021: Summer Paradise (a plump slab serif for soft displays), Ralligant (a fashionable typeface), Claudia Alves (a fashion mag display typeface), Eligade (a stylish serif), Marithin (a ball terminal wedge serif), Playfulion (hand-printed), Renattosa (a monoline script), Pianka Brush (a dry brush script), Laceria (a stylish sans with hipster caps), Quilany (a modern display serif), Monka (a display serif), Belagoya (a thin display serif), Rotally (a stylish serif), Wonderplay (a monolinear comic book or children's book font), Maloya (script), Rallisaguen (a decorative serif), Pantai Bali (a signature script), Gladies (a stylish display serif), Actu (a notched display typeface), Amitha (a calligraphic script), Rawgly, Alems (a sharp-serifed display serif), Quensialy (a wide signature script), Mounlee (script), Luthfya (a fat finger font), Cannu, Gallient (a fashion mag serif), Manky (a decorative serif emulating ink spread). [Google] [MyFonts] [More] ⦿

Dzulka Elfira
[Tebaltipis Studio (or: Tebaltipis Lab)]

Eaver Studio (or: Wahyu & Sani Co)
[Wahyu S. Adi Wibowo]

Wahyu & Sani Co is the duo of Sani Sanjaya and Wahyu Wibowo in Magelang, Indonesia. In 2021, Wahyu Wibowo set up Eaver Studio. Designers of the display typeface Bouncy Hunter (2016), the dry brush typeface Little Antelope (2016), the script typeface The Signals (2017, Serif, Script), and the signage brush typeface Handstyles (2016).

In 2019, they designed Genera (a 44-style almost monoline sans family; by Wahyu Wibowo), Kiyana Display (a high-contrast display sans), the 18-style sans typeface Creo, the stylish typeface Regatto, the connected script Lambo, the techno typeface Tenika, the flared typeface Pocus Primera, the fashion mag typeface Kiyana, the flared serif typeface Serat, the font duo Melanic Black, the script typeface Heinsler, the display typeface Borui and the 20-style geometric sans typeface Guerrer (by Wahyu Wibowo).

Typefaces from 2020: Frock (a swashy 16-style sans), Algera (a 20-style spurless, almost organic, sans), Berka (a 14-style mixed genre sans), Regave (a 24-style (+variable) typeface inspired by Danish lettering of Knud Valdemar Engelhardt (1882-1931) who designed the street signs for the Copenhagen suburb of Gentofte. Engelhardt's design was loosely based on the lettering of two Danish architects of the time: Thorvald Bindesbøll (designer of the Carlsberg logo) and Anton Rosen. The signs were so successful that they are still in use today; Regave features the cut-off Danish g), Neufreit (an 18-style sans), Morn (an interesting geometric sans in 20 styles: all counters, e's excepted, are perfect circles), Scatio (an information design sans family), Goldbill (a 56-style geometric sans with short (Goldbill XL), regular or tall (Goldbill XS) ascenders and thus inversely proportional x-heights; + two variable styles).

Typefaces from 2021 at Wahyu & Sani: Serat Ultra, Revaux (a decorative didone; 14 styles), Geliat (a sans in 44 styles).

Typefaces from 2021 at Eaver Studio: Biryllo (script), Tenar Black (a display serif influenced by Souvenir and Cooper Black).

Typefaces from 2022: Genera Grotesk (22 styles, plus a variable font).

MyFonts link for Sani Sanjaya. [Google] [MyFonts] [More] ⦿

Eclectotype (was: Schizotype)
[Dave Rowland]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Klingspor link. Behance link.

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

Eduardo Garcia Benito

Painter and illustrator of the art deco era, b. Valladolid, Spain, 1881, d. Valladolid, 1981. He became famous for his fashionable covers and illustrations for Vogue and Vanity Fair, and maintained offices in Paris and New York. During 1917-1920, he designed some typefaces for special use by Vogue. These were dug up by Dominique Zalewski (Buenos Aires) in 2013, and provided inspiration for Dominique's Cover Type. [Google] [More] ⦿

Eduilson Wessler Coán
[DooType]

FontShop link. Klingspor link.

Edward Benguiat

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.

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:

ITC Avant Garde Gothic (1971-1977, with Andre Gurtler, Tom Carnase, Christian Mengelt, and Erich Gschwind).
ITC Modern No. 216 (1982: a didone text family). The Softmaker versions are called M791 Modern and Montpellier. Ed writes: It's a revival of the classic British Modern design. I tried to capture the dignity and grace of the original designs, but not make it look stuffy. Moderns were often numbered to distinguish different versions. 216 East 45th street was where I worked when I drew the ITC Modern No. 216 font.
Modern No. 20, after the Stephenson Blake original from 1905. [Image by Kristen Cleghorn]
ITC Barcelona (1981). Ed writes: I was one of the design consultants for the 1992 Olympics in Barcelona, Spain. What could be more appropriate then to design a typeface for the event? The design of the ITC Barcelona font family, with its soft triangular serifs set the mood for the soft-spoken Catalan people.
ITC Bauhaus (1974-1975). ITC Bauhaus was co-designed with Victor Caruso. The Softmaker versions are called R790 Sans and Dessau. The Infinitype version is Dessau. The Bitstream version is Geometric 752.
ITC Benguiat (1977) and ITC Benguiat Gothic (1977-1979). This eponymous comic book (or art nouveau style) typeface family appeared in the 1980s on the covers of Stephen King novels and Choose Your Own Adventure books, in the copyright notice at the beginning of all Paramount Pictures' VHS tapes and in title sequences for Quentin Tarantino's films, the Next Generation series of Star Trek films in the mid-to-late '90s, and the recent Netflix series Stranger Things. It was revived as Benjamin and Benjamin Gothic on the SoftMaker MegaFont XXL CD (2002). Softmaker also has fonts called B693 Roman and B691 Sans that are identical. Benguiat Pro ITC was published in 2008.
Benguiat Roman (1960s).
PL Bernhardt (Photo-Lettering, 1970), modeled after a 1930-1931 design by Lucian Bernhard.
ITC Bookman (1975). See B791 Roman on the SoftMaker MegaFont XXL CD (2002).
Calendar (1960s).
ITC Caslon 224 (1983). In 1960, he added Benguiat Caslon Swash, and in 1970, Caslon 223 followed. See C790 Roman on the SoftMaker MegaFont XXL CD (2002), and Caslon CP (2012, Claude Pelletier). Christian Schwartz and Bas Smidt at House Industries digitized Benguiat Caslon.
ITC Century Handtooled (1993).
ITC Cheltenham Handtooled (1993).
ITC Edwardian Script (1994).
ITC Garamond Handtooled.
ITC Korinna (1974): after a 1904 typeface called Korinna by Berthold. Michael Brady thinks it is very close to the Berthold original.
Laurent (1960s).
Lubalin Graph (1974, ITC). By Herb Lubalin, Ed Benguiat, Joe Sundwall, and Tony DiSpigna.
ITC Panache (1987-1988). Ed writes: I put my heart, soul, sweat and tears into the design of the ITC Panache font family. I was striving to create an easy to read, legible typeface. I know in my heart that I accomplished what I set out to do. Not only is it easy to read, it's also sophisticated.
Scorpio (1960s).
ITC Souvenir. Kent Lew: Benguiat revived Benton's Souvenir for ITC in the '70s and that was well-received for a while. On the other hand, look what happened after that. Souvenir in the ATF 1923 catalog looks really nice, IMO. Souvenir in the '70s seems cliché now. Souvenir these days would be downright dorky. Souvenir was done by Benguiat in 1967 at PhotoLettering. Morris Fuller Benton's original model was from 1914. It was described by Simon Loxley as follows: Souvenir is a typeface that is intractably rooted in style to a particular era, although one a half-century after its creation. It is a quintessential late 1960s and 1970s typeface, informal, with full rounded character shapes and rounded serifs, a laid-back Cheltenham. The Bitstream version of ITC Souvenir was called Sovran.
ITC Tiffany (1974), a fashion mag typeface family. Adobe says that it is a blend of Ronaldson, released in 1884 by the MacKellar Smiths&Jordan foundry, and Caxton, released in 1904 by American Type Founders.
PL Torino (1960, Photo-Lettering), a blackboard bold didone-inspired typeface.
In 2004, House Industries released five typefaces based on the lettering of Ed Benguiat: Ed Interlock (1400 ligatures---based on Ed's Interlock, Photolettering, 1960s), Ed Roman (animated bounce), Ed Script, Ed Gothic and Bengbats.
He did logotypes for many companies, including Esquire, New York Times, Playboy, Reader's Digesn, Sports Illustrated, Look, Estée Lauder, AT&T, A&E, Planet of the Apes, Super Fly.
Lesser known Photolettering typefaces include Benguiat Bounce, Benguiat Boutique, Benguiat Bravado, Benguiat Brush, Benguiat Buffalo (+Ornaments: a western wood type font), Benguiat Century, Benguiat Cinema, Benguiat Congressional, Benguiat Cooper Black, Benguiat Cracle, Benguiat Crisp, Benguiat Debbie, (Benguiat) Montage (a fat face didone revived in 2018 at House Industries by Jess Collins and Mitja Miklavic), Benguiat Roman. Scorpio, Laurent and Charisma, all done in the 1960s, are psychedelic types. In 2021, Donald Roos digitized Plinc Buffalo for House Industries.

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.

View Ed Benguiat's typefaces. Ed Benguiat's fonts. [Google] [MyFonts] [More] ⦿

Edwin W. Shaar

American type designer, designer, writer, b. 1906 or 1915. For some time he was assistant art director at Monotype and art director at Intertype. He made several phototype typefaces. His typefaces include:

1939: Czarin (lowercase only by him), done at Baltimore Type.
1939: Flash and Flash Bold (Lanston Monotype), a signage or supermarket script typeface of limited beauty. Linotype has a similar fat brush typeface called Okay. I assume it has the same genetic roots. See Slager (2012) and Falcon by SoftMaker, LTC Flash by Colin Kahn for LTC/P22, Flash SB by Scangraphic, and Flash EF by Elsner and Flake for a digital version of Flash, Brush Hand (by WSI), Brush Hand New (a free font by Keith Bates) and 0670 Script (also by SoftMaker) for a digital version of Flash and/or Okay. Mac McGrew: Flash is an informal brush-drawn script letter, cut by Monotype in 1939. It was the first typeface designed by Edwin W. Shaar, who designed Flash Bold the following year. The lighter weight is somewhat similar to Dom Diagonal, cut later by ATF. Also compare Balloon.
1940: Valiant (Lanston Monotype), a display face. Mac McGrew: Valiant is a vigorous thick-and-thin letter with the appearance of having been lettered quickly but well with a broad pen. It was designed by Edwin W. Shaar for Monotype in 1940, and is similar to Lydian Bold Condensed, though a little heavier. It is suggestive of Samson, but condensed.
1952: Futura Extra Bold (Intertype), followed by Futura Extra Bold Italic in 1955 at Intertype as well. For a digital version, see Function Script by SoftMaker.
1952: Nuptial Script (Intertype).
1954: Futura Script (Scangraphic). See Future Script EF by Elsner & Flake, and Function Script in the Softmaker collection.
1954: Imperial (+Bold, +Italic), done at Intertype, and called Gazette by Linotype in 1977. The New York Times uses Imperial for its text since 1967, but it is based on in-house scans of the old metal Imperial (an Intertype design from 1954), not on the digital versions from Intertype or Linotype. The typophiles discuss Imperial: Kent Lew states The New York Times text is Imperial. Has been for at least the last several years. Koppa points out that the NY Times Imperial designed by Intertype looks like an ATF Century Old Style rip-off. [...] I will stick with my opinion that the original, the metal Century Old Style, credited to M Benton, is better than the copy-cat Intertype Imperial and most definitely better than the copy-cat digital Imperial I saw on myfonts.com last night. Bitstream made a digital version of Imperial. Mac McGrew: Imperial was designed by Edwin W. Shaar in 1954 as a newspaper text face. Like most other news typefaces it has a large x-height with short descenders. but unlike most news typefaces of the time, it blends certain oldstyle and contemporary characteristics, and is a little narrower and more closely fitted. This gives a feeling of friendliness and warmth, but retains a high degree of legibility.
1960: Royal (+Italic, +Bold): a sans family that is easy to read in small point sizes.
1960: Windsor (+Bold) (Intertype, New York), a newspaper face.
Vogue Extra Condensed (Intertype).
1974: Satellite (+Italic, +Bold), done at Intertype. Mac McGrew: Satellite is a newspaper typeface designed by Edwin W. Shaar for Intertype in 1974. With large x-height and sturdy hairlines, especially in the bold version, it is designed for legibility under the rigors of high-speed newspaper production, but without sacrificing a stylish appearance.
Shaar Diane, a Photo-Lettering calligraphic face.

Linotype link. FontShop link. P22 link.

View Edwin Shaar's typefaces. [Google] [MyFonts] [More] ⦿

Egi Ahmad Mufid

Bandar Lampung, Indonesia-based co-founder in 2020 of Typetemp Studio (with Haris Purnama Putra). Typefaces from 2020: Blanchope (script), Classy Brune, Classy Brune Sans, Klarinda Playful (a decorative serif), Hugolers Stylish Modern (a decorative serif), Casanova Serif Display (a decorative serif by Haris Purnama Putra and Egi Ahmad Mufid), Crimson Foam (a wild calligraphic font by Haris Purnama Putra and Egi Ahmad Mufid).

Typefaces from 2021: Eugusto (a stylish display serif), Aqala Display (at Typetemp Studio), Staywild Modern (a display serif with flared terminals), Eubergine (a display typeface), Coastine (stylish), RuthClair, Northern Worssley Ligature (a roman caps typeface), Oliver Blush (a wild and inky calligraphic script), Plumrose Signature, Rotterburg Stylish (a fashion mag caps typeface). [Google] [MyFonts] [More] ⦿

Ekaterina Koroleva

Illustrator in Berlin, whose brush and pen lettering on fashion posters is distinctive and powerful. Of particular beauty are her Zodiac sign illustrations (2011) and her fashion drawings (2012).

Ekaterina Malinina

At the British Higher School of Art and Design in Moscow in 2015, Ekaterina Malinina designed the Latin/Cyrillic text typeface Jurgen and the condensed fashionable Latin/Cyrillic didone typeface Matthias. [Google] [More] ⦿

Ekayasa Ekayasa
[Authentype (or: Mix Jpg)]

Eko Bimantara
[Type Dish]

Eko Setiawan
[Emyself Design]

El Mehdi Chouyoukh
[Mchcrafter]

Elena Genova
[My Creative Land]

Elena Joland
[LABF Creations]

Elena Kowalski
[Glen Jan]

Elena Mompó

Very original fashion designer and illustrator in Barcelona. Her Fashion Type Maison Martin Margiela (2014) is an aquarel alphabet based on fashion drawings. [Google] [More] ⦿

Elif Karabulut

Elif Karabulut (Eskisehir, Turkey) created a teardrop and ball terminal-laden set of didone caps and called it Ivy Bodoni (2013).

Ellen Luff
[Ellen Luff Type Foundry (was: Miss)]

Ellen Luff Type Foundry (was: Miss)
[Ellen Luff]

London, UK-based designer (b. 1992) of these typefaces:

The partially free condensed sans typeface family August (2017).
The free bilined titling typeface Leyron (2017).
Lucy Rose (2017). Co-designed by Tom Anders Watkins and Ellen Luff.
Kiona (2017). A stylish 4-family all caps fashion sans typeface. Free regular weight.
Bison (2018). A sans family by Tom Anders Watkins and Ellen Luff. Bison Bold is free.
The Peignotian fashion mag typeface Athena (2018), which was published in 2019 as Athens. Athena Regular is free.
Kiona (2019). A modern all caps family by Ellen Luff and Tom Anders Watkins.
The paint emulation font Hackney SVG (2019).
The geometric sans family Aventa (2020), which comes with a variable style.
The condensed sans typeface August (2020).
Ardela Edge (2020). A 66-font all caps family with a tech feel. It includes two variable fonts.
Larken (2020). A flared sharp-edged display serif family.
Jeko (2020). A 20-style (+variable) geometric sans with a large x-height.
Brixton SVG (2020). A letterpress emulation font.
Denton (2021). A 14-style expressive sans, with two variable fonts.
Peckham Press (2021). A letterpress emulation font.
Sherman Display (2021). A soft-edged wood type all caps font by Ellen Luff and Tom Watkins.

Type Department link. Link to Peregrin Studio, which Ellen Luff and Tom Watkins co-founded in 2021. [Google] [MyFonts] [More] ⦿

Elliot Hutchinson

Graphic design student at Swinburne University TAFE in Australia. Creator of the extremely contrasted didone display typeface Refined (2012). [Google] [More] ⦿

Elvina Gafarova
[Elvina Studio (was: Elvi Nova)]

MyFonts link for Fontyou.

Elvina Studio (was: Elvi Nova)
[Elvina Gafarova]

Russian graphic designer who loves soft tones. Creator of these typefaces:

In 2019: Magic (a hand-drawn text typeface in color SVG format) and Father (2019: a script typeface).
In 2020: Beatty (an all caps display serif), Bohemy (font duo), C'est Chic (a stylish font duo), Chic Sans, Crush (a fat finger font), Dreamy Bird (handcrafted, SVG format), Fine Art (a font duo), Jefferson (an SVG-format decrative didone), Little Bee (SVG), Magnolia (a stylish serif; caps only), Quotable (handcrafted, SVG style), Boho Icons, Space SVG (handcrafted).
In 2021: The Dreamer, Artisa, Desert Dreams (sans), Adore (an ephemeral display serif), Farmhouse (hand-printed), Moonchild (font duo), Collage (a ransom note or collage font in SVG format), Gallery Serif (a stylish serif), Liber (intestinal).
In 2022: Adore Serif (a fashion mag serif).

[Google] [MyFonts] [More] ⦿

Elvire Volk Leonovitch

French designer of Younion FY (2012, a monoline display sans serif typeface done with Alisa Nowak, Valentine Proust, Gregori Vincens, Gia Tran). This typeface was published at Fontyou. Younion One FY is free at Dafont.

Exquise FY (2013) is a fashion mag didone co-designed by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou.

Designer at Hubert & Fischer in 2014 of Rubik One and Rubik Mono One, freely downloadable from Google Web Fonts. These slightly rounded heavyweight fonts were designed under the art direction of Hubert & Fischer. They were originally created for the branding of the Rubik's Cube Exhibition "Beyond Rubik's Cube" the Liberty Science Center, Jersey City. Github link.

In 2016, she created Meroweg, a font for monetary inscriptions. She also revived a Pierre-Simon Fournier typeface called Lilliputien, which is intended to be used at 5pt size. For the Musée de la Toile de Jouy, she created a didone stencil typeface. Finally, for the identity of IMEC (l'Institut Mémoire de l'Édition Contemporaine) she designed a sturdy typeface. [Google] [MyFonts] [More] ⦿

Emma Grey: Newspaper and magazine typefaces

Emma Grey (Brooklyn, NY) surveys typeface choices for various media. She compiled he following lists:

Newspapers:
- Moderno FB: Used by Reforma, El Norte, Baltimore Sun, Montreal Gazette.
- Houston: Used by the Houston Chronicle.
- Guardian: Used by The Guardian.
- Letras Oldstyle: Used by Letras Libres.
- Miller Headline: The Boston Globe.
- Miller Daily: Used by The Guardian.
- Stilson: Used by The Washington Post.
- Sky News HD: Used by Sky News.
- Rocky: For Rocky Mountain News.
Magazines:
- Moderno FB: Used by Esquire Gentleman.
- Salvo Sans and Serif: Used by AARP Publications.
- Stainless: See Premiere Magazine.
- Garamond FB and Skyline: Used by Conde Nast.
- Popular: Used by Popular Mechanics.
- Heron Sans: Used by Men's Health.
- Tangier and Miller Banner Black: Used by Glamour.
- Reactor FB: Used by Fuse Magazine.
- High Tower Used by AIGA Journal.

[Google] [More] ⦿

Emyself Design
[Eko Setiawan]

Denpasar, Bali-based designer of the connected script typefaces San Joaquin (2018), Lightober (2018), Lakeland (brush font), Winterskol (2018: formal calligraphy), Lofinight (2018), Faithless (2018: font duo), Anaheim Script (2018: free), Neira (2018) and Senja (2018), and the handcrafted typefaces Windasa (2018), Sarada (2018, a slab serif), Inku (2018, a slab serif) and Shinigami (2018: a haunting brush font). He also designed the blackletter typeface Fullerton (2018), the font duo Ourense (2018) and the flared terminal typeface Queenstown (2018).

Typefaces from 2019: Kurashiki Brush, Yerington, De Ginkgo (a stylish serif), San Francisco (font duo), Blue Lagoon (a bold sans and a glitch style called Wave), Sunset Road (a rounded blackletter), Alma Toran (a rotunda), Furano Gyo (a condensed slab serif), Furano (a condensed serif), Desuka Slab, Reschensee (a Speedball font), Swampcity, Novodevichi (Russian emulation font), Bielefeld (blackletter).

Typefaces from 2020: ED Vitinia (blackletter), ED Ashglen Script, ED Northridge Sans (a 9-style sans), ED Lithosphere (a fashion mag serif), Candytuft (a thorny-serifed typeface), Bielefeld Next (blackletter), Black Orchid (blackletter), Balsamine Script, Lungwort (a text typeface), ED Celandine (blackletter), Cyrene Sans, Point Dume (a font duo), The Broads (a roman family), Failynn (thorny-serifed), Washboard (condensed), Fullerton Next (blackletter), Palmdale (a smooth script), Corbyn, Corbyn Serif (7 styles), Baliem (a blackletter), Kudoes, Logrono (a brush script), Silverdale, Pink Coast, Francoeur, Rosinweed, Nevers, Golden Cape.

Typefaces from 2021: ED Phoebe, ED Lavonia (a stylish calligraphic script), ED Muglins (a display serif), ED Bienova, (a condensed display serif), ED Bedivere (a 10-style sans), ED Begonia (a blackletter with flower petal terminals and a jogging capital K), ED Cerfoglio (a serif), ED Daffodil (a Schwabacher with smooth edges), ED Faliraki (a modern gothic), ED Vacaville Script, ED Fettle, ED Ocher, ED Fettle Serif (10 styles), ED Morrigan (blackletter), ED Randgrid (a display serif), ED Sonar (a cursive typeface), ED Eklutna (a didone display serif with Q-tip terminals), ED Muskrat, ED Brigid (Celtic, uncial), ED Cretheus (a display serif), ED Fayetteville Script (calligraphic), ED Floriane Serif.

Typefaces from 2022:

Type department link. [Google] [More] ⦿

Enrique Hernandez

Chilean type designer based in Santiago. Father of Latinotype's Daniel Hernandez. Designer of the 4-style didone typeface Santis (2013, Latinotype), which was based on Didot (with curly terminals on a, d, h, t and u).

In 2014, he created the slightly flared slab serif family Clasica (Latinotype), which was inspired by Zapf's Optima. Triump (2014, Latinotype) is a relatively simple rounded sans that comes witha nice inline for titling.

Typefaces from 2015: Triump Rough (a full range of 26 textured weathered typefaces), Clasica Sans (contrasted sans with oh so slightly flared stems).

Typefaces from 2016: Isidora (a warm Latin sans, extended in 2019 to Isidora Soft).

Typefaces from 2017: Isidora Sans (a 28-style reworking of Isidora), Javiera (a geometric sans with humanist elements thrown in).

Typefaces from 2018: Emy Slab (an Egyptian with soft terminals).

Typefaces from 2019: Goldplay (based on Isidora Sans), Monckeberg (a fashion mag sharp-edged serif family).

Typefasces from 2020: Grobek (32 styles; a soft serif with negative diagonal stress and inward curling terminals), Winden (a 28-style classical slab serif, partially based on Isidora). [Google] [MyFonts] [More] ⦿

Eotype
[Fajar Ramadan]

Indonesian designer of the fashionable display typefaces Lorina (2020: vintage caps), Alona (2020) and Rockrose (2020).

Typefaces from 2020: Cagila (a decorative wedge serif), Crosseur (modular, squarish), Amerta (a stylish serif).

Typefaces from 2022: Meave Multipurpose Display Typeface (a high-waisted display serif), Homrich (a hipster ish urban street wear font). [Google] [MyFonts] [More] ⦿

E-phemera (was: HPLHS Prop Fonts, and earlier: Prop Fonts)
[Andrew H. Leman]

Andrew Leman is a prop designer in Hollywood, CA. The type foundry HPLHS Prop Fonts (was: Ephemera, Prop Fonts) was started by Hollywood's Andrew Leman, and is now located in Pasadena, CA. Some fonts are free, most are commercial.

Dafont link. Klingspor link.

Andrew Leman's fonts:

Cablegram (2001, old typewriter face, T-26).
Leviathan.
Garamold (2007, 2 styles).
Journalistic (2007, a blackletter inspired by the nameplate of a New England newspaper from the 1920s).
Blackburn (2006, distressed).
RTemporal (2006, blackletter).
Fonts in the HPLHS series, dated 2002: HeadlineTwoHPLHS, OldStyle1HPLHS, OldstyleItalicHPLHS, OldstyleSmallCapsHPLHS, Rogo, SlabSerifHPLHS, TelegramHPLHS, WW2BlackletterHPLHS, WW2BlackltrAltHPLHS, HPLHS-Lovecraft Cursive and Block (replica of H. P. Lovecraft's own handwriting), HPLHS-Autograph Lanier (replica of the 1875 handwriting of Sidney Lanier, a 19th century American poet), HPLHS-TextSerif (really Linotype Antique No. 1), HPLHS-TypoScript, HPLHS-TextSerif Oblique, HPLHS-Bulfinch, HPLHS-Colwell, HPLHS-Colwell Italic, HPLHS-Cromwell, HPLHS-National Oldstyle (after Goudy's font by that name), HPLHS-Post Monotone, HPLHS-Atlas Italic, HPLHS-Italic, HPLHS-Victoria (from the 1923 ATF book), HPLHS-Manuscript Caps, HPLHS-Tome Pi, HPLHS-TypoGothic, HPLHS-Copperplate Roman, HPLHS-Gothic520, HPLHS-Times Gothic, HPLHS-Persnickety, HPLHS-Roman Engraved, HPLHS-Mercantile, HPLHS-Mercantile Oblique, HPLHS-Mercantile Card, HPLHS-Headline Modified, HPLHS-ExtraExtra, HPLHS-Extra (wood type), HPLHS-Forsythe, HPLHS-MetroThin, HPLHS-MetroLight, HPLHS-MetroMedium, HPLHS-MetroMedium Italic, HPLHS-MetroBlack, HPLHS-Policy Gothic, HPLHS-Black Gothic, HPLHS-Gothic Compressed, HPLHS-Black Condensed, HPLHS-Black Oblique, HPLHS-Electro Gothic, HPLHS-Blackletter (an irregular hand-drawn textura font based on the lettering of French heraldic engraver Charles Demengeot).
The E-phemera Font Collection, available from MyFonts, which includes these fonts, with a majority being retro or script typefaces: Policy Gothic (2012, an eroded caps face), Mooseheart (2012), Operapolitan (2012), Fishwrapper (2012), Fred (2007, inspired by a 1930s typeface by Fred G. Cooper), Schreibweise (2007, a pirate-flavored font inspired by a hand-lettered manuscript dating from 1492), Cablegram-Regular, Golden Ticket (2003: Base, Fill, Highlight; a digitization of hand-drawn poster lettering by Otto Heim from 1925), Cablegram-Urgent, Cablegram-Madras, Cablegram-Ottoman, Julius Klinger (2003, based on 1925 fabric lettering by Julius Klinger), Cablegram-Zagreb, DMV Printer, Landry Gothic, Telegrafo, Toronto Gothic (2003: worn wood type or letterpress emulation, close to Condensed Titling Gothic #11), Vogue (pencil-lettered caps), Penitentiary Gothic (+Fill, +Lolite, +Hilite, +Shadow), Chicago House, Compliments (+Upright), Satisfaction (script based on 1930s cigarette ads), Vandal Broke Extra Juicy, Lanier (2004), Impersonal. The Cablegram and DMV series are typewriter fonts. Heck Italic (2010) is based on captions, labels and legends appearing on 19th-century maps and natural history engravings by Johann Georg Heck. Dai Vernon (2010) is based on the handwriting of card magician Dai Vernon.

View Andrew Leman's typefaces. View the E-phemera typeface collection. [Google] [MyFonts] [More] ⦿

EPS51

Design studio of Ben Wittner, Sascha Thoma and Daniel Fürst, located in Berlin. Custom fonts made by them include Newface 51 (for M4 Models / Newfaces), Rayon51 (2011, a monoline sans for the magazine Animated), Futur-A-Script (2010), Bodoni Stencil (2009, for Chris Holzinger), Baseet (2009, an Arabic script typeface done with Pascal Zoghbi), Holzinger51 (2008), and the Talib family of typefaces (2008, Arabic simulation fonts). [Google] [More] ⦿

Eraky
[Ahmed Eraqi]

Banha, Egypt-based designer of these typefaces in 2019: Calligra (2019: a serif font with calligraphic swashes), Rasoav (2019: a display or logo font), Roxon (2019: an organic rounded sans by Ahmed Eraqi and Nohamad Foda), Hurringtown Script (with Koi and JAF34), Eraky, Zamoka (a swashy display style).

Ahmed Eraqi published Chattelyne (a curly font) at Zet Design. With Nohamad Foda, he designed Luxury Home, a Latin slab serif with lower case letters of unequal x-height, Zamoka (2019: a deco typeface), and Hamis (2019) Hamis Vol 2 (2019), a festive display typeface family.

Typefaces from 2020: Hamis Pro (a jazzy piano key typeface), Rigot (a modern fashion mag typeface by Ahmed Eraqi and Nohamad Foda), Tioxo Sans (a poster or logo font by Ahmed Eraqi and Nohamad Foda), Stazin (a striking Arabic / Latin display typeface by Ahmed Eraqi and Nohamad Foda), SolKing (an Arabic typeface by Ahmed Eraqi and Nohamad Foda), British Vehicle JNL (based on the UK license plate font created by Charles Wright in 1935; with Jeff Levine), Viking Drink (an 8-style decorative didone, with accompanying blackboard bold; done with Nohamad Foda).

Typefaces from 2021: Foda Egypt (a 12-style serif by Ahmed Eraqi and Nohamad Foda), Foda Slab (2021: an Arabic slab serif by Ahmed Eraqi and Nohamad Foda), Foda Freestyle (an Arabic display font by Ahmed Eraqi and Nohamad Foda), Foda Sans (126 styles, for Latin and Cyrillic, by Ahmed Eraqi and Nohamad Foda), Foda Kufi (by Ahmed Eraqi and Nohamad Foda).

Typefaces from 2022: Foda Display (a display typeface for Latin and Arabic by Ahmed Eraqi, Nohamad Foda and Esraa Amer), Quta Rounded (by Ahmed Eraqi, Nohamad Foda and Esraa Amer), Quta (a 10-style sans with a preference for 90-degree junctions in unusual places; by Ahmed Eraqi, Nohamad Foda and Esraa Amer). [Google] [MyFonts] [More] ⦿

Ergibi Studio
[Riyadh Rahman]

Watampone, South Sulawesi-based designer (b. 1995) of the script typefaces Maghrib (2019), Westline (2019), Billistone (2019), Zakiyah Script (2019), BeaQueen Script (2019: monoline), Athika (2019), Holmes Signature (2019) and Claudya (2019), the dry brush typeface Grotters (2019), the monoline script American Lemon (2019), the creamy display typeface Quacker (2019), the vintage typeface Brattlies (2019), and the modular monoline display sans typeface Holmes (2019).

Typefaces from 2020: Golden Ballpoint, Arfelick Feather (a heavy brush script), Dream Glory (a font duo), Fireclay, Nerut (a decorative all caps serif), Southmore (a wild script), Poetry Darling (wild calligraphy), Jushley Shine (a brush script), Spartwell (dry brush script), Roaring Jungle, Quacker (a creamy display serif), Patrick Cleo, Osaka Chips (a supermarket signage font), Leonardo da Vincen, Hazard (a brush font), Garloise (a vintage monoline script), South Signature, Peach Cuties, Chocolate Crispy, Cluisher Brush (a fantastic street art brush typeface), Vanrott Destroy, Sultan, Arfellion, Leonardo da Vincen, Hazard, Krasty (a creamy signage or baseball script), Vanrott, Emirose, Summer Sans, Mount Hills (a decorative display serif), Summer South (a font duo).

Typefaces from 2021: Mishelia (a fashion mag serif with hairline connectors), The Jagret (a rounded bold display serif), Zaystack (a dry brush script), Costyle (script), Luxury Modish (a wild inky calligraphic font), Callient (an inky script), Lostar (a wavy, almost intestinal, font), Vigran Maroll (an all caps decorative serif), Jungle Mask (a stylish flared decorative serif), Wangi (a stencil typeface with ball terminals), Bramz (intestinal art nouveau caps), Cheorcy (a monolinear unicase typeface), Glow Better (a font dup featuring interlocking and sword terminals), Brams (a psychedelic display serif), Quick Sillent (a brush script), Madinah Authentic (script), Hillshort (a vernacular brush typeface for supermarkets), Noctura Georgia (a brush script and sans font duo), North Zone (an urban brush), British Castilla (serif and script duo), Billbreak (a smooth brush script).

Typefaces from 2022: Brams (psychedelic). [Google] [MyFonts] [More] ⦿

Ergo Hiki (or: Ergo Fonts)
[Ezeqviel Ergo]

Buenos Aires-based designer of the free abstract display typefaces Lain (2014) and Ohmu (2014). He also made Kuurude or Kuudure or Sona (2014, a fashion mag font), Sahaquiel (2014), Kirishiki (2014) and Magnesia (2014).

In 2015, he made Chiba (thick handcrafted vernacular signage font), Ganguro (a free piano key typeface), Mizore (a free pixel font), Touka (sans), Kohta, Asuna, Ayanami (free), Usumi (a brushy script), Sumire (fat finger font), Nagato (Peignotian caps), Eiga (a free octagonal typeface), Shiro (octagonal piano key typeface), Bishoujo (brush script), Misato (brush script), Mikuru (brush script), Sensei (free brush script), Chizuru (watercolor brush script), Yamcha (free handcrafted typeface), Gasai (a grungy textured typeface), Hokage, Kaneda (free), Kagome (free), Metagross and Kagura (a severe but free modular type inspired by religious repression in the middle ages). His fonts are made with FontStruct.

Typefaces from 2016: Gessekai, Amaterasu (textured all caps typeface), Boketto (free unicase), Obake.

Typefaces from 2017: Bimyou (brush style), Kintsukuroi (handcrafted), Natsu (brushed font).

Typefaces from 2019: Sensei, Ganbaru.

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

Erica Hartwick
[Big Cat Creative]

Erik Jay Deleon

Art director in Richmond, VA, who created the fashion mag typeface Giorgioro (2013).

Erlangga Suherman
[Erlos Design]

Erlos Design
[Erlangga Suherman]

Bali, Indonesia-based designer (b. 1989) in 2020 of the fat finger fonts Monkey Puzzles and Screw Puzzles, the display sans Limosin, and the script typefaces Marshill, Kayama, Blanche (an elegant signature script), Ghadys, Fortnight, Marshill, Cashews (monoline), Tabina, Scarlett Seconda and Ballure.

Typefaces from 2021: Gorgeous Angels (script), Aiglon Drame (a fashion mag serif), Black Orchard (a bleeding ink display sans), Mooneyes (an all caps fashion mag typeface), Mollies (a stylish all caps sans), Croissant Lover (a dry brush script), Kamaniya (a scrapbook script), Bassy (a brush script), Blue Cheries.

Typefaces from 2022: Dreamy Sakura (a curly painted script), Grayphene (an inky signature script), Morpho (a modern display typeface). [Google] [MyFonts] [More] ⦿

Erté

Erté (Romain de Tirtoff) was a well-known art deco era artist. Born in St. Petersburg, Russia in 1892, he died in 1990 in Paris. In 1912, Erté moved to Paris. In 1915, he began an association with Harper's Bazaar by designing covers of each of their magazines for the next 22 years. He became known for elegant lithographs and sculptures for the fashion industry. On my pages, you find an elegant set of capitals and numerals in which the glyphs are formed by elegantly drawn naked women, from The Alphabet Suite (Chicago, 1976).

Wikipedia. [Google] [More] ⦿

Etah Chen

Graffiti letters blended with didone yields a fashion mag typeface called Vato Modern (2012). [Google] [More] ⦿

Evan Pittson

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. [Google] [More] ⦿

Extraset

Extraset is a Swiss digital type foundry based in Les Acacias and managed by David Mamie (TM), Alex Dujet (Futur Neue), Sébastien Fasel, Fabienne Kilchör (Emphase), Roger Gaillard (Cécile + Roger) and Xavier Erni (Neo Neo). Their typefaces:

Peak and Peak Rounded (2019). By Xavier Erni.
Rebond Grotesque (2019). By Roger Gaillard.
Floppi's Grotesk.
Klarheit Grotesk and Klarheit Kurrent (2020). By Alex Dujet.
The ultra-condensed typeface Nein (2020) by Alex Dujet: Nein is a project that reinterprets certain characteristics drawn from the heritage of wood types. The first components of this extra-bold, highly condensed beta version were developed a few years ago by Alex Dujet.
Quarz Upright (2020, Alex Dujet). A mischievous didone-based typeface in which Alex tries to evoke swans and Lamborghinis on the shores of Geneva's Lac Leman.
ES Build (2021). A Bauhaus sans by Xavier Erni (Neo Neo) with the assistance of Arthur Schwarz. ES Build draws its inspiration from the universal typeface by Herbert Bayer.
ES Allianz (2021). A Swiss sans by David Mamie.
ES Face (2021). A modernized transitional typeface family by Alex Dujet.

[Google] [More] ⦿

Extratype (was: Textaxis)
[Iñigo Jerez Quintana]

Textaxis was Spanish/Catalan foundry run by Barcelona-based Iñigo Jerez Quintana since 1995. In 2015 it was renamed Extratype. Iñigo Jerez's beautiful typefaces include Eina (2013, first designed as a corporate typeface fpr the EINA school in Barcelona), ASM (2013, Type O Tones: ASM stands for the Santa Monica Arts cultural center in Barcelona, where the monospaced typeface ASM has been in use as the custom typeface from 2008 onwards), Poster (2013, plus Display and Monster styles: a fat excessive didone family published by Type O Tones), Scozia (2011, didone), Amy, CX Type, School (fat octagonal face), Hidalgo, 112 Type, Point (2011, rounded typewriter family), Papers (2011, a fat fashion mag didone display family), Slim (2011), Batin (2005, neat garalde family), Palo (2000), Dinamo (1999), Oneline (1998), On Serif (2001), On Sans (2001; with On-Serif, a winner at Bukvaraz 2001), Blok (2004, poster face), Blak (heavy version of Blok), Track (2004, octagonal), Plus (2004, octagonal), Bonus (2004, ink trap face), Interfunktionen (2004, old typewriter), SuiteSerif (2003), Xquare (2003), Interpol (2002), Maeda (2002), Luomo (2002), Borneo (2002), Suite (2001), Self (1999, sans family), Valeria (1997, liquid serif), Inercia (1995, a rounded organic sans done at Garcia Fonts), Latina Sans (1998, a winner at Bukvaraz 2001), Latina Serif (1998), Textaxis (2000, sans).

Typefaces either made or extended in 2015 when the company was renamed Extratype: ASM (an industrial monospaced sans: ASM stands for the Santa Monica Arts cultural center located in Barcelona where ASM was the corporate typeface from 2008-2013), Blak (a chubby typeface originally designed for the now defunct magazine Suite), Poster (a fat face family, i.e., with ultra-black didone excesses and high contrasts).

In 2020, he released the 56-style text family Chamberi (co-designed with Francisco Torres) and wrote: Chamberí is designed to be Vogue Spain's bespoke typeface. An ambitious typographic branding project made for one of the most iconic magazine headers of the world, it defines the Spanish edition's personality through a blending of the functionality of 19th century modern romans (also known as Scotch typefaces) and the gestural expressiveness of typographic Baroque. Chamberi is a peculiar combination of the rational and the delicate, the sturdy and the feminine. It is offered in Text, Headline, Display and (fashion mag) Super Display sub-families.

Suite won an award at the TDC2 2003 competition. His Quixote text family (2005) won an award at TDC2 2006 and at Tipo-Q.

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

Ezeqviel Ergo
[Ergo Hiki (or: Ergo Fonts)]

Eztudio

Jepara, Indonesia-based designer of display typefaces. As of 2021, the catalog included Alaina, Aldridge, Artemova, Ashford, Attilla Sandora, Braxton, Bruxandera, Delmera, Druther, Emeratine, Fasilena (a fashion mag serif), Fernstad, Granchy, Granty, Horyzon, Laisha, Layne Rogan, Ligerid, Louvenia, Lynova, and Rietro.

You Work For Them link. [Google] [More] ⦿

F25 Digital Typeface Design
[Volker Busse]

Volker Busse (F25 Digital Typeface Design) is a graphic designer at Grafikkontor in Berlin.

Designer of the old typewriter simulation fonts F25 Executive (2008), F25 BlackletterTypewriter (2006), Typewriter Condensed (2007), Telegraphem (2004), Cella (2007) and Daisy Wheel (2007). He also made Am Sans (2005), which he derived from a 1960s sample of Intertype Vogue (itself a geometric and clean-lined sans, ca. 1930), and F25 Bank Printer (a MICR family, 2005).

At FontStruct, he made F25 Borderfont (2009, a multiline family including styles called Alita and Kapata), F25 Fontstruction 157 (2009, experimental), and Hidden Text 01 (2009).

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

Fabian De Smet

French graduate of ESIAJ (Albert Jacquard), class of 2014, who works in Brussels. In 2015, he designed the (great!) free 14-style typeface family Butler, which was influenced by Bodoni and Dala Floda, and includes great styles for use in fashion magazines and on posters, in addition to several stencil styles. Open Font Library link. [Google] [More] ⦿

Fabio Tridenti

Art director at M&C Satchi in Milan. Creator of the high-contrast fashion mag typeface Penguin (2013). [Google] [More] ⦿

Fahri Rizal
[Mocca Letter (or: Fana Studio)]

Fajar Ramadan
[Eotype]

Fan Xiaoxue

During her studes in Paris, Fan Xiaoxue created the fashion mag typeface Moustache (2013). [Google] [More] ⦿

Fathi Al Ghazi
[Youthlabs Studio (was: Zrox Studio, Muhammad Fathi Al Ghazi)]

Fatih Hardal
[Typografische (was: Hardal Studio)]

Federica Ciotola

During his studies in Naples, Italy, Federica Ciotola created the didone titling typeface Dido (2015) that was influenced by deco and could be used in fashion mag applications. [Google] [More] ⦿

Federica Pezzuto

In 2011, for a course taught by James Clough and Riccardo De Franceschi at Politecnico of Milan, Federica Pezzuto designed the fashionable sans typeface Gabrielle, which was inspired by Coco Chanel. [Google] [More] ⦿

Federico Landini

Designer in Pistoia and Firenze (and before that, Barcelona) who was born in 1982 in Pistoia, Italy. He created the ultra fat counterless typeface Virgola Mobile (2010) and the elegant art eco fashion mag typeface Fabrizio (2011). In 2011, he created an original octagonal typeface called Excellens: Excellens is the first font totally created using Microsoft EXCEL 97. The glyph design was done using a standard EXCEL 97 worksheet, adding some border and diagonal color to draw the letters shape. The final result is something that reminds one of the Cholo Graffiti Calligraphy used by Mexican gangs in Los Angeles, but in a new digital and elegant way. Anunnaki (2011) is an artificial language font.

Federico Landini and Jonathan Calugo cooperated on Chinotto Regular (2012), a sans typeface custom designed for the Pistoia Underground Festival.

In 2018, he designed the MICR font Code 2020. [Google] [MyFonts] [More] ⦿

Felix Auer

Felix Auer is an art director, graphic designer and illustrator from Vienna. He graduated from dieGraphische in 2008. Since then he worked together with g-b.at in Vienna, at Twopoints.net in Barcelona, and at gantnerundenzi, Ogilvy & Mather, Himmer, Buchheim & Partner.

In 2012, Roland Hörmann and Felix Auer co-designed the refined didone fashion mag display typeface Aquus (+the outline version, Aquus Linearis), which was published by Phospho. [Google] [MyFonts] [More] ⦿

Fermin Guerrero

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

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

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

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

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

Fitria Rahmadhani
[Alphard Type]

Florence Fu

Florence Fu is a writer and designer based in the Bay Area, by way of New York. She holds a B.A. in art history and a B.S. in journalism from Northwestern University. Currently, she is the Editorial Associate at Letterform Archive, where she writes about the collection and supports exhibitions. In 2019, she graduated from the type design program at Type West with an ultra-condensed hairline fashion mag typeface, Ginza. She writes: The typeface is created with the spirit of Japanese avant-garde fashion designers, who manifest creations that are confident, thoughtful, and conceptual. [Google] [More] ⦿

Florencia Vani

During her studies at President University, Florencia Vani (Jakarta, Indonesia) created the fashion mag sans typeface Brat (2013), a modification of Century Gothic. [Google] [More] ⦿

Florian Paizs
[Schoener]

FontShop: Top Type of 2009

Fo Da
[Nohamad Foda]

Banha, Egypt-based designer of Calligra (2019: a serif font with calligraphic swashes), Rasoav (2019: a display or logo font), Roxon (2019: an organic rounded sans by Ahmed Eraqi and Nohamad Foda), Hamis and Hamis Vol 2 (2019: a festive display typeface by Ahmed Eraqi and Nohamad Foda), Zamoka (2019: a deco typeface, done with Ahmed Eraqi), Luxury Home (2019, with Ahmed Eraqi), a Latin slab serif with lower case letters of unequal x-height.

Typefaces from 2020: Hamis Pro (a jazzy piano key typeface), Rigot (a modern fashion mag typeface by Ahmed Eraqi and Nohamad Foda), Tioxo Sans (a poster or logo font by Ahmed Eraqi and Nohamad Foda), Stazin (a striking Arabic / Latin display typeface by Ahmed Eraqi and Nohamad Foda), SolKing (an Arabic typeface by Ahmed Eraqi and Nohamad Foda), Viking Drink (an 8-style decorative didone, with accompanying blackboard bold; done with Ahmed Eraqi).

Fontador (was: Arne Freytag)
[Arne Freytag]

German type designer in Hamburg (b. 1967) who studied at Kunstschule Alsterdamm Hamburg (1992-1996). Arne designed Arne Freytag (1998), Linotype Freytag Regular (2002) and Linotype Freytag Pro (2012).

His Manometer (2014) is a pneumatic ultra-black slab serif typeface with soft corners and fine counters. Manometer Sans (2014) is the sans version.

His Quitador (2014) will make even the most zealous bureaucrat boringly happy. Quitador Sans followed in 2016.

In 2015, Arne published Curve, a fashion didone.

Author of Toward a new typeface A type design project (Comedia, 2005, vol. 2).

Typefaces from 2016: Punto (dot matrix font), Signage (dot matrix style).

Typefaces from 2017: Quador (squarish serif), Ador (humanist sans).

Typefaces from 2018: Ador Hairline, Punto Poly (a stackable dotted stroke font), Quador Display.

In 2019, Arne published the soft serif family Bionik and the minimalist geometric sans typeface family Object.

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

Fontop
[Dmitry Arakelov]

Russian designer based in Turkey. Creator of these typefaces in 2017: Roadster Script, North Star, North Script, Phonema (a stylish display sans), Synopsis (a condensed fashion mag serif), Tropical Script (a gorgeous Treefrog style curly script), Okelani Script (another gorgeous Treefrog style curly script), Roadster (a decorative script), Follow Script (a wide connected calligraphic script), Construct (layered, beveled), Defocus.

In 2017, at YWFT, he published YWFT Sugar. He also designed Constructor (a layered, beveled typeface), Presto Script, Synopsist and Paramaribo (a delicate upright hand-lettered typeface) that year.

Typefaces from 2018: Cutcut (a party time paper cutout typeface), Bon Ami, Good Day (a delicate handcrafted coffeeshop typeface), Turkuaz (a comic book family), Episode (an ultra-condensed tall poster typeface), Skyscraper (a tallcondensed hexagonal typeface).

Typefaces from 2019: QSansPro (a workhorse sans), Legatum (a classical roman font inspired by the old inscriptions in Rome).

Typefaces from 2020: Avayo (a 9-style modern sans), Sansmatica (38 condensed techno fonts), Formatica, Ascent Pro (a geometric sans), Factum (a didone hybrid with high contrast styles culminating in some stencil types).

Typefaces from 2021: Uplift (a 6-style font characterized by mechanical notches and a certain blue collar appeal), Hygge Sans (a 34-style simple sans). [Google] [MyFonts] [More] ⦿

This FontShop list includes best-sellers, most-blogged-about and groundbreaking typefaces in the FontShop stable in 2009:

Sangbleu: The Fine Lined Fashionista---With gossamer strokes and a classical stature, SangBleu was born to be set at 150 pt. on the pages of a glossy magazine. Pic.
Geogrotesque.
Mousse Script: "best retro script", a revival and expansion of Stephenson Blake's Glenmoy. Pic.
Effra: A sans for all seasons. Pic.
Heroic Condensed, by TypeTrust. Pic.
FF Dingbats 2.0. Pic.
Axel: A Spiekermann family. Pic.
Olicana: Nick Cooke's flowing handwriting face. Pic.
Milo. Pic.
T-Star, by Die Gestalten. Pic.
Ingeborg: a fun didone family by Michael Hochleitner. Pic.
Typonine Stencil: Most sophisticated stencil. Pic.
Head Pro: For Gearhead and Techjunkies. Pic.
Mr Eaves Sans and Mr Eaves Modern, by Emigre: Mr Eaves Modern is classy and high-legged. Pic.
Mic 32 New: A contemporary sans by Chris Dickinson. Pic.
Unit Slab: By Spiekermann and co. Pic.
Dessau: 1930 meets 1980 meets 2010. Pic.
Lexia: A slab for all seasons. Pic.
Perec: Most literary. Pic.
Metroscript: Best sports script---I guess they mean baseball, as played in the 1950s. Pic.
Ludwig: Most unconventional revival. Pic.
Pinup: Most cuddly curves. Pic.
Kulturista: a slab family that rocks harder than Rockwell. Pic.
Carmen: The Iberian didone. Pic.
Alpine Script: The most delicious script (for signage or food packaging). Pic.
Regime: A slab with a swing. Pic.

[Google] [More] ⦿

Francisca Monteiro

Portuguese graphic designer who created the fashion mag didone typeface Esther Display (2014). [Google] [More] ⦿

Francisco Arellano
[Ixipcalli]

Francisco López Bustamante

Graphic designer in Guadalajara, Mexico, who works at Memela Studio. Behance link. His typefaces include the seductive multiline beauty, Miami Deco Type (2011), Haarlem (Display and Stencil), the Italian Western face El Solitario (2011), and the arts and crafts typeface Poiret (2011). Later in 2011, he promises the fashion mag typeface Marais Serif, and made the alchemic typeface Arcan.

I am a bit confused, as most of these typefaces also show up in the portfolio of Pancho Lopez, also of Guadalajara. And to top it off, the Behance link now mentions that the designer is Frank Gutierrez from Monterrey. [Google] [More] ⦿

Francisco Medina Walker

Graduate of the Universidad de Belgrano, Argentina. He combined design elements of Gill Sans and Didot when he created the headline / fashion mag typeface Bangguar (2012). [Google] [More] ⦿

Francisco Torres

Aka Senhor Baltazar. At Type@Paris 2016, Francisco Torres (Antwerp, Belgium, and Porto, Portugal) designed Emigrant Serif for small wine companies in Portugal.

In 2020, Iñigo Jerez (Extratype) released the 56-style text family Chamberi (co-designed with Francisco Torres) and wrote: Chamberí is designed to be Vogue Spain's bespoke typeface. An ambitious typographic branding projeect made for one of the most iconic magazine headers of the world, it defines the Spanish edition's personality through a blending of the functionality of 19th century modern romans (also known as Scotch typefaces) and the gestural expressiveness of typographic Baroque. Chamberi is a peculiar combination of the rational and the delicate, the sturdy and the feminine. It is offered in Text, Headline, Display and (fashion mag) Super Display sub-families. [Google] [More] ⦿

Frederick Eschrich

Illinois-based artist who created the stenciled typeface Horatio (2013), the angular geometric typeface Fois (2012) and the hairline fashion mag typeface Maquila (2012). [Google] [More] ⦿

Frederick Lee

At University of the Arts, Philadelphia, PA, Frederick Lee created the all caps fashion mag style typeface Claire (2014), which is named after his mother. In 2015, he created the geometric sans typeface Kano. Behance link. [Google] [More] ⦿

Friedrich Althausen

Potsdam, Germany-based designer (b. 1981) who studied Media Systems (Informatics) and Visual Communication at the Bauhaus University Weimar and is working as a freelance designer since 2008. Creator of the free fonts Vollkorn-Brotschrift (2006, text face), Elise Meincke logotype (didone), and Halbstark (2006, a fancy display face). Vollkorn microsite for the most recent downloads. Vollkorn supports many scripts, including Latin and Cyrillic. In 2014, Vollkorn 3.0 was published. Open Font Library link. Site dedicated to Vollkorn.

In 2014, he published the thin but striking fashion mag and all caps titling typeface Uberschrift at FDI.

In 2020, he released the variable font CoronaFaceImpact, which has three axes, Effects from wearing a face mask, Change of look due to closed hairdressers, and Results of home schooling.

Behance link. Kernest link. Old URL. Interview with Friedrich Althausen. Google Plus link. Github link. [Google] [MyFonts] [More] ⦿

Futur Neue
[Alex Dujet]

Swiss type designer who co-founded Extraset. His fonts include

Nein is a project that reinterprets certain characteristics drawn from the heritage of wood types. The first components of this extra-bold, highly condensed beta version were developed a few years ago by Alex Dujet.

Klarheit Grotesk (2020) and Klarheit Kurrent (2020).
Quarz Upright (2020). A mischievous didone-based typeface in which Alex tries to evoke swans and Lamborghinis on the shores of Geneva's Lac Leman.
ES Face (2021). A modernized transitional typeface family.

[Google] [More] ⦿

Future Machine

Cape Town, South Africa-based studio that created the all caps fashion mag typeface Eros in 2016. [Google] [More] ⦿

Fype Co
[Muhammad Hasan]

Aka Fitiyawan, who seems to have many other identities as well. As "Fype Co" (est. 2019), based in Magelang, Indonesia, he/she designed these script typefaces in 2019: Justoma, Ameyasi, Balgona (formal calligraphic), Qimona, Beardcanye, Renate, Grimalkin, Amelia Nature (a monoline script), Baliany, HoneySome, Blacks, Sunday Sugar (signage script), Minerals Buble, and Panda Script. Other typefaces designed in 2019: Biosphere (a squarish industrial style condensed all caps sans), Nought (an experimental slab serif), Graveyard, Blackfire (a rounded all caps sans with arts and crafts influences), Dioxide, Pomiform, Sci Fi Bronze, Prestigious, Relaunch, Marginal (oriental simulation), Necked (a sports font), Dia de Martini (Tuscan), Charlie (art deco), Kingfish (a cartoon font).

Typefaces from 2020: King and Queen (a 23-style lachrymal serif family), Saodah, Rei Biensa, Lemenso, Hiluan Sea, Beard Canye, Pier Georad (a supermarket signage script), London Bridge (a wide geometric sans with a short-armed lowercase r and a spectacular ri ligature), Glover, Prestigious (a fashion mag typeface), Dioxide (an all caps wedge serif titling typeface), Relaunch, Bollent (fashionable, all caps), Cargiona (a stylish plumpish sans), Moilgo (a curvy display typeface), Kickers (a rounded vintage display serif family).

Typefaces from 2021: Mister Frogs (a funky font with a cartoon feel), Bloena, Boedimant (a weathered stencil typeface), Dogiesland (scrapbook font), Gostend, Kamaboko (a delightfully loony children's book font).

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

Gabriel Pacifico

During his studies at Universidade Federal do Ceara, Fortaleza, Brazil-based Gabriel Pacifico designed the tall modern fashion mag typeface Esguia (2016). [Google] [More] ⦿

Gabriela Rodriguez
[Colmena Studio]

Galen Lawson
[District (was: CV Type)]

Geometric sans: early 20th century

Gaslight (or: Valery Zaveryaev)
[Valery Zaveryaev]

Gaslight-type-foundry is collaboration between three type designers---Valery Zaveryaev, Maria Luarvik, and Roman Shchyukin---, founded in 2011. Valery Zaveryaev is a Russian designer (b. Bryansk, 1977) at LetterBe, who created the octagonal family Teco (2005), the display typeface Brut (2005), the clean sans family Maza (2005), the informal unicase family Rezerv (2009, inspired by a logo he created for Evroterm), Barrez (2010, a techno family inspired by the TC-Helicon logo), and the stencil typeface Marshrut (2005).

He lives in Bryansk. All his fonts are Latin/Cyrillic.

In 2011, Zaveryaev set up the commercial foundry Gaslight. Fonts there include the elliptical family Maza (2005), the angular elliptical family Barrez (2010), Brut (2005), and the stencil typeface Marshrut (2005). Electrolize (2011) is a free squarish typeface available from Google Web Fonts. Bad Script (2011, Google Web Fonts) is an informal hand-printed typeface made by Roman Shchyukin.

Rock Logo (2012) is a metal band / tattoo font co-designed with Roman Shchyukin. Wide Display and Wide Display Ribbon are unicase headline typefaces. Teco Sans (2012) is an octagonal military typeface family, accompanied by the icon font TecoSymbol (2012) and the stencil family Teco Sans Stencil (2012). Teco Serif (2012) is an octagonal slab version of Teco Sans.

Still in 2012, Zaveryaev designed Actio, Roz (rounded sans family), Wary (pop art typeface that won an award at Modern Cyrillic 2014), the fat display overlay families Quadratish Serif and Quadratish Solid.

Delgado (2012) is an elegant tall and thin fashion mag typeface for Latin and Cyrillic, made by Roman Shchyukin. It won an award at Modern Cyrillic 2014.

Typefaces from 2013: Kiddy, Gen (techno), Tesla (techno face, Roman Shchyukin).

Typefaces from 2014: Dotee (octagonal paper cut-out typeface, by Valery Zaveryaev and Maria Luarvik), Sofya.

Typefaces from 2015: Mx and My (Peignotian caps typefaces).

Typefaces from 2016: Fada (by Roman Shchyukin), Pleinair, Rawer (sans, +stencil, +outline), Misty (by Valery Zaveryaev), Agio (by Valery Zaveryaev).

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

Genilson Lima Santos

Genilson Lima Santos is the Salvador, Brazil-based designer (b. 1985, Bahia) of Stilu (2015, sans), Jenelson (2006), the stroked font Styllo (2007), the brushy Carybe (2011), the all caps sans typeface Linna (2016), the display typeface Victorine (2016), the rounded sans family Baldini (2016), the high-contrast all caps Cellophane (2016), the text typeface Petralina (2016), the rounded Bauhaus-inspired sans typeface family Rosa Maria (2016), the multicolor layerable rounded poster typeface Buba (2016), the free wide unicase sans typeface family Urucungo (2016), and the semi-didone display typeface Salinas (2016).

Typefaces from 2017: Hibiscus, Blackye (a delicious black rounded sans for Latin, Greek and Cyrillic), Somma (geometric sans), Tryal (formal calligraphic), Love Moon, Urbanpolis (sans).

Typefaces from 2019: Dynamo (a retro-futuristic typeface), Hellen (a revival of the flared classic Koch Antiqua from 1922).

Typefaces from 2020: Auster (a serif family), Giovanna and Giovanna Sans (a luxurious roman caps typeface).

Typefaces from 2021: Yacht (a ligature-themed display serif), Milagre (by Edileno Capistrano Filho and Genilson Santos; a free party font based on text seen on azulejos [tiles] at Fundação Casa de Jorge Amado in Largo do Pelourinho, Salvador, Brazil, with text by writer James Amado, lettering by artist Floriano Teixeira and engraving on the tiles by ceramist Udo Knoff in 1987), Arienne (a frivolous all caps font), Mirabela (a fashion mag serif), Serafina (a decorative serif).

Typefaces from 2022: Kolbo (a pure wedge serif display typeface), Amabella (a sharp-edged serif). [Google] [More] ⦿

Discussion of geometric sans typefaces in the early 1900s. Some quotes: [...] Geometric sans serifs were all the rage, and every foundry wanted a piece of the pie. For instance, Monotype wanted Gill, Linotype wanted Dwiggins, and yes there was also Renner's Futura and Kabel. [...] A lot of typefaces back then, including Vogue, Metro, Gill, and Tempo, had alternate characters available to allow them to pass as Futura or Kabel. Linotype's Spartan (their version of Futura) also had an alternate two-story a. Monotype also had a Kabel look-alike called Sans Serif that had alternates to make it look like Futura or Bernhard Gothic, plus some really neat rounded capitals designed by Sol Hess. [...] Vogue was cut in 1930 for Vogue magazine and later released generally [by Stephenson Blake]. It differs from Futura in a number of ways. The caps are the full ascender height, the lowercase a is two-story in the lighter weights. The most distinctive characters are the uppercase G, M, and Q. [...] [Google] [More] ⦿

George Dobrogeanu
[Something Design]

George Triantafyllakos
[Atypical]

Georgi Krumov

Designer in Varna, Bulgaria, who made the fashion mag extreme-contrast typeface Profile (2011), the free didone typeface Dotty (2012), and the elliptical Latin/Cyrillic typeface Google] [More] ⦿

Gerald Giampa
[Lanston Type Co]

Germaine Chen

Germaine Chen Shiyun graduated in Visual Communications from Temasek Polytechnic, and is currently pursuing a BA in Design Communication at Lasalle College of the Arts, Singapore. She created Money Talks (2011) and ChiChi (2011, an ornamental caps typeface inspired by fashion illustrations).

Gia Tran

Gia Tran is a self-taught calligrapher and type designer. He has worked for Dragon Rouge, 4uatre and A&Mcreative in Paris, as well as Saffron Brand Consultants in Madrid. Gia was the Type Director at the French foundry FontYou, which was founded by Gregori Vincens in 2013. He also teaches calligraphy and type design at various graphic design and visual communication schools such as Strate College Designer, Intuitlab and ESAV Marrakech. With Brahim Boucheikha, he founded the Paris and Casablanca-based design studio Babelfont.

Under the cover of Type Lovers and/or Fontyou in Paris, Gia Tran created the medieval typeface Court Hand (2012) and the blackletter typeface Gothic Fraktur (2012). He also did some great calligraphic pieces.

In 2013, together with Gregori Vincens, Alisa Nowak, Valentine Proust, and Elvire Volk at FontYou, Gia Tran created the monoline geometric sans typeface Younion FY. Younion One FY is free at Dafont. With Franck Montfermé, he co-designed the ball terminal beauty Squirrel FY. The letters of this ultra-fat didone reveal audacious geometric smoothness at large sizes.

Codesigner of Kaili FY (2013: an exotic typeface with crazy ligatures, inspired by Indian scripts, by Gregori Vincens, Bertrand Reguron, Gia Tran and Alisa Nowak) at Fontyou.

The EPS format display typeface Alice FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It was inspired by Adrien Genevard's lettering. Sub-themes are Alice in Wonderland and playing cards. The EPS format frilly script typeface Lullaby FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It too was inspired by Adrien Genevard's lettering. Exquise FY (2013) is a fashion mag didone co-designed by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou. Gia Tran and Jason Vandenberg created the decorative typeface Ella FY (2013, Fontyou). Gia Tran, Alisa Novak, Micaela Neustadt, Bertrand Reguron and Grégori Vincens co-designed the curvy stressed elliptical sans typeface Bruum FY (2013).

Beaurencourt FY (2013) is a 19th centery secretary's hand co-designed with Jeremie Hornus.

Gregori Vincens, Gia Tran, J&eacxute;rémie Hornus and Alisa Nowak co-designed the humanist sans typeface Klaus FY (2013).

At Fontyou, Benjamin Lieb, Gia Tran and Julien Priez co-designed the hand-drawn typeface Brixton FY (2013). Not to be confused with two earlier typefaces called Brixton, one by Tom Chalky, and one by Luke Ferrand. Since two of the three Brixtons are commercial, I expect FontYou to change the name imminently.

In 2014, Gia Tran and Bertrand Reguron co-designed the zombie script Vidok FY (free at Dafont). Together, Elliott Amblard (France) and Gia Tran created the bold signage / retro baseball script typeface Paname FY at FontYou in 2014. Minuit FY (2014, by Jason Vandenberg and Gia Tran) is a beautiful angular angry calligraphic display typeface. The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.

Bertrand Reguron, Alice Resseguier and Gia Tran co-designed the retro signage script typeface Coco FY (2014).

Alice Resseguier and Gia Tran co-designed the girly script typeface Lola Lola FY (2014). This typeface was forcibly renamed Chelly FY a few days after its first appearance, possibly because there already was a typeface called Lola by Laura Messeguer.

Codesigner with illustrator Quentin Vijoux of the hand-printed typeface Léon FY (2014).

In 2014, he published the modular kitchen tile typeface Dorum FY with Julien Thébault.

Benjamin Lieb and Gia Tran co-designed the 4-style retro display family Belleville FY (2014).

With Evgeny Tkhorzhevsky, he designed the creamy signage script typefaces Maio FY (2014) and Kumiz FY [Maio renamed].

Hansom Slab FY (2014, Gia Tran, Jeremie Hornus and Alisa Nowak).

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

Gilbert Powderly Farrar
[Intertype]

Giuseppe Salerno
[Resistenza]

Glen Jan
[Elena Kowalski]

Glen Jan is the foundry of type designer Elena Kowalski (b. 1986) in Ufa, Russia. Elena created the Latin / Cyrillic typeface Sreda Slab Serif (2011), Road Radio Sans Serif (2011) and Affect Sans Serif (2011, a fashion sans family for Latin and Cyrillic).

Typefaces from 2012: Road Radio (sans family), Sceptica (a 12-style sans text family), Room (a display geometric all caps sans serif typeface family), Idealist Sans (a humanist sans for Latin and Cyrillic: free download), Echoes Slab, Echoes Sans.

Typefaces from 2013: Leto Sans, Leto One (a display slab), Leto One Condensed, Leto Two, Affect.

Typefaces from 2014: Certa Sans (a very legible Latin/Cyrillic sans family with some flaring in the strokes; Medium is free), Leto Slab.

Typefaces from 2015: Leto Text Sans (a neutral sans family).

Typefaces from 2017: Asket (sans).

Typefaces from 2018: Morpha (by Elena Kowalski and A. Ego), Certa Serif.

Typefaces from 2019: the sans typeface Atenta (2019, with A. Ego).

Typefaces from 2020: Alter Biom (by Elena Kowalski and A. Ego), Alter Aves (by Elena Kowalski and A. Ego), Minor (a 12-style grotesk by Elena Kowalski and A. Ego).

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

Gokcen Dincer

Gokcen Dincer (Houston, TX) created a typographic layout for fashgion magazines in 2014 that deserves mention. [Google] [More] ⦿

Great Studio
[Mulkan Nazir]

Aceh, Indonesia-based designer (b. 1992) of these calligraphic script typefaces in 2017: Bronetto, Restful, Burnington Script, Symphony Script, Blessing Script.

In 2018, Great Studio designed Greenlight Script, Sagitarius Signature Font, Blinkstar, Bondan Regular (condensed sans), Angel Heart, Authemart (calligraphic), Kasandra Script, Molandika Script, Solidaritha Script, Saphira Script, Blussafir (script), Bestrong, Elise Dafisa Script, Staylisha (brush script), and Kingstoner Signature.

In 2019, he published Central Point, Riverstyle (a dry brush font), Winter Flowers, Anitasha, Restgold, American Favorite Script (Script+Serif), Espander (a dry brush typeface), Sundaris Script, Black Seashore (a retro signage script), the great copperplate calligraphic typeface Bettrisia Script, Hello Blushberry Script, and Kingstoner Font.

Typefaces from 2020: Le More Collection (a font duo), Kalista (a font duo), Blinkstar (calligraphic), Boston Angel (a decorative serif), Magister Script (a brush script), South Belgian (a soft vintage serif fnt), Solistaria Script (a hybrid copperplate calligraphic font).

Typefaces from 2021: Blacklist (a sharp-edged text family with 18 static and two variable styles), Bread Light (stylish caps), Contage (a 12-style display sans serif), Kelsy Fantastic, Bigola Display (a display serif), Mollie Glaston (a decorative ligature-rich serif), Colgent (a decorative serif). Creative Fabrica link.

Typefaces from 2022: Veronika Luxurious (a fashion mag sans). [Google] [MyFonts] [More] ⦿

Green Type
[Dmitrij Greshnev]

Green Type is the foundry of creative Russian type designer Dmitrij Greshnev (b. 1975, Lengingrad). Still based in Leningrad, Dmitrij received a TypeArt 05 award for the display family Multicross (2003-2004), which can be bought at ParaType. He will win many more awards.

His typefaces include Stopwatch (2010, LED face), Sokol (Old Slavonic Latin simulation face), Slavica (2010), Reliant (2010, with Iza W at Intellecta Design), Reliant Beveled (2012, free), Logistica (2010, army stencil), Danger (2010, another army stencil), Dusk Thin (2010), and Multicross (2003-2004, stitching font).

Typefaces from 2011: Zoo300 (techno sans; +Shadow, +yrillic). Behance link.

In 2012, he created Patriciana (a Peignotian typeface for Latin and Cyrillic) and Directo.

Typefaces from 2013: Finch, Hypermarket (dirty typewriter).

Typefaces from 2014-2015: Trali-Vali (a children's book or party font family), Moveo Sans (with Condensed and Extended subfamilies, 80 fonts in all covering Latin, Greek and Cyrillic), Artica Pro (a flared all-caps typeface family for Latin, Greek, and Cyrillic that is based on classical roman (Trajan) letterforms) and Artica Rough Pro (2015).

Typefaces from 2016: Festa (a brush typeface for Latin, Greek and Cyrillic).

Typefaces from 2017: Festa Classica (a happy all caps hand0crafted typeface family), Normative Pro (a neutral techno sans with glyphs tending towards the rectangular), Normative Lt.

Typefaces from 2018: Streetline.

Typefaces from 2019: Hubba (a modular squarish typeface family; has a variable font).

Typefaces from 2020: Danger Neue (a military stencil).

Typefaces from 2021: Fason (a flared fashion mag typeface family).

Typefaces from 2022: Esquina Rounded (an octagonal typeface), Esquina College (an octagonal varsity typeface), Esquina Outline, Esquina Stencil (12 styles).

Behance link. Creative Market link. Hellofont link. MyFonts link. Klingspor link.

View Dmitry Greshnev's typefaces. [Google] [MyFonts] [More] ⦿

Greg Gazdowicz

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

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

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

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

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

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

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

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

G-Type
[Nick Cooke]

Nick Cooke is a British type designer based in Otley, West Yorkshire, and/or Newent, UK, who has been at it since 1982 as a lettering artist. He founded G-Type in 1999. Nick started as a lettering artist in London in 1982 crafting type by hand for book jackets. His typefaces:

Accent Graphic (1997, a Peignotian fashion mag sans).
Amulet (2002, a Celtic look face).
Avocet (2006).
Chevin (2003, sans family, +Std, +Chevin Pro, +Chevin Eco, a version with perforatons).
ITC Dartangnon (1998). A hand-printed script probably named after Dartagnan.
Digitalis (2000).
Geetype (an upright script inspired by cigarette pack lettering by the great A. M. Cassandre).
Gizmo (a beautiful chaotic brush handwriting face).
Goskar (2020). A forceful reverse stress script.
Houschka (an Avenir lookalike; see also Houschka Rounded (2006), Houschka, Houschka Rounded Alt (2011), Pro (2009), and Houschka Alt Pro (2011), featuring weights from hairline to extra bold).
Morpeth (2008, a sturdy sans family).
Nubian (sans family).
Olicana (2005, a nice casual connected script face), Olicana Rough, Olicana Smooth (2007) [note: everyone likes Olicana: Eben Sorkin writes The primary reason it was so powerfully and instantly popular was the font's voice, a personality both complicated and unique. On the one hand it has a casual and authentic sense of vivacity and fun. On the other hand this expressiveness is intermittent; it continuously but gently teases the eye.].
Organon Sans and Organon Serif (2009). These families are lapidary---they have tapered stems.
FF Penguin (1995).
Precious Sans (2002), Precious Serif (2003). In 2014, he followed that up with Precious Sans Two.
Remora Sans (2017). An extensive humanist sans serif consisting of the effervescent Remora Sans and its business partner Remora Corp. Both styles include five individual width sets ranging from the condensed W1 to the extra-wide W5.
Rollerscript (2012). A connected informal script with enough bells and whistles to evoke true handwriting.
Saltaire (2019). A decorative didone.
Sherborne (2020). Nick writes: Inspired by a comment in a letter from Eric Gill to Stanley Morrison, Sherborne has waisted vertical stems, meaning they curve inwards to give an elegant appearance resulting in a typeface of supreme legibility and beauty. Sherborne references its calligraphic roots featuring tapered stems, angled axes and bracketed serifs so could be considered a Humanist Old Style with a distinctly modern twist.
Sovereign Display (2008: an engraved or dollar bill style typeface; one free weight of this serif family could be found here).
Ver Sacrum (2022). An art nouve au-inspired typeface that was lost by Nick Cooke due to a disk crash.

Klingspor link. Behance link. View all typefaces by Nick Cooke (G-Type). View Nick Cooke's typefaces. Font Squirrel link. [Google] [MyFonts] [More] ⦿

Guillermo Lizarzuay
[Nois (was: Makenois)]

Gunjan
[Gunjan Panchal]

Vadodara, India-based creator of several Gujarati display typefaces (2014). In 2019, he published the Latin display typeface family Kubera Serif and the sci-fi typeface Octo.

In 2020 he published Menaka Serif (a high-contrast fashion-conscious family in five styles), Anant Grotesk (in 14 styles), the layerable shadowable inline slab serif font family Kalkal, the 18-style sans font family Vayu Sans. [Google] [MyFonts] [More] ⦿

Gunjan Panchal
[Gunjan]

Hadiftype
[Said Ismail]

Indonesian designer Said Ismail started Hadiftype in 2020. In 2021, he released the upright Marya Script and the fashionista sans typeface Natasha Walker. [Google] [MyFonts] [More] ⦿

Haidi Shabrina
[Mahameru Type (or: Haidi Illustration, or: Mahameru Type, or: HN Fonts)]

Haley Musgrove

Beaumont, TX-based designer of the fashion mag typeface Simplicity (2014). [Google] [More] ⦿

Hans Samuelson
[Samuelstype Design]

HansCo
[Burhan Afif]

Yogyakarta, Indonesia-based designer (b. 1988) of the font duo Nesans and Nesans Signature (2019), the script fonts Sweet Love (2019: upright), Mondena (2019), The Bellinda (2019: calligraphic), Austin Capittal (sic) (2019: monoline script), Bread Store (2019) and Wrongler (2019), and the vintage (often, Victorian) display typefaces Blue Spirits (2019), Bandits (2019), Sonia (2019), Belgia (2019), Berlina (2019) and Berlin (2019).

Typefaces from 2020: Blue Spiris, Grapine (Victorian), Ricasto (a signage script), Grizlie (an octagonal sports font), Madanira (a semi-formal script), Amellisa Ink, Anstec (a techno / sports font), Razen (a techno / sports font), Sourta (a speed emulation sports font), Abigile (an upright script), Off Side (all caps, brush), Bastina Sindey (a dry brush script), Bread Store, Feeling Blessed (an upright rabbit ear script), Meristmas, Mosteri (a fantasy font), Ateros (a sci-fi typeface), Aloner (a sci-fi font), Nucleo (a sci-fi font), Roline (prismatic), Tahu Bullats (a creamy signage script), Valentiqu (a curly upright script), Magic Funk (a psychedelic script), Letter Magic (a decorative serif), Craft Lovers, Magzo (a decorative serif), Belights, Cute Meow, Baking Pastry, Sweet Butter, Feeling Blessed, Baby Bunny Script, Misteri Caps, Carglos (blackletter), Traditian, Genta (a rounded bold all caps typeface), Beyond Stars, Off Side (brush), Santoriu, Hi Panda, Crows (a curly serif), Zeniq (a stencil font), Nucleo, Abigile, Blaster, Botania, Crunchy, Femina, Graphite, Holly Days, Hot Sauce, Just Swirls, La Fiesta, Lets Espresso, Little Baby, Magic Sparkle, Ricota, Secillia, Shinesy, Skid Rock, Stripline, The Englands, The Spectre, USA Nation, Magzo (a display serif indeed for food packaging and logos), Stabillo (a food logo brand typeface), Austina Capitton, Kora Kora, Mosherif (Regular, Tall, Short), Golden Stanbury (a signature script font duo), Risolla Calisto (a wild calligraphic typeface), Wild Wolf (brush), Balistone (a wild script), Glastia Monoline, Amorista (a rabbit ear script), Eastblue, Crimmy (a dry brush script), Buchery, Castel, The Begundals, Sambal Pedas (a dry brush script), Blastoic (a dry brush script), Queen Sea, Skid Rock, Platinum Signature, Sonita (a condensed decorative serif typeface).

Typefaces from 2021: Bastro (a great obese short-necked retro display typeface), Romantic Serif, Pastel Orange (an elegant artsy ligature serif), Romantic Serif, Sunroll (fashion mag caps), Romla (a wide display serif), Magic Retro (a heavy magic mushroom typeface), Holingston (a dry brush script), Gopetter, Ballomont (handwriting), Astopher, Restoe Bumi (a handwriting font), Rotenfold (a script), Halima Sofira, Anastia Buttery (an inky signature script), Belighta (wild calligraphy), Bittle Birdy (an irregular typeface that will cause psychological damage), Magic Sparkle (a decorative all caps serif), Notted (an exaggerated fashion mag font loaded with smooth ligatures and featuring surprise gyhphs such as a lower case a that is a mirror of the lower case e).

HansCo Studio. [Google] [MyFonts] [More] ⦿

Hanson Chen

Hong Kong-based designer. His typeface Walk-On (2015) was originally created as a corporate typeface for fashion brand Wang & Lynch. Part art deco, part decorative didone, it is a prototypical fashion mag titling typeface. Behance link. [Google] [More] ⦿

Haris Purnama Putra
[Typetemp Studio (was: Geranium Space, Moovied Co, Eight Type Rits, Letter Rits Type, Templatehere)]

Harmonais Visual (or: Ampersant Studio)
[Max Duy T]

Ho Chi Minh City, Vietnam-based designer of the display serif typeface HV Weist Havanah (2019), the rounded sans Pinocchio (2019), the script typeface Autograph (2019), the grungy font Pinewood (2019), the free Peignotian typeface HV Simplicité (2019) and the decorative serif typeface HV Feliz en Vista (2019).

In 2020, he designed HV Constantine (roman, decorative), Dear Ivy (a fashion mag didone), the chic one-style font HV Muse, the fashion mag sans HV Clio, the all caps art belle epoque typeface Carlo Monaco and the rounded sans Pinocchio.

Typefaces from 2021: HV Florentino (a fragile serif), HV Argentine (a fashion mag font), Preston (a stylish sans), HV Cocktail (a bold display serif in the Windsor genre), HV Olive and Figs (a thorny display serif), HV Harietta (a Peignotian sans), HV Christo (with thorny serifs). [Google] [MyFonts] [More] ⦿

Harold Lohner
[Harold's Fonts]

Harold's Fonts
[Harold Lohner]

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 FontBros. His typefaces:

Famous fonts: Boom Chicka (2013: a set of three cartoon fonts inspired by the poster for the Marilyn Monroe film, The Prince and the Showgirl (1957), designed by Bill Gold), Auteur (2007, after the handwriting in the opening titles of Jean Cocteau's The Beauty and the Beast, 1946), 12 to the Moon (2000, runes based on the Columbia Pictures movie "12 to the Moon"), Aardvark Café (2000, extrapolated from the famous Hard Rock Café logo), Bensfolk (2000, adapted from the work of Ben Shahn, in turn adapted from "folk or amateur" alphabets. Originally developed for The Arts Center of the Capital Region), Bensfolk Condensed (2000), Bensgothic (1998), BensgothicLigatures (1998), Calaveras (2002, a take on Daisyland), Comet Negative (2000, based on the logo of Country Music Television (CMT)), Comet Positive (2000), HonestJohns (2000, based on the lettering in the classic Howard Johnson's restaurants logo), Metrodf (2000, based on the Mexico City subway's lettering), Radio (2002, derived from the old NPR (National Public Radio) logo), Subway Mosaic (inspired by the classic mosaic tile signs of the New York City subway system).
Handlettering: Empress Monograms (2014), National Archive (2009, calligraphic), Rough Draft (2009, sketched font), Greg's Hand (2009), Rudland Hand (2007, inspired by the work of the British artist and designer Peter Rudland), Gamera (2006), Directors Script (2006, based on a film credits script from the 1940s), National Archive (2005, based on the lettering of Timothy Matlack, who wrote the Declaration of Independence), Frank the Architect (2004, based on Frank Ching's lettering, which also gave rise to the Tekton family), Imitation (2003, inspired by the handlettered titles of the film Imitation of Life (1959), directed by Douglas Sirk and artdirected by Richard H. Riedel), Imitation Two (2004), antiestablishment (2000), Christmas Card (2000, based on the handlettered opening titles of the film "It's a Wonderful Life", Art Director: Jack Okey. This font was retired and replaced in 2006 by Testimonial), Espangle (2002, as the lettering for El Corte Ingles), Dad's Recipe (2000, based on his dad's handwriting), Greg's Hand (2001, Greg Smith's writing), Greg's Other Hand (2002), Kaela (1998, reshaped and extended in 2006), Marker Man (1999), Synch (2000, with Phil Campbell, inspired by the work of the artist Stuart Davis), Synchronous (2000, based on Syncopated Script, again made with Phil Campbell), Syncopated Script (1999).
Blackletter: Waldorf Text (2011, after a 1914 original), Waldorf Heavy Illuminated (2011), Manucrypt (2011), Rude Goth (2007, grunge blackletter), Alsace-Lorraine, Benighted, Chinese Gothic, Christmas Card II, Kombine Regular, Kombine Kursiv (2000), Olde Chicago.
Woodtype: Blacktops (caps, 1999), Blacktop Small Caps (1999), Blacktop Regular (2014), Captain Hook, Captain Hook Crackle (2020), Cinderella (1998). The Western font Cattle Annie (2006) is an unauthorized digital interpretation of the analog font "Les Catalanes." According to ABZ: More alphabets and other signs by Rothenstein and Gooding, it was designed in 1952 by Enric Crous-Vidal (1908-1987) but was never produced.
Stencil fonts: JJ Stencil, JJStencilLight (2000, inspired by the work of Jasper Johns), JJStencil Wet, JJStencilMedium, Sideshow (2000, based on the stencilled lettering on a vintage Ouija board), JJStencilSolid (2003), StencilFour (2001, inspired by the logo of Channel 4 (UK); reworked in 2006 into Oaktag), StencilFourReversed (2001).
Western: Oklahoma (2006, based on the title of the film by that name), Captain Howdy (1999, 2000, Western font based on the lettering on a Ouija board).
Fraktur fonts: Benighted (2002), AlsaceLorraine (2000), Chinese Gothic (2000), Kombine Regular (2000), Kombine Kursiv (2000).
Revived Letraset fonts: BLOCK UP family (2000, based on the font family by the same name by Sally Ann Grover (1974) for Letraset), Good Vibes (2001, based on the analog font "Good Vibrations" by Trevor Hatchett for Letraset, 1973), GoodVibesBackbeat (2001), ObliqueTextBold (2000, based on a Letraset font called Obliq, 1984), ObliqueTextLight (2000), ObliqueTextMedium (2000), Wireframe (2000, based on the Letraset font Bombere designed by Carla Bombere (or Carla Ward)).
Art deco fonts: Cartel (2005, simply gorgeous), based on the lettering of the 1936 movie by that name), Crazy Harold (2009), Road Jester (2009), Onion (2003), Roberta (2003, based on a font of Bob Trogman, 1962), Roberta Raised Shadow (2003), Boomerang family (1998-2000), LeFilmClassic family (2000, based on the classic Art Deco font of the same name, originally designed by Marcel Jacno and released by Deberny&Peignot, 1927), LeFilmLetters (2000), LeFilmShadow (2000), PopUps (1998, a 3-d art deco font for signboards), Tapeworm (1998, based on the work of artist Ed Ruscha), Farouk (2001, a five-line art deco font, based on an analog font of the same name, as illustrated in Paul E. Kennedy's "Modern Display Alphabets"; in fact, the original source should be Fatima, a font designed by Karl Hermann Schaefer in 1933 at Schriftguss, and a copy of it at FT Française was called Atlas (1933). Lohner renamed Fatima to Atlas at some point, and added Atlas Solid, still in 2001).
MICR fonts: CMC7 (1998).
Dingbats: Everyday People (2013, silhouettes), Bingo Dingo (2011, inspired by the classic Mexican game, Loteria), Essene Dingbats (2005), Chapeau (2005, inspired by the 1902 Sears Catalog), Corset (2005, inspired by the 1902 Sears Catalog), Harold's Pips (2004), Alpha Bravo (2003), Rebus, AmericanCheese (1999), Candide Dingbats (1999, a reclinming women dingbat typeface based on decorations designed by Rockwell Kent for "Candide," circa 1928), Maritime Flags (2000), New Year Dingbats (1999: Japanese patterns).
Monospace fonts: Chica Mono (2000, based on Apple's Chicago; not really monospaced, by the way), Queer Theory Black, Bold, Regular and Light (1999).
Arabic simulation typefaces: Alhambra (2006), Alhambra Deep (2006).
Oriental simulation fonts: Bruce Mikita (+Solid) (after a metal font by the same name; Dan Solo calls it Lantern), Pad Thai (2006), Mystic Prophet (2002, inspired by Ouija boards), Chines Gothic, Font Shui (inspired by a style of hand-lettering illustrated in Alphabets: Ancient&Modern, compiled by J. B. Russell (Padell, 1946), Rubaiyat Shadow and Inline, Seoul (Korean font simulation), Shazi, Twelve to the moon, Chow Fun (2001, an oriental simulation typeface based on a sample of hand lettering identified as "Crooks' Stencil Designed Alphabet" in Alphabets: Ancient&Modern, compiled by J. B. Russell and published in 1945 by Padell Book Co), Quasi (1998).
Cartoon fonts: Laughtrack (2009, based on the work of the cartoonist Jerry Robinson), CokerOne (2000, based on the work of cartoonist Paul Coker Jr), Coker Two (2000) (note: therse fonts were erroneously named. They were renamed to Denney because of this: "The lettering in the fonts you have was developed by Alan Denney at Hallmark in the late 1950s. He also worked for American Greetings Hi Brows from 1960 - 1966 and then returned to Hallmark.... And he later went to a different lettering style when Shoe Box cards became Hallmark's funny card line replacing Contemporary Cards. Alan retired from Hallmark in 1993 and died two years later."), ZITZ (2000, based on the hand lettering in the King Features daily strip "Zits" by Jim Borgman and Jerry Scott), Ohmigosh (2007: 12 styles of comic book lettering).
Dot matrix fonts: Fortuna Dot (2001).
Pixel fonts: Larcher (based on a modular font designed by Jean Larcher).
Medieval script fonts: Sonnet Italic&Swash (2009), Galathea (2000, based on a classic analog font of the same name, "Originalerzeugnis von J. S. Schelter&Giesecke, Leipzig").
Fonts made in 2015: Ace of Clubs, Roberta (after Bob Trogman's art nouveau font Roberta, 1962).
Fonts made in 2013: OK Monograms (retro-futuristic), Splunge (based on Franklin Gothic).
Fonts made in 2012: Humerus (Halloween font inspired by the opening credit sequence of Abbott and Costello Meet Frankenstein, 1948), Retrospace (inspired by the hand-lettered opening credits of the film Some Came Running (1958)), Toynbee Idea (free font based on Toynbee tiles), Hymn (scanbat).
Fonts made in 2011: Institute Stamps (grunge), Magic Carpet, Shoemaker (shoe stitch face).
Fonts made in 2010: Salmagundi (grunge), Dynamotor (like Dynamo, which was designed by K. Sommer and first released in 1930), Poignant (inspired by the hand-lettered film titles of certain mid-1900s films from Twentieth-Century Fox, including "All About Eve", "Gentleman's Agreement" and "No Way Out."), Pharmacy MMX (unicase), Karta (3d face), Flores MMX.
Fonts made in 2009: Wexley (revival of a VGC font called Wexford), Sonnet (based on the printed text of Shakespeare, 1609), Fashion Brush, Fashion Script, Imitation One, Two, and Three, Generation B (all at Font Bros), Gainsborough (2009, an art deco typeface inspired by the hand-lettered titles of an Alfred Hitchcock film, The Lady Vanishes (1938)), Comfy (FontBros: inspired by an example of "Pinselschrift" (brush lettering) by Wilhelm Dechert), Sirena (FontBros: inspired by the hand-lettered opening titles of the film I Married a Witch).
Fonts made in 2008: Alumino (inspired by Saul Bass's design for the aluminum company Alcoa), République (four fonts inspired by Paris Metro signs---not the familiar Art Nouveau "Metropolitain" signs, but the later Art Deco design by Adolphe Dervaux), Handbill (based on rubber stamps), Flash Mob, Pen Script Monograms, Royal Wedding (commercial set at Font Bros), 2 Clover Monograms, 4 Heart Monograms, Silverliner (based on the opening titles of the 1951 Hitchcock movie Strangers on a Train), Tricot (lettering as done on a sweater, after a design by Nancy Stahl), Silverliner (based on the opening titles of the 1951 Hitchcock movie Strangers on a Train), Carbon Copy, Bracelet Mongrams.
Fonts made in 2007: Aeolian, Pub Bites, Barril and Barril Doble (a digital interpretation of the 1970s Neufville font Barrio), Circle Monograms, XOXO (grunge), Safety Pin (inspired by the cover of the June 1946 Ladies Home Journal), Swizzle Script (a script based on Stylescript, 1940, Sol Hess: compare with Coronet and Trafton), New England (script), Madfont (after MAD magazine's logo), Quince (a brush version of Klumpp's Murray hill), Plumber's Gothic, Gamera.
Fonts made in 2006: Humdinger (comic book lettering), Stella Dallas (a Koch Antiqua style typeface based on he hand-lettered titles of the film Stella Dallas), Foam Light, Mean 26 Sans, Mean 26 Serif, Gaudi, Lapis Lazuli (3 calligraphic fonts based on Dan X. Solo's Papyrus), Garden, Boston Line and Philadelphia Line (inspired by Boston Line Type, developed in the 1830s by Samuel Gridley Howe for use in raised-letter printing for the blind; the Philadelphia Line fonts were inspired by another raised-print font, this one developed by Julius Friedlander and adopted in 1837 by his Philadelphia school, now the Overbrook School for the Blind), Honeymoon (a script based on the Holiday Inn lettering), Blooper and Bloop Script (after Cooper Black and Brush Script), Roman monograms.
Fonts made in 2005: Don Semiformal, Fabulous Prizes, Valentin (inspired by the work of Valentin Haüy, creator of the first books for the blind), Chelt Press (a grungy Cheltenham), National Debt, Pub Smooth (followed in 2007 by Pub Bites), Baronial Monograms, Vine Monograms, Thaleia (revival of Thalia), Harold's Monograms Bold, Blockograms, CarmenMonograms, Profiler, Goya, Jest, Chaser, Rebus (dingbats), Dilemma, The Birds, CVelestial Alphabet.
Fonts made in 2004: Snowflake Monograms, Upbeat Demi, Pessima, White Birch, Artistamp, Entwined Monograms, Project, Dirty Finger, Koch Dingbats, Yard Sale, Shield Monograms, Gainsborough (inspired by the hand-lettered titles of the Alfred Hitchcock film "The Lady Vanishes", 1938), Jim Dandy (an interpretation of the 19th century typeface Jim Crow), Gaumont (based on the hand-lettered titles of the film The 39 Steps (1935), a Gaumont-British Picture, directed by Alfred Hitchcock), Imitation2, Sunset, Bend It, Pretz, Cantabile, Echo, Skidz, Columbia Stamp, Trudeau Sans (a companion of his architectural typeface Trudeau), Frank the Architect (2004, a Frank Ching-inspired typeface not unlike Tekton).
Fonts made in 2003: Card Characters, Pieces, Harlequin, Hexagrams&Octograms, Popstars, Level, Peace, Collegiate Monograms, Bead Chain, Marquee.
Fonts made in 2002: Level, Backhand Brush, Joggle, Script Monograms, Brickletter, Font Shui (oriental simulation), Heartland (for Valentine's day), Melodymaker (for music), Antiestablishment, Penmanship, RingTV, Cabaletta (now called Roosevelt), Graceful Ghost (caps based on an 18th century French design by Pouget&fils), the Ixat family (grunge fonts), PalimpsestBlack (grunge font), PalimpsestDark, PalimpsestLight, PalimpsestRegular, Pearlie, Repent (based on the work of American folk artist Jesse Howard), WillingRace (upper and lower case together).
Fonts made in 2001: Carmen Caps, Crazy Harold (2001, based on a font of the same name, as illustrated in Paul E. Kennedy's "Modern Display Alphabets"; extended to 8 weights in 2006), Easter Parade (brush script), Famous Label (pen lettering), FLORES (based on a florist's sign in Valencia, Spain), FONT ERROR, Guadalupe (Mexican simulation face), GuadalupeDos, HMBlackDiamondThree, HMBlackDiamondTwo, HMBlackOvalThree, HMBlackOvalTwo, HMWhiteDiamondThree, HMWhiteDiamondTwo, HMWhiteOvalThree, HMWhiteOvalTwo, Handmedown, Hymn, KaffeehausNeon (based on Kaufmann), PubSmooth (a variant of the classic font Publicity Gothic), Roselyn (a script font based on a font in "Lettering and Alphabets" by John Albert Cavanagh), RubaiyatDoubleLine, RubaiyatEngraved, RubaiyatInline, RubaiyatOutline, RubaiyatShadow, RubaiyatSolid, SanitaryBoldCaps, SanitaryDemi, SanitaryRegular, Shazi, ShaziGhost, Subtext (grunge font).
Fonts made in 2000: Arrobatherapy, Barbeque, Black Oval Monogram, Bruce Mikita (oriental simulation), Bruce Mikita2, Cantabile, CantabileAlternate, Celestial Alphabet, the Goya family (extrapolated from the logo of the GOYA food products company), King Harold (inspired by the lettering on the Bayeux Tapestry), KingXmas, KingXmasStars, KochQuadratFill, KochQuadrat, KochQuadratGuides, KochQuadratInline, KochQuadratOutlines, Koch Rivoli, Lab Rat, Law School (based on the architectural lettering at Albany Law School, Albany, NY, now named Trudeau, after a design by architect Robert Louis Trudeau), Milky Way (based on a style of hand lettering by Ross F. George included in 1930s Speedball lettering books), MilkyWayTwo (2001), Neurotoxin, Pharmacy, Punchhappy (holes in letters, influenced by Apostrophe's Toolego?), Punchhappy Shadow, Quarterround, Quarterround Tile (a kitchen tile font), RedCircle (based on the lettering on Eight O'Clock brand coffees), Ringpin, ScarletRibbons (inspired by a Speedball lettering book from the 30s by Ross F. George), Screwball (font in memory of Madeline Kahn), Solemnity (an uncial font modeled on the analog font SOLEMNIS by Günter Gerhard Lange, 1952), ThreePartySystemA, ThreePartySystemB, ThreePartySystemC, Vasarely (named in honor of Op artist Victor Vasarely; based on a modular font by Jean Larcher).
Fonts made in 1999: BrideOfTheMonsterStencil, Bubble Gum Rock A and B (1999-2002), CheltPressDark, CheltPressDarkVariegated, CheltPressLigh, CheltPressLightVariegated, CheltPress, Esquivel, EsquivelEngraved, Fulton Artistamp, MADFONT, Smellvetica, SmellveticaOutline, Vedette Blanche (movie roll font), VedetteNoire.
Fonts made in 1998: BrideOfTheMonster (caps and numbers are based on Rudolph Koch's Neuland), Cheapskate family, Dominican (coffee bean bag font), Landmark, OldeChicago (based on the Apple Chicago font), Ricecakes, SavingsBond extended in 2006 to National Debt, National Debt Hilite and National Debt 3D), StampAct, StampActJumbled, Thanksgiving, Virile Open, Virile Solid.
Typefaces from 2011: Bingo Dingo (dingbats inspired by the classic Mexican board game, Lotería), ManuCrypt (blackletter), Waldorf Text (blackletter).
Typefaces from 2012: Albanita (date unclear though), Curator (a compact handwriting font), Seafare (circus style face), Hardline (op art prismatic style), London (inspired by London, Susan Kare's bitmap-style Olde English designed for Apple in the early 1980s. Variations include cross-stitch, harlequin (black and white diamonds), and shaded (diagonal lines)).
Typefaces from 2015: Gilded Age (inspired by the opening titles of the 1952 French film Casque d'Or.
Typefaces from 2016: Mr. Kite (weathered wood type), Schnapps (blackletter), Egyptian Monograms, Bluelakehawk (with Jason Martinez, inspired by Southwest Pueblo pottery patterns and tribal art).
Typefaces from 2016: Bogo (a digital version of Morris Fuller Benton's Hobo Light, 1915).
Typefaces from 2017: Asian Flavor, Time Lock, Flying Circus (a Western style slab serif modeled after Circo, which was made in 1971 by Jan Solpera at Berthold AG), Traftoon (after Howard Allen Trafton's Cartoon (1936)), Art Deco Monograms, Stage Left (with interlocking capitals), Intermittent (experimental: vertical lines only; inspired by West Side Story).
Typefaces from 2018: Niche, Licorice Whip, Mineral City (grungy), Cascade Monograms, Trails End (grungy), Maze Monograms, Harmonium, Tidal Wave.
Typefaces from 2019: Black Iris (blackletter), Headstand.
Typefaces from 2020: Jimmy Leg, Labelous, Divity Rose Monograms, Peaceful Protest, Headstand (Headstand was inspired by the logo for Melania Trump's Be Best campaign, reportedly designed by the First Lady herself), Tablet Monograms, Don Piano (an early computer-inspired monospaced typeface), Trente Neuf (hand-lettered with art deco roots), Vineyard (an art nouveau typeface inspired by two early 20th-century fonts from American Type Founders, Virile and Erratic Outline), Pheather, Gothic Vine Monograms, Vine Monograms, Money Tree (a currency font), Sonnet, Cantabile, Neurotoxin, Screwball. Typefaces from 2021: Tessera (a mosaic font), Diploma Monograms, Wet Ink (oily).

Link at Dafont. . Abstract Fonts link. [Google] [More] ⦿

Hattori Supply Co (was: Corgi Astronaut)
[Sergio Haruo]

Jundiai, Sao Paulo-based designer of Joliet Serif (2017), Millenia (2017), Filena (2017, a sans family), Boxing (2017, a mini-spurred slab serif), Gotcha (2017), Sprout (2017, thin condensed sans), Clutch (2017), Longway (2017, copperplate style), Destrukt (2017), Bridal (2017, a condensed family with some free weights), Alyssum (sans), Space Cowboy (2017), Cookit (2017, a free wood emulation font), Glubby (2017, a plump typeface), Rearden Steel (2017), the fat rounded typeface Hit And Run (2017), and the free all caps sans typeface Thruster (2017).

Typefaces from 2018: Palash.

Typefaces from 2019: Okana (a 16-style condensed sans), Lucita (rounded sans), Camilie (thin sans).

Typefaces from 2020: Perugia (a decorative didone). [Google] [More] ⦿

Hayinah Hayinah
[Rockboys Studio (or: Rockboy Studio)]

Hendra Maulia
[Dirtyline Studio]

Hendrick Rolandez
[Moinzek]

Hendry Juanda
[Letterhend Studio (or: Magang Letterhend)]

Henrik Kubel
[A2 Type]

Herbert Bayer

Austrian type designer and artist, 1900-1985. A very inflential artist, Bayer joined the Bauhaus in Weimar as a student in 1921, and was a professor ("young master" they called those ex-students who became professors) there from 1925-1928. Bayer was head of the workshop of Graphic Design and Printing at the Bauhaus school of architecture and art in Dessau. He fled Nazi Germany in 1938, and worked in New York until 1946 for such clients as Dorland International, Thompson, Wanamaker's, and developing exhibitions and general graphic design for large corporations. In 1946 he moved to Aspen, Colorado and continued as consultant to firms such as Container Corporation of America. He died in Montecito, near Santa Barbara, CA, in 1985. His typefaces include Universalschrift or Universal Alphabet (1925-1930) and Bayer-Type (for Berthold, 1930-1936). See also this image. He is best known for his unicase proposal (as in Universalschrift).

Dedicated web site. FontShop link. Picture. Klingspor link.

Revivals of his work:

At P22: P22 Bayer Fonetik (1997, Michael Want), P22 Bayer Shadow, P22 Bayer Universal.
By Jonathan Hill: WerkHaus (2008) is a 5-style revival.
Victory Type published Bayer Modern in 2009, and Bayer Sans a decade earlier.
Nick Curtis: Debonair Inline NF (2008) expands Herbert Bayer's 1931 experimental, all-lowercase "universal modern face," Architype Bayer-Type, by adding an uppercase and adding an architectural inline treatment.
Architype Bayer by The Foundry.
Arthaus (2015, Johgn Moore).
Paulo Heitlinger did Sturmblund (2008) and Bayer Condensed (2008).
Bauhouse Universal (2017, Stephen Bau.
Universal Regular (2016, Luca Taddeo).
Bayer Next (2014, Sascha Lobe).
Struktur (2012, Shiva Nallaperumal).
New Universal Tall (2011, Henry La Voo).
Bauhaus 93 (URW++).
K-haus 105, K-haus 205 (2019). Two typeface families by Adrian Talbot of Talbot Type to celebrate 100 years of Bauhaus. The style is influenced by Herbert Bayer's universal alphabet.

A list of commercial typefaces based on Herbert Bayer's work. [Google] [MyFonts] [More] ⦿

Hernández Type (was: Estudio de diseño Calderón)
[Daniel Hernandez]

Estudio de diseño Calderón in Chile had the work of two Chilean designers:

Daniel Hernández has some free fonts at Dafont and Font Squirrel. Klingspor link. His award-winning fonts include Stgotic textura (2006), Stgotic Fracktur (pixel blackletter), and the (free) unicase piano key font Pincoya Black (2008), which was based on Spanish Civil War poster, and won an award at Tipos Latinos 2010. He calls his ultra fat Roxy (2009) tipografia desde el culo del mundo.
Behance link. His Flickr page. His lettering.
Hernandez Bold (2010, Sudtipos) has slabs, serifs, and plenty of round curves. It won an award at Tipos Latinos 2012.
Rita (2010, Sudtipos) is an ultra-slab all caps typeface inspired by the fat wood types. In 2018, Daniel Hernandez and Rodrigo Fuenzalida enlarged Rita.
Designer of the free text font Belgrano (2011).
Merced (2011) is a thin monoline sans. Sanchez (2011, Latinotype and YWFT) is a slab serif family with a free weight. In 2013, he published the beautiful sequel, Sanchez Slab, which is patterned after Rockwell. Sanchez Niu (2017) is another slab serif in this family.
Javier Quintana created the smooth and delectable text family Berenjena in 2007. He also made the roundish display typeface Botota (2007), which is reminiscent of market signage in Santiago.
Monroe (2010, Sudtipos, and revised in 2018, Latinotype) is a swashy slab family. See it in action in this I Love New York poster.
Patagon (2011, Latinotype) is a rounded wood-inspired poster typeface done with Daniel Hernandez and Luciano Vergara.
Guadalupe (+Gota, 2011, Latinotype). A hairline didone family with sufficient contrast and frilliness to satisfy the fashion mags.
Andes (2011, Latinotype). This is a playful slightly swashy sans family. Followed by Andes Italic (2012) and Andes Condensed (2012). See also Andes Rounded (2014) and Andes Neue (2019), which has 56 styles.
Bosque (2012) is a wood style family co-designed with Paula Nazal at Latinotype.
Magallanes (2012, Daniel Hernandez) is a contemporary neohumanist sans serif typeface family covering Ultra Light to Black. This typeface was followed by the 8-style Magallanes Essential (2012) and by Magallanes Condensed (2013).
Trend (2013). A layered type system done together with Paula Nazal Selaive. Followed by Trend Hand Made also in 2013 and Trend Rough in 2014.
With Eli Hernandez, Daniel Hernandez published the unicase typeface family Grota in 2013.
Roble (2013): A slab serif font family which Daniel places halfway between Andes and Sanchez. It is characterized by its clampy backbitten lower case c. The slab serif Roble Alt (2013) has eight weights of two fonts each.
Together with Miguel Hernandez at Latinotype in 2014, Daniel Hernandez designed the 1930s tall-ascendered sans family Arquitecta, which is promoted as an alternative for Futura, Kabel and Avant Garde. It was followed later that year by Arquitecta Office and Arquitecta Standar. They also co-designed Texta, a geometric sans for all. His Newslab (2014) family is a combination of Andes, Sanchez and Roble; the Regular and Italic styles are free.
In 2016, Cesar Araya and Daniel Hernandez co-designed the very Latin / curvy / warm slab serif typeface family Hernandez Niu.
The foundry became Hernández Type at some point. The fonts there, repeated from the former foundry, include Patagon, Merced, Hernandez Bold, Monroe, Pincoya Black Pro, Rita Bold and Fat, and Pincoya Black Free.
In 2016, Daniel Hernandez, now studying at the KABK in Den Haag, The Netherlands (2014-2018), created Lxy, an interesting dynamic (animated) display typeface made entirely with the Python programming language in Drawbot. At Latinotype, he published Basic Sans, Basic Sans Cnd and Basic Sans Narrow.
In 2016, Bruno Jara Ahumada, Alfonso Garcia, Luciano Vergara, Daniel Hernandez and the Latinotype Team designed the roman square capital headline typeface family Assemblage.
In 2017, Paula Nazal and Daniel Hernandez co-designed Trenda, a geometric sans family based on the uppercase of Trend. The rounded edge version of Trenda is Boston [16 styles; corrections and review by Alfonso Garcia and Rodrigo Fuenzalida].
Peckham (2018). An 8-style slab serif named after the birthplace of Vincent Figgins. Digital editing and corrections by Alfonso Garcia.
The Reinvention of Rita (2018). A slab serif.
In 2019, Latinotype published the great super-slab typeface Breton which was designed by Daniel Hernandez and Rodrigo Fuenzalida. Daniel Hernandez added the geometric sans family Biennale in late 2019.
In 2020, he released Magazine Grotesque at Latinotype. It is characterized by an overhanging umbrella lower case a, and an overbiting lower case e.
Facundo (2020, Paula Nazal Selaive and Daniel Hernandez, at Latinotype) is a 14-style geometric sans family.
In 2020, Luciano Vergara, Daniel Hernandez and Alfonso Garcia co-designed the 54-style sans family Aestetico. They introduce Formal and Informal subsets of fonts so that the family covers several sans genres.
Apparel (2020, Latinotype) is a 20-font display serif family inspired by the MacFarland series in the 1912 ATF catalog, which in turn was based on Heinz Koenig's Roemische Antiqua (1888, Genzsch&Heyse). It was designed by Daniel Hernandez and Alfonso Garcia.
Hernandez Bros (2021). By siblings Daniel and Eli Hernandez. This is a 7-style sharp-edged serif family loosely based on Bulfinch by William Martin Johnson (1903, ATF).

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

Herpin Maulana
[Lemon Studio Type]

Hideki Saijo

Tokyo-based designer of the thin decorative didone advertising typeface Ginza Mitsukoshi 2015 (2015, for the department store chain). Behance link. [Google] [More] ⦿

High fashion typefaces

When asked for typefaces appropriate for high fashion for 25+-year old women, the typophiles had these recommendations at the start of 2013:

Parachute's Regal Series originally designed for Grazia magazine: Regal Display Pro, Regal Finesse Pro, Regal Swash Pro, Regal Text Pro, Regal Stencil Pro.
Nick Shinn's Bodoni Egyptian Pro.
Typotheque's Karloff Neutral.
Archer by Hoefler Frere Jones.
Vinter by Monokrom.
Nick Curtis's Smart Frocks NF, an art deco typeface.
Cyrus Highsmith's Escrow (Font Bureau).
Benton Modern Display by Dyana Weissman and Richard Lipton at Font Bureau.
Minah by Jacqueline Sakwa at Font Bureau.
Vulpa by Dave Rowland.
Moshik Nadav's Paris Pro.
ITC Tiffany by Ed Benguiat.

[Google] [More] ⦿

Hilmius Akbar
[Type Factory]

View Hubert Jocham's typefaces. Another view.

Hindia Studio
[Tulus Driyo]

Malang, Indonesia-based designer of Breymont (2016, a hipster sans with a postmodernist trick---lower and upper cases are reversed), Sansa Dior (2016, brush script), Rising Star (2016, monoline signage script), the manly vintage typeface Blackfield (2016, with gorgeous 3d, textured and shadow styles), Kahuripan (2016, also with 3d and shadow styles), the eroded Mangano (2016), the squarish typeface Bosche (2016), the fashionable sans typeface Gaoel (2016), the hand-printed typeface Lekra (2016) and the all caps typeface Rubina (2016).

Typefaces from 2017: Shadow Boxing, Citrus Script, Airwaves (poster sans), Airwaves Script, Bogart Script (dry brush), Porta Sans (a fashionable sans for logotypes and chic applications), Zeitgeist (fun brush style), The Frenttel (chubby brush font), Moenier, Breymont Sans (introducing the principle of flipped letters for added impact).

Typefaces from 2018: Coltrane (an extended sans family).

Typefaces from 2019: Distancia (a 12-style all caps sans inspired by 1970s sports cars).

On Behance, we learn that the designer, Tulus Driyo, is based in Geneva. Or in Malang, Indonesia.

Typefaces from 2020: Volante (a condensed all caps sans family).

Typefaces from 2022: Northlane (a squarish all caps organic sans). [Google] [MyFonts] [More] ⦿

Hishand Studio
[Putu Dody Permana]

Bali, Indonesia-based designer in 2021 of Eu Alonira (+Icon: a distinguished display sans), Le Amatcky (+Icon: a display typeface and a set of religious icons), Leky Calgria (a flashy display typeface), Amelaryas (+Icons; a display serif), Gyahegi (a decorative serif with religious icons), Agraham (a decorative serif with many ligatures; +Icon), La Gagliane and La Gagliane Icon (fashion mag typefaces), La Obrige (a decorative serif and matching icon set), Kally Dreams (a monolinear fat finger script), and the script or signature typefaces Wina Aprilina, Canggu Vibes, Feeling Beiges, Virghie and Lafamaria.

Typefaces from 2022: Lamarkie (a display serif with a negative 45 degree axis), Qanoar (a decorative serif), Alokary (a Peignotian fashion sans). [Google] [MyFonts] [More] ⦿

Hoefler (was: Hoefler&Frere-Jones, and Hoefler Type Foundry)
[Jonathan Hoefler]

Born in 1970 in New York, Jonathan Hoefler ran the Hoefler Type Foundry (or: HTF) in New York. It employed Tobias Frere-Jones, Josh Darden, and Jesse Ragan. In 2004, it was renamed Hoefler&Frere-Jones, or HFJ for the cognoscenti. However, a legal problem between Jonathan and Tobias led to a corporate divorce in 2014---the company is renamed again The Hoefler Type Foundry. In September 2021, Monotype acquired Hoefler, and that is the end of that chapter. Their typefaces:

Acropolis.
Archer (2001, by Jonathan Hoefler and Tobias Frere Jones). A humanist slab serif originally designed for Martha Stewart Living. It has a great range of features, including a classy hairline style. However, I see trouble down the road with the name Archer which has been used previously by several other foundries such as SignDNA, Arts&Letters and Silver Graphics. Some say that Archer is just Stymie with some ball terminals. Nevertheless, it became a grand hit, and has been used by Wes Anderson in The Budapest Hotel, and in Wells Fargo's branding. David Earls on Archer: with its judicious yet brave use of ball terminals, and blending geometry with sexy cursive forms, all brought together with the kind of historical and intellectual rigour you fully expect from this particular foundry, Archer succeeds where others falter.
Champion Gothic.
Chronicle Text. In 2007, HFJ published the "blended Scotch" newspaper serif text family Chronicle, which led to Chronicle ScreenSmart in 2015. See also Chronicle Display. In 2016, Hoefler published Chronicle Hairline. In Wired Magazine, Margaret Rhodes writes that it is for men who wear dress shoes without socks. Chronicle Hairline is a didone that breaks the didone rules. It is rounder, asymmetric (as in the mouth of the C), and as Hoefler puts it, more musical. As of 2016, the Chronicle typeface family consists of the display styles Chronicle Hairline, Chronicle Display (+Condensed, +Compressed), and Chronicle Deck (+Condensed), and the 60-style Chronicle Text family, which comes in G1, G2, G3 and G4 subfamilies.
Many custom and branding typefaces, including, e.g., General GG (2005-2007) and typefaces for The New York Times Magazine, Times Mirror, Esquire and McGraw-Hill (1995, free download). Time.com provides previews of fonts made for Esquire, Lever House, eCompany Now, The Guggenheim Museum, The New York Times, and the Whitney Museum.
Cyclone.
Decimal (2019). A sans based on early wristwatch typefaces, i.e., the microscopic letters used by Swiss watchmakers in La Chaux-de-Fonds.
Didot. HTF carefully designed and complete families include HTF-Didot (1991) in 42 weights/variations, originally designed for Harper's Bazaar; based on the grosse sans pareille no. 206 of Molé le jeune.
Eyes Only (2019). A stencil typeface.
Forza (2010). A sans typeface. Not to be confused with the 2007 font Forza by Michel Luther at Die Gestalten.
Geometer Screen Fonts. Free Mac fonts.
Giant.
Gotham (2003). The stylish sans typeface made famous by Obama. See also Gotham Rounded.
Historical Allsorts. This includes Historical-EnglishTextura, Historical-FellType, Historical-GreatPrimerUncials and Historical-StAugustin.
Hoefler Text (+Ornaments). This antiqua text typeface consists of 27 fonts made in 1991-1992, and is distributed with many Apple products.
Hoefler Titling.
Ideal Sans. A slightly flared humanist sans. In the 1996 Morisawa Awards competition, Hoefler received a bronze prize for Ideal Sans. In 2011, HFJ writes it up beautifully: Typefaces are born from the struggle between rules and results. Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be measurably taller. The two strokes in an X aren't the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn't the same length as the descender on a p, and so on. For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same. Twenty-one years ago, we began tinkering with a sans serif alphabet to see just how far these optical illusions could be pushed. How asymmetrical could a letter O become, before the imbalance was noticeable? Could a serious sans serif, designed with high-minded intentions, be drawn without including a single straight line? This alphabet slowly marinated for a decade and a half, benefitting from periodic additions and improvements, until in 2006, Pentagram's Abbott Miller proposed a project for the Art Institute of Chicago that resonated with these very ideas. As a part of Miller's new identity for the museum, we revisited the design, and renovated it to help it better serve as the cornerstone of a larger family of fonts. Since then we've developed the project continuously, finding new opportunities to further refine its ideas, and extend its usefulness through new weights, new styles, and new features. Today, H&FJ is delighted to introduce Ideal Sans, this new font family in 48 styles. Ideal Sans is a meditation on the handmade, combining different characteristics of many different writing tools and techniques, in order to achieve a warm, organic, and handcrafted feeling.
Idlewild (2012). A wide sans typeface family.
Isotope (2018). A squarish typeface family. Not to be confused with Isotope by Fábio Duarte Martins, designed six years earlier.
Inkwell (2017). Hoefler writes: Inkwell is provided in a range of styles with which readers already have clear associations: a bookish Serif and a cleanly printed Sans, a conversational Script, a ceremonial Blackletter, a fancy Tuscan for decoration, and a stately Open for titles. Each style is offered in six weights, from a technical pen Thin to a graffiti marker Black. Inkwell is a name used as far back as 1992 by Sam Wang, and additional older fonts called Inkwell exist by Dan Solo, Philip Cronerud and MXB Foundry.
Knockout. The Knockout collection was designed to celebrate the beauty and diversity of nineteenth century sans serif wood types.
Knox.
Landmark (2013). In Regular, Inline, Shadow and Dimensional styles. A collection of architectural caps which started out as a custom typeface for Lever House in New York.
Leviathan.
Mercury Text and Mercury Display.
Nitro & Turbo (2016). Hoefler writes: We designed Nitro for Pentagram's Michael Bierut, as part of a new identity for the New York Jets football team. Originally named Jets Bold, Nitro is rooted in the styles of lettering used by the team throughout its fifty-year history: even as its logotype evolved, it consistently used heavy, slanting forms to imply force and movement. and ends with corporate babble: Nitro embodies this indomitable spirit in the context of a fresh, contemporary design. About the naming: AF Nitro was made by Sylvia Janssen at the very popular Die Gestalten Studio in Germany, in 2001. It will be fun to watch that battle between giants. Not to mention that lesser known players also made commercial fonts called Nitro more than a decade earlier---these include Jack Wills at Sign DNA and Markus Schroeppel (in 2004).
Numbers. In 2006, HFJ published the Numbers family, 15 fonts with nothing but numbers from various sources: Bayside (based on a set of house numbers produced around 1928 by H. W. Knight & Son of Seneca Falls, New York), Claimcheck (inspired by ticket stubs), Delancey (from tenement doorways), Depot (modeled on vintage railcars), Deuce (based on playing cards), Dividend (from an antique check writer), Greenback (based on U. S. currency), Indicia (inspired by rubber stamps), Premium (after vintage gas pumps), Prospekt (based on Soviet house numbers), Redbird (inspired by New York subways), Revenue (from cash register receipts), Strasse (after European enamel signs), Trafalgar (inspired by British monuments), Valuta (after Hungarian banknotes).
Obsidian. In 2015, Jonathan Hoefler and Andy Clymer cooperated on the decorative copperplate engraved emulation typeface Obsidian. Various kinds of 3d illumination in Obsidian were obtained by an algorithmic process. Not to be confused with about ten other fonts called Obsidian--for example, we have Obsidian (pre 2003, Silver Graphics), Obsidian (2014, Steffi Strick), Obsidian (2012, Krzysztof Stryjewski), Obsidian Deco (2013, Yautja), Obsidian (2005, Sparklefonts), and Obsidian Chunks (pre 2002, Jeni Pleskow).
Operator, Operator Mono, Operator Screensmart and Operator Screensmart Mono. The non-typewriter typewriter type..
Peristyle (2017). A stylish condensed typeface family with piano key elements, and described by Hoefler as dramatic.
Quarto.
Requiem (1991-1994).
In 2003, they published Retina (which was originally designed for the stock listings in the Wall Street Journal), but that font disappeared from their listing.
Ringside.
St. Augustin Civilité: St. Augustin Civilité is a digitization of Robert Granjon's extraordinary type of 1562, now in the collection of the Enschedé type foundry, Haarlem. This typeface is reproduced in Civilité Types by Harry Carter and H. D. L. Vervliet (Oxford Bibliographical Society, by the Oxford University Press, 1966.) As figures and punctuation were lacking in the original, these have been borrowed from two other Granjon types, the Courante and Bastarde of 1567. (The remainder of the character set has been invented.)
Sagittarius (2021). A soft-edged compact semi-futuristic headline sans. In keeping with tradition, Hoefler dismisses or ignores the fact that the name Sagittarius was taken by a handful of other fonts since about 22 years ago.
Saracen.
Sentinel. Sentinel (1999) is HFJ's take on a Clarendon. I can't understand why they picked a name already taken by many foundries such as Graphx Edge Fonts, Comicraft, Dieter Steffmann and Sentinel Type. Anyway, in 2020, Sentinel got un upgrade (with smallcaps and ornaments) in 2020 in Sentinel Pro.
Shades (2003). In Cyclone, Topaz, Giant and Knox weights.
Surveyor (2014). An exquisite mapmaker and newsprint didone font family with Fine, Display and Text subfamilies.
The Proteus Project.
Topaz.
Tungsten (2009) and Tungsten Rounded. Their sales pitch: That rarest of species, Tungsten is a compact and sporty sans serif that's disarming instead of pushy - not just loud, but persuasive. Douglas Wilson compares Tungsten with Alternate Gothic No. 3 (Morris Fuller Benton). Not to be confused with Tungsten (2005, Sparklefonts).
Uncategorized early typefaces: Gestalt-HTF, Fetish-HTF (blackletter modernized, 1995), Ehmcke-HTF.
Verlag (2006). A 30-style art deco-inspired semi-Bauhaus geometric sans family based on six typefaces originally designed for the Guggenheim. HFJ writes: From the rationalist geometric designs of the Bauhaus school, such as Futura (1927) and Erbar (1929), Verlag gets its crispness and its meticulous planning. Verlag's fairminded quality is rooted in the newsier sans serifs designed for linecasting machines, such as Ludlow Tempo and Intertype Vogue (both 1930), both staples of the Midwestern newsroom for much of the century. But unlike any of its forbears, Verlag includes a comprehensive and complete range of styles: five weights, each in three different widths, each including the often-neglected companion italic.
Vitesse (2010). The typophiles react to the slab family with praise: I think they're chasing Cyrus Highsmith, Dispatch and Christian Schwartz, Popular on this one. Doing a pretty good job of it too! [...] Looks to me like the love-child of Eurostile and City. In 2020, Jonathan Hoefler added the inline Cesium, which forced him to modify the glyphs somewhat.
Whitney. In 2004, they produced an amazing 58-weight sans serif family, Whitney (by Tobias Frere-Jones), designed for use in infographics. Whitney's sales blurb: While American gothics such as News Gothic (1908) have long been a mainstay of editorial settings, and European humanists such as Frutiger (1975) have excelled in signage applications, Whitney bridges this divide in a single design. Its compact forms and broad x-height use space efficiently, and its ample counters and open shapes make it clear under any circumstances. See also Whitney Condensed and Whitney Narrow.
Ziggurat.

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] ⦿

Hubert Jocham

German über-type designer (b. 1965, Memmingen) who studied graphic design in Augsburg (Germany) and Preston (England). His degree project dealt with the history of the italic type of the renaissance and the relationship between roman and italic. In 1998 he moved to London to work for Henrion, Ludlow and Schmidt in corporate branding. He worked at one point for Frank Magazine in London. Today Hubert Jocham is a freelance designer located once again in Memmingen, Germany. He develops brandmarks and logotypes for leading brand agencies like Interbrand, Landor, Enterprise and Futurbrand. He designs text and headline systems for international magazines like GQ London, Vogue Moscow, Vogue France (2010), Vogue Turkey, L'Officiel Paris, and New York and German publishers like Milchstraße and Gruner&Jahr. He is responsible for the corporate type of Bally in Switzerland, the Kunsthaus Graz and Agfa Photo. He set up Hubert Jocham Type in 2007. MyFonts link. FontShop link. His typefaces:

Adonis.
The ecccentric serif families Alida Text and Display (2007).
Becca (2018). An extensive slab serif family.
Bent (sans family).
Bravery. A curvy wedge serif. Accompanied by Bravery Sans.
The Contra Sans and Contra Serif families.
Contura. Inspired by Jakob Erbar's Feder Grotesk, and designed with the fashion industry in mind.
The Crema family (2012) has various flowing thick signage script styles.
Debra. A modern grotesque.
Dolce.
Element.
Elsner&Flake fonts: EF Havanna (1996), EH Herbert (1996), EF Panther, EF Sahara, EF Keule and EF Tabard.
Esquina. An open and attractive sans.
The TV-screen-curved Fernseher family.
Fire.
The signage brush script typeface Flavour (2004).
Flow. A sharp-edged sans.
Glanz (2018). A high contrast fashion mag typeface family.
Glenda (2009). A script face.
Granat (2009). A 14-style rounded sans family related to Jocham's own Teleplu and Teleneue.
Jocham (2012). A fat connected signage script family that won an award at TDC 2013.
June, New June and New June Serif (1999, after the large x-heighted June, used in W-magazine and Harvey Nichols magazine).
Keks (2009). A broken angular type.
The industrial sans family Konsens (with related Konsens Stencil).
Leaf. A playful serif.
Legau (2007). A sans with lots of stroke modulation.
Libris, Bally Libris.
LTA Identity.
Madita (2011). An upright connected script family.
Magazine.
Matrona (2010). An ultra fat rounded family, awarded at TDC2 2011.
The display serif typeface Mighty.
Mommie (2006) was originally designed as a display typeface for L'Officiel magazine in Paris in 2003. It won a display typeface award at TDC2 2008, and was followed in 2008 by MommieBrush. Boris Bencic, the art-director asked Jocham to design a script with high contrast in the stroke, in the tradition of Spencerian Hand.
The wide basic sans family Monday.
Motora Sans (2011). A simple sans family which according to Hubert is pure gasoline and sweat.
Narziss (a beautiful high-contrast ornamental didone headline typeface, winner at TDC2 2010). Followed in 2012 by Narziss Pro Cyrillic. See also Narziss Grotesk and Narziss Text.
Neopop (2009). A circular type experiment.
New Libris Sans. This is a multi-weight extension of Libris, the corporate typeface of Bally, Switzerland, designed by Jocham in 1999. New Libris Serif.
Oktober.
Other Sans, Other Oldstyle.
Perfetto (2008). A classic serif family based on a typeface penned by Giovanni Francesco Cresci with an x-height of 8 mm, and published in his book Il perfetto Scrittore in 1570 (also seen in Tschichold's Meisterbuch der Schrift).
Polia (2014).
Ramon (2014).
Riccia (2010). A grotesk family with schizophrenic "a" and "g".
The angular serif typeface Rudolph.
Safran (2009). A solid 18-style sans family.
In 2005, he made the brush script headline typefaces Schoko and Drop.
In 2008, he added the brush signage families Schwung and Milk.
September.
Softedge.
Spring Sans (2008).
Susa (2009). A connected script face.
Tantris Sans (2014). Created for the book about the famous restaurant Tantris in Munich.
The comic book family Tasty (2005).
Teleneue.
Televoice (2018). A sans with elliptocal curves.
Venturio (50s diner face).
Verve Sans and Serif (2006-2007) are a pair of fun birds, especially the frivolous serif originally planned for a women's psychology magazine called Emotion. A few days after their publication, they were renamed Verse Sans and Verse Serif, probably because the name Verve clashed with Adobe's VerveMM font made in 1998 by Brian Sooy (by the way, there is also a Verve type family by Dieter Steffmann, dated 2000).
Vivid (2009).
Voice (2004-2005, elliptical sans). Subfamilies include Voice Edge, Voice Sans and Voice Shoulder, all done at URW. In 2007, Voice was removed from URW and is solely available at Hubert Jocham Type&Design. The family was extended and now includes many styles, subdivided in Voice (sans), VoiceEdge, VoiceShoulder, VoiceSerif, Voice Heavy, Voice Medium, Voice Ultra Bold, and TeleVoice.
The very interesting asymmetrically rounded Volt (2007), a sans family he claims improves on similar typefaces such as Bernhard Gothic, Barmeno, Dax, Prokyon, Voice Shoulder, and Phoenica.
Weekend.
Work ahead: this serif face (2005).
Xmas Rudolph (2006). A free display serif face.
Yuri (2017). A predominantly didone typeface with gently sloped serifs.

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

Hugo Hoppmann

German designer (b. Köln, 1988) of the wonderful free paperclip typeface Herrliches Script (2005). Dafont link. Other free typefaces: Lafayette (2006, sans), Brasil (2006), Piqto80s (2007), Filzmoos (2007), Ka viva (2007, art deco: a free headline font, inspired by the cover-type of the eighties fashion magazine VIVA), Font03. [Google] [More] ⦿

Hurufatfont Type Foundry
[Oguzhan Cengiz]

Istanbul-based art director. Designer of Elen Sans (2002-2020: started in 2002 as a student, and finally finished in 2020, this 18-style display sans was influenced by Friz Quadrata and Eras) and the Latin / Cyrillic text typeface Milas (2018). In 2019, he published Kontras (a fashionable typeface), Apron (a 42-font sans family with the vertical roundness of airplane windows), ApronSoft, and Grosen (a 14-style grotesk).

Typefaces from 2020: Masifa (a neutral condensed grotesque in 90 styles), Masifa Rounded (another 90 styles), Masif (dead link; a neutral sans with little contrast; 90 styles; renamed Masifa most likely after a complaint from Monotype which markets a Steve Matteson font called Massif), Kanyon (a 54-style low contrast geometric sans), Salda (a 40-style sans family), Gevher (a 48-style grotesque family with deep ink traps), Tonus (an 84-style superfamily with Sans, Slab, Text, Display and Contrast subfamilies), Salin (a 20-style semi-geometric sans), Nema (sans), Kaunos (by Mustafa Eren).

Typefaces from 2021: Rapor (a 20-style grotesk), Mazot (a 19-style sans with almost no contrast, and vertical or horizontal terminal endings; includes a variable font), Berina (a 6-style display family), Mersin (a 20 style sans and a two-axis variable font), Bahar (an 18-style sans inspired by Souvenir and Cooper Black), Stadiona (a heavy condensed organic sans that was inspired by Bauhaus), Ancyra (a 48-style sharp-edged and thorny-serifed serif family), Salda Soft (a 20-style rounded sans family).

Typefaces from 2022: Multipa (a 22-style condensed rather formal sans). [Google] [MyFonts] [More] ⦿

I Wayan Bill Natih
[Balibilly Design]

Ian Irwan Wismoyo
[Just Font You]

Ian Party
[Swiss Typefaces]

Ilya Naumoff

Also Ilya Naumov, b. Russia. Paris-based graphic and type designer, whose typefaces are fabulous. His typefaces:

During a summer course called Type@Paris (2015), Ilya Naumov designed a contemporary redesign of Caslon called Belka (+Stencil,+Italic).
Kawai is a modern serif typeface started by Ilya at the University of Reading in 2014 under the supervision of Gerry Leonidas and Gerard Unger.
Vesterbro (Jeremie Hornus, Alisa Nowak, Ilya Naumoff, Black Foundry, 2017) is a high-contrast Latin / Cyrillic typeface with a Viking feel that won an award at Granshan 2017.
Troy (2017), Troy Sans (2017). A pair of inscriptional all caps roman typefaces published in 2019 by Indian Type Foundry.
Clother (Jeremie Hornus, Julie Soudanne, Ilya Naumoff, 2017, at Black Foundry). This geometric sans workhorse covers also Cyrillic, Hebrew and Arabic.
Ekster (2018). A geometric sans typeface family.
Ulm Grotesk (2018, Indian Type Foundry). A simplified almost futuristic geometric sans typeface family. Ilya explains the name Ulm: In the 1950s and 1960s, The Ulm School of Design was hailed as a successor to the Bauhaus, and it set important impulses for international graphic and product design. These Ulm aftershocks were felt for the next several decades.
In 2019, Ilya Naumoff and Benjamin Blaess co-designed the variable font Grtsk at Black Foundry. Its three axes, weight, width and slant, combine for 126 styles, that are all captured in one variable font. Mini-site.
Screen Sans (2020). A 14-style sans by Jérémie Hornus and Ilya Naumoff published by Indian Type Foundry.
Stravinsky (2020). This is an experiment in fashionable contrast. Ilya writes: The typeface fuses the 18th century Didot vertical contrast and squarish counters with the contemporary sans-serif Grotesk form.
Factor A (2020). A variable geometric sans typeface at Type Tomorrow.
Supreme (2016-2021, by Jérémie Hornus and Ilya Naumoff at Fontshare). A 14-style engineering sans with straight-sided almost monolinear letters.

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

Ilya Ruderman
[CSTM]

View a few digital typefaces with roots in the Intertype collection.

Ina Dimitrova

New York-based print designer who made the cover for William Gibson's text book Pattern Recognition (2010). In 2013, she designed the fashion mag high-contrast typeface Rounda (AI format---free). [Google] [More] ⦿

Intertype
[Gilbert Powderly Farrar]

Defunct foundry. One of its typographic directors was Gilbert Powderly Farrar (1886-1957), who designed Bert Black. Intertype's typefaces include Monterey (1958, Rand Holub, its "version" of Murray Hill; available from Bitstream now), Imperial (designed by Ed Schaar; now a Bitstream font), Intertype Vogue (ca. 1930, see Am Sans by Volker Busse for a free digital version), Stuyvesant (1940, now available from Bitstreeam), and Nuptial Script (now an Adobe font).

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.

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] ⦿

Iñigo Jerez Quintana
[Extratype (was: Textaxis)]

Ioana Avram

Fashion illustrator in Bucharest. She did some brush alphabets in 2010. [Google] [More] ⦿

Irina Braginsky

Toronto-based graphic designer who created the fashion mag typeface Sibilant (2012): Sibilant is a display typeface designed primarily for fashion editorials. The initial basis of the concept was to eliminate parts of the letterforms while still having the typeface recognizable. The typeface is very light and airy, yet the combination of high stoke contrast and elegant curves gives this typeface a whispery, edgy, hissing quality reminiscing of snakes. Hence the name Sibilant. Behance link. [Google] [More] ⦿

Ismael Fino

Graphic designer in Guadalajara, Mexico. Textures inspired him to create the geometric textured typeface FN Tekture (2010), FN RE EVO (2011), FN Revoluxion (2012), and the spurred military typeface Nacion Gothic (2012). Monotypo (2012) is a hairline fashion mag sans typeface.

In 2013, he created the ball terminal ornamental typeface Mexique. He drew inspiration from Porfirio Diaz and Mexico in the 1880s.

His typefaces can be bought via HypeForType. [Google] [More] ⦿

Issam Boufelja
[Issam Type]

Issam Type
[Issam Boufelja]

Founded by Youssef Boufelja and Issam Boufelja in January 2021, Issam Type is a type foundry based in Morocco. In 2021, Issam Boufelja designed Magide (a 6-style serif in the Windsor genre), Macing (an 8-style Peignotian sans), Diastema (a stylish display serif), Brisky (a very decorative serif), Bogosa (a high-contrast serif) and the display serif typeface Blue Village.

Typefaces from 2022: Basgem (a fashion mag serif with many ligatures), Brigelo (a retro dispay serif), Dorige (a retro serif). [Google] [MyFonts] [More] ⦿

Istvan Krizsanyik

During his studies at Budai Art School, Eger, Hungary-based Istvan Krizsanyik designed the art deco typeface FS Deco Display (2017, FontStruct) and a modular typeface in 2016.

During his studies at the Visual Arts Institute in Eger, Hungary, Istvan Krizsanyik designed Kaarosta Display (2018: a free Peignotian fashion mag sans with a funky capital E) and Noograd (a free display font).

In 2018, he carried out an experiment in which he firstv designed a font, then transformed it into a wave, applied a filter to the music wave, and converted it back to an image for a glitch effect. [Google] [More] ⦿

Ivan Phillipov
[Neogrey]

Ivan Rosenberg

Ziar nad Hronom, Slovakia-based designer of the brush typefaces Amazonia Bay (2016), Bahamas Brush (2016), Constance Brush (2016) and Malina Brush (2016), and the script typeface King Size (2016).

Typefaces from 2017: Frosty Sky, Pink Lady, Mon Amour (script), Catedral Script (calligraphic), Catedral Brush, Palm Beach (Sans, Script), Broadway (brush script), Gustavson Script (dry brush).

Typefaces from 2018: Smooth River, Chester (SVG format brush font), Lucky Bloom (OpenType SVG), Black Caviar (SVG format brush font), Empathy (SVG brush), Melvin and Emily (a wedding script font duo), Margarita (formal calligraphy), Rocked (SVG format brush font), Royal Touch, South Wind, Diplomatic (formal calligraphy), and the hand-lettered font collection (HLF Supreme, HLF Montreal, HLF Marco Polo, HLF Rockway, HLF Black Caviar).

Typefaces from 2019: Santa Fiora (an SVG font duo), Biago Serif, The Brightside, Balkan (brush script), Rosematty (wild calligraphy), Boutique in Heaven (a casual brush font), Bianca Kamelo, Stay Bright (script), White Heart (brush script).

Typefaces fro 2020: Cosmopolite (a dry brush script), Bonami (calligraphic).

Typefaces from 2021: Cherion (a fashion mag serif), Fairy Spirit (reverse stress), Wistenia, Selina, Betliar (a bold display serif), Siena (a luxurious sans), Asther (a fashion mag serif), Glamy (a ligature-rich serif), Giovany (a bold display serif), Monet (a hipsterish display typeface), Hanesy, Ribolla (German expressionist), Olive Village (a decorative serif), Grande (a stylish serif), Algiers (sans), Francie (serif and script), Meraki (serif and script), Queen Victoria SVG (script), Rocked SVG, Primer SVG, Horal SVG, Magic Flower SVG (a calligraphic script), Crystal SVG, Black Caviar SVG, Perfect Moment SVG, The Bloomington, Belgravia Terrace, Maison (a stylish flared typeface), Emporio Hotel (art deco), Black Dragon SVG, Sweater, Balkan, Corinthia, Smooth River, Empathy SVG, Beach, Los Banditos (script). [Google] [MyFonts] [More] ⦿

Ixipcalli
[Francisco Arellano]

Foundry in Ixipcalli, Mexico, run by Mexico City-based Francisco Arellano (b. 1981). Creator of the free monoline sans typefaces Coamei (2011) and Copilme (2011), the informal monoline typeface InColhua (2011), and Huelic (2011).

In 2012, they published the commercial typefaces Bolta (monoline organic sans), Caronta (a monoline humanist sans with a large x-height), Tecpana, Naolica (a monoline, elliptical sans family), Auloe (a rounded contrast-laden sans family), Olpan (monoline sans family), Kaodai (monoline sans), Ocelca (a tribal organic type family), Qatana (a Peignotian sans family), Metrica (an organic elliptical sans family in 12 styles), Minimalista (monoline sans family with a hairline weight), and the elegant wide sans family Ekon.

Typefaces from 2013: Ancora (high-contrast fashionable titling face), Binaria.

Typefaces from 2014: Ipnea (a logotype sans), Gillca.

Typefaces made in 2015: Minum Sans.

Typefaces from 2020: Cairus (a futurist circle-themed font).

Typefaces from 2021: Nahualli (a script inspired by the Mexican codex called Codice Mendoza / Mendocino).

Dafont link. Aka Jef Triforce. Fontspring link. FontVila link. [Google] [MyFonts] [More] ⦿

J. E. Uttley

Punchcutter at Stephenson Blake in Sheffield, UK. He cut Winchester Old Style in 1908 at Stephenson Blake, which is based on Cheltenham, a typeface of the Inland Type Foundry. Together with James de Holdenstone, he designed the art deco typeface Vogue (1929), also at Stephenson Blake. In 1936, he designed Coronation at Stephenson Blake. [Google] [More] ⦿

J Foundry (was: Greyscale Type)
[Jason Vandenberg]

Jason Vandenberg (Greyscale Type and later J Foundry, Toronto) created the 8-style Grey Sans family in 2013. Gia Tran and Jason Vandenberg created the decorative typeface Ella FY (2013, Fontyou). The slender display typeface Sérafine FY (2013) was co-designed by Jason Vandenberg, Jérémie Hornus and Alisa Nowak. At the end of 2013, Jason Vandenberg and Jérémie Hornus co-designed the groovy poster typeface Jack FY.

In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days.

Minuit FY (2014, by Jason Vandenberg and Gia Tran) is a beautiful angular angry calligraphic display typeface. Still in 2014, he published the Peignotian fashion mag typeface families Bodoni Sans, Bodoni Sans Display, and Bodoni Sans Text.

Typefaces from 2015: Abrade (a 12-style geometric sans with medium x-height and perfect rhythm covering Hairline to Ultra).

Typefaces from 2016: Fourth (a baseball or roundhand script family), Town (a 124-style all caps art deco and lettering typeface family with enormous potential). Town includes subfamilies for Display, Inline, Outline, Lines (prismatic), 3 Dimensional, Shadow, Text, Emboss, Stencil, Chic and Contrast, and can be used for layering.

Typefaces from 2017: Colby (a workhorse hand-drawn sans family).

Typefaces from 2018: Stash (signage script).

Typefaces from 2019: Marsden (114 styles: a bold, no-nonsense Grotesque. It was designed for display, branding, advertising, packaging or anywhere a strong voice is needed. Marsden is built on a geometric foundation, with just enough warmth to keep the style confident and lively).

Typefaces from 2020: Mello (an informal grotesque).

Typefaces from 2021: Cutmark (a 60-style octagonal industrial typeface family that features common 45 degree chamfered corners, flattened ink traps and wide apex forms; Cutmark Variable contains the full family of styles in a single file with width, weight and slant axes).

Typefaces from 2022: Sundry (44 styles; J Foundry's take on the early 20th century grotesque).

Fontspring link. Behance link. Monotype link. [Google] [MyFonts] [More] ⦿

Jaikishan Patel
[Magic Type]

Jakob Runge
[Typemefonts (was: 26plus zeichen)]

James de Holdenstone

Designer at Stephenson Blake of the art deco typeface Vogue (1929, with J. Uttley). [Google] [More] ⦿

James Montalbano
[Terminal Design]

James Partington
[Dene Studios]

James Walker Puckett
[Dunwich Type Founders]

Jan Dominik Gillich

Codesigner with Alisa Nowak of Sperling FY (2014, FontYou), a didone-inspired headline or fashion mag display typeface family. [Google] [MyFonts] [More] ⦿

Jan Maack
[The Ivy Foundry]

Jan Tonellato
[Synthview]

Jan-Christian Bruun
[JC Design Studio]

Jason Vandenberg
[J Foundry (was: Greyscale Type)]

JC Design Studio
[Jan-Christian Bruun]

Danish graphic designer in Lyngby. He made the following typefaces:

The grotesk family Mr Brown (2010).
Rooni (2011) is an oddly-serifed hybrid face, a cloning experiment that escaped from the hospital.
Gardens It (2011) comes straight from the Bhagwan's greenhouse.
Rodian (2011) is an elegant Peignotian sans face. This was followed by Rodian Serif (2013), Rodian Sans (2012) and Rodian Stencil (2013).
Style (2011) and Nopen (2011) are modern sans typefaces with some contrast in the strokes.
Bruun (2011) is a fashion mag face---a fattish high-contrast semi-didone with lots of modifications in the slabs and endings to create a modern avant garde look.
LE (2011) is a grotesque display face.
Dynamik (2011) is a frail miniserifed sans family.
Fundament (2011) is a sturdy heavy sans typeface strong enough to be chiseled onto monuments.
New Harbour (2011) is a slab serif typeface in the mould of typewriter typefaces.
Old Estate. A wedge serif face with the feel of an old typewriter. Made for wine labels.
Parc FF. A grotesk sans family. See Ten Dollar Fonts.
DELUX.
Nopen.
Bero G and Bero G Right Angle (2012) are typefaces that experiment with various styles of serifs.
Ligan (2012). An angular serif typeface family available from Ten Dollar Fonts.
Boysen (2012, Ten Dollar Fonts). A strong 3-weight all-caps sans typeface family.
Gorm Sans and Gorm Serif (2012). An angular typeface family.
Bossy Stencil (2013).
Monty (2013) and Monty Stencil. A bold rounded slab serif typeface with serious ink-trap style dents.
PTF Metora (2013). A squarish techno typeface.
Daniam TF (2013). A serifed typeface.
Sabel (2013). A slab serif typeface.
JC Stencil (2013, Ten Dollar Fonts).
Bruun Modern (2013).
Superbix (2013). A sturdy hip 14-style typeface family.
Centuma (2013). A grungy stencil typeface.
Hauk (2013) is an art deco typeface with a blackboard bold sub-style.
Fellars (2013). A modular in-your-face display face.
Teo (2013) is a rounded monoline sans typeface.
Rodian Sans (2013) and Rodian Stencil (2013). A large softly rounded sans family with little contrast.
Hagen (2013) is a straight-edged monoline typeface.
Pitchland (2014) is a set of sans titling typefaces with arts and crafts influences.
Arkibal (2015, +Stencil). A sans family based on lettering from 1838. Followed by Arkibal Serif (2015), Arkibal Display (2016) and Arkibal Serif Stencil (2017).
Regius (2015). A retro octagonal typeface family.
Monrad Sans and Monrad Grotesk (2016). A 12-style grotesque.
Rono (2019). Described as a friendly heavy weight champion.
Darc (2019). A retro squarish typeface family with inline options.
Lonkie sans and Lonkie Brush (2019). Hand-crafted.

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

Jérémie Gauthier

Nantes, France-based student-designer of the free stencil typeface Stanley (2019) and the free decorative didone typeface Kate (2019), which is clearly intended for use by the fashion industry.

In 2020, he published the free fashionable typeface Bigilla. [Google] [More] ⦿

Jérémy Schneider
[VJ Type (was: Violaine & Jérémy)]

Jésica Sanson

Graduate from FADU, University of Buenos Aires, who created the fashionably slender typeface Blue Velvet (2008). [Google] [More] ⦿

Jean-Baptiste Levée
[Production Type]

Jean-Baptiste Morizot
[Phantom Foundry]

Jeaneth Lacruz

During her studies at Universidad de los Andes, Jeaneth Lacruz (Merida, Venezuela) designed the fashion mag typeface Ricci (2015), which is named after Nina Ricci. [Google] [More] ⦿

Jean-François Porchez
[Typofonderie (was: Porchez Typofonderie)]

Jean-François Porchez
[ZeCraft]

Jen Wagner

Jennifer Wagner (Nashville, TN; was: Denver, CO) designed these typefaces:

In 2022: Essential Sans (16 styles and one variable font), California Coast (a bold display serif), Casa Sol.
In 2021: Avanti (script), Mezcal (a thin display serif), Runaways, Levitate (an experimental sans and serif combination), Barnaby (a 2-style text typeface), Montmartre (a display serif), Kyrie (a display serif), Bonne Nuit (script).
In 2020: Violet, Ostuni (script), Larkspur (a fat finger font), Amora, Bastia (a transitional typeface), Oliver Label, Palmer Lake.
In 2019: Rylan, Margo, Palmer, Tangerine Skies (font duo), Halifax, Capri (Sans, Serif), Lyon (Sans, Script), Paris (Sans, Script), Noelle (a wedge serif), Rylan, Norfolk.
In 2018: Sorrento, Folsom (sans), Modena, Versailles, Albany, Osaka, Phoenix (a geometric sans family), Amaro (script), Sucre (condensed sans), Paris (SVG font duo), Laguna Beach (font duo), San Clemente (script), London (luxurious style), Rome (sans), Dallas (vintage sans), Calgary, Wink Wink (font duo), Nashville, Adelaide, Bordeaux (script), Oxford (sans).
In 2017: Milan (vintage sans), Prague, Sydney (font duo), Manhattan (high contrast city chic), San Diego (informal sans), Newport (brush script), Joshua Tree, Charleston (signature script), Knoxville, Malibu, Bronx (blackboard bold), Stockholm (sans), Ontario (four-layer sans), Tokyo (sans), Rochester (handcrafted), Brisbane (script), Florence (script), Montauk (all caps), Brooklyn (sans).
In 2016: Aleppo, Edinburgh (a didone), Paris (a heavy brush typeface), Christmas Town (handcrafted), Glasgow, Austin, North Pole, Chicago (handcrafted), Oceanside (a great romantic brush script), Louisville, Los Angeles (avant garde sans), Kingsland (a vintage sans), Baton Rouge, Venice (fashion mag style), Nashville (handcrafted), Manhattan (an all caps didone), Anchorage (sans), Athens (minimalist sans), Santa Barbara, Orlando, Jackson Script, Denver, the avant garde typeface Sacramento, the brush typeface Atlanta, the sans typefaces Pasadena, Vancouver and Portland, Portland Serif, the stencil typeface Faroe and the handcrafted typefaces Seattle, Dana Point and Honolulu.

[Google] [MyFonts] [More] ⦿

Jennifer Nassef

Burbank, CA-based designer who made the fashion mag typeface Jaylinn (2012).

Jeremy Mickel
[MCKL (was: Mickel Design)]

Jeruel Aaron Amar

Designer from Quezon City, The Philippines, b. 1993, who used FontStruct in 2009 to make Pointers and Pointersoft (pixel arrow fonts), Eleaves, AcidSpeed, Parallelofont (octagonal), Missing Block, Acid Square, The First Font, Danubee (organic), Thorns, ReilyBill Richkid, Tabloid, StillAliveForNow, StillAlive, and The Curve.

In 2009, he added Unbranded, Nokia 6000, Quickening, Bump it up, Corte (3d shadow face), Unbranded, Piloton (techno; +Piloton G, 2012), Tahoma (pixel family), Raft, Paper Company (octagonal), Afro Style, Arko, 7th Service (stencil), Thorns, and Afro Superstar.

In 2012, he created Afro Superstar, Malibata Neue, a modernized and simplified Baybayin/Alibata (ancient Filipino writing), Gumball. In 2014, he designed the free gravestone typeface Furgatorio and an ancient Filipino script font, Malibata (2014, FontStruct). In 2015, he added XOX, the futuristic Babayin typeface Maria Stellar, and the techno sans typefaces Dozer One and Dozer Two. In 2016, he designed the marker pen font Jeboy and the coffin font Furgatorio Sans.

Typefaces from 2017: Alta (a fashion design sans).

Typefaces from 2018: Matatas One (a free Baybayin typeface), Cubao (free; inspired by the signboards hanged on Jeepneys, SUVs, buses and other transport vehicles within and outside the Metro; in 2022, a variable font was added), Quiapo (handcrafted all caps sans), Alta Kratos (alchemic; with Jean Pierre Cruz). He explains the genesis of Quiapo which is based on signs hanging in jeepneys: Quiapo Free is a brush typeface dedicated to the Filipino sign makers, Jeepney drivers, and the daily commuters in the streets of Metro Manila and anywhere in the Philippines.

Typefaces from 2019: Maria Stellar X (a futuristic font for Latin and Baybayin).

Typefaces from 2020: Hayskul, Kawit (a brushed lava lamp font), Dangwa (brush script), HPB (a stylish all caps sans created for the Christian Fellowship Church founded in Plaridel, Bulacan, Philippines), and the Baybayin fonts Malibata Redux (prismatic), Titulo Tagalog, MKBYN Clara (cursive, pixelized), Malamaya.

Typefaces from 2021: Goth Gothic (a free blackletter / tattoo font), Copula (a retro inline typeface). [Google] [More] ⦿

Jess Latham
[Blue Vinyl]

Jessica Bailey

Designer in Truro, UK, specializing in fashion graphics. Her typeface Fashion Studio (2014) was custom designed for Fashion Studio Magazine. Behance link. [Google] [More] ⦿

Jessica Strohecker

During her studies at Kutztown University in Kutztown, PA, Jessica Strohecker designed Nova Essence (2017). She explains: Inspired by a Calvin Klein perfume bottle, Nova Essence captures the essence of a customizable font. It is a decorative, geometric sans serif that offers a dynamic range design choices from layers to colors. [Google] [More] ⦿

Jessica Teixeira

Portuguese designer of the delicate slightly flared sans typeface Arden (2019). [Google] [More] ⦿

Jim Bogenrief

Jim Bogenrief (Pasadena, CA) modified ITC Tiffany when he created the fancy didone fashion mag typeface AM Debbie (2012).

Jimmy Gustafsson

Jimmy Gustafsson (Öga Design, Stockholm) created Gaslight Grotesk (2012), Tribura Sans (2012, for information design), Kraut Display (2012, a typeface inspired by the sonic architecture of early Krautrock), NärCon (2012, oriental brush typeface), Diakrit (2012), and Paul (2012, fashion mag typeface).

Joan Chong

Joan Chong works in Singapore. Her illustrations and fashion mag work is exquisite and refined. In addition, she has made a modular typeface called Ornate (2013).

Joancarles P. Casasín

Catalan type designer (b. Barcelona, 1969). In 2018, he joined the faculty in the Masters program in typographic design at Elisava. Joancarles has taught in most of Barcelona's design schools and still gives master classes and workshops at Spanish Universities about how to use or design type and on programming for graphic and type designers.

He made ITC Belter and FF FontSoup.

He was co-principal of Typerware with Andreu Balius, in Barcelona. At Typerware, he co-designed the following original fonts with Andreu Balius: TW Czeska, TW FaxFont amily, TW NotTypeWriterButPrinter, FF FontSoup, Matilde Script, Garcia Bodoni. Check the Canas Cister Abbey font project. Check also the award winning font Universitas Salamantini by the Typerware duo.

In 2010, he created Adineue Bold for Adidas. For the fashion brand Kipling, he designed a vogueish typeface called Kipling (2012). For the STM Montreal (the transport authority of Montreal), he created a custom typeface called STM Montreal (2011).

In 2017, he joined Type Together as a font engineer.

Interview with Penela. Fontfont link. FontShop link. Behance link. Type Together link. [Google] [MyFonts] [More] ⦿

Joancarles P. Casasín
[BaseLAB]

Joao Oliveira
[Onrepeat Studio]

John Nahmias
[Jonah Fonts]

Jon Forss
[Non-Format]

Jonah Fonts
[John Nahmias]

Type and logotype company in Polanco (and now Mexico City), Mexico, run by John Nahmias (b. 1935, New York City). John is a graphic designer who started his career in 1952 in a New York studio with Lucian Bernhard. He left that company in 1958. He now lives in Mexico where he paints and runs his own studio. John's typefaces, mostly but not exclusively scripts, are sold by MyFonts.

A: Advent (2015: slab serif), Agave (2017: sans), Altura (2007, a serif family for covers), Amplia (2008, connected script in the style of Mistral; see also New Amplia (2010) and Amplia Pro (2017)), Angelviews (2020), Annabel Lee (2011, upright connected monoline script), Applaud (2017), Aquarel (2014), Aristide (2007, grunge), Aros (2009) Arroba (2010, a directionally challenged heavy slab serif), Artichoke (2011, fat signage script), Artistica (2019), Atlantica (2021: a ten-font sans with surgical cuts).
B: Bernhard Signature (2019: after the letters in a small logo that Lucian Bernhard used on his art), Bonafide (2009, sans family), Bonnie Bay (2017), Bonnie Bay Roman (2017), Botegga (2018), Brougham (2012, techno), Brush Swipe (2016), Buggy Ride, Bulwark (2011, oddly-serifed), Burgerbun (2014).
C: Caravan Script (2007), Caseta Slab (2014), Caseta Sans (2014), Caseta Regular (2014), Casual Brush (2007), Catapult (2020), Chatter Pro (2010-2019, influenced by signage), Cherry Lane (2011, fat round signage face), Chit Chat (2009, comic book style), Circuitry (2007, rounded octagonal face), Claxon (2009), Clic (2012: rounded comic book style family), Coliseum (2007), Cornerstone, Cornerstone Flair, Cornerstone Pro (2014), Credititle (2009), Crotona (2014), Crotona Sans (2014), Cuppa Tea (2015, cursive script).
D: Designers Gothic (2009, a poster sans family), Dogwood (2019).
E: Epoch (2009, organic), Espada (2015), eSpectrum (2019), Etiquette (2009, casual script).
F: Fabius (2008, a fat-nibbed pen face), Feather Pen (2007), Fidelity Caps (2009), Flavian (2013, a text typeface), Fountain Pen (2007), Front Page (2011; followed in 2015 by Front Page Pro), Frugality Pro (2014, an antiqua).
G: Gallivant (6 styles), Garabato (2008, informal hand), Gavel (2016), Georgie (2011, upright connected script), Gianna (2016: a connected calligraphic script), Goya (2012, a heavy signage script), Granada (2014).
H: Hacienda (2008, hand-printed), Honcho (2007). Lucian Bernhard's Magnetype font series is being revived in 2010 by John Namias, starting with Bernhard's Community Low and Community Condensed, which is called Harpsichord. Hebron Hebrew (2019). Hi Five is an art deco typeface.
I: Interum (2007).
J: Janagrace (2007, flowing script), Jonah Brush (2010, basic signage font), Jonahpad (2008, hand-printed), Joyscript (2007; Joyscript Two was done in 2013), Juggler (2010, signage / comic book face), Juke Box (2009, calligraphic).
L: La Quinta (a creamy cursive typeface) (2021), La Rotonda (2009), Lyanna (2008, brush script).
M: Manor Script (2013, connected), Mark (2010, a grungy marker script), Mavin (2015, a vintage serifed typeface), Medalist (2008, flat-nibbed pen script), Meridia Script (2009), Metrolite (2011), Metrolite Pro (2014), Micron (2016), Monoreal (a monospaced programming font) (2022), Montego (2014, monoline sans), Mulberry Road (2011, fat retro diner script).
N: Nebbiolo (2012, a monoline fashion mag sans family), New Epoch (2020: a solid sans), Newmark (2014: techno sans), Newmark Hebrew (2018), Novela (uncial) (2021).
O: Open Air (2014, a stencil font---caps only), Organo, Oregano Sans.
P: Pageantry (2020: based on Souvenir), Pageantry Hebrew (2021), Palazzo (2007), Paloma (connected script), Palomar (2012, condensed organic sans), Papagayo (2020: a 4-style sans with almost amputated descenders and ascenders), Pantext (2015), Pedigree (2020), Pennyscript (2014, a connected brush script), PenPal (penmanship script), Pine Nuts, Pine Nuts United (2017), Pinot Noir (2009, calligraphic), Poncho (2013, signage script), Pony Tale (2009, signage face; the Pro and Pony TailLight Pro versions appeared in 2014), Potus Uncial (2021), Puzzle Face (2019).
Q: Qualico (2009, semi-serif 1970s family), Quickline Slab,(2020), Quickline (2020: a sans), Quintana (2017). The Hebrew verson of Quintana Light is Komunidad Hebrew Script (2019).
R: Ratatouille (2020: inspired by wood type), Rave (2011), Regalo (2010, an organic family; see also Regalo Pro, 2014), Reto (2012).
S: Saguenay (2017), Scriptonah Pro (2014), See Saw (a dancing baseline font) (2022), Sevoya (2012, fat signage script), Scriptelle (2007), Scriptonah (2007; John Downer writes: Scriptonah, in any of its four weights, is not particularly pretty or delicate, but it is far from homely. It is firm and fibrous. It is raw.), Scriptonite (2010, a packaging script), Showtime (2011), Sideline (2018, a music nib font), Sign Brush (2010, a lively signage face), Single Tyne (a display serif) (2021), Singular (2009), Snowpuffs (2013), Stage (2015), Starlette (2009), Starry Eyed (2018), Steletto (2007, condensed), Steletto Oldstyle, Steletto OS Flair, Steletto Serif, Steletto Neue (2015), Stumpy (2011, display sans), Suite Slab (2011), Summit (2015, hexagonal circuit font).
T: Taglocaps (2017), Talento (2007, script), Tiggly Wiggly (2009, hand-printed), Tingle (2009, comic book face), TransRim Display (2018), Trebla Square (2020), Trumpet (2013), Tubo, Twiggs (2009, hand-printed), Twopenny (2013, bilined), TypeOgraf Pro (2018), Typogravure (a flared family, in 12 styles) (2020).
U: Unico (2013: a condensed geometric sans), Unigram (2011, monoline unicase family).
V: Vantage (2013, a humanist sans).
W: Whisk (2017), Wordscript (2007, almost a brush script).
Y: Yacqui (2009, Mayan look face), Yom Tov (Latin and Hebrew) (2021), Yonkers (2014).
Z: Ziggy (2007).

View John Nahmias's typefaces. [Google] [MyFonts] [More] ⦿

Jonathan Hoefler
[Hoefler (was: Hoefler&Frere-Jones, and Hoefler Type Foundry)]

Joowon Lee

Joowon Lee (South Korea) created the corporate branding font Edgen in 2013 for the imaginary elite modeling agency Edgeway as a class project. [Google] [More] ⦿

Jose Dones-Mustafa

Specialist in fashion mag typography, who is based in New York City. [Google] [More] ⦿

Joseph John Myers

London-based graphic designer who created the high-contrast fashion mag bespoke typeface Dahb (2012). [Google] [More] ⦿

Joshua Brooks

Manchester and before that Leeds, UK-based designer of Hardbaq (2013), a free font inspired by the shapes of blinds and windows that served as a school project at Leeds Metropolitan University. Blockbaq (2013) is a 3d typeface. Alpha (2013) is an outlined alchemic typeface. Showcase (2013) is a circle-based font inspired by the world of casinos. Watermelon (2014) is a script typeface. Typefaces made in 2016 include the custom font Hayley Nye for the fashion industry. [Google] [More] ⦿

Joshua Ownby

Or Josh Ownby. Graphic designer in Knoxville, TN, who created these handcrafted typefaces in 2017: Catalogue (didone stencil), Sweet+Salty, Fresh Squeezed, Putnam, Coyote, Nashville (vintage all caps wedge serif), Tobacco, Troubadour, Mingus (rounded sans), Westmore (monoline script), Twig, Equinox.

He also designed the sans typefaces Chloe (Peignotian sans), Fiona (2017), Fragile (2017, fashionable, with a lot of contrast and great use of ball terminals), Houston (2017), Von Bond (2017), Seafarer (2017, a beachy art deco font), Sinclaire (2017, clean and nearly art deco), Violet (2017) and Moonshine (2017).

Typefaces from 2018: Olivia (fashion didone).

Typefaces from 2019: Riley (a striking modern headline typeface). [Google] [More] ⦿

Josip Kelava

Josip Kelava (Jay Kreative, Australia and UK) is an art director and graphic designer. He has done typographic work for fashion mags and fashion-conscious ads such as for Mercedes (2011), Coco Vodka (2011, using an Escheresque typeface), and Click Magazine (2011, see the Olena Cherneyo illustration). Creator of the alchemic yet futuristic family Geomas (2011).

Typefaces made in 2012: Metropolis (a superb bilined retro type family, ideal for posters---free download).

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

Julia Rajnak

During her studies at IPAC Design Genève, Switzerland, Julia Rajnak created the elegant thin sans typeface Flotte (2014). [Google] [More] ⦿

Julian Hrankov

Julian Hrankov (Art Machine, Berlin, Germany), a logo and corporate design specialist, created the elegant didone-based skyline typeface Grandesque in 2015. This high contrast beauty should find a cozy home as a titling typeface in many fashionable publications. Behance link. [Google] [More] ⦿

Julie Green
[Up Up Creative]

Julie Matulla

Paris-based designer of the ball terminal typeface Gaea (2017) for the fashion industry. [Google] [More] ⦿

Julie Patat

During her typography studies at Ecole Estienne in Paris, Julie Patat created the unicase font Mischievous Type (2014) and the display typefaces Wolf (2015, after an alphabet in D. Duvillé's l'Art du tracé rationnel de la lettre, 1934), Amsterdam (2015, art nouveau) and Brocéliande (2015). She also revived Firmin Didot's Ronde. Alda (2015) is an italic font with two different angles. Designed for French pocket books, it was inspired by Aldus Manutius's italics from 1501.

In 2018, she published the Peignotian fashion branding typeface Trigère.

Since 2014, Julie is asociated with Novo Typo in Amsterdam as a type designer. [Google] [More] ⦿

Julien Mercier
[Julmeme]

Showcase of Juraj Chrastina's typefaces at MyFonts. Behance link.

Julmeme
[Julien Mercier]

Foundry in Tokyo. Creator of the techno typefaces Naname Kun (2010, a 3d octagonal family), Otsuki Sama (2011, a delicate high-contrast geometric fashion mag font), Julmeme Kun (2009) and Kaminari Kun (2009).

The foundry is run by Swiss-born Julien Mercier (b. 1983), who works as a graphic designer in Tokyo.

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

Julyane Lima

Web designer in Sao Paulo, Brazil. Creator of a gorgeous Christian Louboutin shoe illustration poster in 2013. Behance link. [Google] [More] ⦿

Juraj Chrastina

Freelance designer from Slovakia, b. 1981, Zilina. He set up shop at MyFonts in 2009. His typefaces:

2009: Stanislawski (display sans), Bonatti (simplified sans), Motyka (an octagonal family).
2010: Cassin (dingbats), Birkenmajer (blackletter and curly), Ruman (a piano key font not unlike many of the modular fonts made over at FontStruct), Komarnicki (geometric---it is largely based on arcs of a circle), Batura (ornaments), Flexi Social Icons (a set of 64 social network and media buttons), Messner (a hairline sans), Kammerlander (a high-contrast all caps Peignotian face that Juraj claims is well suited for fashion mags), Runout (a black marker face), Walker (a floral dingbat face), Trango (an unevenly spaced fun childish hand-printed face), Chogolisa (an elliptical sans family).
2011: Primitive Icons (dingbats), Manaslu (his first cartoon font), Baltoro Sans (humanist sans), Masherbrum Slab Thin (hairline slab for fashion mags), Latok (a fat keyhole-themed art deco display face), Makalu (a flower dingbat typeface inspired by the lovely drawings of the famous illustrator Zdenìk Miler), Besley Hand (hand-printed didone), Ambassador (a hairline roman capitals face, ideal for glossy fashion mags. Its high-contrast Peignotian companion is Snob), Greenhorn (a comic book face), Gamba (an elliptical typeface), Valibuk (a strong black sans headline face), Lomidrevo (a grunge stencil derived from Valibuk), Baronessa (hand-printed poster face), Baron (hand-printed poster face).
2012: Rumbarak (inspired by the titles of a few old Czech movies for children), Boudoir (a hand-printed poster face), Fimfarum (a wonderful set of hand-printed poster typefaces that can be mixed and matched for certain effects).
2013: Gentleman (a sans family from hairline to black), Amundsen (an all-caps stencil typeface), Smart Labels (badges), Lustig (an interlocking poster font), Hilton Sans and Hilton Serif (fashion mag headline typefaces kerned and spaced by Igino Marini), Handy Labels, Loco (a counterless geometric art deco face), Charmante (hand-drawn poster typeface).
2014: Fram (an uppercase stencil typeface for Latin and Cyrillic), General (neutral sans family with a very thin hairline weight).
Fonts from 2015: Vagabundo (hand-brushed), Britva (a glaz krak typeface derived from Valibuk).
Typefaces from 2016: Gerlach Sans, Gibon (a cartoon font).
Typefaces from 2017: Mysteria (hipster sans).
Typefaces from 2019: Freud (a 9-style sans).

Pic. Myfonts link. Creative Market link. Klingspor link. Fontspring link. Behance link.

View Juraj Chrastina's typefaces. Showcase of Juraj Chrastina's typefaces at MyFonts. [Google] [MyFonts] [More] ⦿

Just Font You
[Ian Irwan Wismoyo]

Jakarta, Indonesia-based designer (b. 1991) of the free typefaces Never Old (2013), Perwolesan (2013, a wide face), and Amalia Mutia (2013, stencil face).

In 2014, he designed Amelian Script, Modiaro, Boneless, Helltown (spurred), Handoubt, Bowney Marowney (heavy brush face), Jackham, Abegnale (a weathered typeface), Scamfuk (brush) and Skumfuk (a brush typeface).

Typefaces from 2015: Vissal (brush script), Loveton.

Typefaces from 2016: The Glamz (dry brush style), Skinny Jeans, Don't Click Me (brush script).

Typefaces from 2017: Battersweet (calligraphic script), Beyouty Script, Yellove, Aesthetik (monoline script), Sparkplugs Biker Rebel, Steady Bonanza (watercolor brush in Sans and Script), Keep Scrolling, Clickbait (dry brush script).

Typefaces from 2018: Mittens, Abundant Script, Best Part (script), Always Love, Breakfast & Chill, Don't Click Me, Forefarmers, Aesthetik Script, SparkPlug, Bride Style (wedding script), Sweet Patterson (calligraphic).

Typefaces from 2019: Quisas (handcrafted), Impulsa (a rough brush font).

Typefaces from 2020: Brelie.

Typefaces from 2021: Raitor, (sportsy; futuristic), Strippy (inpired by posters from the 1990s), Kabal (a bold display serif), Fontatonic (a bold display sans), Pomp Adore (a fashion mag sans).

Typefaces from 2022: Grasond (art deco).

Just Font You link. Fontspace link. Graphicriver link. [Google] [MyFonts] [More] ⦿

Justine Thorner

As a student in Cardiff, Wales, Justine Thorner designed the stunning teardrop-laden swashy calligraphic typeface Voracious Vanity (2013), which evokes the style of modern fashion magazines. [Google] [More] ⦿

Justyna Gostkiewicz

During her studies in Warsaw in 2008, Justyna Gostkiewicz created an elegant outlined fashion mag typeface possibly called High End. [Google] [More] ⦿

Kadek Adi Mahardika
[Creative Media Lab]

Kaligra.co (was: Newflix, Icarus Bro, and Artlantis)
[Kurt Harahap]

Aka Icarus Bro and as Newflix, est. 2017. Medan, Indonesia-based designer of the geometric sans typefaces Gerald (2017), Gerald Round (2017), Amora Sans (2017), Gaston (2017) and Louisa (2017), and the decorative floriated caps typeface Winter Color (2017).

Typefaces from 2018: Floresto (an interlocking sans), The Florest (another vintage interlockig sans), Western Lake, Uicon (icon sets), Farmer, Snowy, The Northwest, George, George Round, Enriq (a fashion mag sans, +Round), Victoria (sans), The Nomads, Brewski (vintage type), Oregon Vintage, Lighthouse (Sailor Rounded), The Sailor, Jenny, Maxim Sans.

Typefaces from 2019: Marisa, Wanderlust, The Riverfall, Karin, Larosa Sans, Carose (sans), Las Valles, Carino (sans).

Typefaces from 2020: Mikela (decorative serif), Lamore, Rosie Sans, Kelly (decorative serif), Hipster Script, Taylor, Snowy Floral (a color font).

Harahap also made many icon sets, such as Gamers, Galaxy, Fruits, E-Commerce, Christmas, Agriculture, Adventure.

Typefaces from 2021: Valky Wolgen (a decorative serif) or simply Valky.

Typefaces from 2022: Kelly (a display typeface with large rhombic tittles), Larosa (a stylish all caps sans). [Google] [MyFonts] [More] ⦿

Karah Nall

Karah Nall (Kentucky) graduated from the University of Louisville with a BFA in Communication Art&Design. Home page. She created the tall thin monoline slab serif typeface Hepburn (2011), which has potential as a fashion mag face. [Google] [More] ⦿

Karely Gilvao

Guasave, Mexoco-based designer of the fashion mag typeface Karely (2017). [Google] [More] ⦿

Karina Goto

Karina Goto graduated from the Masters program in advanced typography at EINA, Barcelona in 2013. Before that, she obtained an MBA in branding from Rio Branco University. She created the decorative fashion mag typeface Makeup in 2013 during her studies there. In 2019, that typeface was published at Tipotype as Just Makeup.

In 2020, she released Momoiro at Uruguay's typefoundry Underground. Momoiro draws inspiration from 17th century Dutch classic text typefaces and is intended for use in fashion magazines. [Google] [MyFonts] [More] ⦿

Kasper Løkkegaard

Aarhus, Denmark-based designer of the extreme contrast fashion mag typeface Oscar (2016). [Google] [More] ⦿

Kathryn Nowicki

Graphic designer in Grand Rapids, MI, who created the monoline deco typeface Vogue (2014). [Google] [More] ⦿

Kent Swecker
[A New Machine]

Ketlin Martins

Originally from Rio de Janeiro, Brazil, Ketlin moved to Canada in 2008. She studied at Emily Carr University of Art & Design and the British Columbia Institute of Technology in Vancouver. She is working as a freelancer in Montreal. In 2013, she designed the modular fashion mag typeface ABC. In 2015, she designed Skinny Pete and Hairy Gary. Behance link. [Google] [More] ⦿

Kevin He

Art director in Singapore (b. 1982) who created the (free) bold condensed stencil typeface Kong (2014), the oriental ink art-inspired fashion mag titling typeface D'Lotus (2015), and the free futuristic display typeface Capsule (2015).

Dafont link. Behance link. J&K Viscom link. [Google] [More] ⦿

Kevin Leon

San Salvador, El Salvador-based designer of the all caps high-contrast fashion mag typeface Dornan (2017). Behance link. [Google] [More] ⦿

Khair Unnas
[Zelow Type (was: Khaiuns)]

Kimberly Cheung

Kimberly Cheung, an illustrator in Washington, DC, used Walbaum's capitals to design an ornamental caps typeface, Couturier (2013), on the theme of fashion accessories. It was developed during her studies at Corcoran College of Art and Design. [Google] [More] ⦿

Kinobrand Design
[Nelio Barros]

Nelio Barros is part of Kinobrand Design in Geneva (and now Lausanne). While they are mostly occupied with graphic and brand design in general, they found the time in December 2011 to design a geometric monoline fashion mag typeface family Nixin: A nixie tube is a technology from the 50s used to display numerals that are composed by metal filaments that light up much like a lamp bulb. Due to their beauty these little numerals (0-9) are a love case for any designer, and formally it's where the inspiration for the Nixin typeface came from.

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

Kohei Ishikawa

Japanese designer of the didone fashion magazine typeface simply called #01 (2011). Behance link. [Google] [More] ⦿

Kohei Miura

Japanese calligrapher who did the lettering for the Cacharel logotype. [Google] [More] ⦿

Konstantine Studio

Commercial typeface foundry in Jakarta, Indonesia, run by "Ian" and "Abdilah". Its first typeface is Muffler (2014), which is inspired by retro brush signage for car races. Lacydes (2014) is a spurred advertizing typeface. Upjohn (2014) is a horror movie poster typeface. Curely (2014) is a free hand-drawn curly typeface, expanded to Curely Pro in 2017. Hemera (2014) is based on vintage matchbox packages.

Typefaces from 2015: Marthas, Risoless Script, Elska (a thick warm watercolor brush script), The Chalker (crayon font), The Bride, The Groom (brush script), Wanderlove (brush script), Rumbell (handcrafted poster typeface).

Typefaces from 2016: Easy Lullabye (Swash, Sans), Wiggle (brush script).

Typefaces from 2017: Fathers (a vintage packaging script), Ride Slow (a handcrafted set of motorcycle culture fonts), Delight, Kehlin (retro poster style), Butter Love (dry brush), Fathers Script (vintage), Fili & Kyla (thin script), Husky Giggle (casual hand stroked brush font), Ruffle (dashing brush script), Dollyn Script, Halloween Rock, Love Hurts (ballpoint pen font), Moneyroll, Trakster, Trakster Serif, Noswatt, Noswatt Serif (copperplate style), Notstar, Rodenda, Hammet, Hastagirl (watercolor brush), Arzeti Script (informal monoline wedding script), Sicero (vintage display typeface by Abdilah), Sign Panthers Brush Script, Magle Sans, Magle Script.

Typefaces from 2018: Millerstone (connected calligraphic script), Bad Taste, Conserta (Victorian), Grestal Script, Beclave, Double Aunofa (Script and Serif), Summer Classico, Ahoy Amigo (font duo), Aunofa Serif, Aunofa Script, Delphin Spring, Delight Lettering Script, Tropical Asian, Vedacity (calligraphic), Rothe (vintage), Bigger Love (script), First Choice (calligraphic), Love Hurts, Hall Of Fun, Casual Font Bundle (which includes Easy Monoline Script, Subber Sans, Sintix, Rebel Four, and Grotes Sans), Hemera II (a vintage Victorian matchbox typeface), Asian Skyline, Queen Waffle, Rosse, Harvest Barn (script), Oh Samantha, Simple Monologue (calligraphic), Sweet Getaway (handwriting).

Typefaces from 2019: Vango (a sci-fi or speed font), Aghony (script), Conserta Royal (Victorian), Roast Serif, Mister Quenos (a fast food store signage font), Calisatt (an SVG brush font), Redstock Script, Suspiria Vampira (a Halloween font set), Hoffers (a children's book font), Closer (a Swiss sans), Hoffers (a marker pen font), Mackle (Script, Serif), Blante (Sans + Script), Millerstone, Kimball, Henave (flared sans), Valsday (Sans, Script).

Typefaces from 2020: Destrokes, Kremato (+Script, +Short, +Tall), Krasher (a painted brush SVG font), Rebelton (a 12-style all caps sans), Koutura (a fashion mag font), Kalleco (a free hand-printed typeface), Citypop (1990s Japanese retro pop style, with subfamilies Main Display, Neon, Screen, Digital and Automotive), Urban Shock (ultra-condensed), Renin (a Western super-heavy slab serif), Jaksel (a bold squarish sans typeface), Alkaria (a retro display typeface).

Typefaces from 2021: Kingsad (a 5-style wide flared display family), Ahoy Amigo (a type duo), Harvest Barn (script), Simple Monologue (a calligraphic script), Magle (a script typeface), The Sign Painters, Makalo (an African tribal font), Discopia (neo-futurist), Daguin (a fashionable display typeface inspired by the Middle Ages), Tropical Asian (a painted font), Fosty Blue, Kofje (a daring decorative serif).

Typefaces from 2022: Vogatron (sci-fi), Hwaiting Handwriting (emulating Korean), Hwaiting Serif, Hwaiting Sans (an experimental Korean vibe font), Walanor (a pop art font).

Tumblr link. Graphicriver link. Fontspace link. [Google] [MyFonts] [More] ⦿

Kreis

Kreis is a young communication designer from Tenerife, and is into fonts, fashion and film. He lives in Braunschweig, Germany, and is present on Behance. In 2010, he made an experimental alphabet---perhaps not a font---, called Kafka. [Google] [More] ⦿

Krismagraph
[Ratna Krismawati]

Krismagraph is an independent typeface design studio based in Temanggung, Indonesia, founded in 2018 by type designer Ratna Krismawati. Typefaces from 2021: Esthetique (a condensed sanitized sans), Morgana (a fashion mag serif), Svarga (a fashion mag serif).

Typefaces from 2022: Chlara (a stylish serif), La Chore Typeface (a high contrast fashion mag didone), Chlara, Orange Avenue (a fashion mag typeface), Mocktaile, Rebelleon Typeface (a fashion mag serif). [Google] [MyFonts] [More] ⦿

Krista Likar

During her studies, Ljubljana, Slovenia-based Krista Likar created the exaggerated serif typeface Serifnik (2015) and the gorgeous sans display typeface Kros (2015).

In 2016, she designed the slab serif typeface Josephine.

In 2020, she released Sopran through Type Salon, an independent type design studio based in Ljubljana, Slovenia, founded by Alja Herlah and Krista Likar. Sopran is an attractive didone display style in which the traditional ball terminals have been replaced by vertical hairline serifs.

Co-designer with Alja Herlah of Spektra (2020, Type salon), a black condensed sans that combines five scripts: Latin, Arabic, Cyrillic, Greek and Hebrew. It also has a variable typeface with an italic axis.

In 2021, Krista Likar and Alja Herlah published Plecnik, which is named after Slovenian architect Joze Plecnik. Plecnik is defined by classical elements and shapes, classic proportions, humanist stroke endings and low contast. It has a capital A with an overhang. Plecnik Display is quite different as it features flaring in every stroke. [Google] [MyFonts] [More] ⦿

Krista Radoeva

Krista Radoeva (b. Bulgaria) studied graphic design at Central Saint Martins College of Art & Design in London and type design at the KABK in Den Haag, class of 2013. She is based in London.

In 2012, she created a beautifully integrated Latin / Cyrillic display typeface Moesia, with a tip of the hat to Old Slavonic.

Her gradaution typeface at KABK was the rounded sketched broad nib stencil typeface Amanita (2013, Latin and Cyrillic).

Speaker at ATypI 2013 in Amsterdam on the topic of the difference between Russian and Bulgarian Cyrillic. In 2014, the Society of Typographic Aficionados gave Krista Radoeva the 2014 SOTA Catalyst Award. Created in 2010, the award recognizes a person 25 years of age or younger who demonstrates significant achievement and future promise in the field of typography.

In 2014, Maria Doreuli, Krista Radoeva, and Elizaveta Rasskazova co-designed Sputnik Display for Sputnik News. This organic sans typeface family covers Latin, and various brands of Cyrillic, including the ones used in Uzbekistan, Tajikistan, Abkhazia and Mongolia.

In 2016, Krista Radoeva put the finishing touches on the luxurious fashion mag typeface FS Siena. Jason Smith had started drawing Siena 25 years earlier. It is delicate, oozes style, and shows touches of Peignot in its contrast.FS Siena that Jason Smith had started drawing 25 years earlier. It is delicate, oozes style, and shows touches of Peignot in its contrast.

At Fontsmith, she published the joyful display typeface family FS Kim (2018).

In 2021, Miles Newlyn, Riccardo Olocco and Krista Radoeva co-designed New Spirit, a 10-style typeface that revives the comfort food font Windsor. [Google] [MyFonts] [More] ⦿

Kristina Christensen

Haderslev, Denmark-based creator of the high contrast fashion mag typeface Vertigo (2012). [Google] [More] ⦿

Krutika Galgalikar

Singapore-based designer of a fashion mag typeface in 2014. [Google] [More] ⦿

Kurnia Harahap
[Creative Corner]

Kurt Harahap
[Kaligra.co (was: Newflix, Icarus Bro, and Artlantis)]

Catalog of the Lanston typeface library. View the typefaces designed by Lanston. A more extensive page of Lanston Monotype typefaces. [Google] [MyFonts] [More] ⦿

LABF Creations
[Elena Joland]

Painter in the south of France, who is selling some of her typefaces:

In 2017: Starboy, Serena Gold (handcrafted).
In 2018: Luberon (script), Silex (script), Rochemont (a watercolor brush font).
In 2019: Monoplay (hand-lettered), Mapit.
In 2020: Windslow (a ligature-rich all caps font), Baker Maker (script and doodles), Crafthill, Arles, Greenfarm (a rustic script), Greenfarm Doodles, Esthete (art deco), Ethery (a decorative serif), Milla Grace (all caps, mini-spurred and mini-serifed).
In 2021: Wild herbs, Linart, Equal, Farmstone (a doodle font), Eliox, Manoir Jade, Disento (a fashion mag serif), Undulation (an intestinal font).

[Google] [MyFonts] [More] ⦿

Lais Dornelles

Art director at W3Haus in Porto Alegre, Brazil, who created the tall elegant serifed typeface Lenda (2012-2014). [Google] [More] ⦿

Lanston Type Co
[Gerald Giampa]

The Lanston Type Co was based in PEI, Canada, moved in 2002 to Vancouver, and moved later that year to Espoo, Finland. In 2004, Lanston was sold to P22. It has classic and wonderful offerings such as Albertan, Bodoni, Caslon, Deepdene (Frederic Goudy, 1929-1934; see D690 Roman on the SoftMaker MegaFont XXL CD, or URW Deepdene, or Barry Schwartz's Linden Hill (a free font)), Goudy Oldstyle, Jacobean Initials, Kennerly, Kaatskill, Water Garden and Jefferson Gothic. Owned by Gerald Giampa (b. 1950, d. Vancouver, 2009), who wrote me this: Frederic Goudy worked for us for 29 years. We manufactured Monotype casters and keyboards. The English sister company sold casters to England and the Commonwealth and we sold to the Americas and wherever else practical. Tolbert Lanston, our founder, was the inventor of Monotype. We still sell matrices and were punching them until several years ago. Soon we expect to have the equipment moved and operational once again. We are placing it into America's largest printing museum which is in Andover close to Boston. However there is a possibility that it will end up in Hull Québec. Our previous type director was Jim Rimmer of Vancouver, noted type designer. He designs, cuts and cast type in lead. Our typeface Albertan was designed by Jim and is very successful. John Hudson and Ross Mills of Tiro were directly inspired by our facilities in Vancouver. I encouraged them towards type design. The beautiful Bodoni 26 (unicase) can be bought at FontShop. Atlantic 35 (1909-1935) is a modern family first used by the Atlantic Monthly in 1909.

The fonts: Albertan No. 977, Albertan Bold No. 978, Albertan Title No. 980,&Inline No. 979, Bodoni No. 175, Bodoni Bold No. 2175, Bodoni 26 (a Lanston unicase based on an interpretation by Sol Hess), No. 175, Caslon Old Style No. 337, Caslon Bold No's 637,&537, Deepdene No. 315, Figures Square No. 132, Flash No. 373, Fleurons C, Fleurons Granjon Folio, Fleurons Folio One, Forum No. 274, Francis No. 982, Garamont No. 248, Globe Gothic No's 240,&239,&230, Goudy Initials No. 296, Goudy Old Style No. 394, Goudy Thirty No. 392, Goudy Village (#2) No. 410, Hadriano Stone-Cut No. 409, Hadriano Title No. 309, Jacobean Initials, Jefferson Gothic No. 227, Jenson Old Style No. 508, Kaatskill No. 976, Kaufmann (Lanston Swing Bold) No. 217, Kennerley Old Style No. 268, Metropolitan No. 369, Obelisk No. 2577, Pabst Old Style No. 45, Pabst Old Style Open, Spire No. 377, 20th Century No. 605, Vine Leaves C, Vine Leaves Folio One, Vine Leaves Folio Two, Water Garden Ornaments. P22 writes this about Lanston: In the late 1800s, Tolbert Lanston licensed his technology to an English sister company and became a major international force. Lanston grew rapidly with America's pre-eminent type designer, Frederic Goudy, holding the position of art director from 1920-1947. The Philadelphia-based Lanston Monotype eventually parted ways with its English counterpart. English Monotype became simply known as Monotype from that time forth. Lanston was acquired by American Type Founders in 1969. After a series of other owners, the company found its way to master printer Gerald Giampa, who moved it to Prince Edward Island in 1988. During its time of transition, 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. Giampa was one of the earliest developers of PostScript fonts. After the loss, he focused on digitization to an even greater extent. 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 past few years have seen Giampa and Lanston travel from Canada to Finland, and back again. Now, Lanston has completed another journey back to the United States to come under the care of a new steward: P22. Giampa is answering the call of the sea. He has traded his type founder's hat for that of a ship's captain to sail the northern Pacific coast. During his shore leaves, Giampa will act as typographic consultant to Lanston-P22. The P22 Lanston collection (2005-2006) was designed wih the help of people such as Paul Hunt and Colin Kahn. It includes these typefaces:

LTC Archive Ornaments (2014, Richard Kegler and Miranda Roth).
LTC Artscript.
LTC Athena.
LTC Bodoni 175. Digital version by Paul Hunt. This is supposed to be close to the original Bodoni.
LTC Bodoni 26.
LTC Bodoni Bold.
LTC Broadway. By Sol Hess.
LTC Californian.
LTC Camelot.
LTC Caslon Remix.
LTC Caslon.
LTC Christmas Ornaments.
LTC Circled Caps.
LTC Cloister.
LTC Creepy Ornaments.
LTC Deepdene.
LTC Figures.
LTC Flash.
LTC Fleurons Garamont.
LTC Fleurons Granjon.
LTC Fleurons Rogers.
LTC Forum Title.
LTC Fournier Le Jeune. A decorative all caps combines the font designed by Simon Fournier for the Peignot Foundry in 1768 with a more elaborate "Vogue Initials" caps offered by ATF in the 1920s.
LTC Garamont.
LTC Glamour. LTC Glamour was originally released by Lanston Monotype in 1948. It is based on Corvinus, designed by Imre Reiner. P22 designer Colin Kahn has added some unusual variants.
LTC Globe Gothic.
LTC Goudy Extras.
LTC Goudy Handtooled.
LTC Goudy Heavyface.
LTC Goudy Initials.
LTC Goudy Modern.
LTC Goudy Oldstyle.
LTC Goudy Open.
LTC Goudy Ornate.
LTC Goudy Sans. Goudy Sans Bold was originally designed by Fredric Goudy in 1922 as a less formal "gothic" and finished in 1929. The light was designed in 1930 and the Light Italic in 1931. Colin Kahn digitized them in 2006 to make a 6-style Goudy Sans family at P22/Lanston, which includes a Goudy Sans Hairline.
LTC Goudy Text.
LTC Goudy Thirty.
LTC Hadriano.
LTC Halloween Ornaments.
LTC Hess Monoblack.
LTC Holiday Ornaments.
LTC Holly Leaves.
LTC Italian Old Style (2007, by Paul Hunt, after Goudy Italian Oldstyle, 1924). Remastered in 2011 by Paul Grieshaber as LTC Italian Old Style Pro: LTC Italian Old Style is not to be confused with the English Monotype font also called "Italian Old Style", which is an earlier design from 1911 based on William Morris's Golden Type that is based on Nicholas Jenson's Roman face. Goudy went back to Jenson's original Roman and other Renaissance Roman typefaces for his inspiration and the result is what many consider to be the best Renaissance typeface adapted for modern use. Bruce Rogers was one of the biggest admirers of Italian Old Style and designed the original specimen book for Italian Old Style in 1924 using his trademark ornament arrangement. These ornaments are now contained in the pro versions of the Roman styles- Regular Pro and Light Pro.
LTC Jacobean Initials.
LTC Jefferson Gothic.
LTC Jenson. LTC Jenson Oldstyle was designed by J. W. Phinney of the Dickinson Type Foundry in 1893 and is based on Morris's Golden Typeface. This remastered set features a true italic based on the 1893 ATF italic version as well as a newly digitized Jenson Regular (P22) and Jenson Heavyface (P22) based on Phinney's design of 1899.
LTC Kaatskill. The italic was completed by Jim Rimmer.
LTC Kennerley.
LTC Keystone Ornaments.
LTC Law Italic (Lanston's digital version from 2006). Mac McGrew: Law Italic is said to have originated as an imitation of formal styles of penmanship used for legal documents. The most common of several substantially different varieties is ATF's Law Italic No. 520, which originated with Marder, Luse about 1870. Several of the capitals are swash-like, while lowercase f and g have distinctive shapes. It has long thin serifs and sharp contrast between thick and thin strokes. Inland called the same design Caledonian Italic. Hansen had Barrister Italic. Monotype's Law Italic No. 23 is a sloped roman, somewhat similar to Ronaldson. Other Law Italics are obsolete.
LTC Metropolitan.
LTC Nicolas Cochin.
LTC Obelysk Grotesk. A reconstruction of Sol Hess's Spire (1937) (digital versions first by Gerald Giampa and then by Colin Kahn).
LTC Octic Gothic.
LTC Ornamental Initials. Floriated caps.
LTC Ornaments Animalia.
LTC Ornaments One.
LTC Ornaments Three.
LTC Ornaments Two.
LTC Pabst Oldstyle.
LTC Powell.
LTC Record Title.
LTC Remington Typewriter.
LTC Spire.
LTC Squareface. By Sol Hess.
LTC Swing Bold.
LTC Tourist Gothic. By Sol Hess.
LTC Twentieth Century.
LTC Village No 2.
LTC Vine Leaves.
LTC Water Garden Ornaments.
LTC Winchell (2021, Richard Kegler). A revival of Inland Type Foundry's Winchell (1906).

Fonts can be purchased from MyFonts where all fonts have the prefix LTC. Obituary of Giampa and links to obituaries.

Larin Type Co
[Pasha Larin]

Pasha Larin or Pavel Larin is the Perm, Russia-based designer of these handcrafted typefaces in 2017: Andrea, Alaska (brush script), Phaeton, Modesty, Quarter (brush script), Magdolena, Casamia, Natalia, Kemuri.

Typefaces from 2018: Jumbo, Winter Miracle, Planet Earth (signage script), Tiny Love, Cambridge, Shaimus, Darling Romance, Paeonia, Merchant, Kurtis, Road Crew (a monoline script), Lucky Fortune (a beatnik font), Aeriform, Christmas Mystery, Shanky, Cashmere, Seaward, Christmas Story, Inside, Sheraton, Beverly Hills, Vanilla Cream, Blue Moon, Bambino (children's script), Fun Play Day, Belorian, Malibu, Peach Blush, Royal Voyage, Crystal, Jackson, Highest, Stephany, Macbarel, Magnatec, Forestage, Honied, Arrivals, Fantasy, Modern Talking, Playful, Gulliver, Hadron (monoline script), Loituma (script), Rhonely (signature script), Sophia (smooth brush script), Chik Pik (a monoline children's script), Candy Land, Smashing (signature font), Garkleriny, Habital, Sambina, Space Jam Script, Taste of Desires, Rusarian Script, Lemon Blast, Skyline Script, Daintily Script, Fairytale Script, Jalsony, Balwest, Dandelion (calligraphic), Solar (brush script), Selrany, Joyful, Amplifier, Hantery (signature script), Richard, Buldery, Laperla, Largus Script, Juliet (watercolor brush), Dilation, Sun Island Script (brush script), Relang, Mirages Script, White Nights, Simple Game, Miracle Roved, Marylowe, Bird House, Selvia Script, Showing, Hendricks, Rosemary, Paradise, Adrenaline (a free signage script), Old Broadway, Virginal Script, Famous (script).

Typefaces from 2019: Winter Day, Blauer, Captain Nelson (vintage), Winter Miracle, Loredana (script), The Pincher Brothers, Romanson (a serif typeface), Lost Wind, Prima Donna, Palatine (a soft-edged script), Firm (a black sans with some oomph), Bunny Hop (cartoon type), Evelyn (brush script), Milady, Wild Nebraska (a monolinear font duo), The Old Navy (stencil), Kataleya, Spinach, Palestra (a black titling sans, followed in 2021 by Palestra Moderna), Foucher, Sanremo, Selatine (a streaked brush script), Beauty Flowers, Rush Hour, Avenger (a vintage monoline display sans), Anderson, Santa Monica, Pointer, Pattaya (script), Brisbane, Avangard, Armstead and Armstrong (two calligraphic wedding scripts), Violeta (script), Futurino (a great chldren's book font family), Avignon (script), Bombastic (cartoon font), Velvet Line, Beyond, Bright Cofetti (font duo), Fort Yukon (spurred), Briosh (signature script), Marisha, Black Star (monoline), Sensation (inky script), Bonavista, Pina Colada, Milardo, Bondy Mondy, Ostende, Pasternak, Secret Room, Pointer, The Old Navy (stencil), Lush Garden, Blonde, Way to the Heart, Youth Wind, Mulled Wine, Helardy, Ramson, Marine, Silona, Horse White, Hello Sakura, Mirabella .

Typefaces from 2020: Selna (a fashion mag typeface), Vianor (a decorative Victorian serif), Hughes (a retro signage script), Sugar Cake, Clarins (Script and Serif), Knopa (a beatnik font), Adventure Island (a monoline script), Morando (a decorative serif), Pina Colada, Norando (a decorative serif), Comilfo, Simaro, Malmont (script), Todes, Chaser (a military stencil), Mulled Wine (an inky Treefrog script), Bosca, Costa Mala (pure art deco), Sensal (formal art deco), Blaine (square-serifed), Leronda (a wedge serif typeface for display), Gron (bilined caps), Parnas (a stylish Peignotian sans), Landre (a retro script), Mansory (a Peignotian sans family), The Buchen (a rounded serif font), Platinor (a decorative serif), Grovana (soft all-caps sans), Ametis (an all caps fashion mag serif), Capella (brush script), Enigma (a stylish all-caps serif).

Typefaces from 2021: Cicada (a 10-style modulated sans), Legend Of Christmas (six styles: a font trio), Etero, Black River (a vintage outdoors font), Miamo (a script / sans pair), Portaso (a vintage grunge family), Brewery Factory (a 16-style collection of vintage beer label fonts), Butcher's Daughter (a vintage family ideal for pubs and beer bottles), Baren (a 9 style wide sans), Rolan (a 6-style art deco sans), Casual Style (sans, script), Delores (delicate roman caps), Above Ground (a dry brush script), Thawed (a melting ink font), Poum Boum (a children's book font), Giordano Gold (a stylish font duo), Lerum (a stencil serif typeface), Dress Code (a 12-style all caps headline or poster sans), Melgard (script), Chroman (a decorative serif first named Chroma), Chopard (a 12-style fashion serif), Hermitage (a 6-style decorative serif), Fremont (an inky Treefrog script) (a Treefrog script), Mansory (a formal display sans), Senar (20 styles; a slab and sans serif family), Opera Signature (a stylish serif), Faberge, (a decorative serif), Berkut (a take-no-prisoners octagonal military font with sold and stencil versions), Poligon (a military stencil family), Marmaris (a soft serif), Lestina (an inky script), Milonga (a Treefrog script).

Typefaces from 2022: Ramenson (a 15-style weathered vintage font collection including Sans, Serif and Script), Laro (an 18-style geometric sans). Creative Fabrica link. [Google] [MyFonts] [More] ⦿

Larissa Fischinger

Information designer from Stutgart who is studyin at Stuttgart Media University. At Denmarks School for Media and Journalism in 2012, she designed the didone font Elegant, which has a fragile yet fashionable look. [Google] [More] ⦿

Latinotype

Latinotype was founded in 2007 by Felipe Soto and Miguel Hernández, and is based in Concepción, Chile. Catalog of their typefaces. Latinotype now also includes the work of Daniel and Enrique Hernandez, Luciano Vergara and Joaquín Contreras. Their typefaces:

Stgotic Textura and Pintana (Daniel Hernandez) are pixel font award winners at Tipos Latinos 2008.
Patagon (2011, Latinotype) is a rounded wood-inspired poster typeface done with Daniel Hernandez and Luciano Vergara.
Selaive (2011, Paula Nazal) is a geometric monoline sans with an extreme hairline weight, Selaive Light.
Sanchez (2011) is a large slab serif family. The Regular weight is free at Fontsquirrel.
In 2011, he cofounded Los Andes Type, and published the fat round typeface Fatta (2011) there.
Mija (2011). Inspired by vernacular signs.
The Google Web Font Ceviche One (2011). This is an angular yet curvy extra black expressionist sans serif type.
Sail (2012). A didone script.
Sofia (2012). An upright script, free at Fontsquirrel.
Tikal Sans (2012).
Lolita (2012, Miguel Hernandez). A playful rounded sans family.
Chela One (2012). A bold condensed brush script, free at Google Web Fonts.
Arquitecta (2014, by Daniel Hernandez ad Miguel Hernandez). A 1930s sans with small x-height, great readability and an odd g, promoted as an alternative for Futura, Kabel or Avant Garde. It was followed later in 2014 by Arquitecta Office and Arquitecta Standar.
Via Sans (2014, Daniel Peralta). A wayfinding typeface family inspired by Steile Futura and DIN 1451.
In 2014, he co-designed Uomo with Tania Chacana at Latinotype. Uomo is a contemporary typographic system that explores the geometric sans style and Italian art deco in combinations of four widths and three weights.
In 2014, Daniel and Miguel Hernandez co-designed Texta, a geometric sans for all.
In 2015, the Latinotype team developed the 60-style semiserif typeface family Corporative [Corporative was developed by Javier Quintana and Cesar Araya, under the supervision of Luciano Vergara, and Daniel Hernandez], the 64-font family Corporative Sans, the 64-style Corporative Soft [Corporative Soft was developed by Javier Quintana, Eli Hernandez and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernandez], the 32- style Corporative Sans Round Condensed (dated 2016; developed by Elizabeth Hernandez and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernandez], and the 28-style headline wood-inspired Titular.
Revista (2015, Paula Nazal Selaive, Marcelo Quiroz and Daniel Hernandez, at Latinotype) is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. It has Revista Script (connected style), Revista Stencil, Revista Dingbats, Revista Inline and the didone Revista all caps set of typefaces. Revista won an award at Tipos Latinos 2016.
Lota Grotesque (2017).
Inter Sans (2017). An information design sans. In 2021, they released Inter, which was advertized as a sans Rockwell.
Letteria Pro (2021). A script/sans/slab font trio by the Latinotype team.
Rebrand (2021). A 33-style Latin sans in Text and Display versions.
Osbourne (2021). A 20-font wedge serif that revives Keystone Type Foundry's Salem.

View the Latinotype typeface library. View Miguel Hernandez's typefaces. Fontsquirrel link. [Google] [MyFonts] [More] ⦿

Leandro Pita

Designer in Funchal, Portugal, who made the art deco ultra-contrasted fashion mag typeface Voa (2011). [Google] [More] ⦿

Leftloft
[Andrea Braccaloni]

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 ATypI in Rome in 2002, he spoke about new typefaces he designed the old-fashioned way, as a handicraft. Within the studio, there is a small lab for type design, called "Die kleine Fonderie", at which Andrea Braccaloni and Veronika Burian are active. Designs include LL Egeo (1999, shifted letters), LL Mila (2002, a condensed sans with a trademark "g"), LL Etica (2001-2002, a sans family that derives its name from Helvetica, and has soft strokes and wide apertures---in 2009, Etica Seriffo was published by Type Together as the "trappist type family"; see also LFT Etica Sheriff in 2016, and LFT Etica Mono in 2019), LL Chicane (2001, geometric and experimental, between paperclip and neon sign), LL Impresa (2001, octagonal-themed font), LL SanSiro (masculine sans family), LL EU (a delicate sans), LL Alice ditalunghe (transitional text face), LL Officiel (extreme didone titling face, developed for French fashion magazine L'Officiel, in collaboration with Patricia Sartori), LL Crudo (experimental, now LFT Crudo), LL Ubu Re (2002, made by lines and circles only), Lemon (1998), L'Amante Perduto (1999), Solferino Text (2007, with Luciano Perondi, for Corriere della Sera), Brera (2007, a sans family by Leftloft and Molotro).

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] ⦿

Lemon Studio Type
[Herpin Maulana]

Aka Yosevin, Chaplin, and Herpin Maulana. Tasikmalaya, Indonesia-based designer, b. 1986, of the free rounded sans typeface Equivalent (2018) and the sans typeface Borneo (2019). In 2019, he released the script typefaces Kalamaya, Tiara Williams, Miniolla and Chathaleya, and the paperclip typeface Independent.

Typefaces from 2020: Dear Natasha (wild calligraphy).

Typefaces from 2021: Jantur Type (a 10-style minimalist geometric sans).

Typefaces from 2022: Rochaline (a fashion mag sans). [Google] [MyFonts] [More] ⦿

Leta Sobierajski

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] ⦿

Letterhead Studio YG
[Yuri Gordon]

Letterhead is Yuri Gordon's (b. Moscow, 1958) Moscow-based foundry which publishes mainly Cyrillic fonts. Its coowners are Valery Golyzhenkov and Olga Vassilkova and it was established in 1998. It evolved from Garbage Type Foundry. Not to be confused with Chuck Davis' Letterhead. The main designer is Yuri (or: Jury) Gordon, the Moscow-based designer of the Type Directors Club 1999 award-winning designs Dve Kruglyh and FaRer Cyrillic, available from Paratype. URL at Yakovlev's Foundry. Picture. Article in the Moscow Times (2006), in which he proclaims: Better to make five fun and tasty new display fonts than one old, boring (and you thought it would look fresh!) text font. He is a graphic designer, illustrator, type designer, engraver and copyrighter. He is Art Director of several magazines.

Yuri Gordon created AntiQuasi (2008, a nice lightly slabbed serif family), Babaev [1996; inspired by the Russian Art Nouveau typefaces, initially created as a part of a corporate identity programme for Babayevskoye AO of Moscow], Arte mius (custom designed family for Art Lebedev Studio), Barrizmo (2004), Bistro (1997, hand-printed), Chantage (2000, handwriting), Conqueror Text, Conqueror Slab and Conqueror Display (large families), Conqueror Sans (2005-2010), Conqueror Text (2005-2010), Costa Brava (2003, fun script described as beach type), Costa Dorada (2003), Dva Probela (1997-1998), Dve Kruglyh (1997, unicase), Excession (1999), FaRer [1994; art deco typeface inspired by the work of Russian graphic artists Vladimir Favorsky (1886-1964) and Ivan Rerberg (1892-1957), especially by Favorsky's lettering of 1924 and by Rerberg's of 1935. Dedicated to the Moscow Underground (Metro). Obtained an award at the 1997 TDC competition], Forward No. 10 (1995-1996), Forward Grotesque No. 9 (1998-2000), Gordoni (his take on Bodoni), GiardyOla (2008-2019), Handy, HotSause (1997, irregular handwriting), Karkas (2004, a manly sans), Little Shift (1999), Method (2002, a sans family), Minusmanscript (1998, calligraphic), Mr. Mixter (2011), Non System (2000), OptiMyst (1997), ResPublicana (1999), Sivtzev Vrazhek (1999, + mono), Michelle (2004, medieval), Naylorville (2004), Probel (1997-1998).
Illarion Gordon made the fun fonts Strelochnik (1996, irregular hand), Probbarius (1996), Monte Summa (1997), as well as Rahit (1998, kid's handwriting), Rough (2000, blotchy hand), Simpel (kid's hand), St. Valentin (2001), Accept (1998), Kartofel (2000, irregular handwriting), LangobardR (1999), Ospa (1997, funky handwriting), pLatinum (1999, informal script).
Valery Golyzhenkov's fonts from before 2000 are typically destructionist. He made 04.07 (1998), Bort#1 (2000), CardHolder (1997), Chellebrity (2004, screen), Cracker (1997), Cubes (2000), Dead Metro (1997, a constructivist family renamed Dead Mementro in 2017), Do Not Touch (1997), Dream Team (2000), Formalist (2001), Gamering (+Sans, 2009: a game font), Garbage (12997), GarbEdge (1997), Garmony (1997), Grammatika (1997), HandsOn (1997), Hole Down (1997), Hot Sauce (2009, Yuri Gordon), Ice Cola (2000), Kabotage (1998, octagonal), Kassa (2002, octagonal), Kren (1998), Laborant (2000), Lavert Noise (1997), Matrrolla (2001, octagonal), Mono (2000), Musor (1997), OneCode (1998), Primitiv (1998), Principal (1998-1999), Recruit (2004, octagonal), Remont (2000), Rounds (basic dingbats), Silver Winer (2000), Sklad (2000), Stampit (2000), Upadok (1997, futuristic), YE Stencil (2009), Zaplyv (1997), Zanoza (2005).
Custom typefaces for companies or special projects: 19oclock (2004, Yuri Gordon: for Vernost Kachestvu confectionery factory), AlfaBank, Always, Anteus, Artemius, Alexey, Atlas-1904, Bat Sans, Bat Roman, Calendarus, Carlis, Cifirki, CTC Screen, Digrol, Digimag, Esquire, Gulliver UTS, Gurmania_MA (2004, handwriting), Hi Afisha, In CaST, Ka, Kater, Komet, Kostro, Lumene Script, N.B.T., Nochnoi Dozor, Odessa, Progress Custom, Redd's, Robb Report New, Rolling Stone 2003, Rolling Stone 2005, Romb (2010), Rosbank Sans, RMA 2006, Salon Script (2007, calligraphic), Salon Antiqua (2007), Seventeen, N.Side, W.Side, Sivtzev Vrazhek, Snickers, Sovereign, STS Vizion, Svyaznoy RF (2008, sans), ToShi, Trust, Whiskas lettering, Zabava.
Typefaces and/or lettering from 2007-2009: Barocco Mortale (2005-2007curly script), Barocco Mortale Borders, Alfavita (ornamental caps by Goluzhenkov), Fleurs du Mal (2008, a Baudelarian antiqua, mischievous and decadent), DBL Cheque (by Goluzhenkov), Medved (by Goluzhenkov), YE Stencil (by Goluzhenkov), 21Cent (2009, related to Century; +Cyrillic; +Thin; +Black; advertised as not Century, not Clarendon, this fresh family is sure to win awards), Antiquasi (2008), Around the world, Bazaarban (2009, for Harper's Bazaar), Blacksteel, Citizen M (art deco), EsqGuardi (for Esquire), the curly Naska, with accompanying dingbats Naska Kozliki, the bird dingbats Udo Birdo, and more at Flickr.
Production in 2012: Digital October, Red Square (constructivist), Red Ring (art deco sans), Baker Street 221B (anglomane grotesque).
In 2013: Clarendorf (a hand-printed spoof on Clarendon), Bonvalet (large x-height sans), Bazaart (an art deco typeface for Harper's Bazaar), The drop-dead gorgeous condensed American slab and sans serif typefaces Mr Palker and Mr Palkerson.
Typefaces from 2014: 20 Kopeek (sans family with steampunk influences).
Typefaces from 2015: Buffon (a spaghetti Western italian typeface), Mr Palker Dad, Mr Palker Dadson.
Typefaces from 2018: Atomic Alice (a simple stocky sans family).

Author of the acclaimed 384-page book Book of Letters From to ” (2007, Art. Lebedev Studio).

Behance link. Art by Yuri. Issuu link. Klingspor link. Behance link for Yuri Gordon. Art Lebedev link.

View Letterhead YG's typefaces. [Google] [MyFonts] [More] ⦿

Letterhend Studio (or: Magang Letterhend)
[Hendry Juanda]

Hendry Juanda runs Letterhend Studio in Yogyakarta, Indonesia. He designed the signage script typefaces Redoura (2016) and Kadisoka (2016), and the accompanying Redoura Serif (2016) and Kadisoka Monoline (2016). Hendry also designed the handcrafted typefaces Signerella Script (2016, +Sans), Motherline (2016), Motherline Sans (2016), Mukadua (2016: a beatnik serif and a script), Sakra (2016) and Sakra Script (2016).

Typefaces from 2017: Kaylar Script (formal calligraphy), Keylar Serif, Legion, Hipsterious (signage script), Megattor, Dear Jane (a signature script), Wonder Stark (a rhythmic script), Kingbirds (monoline script), Mandatory (Sans+Script), Modesta Script, Romzul Sans (a fat finger font by Muhammad Romzul Khoir), Kanuda (by Galih Prasetyo), Aamonoline (by Ageng Jatmiko), Fad Script, Ageng Sans (by Ageng Jatmiko), Anisa Sans, Morsel, The Lentigo, Quinible, Storytella, Rose Colored, Swiftone, Antone (letterpress family), Retrology (monoline script), Claytonia, Pipetton (brush Script and Sans), Marttabuck (retro), Gloriant Signature Script, Jouska, Brooklyn (dry brush), Holiday, Take Easy (dry brush), Larizo (brush script), Vanillate (monoline retro script).

Typefaces from 2018: Sabatons, Autogate (font duo), Sharon Baker, Blue Phantom Script, Dologan, Bolica, Jaceline, Youther (brush script), The Goldies, Carllosta (curly), Black Space (brush style), Anjani Script, Melania Monoline, Calasans (retro layered), Arlington (spurred, Tuscan), Pastelle (SVG brush font), Diana Webber, Caligor (a vintage headline typeface), Greatly, Belymon Script (a great signage script), Majestika Script (signage script), Nagoya (monoline script), Charlotta Script, Stronger (vintage style), Vanillate (connected monoline script), Pipetton (script), Roseville (calligraphic: by Hendry Juanda and Sarid Ezra), Rupture, Gustolle (a great watercolor brush font in OpenType SVG format), Riverside (monoline script), Bulgaria Script, The Majority (calligraphic script), Blacklite (signage script), Athalia Script, West Hood (Western), Fort Collins (font duo, by Sarid Ezra at Letterhend), Flanders Script (a signage script), Thirdlone (a monoline script), Bigstorm, Melania Script (named after the first golddigger), Motherline, Harsey (a 16-font toolbox of signage scripts and dingbats), Dearday Script, Dearday Sans, Blodders, Callonsky Script, Kulon, Quicken, Reklase, Skizzle, Storytella, Brighter.

Typefaces from 2019: Shockbar (a Halloween font), Chanide Script, Girly Moods, Padlock (a great retro script), The Rouged (monoline script), Karatone, Kingdrops, William Letter Signature, Billskates, Dorothy Clark, Chord Brights (a Victorian typeface), Sequents, LS Olive 01 Script, Bargitta (an SVG brush script font by Hendry Juanda and Sarid Ezra), Hellone Script, Sharon Baker (by Hendry Juanda and Sarid Ezra), Daniella Evans (a display serif by Hendry Juanda and Sarid Ezra), Leafstar, Righton (a signage script by Hendry Juanda and Sarid Ezra), Lotustail (by Henry Juanda and Sarid Ezra), Radicals, Seriously (a display sans), Rupture, North Avellion, Majestika Script, Palmbell (a signature font by Hendry Juanda and Sarid Ezra), Fokers (Victorian), Frankest (Script, Serif; with a Victorian feel), Danielle Harris, Callonsky Script, Murphy Script, Lanoline Script, Bittergrace Script (by Hendry Juanda and Sarid Ezra), Bordemile (a copperplate calligraphic script by Henry Juanda and Sarid Ezra), Daybird Script, Amerta Misty, Wonderstory, Kingbirds Rough (monoline), Rupture Stamp (for signage), Gorgone (a one-style didone by Henry Juanda and Sarid Ezra), Stomper, Caligor, Asterone (a wide all caps sans), Venettica Script (a signature script), Hougbon Script, Philomena Script, Cephalonia, Birmingham Script (calligraphic), Hillstown (Sans and Script).

Typefaces from 2020: Billrocks (a condensed all caps sans), Greybridge (a fine retro script), Lava Cookies, Just Because, Moraline Script (a baseball signage script), Lemonade Peach, Mayburn (a retro signage script), Fillerglad (a signature script), Breadfast, Della Brian (script), Sailritme (wild, calligraphic), Stacylia, Stacylia, Salty Unicorn (a monolinear marker pen font), Super Giants, Gingerly, Creeplens, Donthank (a fat finger font), The Viperion, Blantika, Maritosca (wild, calligraphic), Thirtylane Script, Winland (a brush script), Ballmarks (wild, calligraphic), Mellodate, Braleno (a shaky font), Siregar, Camie (a wedge serif), Hugiller (a high contrast ball terminal fashion mag serif), Mildistance (a tall calligraphic script), Midgeto (a casual all caps typeface), Crimson Black (a brush typeface), Duke Charming (a decorative serif), Lucky Spark, Blue Jones, Sunshine Valley, Hello Christine (a rough-edged script), Revalina (a wild calligraphic script), Ranshell (a chalky script), Malliandra Script (a wild calligraphic script), Vistaria Notes (a wide flowing calligraphic script), Achiever, Bullgine (blackletter), Billion Reach (a signature script), The Randi (a monoline script), Yorkson (a signage script), Laverty Castaroza (all caps, art nouveau), Kandani (a creamy signage script), Fragtude (a creamy script), Quick Counters, Kaeliwritten, Heaven Wanders (a lively vintage hand-printed typeface), Chillday Script, Redberries, Foretelling Script, The Stegris (a decorative serif), Bayland (a signage script), Darthon, Caligonia, Deluge (a heavy script), Laterlocks (a display typeface), Baille Simpson (a dry brush script), Kanote (an all caps cartoon font), Black Ground, Franceur, The Wanters, Alburgone (an all caps quaint shop front lettering typeface), Annette Bradford, Winstreak (a brush font), Madegra (a decorative serif), Samrose (a dry brush font), Dehors (a Tuscan circus font), Compania (a wild script), Neography (a formal script), Shakuro Brush (oriental brush), Rascals, Wednesdom, Chirpy, Altia (Script, Sans, Slab Serif, Signature, Hand, Brush, Dingbats), Stargation, Buttoni, Radgrows, Linkgray, Monday Bay, Brown Chunkers (a vintage label font), Squiborn (a hand-drawn athletics font), Brilliantly, Holystone, Detroit (a handcrafted slab serif), Spring Note, Bigtown (a heavy hand-lettered slab serif), Naville (a 6-style all caps sans family), The Proactive (script), Wardrum Pro (a wide sans) and Wardrum, Kinderline Script (monoline), Kingdrops, The Kogles Script (retro), Conseration (a condensed sans). Hopkins Angela, Blue Phantom, Gladiolus Script, Calvous (spurred and weatheed), Fort Smith (penmanship calligraphy), Ramdone (a creamy signage script), Devilion (a signage script), Cortair (a vintage typeface), Kingbirds (a monoline script), Purefell Script, Rangkings (serif), The Holloway (Victorian), Roquen (a rustic typeface), Gloriant.

Typefaces from 2021: The Riskeys (a tall stylish serif), Brandice (blackletter), Carllosta (a Victorian font), Dountyland (a monoline script), Garten House (Victoriana), Hello Sierra Sans (a child's hand), Marla Griselda (a formal script), Nachinta (script), Winter Rosetta (a curly script), Distoniare (a thin calligraphic script), The Moon Milter (a vintage all caps display font), Asper Crown (a nature park display font), Delgian (script), Astropicks (a marker bpen font), Cerlistine (a fat finger script), Fintbar (a fat all caps display font with an oversized chin), Madre Rose (a stylish unicase typeface), Norvin (vintage caps), Roundkind, Sentra (a wide hand-crafted display font), Stone Masher (script), Beast Party (a Halloween font), Hollow House (a Halloween font), Blowsters (a dry brush mural font), Rumble Born (a bean font), Stano Sans (rounded), Amillia Rochete (a delicate signature script), Shopie Minclair (a fine pencil script), Sign Paintoh (a sign painter's font), Wednesday Island (script), Sinister Mind (a horror font), Divine Stone (a brush font), Pinsmalle (a signage script), Radnick (a plumpish retro font), Wackets, The Royal Chambers (decorative caps, with a hint of art nouveau), Shopie Minclair (a refined script), The Morshine (Victorian), Beauty Culture (an angled calligraphic script), Allarmante (a horror font), Billanta (a retro signage script), Galpike (a 9-style sans with modulated stems), Magnitude (a stylish display sans with large x-height), Romans Story (stylish caps), Stay Strong (a dry brush script), Cardila (a monoline retro signage script), Explore Magic (hand-printed), Kingslayer (a graffiti font), Marina Bullock (a flowing rabbit ear script), Dustland (a retro signage script), Haystack (script), Sakura Town (Japanese brush emulation), Boldistrike (a retro signage script), Maleryan (a delicate formal calligraphic script), Sellina Word (a calligraphic script with irregular line thickness), Servegin (a display serif), Shelbie Roger (Victorian), Stumble (a signage script), Foresight (a vintage script), Cordoba Sans (vintage caps), Badgear (a monoline script), Edellyn Script (tall and elegant), Glorify Sans (an 8-style decorative sans), Wellytonia Package (a scrapbook script), Turesco (a creamy caps typeface), Black Space (a horror brush SVG font), Slime Yogurt (a fat finger font), Black Hymned Script, Pompano (a lively almost vernacular headline sans), California Quotes (brush script), Rosterine (a vintage condensded display font), Between Days (a display serif), Crescent Slim (a stylish display serif), Captivate (script), Flumbery White (a thin tilted script), Modern Prestige, Olive Vine (a lively brush script), Graystera (an elegant script), Morning Glints (a marker pen font), Native Roast (a vintage layered typeface), Menleader (script), Neophyte (a flared vintage typeface), Dankfield (condensed, squarish), Sogate (a bold script), Hollow Sky (a thin script), Boosley (a condensed supermarket script), Killviners (blackletter), Chenile Deluxe (a vernacular supermarket font) Silvestern (a vintage display font), Arnette Script (a calligraphic script), Margoline (an elegant formal calligraphic script), Pinmold (a geometric stencil font), Eligated (all caps, vintage), Garmouth Display (a Victorian era advertizing font), Bugheds (blackletter), Candleton, Riotous, Baverley Astone (script), Belmistate (a fine rhythmic brush script), Hulberk (an all caps slab serif), Mogaster (a monolinear script), Black Rockets (a dry brush script), Glady Script (a bold signage script), Yesternight (a bottom heavy script), Welroseltone (a stylish calligraphic font), Bold Garage (an inky unusually elegant typefacre), Bright Clones (hand-printed) Grand Wilson (a font duo), Merodine (calligraphic), Appears (a decorative serif), Mounties (tall caps with flared terminals), Quatro, Ground Castle (a display serif), Linestay (a signage script), Alessia Harvey (a signature font), Caramel Chestnut, Londers (an upright bold script), Hubstone (a brush font), Oversouth (vintage, hand-drawn), Bright Gesture (a lachrymal font), Center Voyage (an all caps display typeface), Asteria Royalty, Georude (hand-printed), Raksana (a bold upright script), Aesthetic Notes, Broadley (a vintage font duo), Chopader (a vintage font duo), Wimp Stars (a beatnik font), Brown Holmes, Mortina (a vintage font duo), Dustown (a rounded handcrafted sans), Holymore, Lamberds (a rhythmic script), North Mountain (a decorative flared typeface), Butter Slices, Portalica (an all caps italic font with plenty of ball terminals), Evening River (an optimistic and playful script), La Graziela (formal copperplate calligraphy), Metro Capitals, Davenvale, Earthgate (a vintage penmanship font), Vindale (a retro reverse stress script), Better Hobby (a layerable cutout font), Bouldster (a bottom-heavy psychedelic script), Melorist (a display sans), Benorante, Millgrove (a condensed spurred typeface), Asterluck (a fat finger font), Boinger (wide, octagonal), Rimeland (calligraphic), Ansylia, Mantaray.

Typefaces from 2022: Arturico (a frivolous art deco font), Calmine Font Duo (a bold vintage script), Foresight, Penster Bross, Mayhome (script), Rivervale (flared hand-crafted caps), Rontage (a late 19th century-style display typeface), Bert Watson (a tall thin upright script), Honnie (Greek emulation), Livemono (6 styles), Caldeisa (a creamy script), Coral Candy Regular Slant (a blocky plump unicase typeface), Hanstone (script), Hintown Slant (arts and crafts era caps), Liviatica (a wavy display serif), Rosie Brown (a font duo), Growline (an all caps display sans), Lion Parade (a vintage apothecary script), Praysire (a sharp-edged display serif), Bashiton (a monolinear script), Crainzel (notched caps), Garetra (a stylish serif), Moon Slayer (a scrapbook brush font), Growlies (a fat finger script), Ridge Cliff (a massive slab srif), The Bristers Sans (a font duo), Augify (a hipsterish display serif), Dustyland (a monoline script), Primore Castle (hand-crafted), Merry Brook (script), Monstroux (a brush font), Blue Carousel (an informal brush script), Bastinson (a thin monoline script), Happy Sparkle (an inky treefrog script), Arinkoln, Backdown (script), Krostenia (a monoline script), The Bardian (script), Black Rocket (hand-printed), Kaglia (script), Cyberion (sci-fi), Groovy Friends (hand-printed), Calfine (a bold condensed poster typeface with small wedge serifs), Fountencil (a blackletter stencil), Logirent (a minimalist logo font), Logirent, Hermush (art nouveau caps).

Aka Magang Letterhend. Behance link. Dafont link. Graphicriver link. Dafont link. Creative Market link. Fontesk link. [Google] [MyFonts] [More] ⦿

Lettering Garage
[Maximilian Huber]

Maximilian Huber (Lettering Garage; and before that, Cellar Door, Vienna, Austria) created an experimental sketched geometric alphabet called Cellar Sans (2011; images: i, ii) and a fashion mag typeface called Enie (2011, free).

In 2012, he published Leberkaas Grotesque (Ten Dollar Fonts), Justus, a blackboard bold typeface family, and Walden, a tall hand-printed poster typeface available from Ten Dollar Fonts.

Still at Ten Dollar Fonts, he published these typefaces in 2013: Mandag (sans titling face), Fredag (another sans face), Pista (a successful inline titling face), Selador (Ten Dollar Fonts), Strassenbahn (a sans based on text in Vieenese tramways).

Typefaces from 2014: Justus (a blackboard bold / tattoo font), Warpath (vintage hand-drawn typeface).

Typefaces from 2015: Work Hard, Live Well (handcrafted poster typeface).

Typefaces from 2016: Stoa Sans (inspired by stone wall engravings and stoic philosophy), LK Better Days (a free Victorian signage typeface).

Typefaces from 2017: Ultra Sunshine family (handcrafted; consisting of Handsy, Frandsy and Garage Script), Dromeus (octagonal).

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

Lián Types
[Maximiliano Sproviero]

Argentinian foundry located in Buenos Aires, est. in 2008 by Maximiliano Sproviero (b. 1987, Buenos Aires). It specializes mainly in gothic, uncial, script and handwriting typefaces. Sproviero graduated from FADU, University of Buenos Aires in 2008 with a script thesis typeface called Colofon.

His fonts from 2008 include Devil Kalligraphy, Pumba (great futuristic rounded look), Tobogan (retro), Kiwi Sans Serif, School Rainbow, Suave Calligraphy, Tonika (handwriting), Goddess (handwriting), Cursivessca (calligraphic; 4 styles), Friendship (6 styles), Chechelo Lawyer (modern italic condensed), Quijote Italic (calligraphic with tall ascenders and descenders), Miscelanea (arabesques), Lunga (a condensed hairline family consisting of Real Ligada, Exacta, Versalita and Extras), Mabela (a rounded fat display font), Red Wagon (ultra-condensed), Valeria Script (swashy), Kalligrand (2008, a tall calligraphic face), Intima Script One, Two and Three (described by him as a sensual calligraphic script family), and Paradise Script (96 styles, all calligraphic).

Creations from 2009: Kaligrafia, Galana, Mon Amour Script (hyper-calligraphic), Oh Lara (also hyper-calligraphic), and Quijot sauvage (a 7-style calligraphic feat).

In 2010 he made these typefaces: Parfait Script (a high-contrast calligraphic script), Kanikama, Breathe Pro (calligraphic with didone serifs), Boston Script.

Creations from 2011: Reina (a curvaceous didone family, +Engraved). He updated this in 2021 to the 45-style Reina Neue.

At Tipos Latinos 2012, Maximiliano Sproviero won awards in the display type category for Aire (2012, a thin curly didone family), Breathe Pro, and Reina. At TDC 2013, he won an award for the copperplate script Erotica. Erotica also won an award at Tipos Latinos 2014.

Typefaces from 2013: String (a hairline Spencerian script), Brand (a signage script family), Agile Pro (a hairline swashy calligraphic family), Bird Script (which an award at Tipos Latinos 2014), Live Pro.

Typefaces from 2014: Selfie (connected monoline signage script), Heroe (a script that takes Lubalin and Caslon to the extreme), Dream Script (a chancery script that won an award at Tipos Latinos 2016), Dream Caps (Trajan capitals), Beatle (a Spencerian script with psychedelic touches).

Typefaces from 2015: Seventies (a funkadelic typeface), Indie (a signage script family that won an award at Tipos Latinos 2016), Model (a hairline fashion mag calligraphic script family).

Typefaces from 2016: Lubaline (decorative caps inspired by Herb Lubalin), Skill (signage type: winner at Tipos Latinos 2018 of a type design award).

Typefaces from 2017: Posh (a fat didone), Fluire and Fluire Caps (a greeting card font pair), Preta (almost psychedelic script), Vinyle (a remarkable monoline decal script).

Winner at Tipos Latinos 2018 of a type design award for Lubaline, Posh and Preta.

Typefaces from 2018: Burger (a fast food slab serif bonanza), Fleur (inspired by some lettering in Palais Garnier in Paris---Sproviero calls this the Napoleonic style), Pantera (a lively pointed brush calligraphic typeface family), Girasol (based on sketches by Susana Maurette), Rafaella (all caps---described by Sproviero as coquette).

Typefaces from 2019: Hot Script (monoline), Elipses (a Peignotian sans family in 7 styles), Fabulous Script, Breathe Neue.

Typefaces from 2021: Selfie Neue Rounded (40 styles), Selfie Neue Sharp (39 styles), Ballet VF (Maximiliano Sproviero: a variable Spencerian penmanship font with optical sizing from 16pt to 72pt---a technical feat accomplished with the help of Eduardo Tunni and the Omnibus team; free at Google fonts; Github link),

Klingspor link. Behance link. Interview by MyFonts in 2014. [Google] [MyFonts] [More] ⦿

Liah Moss

Edinburgh, Scotland-based designer of the caps only free thin outlined display typeface Coco (2017). In 2018, she designed the Bauhaus-inspired LM Banana Bread (free). [Google] [More] ⦿

Linggar Sundoro
[Aluyeah Studio (or: Cupcake Std)]

I Love Typography link. Klingspor link. FontShop link. Type Network link. MyFonts interview.

Lipton Letter Design
[Richard Lipton]

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 Type Network, where his fonts can be bought. MyFonts page. MyFonts interview in which his modesty comes to the fore. His typefaces:

Alhambra: a calligraphic typeface.
Apotek: based on lettering on old medicine bottles seen in Oslo.
Arrus BT (Bitstream, 1991). This is a serif typeface with heavy calligraphic influences. The capitals are roman inscriptional. More typefaces in this style are to come, he promised in 2010.
Avalon (1995, calligraphic): based on the calligraphic writing of Austrian artist Friedrich Neugebauer.
Bennet Text, Bennet Display (36 styles: a wedge serif news text family), Bennet Banner (36 styles). This high contrast didone-themed superfamily (but for the wedge serifs) can't shed that "look at me" vibe. The initial idea for Bennet came from Moth Design's logotype and stationery system for the North Bennet Street School in Boston.
Benton Modern Display (2008, co-designed with Richard Lipton at Font Bureau: Benton Modern Text was first prepared by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton's turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook.). See also here.
Bickham Script (1997, Adobe): The 2004 OpenType Pro version has hundreds of ligatures and substitute forms. See also Bickham Script 3 (2014). Review of Bickham by Timothy Rolands. Bickham Script is based on examples from Bickham's The Universal Penman. Poster by Fernanda D'Andrea (2013). Bickham Script 3 won an award at Modern Cyrillic 2014.
Bodoni FB (1992, Font Bureau, a headline bold based on Benton's 1933 Ultra Bodoni).
Bremen (Bitstream), Bremen (1992, Font Bureau). This German art deco face was influenced by the poster lettering of Ludwig Hohlwein in 1922. Munich is an angular version of Bremen.
Bureau Grot. One of Font Bureau's bestsellers.
Canto (2011, Font Bureau) is a 32-style roman family that started out from the Trajan inscriptions via a few styles called Canto Brush to smooth and delicate styles such as Canto Pen. New styles were added in 2017.
Cataneo BT (Bitstream, 1993; with Jacqueline Sakwa): an elegant chancery cursive based on the calligraphic work of the 16th-century writing master Bernardino Cataneo.
Ecru
Escrow Banner (2016). An extension of Cyrus Highsmith's Scotch Roman, Escrow (2006).
Hoffmann (1993): a display family that is based on lettering by Lothar Hoffmann.
Meno (1994, Font Bureau). Lipton explains his oldstyle design: the romans gain their energy from French baroque forms cut late in the sixteenth century by Robert Granjon, the italics from Dirk Voskens' work in seventeenth-century Amsterdam. In 2016, he extended Meno to a 78-style superfamily. In 2021, MyFonts released Meno Text and in 2022 Meno Display (36 styles) and Meno Banner (36 styles).
Miller Banner (2010, Font Bureau): a completion of Matthew Carter's Scotch family Miller, that has banner and titling styles, and adds styles with extreme contrast and hairline serifs.
Moderno FB
Munich.
Nut cracker.
Rocky (2008, Font Bureau, with Matthew Carter).
Savanna Script (2013). A connected tightly spaced calligraphic script in three weights.
Shimano: an industrial geometric font.
Shogun (with Margo Chase, 1995).
Sloop Script (a penmanship script, 1994), inspired by the lettering of Raphael Boguslav. Sloop Script won an award at Modern Cyrillic 2014. Type Network published Sloop Script Pro in 2018. MyFonts relesed Sloop Script Pro in 2021.
Talon
Tangier (2010, Font Bureau): a Spencerian calligraphic family that was part of the 2008 redesign of Glamour Magzine.
A redesign of Matthew Carter's Postoni (1997), called Stilson (2009, with Jill Pichotta and Dyana Weissman): Since 1997, The Washington Post's iconic headlines have been distinguished by their own sturdy, concise variation on Bodoni, designed by Matthew Carter. For the 2009 redesign, Richard Lipton, Jill Pichotta, and Dyana Weissman expanded the family with more refined Display & Condensed styles for use in larger sizes. Originally called Postoni, the fonts were renamed in honor of The Post's founder, Stilson Hutchins.
Delaney (2016).
Collier (2018). A 150+-style lapidary flared stem typeface family ranging from Compressed to Extra Extended widths.
Englewood (2022). A script whose inspiration for Englewood came from the calligraphic hand of Philip Grushkin.

View Richard Lipton's typefaces. [Google] [MyFonts] [More] ⦿

Lisa Bonnion

During her studies at ENSAAMA in Paris, Lisa Bonnion designed the counterless typeface Verybold (2014), the artistic poster typeface Ivresse (2014), the extreme contrast fashion mag typeface Vulpine (2015), Wing Chun stick figure icons (2014), Scan Font (2015), and the fat finger font Dans Ta Face (2014) Behance link. [Google] [More] ⦿

Lisa Fleck

Graphic designer and photographer in Amsterdam. In 2009, she created Fashion Typeface, and Typeface-for-musician-Bernhard-Fleischman (experimental). In 2010, she added Ruhrschrift (semi-Tuscan). Behance link. [Google] [More] ⦿

Loan Duong

Bac Giang, Vietnam-based student-designer of the fashion mag typeface Jolly (2017). [Google] [More] ⦿

Louise Hvenegaard

During her studies at Skolen for Visuel Kommunikation in Haderslev, Denmark, Louise Hvenegaard designed the high-contrast fashion mag typeface Audrey (2014). [Google] [More] ⦿

Lucas Benjamin Sharp
[Sharp Type]

Lucia Mercedes Friedrich
[Lucywho]

Lucywho
[Lucia Mercedes Friedrich]

In 2020, graphic designer, typographer, artist and tattoo artist Lucia Mercedes Friedrich founded Lucywho, a design studio from Zurich, Switzerland. Her typefaces include Verbindig (2021: a stylish display serif), Kiak (2021: a playful modern serif) and Bero (2021: a stylish display sans). [Google] [MyFonts] [More] ⦿

Lucywho Design

Creator of the fashionable display typeface Bero (2020). [Google] [More] ⦿

Ludwig Type
[Ludwig Übele]

Ludwig Übele is a Berlin-based German type designer (b. Memmingen, 1974). In 2007, he established Ludwig Type in Berlin. Ludwig practiced type design and branding in his own studio in Den Haag, The Netherlands. He graduated in 2007 from the KABK in Den Haag, the same year in which he started his foundry Ludwig Uebele (or: Ludwig Type) in Berlin. MyFonts interview. Behance link. In 2018, he joined Type Network. His award-winning typefaces:

The extensive serif family Marat, a winner in the TDC2 2008 competition. Its 9 styles can be bought here.
In 2008, he published Mokka, a subdued serif family with Zapfian influences (lower case "a"). [Do not confuse it with Mokka, Fidel Peugeot's script font from many years earlier---I wonder how Uebele got the Mokka trademark, quite impressive that oversight by the trademark office].
Augustin (2004). A renaissance typeface inspired by the type of Nicolas Jenson made in Venice in 1470.
Helsinki. A sans based on Finnish traffic signs---has a hairline weight, and a gorgeous Fat weight. Helsinki 2.0 was published in 2013. In 2014, he published the formidable free weights Helsinki XXL Black and Helsinki XXL Thin.
Mediana. A custom typeface based on Franklin Gothic.
NewTaste. Commissioned by McDonald's.
Walhalla (2008) is a strong and bold uncial family inspired by uncial letters of the Czech type designer Oldrich Menhardt, made in 1948.
Daisy (2010) is an artsy ultra-fat vogue magazine style display face, best shown in pink. It won an award at TDC2 2011.
FF Tundra (2010-2011, FontFont) is a narrow low-contrast small-text type family that was also awarded at TDC2 2011. It was influenced by Carl Dair's Cartier (or Raleigh).
Daphne Script (2013) based on Georg Salden's Daphne.
Riga and Riga Screen (2014). Designed for web page use, this is a practical space-saving sans family. Not to be confused with several other typefaces called Riga, one by Mostar / Olivier Gourvat (2009) and one by Gunnar Link (2012).
Diogenes (2014) and Diogenes Decorative (2014). Microsite.
Brenta (2015). A sharp-edged wedge serif text family. Microsite.
Contemporary Sans (2015). This sans family is characterized by the contrast between horizontal and vertical strokes.
Godfrey (2015). A compact sans typeface family characterized by straight edges in the terminals of f, j and y, and elongated dots on i and j.
Kakadu (2016). A squarish sans typeface family.
Aspen (2016). Microsite. Influenced by the old grotesques, its oh-so-slightly flared terminals give the design some pizzazz.
Niko (2019). A magnificent and very legible humanist sans in 54 styles (3 widths, from Regular to Extra Condensed), characterized by slightly flared terminals.

View Ludwig Übele's typefaces. A list of Ludwig Übele's typefaces. Klingspor link. [Google] [MyFonts] [More] ⦿

Ludwig Übele
[Ludwig Type]

Luhop Creative
[Arif Fadilah]

Luhop was founded in 2020 by Indonesian designer Arif Fadilah. Creator of the handcrafted all caps typeface Love Honey (2020). Typefaces from 2021: Loadkew (a 4-style serif family with some contrast in the strokes), the display serif Recoiled, the display didone Nortika, the stylish ligature font Roy Carkton, and the Peignotian typeface Giselle Dalicia.

Tyopefaces from 2022: Roland Bryon (a dagger-serifed typeface), LC Sousgerynuen (a display serif). [Google] [MyFonts] [More] ⦿

Luis Miguel Torres
[Aviv Studio]

Luis Othon

Graphic designer in Monterrey, Mexico, who created the lachrymal fashion mag typeface La Perla (2012).

Luke William Turvey
[Okaycat]

Lunch Type (or: Steppot)
[Stefan Wetterstrand]

Swedish designer. Creator of the fashion mag typefaces Helit (2011, Peignotian) and Cecill (2011). In 2016, he designed the free sans typeface family Lunchtype 21, which was later followed by 22 through 25.

Typefaces from 2017: Yes Yes No, Ballbase.

Typetoken link. Old URL. Dafont link. Aka Steppot. Fontsquirrel link. [Google] [More] ⦿

Luvburn
[Pedro Julien]

Graphic design studio in Geneve, Switzerland, founded by Pedro Julien and Gabriel Comym. Typefaces created by them include Era 21 (2013: a fashion mag high-contrast didone), Quantum (2013: futuristic liquid typeface), She Is Typo (2012: another fashion mag display typeface), Vani (2012).

Made Deduk
[Deduk Suandana]

Or Deduk Suandanaipande, or Suandana Ipandemade, or Anggun Suandewi, or Suandana I Pande Made, or Pande Made, who publishes his fonts under the labels Made Deduk (est. 2016) and Type Class Heroes (est. 2022). Bali, Indonesia-based designer of the free display typefaces Merthy (2016, calligraphic script), Druchilla (2016), Breathe Karma (2016), Carrinady (2016: an all caps sans family), (2016), Rowdy (2016), Chandry (2016, connected script), Old Alpha (2016), Autumn Leaves (2016, textured with a floral pattern) and Anggun (2016).

Typefaces from 2017: Die Hard (inspired by graffiti), Hamer, Harley (script), Pink Gladiolus, Madeleine (ultra-wide sans), Draconian (grungy caps), Amandella (calligraphic), Strong Bold (ink splash script), Jet Pilot (squarish), Bright Beauty (creamy connected script), In Blossom (watercolor brush script), Triumph Wheels, Budhayanti, Moonchrome (a monoline script), Claiborne, Geovana (a monoline script), Wild River, Sugar Candy (free signature font), Bilody Rainan (brush), Amandella (calligraphic), The Dark Titan (a textured typeface family).

Typefaces from 2018: Donatello (signage script), Justify (spurred), Nightype, Violaceous, Pierce, Thrones, Homerun (signage script), Skytree (brush script).

Typefaces from 2019: Merthy Script, The Dark Titan, Sugar candy (monoline script), Reingttoon (dry brush), Justify (a spurred tattoo font family), Bonthing (calligraphic), Chameron, Raegan (a brush script), Triumph Wheels (spurred, vintage), Inner Beauty, Reff Devil, Shergine (formal calligraphy), Sweet Yellow, Daniels Signature, Maddison Signature, Sophia Bella, Concetta Kalvani (a signature script / serif font duo), Chronicle (a layerable Victorian typeface), Nakone (a black fashion mag typeface), Gisbon (brush script), Marchello, Keshya (a dry brush script) (script), The Delicate, Sophia Bella (signature script), Munrolane (an extended techno or car grill typeface), Bethsy, Breath Karma (free), Bilody Rainan (free), Allison Tessa (script), The Phamelo (brush script), Majestic Romance (a monoline script).

Typefaces from 2020: Mollie Rocky (a decorative art nouveau font), Hacky (an 18-style condensed display serif with a slight art nouveau feel), Wild River (a grungy and sturdy display typeface), Catellos (a display serif), Marlyn (with 73 styles, the largest floriated luxury serif typeface family to date), El Katana (a luxury serif), Delvon (a condensed organic sans), Sugar Candy, Pink Gladiolus , Primatama (a luxury serif), Black Elliot (a dry brush script), Sweet Harley Script, Challista (a signature script), Roman Morrissey (a dry brush script).

Typefaces from 2021: Victory History (a single-height decorative typeface), Raque (an all caps display serif), Nirma (an expressive deco typeface), Heavy (a bold flared display font), Mothra (a semi-psychedelic display typeface), Kittenish (a playful retro cartoon font), The Strattos (a great interlocking cartoon font; perhaps a bit too complex to be used in children's books), Dino Moose (for children's books), Graves (a 9-style display family), Singa (a 53-style squarish display typeface), Marga (a decorative typeface), Pacho (a powerful angular display typeface), Nicla (a signage script). Graphicriver link. Creative Market link. Creative Fabrica link. [Google] [MyFonts] [More] ⦿

Made Type
[Maxim Schepin]

Maxim and Denis Schepin are the Krasnoyarsk, Russia-based designers of these fonts:

The free Latin / Cyrillic typeface Barista (2017).
Made Winter (2017).
Good Time Grotesk (2017), Good Time Script (2017).
Made The Artist (2017), The Artist Script (2017), The Artist Sans (2017). Free download.
The free Made Waffle Slab (2017) and Made Waffle Soft (2017).
The free pair Made Likes Script (2017) and Made Likes Slab (2017).
Evolve Sans (Latin and Cyrillic), 2018. A free ten-style futuristic typeface family.
Made Bruno (2018). A yummy fashionable fat decorative didone.
Made Cannes (2018). A free all caps Peignotian typeface family.
Made Canvas (2018). A great fashion mag typeface with lots of elegant contrast.
Made Future X and Made Future X Header (2018). Free for personal use.
Made Soulmaze (2019).
Kenfolg (2019). A wedge serif titling typeface.
Made Coachella (2019). A didone without ball terminals.
Made Saonara (2019). A fashion mag all caps didone. Free trial.
Made Florence Sans and Script (2019).
Made Sunflower (2019).
Made Dillan (2019). A free warm yummy-yet-sturdy rounded typeface.
Made Mirage (2020). A fashionable typeface family. Free demo.
Made Outer Sans (2019).
Made Bon Voyage (2020).
Made Tommy and Made Tommy Soft (2020).
Made Gentle (2020). A plump poster typeface inspired by Cooper Black.

[Google] [More] ⦿

Madebysté Studio

Geneva, Switzerland based designer who designed these typefaces:

The fashionable serif typefaces Felicity (2021), Micky (2021), Juliette (2020; +Symbols), Etoile (2020), Cyriele (2020).
The condensed all caps sans Vertikal (2019).
Square Sans (2021).
The cult / cool / fashion hybrid font Karlye (2021).
The script and fashion serif duo Volte Face (2021).

[Google] [More] ⦿

Madeleine Matter

Graphic designer and digital artist in Lausanne, Switzerland. Creator of the fashion mag high-contrast typeface Mad Matter (2013). [Google] [More] ⦿

Madison Van Groningen

London, Ontario-based designer of the tall fashion mag font Hermina (2015). [Google] [More] ⦿

Mads Wildgaard
[Bold Decisions]

Magali Castel

Graphic designer in Paris who created the Movietone typeface in 2017. In 2018, she designed Castello. Marion Biffaud, Marion Villain and Marie du Garreau added a few widths to expand it for use in fashion magazines. [Google] [More] ⦿

Magic Type
[Jaikishan Patel]

Mumbai, India-based designer of these Latin typefaces:

The display typeface Gold (2018). See also the free squarish Google font Goldman (2018). Github link.
The free Google font Red Rose (2018), which was designed for love, romance, drama, thriller, noir and passion. Github link.
The free sans typeface family Rowdy (2018).
The fashion mag sans typeface Poison (2019).
The wide bold sans typeface Dashboard (2019).

[Google] [More] ⦿

Mahameru Type (or: Haidi Illustration, or: Mahameru Type, or: HN Fonts)
[Haidi Shabrina]

Mahameru Type is Haidi Shabrina (b. 1992) and/or Nasir Udin, depending upon where you look. Semarang and Bali, Indonesia-based designer of the brush typeface Faito (2017), Faito Rough (2017), the creamy brush script typeface Shabrina (2017) that was inspired by vintage chocolate biscuit packaging. He or she also made Discobaby (2017, a great connected marker pen script), Parisien Night (2017), Sweet November (2017: script), The Flowery Spring (2017, curly script), Nandito (2017: handcrafted), and Ayanna (2017: watercolor brush).

Typefaces from 2018: Arkipelago (a free brush script), La Patio (a monoline script), Belmonte (signage script), The Bouquet List, Lactosa (signage script), Barton Graph (fifties script), Barton Ink.

Typefaces from 2019: Restora (an old style serif type family with 16 weights), Freich (a bold angular poster font), Freich Monsta (for Halloween), Fonseca (a layerable art deco sans, +Rounded, +Grande; free demo), Frunch.

Typefaces from 2020: Opheline (a nine-style all caps display serif by Nasir Udin and Haidi Shabrina), Restora Neue (a quirky 18-style transitional roman), Proda Sans (an 18-style humanist sans with small x-height), Pockota (a warm rounded display serif family), Mondia (a sharply cut semi-serif in 18 styles).

Typefaces from 2021: Mylon (a 14-style Peignotian fashion mag sans by Nasir Udin and Haidi Shabrina), Debira (a 14-style wedge serif with a coathanger lower case f that is de rigueur in 2021; with Nasir Udin), Departura (sans), Montas (a 7-style decorative serif by Nasir Udin and Haidi Shabrina).

Graphicriver link. Dafont link. Another Dafont link. Home page. Graphicriver link. Fontsquirrel link. [Google] [MyFonts] [More] ⦿

Mahbub Razzak

Dhaka, Bangladesh-based designer of the outlined typeface Olga (2016), the teardrop-themed fashion mag typeface Asmani (2016), the semi-stencil typeface Mussolina (2016) and the free sans typeface Capsule X (2015). Graphicriver link. [Google] [More] ⦿

Maikeru Fukurou

Kyoto, Japan-based designer of these display typefaces:

The Latin display typeface Eagle Sight (2018).
The spurred typeface Redwood (2018).
The hand-drawn serif Sequoia (2018).
The fashion mag titling typefaced Chic (2021).
The stylish typefaces Monica (2021), Rosemary (2021), Liquide (2021) and Moonlight (2021).
Skyline (2021).

[Google] [More] ⦿

Maikeru Kitsune

Tokyo, Japan-based designer of the all caps Latin slab serif typeface Northern Lights (2019), Elegance (2020: a fashion mag sans), and the all caps sans typeface Loyalty (2020).

Typefaces from 2021: Exposed (a fashion mag serif), Jonquil (a high contrast and stylish serif), Kokoro (a stylish sans). [Google] [More] ⦿

Malena Castañon Gortari

Graphic designer in Buenos Aires, who created a thin high-contrast fashion typeface called Monte (2013). Behance link. [Google] [More] ⦿

Manh Nguyen
[Zin Artwork]

Maria de Jesus Ramirez Ayaach

Manuel Ramos

Based in Valencia, Spain, and born in Madrid in 1969, Manuel Ramos is the creator of these free and commercial typefaces in 2012: Astralia (oblique monoline sans), Datura (upright unconnected script), Humana (fat finger face), Fantastica (hairline), Cristal, Vernissage (display face), Humate (thin script), Graff, Retorica (an elegant wide techno face), Arsone (graffiti font), Future, Artesana, Subatomic, Aura (caps only), Radiance (thin face), Romantica, Alameda (an Arabic simulation typeface that conjures up Granada), Abstracta (textured techno face), Understand (an elegant lachrymal typeface), Metropolis (a stiletto deco typeface), Aritmetica (angular), Regard (hairline display face), Artistica (art deco), Iniciatica (bilined), Isabel (bilined caps-only face), Regard (hairline), Glubgraff (graffiti), Graffont (graffiti font), Extraterrestrial, Expresiva, Rotorica (spiky), Passion (a hairline avant-garde typeface), Infinita (hairline avant-garde sans), Cosmonautica (fashion mag typeface with just capitals; also called Eternal), New World (thin octagonal), Modes (condensed and straight-edged), Lavande, Modesta (thin octagonal) and Garbage.

Typefaces from 2013: Transient, Evaow, Stella, Oval, Koda, Amaral (a technical pencil font), Astralasia.

Typefaces from 2014: Radiance (avant garde), Valerie, Akasic, Destiny, Ensure (a casual sans), Exacta, Oldskool.

Typefaces from 2015: Arsone (graffiti style), Manuscripta (script), Valerie (high contrast cursive typeface), Bertica, Exacta, Manuscripta, Spirituality, Bertica, Pleiadian, Positive Thinking, Lovelica, Dawn (sketched), Picasa (sketched painter's font), Abstracta, Future, Akasic.

Typefaces from 2016: Artesana, Graff, Astralia, Idilica (avant garde), Yass, Sharik.

Typefaces from 2017: Magnetic, Soma (an elegant tall display font), Solar (avant garde), Reason (a geometric hairline sans).

Typefaces from 2019: Zen Garden (oriental simulation), Sistematica, Inedita, Galaxy, Existence (art deco), Amaral (architectural lettering), Kasparosky, Destiny (graffiti letters), Yes (a hairline art deco sans).

Dafont link. Fontspace link. Behance link. Old URL.

View Manuel Ramos's commercial typefaces. Newer Behance link. [Google] [MyFonts] [More] ⦿

Marcelo Quiroz Duarte

Chilean type designer, who contributes to Latinotype. Revista (2015, Paula Nazal Selaive, Marcelo Quiroz and Daniel Hernandez) is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. It has Revista Script (connected style), Revista Stencil, Revista Dingbats, Revista Inline and the didone Revista all caps set of typefaces. Revista won an award at Tipos Latinos 2016.

In 2017, he designed Diplome Script (a copperplate calligraphic script published by Latinotype).

In 2020, he released the 18-style semi-calligraphic semi-Trajan typeface family Emperator at Latinotype. [Google] [MyFonts] [More] ⦿

Marco Bergamini Pzeros

Italian designer of the refined display typeface Jent (2011), which is fit for a gentleman's fashion mag. Home page. [Google] [More] ⦿

Margot Lévêque

During her studies at ECV in Paris, Margot Leveque designed the rectangular segment typeface Robott (2015). In 2017, she designed Reliqua. In 2018 and 2019, she developed the striking fashion mag text typeface Romie. In 2019, she released the rounded serif text typeface Kalice, to which any red-blooded Québecois would reply Tabernakle. Kalice is a revival of Elzevir Anglais (1880).

Between 2019 and 2022, Margot developed the stylish display typeface Ninna. [Google] [More] ⦿

Maria Chiara Fantini

Maria Chiara Fantini is a graphic designer and letterer in Florence, Italy. In 2019, Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts published a slightly calligraphic Elzevir typeface, Lovelace.

Kitsch (2019, Francesco Canovaro, Andrea Tartarelli and Maria Chiara Fantini) mixes angular medieval elements and old style letterforms.

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

In 2020, she released Quieta at Italian Type. Quieta is a 12-style humanist serif typeface inspired by the aesthetics of Italian Renaissance and by the empowering history of the painter Artemisa Gentileschi, first woman to be admitted to an Academy of Fine Arts in Italy. Fantini used sharp flat-nib calligraphic strokes to make the letters come alive. Still in 2020, she co-designed Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini). As part of the free font set Quarantype (2020), Maria Chiara Fantini designed Quarantype Uplift (with Cosimo Pancini).

In 2021, Maria embarked on a project to create a font based on Antonio Sinibaldi's calligraphic material in Libro d'Ore di Lorenzo de Medici, now in possession of the Biblioteca Medicea Laurenziana di Firenze. Her first rough font was called Antonio. She also studied Raffaello Bertieri's Sinibaldi font done in 1928 at the Nebiolo Type Foundry when she designed her own digital version of Sinibaldi (2021). The latter font was regularized and smoothed in her final typeface in this project, Magnifico (2021). [Google] [MyFonts] [More] ⦿

Caracas, Venezuela-based designer of the fashion mag typeface Estilizada (2016). [Google] [More] ⦿

Maria Florencia Garcia

Graduate from FADU, University of Buenos Aires, who created the elegant and fashionable condensed typeface Sergo (2010).

Mariana Aguirre

Designer (b. 1991) of the free fashion mag typeface Modikasti (2016). [Google] [More] ⦿

Marie Boulanger

Paris-born and London-based independent type designer. She originally studied graphic design at Ecole Estienne in Paris, and worked for publishing and branding agencies in Europe and North America. She obtained an MA in Design & Typography at ECV Paris, class of 2018, under the direction of Jean François Porchez. Earlier, she studied linguistics at University College London. The debate on gender-inclusive writing in France sparked the idea for her original and engaging MA thesis XX, XY: Sex, Letters & Stereotypes, investigating the gendered identity of letter shapes and presented (December 2018). In 2020, she started teaching graphic design at Kingston University in London, and joined Neil Summerour's Positype Flourish foundry.

Her typefaces include Aligre (a playful revival of Fleischman Antiqua by Dutch typographer and punchcutter Fleischman), Romane, Manuel, Faubourg (2021, at Positype: a glamorous display serif called Faubourg Display, and an accompanying Peignotian sans, Faubourg Aussi), and Scoop (a font family for use in online publications (with Margaux Chambon and Cécile Heidemann). [Google] [MyFonts] [More] ⦿

Marie du Garreau

Illustrator and lettering artist located in Paris. In 2018, Magali Castel designed Castello. Marion Biffaud, Marion Villain and Marie du Garreau added a few widths to expand it for use in fashion magazines. [Google] [More] ⦿

Marie Rupolo

Toronto-based art director and typographer. Creator of the curly alphabet The Sound of Fashion (2009). [Google] [More] ⦿

Mariko Futamura

Art director in New York City. In 2017, she designed several stylish deco display typefaces. [Google] [More] ⦿

Marina Martins Chaccur

Marina is a Brazilian graphic designer and teacher, who graduated from Fundação Armando Alvares Penteado FAAP. She has an MA from the London College of Communication. In 2011, she obtained a Masters in the type and media program at KABK, Den Haag. She was a designer and college tutor in Sao Paulo, Brazil, but now lives in Den Haag, The Netherlands.

She spoke at ATypI in Lisbon on vernacular Brazilian type and the current state of Brazilian type design. On her site we can find some sketchbooks, and a proposal for a blackletter face, among many other type-related goodies.

At KABK, she designed the type system Chic (2011). This family includes fashion mag styles from a roman sans to curly caps and a "chic" didone.

In 2013, she created the beveled caps typeface O Melhor de Sao Paulo, which is based in part on Jackson Cavanaugh's Alright Sans Ultra.

In 2014, Crystian Cruz and Marina Chaccur co-designed the sans custom typeface UOL for the Brazilian internet provider.

Marina Nunes

Graphic design student at Senac, Brazil, b. 1991, Sao Paulo. For her school project, Marina Nunes designed Organdi Cursive (2012) for a fictitious project to change the visual identity of Elle magazine. She also created the free all caps poster sketch font Mayonaise (2012).

Dafont link [Google] [More] ⦿

Mark Davis

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.

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] ⦿

Martin Katibi
[Valentino Vergan]

Mathias Doblhammer
[Deeait Creates]

Matías J. Fernández G.

Graduate from FADU, University of Buenos Aires, who created the fashion typeface Black Queen (2008). [Google] [More] ⦿

Matt Chansky

Princeton, NJ-based designer of the fashionable geometric sans typeface Quadri (2020), the large x-height sans Neue June (2019), and the low-contrast sans typefaces Chelsey and LAdawn. [Google] [More] ⦿

Max Duy T
[Harmonais Visual (or: Ampersant Studio)]

Max Privalov
[Prive Studios (was: Government Studios, or: GVMNT)]

Max Rabkin

Cape Town, South Africa-based designer (b. 1988) of Scarange (2005, an organic typeface that was called Maelstrom) and Vogue Sans (2005, see also here). He is working on Satinwood (2007, a quaint typeface in the style of Bernhard Modern). [Google] [More] ⦿

Maxim Schepin
[Made Type]

Maxime Vanackere

Lyon, France-based designer of Freelux (2016), a fashion mag typeface. [Google] [More] ⦿

Maximilano Grosso

Graphic designer in Buenos Aires (b. 1987) who studied at the University of Buenos Aires. He created the high-contrast fashion mag typeface Zephyro (2012). In 2013, he created the simple monoline sans typeface Good Deeds and the mini-slabbed typeface Nouvella.

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

Maximilian Huber
[Lettering Garage]

Maximiliano Sproviero
[Lián Types]

Mchcrafter
[El Mehdi Chouyoukh]

Moroccan designer in 2021 of Cecilia, Glassier (a display sans with some curvy terminals), Balencia (a serif with ball terminals), Fancia (curly, Victorian) and Dizzy Boy (a spiral-themed Victorian font).

Typefaces from 2022: Dakosta (a display serif with ball terminals), Lovely Bastilla (a bold smooth display serif in the Windsor genre), Agradable (a bold display serif), Virsace Bigiora (a hipster fashion mag font), Benefits (one serif style), Tangers (a woolly typeface in the Windsor genre), Diem Gibling (a ligature-rich serif). [Google] [MyFonts] [More] ⦿

MCKL (was: Mickel Design)
[Jeremy Mickel]

Jeremy Mickel runs a design studio in Los Ange;les, where he moved to from Minneapolis in 2015. Before that, he was located in Brooklyn, New York and Providence, RI. Originally called Mickel Design, the studio and foundry was renamed MCKL in 2012. Mickel has taught at RISD and the Minneapolis College of Art and Design.

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:

Router (2008, Jeremy Mickel): a rounded sans family.
Baro (2010, Chester Jenkins and Jeremy Mickel): Baro is inspired by memories of Antique Olive Nord, Roger Excoffon's landmark design originally commissioned for Air France in 1956. Nord, the heaviest weight of Antique Olive, was the starting point, but Baro shares DNA with other Village designs, including Apex New and Mavis.
Eventide (2009, Jeremy Mickel): octagonal and 3d family based on ideas by Paul Carlyle in the early 1940s. That Carlyle typeface had also made it into the PhotoLettering collection in 1971. Eventide was developed into a family at House Industries under the art direction of Ken Barber and Christian Schwartz, and won an award at TDC2 2011.
Superior (2010, Jeremy Mickel): a high-contrast transitional "nearly didone" face. Superior Title (2013) is described as a high-contrast missing link between Times and Bodoni. It was designed for fashion publications.
Shift (2010, Jeremy Mickel): a slab serif family that won an award at TDC2 2011.
Gonesh (2009, Jeremy Mickel): a great new sans family.
Aero (2010, Village Type) was developed in cooperation with Chester Jenkins. This poster family, inspired by Excoffon's Antique Olive, was awarded at TDC2 2011.
Letterboxes (2008). A stencil typeface that was part of a collaborative project with John Caserta at the Design Office.
Plinc Flourish (a 2011 digitization by Jeremy Mickel for House Industries). Based on William Millstein's Millstein Flourish, an upright script first designed for PhotoLettering Inc in the early 1940s.
Union (2011). A basic sans family, ideal for corporate design.
Jeremy Mickel created a digital version L.Harl Copeland's (prismatic, beveled, roman caps) Trillium typeface [originally done at Photolettering] in 2011 at the new digital Photolettering / House Industries.
Fort is a sans family published in 2012 by Village.
Playoff Sans and Playoff Serif (2015).
Adidas has partnered with MCKL to create an innovative suite of variable fonts. These fonts are being used across a wide spectrum of applications, including Creative Direction, Product Design, Graphics, Communications, Digital Experiences, and the brand campaign for the upcoming World Cup. In 2015, Mickel expansed the Adineue Pro family. In 2017 they started the first Adidas Variable Font, Adineue CHOP Variable, an octagonal athletic sans in a wide range of weights from hairline to black, and widths from extra-condensed to extra-wide. In 2018, Mickel embarked on Adineue Pro Variable.
Rosa Sans (2019: by Jeremy Mickel and Pentagram). A free geometric grotesk (in their own words) sans family.
Trust (2020). A flared typeface first used for the identity of the Commission on Presidential Debates (Trump versus Biden).
Logic Monospace and Logic Monoscript (2020). Mickel writes: Logic Monospace takes inspiration from midcentury typewriter fonts, including IBM Selectric's Advocate and the ubiquitous Courier, with additional references in slab serifs like Stephenson Blake's Scarab. While there are many great script typewriter fonts, including Olympia and Aristocrat, Logic Monoscript is a novel creation, with few examples of true connecting monospace scripts in existence.
Uber (2020). A custom job for Uber.
Owners (2021). iJeremy explains: Owners is an expressive family of fonts that takes inspiration from the dynamic energy of handmade signage as seen around Los Angeles.
RedHat Display, Text and Mono subfamilies. The open source fonts were originally commissioned by Paula Scher / Pentagram and designed by Jeremy Mickel / MCKL for the new Red Hat identity. Mickel writes: Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles, made for headlines and big statements, are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. In 2021 we added Light and Light Italic styles, and a Monospace family. Variable fonts with a weight axis are available. RedHat's official site.

Klingspor link. Village link. Speaker at ATypI 2018 in Antwerp. [Google] [More] ⦿

McLetters Hand-Made Type
[Tom McAuliffe]

Windsor, CT-based student attending Ithaca College for Communication (class of 2019), who created the elegant hand-made display typeface Saranac Hand in 2017. In 2018, he designed the free all caps Latin / Cyrillic font family Labor Union (Labor Union Small): These fonts were made for the student-run group Students for Labor Action at Ithaca College. They fight for the fair treatment of employees at the college and are closely connected to the local county's worker union (Tompkins County Workers Center). This font was made for industrial use as well as for anything pertaining to worker's rights and socialism. His other fonts from 2018 include Heart of the Sea (spurred) and Heart of the Land.

In 2018, he published the rounded hand-printed typeface Motherlands that could be used in comic books or on hand-drawn maps.

Typefaces from 2019: Pagan Whiskey (Irish type).

Typefaces from 2020: MC Grease (an intestinal font), Bungalow, Brooklyn (a stylish mix of art deco and didone), Canoe Trip Sans. Fontsquirrel link.

Typefaces from 2021: MC Portland (an all caps typeface with an art nouveau era vibe), MC Malibu (a national park or tiki font), MC Milton, MC Sunshine (a wavy font).

Typefaces from 2022: Mc Surfside. [Google] [More] ⦿

Mediumextrabold (or: M XB Foundry)
[Philip Cronerud]

Commercial type foundry based in San Francisco. Their typefaces, some of which were made by Philip Cronerud:

From 2016: Edie Text, Maud (a fashion mag display typeface), Galleri.
From 2015: Atelier (sans), Blanche, Practice (sans), Everyday (sans), Deursen (sans), North (serifed display typeface), Inkwell (sans).
From 2014: System (monospaced system font), Wired (a display typeface inspired by Richard Kostelanetz rigorous arrays of lines and grids), Grotezk or MXB Grotesk (a geometric sans), Pavilion (a bespoke prismatic typeface for Printed Pages), Duplex (geometric sans).

[Google] [More] ⦿

Megan Hudson

London-based designer and illustrator. She created a typographic fashion poster in 2010. [Google] [More] ⦿

Michael Jarboe
[Reserves (or: AE Type)]

Michael Parson
[Typogama]

Michele Pavan

Italian designer of these typefaces in 2021: Ardesia (a 6-style high-contrast serif pitched as a fashion mag font), Cremisi (a 12-style monolinear geometric sans), Ombra (a glitch emulation font). [Google] [MyFonts] [More] ⦿

Milan Pietaerents

Born and raised in Ghent (Belgium), Milan Pietaerents is now based in Bangkok, where he designed the all caps fashion mag titling typeface Drouwel in 2017 under the art directorship of Sumpatheee Jadee. [Google] [More] ⦿

Minn Type

Based in Minnesota, Minn Type started in 2017 with the high fashion Couture Numerals, and the rounded industrial typeface Machinery. [Google] [More] ⦿

Mirdhatillah
[Desplus Studio]

View Christian Schwartz's typefaces.

Misha Vlasov

Or Mikhail Vlasov. Verona, Italy-based designer of these typefaces:

From 2017: Fast Gothic, Gothic Ornamental, Minimum Sharpness, Modern Stencil, Fast Left Hand Script, Ordine and Textura Nouveau.
From 2021: Goratrix (a death metal blackletter font), Vedrana (a stylish sans), Ondina (a display italic), B Sign (an industrial stencil font for Latin and Cyrillic), Arina (a display serif for Latin and Cyrillic inspired by the (Slavic) ustav style).
From 2022: Rotunda Divina (a rotunda blackletter), Braleyhlex (a medieval / Lombardic font inspired by a Verdun altarpiece in Klosterneuburg), Kelsi (a bubble graffiti font).

[Google] [More] ⦿

Mocca Letter (or: Fana Studio)
[Fahri Rizal]

Or Fahri Denjer, or Fahri Mocca. Jambi, Yogyakarta, Indonesia-based designer, b. 1992, of these typefaces, by category:

The calligraphic typefaces Alice (2020), Denila (2020), Gloresia (2019: wild calligraphy), Ediana Script (2019), Alyana (2019), Balerina (2019), Clover (2019), Gresya (2019), Latia (2019), Bougainvillea (2019), Madelyn (2018), Sofia (2018), Marion (2018), Nattalia (2018) and Olivia (2018).
The stylish typeface Baby Cute (2018).
The monoline geometric sans typeface Bulgare (2018: a fashion mag sans).
The dry brush typeface Black Stones (2018).
The comic book typefaces Carmella (2018) and Happy Comic (2018).
The beatnik font Caroline (2018).
The display typefaces Toffee (2018) and Skittle (2018).
The fat marker fonts Daniel (2019), Baby Girly (2018), Good Daddy (2018) and Rumagge (2018).
The handcrafted and script typefaces Sinta Mellia (2020), Britale (2020), Blossom (2020), The Horizontal (2020), Juliette (2020), Abigail (2019), Hilda (2019), Sheila (2019), Bianca (2018), Falicia (2018), Fanya (2018), Lydia (2018), Meisha (2018), Grace (2018), Winter (2018), Aurora (2018), Famous (2018), Kaylia (2018), Viona (2018), Novia (2018), Black Bubble (2018), The Jhonny Tan (2018), Crazy Lover (2018), Soulmate (2018), Mariana Oghawa (2018), Bettalia (2018: upright script), Little Malle (2018), Happiness (2018), Threelie (2018), Bringdown (2018), Queenland (2018), Mondayline (2018), Laylantia (2018), Valencia Script (2018), Diomira (2018), Monica (2018), Hargena (2018), Morgenta (2018), The Jack Marron (2018), Pretty Queen (2018), Forgotten (2018), Barthilda (2018), Christopher (2018) and Anggeliana (2018).
The brush scripts Southwales (2019) and Highway (2019).
The signature font Beholde (2020).

Typefaces from 2019: Alisson (script), Georgea, Booming (a comic book font), Etienne (a fat rounded marker font), Florian, Amadore, Goldberg.

Typefaces from 2021: Stones (a rough brush font). [Google] [MyFonts] [More] ⦿

Modern Typography
[Paul Barnes]

Modern Typography is a dot com web presence organized by the London-based type designer and graphic designer, Paul Barnes (b. 1970), typophile extraordinaire. It is promised to have plenty of material for the typophile. In the 1990s, Paul Barnes worked for Roger Black in New York where he was involved in redesigns of Newsweek, US and British Esquire and Foreign Affairs. During this time he art-directed Esquire Gentleman and U&lc. He later returned to America to be art director of the music magazine Spin. Since 1995 he has lived and worked in London. He has formed a long term collaboration with Peter Saville, which has resulted in such diverse work as identities for Givenchy and numerous music based projects, such as Gay Dad, New Order, Joy Division and Electronic. Barnes has also been an advisor and consultant on numerous publications, notably The Sunday Times Magazine, The Guardian and The Observer Newspapers, GQ, Wallpaper, Harper's Bazaar and Frieze. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Barnes was awarded the Black Pencil from the D&AD. They were also nominated for the Design Museum Designer of the Year. In September 2006, with Schwartz he was named one of the 40 most influential designers under 40 in Wallpaper. He cofounded Commercial Type with Christian Schwartz. Author of Swiss Typography: The typography of Karl Gerstner and Rudolf Hostettler (Modern Typography, 2000).

His typefaces:

The (free) font Pagan Poetry (2001), done for one of the sleeves on Björk's albums. The font was made for Show Studio (see also here and here).
Codesigner with Christian Schwartz in 2005 of the 200-font family Guardian Egyptian for The Guardian, about which he spoke at ATypI 2006 in Lisbon.
In 2007, he worked with Peter Saville on the Kate Moss brand. As a font, he suggested a variation on Brodovitch Albro, a typeface by Alexey Brodovitch, the famous art director of Harper's Bazaar from 1934-58. The Creative Review reactions to this typeface are a bit negative though.
In 2003, he created Austin, a high-contrast modern typeface. Now available at Schwartzco and at Commercial Type, Christian Schwartz writes: When hired to design a new headline typeface for Harper's&Queen, Britain's version of Harper's Bazaar, Paul thought to flick back through the pages of its 60's precursor, the über cool Queen. The high contrast serif headlines were lovely, but a little too expected in a contemporary fashion magazine. Some time poring through specimens in St Bride's Printing Library inspired the perfect twist: rather than taking our cues from Didot or Bodoni, we would start with [Richard] Austin's first creation, turn up the contrast, tighten the spacing and make a fresh new look that would look bold and beautiful in the constantly changing world of fashion. The end result is Richard Austin meets Tony Stan, British Modern as seen through the lens of late 1970s New York. iThe Cyrillic version was designed in 2009 and 2016 by Ilya Ruderman (CTSM Fonts).
Dala Floda (1997-now) is based on gravestone inscriptions, and was turned in 2010 into a logotype stencil family at Commercial Type. As a stencil family, it is praised by the typophile community. Realted is the semi-stencil typeface family Dala Moa.
Publico was designed from 2003-2006 with Christian Schwartz, Ross Milne and Kai Bernau. Originally called Stockholm and then Hacienda, and finally Publico for a Portuguese newspaper by that name. Publico Text Mono (Christian schwartz and Paul Barnes) was commissioned in 2012 for Bloomberg Businessweek. Greg Gadzowicz added the italics, which are optically corrected obliques, in keeping with the un-designed aesthetic, in 2014.
Brunel (1995-now): an English modern, this is an anthology of the late eighteenth and nineteenth century English foundries. It was drawn from original source material, most notably the Caslon foundry and the work of John Isaac Drury).
Marian (2012) is a type experiment based on Garamond, consisting of 19 hairline styles with names referring to dates between 1554 and 1812. Commercial Type writes: Marian is a series of faithful revivals of some of the classics from the typographic canon: Austin, Baskerville, Bodoni, Fournier, Fleischman, Garamont, Granjon, Kis and van den Keere. The twist is that they have all been rendered as a hairline of near uniform weight, revealing the basic structure at the heart of the letterforms. Together they represent a concept: to recreate the past both for and in the present. [...] Faithful to the originals, Marian comes with small capitals in all nine roman styles, with lining and non-lining figures, with swash capitals (1554, 1740, 1800&1820), alternate and terminal characters (1554&1571). And like the hidden track so beloved of the concept album, Marian is completed by a Blackletter based on the work of Henrik van den Keere.
His classics series, mostly influenced by old Britsh type foundries, includes Figgins Sans (original 1832), Besley Grotesque, Caslon Antique, Fann Street Clarendon, Caslon Italian, Blanchard, Thorowgood Sans, Antique No. 6, Antique No. 3, and Ornamented (original c. 1850 at Caslon, Barnes use a Steven Shanks interpretation).
VF Didot (2013) is a custom Didot by Paul Barnes and Christian Schwartz for Vanity Fair, as requested by its design director, Chris Dixon. Based on work of Molé Le Jeune, a punchcutter used by the Didot family in the early part of the 19th century, VFDidot has 7 optical sizes and up to 5 weights in each size, plus small caps and even a stencil style.
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.
In 2014, Dave Foster and Paul Barnes (Commercial Type) designed Marr Sans. They write: The influence of Scotland in typefounding belies the nation's small size. Marr Sans, a characterful grotesque design, was inspired by a typeface from the 1870s found in the work of James Marr & Co. in Edinburgh, successors to Alexander Wilson & Sons. From a few lines in three sizes, and only one weight, Paul Barnes and Dave Foster have expanded the family from Thin to Bold, plus an Ultra Black weight, a wider companion to the six lighter weights. While Graphik and Atlas represent the greater homogenity of twentieth century sans serifs, Marr, like Druk, revels in the individuality of the nineteenth century, and is like an eccentric British uncle to Morris Fuller Benton's Franklin and News Gothics.
Le Jeune (2016, Greg Gazdowicz, Christian Schwartz and Paul Barnes): a crisp high-contrast fashion mag didone typeface family in Poster, Deck, Text and Hairline sub-styles, with stencils drawn by Gazdowicz. This large typeface family comes in four optical sizes, and was originally developed for Chris Dixon's refresh of Vanity Fair.
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.
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.
Sanomat (2013-2017). This custom typeface by Paul Barnes was originally commissioned by Sami Valtere in 2013 for his acclaimed redesign of Helsinging Sanomat in Finland. Sanomat is now available for retail via Commercial Type in two subfamilies, Sanomat (serif) and Sanomat Sans.
Chiswick (2017), a series of three typefaces families based on vernacular forms found in the British Isles from the eighteenth century.
Darby Sans, Darby Sans Poster, Darby Serif, done together with Dan Milne, and published in 2014 and 2019 at Commercial Type, respectively.
The Commercial Classics series from 2019:
- Brunel (Paul Barnes): Elegant and hardworking, Brunel is the Anglo variant of the high contrast Modern style. Based on designs that were cut first for Elizabeth Caslon at the end of the eighteenth century, we have expanded them to encompass a range of weights and sizes: from a roman to an emphatic black and from a text to a hairline for the largest sizes.
- Caslon Doric (Paul Barnes): The sans was the natural progression of nineteenth-century innovations. From the pioneering faces of Caslon and Figgins in the second and third decades, they quickly became a phenomenon across Europe and the United States, but it was only in the second half of the century that the British foundries would embrace lowercase forms and make faces that could be used in multiple sizes. Caslon Doric is the synthesis of these styles, from narrow to wide and from thin to heavy.
- Caslon Italian (Paul Barnes, Tim Ripper, Christian Schwartz): Perhaps the strangest and ultimate example of experimentation in letterforms during the early nineteenth century was the Italian. Introduced by Caslon in 1821, it reverses the fat face stress---thins becomes thicks and thicks become thins---turning typographic norms on their heads. This new version extends the forms into new territory: a lowercase, an italic, and another one of the more unusual ideas of the time, the reverse italic or Contra.
- Isambard (Paul Barnes and Miguel Reyes): 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.
- Caslon Antique (Paul Barnes and Tim Ripper): The slab serif or Egyptian form is one of the best letters for adding a drop shadow to. Its robust nature and heaviness support the additional weight of a prominent shading. First appearing in the 1820s, the style was pioneered and almost exclusively shown by the Caslon foundry, who introduced a wide range of sizes and, eventually, a lowercase.
- Caslon Sans Serif Shaded (Jesse Vega and 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.
- Rapha (2018, Serif, Sans). A bespoke typeface at Commercial Type for the cycling clothing company.
- In 2019, Commercial Type released Caslon Ionic by Paul Barnes and Greg Gazdowicz. They write: Bolder and more robust than the modern, yet lighter and more refined than the Egyptian, the Ionic with its bracketed serif was another innovation of the nineteenth century. Lesser known than Thorowgood's Clarendon, Caslon's Ionic No. 2 is a superb example of the form and greatly influenced the newspaper fonts of the next century. With additional weights and a matching Egyptian companion, Antique No. 6, it is a masterpiece of type designed to be robust and legible. Antique No. 6 was designed by Paul Barnes in 2019.
- In 2019, Commercial Type released the Thorowgood Grotesque collection by Paul Barnes and Greg Gazdowicz. It is accompanied by the subfamilies Thorowgood Grotesque Dimensional (beveled) and Thorowgood Grotesque Open (based on Thorowgood's Seven-Line Grotesque Open), and the related condensed headline typeface Thorowgood Egyptian.

His St Bride Type Foundry. Dafont link. Klingspor link. [Google] [MyFonts] [More] ⦿

Mohammed Nor Miftahul Huda
[Aftertime Studio]

Moinzek
[Hendrick Rolandez]

Moinzek is Hendrick Rolandez, a designer in Bethoncourt, France who studied engineering at the institute of technology of Montbéliard.

He created the free art deco sans typeface Magna (2012), as well as a free and purely geometric typeface, ORI (2011), specifically for use in the design of logos.

In 2012, the condensed high-contrast fashion mag headline typeface Coco, also free, was published in eight styles. The 47 typeface (2012) pays homage to vintage lettering from 1947.

In 2013, Rolandez published the free contrasted fashion mag 12-style font family Valkyrie. Still in the didone fashion mag style, we find Glamor (2013), a free 24-font family.

In 2014, he created the free fashion mag typeface family Vanity.

Typefaces from 2021: Lea (a fashion mag didone).

Behance link. Dribble link. Aka Moinzek. [Google] [More] ⦿

Mok Ultra Pop Design

Graphic design and fashion outfit in Verona, Italy. Behance link. In 2009, they created a fun display typeface for 2010 Myflea Agenda. [Google] [More] ⦿

Mom (or: MOM)
[Pedro Mascarenhas]

Mom is the foundry of Pedro Mascarenhas, a type designer from Lisbon (b. 1967, Lisbon). Creator of Art Deco Neue (2011, a hacker font).

In 2013, he published the poster / fashion mag display sans typefaces Eliane Ultra Light and Eliane Bold, and the double view experimental typeface Mirror Display.

In 2017, he published Align Vertical Mono.

Author of TyMS Typefaces Measure System (2021), a document that explains weights in typefaces, including nomenclature and best practices. In particular, he gives this ranking:

100 Hairline

150 Thin

200 ExtraLight

250 SemiLight

300 Light

350 Book

400 Regular

450 SemiMedium

500 Medium

550 SemiBold

600 Bold

650 DemiBold

700 ExtraBold

750 Heavy

800 Black

850 UltraBlack

900 ExtraBlack

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

Monica Fischer

German designer of the fifties diner family Frigidaire (2004, URW, designed with Peter Guckes) and of the handrwritten typeface Pirates&Robbers (2004, URW). Also with Peter Guckes, she created the experimental typeface Kettapila (2006, URW), the squarish and fashionable family FontForum Phet (2008, URW++) and the curvy Curly Lady (2006, URW++, with Peter Guckes).

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

Moonbandit
[Bramaji Dipa Manggala]

Indonesian type designer specializing in techno, cyberpunk and futuristic typefaces. Typefaces from 2020: of Gardane, Modernis, Techbot, MBF Predatory (a sci-fi font), MBF Futurist Edge, MBF Neutral Jack (a ten-style sans), MBF Hourglass, MBF Marcos (a poster font), MBF Umami (a playful poster font), MBF Inno (in the sci-fi genre), MBF Typerisme, MBF Bad Motor (an all caps motor oil or route 66 font), MBF Taurian, (an all caps display or poster typeface) and Mbf Grub (an all caps poster font).

Typefaces from 2021: MBF Reanimatic (stencil), MBF Archita (techno, stencil), MBF Modifi (a chamfered typeface), MBF Moonlander (sci-fi), MBF Astronomus (a very wide sci-fi font), MBF Cafe Lumen (a fashion mag typeface), MBF Nanomaton (an organic circle-based monolinear sans), MBF Quadria (octagonal), MBF Alligra (an experimental psychotic font), MBF Kasa (a monospaced techno font), MBF Urban Poet (a flared display typeface), MBF Louna (a delicate and refined display typeface with calligraphic influences), MBF Alphamoon (an experimental sans without tittles on i and j), MBF Canno (a monolinear sans that is based on circular arcs), MBF Ergosia (all caps, display), Atom, Beyond, Beam, Carbon, Capacitor, Droid, Edge, Ergo, Greco, Kiddo, Lazer, MBF Astronomos, MBF Little Tooth, MBF Raveny, MBF Silver Night, MBF Thale, Minimal, Nautica, Necoma, Origin, Pulse, Prime, Raw, Royal, SpaceMiner, Ultima, Ultra, Virtu, Warp.

Typefaces from 2022: MBF Modern Rebel (a glitch font), MBF Pexo (a pixel font), MBF Manata (sci-fi), MBF Ligione (an 18-style minimal futuristic sans). [Google] [MyFonts] [More] ⦿

Moshik Nadav

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. Behance link. He created these typefaces:

Moshik Hebrew (2010).
Some Latin display faces (2009).
His Moshik typeface (2010) has upper and lower cases that emulate chic jewelry.
In 2011, he created an extraordinarily beautiful didone display family called Paris (followed in 2013 by Paris Pro) about which he writes: Paris is a new typeface that inspired by the world of fashion. Paris Typeface should be in use by the most popular fashion magazines and super luxury brands. Paris typeface include awesome ligatures and sexy numerals. Paris typeface include 9 different styles: Paris Regular, Paris Regular Exit, Paris Regular Strip, Paris Regular White, Paris Ultra Light, Paris Bold, Paris Bold Exit, Paris Bold, Strip, Paris Bold White.
A few months after Paris came the art deco marquee version called Paris Strip (2011).
In 2015, the ultra-sharp high-contrast fashion mag decorated didone typeface Lingerie was published. Advertized as the sexiest, most powerful typeface yet, it was upgraded to Lingerie XO in 2017, and Lingerie Wild Pro in 2019.
In 2020, he released Segol, a stunning 24,000 glyphs in an orgy of swirls and seductive curves.

[Google] [More] ⦿

Muammar Kadafi
[Attract Studio]

Muhammad Hasan
[Fype Co]

Muhammad Hasan
[MuSan]

Muhammad Zamroni Hamzah
[Sensatype (was: Sunshine Design)]

Muhittin Günes

Istanbul, Turkey-based designer of the free stencil typeface family Temiz (2017) and the free monospaced regular and stencil typeface pair Muar Mono (2018).

In 2018, Fatih Hardal and Muhittin Gunes set up Bold Type Istanbul. Both graduated from Marmara University Faculty of Fine Arts. They co-designed the sans typeface families Bold Type Modern (2018) and Bold Type Grotesk (2018).

In 2019, Muhittin Günes released the ink-trapped variable font Ranua, the fashion mag typeface Zermatt, the art deco sans typeface MT Maeve Deco, and the 14-style Muana Grotesque.

Typefaces from 2021: Olten (a didone-based display serif), Gronland (a sans serif typeface designed in 2018-2021 and inspired by Swiss public transport signage, NYC wayfinding systems and Greenland), Tofua (a hybrid between a didone and a gothic cathedral). [Google] [MyFonts] [More] ⦿

Muksalmina Muksalmina
[Muksalmina (or: Mercurial, or: Muksal Creatives)]

Muksalmina (or: Mercurial, or: Muksal Creatives)
[Muksalmina Muksalmina]

Mercurial (Banda Aceh, Indonesia) has been associated at various epochs with Mercurial Roxxane, then Muchsal Al Chalidi, Muchsal 7, Muksalmina Mercurial, and more recently, Salt Mercurial, and Muksalmina Muksalmina. The name Mercurial was changed in 2020 to Muksal Creatives.

Designer of the brush script typefaces Historise (2016), Ardilla (2016), Venturalia (2016), Someday Brush (2016), Lightning Script (2016) and Penelope (2016), the handcrafted Befindisa (2016) and Sathscha (2016), and the calligraphic typefaces Repackage Script (2016), Cleopatra (2016), Catandra Script (2016) and Hysteria Santa (2016).

Typefaces from 2017: Histeria Bites (monoline script), Scoothlane Script, Louise Miller (calligraphic script), Charletto (brush script), Sheiloria (brush script), Carrolina Script and Sans, Hillgates (brush script).

Typefaces from 2018: Eivitarri Blossom (script), The Fourth Avenue Sans (all-caps), Cottage (script), Rookie Mastering (a logotype script), The Chapetown (a font duo), Befindisa, The Fourth Avenue (font duo), Bridgetown (ink splash script), Lost Treasure, Rellista Script.

Typefaces from 2019: Rinjane, Amelyna, Angelina, Cherlina, Jonathan, Eliya, Ayudia, Anggela Styled, Bellgia, Valena, Archipelago (a Treefrog style script), Crayones, Bluestoria, Styledeep Brush, Fredilight (script), Elisofa Calvin, Scoothlane Sans Brush, Sheiloria Stylish Brush, Ernesthuge (a Treefrog-style script), Tristan Script, Boustown Sans, Catandra Brush.

Typefaces from 2020: Thalisar Handwritten, Guten Denison, Haney Love (rabbit ear calligraphy), Bangfel (a thin stylish font), Mellya (a signature script), Antaro (wild calligraphy), Bondjlo (a vintage serif), The Craprio (a decorative serif), Sellena (a wild upright script), Moycen (an almost stencil typeface), Vincent Familiante, Watten (script), Maldive (a decorative serif), Calrida (a decorative serif), Bulgatin, Chathoney (a wild script), Bienvenue Handmade (script), Gonestone Signature, Archeology Script.

Typefaces from 2021: Rangedit (a display typeface), Augan (a tuxedoed sans), Geefray (a stylized sans), Ghaden (a spindly display serif), Ardista Script (a scrapbook script), Bashan (a refined art nouveau typeface), The Bafger (a fashionable typeface), Ontime (script), Egalie (a stylish typeface with flaring), Andutione Handwritten, De Boulleva (a display serif), Benaya (a display serif), Redney (a stylish display typeface), Ardegan (a vintage decorative serif font that evokes see-through nighties in French boudoirs), Angista Script, Funny Holiday (monolinear, hand-printed), Daragie (a display typeface with Victorian curls), Hey Baby (a scrapbook font), Signore (a decorative serif), The Laughter Brush, Aloya (a playful marker pen font), Filogofil (a sans advertized for logos), Anbigu (a decorative serif) (a decorative serif), Katerlin (a swashy script), Stigma Serif Display (a decorative serif), Laughtale Script, Hello Amelinda (a script), Relagina (a stylish ligature-laden typeface).

Typefaces from 2022: Farench (a light display serif), Garetc (a wavy thin display serif), Camilen (a fashion mag serif), Rhositania (a formal calligraphic script), Feragie (nine tuxedoed sans styles situated between art deco and Peignotian), Aikenap (a display serif with thin musical curls), South Time (script), Refanea (a decorative sans adorned with many ligatures), Mogiena (a high-contrast fashion mag serif), Gengich (a decorative serif with flared terminals), Rosegar (a playful display serif). [Google] [MyFonts] [More] ⦿

Mulkan Nazir
[Great Studio]

MyFonts: Fashion mag typefaces

Muntab Art
[Satriyo Hutomo]

Malang, Indonesia-based designer of the serif typeface Lorena (2019: for fashion mags featuring skinny models), Orlando Sign (2019), Banana Caroline (2019: font duo), Salvages Bold (2019), Davinci (2019), the loud typeface Dogtown (2019), the blackletter typeface Tribal (2019), the black metal blackletter font Southside (2019), the brush script fonts Selfakia (2019) and Destroit (2019), the multi-font Good Vibes (2019), the monoline scripts Freeflow (2019) and Lemonade (2019), the curly tattoo script typeface Chicano (2019), the tattoo font Brigade (2019), the sans font Walker (2019), the spurred tattoo script Dayles Script (2019) and the script font Hanselle (2019).

Typefaces from 2020: Esteban (Tuscan), Aquatone, Oakle, Familia (a tattoo font), Gangsta (a blackletter typeface with decorative spurs), Martyr, Santiago (decorative), Mayhem, Westcoast (spurred), Mexicanos (a tattoo or cigar box font), Florida (a wavy font), Aveden (an all caps avant garde typeface), Skyload, Black Sails (brush), Hardcore (dry brush), Mood, Caithlyn (a great inky calligraphic script), Lestly (a curly text typeface).

Typefaces listed by early 2021: Aeromono (a futuristic semi-stencil), Akasara (a decorative serif), Amerald, Anomaly, Aquatone, Armora, Aveden, Balmonte, Baltre, Banana Carolline, Becko (futuristic, sci-fi), Befaro, Berlin (a sci-fi stencil typeface), Black Sails, Brigade, Caithlyn, Carl Brown (a decorative serif), Chicano Font, Chicano Vol. 02, Davinci, Dogtown, Dayles Script, Defrozo, Destroit, Eastside, Esteban, Evalter, Exposure, Familia Tattoo Lettering Font, Farware, Fenomeno (futuristic), Florida, Freeflow Monoline Script, Good Vibes, Gangsta Typeface, Glenca, Hardcore, Havox, Herlik, Herofin, Lemonade Signature Font, Leoni, Lestly Fonts, Lorena, Magna (a decorative serif), Maldito Font, Mandora, Martyr, Maverick, Mayhem, Metrolic, Mexicanos, Mijuo, Minerva, Monica, Monreal, Mood Font, Nordik (a sci-fi stencil typeface), Nova, Oakle, Orlando Sign, Phoenix, Quadron, Quincy, Rebelion, Reforma, Reviews, Roman, SALVAGES BOLD, SOUTHSIDE, Santiago, Selfakia, Skyload, Tribal Font, Valkrye, Velta, Westcoast, Wilyam, Zemora.

Typefaces added in 2021: Anabele (decorative serif), Arizona (a stylish all caps typeface), Avander (a stylish serif), Babylon (an all caps blackletter), Badgiek (decorative serif), Bandito Script (for tattoos), Bestie, Boston (retro baseball script), Bravado (decorative serif), Brescia (decorative caps), Brown Sugar (an all caps decorative serif), Calya (decorative serif), Carl Brown (a decorative serif), Carola (an art deco mini-serif), Caterina (an all caps display typeface), Cigero (a decorative all caps serif), Dectro (decorative caps), Dream Avenue (a decorative serif), Elmo (a decorative serif), Elva, Felicio (an art gallery serif), Gamero (a monolinear paperclip font), Ghania, Hexagon, Katrine (a decorative condensed serif), Le Monte (a high contrast jewelry store typeface), Lemonia (a reverse stress serif), Love Story Self Made, Lower Coast, Macron (a spurred Victorian tattoo font; why it is named after the French president beats me), Margate (a sword-serifed display typeface), Matrix (a bullet hole font), Molten (a display caps typeface), Monstar (an all caps typeface for fashion mags), Musa, Pleasure (blackletter), Qaigero (a display serif), Qureka (a glamour font), Ragesta (decorative with wavy junctions), Reno (cyberpunk), Rhapsody (a swashy penmanship script), Rioky (a lovely wedge serif display typeface with a vaguely tribal vibe), Romance (display caps), Rosalia (a fashion mag typeface), Stachy, (elephant-footed caps) Tropico Salte (art nouveau genre caps). [Google] [More] ⦿

MuSan
[Muhammad Hasan]

Magelang and Jakarta, Indonesia-based designer of the all caps vintage sans typeface Gallicide (2018), Sont O Yolo (2018), Brecelets (2018: script), Brengkel (2018: modular) and Ucu Aned (2018).

Typefaces from 2019: Natured, Retjeh (an all caps vintage sans), Mesquin (letterpress emulation), Opulent (a display typeface with possible applications in fashion typography), Beatster (a weathered all caps lettepress emulation typeface family; free demo). [Google] [MyFonts] [More] ⦿

Mustafa Celik

Istanbul-based creator of a fashion mag typeface in 2011. [Google] [More] ⦿

My Creative Land
[Elena Genova]

Elena Genova (My Creative Land, Edinburgh, Scotland) specializes in digitized handwriting fonts. She designed these commercial typefaces in 2014: Ariadne (connected curly script), Veryberry (curly script, + Cyrillic), Handy Sans Condensed (+Distressed; for Latin and Cyrillic), Handy Casual Condensed.

In 2015, she designed the brush typefaces Celestial, Dessert Menu (Sans and Script), Botanica (Sans, Script, Ornaments) and Evenfal and the script typefaces Storyteller (a great connected script in Script and Casual sub-styles ideally suited for children's books), Allegretto Script (calligraphic), Catfish (monoline and connected), Rosalinda Script, Aristelle Script (+Aristelle Sans: identical to Ariadne) and La Veronique.

Typefaces from 2016: Sunshine Daisies (handwritten type system), Nefelibata (in Brush and Sans versions), La Parisienne, La Veronique Two, New Storyteller.

Typefaces from 2017: Above the Sky, Lovingly Friends (a collection of sixteen handcrafted typefaces), Scandiebox, Brushability, Rockeby (32 fonts, which she describes as slightly more geometric than Block Berthold but much softer than the industrial Din Next; see also Rockeby SemiSerif and Rockeby Brush).

Typefaces from 2018: Adventures Unlimited (a connected monoline script and a super-condensed sans companion), Brushberry (dry brush script), Absolute Beauty (a monoline signature script and accompanying thin serif), Combinado (Sans, (a didone) Serif, Text, Script), Brooklyn Heritage (Sans and Script), Palomino (a crayon script), Beautiful Minds (a fashion mag typeface family; +Stencil).

Typefaces from 2019: Contempora Script and Contempora Sans Condensed, Freethinker, Hello Bloomie (a watercolor SVG font), Above the Beyond, Lumios Marker (a marker pen font), Lumios Typewriter (old typewriter), Beautifully Delicious (Sans+Script duo).

Typefaces from 2020: Dreaming Outloud (a fat finger font), Roca (a plump serif influenced by Windsor and Cooper Black), The Youngest, Praline MCL (a chocolate store Serif and sans pair), Balerno Serif (a lachrymal didione).

Typefaces from 2021: Parlare (a flowing script), Lumios Brush (a bold brush script), Boss Jock JNL (an informal font based on the title and credits from the 1965 film Strange Bedfellows), Peachi (a 6-style soft serif typeface with rounded terminals), Carelia (a didone display typeface for Latin and Cyrillic).

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

Most relevant typefaces at MyFonts for the keyword fashion. [Google] [More] ⦿

MyFonts: Fashion scripts

A small collection of commercial fashion script typefaces. [Google] [More] ⦿

MyFonts: High Fashion typefaces

High fashion typefaces in the MyFonts collection. [Google] [More] ⦿

MyFonts: Vogue

Top-ranked fonts at MyFonts on the theme "Vogue". [Google] [More] ⦿

Natalie Dinnikova

Graphic design student at the Polytechnic University of Saint Petersburg. She created a delicate display typeface called Tahoma Optical (2011). [Google] [More] ⦿

Natalie Rauch

From 2009 until 2013, Natalie Rauch studied towards a Bachelors in Communications Design at the Hochschule für Technik und Wirtschaft Berlin, Germany. In 2014, she obtained a Masters in Type Design at the University of Reading, UK. During an internship at Carrois Type Design in 2012, she created the experimental sharp-edged typeface Kink. For her Bachelors in 2013, she created the modern fashion mag typeface Anouk.

For her Masters at Reading, she developed the angular typeface family Raikka (2014). Raikka is a forceful unconventional multiscript typeface family that covers Latin, Greek, Cyrillic and Hebrew. It is characterized by a calligraphic almost fuzzy italic that is in sharp contrast to the more severe regular weight. It was published in 2016 at bBox Type, where she also published Lonne (2017).

In 2019, she designed the fat high-waisted art deco typeface Oggle at Future Fonts. Type Department link. [Google] [More] ⦿

Nathatype
[Donis Miftahudin]

Nathatype (est. 2020) is one of the many foundries started by Donis Miftahudin (Gresik City, Indonesia), after Din Studio and Ditatype. Typefaces from 2020, all scripts or handcrafted: Mister Golden, Rainbow Lemonade, Hyollin, Sandy Pillow, Siriella, Stay Feeling, Beauty Miracle, Bright Winter, Coconut Candy, Dealistha.

Typefaces from 2021: Allonges (a flowing calligraphic script), Mint Smile (an elegant calligraphic script), Smooth Miracles (a flowing calligraphic script), Goldbugs, Mitters, Quaylike, Railing (a display typeface with calligraphic roots), The Marbler (a retro monoline script), Vintage Kingdom (retro signage script), White Block (a bold severe display typeface), Ballista Style (a signage script), Cagier (a very stylish display serif), Motion Taste (a scrapbook script), Blacktones (blackletter), Daily Smiles (script), Kalecius (blackletter), Milltown (blackletter), Verathrine, Northeast Oregon (script), Marteks (an 8-style simplified monolinear sans), Enjoy Doodle (an inky script), Quitos (a sharp-serifed typeface), Mirola (a fashion mag typeface with flared serifs and a stocky lower case t), Bavaria Gates (roman caps with some contrast), Cold Daylight (a creamy supermarket or signage script), Jotted Dream (a dry brush script), Fresh Roomettes (an inky script), Micfloral (a heavy upright supermarket script), Vikeys, Salt Debris (a creamy upright display typeface with possibly use in packaging), Ballon Midair (a dazzling inky script), Big Flask (a frilly display typeface), Staying Passionate (script), Embrown (all caps sans), Mostlatest (a vintage label font), Soft Cantle (a rabbit ear script), Vintage Bridge (a heavy monolinear script), Brighter Miracles (a tall rabbit ear script), Cravery (a hybrid of Victorian and art nouveau), Dracolas (Victorian), Lastones (a vintage all caps typeface), Monoline Fighter (a monolinear diner script from the 1950s), Vintage Feeling (a spurred retro script), Boosters (a spurred Victorian typeface), Western Brother (a Western font), Lost Cowboy (a spurred typeface), Bright Sunset (an inky script), Clean Fragile (a stylish serif), Real Magic (a stylish flared serif), Roashe (an all caps fashion font), Stealing Hearts (an inky script).

Typefaces from 2022: Barethelly Signature, First Marigold (font duo), Repath (a wide display serif), Bigcups (a rounded marker font), Crofelo Delight (a scrapbook script), Highpath Signature, Realistic Twilight (a scrapbook script), Walnut Cream (a scrapbook script), Castre (roman capitals), Billstone Signature, Glowing Midnight (a retro signage script), Hello Youthen (a retro signage script), Retrolife (a retro signage script), The Vintage Town (a retro signage script), Vintage Scripter (a retro signage script), Equity (a stylish serif). [Google] [MyFonts] [More] ⦿

Naum Type
[Pyotr Bushuev]

Peter or Pyotr Bushuev is the Pskov, Russia-based designer of the geometric typeface families Umbero (2016, retro deco) and Kontora (2016, for Latin and Cyrillic). He also designed the brush typeface Burelom (2015).

Typefaces from 2017: Juxta (Sans, Sans Mono, Script), Juxta Sans Mono, Ravensara Antiqua Stencil, Ravensara Sans, Ravensara Serif (a high contrast fashion mag font derived from didones; in Sans and Serif styles).

Typefaces from 2019: Base + Bloom (experimental).

Typefaces from 2020: Strikt (a viariable pixelish font on a 3x3 grid with two axes, weight and animation), Cascadeur (Pyotr writes: Cascadeur is a variable modular sans with 3 axes, a modernistic hommage to space-age typography).

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

Nav Raw
[Rajesh Rajput]

Rajesh Rajput (since 2014 with Cognizant Technologies, Gurgaon / Delhi, India) designed the free 5-style stencil typeface family Break in 2015. Interestingly, a guy called Steven Han calls it his font in 2016. He worked for four months on an elaborate decorative set of 26 capitals under the project name Type Soul (2015).

With Raina Agarwal, Rajesh Rajput designed the free scratchy font Chemin in 2015.

From his home base in New Delhi, he created Hagna (2017; although inside the font we find another name, Webvilla), the free variable condensed sans display family Thunder (2017) and Gorgeous (2017, a free tall fashion mag typeface family).

Typefaces from 2018: Morganite (a free condensed movie credit sans in 18 styles),

Typefaces from 2019: Emberly (a free 54-style didone, with a variable option).

Typefaces from 2021: Mango Grotesque (a free 18-style+variable condensed elongated sans font family), Moniqa (a free 162-style (+variable font) family of art deco typefaces for Latin and Cyrillic).

Typefaces from 2022: Meshed Display (a free display serif family with a fashion mag didone vibe).

Behance link. Behance link for Nav Raw. [Google] [More] ⦿

Nazzar Saputra
[Craft Supply]

Negro
[Ariel Di Lisio]

Negro is a design site where some commercial fonts can be found, all designed by Ariel Di Lisio, a native of Buenos Aires. He studied graphic design at the University of Buenos Aires. From 1993 to 1997 he worked in the design department at Puma. Since 2015, he is a professor at FADU / UBA in Buenos Aires. Still in 2015, he set up Nodo Type Foundry in Buenos Aires together with Mexican designer Aldo Arillo.

His typefaces from before 2010: Marzo (2008: a hairline vogue typeface commissioned by the Argentinian mag Atypica), Donuts (2008: a layer of round upon a layer of round), Paz (2008: a stylish night club or fashion magazine family---stunning), Lynda (2008: an octagonal/mechanical face), Lunes (2007: art deco), Day (2007: art deco), Friday (2007: art deco), Nigga (2007: an ultra-fat art deco typeface with an experimental edge), Love (2007: a mini-serifed geometric beauty), Santino (2008: trying to bring waves into a simple sans face), Normal (2008: gorgeous, geometric and galant), Mate (2008: a geometric all caps typeface for magazine headlines), Caracas (2008), Soko (2009), Stola (2008), Pink (2008: experimental), Cascabel (2009: a kitchen tile typeface digitized by Alejandro Paul at Sudtipos), James (2009: a bullet hole-themed face), Inlove (2009, Sudtipos: a Lubalin-style poster face designed by Di Lisio and digitized by Alejandro Paul).

Typefaces shown in 2010, mostly experimental / geometric / art deco: Destiny, Drimpy, Hongki, Mobile, Moonglow, Normal, Vincent.

In 2011, Ariel published the futurismo face Saturna at Sudtipos [and I do not understand HypeForType's claim that it is an exclusve HypeForType font]. Their offices are in Buenos Aires and Caracas.

Typefaces from 2012 include Uma (with Alejandro Paul at Sudtipos: a gorgeous two-weight monoline sans family).

In 2013, he created the stencil typeface Anima for a housing project in Punta Chica, San Fernando, Argentina.

In 2015, he designed the cold sans typeface family Stockholm Type, and the display typeface Roska. In 2015, he set up Nodo Type Foundry in Buenos Aires together with Mexican designer Aldo Arillo.

Negro Nouveau link. [Google] [MyFonts] [More] ⦿

Neil Summerour
[Positype]

Nelio Barros
[Kinobrand Design]

Nelson Balaban

Brazilian graphic designer and well-known illustrator in Curitiba, Brazil, b. 1989. Creator of the high-contrast fashion mag typeface Accent (2011, free download in EPS format on his Behance site). Leigo (2011) is a custom magazine font with an art deco flair. In 2015, he designed the geometric display typeface Moncloa for the Moncloa Tea Boutique. In 2020, he designed Tuttan, a custom fashion mag typeface, for Brazilian rapper Rodrigo Nick. [Google] [More] ⦿

Neogrey
[Ivan Phillipov]

Ivan Phillipov (Neogrey, also written as Ivan Filipov) has offices in Plovdiv, Bulgaria and Turkey. He designed the techno typefaces Research Remix (1993), Neogrey (2004) and Red October (2004, inspired by Soviet poster art; can be used for Cyrillic simulation; followed by Red October Stencil, 2009). Release Yourself (octagonal), Research Remix (rounded octagonal), Arkitech Light, Discophat and Neogrey Medium appeared in 2009. In 2011, he published Artitech Round and Syntha.

In 2012, the free round monoline typeface Syntha and the techno typeface Arkitech Medium were published. Multicolore (2012) is a free EPS-format round sans typeface for coloring (a monochromatic version is free in truetype format).

In 2013, he designed Arkitech Bold and in 2019 Arkitech Stencil.

In 2014, he created the free roundish squarish typeface Ronduit (+Capitals).

Typefaces from 2015: Tricolore (multicolored rounded sans), Lausanne (a free font inspired by the Prada and Louis Vuitton fashion house logos).

In 2017, he designed a free color font called Color Tube.

Typefaces from 2019: Konstruktor (constructivist), Red October Eroded, Arkitech Stencil.

Typefaces from 2020: Syntha Nova (a free round sans advertized as the electronic music font), Fattern (a free color font with textures and patterns influenced by Romero Britto's work).

Typefaces from 2021: Cimero Pro (a free color SVG font).

Alternate URL. Dafont link. Fontspace link. Abstractfonts link. Behance link. Creative Fabrica link. [Google] [More] ⦿

Neutura
[Alexander McCracken]

Neutura was formed in 2003 by Alexander McCracken, who is located in San Francisco. His typefaces have a large geometric component: Aerion, Aperture (slab serif family), Autobahn, Belfast (octagonal black-bowled headline face), Cerie Outline, Children (paperclip face), Circle (avant garde style), Deuce (ultrafat), Deuce Round (fat and counterless), Estrella (2011, a high-contrast fat vogue didone titling face), Frank (fat and counterless), Frank Stencil, Frank3, Gulden Draak (blackletter), Interpol (texture face), Magnum (2006, for Neo2 magazine: free), Maisalle, Neutrino (ultra-fat futuristic beauty, 2006), Neutura (clean geometric sans family), Orange (geometric hairline sans), Orange Round, Rabbit, Register (architectural sans), Royale (fat decorative didone), Sabre (octagonal), Sarcophagus (very original blackletter), Slayer Heavy, Spade (fat and counterless), SPQRExlight, Syrup (paperclip font), Vendella (2011), Wafer (ultrafat). At T-26, he published Children (2006, a paperclip font), Deuce and Sarcophagus.

Behance link. Klingspor link. Abstract Fonts link. [Google] [MyFonts] [More] ⦿

Nevsky Type
[Artem Nevsky]

Russian designer of the crisp fashion mag sans font Miracle (2020) and the free fashion mag serif typeface New York (2020).

Typefaces from 2021: NT Wagner (a round elephant feet serif in the Windsor genre), NT Josefine (a free didone descendant), Harmony (a didone modified for use in fashion mags). [Google] [More] ⦿

New Tropical Design Studio
[Tom Cunningham]

Byron Bay, Australia-based designer of these fonts in 2018: Modernist Milk (stencil), Signwriter, Cloak (stencil), Stamp & Co, Merchant (vintage sans), Big Show (layerable), Sea Spray (experimental minimalist stencil).

Typefaces from 2019: Farmhouse, Sophillia (an elegant sharp-edged display typeface), Modernica Tropico (a fashion mag titling typeface), Grange (a fine high-contrast fashion font), Dahlia (a mini-serifed font), Sunflora (a fashion font with some linked letters), Rockwell (a wedge serif---it takes a loy of chutzpah to design a typeface called Rockwell that is not a slab serif...), Botanica (an all caps fashion font), Coast & Co, Hunter, Marigold, MariSans, Work & Wear, Avalanche (a warm vintage wedge serif), Kinfolk, Wrangler, Sundays.

Typefaces from 2020: Salsico, Milkman, Evangelina (a hipsterish fashion mag font), Culture, Commune, Zephyr, Classico, Analogue, Gallery Modern (a sharp-edged display serif), Mattina Sera SVG (a dry brush typeface by Laura Bennett for New Tropical Design), Geomatik (a minimalist sans), Tangerine (a 1970s style display typeface), Sage (a high contrast decorative didone), Monte Carlo (a stylish all caps typeface).

Typefaces from 2021: Ginger (a romantic and artsy display serif), Silvera (a display serif), Stoned Youth (a disturbing graphic sans), Sign Writer, South Pacific, Grange (an extreme contrast fashion mag typeface), Vineyard (an ornate serif), Raygun Grotesk, Evangelina (a hipster display serif), Cost del Sol, Angelica (a display serif), Seaker (a decorative serif), Palm Springs, Starlight (a decorative serif), Palm Tree Icons (in vector format), Yorker (a decorative serif), Future Classic Sans, Lost Lovers (a boutique font), Sunshower Dreams.

Typefaces from 2022: Evangelina (a fashion mag typeface), Dark Paradise (serif). Type Department link. [Google] [More] ⦿

Nick Cooke
[G-Type]

Nick Curtis
[Nick Curtis: Typefaces from 2004]

Nick Curtis
[Nick Curtis: Typefaces from 2005]

Nick Curtis
[Nick Curtis: Typefaces from 2006]

Nick Curtis
[Nick Curtis: Typefaces from 2007]

Nick Curtis
[Nick Curtis: Typefaces from 2008]

Nick Curtis
[Nick Curtis: Typefaces from 2009]

Nick Curtis
[Nick Curtis: Typefaces from 2010]

Nick Curtis
[Nick Curtis: Typefaces from 2011]

Nick Curtis: Early commercial typefaces

A list of commercial typefaces made by Nick Curtis from 2001-2003, and not listed elsewhere on these pages. Several of these typefaces appeared in the ITC and Bitstream collections. In 2003, he set up his own foundry, Nick's Fonts. The list: Atelier Sans, Cuppa Joe, Jeepers (a silent movie font), Mister Chuckles, Vinnie Boombah (2002, an outline font, based on 1950 poster lettering for Cinzano Spumante by Nico Eder), Scram Gravy, Steppin Out, ITC Zinzinnati, BoyzRGross (2001), HardlyWorthit, Margarita Ville NF (2001, a curly monoline slab serif), ITC Atelier Sans (2001), ShangriLa NF (2002), LaModaNF (2002, based on poster lettering for an Italian fashion house of the same name, designed by Wilman Schiroli in 1935), March Madness (2003, inspired by lettering from a 1920s Italian poster by legendary "postermeister" Marcello Dudovich), White Tie Affair (2002, pretty vertical lines), Ciné Miroir NF (2003), Fireside Chat NF (2003, based on lettering of Samuel Welo), Nord Express NF (2003, simulating poster font ideas of A.M. Cassandre; a variation of the typeface Acier Noir, Deberny&Peignot, 1936), Parsival Oldestyle NF (2003, patterned after Camelot, a 1920's font by ATF), Petre Devos NF (2003, based on a 1930s poster for a Flemish beer), Red Star Line NF (2003, based on a 1926 travel brochure), Soda Jerk NF (2003, based on a 1929 travel brochure), Toot Sweet Bistro NF (2003, based on a 1928 restaurant poster by artist Karl Bauer), BoDiddlioniStencil, ITC Photoplay (2002, based on lettering from 1927 by Samuel Welo, intended originally for captions of silent movies), ITC Scram Gravy, ITC Jeepers (2002), Erehwon Roman NF (2002, an exaggeration of University Roman), Heberling Casual NF, Marrakesh Express NF (2002, based on a 30s poster font), Slam Bang Theater NF (2002, patterned after the font Nubian Black, designed by Willard T. Sniffin for American Type Founders in the 1930s), Wagner Silhouette NF (2002, based on a 1946 design by Charles Louis Henry Wagner), Laguna Madre WBW, WHG Simpatico NF (2002), Sabrina Zaftig NF (2002), Bergling Fantasia NF (2002, after handlettering by J.M. Bergling), Bundle of Joy NF (2002), Namesake (2002, loosely based on Allan Gothic by Allan Brandtner), New Deal Deco NF (2002), Perserphone NF (2002, a Greek simulation font), Day Tripper NF (2002, based on a design originally called Dignity Roman by the unconventional 30s lettering artist Alphonso E. Tripp), Vielle Varsovie NF (2003), Raskalnikov NF (2003, Cyrillic simulation font), Spatz (2000, Sign DNA), Mrs Bathhurst (2001; a display typeface based on a 1916 alphabet by Fred G. Cooper), Vacation Postcard (patterned after various souvenir postcards available at gift shops along US highways, 1950s to present). [Google] [MyFonts] [More] ⦿

Nick Curtis: Typefaces from 2004
[Nick Curtis]

Typefaces made by Nick Curtis from 2004, not listed elsewhere on these pages. Bayern Handschrift, De Rigueur NF, Refugio Rustic WBW, Refugio Refined WBW, Ponte Vecchio NF, Brazzaville NF (based on Congo, a 1910 font by Barnhart Brothers \& Spindler), Moonshine Script NF (a casual connected script patterned after an offering from the 1930s chapbook 60 Alphabets by The Hunt Brothers), West Coast Antics (based on a showing from Carl Holmes' 1950s book, ABC of Lettering), Nanki Poo NF (based on Mikado from the Boston Type Foundry), Picture Postcard NF (a Broadway style typeface based on work by lettering artist Alf Becker), Curly Shuffle NF (described as a mix of Alf Becker's style and Leslie Cabarga's), Hardy Har Har NF (based on Samoa from BB&S, 1900), Krazy Kracks NF (based on the so-called California style of lettering used extensively in travel posters of the 30s to the 50s. This version is based on its interpretation by Carl Holmes in a Walter T. Foster artbook entitled ABC of Lettering), Whoa Nelly NF (a comic book face--based on Dan X. Solo's Funhouse), Bushwacked, Cressida (triline face), New Boston (far West typeface of the "italian" kind), Rumble Seat, Kartoon Kutz 3&4 NF, Magic Twanger NF, Snoodle Toons NF, Beanie Kopter NF, Delysian NF (based on Greeting card from the 1923 catalog of BB&S), Mazurka NF (based on Swagger Capitals and Gothic Novelty title from the 1923 catalog of BB&S), Jungle Holiday Cuts NF (based on holiday ornaments by Carl S. Junge, 1929), Stone Soup NF (based on lettering for a 1925 Buster Keaton movie), Tintern Abbey NF (based on the lettering for a 1905 poster for the Austrian National Highway by artist Gustav Jahn), Period Borders NF, Parsnip and Parsnip Outline (Will Ransom designed the exemplar for this series for Barnhart Brothers&Spindler in the early 1900s---the typeface was originally named Parsons (1918), after the advertising director of a Chicago department store), Wurstwagen (suggested by a poster for beer, designed by German artist Ludwig Hohlwein around 1920), Jackson Park NF (1920s style), Kenosha Antique NF (from the 1903 Racine typeface of Barnhart Brothers&Spindler), Catty Wumpas (based on lettering of Ross F. George). [Google] [MyFonts] [More] ⦿

Nick Curtis: Typefaces from 2005
[Nick Curtis]

Typefaces made by Nick Curtis from 2005, not listed elsewhere on these pages. Chantilly Lace NF (2005: uppercase letters by Bergling and lowercase letters by Roland W. Paul), Edda MorganaNF (medieval English), Gnarly Dude NF (rough script based on material of Ross F. George), Whirled Peas NF (based on a typeface called Whitestone Scrawl by Dan X. Solo in his "Showcard Alphabets"), Cool Cat Jim NF (based on a 1953 headline by Jim Flora in Park East Magazine), Sulphur Springs WBW (bone font), Grand Rapids (based on a typeface named Archer from the 1905 specimen book from Barnhart Brothers&Spindler), Hasta La Pasta (designed after a typeface from a pre-1900 specimen book from the Central Type Foundry of St. Louis, called Spiral), La Coupole (based on lettering on a 1927 menu by prominent poster artists Razzia), Shadowlands (this is like Wilcox Initials from the 1992 Solotype Catalog), Possum Saltare NF (a Trajan column style caps face), Pismo Clambake NF (a connected formal script typeface after a Richard Gans handwriting typeface from 1933, Gloria), Ransom Clearcut NF (an extension of Will Ransom's 1920s caps-only typeface Clearcut Shaded Caps for BBS), Almost Heaven (sold in the early 1900s as Perfection), Goodbye Crewel World (stitching font), Jimbatz NF (dingbats inspired by album cover artist Jim Flora), Bad Dookie NF (from The Advertising Cartoon Clip Art Book, 1971), Maple Leaf Rag NF (revival of Nova Bold by Continental Typefounders), Surely You Jest NF (called Arbor in the 1890's type specimen catalog from Farmer, Little&Co), Merry Old Soul NF (a display typeface discovered in one of the many books on sign writing produced by Eric Matthews), Funky Tut NF (205; the caps are based on J.M. Bergling's Morocco (1914), and the lower cases on Bergling's Kermaic Text (1914)), Groove Thang NF (based on a font called Dado), Novadam Obese (geometric black modern typeface based on a logotype by the same name of Joan Trochut Blanchard, ca. 1940s), Smackeroo NF (2005, engraved US dollar-bill style typeface based on Steelplate, a monocase typeface from ca. 1900 by Barnhart Brothers&Spindler), Snooty Fox NF (an elegant typeface found in Pen&Brush Lettering and Practical Alphabets, Blandford Press, Ltd., London, 1929), Chez Nous (based on Card Italic from a 1930s Mergenthaler Linotype Company specimen book), Slapdash Deco NF (2005, based on a showcard alphabet presented by Cecil Wade in his Manual of Lettering), Rockin Roman NF (from Blandford Press' Pen&Brush Lettering and Practical Alphabets), Kunstgewerbe NF (artsy typeface after work by J.M. Bergling, 1914), Details Details NF (a geometric design from Pen and Brush Lettering and Practical Alphabets), Escondido NF (inspired by an Austrian travel poster designed by Johann Süssenbek in the 1930s), Ballyhaunis NF (based on Celtic lettering by Laurence Schall, early 1900s), Inglenook Corner NF (based on art nouveau lettering by Laurence Schall, early 1900s), Mohair Sam NF (caps based on letters of Samuel Welo, and lower case based on ATF's Romany Script), Partenkirchen NF (a Basque style display face), Helena Handbasket NF (after Antique Light, found in the 1888 edition of the James Conner & Sons United States Type Foundry specimen book), Kudos Kaps NF (2006: five nice ornamental caps and associated alphabet and border sets, including a Lombardic set, an engraved set; they are based on typefaces from Ludwig&Mayer). [Google] [MyFonts] [More] ⦿

Nick Curtis: Typefaces from 2006
[Nick Curtis]

Typefaces made by Nick Curtis from 2006, not listed elsewhere on these pages: Magic Lantern NF, Duly Noted NF (after an ATF typeface from 1912 called Freeahand), Got That Bling NF (a connected script based on the work of Al Mack, from his Lettering: Brush&Pen in the Single Stroke), Haarlem Nights NF (based on a 1920 Dutch poster for Public Placement Services by Johan Dijsktra), Architectuur NF (based on De Stijl type lettering by H. Th. Wijdeveld, 1925), Gandy Dancer NF (a revival of Tabard, ca. 1912, ATF), Pomfrit Dandy NF (based on Frys Ornamented No. 2 by Stephenson Blake), Smith Premier (Clean and Schmutzy) NF (a typewriter pair after the letters of the Smith Premier No. 3), ed Hot Mama NF (2006), Jumbo Mumbo NF (a revival of Independant done in 1930 by Collette and Dufour), Union Telegraph NF (2006), Major Production NF (which was followed in 2009 by Major Pro Extras NF), Teeny Boppin NF (gleaned from Schrifti Alphabeti, a book of Cyrillic alphabets published in Kiev in 1979), Rutin Tutin NF (based on Wild West lettering found in Schrifti Alphabeti, 1979), Jampact NF (2006, an ultra fat headline face), Beagle Boyz NF (a bouncy typeface based on a Cyrillic alphabet presented in the book Schrifti Alphabeti, 1979), Midtown Tessie NF and Downtown Tessie NF (mosaic tile typefaces), Scary Scrimshaw (based on a 1968 poster for a Doors concert), Speedball No1, Speedball No2 SW (2001), Speedball No3 (2001), Bellagio NF (an interpretation of Robert Wiebking's 1917 font Advertisers Gothic, designed for BB&S), High Society NF (2006, a fashion mag typeface based on an alphabet found in Lettering for the Commercial Artist by Blandford Press, 1946), Osiyo Dohitsu NF (based on letterforms in the Cherokee Syllabary, reputedly devised by Sequoyah in the early nineteenth century; it has petroglyphs as well), Micro Manager NF (pixel face), Paper Caper NF (2006), Shady Grove (a condensed version of Thorne Shaded), American Pi NF (2006: ATF ornaments from the catalogs between 1913-1934, including some designed by Will Bradley, Frederic Goudy and George Trenholm), The Donald NF (a hyper-curly decorative face), Boo Meringue NF (a Halloween font based on Lithotint (1897, ATF)), Lesser Arcana (a mystical type), Zyklop NF (2006), Deux Chasses NF (based on ATF's Thermotype), Bon Mot NF (based on Barnhart Brothers&Spindler's Engravers Upright Script), Munchkin Land NF (based on a work called Thor, issued by Frederic Wesselhoeft Ltd of London in the 1930s), Didgeree Doodle NF (2006, a curly cursive originally released as Bernhard Heavy Antique Cursive by the Bauersche Giesserei by Lucien Bernhard), Kudo Kaps One, Two, Three and Four NF (a total of eight classical initial caps typefaces), Crane Titling NF (medieval-inspired uppercase letters drawn by famed book illustrator Walter Crane with charming, if somewhat quirky, lowercase letters by J. W. Weekes), DecimoSexto NF (+italic) (includes Spanish Roman letters and Griffo style italics, both hand-drawn by Francisco Lucas in Madrid, 1577), Visillo Adornado (a caps typeface based on the typeface Vesta, originally designed by Albert Auspurg for H. Berthold AG, Berlin in 1926), Edsel Font, Deco Dingbats. [Google] [MyFonts] [More] ⦿

Nick Curtis: Typefaces from 2007
[Nick Curtis]

Typefaces made by Nick Curtis from 2007, not listed elsewhere on these pages: Dundee Castle NF (based on lettering by Harvey Hopkins Dunn, 1930), Sheik Of Araby NF (2007), Aethelred NF (a unicase typeface, with alternate characters in several of the lowercase positions, is patterned after Mosaik, designed by Martin Kausche for Schriftgiesserei Stempel in 1954; Sultan (2005, Canada Type) is also based on Mosaik). Cerulean NF (a sans based on Lining Gothic No. 71 (BBS and ATF, 1907)), Rimshot NF (script), Jaunty Gent NF (based on the upright connected script Forelle, aka Rheingold Kräftig, by Erich Mollowitz in 1936-1937 for the Hamburg foundry of J. D. Tennert&Sohn), Baby Cakes NF (a bubblegum face based on a 1974 release by Karlgeorg Hoefer at the Ludwig&Mayer foundry called Big Band), Amper Sans NF (after Hobby, a script designed in 1956 by Werner Rebhuhn for Schriftgießerei Genzsch&Heyse), Wacky Duck NF (2007), By George Titling NF (inspired by silent movie lettering), Dinky Rink NF (partially based on Steile Futura), Fuller Brush NF (a bouncy signage script from The New Lone Pine ABC of Showcard and Ticketwriting by Australian author C. Milnes), Tiddly Winks NF (2007), Iraan (a stars and stripes typeface based on the ATF typeface Rodeo), Haut Relief (a 3d typeface based on a 1960s typeface called Sculpture), Fiddle Sticks (based on West Banjo (Dave West, 1960s)), Djibouti (an African theme font modeled after African Queen (Dave West, 1960s), Wacky Duck NF (2007), Turing Car NF (2007, a monospaced typeface based on a lineprinter font from the 1960s, the Unisys 0776), Route 66 NF (based on the typefaces used on U.S. Highway signs from the 1930s to the 1950s), Anna Nicole NF (2007, based on the upright semiscript Mirabelle (1926, Wagner&Schmidt); Nick Curtis: Round, firm and fully-packed, it is sure to get attention anywhere it is used.), Keynote Speaker NF (an awkward blocky typeface patterned after Bloomsbury (1920s, P. M. Shanks&Sons)), Twitty Bird NF (2007, an architectural drawing font based on Dan X. Solo's Conway), Balder Dash NF (the caps are based on Breda-Gotisch (1928, H. Berthold AG) and the lowercase on Goudy Text)), Outer Loop NF (2007), Tutti Paffuti NF (after Stymie Black Flair by Dave West for Photolettering), Weedy Beasties NF (after a variation of Seymour Chwast's Blimp), Bully Pulpit NF (2007), Keepon Truckin NF (a 3d typeface based on Milton Glaser's Baby Fat). In the 1970s, Vincent Pacella made a Photolettering Egyptian headline typeface called Blackjack, which was digitized in 2007 by Nick Curtis as Flap Jacks NF. ITC Jeepers and Woodley Park (based on Naudin) won awards at the TDC2 Type Directors Club's Type Design Competition 2002. Artone (Seymour Chwast, 1968) was revived as Loose Caboose NF (2007). Edwin Sisty's upright curly semiscript Belcanto (1970s, Photolettering) was revived in 2007 by Nick Curtis as Glissando NF. F.W. Kleukens' Kleukens Antiqua (1910) was digitized by Nick as Kleukens Antiqua NF (2007). Holo Fernes NF (2007) is based on Christian Heinrich Kleukens' Judith Type (1923), a hookish hell-inspired face. Pudgy Puss (2007) is an ultra-fat modern display type based on Fat Face (Herb Lubalin, Tom Carnase). Omaha Bazoo (2007) is patterned after Viola Flare, issued by Franklin Photolettering in the 1970s. Lateral Incised NF (2007) is an engraved old style typeface originally released in 1929 as Gravure by the London foundry of C. W. Shortt. Tall Scrawl NF (2007) is an original Curtis hand-printed font. Alfred Riedel's Domino (Ludwig&Mayer, 1954) was revived as Idle Fancy NF (2007). Boxcar Willie NF (2007) is a quaint curly face. [Google] [MyFonts] [More] ⦿

Nick Curtis: Typefaces from 2008
[Nick Curtis]

Typefaces made by Nick Curtis from 2008, not listed elsewhere on these pages: Dave West's Nickelodeon was revived by Curtis as Lily Hilo NF (2008). Funky Rundkopf NF (2008) is an adaptation of an LED simulation font of Ray Larabie, called Dignity of Labour. Daffadowndilly NF (2007-2008) is based on art work by Alf Becker from the 1940s. Babes In Toyland NF (2008) has some of the Rennie Mackintosh charm and is based on "Sheet music for Babes in Toyland, USA, 1903". Anagram Shadow NF (2008) is based on handlettering from a 1928 poster for a steamship line by renowned British artist Austin Cooper. Kandinsky NF (2008) is based on shapes found on Kandinsky's painting Succession (1935). An experimental typeface by Jeremy Pettis, illustrating the concept of kangaroo, inspired Pal Joey NF (2008). One of René Knip's experiments, a unicase typeface with an Arabic feel, was digitized by Nick Curtis as Turban Hey NF (2008). Calamity Jane (2008) is a stylish Edwardian script based on a 1930s logotype for the Theatre Moderne in Paris. Orion Radio NF (2008) is a 1930s style display typeface on an African theme. Quinceanera NF (2008) is a a new take on an old dry-transfer standard from the 70s named Barrio. Jobber Wacky NF (2008) is a bouncy handlettering font based on designs of Alan Denney found on greeting cards in the 1950s and 1960s. Franciscan Caps (2008) is based on a 1932 typeface by Frederic Goudy called Franciscan. Morning Glory (2008) is a simple display typeface that goes back to the Cleveland Type Foundry, 1893. Tickety Boo (2008) is a take on Goudy Fancy (or: Goudy Black Elongated Swash). Yo Quiero Taquitos uses letters taken from Rotalución Decorativa (Barcelona, 1940s), Disco 79 (2008, multiline), Eclectic Crumpany (2008, multiline monocase neon or paperclip typeface based on The Electric Company TV Show), Fire Down Below (2008, block gothic), Joufflou NF (2008, very fat), Bala Cynwyd NF (2001) is an Arts&Crafts style poster typeface inspired by lettering of Dard Hunter. Csiszarz Latein NF (2008) recreates an old typeface (ca. 1910) of J.V. Csiszarz. Owah Tagu Siam NF (2008) is a faux Thai font. Langoustine Rouge NF (2008) is based on Dan Solo's Sorbonne. Cecil Wade again provided inspiration for Bloc Party NF (2008). My Little Eye NF (2008) is an elegant piano key font. Roundabout NF (2008) is rounded octagonal. Neubank NF (2008) is Nick Curtis's take on Bank Gothic. Warp Three NF (2008) is a Bank Gothic-style family with an uppercase as in Agency Gothic (1932-1933, Morris Fuller Benton) and a lowercase from Square Gothic (1888, James Conner). [Google] [MyFonts] [More] ⦿

Nick Curtis: Typefaces from 2009
[Nick Curtis]

Typefaces made by Nick Curtis from 2009, not listed elsewhere on these pages: Society Page NF (semi-script based on Morris Fuller Benton's Announcement, 1916), Glyphix One NF (dingbats), Glyphix Two NF (dingbats), Velveteen Round NF (based on Vellvé's only font, 1971), Steno Stout NF (the venerable Underwood Victoria typewriter on steroids), Diosa Rubia NF (condensed headline face), Mono Amono NF (octagonal), Turista Flaca NF (based on Baltimore Type Foundry's Tourist Extra Condensed), Boop Boop NF (based on handlettering found on Hallmark Studio Cards of the 1950s), Samosata NF (based on Bernhard Gothic), Waddem Choo NF (based on Tschichold's Transito from 1931), Jane Plain NF (architectural blueprint style), Hacky Sack NF (a zany typeface based on Ross F. George's Stunt Roman), Free Holeys NF (after the 1972 Letraset font Beans by Dieter Zembsch), Kingstown NF (semiscript), Kudos Kaps NF (2006: five nice ornamental caps and associated alphabet and border sets, including a Lombardic set, an engraved set; they are based on typefaces from Ludwig&Mayer), Melvin Eustace NF (handlettered), Weekly Bazaar NF (based on Harpers by the Central Type Foundry), Really Big Shoe NF (after a Cleveland Type Foundry typeface called Oxford), Bellwether Antique NF (after a 1913 typeface by Georg Belwe), Garmisch Rund NF (inspired by Rundgotisch, Emil Rudolf Weiss, 1937), Whitefriars NF (based on a font from the Blackfriars Type Foundry in London), Society Page NF (a curly serif typeface based on Morris Fuller Benton's Announcement Roman, designed for American Type Founders in 1917), USA Resolute NF (a unicase headline typeface based on Morris Fuller Benton's Eagle, ATF, 1934), Saturday Morning Toast (2001, based on the logotype font of the Saturday Evening Post from the 1920s), Examiner NF (based on Dwiggins' Metro from the 1930s). Hans Lijklema's Free Font Index has a CD which contains AirstreamNF-Italic, CalamityJaneNF-Bold, CalamityJaneNF, DaddyLonglegsNF, HamburgerHeavenNF, HeavyTrippNF, HutSutRalstonNF (2001), OrionRadioNF, ParkLaneNF, PhattPhreddyNF, RhumbaScriptNF (a silent movie font), Riot Squad NF (2000, after Otto Heim). [Google] [MyFonts] [More] ⦿

Nick Curtis: Typefaces from 2010
[Nick Curtis]

Typefaces made by Nick Curtis from 2010, not listed elsewhere on these pages.

Typefaces made in 2010: Conners Corners NF (2010: gleaned from the 1888 specimen books of James Conner's Sons United States Type Foundry), Tumbling Dice NF and Banner Year NF (both were done after scroll typefaces featured in the 1869 MacKellar Smiths and Jordan specimen book), Standing Room Only NF (after Broadway, designed by Morris Fuller Benton for ATF in 1928, originally named Broadway Poster), Proud Mary NF (a plump typeface based on Joseph Churchward's Marianna), Slapsie Maxi NF (based on a Carl Holmes alphabet found in Holmes's ABC of Lettering), Umbriago NF (trying to do a Cooper Black Swash Italic), Picaro NF (based on Harlequin), Palo Pinto NF (based on Pacella Vega Extended 10, a 1960s typeface by Vincent Pacella), Cartella NF (a 3d beveled shadow typeface based on a Morris Fuller Benton 1934 offering for American Type Founders called Poster Gothic), Pracht Antiqua NF (a faithful rendering of the cuddly headline script typeface Pracht Antiqua Schmallfett, which was designed by Carl Pracht for the Norddeutsche Schriftgießerei in 1942), Gitfiddler NF (a futuristic oblique typeface based on the lettering on a package of Gibson guitar strings from the 1950s), Seta Reta NF (after Walter Diethelm's 1965 VGC typeface Arrow), Kleukens Kursiv NF (after Kleukens Scriptura, 1926 by F.W. Kleukens), Kallilu NF (a display face, after George Piscitelle's VGC typeface Thomac from the 1960s), Occidental Tourist NF (an avant-garde sans inspired by Dave West's Futura Casual), Schelter Grotesk NF (after Schelter's Breite Grotesk, 1886), Vuvuzela NF (a casual, almost sign-painted, and nearly African display face), Block Party NF (2008, a 3d face), Cromwell NF (a faithful digitization of Cromwell, 1913, Morris Fuller Benton, ATF), Liguria NF (2010, after a typeface found in a Nebiolo specimen book, ca. 1900), Pony Express NF (2010, after Palmer and Rey's Courier from 1885), Linndale Square NF (a beefed up version of Geometric, 1885, Cleveland Type Foundry---a typewriter style face), Binghamton NF was inspired by the wedge-serifed angular typeface Bingham (Vincent Patella, PLINC). Albert Kapr designed Faust in 1959, so Nick's derived sans typeface is called Kaprice NF. Double D NF (2010, +Fill, +Outline) is a 3d beveled typeface based on Dave Davison's Dimensional from the 1970s. Old Softy NF (2010) is a rounded typeface based on Round Gothic (Keystone Type Foundry, 1884 catalog). [Google] [MyFonts] [More] ⦿

Nick Curtis: Typefaces from 2011
[Nick Curtis]

Typefaces made by Nick Curtis from 2011, not listed elsewhere on these pages: Jersey City NF (modeled after Times Gothic (1905, ATF)), Petty Despot NF (2011, also modeled after Times Gothic, and possibly renamed from Jersey City NF after Berthold---yes, the same Berthold again---complained about the name Jersey since one of its fonts by Gustav Jaeger was named Jersey. This is my educated guess..., and two thumbs up to Nick for picking the appropriate name Petty Despot NF). Olde Megrat NF is patterned after Antikva Margaret, designed by Zoltán Nagy for VGC in the mid-60s. Herkimer Bunrab NF is an upright scriptish typeface with bunnyears that is based on Hercules (1926, Amsterdam Type foundry). Blackbarry NF (2011) is a faithful revival of Deutsch Black (1966, Barry Deutsch, VGC), a unicase piano key typeface. Bindlestiff NF (2011), which won the 2011 Devroye Memorial Medal for funniest typeface name, revives Schmallfette Binder Style (1959, Joseph Binder, Stempel AG), a squarish tightly set headline face. Decked Out NF (2011) is a fat inline typeface modeled on Dektiv in Homage to the Alphabet. Bazoo Tow NF (2011) is a fun fattish headline typeface that is a faithful reroduction of Basuto (1927, Stanley Baxter for Stephenson Blake). Are You Shaw NF (2011) is an all-caps blackboard bold typeface inspired by Pygmalion, a typeface found in Homage to the Aplhabet. Hoodoo U NF (2011) is a roly-poly romp through the alphabet, based on Jürgen Riebling's irrepressible Mr. Big from the 1970s. Big, bold, bubbly and a little brash, it's a natural choice for happy headlines. The handlettered Mikeys Roman NF (2011) has an uppercase based on the work of Mike Stevens, and a lowercase based on the work of Alf Becker. 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. Nellie Kay NF (2011) is a monoline script face, based on an example by Ross F. George. Shaq Attack NF (2011) is a wooden plank style or brushy typeface inspired by an alphabet of Alf R. Becker. Relampago NF (2011) revives Hans Möhring's bilined typeface Elegante Lichte (1928). Squirrely Shirley NF (2011) is a bouncy typeface based on Phoenix (unknown creator) in Schriftatlas. Spread Out NF (2011) is modeled after Ross F. George's Split Caps. Salzburger Plakat NF (2011) is based on an Austrian winter sports festival poster from 1907 by Swiss poster designer Otto Baumberger (1889-1961). Rightly So NF (2011) is a squarish typeface based on Geometric Gothic (1884, Palmer and Rey)---it is hard to imagine that this almost pixelish style was around at that epoch. Kenotaph NF (2011) is a condensed headline slab serif modeled after Stymie Obelisk (1930s, Morris Fuller Benton). Vasari NF (2011) is based on Ancient Gothic (1891, William W. Jackson, Keystone Type Foundry). Moslem (Boston Type Foundry) was revived as Suffiya NF (2011). Looky Cookie NF (2011) has eyes placed on the glyphs. Iago NF (2011) is a powerful headline sans inspired by two ATF typefaces from the 1880s, Othello and ATF Black Caps. Big Bag NF (2011) is called an industrial-strength titling face by Nick Curtis---it has design elements of Hans Eduard Meier's Syntax Antiqua. Highpoint Gothic NF (after Morris Fuller Benton's 1932-1935 typeface Raleigh Gothic Condensed). Fernburner NF is an all caps shadow face, modeled after Hans Bohn's 1929 typeface Orplid. Planscribe NF is based on types used by the Leroy Automatic Lettering Machine, a tool for architects. [Google] [MyFonts] [More] ⦿

Nicky Laatz

Successful designer in Cape Town, South Africa, who started making fonts in 2014, In 2016, Creative Market wrote: South Africa-based designer Nicky Laatz just made one million dollars on Creative Market doing what she loves.. Creator of the commercial vintage spurred Western typeface Thistle Creek (2014), and the hand-drawn Butcher Block (2014), Vanilla Frosting (2014), Brave (2014, poster font), Stringfellows (2014, connected curly script, the most popular fonts at Creative Market in August 2014) and Cookies & Cream (2014).

In 2015, Nicki created more script typefaces: Hello Sunshine (hand brushed), Stone Harbour (dry brush typeface), Pleasures Script, Bonjour, Heart & Soul, Butterscotch. She also created a handcrafted system, called The Typographers Fonts, that includes these fonts: Bacon Sandwich, Fish And Chips, Fox And Bear, Gingerbuck, Habaneros, Handsome Hand Slanted, Handsome Hand, Heartstrings, Hunterswood, Lemon Squeeze, Mustache, Rembrandt, Shopaholics, Stalemates, Stringbeans, Sugarbush Slanted, Sugarbush, Zanjeros.

Typefaces from 2016: Just Lovely, Bloomishly Brush, Saturday Script (dry brush script), Tanglewoods, La Fiesta (calligraphic script with watercolour edges), Maraschino Script (calligraphic script with a bouncy baseline, Little Anchor (Wobbly hand-painted script), Blushing Bride (a flirty hand-lettered script), Lemonshino, Strawberry Frosting (plump and cheerful), Happy Days, Bear Hugs, Vanilla Sprinkles (messy calligraphy with watercolour edging), Mustard Mustache (an uppercase marker font), Island Style, Lucky Fellas (brush script), Indigo Blue, Miss Couture (pencil brush script), Forever Soulmates, Blooming Elegant (Sans, Hand and Monoline), Hello Lucky (a dry marker font), Biscuit Base Script, Boathouse Script, Deliciously Script, Gojiberries, Harelybuck Script, Jeronimo Typeface, Jolly Sailor, Loveluck Script, Lemonade Stand, Maraschino Typeface, Masquerade, Novascotia, Peaches & Pistachio, Shoestrings.

Typefaces from 2017: Just Heavenly (dry brush script), South Route, Pringle+Tweed, Poppit+Finch, Ernest + Emily, Gotcha (marker font), Indigo Summer, Serendipity, Styled Up, Hello Pretty (brushed typeface), Born Ready (brush script).

Typefaces from 2018: Electric Dreams (font duo), Instalove (SVG dry brush), InstaLove Smooth, Lovestory (watercolor SVG font), Summer Loving (SVG brush), Stay Classy Font Duo, Signature Collection, White Oleander, Belluga, Simply Sweet, Signature Collection, Chin Up Buttercup.

Typefaces from 2019: White Alchemy (a wild script), Supa Mega Fantastic, Pink Lemonade, Picasso in Paradise, California Dreams (+SVG, +Marker, +Watercolor), Bon Vivant Family (font duo), Gatsby Modern, Nicolette Script (by Nico Inosanto and Nicky Laatz), Serenity Font Duo, Joules et Jaques (script and serif), Kokomo Breeze.

Typefaces from 2020: Wicked Awesome, The Perfect Match, Fishfingers & Chips, Juniper and Sage, South Pacific, Marshmallow Hot Chocolate, Glamour Absolute (a fashion mag display typeface).

Typefaces from 2021: Isabella Grand, Nightingale Script (an antique watercolor script), Idealist Serif (a hipster serif), Magic Ramen, (a reverse contrast script).

Typefaces from 2022: Kilimanjaro (a heavy 18-style sans that recalls Lubalin in the late 70s). [Google] [MyFonts] [More] ⦿

Nicolas Isfani
[Cotbada Studio]

Nicolas Massi

Graphic designer in Buenos Aires who is also involved in Tomo Fonts. His typefaces, dated 2009, include Tesca (a condensed-modern grotesque typeface. Three styles: Flaca, Normal&Gorda), and Arco (a fat face with some geometrical tweaks grabbing fresh and ideal for fashion editorial headlines). With Rodrigo Fuenzalida, he created the textura typeface Pirata+One (2012, Google Web Fonts).

He is working on Tesca Specimen, San Francisco, Quick Pick (brush), Mick's, Jumper, Alask (brush), Royal Twins, Clas (brush script).

In 2018, Nicolas Massi and Leonard Posavec co-designed Storehouse, a vintage all caps copperplate family with small wedge serifs. It includes a stencil style, San Francisco, Quick Pick (brush), Mick's, Jumper, Alask (brush), Royal Twins, Clas (brush script).

Free typefaces by Massi include Braulio (2020; based on Futura Maxi Demi and a post by Braulio Amado), and Sato Sans (2020).

MyFonts link. Behance link. Typedia link. Github link for Nicolas Massi. Nico Works link. [Google] [MyFonts] [More] ⦿

Nicolas Silvain

Lille, France-based designer of the high contrast display sans Kabond (2020). [Google] [More] ⦿

Nicole Santos

Porto, Portugal-based designer of the high-contrast didone fashion mag typeface Concha (2012-2013). This typeface was created during her studies at ESAD in Matosinhos. [Google] [More] ⦿

Nidhi Balwada

For the identity of Amais Mens wear, Nidhi Balwada (Ghaziabad, India) designed the multiline typeface Amais (2016). [Google] [More] ⦿

Niklaz Lönnqvist

Graphic designer in Stockholm, who made the fashion mag sans typeface Pumps & Skinny Jeans (2012). [Google] [More] ⦿

Nikola Djurek
[Typonine]

Nobu Collections (or: Ake)
[Ake Thanantreesak]

Lampang and/or Bangkok, Thailand-based designer (b. 1983) of these fonts in 2021: Beautiful Sunday, Cartoon Family, Christmas Memories, Dad Collections, Delicious, Girl, Happy Halloween, Hello World, Holiday in Paris, Kelly Collections, Mini Sport (athletic lettering), Nobu, Rabbit, Report Block, Supper Dad, Travelling, Tree Stories, Winter Wonderland, Malito Fashion (an original contrast-rich all caps font), Sweet Kids, Summer Party, Kelly Signature, Happy Rainbow, Cocktail.

Typefaces from 2022: Christolas Gift (a scrapboook typeface).

1001 Fonts link. [Google] [MyFonts] [More] ⦿

Nodo Type Foundry
[Ariel di Lisio]

Nodo Type Foundry was set up in 2015 in Buenos Aires by Monterrey, Mexico-based designer Aldo Arillo and Buenos Aires-based Ariel di Lisio. Nodo's motto: Typography transcends time. The future is grotesk. Nodo's typefaces:

NT Bau (2020) and NT Bau Mono (2021). A neutral industrial era sans.
Dapper (2016, Ariel di Lisio). A neo-grotesque.
NT Ciceron (2020, Ariel di Lisio). Sharp-edged and fashion-conscious, with severe contrast.
Umami (2016, Ariel di Lisio). A rounded sans famly.
Stardust (2019, Ariel di Lisio). A monospaced family.
Voluma (2016, Ariel di Lisio).
NT Zeu (2021). A text typeface family with hipster influences and some inktrapping.

[Google] [More] ⦿

Noémie Pasquier

Parisian graphic designer and illustrator. Creator of these typefaces:

Manhattan (gridded letters) and SoSquare: created in 2009 at FontStruct.
Zucchini Bold (2010): an elegant high-contrast fashion typeface.
Indian Times (2010): a quaint typeface based on Indian patterns.

Behance link. Poster: Make Love Original. Poster: Pour G. Home page where one can can ogle her creative ornamental caps from 2009. [Google] [More] ⦿

Nohamad Foda
[Fo Da]

Nuria González and Noël Nanton

Nois (was: Makenois)
[Guillermo Lizarzuay]

Barcolona-based designer who set up Makenois and then Nois, a studio engaged in branding, web design and digital campaigns. Creator of Mirtha Display (2020), Britti Sans (2020: a 14-style brutalist sans), Lalo Grotesk (2020) and Beni (2020: a condensed headline sans).

Typefaces from 2021: Krooner (a tall sophisticated display serif), Jessi Neue (a soft serif in four styles, and a variable font). [Google] [MyFonts] [More] ⦿

Non-Format
[Jon Forss]

Ekhornforrss Limited / Non-Format is an Anglo-Scandinavian creative direction and design team. Creative directors and founding partners Kjell Ekhorn (from Norway) and Jon Forss (from the UK) started the company in 2000. In their own words: They work on a range of projects including art direction, design and illustration for arts&culture, music industry and fashion and advertising clients. They also art direct Varoom: the journal of illustration and made images. Nominated for Best Design Team in Music Week's Creative and Design Awards 2001. Non-Format is based in London, UK and Minneapolis, USA. In 2006, Kjell Ekhorn and Jon Forss designed a poster for the Royal Norwegian Embassy in London, which won an award at TDC 27. Their work has been published here: The Anatomy of Design, Adobe Magazine, Archive, Brain, Campaign, CD-Art, Communication Arts, Creative Review, D&AD Annual 2005, The Creator Studio, Design Week, Dos Logos, DVD-Art, Etapes, Eye Magazine, 55 Degrees North, Grafik, Graphic, Idea, IdN, It's A Matter Of Packaging, The Layout Look Book, Limited Edition, Mag-Art, Maximalism, Music Week, New Typographic Design, North by North, 1000 Type Treatments, Print, Printed Matter, Romantik, Sampler 2&3, Serialize, Sonic, Tokyo TDC Volume 17&18, Type-One, Type Specific, Typographics 4&5, Typography 27, Typography Workbook.

Typefaces by them include Heroine (2008), a titling typeface created for Very Elle Magazine, and Otto (2009, their first commercial family).

Gridiron (2013-2014) is a custom typeface family commissioned by ESPN magazine for their 2013 College Football Preview issue. Three versions of the Gridiron typeface were developed for different applications: The lightest weight, Quarterback, is used for headlines. The two bolder weights are Fullback and the more intricately structured Touchdown. These three styles cover the entire spectrum from athletic lettering to labyrinthine extravaganza.

The hipster typeface Coleman Air (2015) is a special version of their Nomi typeface, created for Coleman's Japanese catalogue of outdoor gear.

In 2017, for SModa Magazine, they designed the summa cum laude partly curvy typeface Sølve.

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

North Type (was: Charles Daoud Type, or: CD Type)
[Charles Daoud]

Charles Daoud is a graphic designer and art director in Laval, near Montreal. He was born in Montreal in 1980. He set up Charles Daoud Type, or CD Type, in 2013 and renamed his type foundry North Type in 2018. His typefaces include:

Dense (2013). A free geometric sans serif typeface family.
Dual (2014). A geometric sans with many features that will make hipsters happy. Dual 100 is one of the finest hairline sans typefaces of the recent past. Dual 300 is free.
Locke (2016). A stunning stylish slab serif typeface family.
Quartier (2011). A sans headline typeface.
Radio Canada (2017). A custom corporate humanist sans typeface for the French TV network in Quebec, co-designed by Charles Daoud and Alexandre Saumier-Demers of Coppers and Brasses. Google Fonts link. Github link.
Voga (2014). A stylish high-contrast skyline condensed didone with a free Medium weight.
Grand (2018). He writes: Inspired by old school sign painting techniques, Grand is a display condensed sans serif that isn't shy to put its foot down. Regular and Italic are free.

[Google] [MyFonts] [More] ⦿

Notdef Type
[Diego Maldonado]

A disciple of Tony de Marco, this Sao Paulo, Brazil-based designer has worked on digital magazines in Brazil such as Elle (fashion), Audi Magazine (lifestyle) and Trip (lifestyle). He set up Just in Type with Tony de Marco. Later he started his own foundry, Notdef Type. His typefaces:

The rounded avant garde typeface Garoa (2011, Just in Type). Codesigned with Tony de Marco.
The free font Garoa Hacker Clube Bold was published at OFL in 2013. They write: Inspired by the 70s design, specially on Herb Lubalin's work, the typeface Garoa is a rounded mechanical display font without optical compensations, ideal for large bodies.
In 2013, he created the informal children's book typeface Sapeca, a script full of ligatures and alternates.
The connected spaghetti-inspired script typeface Pasta Script (2015, Just in Type).
Sorvettero (2015). Designed with Tony de Marco, Sorvettero is a sans, layered and unicase typeface inspired by some wood signs in Descansapolis, a neighborhood of Campos do Jordao. It won an award at Tipos Latinos 2016.
Befter Sans (2016). A humanist sans typeface family with flared strokes.
Suit Sans (2016, Just in Type), Suit Sans STD (2017, Just in Type).
Tupa (2017, a squarish techno titling sans with interlocking ligatures).
Couturier (2018, Latinotype). A didone typeface family with several surprises (f and y, for example) and possible applications in fashion mags. Followed in 2019 by Couturier Poster.
Railroad Text (2018). A custom sans for Eisenbahn beer.
ND Type One (2019). A sans family.
Wright (2020). A 48-style art deco sans family with small x-height and wide letters for headline or display use.
Galadali (2021). A confident flared-terminal serif in six styles.
Nd Harquied (2021). A 7-style hipster sans with deep ink traps meant as a Halloween font.
Nd Tupa Nova (2021). An 11-style (+variable) squarish font family with support for both Latin and Cyrillic. In this slightly constructivist genre, one of the best fonts around.

Behance link. Old URL. Creative Market link for Just in Type. [Google] [MyFonts] [More] ⦿

NREY
[Andriy Dykun]

Makeevka, Donetsk, Ukraine-based designer of these typefaces in 2017: Vector Waves, Quasimodo (a free spurred and curvy decorative display typeface), Courtney (monoline script), Lumberjack (blackletter; see also Lumberjack Zombie in 2019), Marvin (a 10-font Marvin Heemeyer-inspired bulldozer and wrench font family with a free heavy slab serif), Awakening (signage script), Bang Bang, Round Compound, Rot Shield (blackletter), Rust (spurred), Furious, Dry Brush, Balalaika (Cyrillic emulation typeface), Moustache, Barbara (script), Arigato, The Pontifice (blackletter), Amsterdam, Megapolis (inline), Megapolis Black Bold (free, for Latin and Cyrillic), Phoenix Gothic, Brush Pen, Nround (rounded sans), DieCunst (free connected script).

Typefaces from 2018: Fontuna (+stencil), Sansterdam (a geometric condensed grotesk with a few deco styles), Ethna (a fashion mag sans typeface family), Voguer Sans (a free Latin / Cyrillic display typeface with fashion applications in mind), Ravenholm (an expressionist blackletter), Jorick (vintage, Latin and Cyrillic), Ultravog and Ultravog Glitch Black (extreme contrast stencil styles: free), Walpurgis Night, Voguer (a high-contrast fashion mag font), Voguer II (didone-inspired, accompanied by a script typeface).

Typefaces from 2019: Anicon Sans, Anicon Slab, Thephir (a variable cursive typeface), Oblique Rain (monoline script), Skiff (a quaint almost painted sans), Cadency (a monoline script), Waymar (Serif and Script font duo; include the textured caps typeface Waymar Ornate and the blackboard bold style Waymar Outline), Phagoth (blackletter), Gunhill (a vintage font family that includes blackboard bold styles), Heartland (Script & Sans), Marvin Slab.

Typefaces from 2020: Calmius, Calmius Sans. Calmius Sans has Oppo (reverse contrast), Low and High (Peignotian) subfamilies, all experiments on contrast.

Typefaces from 2021: Quartell Round (a squarish typeface), Asterlight (a steampunk font), Barosa (inspired by the slavonic style, all glyphs in this typeface have the same height).

Graphicriver link. Behance link. Newest Behance link. Dafont link. [Google] [MyFonts] [More] ⦿

Nubia Dalila Penha

During her studies, Cariacica, Brazil-based Nubia Dalila Penha designed the fashion mag typeface Designdone (2017). [Google] [More] ⦿

Creators of a fun counterless fashion mag titling typeface called Tomeri Nu-No that was fonted in 2011 by Antonio J. Morata as zblackmagic-eYeFS. [Google] [More] ⦿

Nurron Shodiqin
[Nurrontype (was: Neuron Neuron, or: Neuron Type)]

Nurrontype (was: Neuron Neuron, or: Neuron Type)
[Nurron Shodiqin]

Bandung, Indonesia-based designer of the tuxedoed art deco typeface Marcopolo (2019), the fashion mag typeface Prague Display (2019), the ball terminal extravaganza Brand (2019) and the inline Victorian typeface Larson (2019).

In 2020, he designed the Victorian display typeface Migaela, the decorative serif typeface Nakilla, the curly decorative serif typeface Brasika Display, the Victorian typeface Sign Shop (with Pieter Bielous), Gentlemen Revival, the decorative didone typefaces Glinde and Lastone, and the octagonal typeface Mars Outline.

Typefaces from 2021: Barbra (reverse stress, psychedelic), Longstride (a flared almost uncial typeface), Longstride (a flared almost uncial typeface), NT Tonight Show (a 12-style flared display family; in this font, Shodiqin attempted to instill a showbiz atmosphere as he admits being a fan of David Letterman's Tonight Show), Aschere (a psychedelic display typeface), Molen (a decorative serif), Molenilo (a medieval display typeface).

Typefaces from 2022: NT Brick Sans (pixelish).

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

Nyapa Tanzil
[Damelev Studio (was: Logo Labs, Tanziladd, Rawi Project)]

Océane Moutot

French designer in 2018 of the typefaces Alma, Victoria and Villa Extra Bold.

In 2020, she set up her own typefoundry, and released the sans typeface Honesty (2020), a 16-style flared, lapidary or incised sans typeface family that took inspiration from the Trajan column carvings and Berthold Wolpe's Albertus (1938).

Typefaces from 2021: Sincerity Stencil (14 styles), Lakshmi (a lava lamp / genie bottle typeface), Sincerity (in 14 styles---take a didone, replace the serifs by wedges and the ball terminals with razor-sharp endings, mix well, and voilà, you are ready for Haute Couture).

Typefaces from 2022: Hecate (a 16-style text typeface with garalde influences). [Google] [MyFonts] [More] ⦿

Ognjen Pajic

Belgrade, Serbia-based designer of the (Latin / Cyrillic) condensed modern fashion mag typeface Princeps (2017). [Google] [More] ⦿

Oguzhan Cengiz
[Hurufatfont Type Foundry]

Okaycat
[Luke William Turvey]

Takamatsu, Japan-based design division of The LOLO, a content creation company, which was established in 2006. Luke William Turvey (b. London, Ontario, 1978) who lives in Japan started out with street murals but is doing digital work now. His early fonts include Giacinta Ornate (2008, a lovely bastarda), Parabrite (2008, techno), Stefani EHYO Sans Rounded (2008, a clean geometric sans), Antikka (2008, art deco), Calisso (2008, experimental), LOLO Dingcats (2008), Clementine (2008: artsy serif), Okaytext (2008, a fashionable geometric sans in the style of Bernhard Fashion), Okay Cursive (2008, an upright connected script), Okay Crayon (2008), Okay Paint (2008), Japanese Brush Master (2008), Tag Banger (2008, graffiti font), Bapalopa (2008, more graffiti), Hive Mind (2008, nuts and bolts look), Trees of Africa (2008, dings), 3D Fantablock Beveled (2008), Shababa (2008, shadow font), LOLO Animals (2008), LOLO City (2008, inner city dingbat face), LOLO Cursive (2008, curly handwriting), Japoneh (2008, a great oriental-look drippy paintbrush font).

In 2009, Okaycat published Arco Crayon (blackboard writing, but also a lipstick font), 3D Blocky (with Natsuko Hayashida), Carbon Neutral, Hand Writing OC, Okay Cotton, Hand Cursive, Stitch Cursive, Antique Dubplate, Porto (rough calligraphic), Brush Writing OC, Nouveau Rock (engraved), Shababa, 3D Techno, Stefani EHYO (4-style geocratic sans), Japanese calligraphy poster. With Natsuko Hayashida, he did Rustic Stamp (grungy).

Fonts from 2010: Uncertainty (grunge), CASU Aerospatiale (an etched 3d font family), Geodot (a dot matrix face), Zampichi (a video game font family), Country Charm (Natsuko Hayashida: a dingbat face), The Inlines No Inlines (Natsuko Hayashida: a black rounded minimalist sans), CC Angular (Turvey: an octagonal typeface that comes with an outlined and shaded style), Pentastic (hand-printed), Candy Cursive (a monoline connected script).

Typefaces made in 2011: Okay-A (this font lets one make 3D letters that look to be fastened down with screws), Teselka (a 3d outlined shadow face), Joopica (a casual typeface created together with Natsuko Hayashida).

Typefaces made in 2012: Meksa (techno).

In 2013, he created Pixapp Inter (a pixel face).

Typefaces from 2014: Maple Street (a vintage wood type emulation typeface done with Natsuko Hayashida), Nunooska (a medium-heavy rounded sans).

Klingspor link.

View Luke William Turvey's typefaces. View the Okaycat typeface collection. [Google] [MyFonts] [More] ⦿

Oksana Petrenko
[Calamar Art (or: Calamar Studio)]

Oleksandr Parkhomovskyy

Type and design studio located in Hamburg, Germany, run by Oleksandr Parkhomovskyy (b. 1984, Odessa, Ukraine), who created the 6-style ultra-fat Grim family in 2009, which includes Grim Stencil. In 2010, he redesigned the bilined headline font for Zeit Magazin and called it ZeitType---it's just a matter of time before the awards will be rolling in.

Prestiggio (2011) is a sublime vogue fashion mag face, with its perky ball terminal ear on the g, and the high-contrast feel of a decent Peignot. Mingray Mono is a stylish monospaced family in three weights.

In 2020, he published the ultra-fat Magnesit Dark, Magnesit Stencil and Magnesit. [Google] [MyFonts] [More] ⦿

Omar Alguayyaid

Saudi Arabian designer of the free fashion serif typeface Branic (2021). [Google] [More] ⦿

Omer Shahid

Karachi, Pakistan-based designer of the Peignotian Latin typeface Dernier (2014) for the fashion mag Dernier. [Google] [More] ⦿

Ondrej Bachor

Czech visual identity designer working mostly for the fashion industry, who has a Masters in type design at ECAL in Lausanne, Switzerland. Creator of the extended sans typeface Exil 71 (2014). In 2018, he designed the sans typeface Concern at ECAL Typefaces.

Ondrej won the silver medal in the Latin category at the 22nd Morisawa Type Design competition in 2019 for Kolektiv. [Google] [More] ⦿

Onrepeat Studio
[Joao Oliveira]

Onrepeat is the type foundry established by Joao Oliveira (b. 1986) in 2011. Oliveira is (was?) a communication design student at Escola Superior de Artes e Design (ESAD) in Matosinhos, Portugal. 1986. He also freelanced as a designer in Porto before moving to London. His typefaces:

Gothular (2011).
The 12-style artistic piano key display sans family Bohema (2011).
The super-high-contrast didone fashion mag typeface system Port (2013). Port was revisited in 2014 and led to the exquisite 10-style experimental didone typeface Port Vintage.
Nympha (2020). In his own words, it is a luxuriously exuberant serif typeface, exuding femininity and glamour.

[Google] [MyFonts] [More] ⦿

Oscar Fernando Guerrero Cañizares
[Sumotype Foundry]

Oscar Fuentevilla

Monterrey, Mexico-based designer of the fashion mag hairline sans face Thin Frank (2011) and of the pixel dingbat typeface Simbolos Positivos (2011). Behance link. [Google] [More] ⦿

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

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 Otherwhere Collective.

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] ⦿

o-zone

Italian outfit which made the sexy high-contrast fashion mag typeface Cut Font (2010). Bewhance link. [Google] [More] ⦿

Ozone Agency Italy

Creators of the fashion mag typeface Cut (2010), which was part of a project called Paper Cut Fold. [Google] [More] ⦿

Paco Gonzalez

Codesigner with Giuseppe Salerno of Superb (2014, Resistenza: a creamy signage script) and the calligraphic brush script Modern Love (2015).

Codesigner, with Giuseppe Salerno and Andrea Tardivo, of the chocolate box script typeface family Gianduja (2016, Resistenza).

In 2018, he co-designed Contigo and Contigo Vintage with Giuseppe Salerno.

In 2019, Paco Gonzalez and Giuseppe Salerno co-designed the brush typefaces SmoothyPro, Pando Script and Parkour, Auster Rounded, the Tuscan family Royale, the chalk font Dolce Caffe Chalk, the layered handcrafted sans typeface Dolcissimo, the dry brush script typeface Blue Jeans, the brush script Batticuore and Turquoise Inline.

Typefaces from 2020, all with Giuseppe Salerno: Big Mamma (a hand-printed slab serif), Suerte (a reverse contrast display type, inspired by Aldo Novarese's Estro), Norman (a fashion mag typeface), Royale Italic (Tuscan), Auster Variable, Hello Fresh, Nostalgia and Nostalgia Flowers, Tresor (a romantic flared sans), Pesto Fresco Italic.

Typefaces from 2021: Industria Serif (54 styles; by Giuseppe Salerno and Paco Gonzalez).

Typefaces from 2022: Industria Sans. [Google] [MyFonts] [More] ⦿

Pamela Castro Baptista

During her studies at Universidad Argentina de la Empresa (UADE) in Buenos Aires, Argentina, Pamela Castro created the fashion mag typeface Vanity (2014). [Google] [More] ⦿

Panakota Vanila

Or Panakota Restu. Bandung, Indonesia-based designer of the fashion mag typeface Fashion Vogue (2016). Creative Market link. [Google] [More] ⦿

Pancho López

Graphic designer in Guadalajara, Mexico, who made Miami Deco (2011, a multiline art deco jewel), Poiret 1940s (2012, art deco), Juke Box (2010, retro type), El Solitario (2011, an Italian Western typeface, a redesign of an earlier type by Francisco Bustamante), Arcan Magic (2012, an alchemic typeface based on Cherokee Indian symbology), OK Mr Lopez (2012, open caps face), and Bardot Type (2012, a fashion mag typeface). [Google] [More] ⦿

Panji Nugraha
[Storic Type (or: Flavor Type, or: Flavortype)]

Panos Vassiliou
[Parachute]

Catalog. View all typefaces designed by Parachute.

Parachute
[Panos Vassiliou]

London, UK, and Athens and Kifissia, Greece-based type foundry started in 2001 by Panos Vassiliou. It specializes in fine multilingual (usually Latin, Greek and Cyrillic) typeface families. He is a graduate of the University of Toronto, Canada with a major in Applied Science and Engineering. Following his University of Toronto graduation, he studied Graphic Communications at Ryerson University. Panos Vassiliou has conducted numerous seminars for Canadian companies such as Bank of Nova Scotia, Royal Bank and Sony Canada. He graduated from the University of Toronto/Canada, where he studied Applied Science and Engineering. He has been Creative Director for the Canadian design firm AdHaus, former Publisher of the monthly magazine DNA (Greece) and Secretary-General for the Hellenic Canadian Congress (Ontario, Canada). He has been designing typefaces since 1993, including commercial fonts as well as commissions from Vodafone, Nestlé, Ikea and National Geographic. He started Parachute in 2001 setting the base for a typeface library that reflected the works of some of the best contemporary Greek designers, as well as creatives around the world obsessed with type. Apart from its commercial line of typefaces, Parachute offers bespoke branding services for corporate typefaces and lettering. Customers include Bank of America, the European Commission, UEFA, Samsung, IKEA, Interbrand, National Geographic, Financial Times, National Bank of Greece, Alpha Bank and many others.

Myfonts link. Behance link.

Other type designers at Parachute include Kanella Arapoglou, Alexandros Papalexis, Dimitris Foussekis, Aggeliki Skandalelli, Helen Gabara, Babis Touglis, Vangelis Karageorgos, George Toumbalis, Eva Karapidaki, Charis Tsevis, Pavlos Levendellis, Panos Vassiliou, and George Lygas.

At Granshan 2010, Vassiliou won Second Prize in the Greek text typeface category for PF Encore Sans POro, and First and Second Prizes in the display typeface category for PF Regal Pro and PF Champion Script Pro, respectively. Typefaces:

Adamant
PFAgora Pro: Agora Sans, AgoraSerif, AgoraSlab.
Amateur
PF Archive Pro (2004). He received a design award for his typeface Archive at the E AWARDS 2004. It has special typographic features and multilingual support for all European languages including Greek and Cyrillic.
Armonia
Astrobats
Bague Universal and Bague Sans (2014). A geometric grotesk that dares to be different. Accompanied by Bague Slab Pro (2014), PF Bague Inline Pro (2014), and PF Bague Round Pro (2014).
Baseline
Beatnick
Beau Sans (2011). Inspired by Bernhard Gothic.
A custom didone font for Greece's Benaki Museum (2020-2021).
PF Benchmark Pro (2014).
Bodoni Script (2009).
PF Brummell (2016). A sans characterized by sharp angled terminals and a diamond dot on the i.
Bulletin Sans (2000-2005)
Centro (Centro Sans, Centro Serif, Centro Slab) a typeface originally developed for the redesign of the Financial Times Deutschland. PF Centro Pro family (Sans, Serif, Slab, a trillion styles) won an European Design Award in May 2008 in Stockholm and at Paratype K2009. It was completed by PF Centro Serif Compressed, PF Centro Sans Condensed and PF Centro Sans Compressed in 2015. In 2016, he published PF Centro Slab Press.
PFChampion Script Pro (2004-2008). A much lauded connected calligraphic script that is based on a calligraphic script by Joseph Champion, 1709-1765. Winner at Paratype K2009 and Granshan 2010. Images: i, ii iii, iv, v. The 4245-glyph family comprises Cyrillic, Latin and Greek subfamilies.
Cosmonut (sic) (2002). A retro futuristoc typeface made by Dimitris Foussekis.
PF Das Grotesk Pro (2014). Panos writes: Das Grotesk was inspired by earlier nineteenth-century grotesques, but it is much more related to American gothic designs such as those by M.F. Benton.
DaVinciScript (2001-2006). A Treefrog-style script typeface by Vassiliou and Dimitris Foussekis.
PF Dekka (2014). This solid elliptical sans family was influenced by Monaco's outline version called MPW. It includes PF Dekka Mono.
PF DIN (2010): PF DIN Display (2002-2005), PF DIN Mono, PF DIN Serif (2016; this great serif version of DIN---a first---contains a wealth of goodies: just look at the great weather icons; it won an award at Granshan 2016), PF DIN Stencil Pro (2010), PF DIN Stencil, PF DIN Stencil B (2016), PF DIN Text Pro, PF DIN Text Condensed, PF DIN Text Compressed, PF DIN Text Arabic, and PF DIN Text Universal. With Latin, Cyrillic and Greek coverage, each font has about 1300 glyphs. The designs go back to the lettering of the Prussian railways around 1900. In 2013, PF Din Text Pro was published. In 2021, the three-axis (weight, width, italic) variable type system PF DIN Max saw the light.
Eco Park. A 3d outline face.
PF Encore Sans (2009). A rich and versatile sans family supporting Greek, Latin and Cyrillic.
PF Fuel Pro
PF Fusion Sans (1996-2006)
PF Garamond Classic.
PF Goudy Intials and PF Goudy Ornaments. A winner at Paratype K2009.
PF Grand Gothik (2019). A large grotesque typeface family with three subfamilies and a variable font option. He writes: Grand Gothik is a postmodern, multiscript, multifaceted and variable type system which shines at its heavier extended versions with its hip, expressive, almost brutal energy. Grand Gothik's design space includes 3 axes for weight, width and one for italics. It is available as a variable font or as five separate opentype families---compressed, condensed, normal, wide and extended. Each family comes with 9 weights spanning from Extra Thin to Black plus italics.
PF Handbook (2005-2007, sans family)
HausSquare
HellenicaSerif. Chiseled look, Greek simulation face.
PF Highway Sans (2001-2015). Highway Sans Pro is based on the standard typefaces used for highway signs and other byways open to public travel in the United States. These standards were established by the US Federal Highway Administration in 1966 following several studies which were conducted at the California Department of Transportation in the 1940s. It covers Latin, Greek and Cyrillic.
House Square. A Bank Gothic lookalike.
PF Isotext (2005). Meant for technical documentation, it is modeled after Isonorm.
Kids, KidsStuff
Libera
Lindemann and PF Lindemann Sans (2012).
PF Marlet (2019). A sharp-edged humanist sans family fit for fashion mags: Marlet Titling, Marlet Finesse, Marlet Swash, Marlet Display, Marlet Text. PF Marlet, collected three awards one after the other, a year after appearing on Luc's best-of-2019 list. First, the coveted TDC Certificate of Typographic Excellence 2020 (at 23RDC), followed by another one from European Design Awards, a third distinction from Tokyo TDC and a fourth crown, Red Dot Award 2020, all in 2020.
Mechanica A and B, 2002-2006. Octagonal families.
PF Mellon (2019). A modernist variable grotesque influenced by nineteenth and early twentieth century condensed sans serif typefaces such as Stephenson Blake's Grotesque No.77 and ATF's Alternate Gothic.
PF Monumenta (2002-2006). A majestic lapidary roman family.
Muse
Online (One, Two and Three). Pixelish family.
PF Ornamental Treasures (2008). Byzantine ornaments and borders.
PF Pixelscript
Playskool
Psychedelia (2003, Dimitris Foussekis). A psychedelic typeface.
Regal Pro and Regal Finesse Pro: Award-winning high fashion display didone families, 2010-2012, originally designed for the Grazia magazine. Awards include Red Dot Awrd 2012, Communication Arts Annual Competition 2012, Creative Review Type Annual 2011, European Design awards 2011, EBGE awards 2011, Granshan Awards 2010. See also PF Regal Swash and PF Regal Stencil.
PF Reminder Pro (2003). A hand-printed typeface.
Scandal
PF Spekk (2020). A simple versatile geometric sans for Latin, Greek and Cyrillic.
PF Square Sans Pro, PF Square Sans Condensed Pro (2013).
PF Stamps (2002-2006). A grungy stencil typeface by Panos Vassiliou and George Lygas.
PF Synch Pro (2006). An industrial strength slab-serif typeface.
PF UEFA Super Cup (2013).
PF Uniform
PF Venue (2017). Semi art deco, and free-spirited, a great poster typeface family.
VideoText
PF Wonderbats (2003). Funky and strange animals.
Wonderland (2006). By Dimitris Foussekis.

Their type blog is called Upscale typography.

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

Pascal Naji Zoghbi
[29 Letters]

Pasha Larin
[Larin Type Co]

Patria Ari (was: Patria Std)
[Patria Ari Wijonarko]

Temanggung, Indonesia-based designer who graduated from Yogyakarta State University in 2015. Creator of the display typefaces Meizda (2020), Round Page, Zebudabi (2020), Ballsquash (a plumpish script) (2020), Bundhers (an informal brush font) (2020), Sabinka (a monolinear condensed children's book font) (2020), Plutonian (an aerospace font) (2020), Playcute (inline) (2020), Raccosetta (a modulated fashion mag sans) (2020), Rhiccus (a chunky display sans in nine styles) (2020), Slenco (a ten-style headline sans), Zaptron (2020: futuristic), Solander (2020), Rolhausen (2020: an automotive industry sans), Willynta (2020), Strandall (2020), Boldatin (2020: stylish, all caps), Bulluck (2020), Morington (2020) and Jalompo (2020), Malegroth (2020: blackletter), the monolinear playful children's book sans typeface Sundylle (2020), the signage script typeface Blankeny (2020), and the cursive typeface Chunky Wally (2020).

Typefaces from 2021: Hundred Ligature (an all caps sans with many ligatures), Space Captain (a trekkie font), Zebudabi (hand-printed), Gampolins (a bubblegum font), Calinastiya (an upright rabbit ear script), Chunky Wally (a heavy cursive font), Wavy Lines, Shearlight, Chantego, Ringtrack, Chillgangs (a fat finger font), Jelantik (an upright script), Noyram (a fat dry brush script). [Google] [MyFonts] [More] ⦿

Patria Ari Wijonarko
[Patria Ari (was: Patria Std)]

Patricia Sartori

Italian codesigner with Andrea Braccaloni (Leftloft) of the extreme didone titling typeface LL Officiel (or: L'Officiel Titles) for French fashion magazine L'Officiel. [Google] [More] ⦿

Patrick Griffin

Type designer at Canada Type. Wikipedia tells us that Patrick Griffin had been locked away in a mental institution by Carter and Barbara, after he walked in on his mother performing oral sex on Jackie Gleason. He had a nervous breakdown and was sent to a mental hospital, where he came to the conclusion that Gleason was evil because he was fat, leading him to hate fat people. However, that is a different Patrick Griffin. The real Patrick Griffin, a graduate of York University, lives and works in Toronto, where he founded Canada Type and made it the most successful Canadian type foundry. His work is summarized in this 2009 interview by MyFonts. It includes lots of custom work for banks, TV stations, and companies/groups like New York Times, Pixar, Jacquin's, University of Toronto, and the Montreal Airport. His retail fonts include the following.

Ambassador Script (2007): a digital version of Juliet, Aldo Novarese's 1955 almost upright calligraphic (copperplate style) connected script, with hundreds of alternates, swashes, ends, and so forth. Done with Rebecca Alaccari.
Autobats (2005).
Ballantines Twelve (2014). A custom typeface for Allied Domecq Spirits & Wine Limited, the brand owner of Ballantine's Scotch Whisky.
Bananas (2020). An 18-style informal sans.
P22 Barabajagal (2018): P22 Barabajagal is a unique take on the display fat face by way of doodling fun. Somewhat informed by the shapes of an uncredited 1960s film type called Kap Antiqua Bold, this font's aesthetic is the stuff of boundless energy and light humour. This is the kind of font that makes you wonder whether it was drawn with rulers, protractors and compasses, or just by a mad doodler's crazy-good free hand.
Bigfoot (2008), the fattest font ever made (sic).
Blackhaus (2005), an extension of Kursachsen Auszeichnung, a blackletter typeface designed in 1937 by Peterpaul Weiß for the Schriftguss foundry in Dresden.
Blanchard (2009): a revival and elaborate extension of Muriel, a 1950 metal script typeface made by Joan Trochut-Blanchard for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud.
Bluebeard (2004), a blackletter face.
Book Jacket (2010): this is a digital extension of the film type font Book Jacket by Ursula Suess, published in 1972.
Boondock (2005): a revival of Imre Reiner's brush script typeface Bazaar from 1956.
Borax (2011-2021). An ode to the typography scene of New York City and Chicago in the late 1970s.
Broken (2006): grunge.
Bunyan Pro (2016, Patrick Griffin and Bill Troop). Bunyan Pro 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.
Chalice (2006). Religious and Cyrillic influences.
Chapter 11 (2009): an old typewriter face.
Chikita (2008): an upright ronde script done with Rebecca Alaccari, and rooted in the work of 1930s Dutch lettering artist Martin Meijer.
Clarendon Text (2007). A 20-style slab serif that uses inspiration from 1953 typefaces by Hoffmann and Eidenbenz and the 1995 font Egizio by Novarese.
Classic Comic (2010).
Coconut and Coconut Shadow (2006). Great techno pop typefaces.
Coffee Script (2004): the digital version of R. Middleton's Wave design for the Ludlow foundry, circa 1962. Designed with Phil Rutter.
Colville (2017). A set of sans headline typefaces based on letters used by Canadian painter Alex Colville.
Comic book typefaces: Caper or Caper Comic (2008), Captain Comic (2007), Classic Comic (2010), Collector Comic (2006, a comic balloon lettering family), Common Comic (2013).
Counter (2008): A futuristic beauty with a double-lined cursive thrown in. Available exclusively from P22. This typeface was based on the idea for an uncredited film typeface called Whitley, published by a little known English typesetting house in the early 1970s.
Cryptozoo (2009): Late director of design for VANOC, the Vancouver 2010 Olympic Committee, Leo Ostbaum, commissioned Canada Type to make a typeface for the Vancouver Winter Olympics. Patrick Griffin came up with a rounded signage font called Cryptozoo, whose Notice reads Concept and design by Leo Obstbaum, VANOC Brand & Creative Services. Additional character data and technical production by Canada Type. Copyright 2007 VANOC Brand&Creative Services.
Dads Handwriting (2014, custom typeface).
Dancebats (2004).
Davis (2016, a slab serif) and Davis Sans (2016). Typeface families designed for precision-engineered corporate use. All proceeds will go towards higher education expenses of design graduates.
Dokument Pro (2014). This is a reworking of a typeface made in 2005 by the late Jim Rimmer: Jim Rimmer aptly described his Dokument family as a sans serif in the vein of New Gothic that takes nothing from News Gothic. Dokument Pro is thoroughly reworked and expanded, with different widths still in the pipeline.
Dominion (2006). Based on an early 1970s film type called Lampoon. Dominions severely geometric shapes are a strange cross between early Bauhaus minimalism and later sharp square typefaces used for instance in Soviet propaganda posters.
Doobie (2006). 60s psychedelic style.
Driver Gothic (2008): based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this typeface is very similar to, if not outright identical with, the typeface used on car plates in 22 American states: Arizona, California, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia. Ideal for license plate forgers.
Expo (2004): an octagonal family.
Fab (2007). A tube-design family reminiscent of the 1980s. Ricardo Cordoba writes: Fab reminds me of leafing through my first Letraset catalog in the mid-1980s all those decorative typefaces with rounded ends and tubular shapes, trying to imitate the look of neon signage. But Fab, with its contemporary twist on that aesthetic, and its unicase characters, manages to look like a cross between Cholla Bold and Frankfurter Highlight. Its handtooled, narrow shapes are perfectly suited to pop subject matter and bright colors. Fab Trio can be used to create layered chromatic effects, but its components can stand alone, too. The Seventies sure aint drab in Patrick Griffin's hands.
Fantini (2006). An update of the curly art nouveau typeface Fantan, a film type from 1970 by Custom Headings International.
Feather Script (2012). A revival of an old Lettering Inc font from the 1940s, known then as Flamenco.
Fido (2009) is the official font of dog owners everywhere. Has Saul Bass influences.
Filmotype fonts: Filmotype Ace (2015; based on a Filmotype script from 1953), Alice (2008, a casual hand-printed design based on a 1958 alphabet by Filmotype), Filmotype Arthur (2015; based on a Filmotype script from 1953), Athens (2014), Filmotype Brooklyn (2009, a casual script based on a 1958 Filmotype font), Filmotype Candy (2012), Filmotype Carmen (2012), Filmotype Hemlock (2013, a retro signage script), Hickory (2014), Filmotype Homer (2014, a brush signage script), Filmotype Hudson (1955, based on a 1955 original), Filmotype Jessy (2009, a flowing upright connected script based on a 1958 design by Filmotype), Filmotype Jupiter (2015; based on a Filmotype brush script from 1958), Filmotype Kellog (2013), Filmotype Lakeside (2013, a retro signage typeface), Filmotype Leader (2013), Filmotype Liberty (2015; based on a Filmotype brush script from 1955), Filmotype Giant (2011, a condensed sans done with Rebecca Alaccari) and its italic counterpart, Filmotype Escort (2011, done with Rebecca Alaccari), Filmotype Keynote (2013, a connected bold advertising script), Filmotype Lacrosse (2013, a retro script from the 1950s sometimes used in department store catalogs of that era), Filmotype LaSalle (2008, based on a 1952 retro script by Ray Baker for Filmotype), Filmotype Harmony (2011, original from 1950 by Ray Baker), Filmotype Kentucky (a 1955 original by Ray Baker), Filmotype Kingston (a 1953 original by Ray Baker), Filmotype Lucky (2012, based on a font by Ray Baker), Filmotype Hamlet (a 1955 original by Ray Baker), Filmotype Panama (2012, a flared casual serif typeface based on a 1958 original), Filmotype Prima (2011, with Rebecca Alaccari), Filmotype Quiet (2010, based on a 1954 military stencil typeface by Filmotype), Filmotype Yale (2012, a wedding invitation script based on a 1964 original by Filmotype), Filmotype York (2014).
Flirt (2005). Based on an art deco typeface found in a Dover specimen book.
P22 Folkwang Pro (2017, at P22). A revival of Hermann Schardt's Folkwang (1949-1955, Klingspor).
Fuckbats (2007).
Fury (2008): an angry techno family.
Gala (2005, expanded in 2017). By Griffin and Alaccari. Gala is the digitization of the one of the most important Italian typefaces of the twentieth century: G. da Milanos 1935 Neon design for the Nebiolo foundry. This designs importance is in being the predecessor - and perhaps direct ancestor - of Aldo Novareses Microgramma (and later Eurostile), which paved the worlds way to the gentle transitional, futuristic look we now know and see everywhere. It is also one of the very first designs made under the direction of Alessandro Butti, a very important figure in Italian design.
Gallery (2004): art deco.
Gamer (2004-2006), by Griffin and Alaccari: modeled after a few 1972 magazine advertisement letters, the origin of which was later identified as a common film type called Checkmate.
Gaslon (2005): a modification of A. Bihari's Corvina Black from 1973.
Gator (2007). A digital version of Friedrich Poppl's Poppl Heavy (1972), which in turn was one of the many responses by type designers to Cooper Black.
Genie (2006): a psychedelic typeface based on a 1970s film type called Jefferson Aeroplane.
Gibson (2011, with Kevin King and Rod McDonald). This 8-style humanist sans family is a revival of McDonald's own Monotype face, Slate. It was named to honour John Gibson FGDC (1928-2011), Rod's long-time friend and one of the original founders of the Society of Graphic Designers of Canada. All the revenues from its sale will be donated by Canada Type to the GDC, where they will be allocated to a variety of programs aiming to improve the creative arts and elevate design education in Canada.
Go (2005): a techno face.
Goudy Two Shoes (2006): a digitization and expansion of a 1970s type called Goudy Fancy, which originated with Lettergraphics as a film type.
Gumball (2005). A bubblegum font modeled after Richard Weber's 1958 font, Papageno.
Hamlet (2006): medieval. Based on an old type called Kitterland.
Happy (2005). Happy 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.
Heathen (2005). A grunge calligraphic script: The original Heathen was made by redrawing Phil Martin's Polonaise majuscules and superposing them over the majuscules of Scroll, another Canada Type font. The lowercase is a superposition of Scrolls lowercase atop a pre-release version of Sterling Script, yet another Canada Type font.
Hortensia (2009): a semi-script Victorian typeface modeled after Emil Gursch's Hortensia (1900). Codesigned with Rebecca Alaccari.
Hunter (2005). A revival of a brush script by Imre Reiner called Mustang (1956).
Hydrogen (2007, a rounded geometric unicase family.
Informa (2009): a comprehensive 36-style sans serif text family based on traditional lettering. He says: While some typefaces classified as such exhibit too much calligraphy (like Gill Sans, Syntax and Optima), and others tend to favor geometric principles in rhythm and proportion (like Agenda, Frutiger and Myriad), Informa stays true to the humanist ideology by maintaining the proper equilibrium between the two influences that drive the genre, and keeping the humanist traits where they make better visual sense.
Jackpot (2005): The idea for Jackpot came from a photo type called Cooper Playbill, which as the name implies was simply a westernized version of Cooper Black. The recipe was simple: Follow Mr. Coopers big fat hippy idea, cowboy it with heavy slabs, give it true italics, then swash away at both for beautiful mixture. And there you have the bridge between groovy and all-American. There you have the country lover shaking hands with the rock and roll enthusiast. There you have your perfect substitute for the very overused Cooper Black.
Jazz Gothic (2005): an expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare. Image.
Jezebel (2007).
The psychedelic typeface Jingo (2014, with Kevin Allan King): This is the digital makeover and major expansion of a one-of-a-kind melting pot experiment done by VGC and released under the name Mardi Gras in the early 1960s. It is an unexpected jambalaya of Art Nouveau, Tuscan, wedge serifs, curlycues, ball endings, wood type spurs and swashes, geometry and ornamental elements that on the surface seem to be completely unrelated.
Johnny (2006): with Rebecca Alaccari; based on Phil Martin's Harem or Margit fonts from 1969.
Jupiter (2007): based on Roman lettering.
P22 Klauss Kursiv (2018). A revival, at P22, of Karl Klauss's crisp fifties script typeface Klauss Kuriv (1956-1958, Genzsch & Heyse).
Latex (2015). A layered all caps decal typeface.
Leather (2005): an expansion of Imre Reiner's blackletter typeface Gotika (1933).
Libertine (2011). Libertine (done with Kevin Allan King) is an angular calligraphic script inspired by the work of Dutchman Martin Meijer (1930s): This is the rebel yell, the adrenaline of scripts.
Lionheart (2006). A digitization and extension of Friedrich Poppl's neo-gothic typeface Saladin.
Lipstick (2006): handwriting. Plus Lipstick Extras.
Louis (2012). A faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927, and redrawn in 1993 by Rod McDonald as Stylu.
Maestro (2009) is a 40 style chancery family, in 2 weights each, with 3350 characters per font, co-designed with calligrapher Philip Bouwsma. This has to be the largest chancery/calligraphy family on earth.
Magellan (2014). A custom stencil typeface.
Martie (2006). Done with Rebecca Alaccari. Based on the handwriting of Martie S. Byrd.
Marvin (2010): a fat cartoon typeface that recalls older Looney Tunes and Merrie Melodies lettering.
In 2013, Kevin Allan King and Patrick Griffin revived Georg Trump's transitional typeface Mauritius (1967, Weber).
Memoriam (2009): An extreme-contrast vogue display script which was commissioned by art director Nancy Harris for the cover of the 2008 commemorative issue of the New York Times magazine. He also did the typography and fonts for the 2010 issue. This became an unbelievably successful family, and was extended in 2011 with headline, Outline and Iline variants.
Merc (2007). Based on an all-cap rough-brush metal typeface called Agitator, designed by Wolfgang Eickhoff and published by Typoart in 1960.
Messenger (2010), a calligraphic script. Patrick Griffin writes about Messenger (2010, Canada Type): Messenger is a redux of two mid-1970s Markus Low designs: Markus Roman, an upright calligraphic face, and Ingrid, a popular typositor-era script. Through the original film typefaces were a couple of years apart and carried different names, they essentially had the same kind of Roman/Italic relationship two members of the same typeface family would have. The forms of both typefaces were reworked and updated to fit in the Ingrid mold, which is the truer-to-calligraphy one.
Middleton Brush (2010): a redigitization of R.H. Middleton's connected brush typeface Wave, ca. 1962; see also an early Canada Type face, Coffee Script.
Miedinger (2007). Created after Max Miedinger's 1964 face, Horizontal. Canada Type writes: The original film typeface was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This typeface is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces a new lighter weight alongside the bold original..
Militia (2007). An octagonal and threatening stencil.
Militia Sans (2007).
Monte Cristo (2012, with Kevin Allan King) is a grand type family with five styles and 1630 characters with many swashes and ways of connecting the calligraphic glyphs---it is the ultimate wedding font.
Neil Bold (2010): an extension of the fat typeface Neil Bold (1966, Wayne J. Stettler).
Nightlife (2005): inspired by a pre-desktop publishing grid design by L. Meuffels.
Nuke (2005): a fat stencil grunge weith pizzazz.
In 2011, he and Kevin Allan King published the refined Orpheus Pro family, which was based on the elegant Orpheus by Walter Tiemann (1926-1928, Klingspor), and its Italic which was called Euphorion (Walter Tiemann, 1936). Their enthusiastic description: The Orpheus Pro fonts started out as a straightforward revival of Tiemann's Orpheus and Euphorion. It was as simple as a work brief can be. But did we ever get carried away, and what should have been finished in a few weeks ended up consuming the best part of a year, countless jugs of coffee, and the merciless scrutiny of too many pairs of eyeballs. The great roman caps just screamed for plenty of extensions, alternates, swashes, ligatures, fusions from different times, and of course small caps. The roman lowercase wanted additional alternates and even a few ligatures. The italic needed to get the same treatment for its lowercase that Tiemann envisioned for the uppercase. So the lowercase went overboard plenty alternates and swashes and ligatures. Even the italic uppercase was augmented by maybe too many extra letters. Orpheus Pro has been a real ride. Images of Orpheus: i, ii, iii, iv, v.
Outcast (2010): a grunge family.
Oxygen (2006): a great grid-based design.
Paganini (2011,(with Kevin Allan King) is another jewel in Canada Type's drawers: Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text typeface with obvious roots in the oldstyle of the Italian renaissance, its contrast reveals a clear underlying modern influence.
The last joint project of King and Griffin in 2012 was Pipa, a pseudo-psychedelic groovy bellydancing font: Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography.
Player (2007). An 11-style athletic lettering family.
Plywood (2007): a retro typeface based on Franklin Typefounders's Barker Flare from the early 1970s.
Press Gothic (2007). A revival of Aldo Novarese's Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blakes Impact.
Quanta (2005, stencil). Two weights, East and West.
In 2011, Kevin Allan King and Patrick Griffin completed work on an exceptionally beautiful revival, Ratio Modern (the original by F.W. Kleukens is from 1923). This is a didone family with a refined humanist trait.
Rawhide (2006): a bouncy Western saloon font based on cover page lettering of the Belgian comic book series Lucky Luke.
Recta (2011, with Kevin King). This is eighteen-stye sans family that extends Novarese's Recta.
Rhino (2005): a revival of the informal typeface Mobil (1960, Helmut Matheis, Ludwig&Mayer).
Normandia (2021, by Patrick Griffin and Hans van Maanen). A digital revival of the fatface typeface Normandia by Alessandro Butti at Nebiolo (1946-1949).
Noteworthy (2009). A font commissioned for the Apple iPad. It is based on Griffin's earlier revival typeface Filmotype Brooklyn.
Ronaldson Regular (2008, with Rebecca Alaccari), a 17-style oldstyle family based on the 1884 classic by Alexander Kay, Ronaldson Old style (MacKellar, Smith&Jordan). Griffin reconstructed this family from the metal typeface and from many scans from rare documents provided by Stephen O. Saxe, Philippe Chaurize and Rebecca Davis.
Roos (2009): A 10-style revival of Sjoerd Hendrik de Roos's De Roos Romein (1948), created in cooperation with Hans van Maanen.
Robur (2010): Done with Kevin King, this set of two fonts revives Georges Auriol's Robur Noir from 1909.
Runway (2004): racetrack lettering.
Rush (2005): futuristic.
Sailor (2005): digital rendition of West Futura Casual (late 1970s film type).
Salden (2019, by Hans van Maanen and Patrick Griffin). A grand effort to collect the lettering of Dutch book and book cover designer Helmut Salden in a series of typefaces.
Salome (2008). Done with Rebecca Alaccari, this is a revival and expansion of a photolettering era typeface called Cantini (1972, Letter Graphics).
Santini (2004): Bauhaus-inspired architectural lettering.
One of Heinz Schumann's unpublished typefaces from the early 1960s was revived in 2017 by Patrick Griffin and Richard Kegler at P22 as P22 Schumann Pro.
Screener (2006): an extensive octagonal family, including Screener Symbols.
Sears Social (2014). A custom typeface family that includes Sears Social Monocase.
Secret Scrypt (2004): four shaky script styles done for a New York restaurant. With Alaccari.
Semplicita Pro (2011). A grand revival of Alessandro Butti's Futura-like Semplicità, executed between 2009 and 2011 by Patrick Griffin and Bill Troop. Image of the Medium weight.
Shred (2010): an octagonal heavy metal face.
Siren Script (2009-2010): Done with Rebecca Alaccari, this six-style script family is based on the metal typeface Stationers Semiscript (BBS, 1899).
Skullbats (2005).
Serial Killer (2005): bloody.
Slang (2004): a blood scratch face.
Slinger (2010): a flared art nouveau face.
Social Gothic (2007). After Tom Hollingsworth's Informal Gothic, a squarish unicase grotesk done in 1965. Followed by Social Stencil (2011-2012) and Social Gothic 2 (2014).
Soft Press (2012). A rounded version of Canada Type's Press Gothic.
Sol Pro (2010): a 20-style revival and extension of the monoline sans typeface Sol by Marty Goldstein and C.B. Smith (1973, VGC), done with Kevin Allan King. Griffin writes: This is not your grandfather's Eurostile. This is your offspring's global hope, optimism, and total awareness.
Spade (2012). A super-heavy slab face, done with Kevin King.
Spadina (2010): a psychedelic / art nouveau revival with Kevin Allan King of Karlo Wagner's Fortunata (1971, Berthold).
Sterling Script (2005): done with Rebecca Alaccari. Sterling Script was initially meant to a be digitization/reinterpretation of a copperplate script widely used during what effectively became the last decade of metal type: Stephenson Blake's Youthline, from 1952. Many alternates were added, so this is a virtually new type family.
Sultan: a Celtic-Arabic simulation typeface after "Mosaik" (1954) by Martin Kausche.
Stretto (2008) is a revival and expansion of the reverse stress font Sintex 1 (Aldo Novarese, Nebiolo and VGC, 1973), a funky nightclub face. It was used as the basis of Cowboy Hippie (2010, CheapProFonts). Similar typefaces include ITC Zipper (1970) and Berthold Beat Star (1972).
Symposium Pro (2011). This Carolingian family was drawn by Philip Bouwsma. Patrick helped with the production.
Tabarnak (2012) and its shaded version, Tabarnouche (2012). Lovingly named to attract business from Quebec, this is a packaging or signage pair of fonts.
Taboo (2009) is a geometric display typeface that was inspired by lettering by Armenian artist Fred Africkian in 1984.
Testament (2010): a calligraphic uncial family done with Philip Bouwsma.
Tomato (2005): done with Rebecca Alaccari, this is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare.
Treasury (2006): a huge type family based on a calligraphic script by Hermann Ihlenburg from the late 19th century. Canada Type writes: The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results. Treasury goes beyond being a mere revival of a typeface. Though the original Treasury script is quite breathtaking in its own right, we decided to bring it into the computer age with much more style and functionality than just another lost script becoming digital. The Treasury System is an intuitive set of fonts that takes advantage of the most commonly used feature of todays design software: Layering.
Trump Gothic (2005): a revival and expansion of two different takes on Signum (1955, Weber), Georg Trumps popular mid-twentieth-century condensed gothic: Less than one year after Signum, the Czech foundry Grafotechna released Stanislav Marso's Kamene, a reinterpretation of Signum. The differences between the two were quite subtle in most forms, but functionally proved to offer different levels of visual flexibility. Marso changed a few letters, most notably the wonderful a and g he added, and also made a bold weight. Trump Gothic West is a revival of Trump's original Signum, but in three weights and italics for each. Trump Gothic East is a revival of Marso's Kamene, but also in three weights and corresponding italics.. In 2013, Patrick Griffin redrew and optimized these condensed and ultra-economical typefaces in his Trump Gothic Pro and the rounded version, Trump Soft Pro.
Trump Script (2010) revives the African look script by Georg Trump called Jaguar (1962). An improvement on an earlier Canada type family called Tiger Script.
Tuba (2010).
Valet (2006): inspired by an uncredited early 1970s all-cap film type called Expression.
Veronica Polly (2005).
Vintage Deco (2017).
Vox (2007): a 24-style monoline sans family done with Rebecca Alaccari. This was followed in 2013 by a softer version, Vox Round.
Wagner Grotesk (2010): a sturdy grotesk, after a typeface from the Johannes Wagner foundry. Kevin King is also credited.
Wagner Script Pro (2011). Done together with Kevin King, this is a revival of Troubadour (1926, Wagner&Schmidt).
King and Patrick Griffin published Wonder Brush in 2012. This is partly based on a signage brush script called Poppl Stretto (1969) by Friedrich Poppl.
Opentype programming help for several fonts by Michael Doret, such as Deliscript (2009), Dynascript (2011) and Steinweiss Script (2010). Deliscript (a winner at TDC2 2010) is an upright connected script with accompanying slanted version. Steinweiss Script is a 2200-glyph curly script typeface called Steinweiss Script (2010), which captures a lot of the spirit of Steinweiss's album covers from the late 1930s and 1940s.
HWT Tangent (2021, at P22). This revives a Morgans & Wilcox wood typeface known as Tangent in the Hamilton Manufacturing collection (after Hamilton took over Morgans & Wilcox).
Patrick Griffin did the final mastering in 2021 for P22 Underground Pro, which was developed over the years by Richard Kegler (1997), Paul D. Hunt (2007) and finally, Dave Farey (2021) and James Todd (2021). This comes close to being thee ultimate implementation of Johnston's Underground.
Filmotype Andrew (2021). A bold and wide extension of the retro casual script font Filmotype Athens.
Ronaldson Pro (2021). A revision and extension of Griffin's 2006 font, Ronaldson Old Style. It now has four weights and two variable fonts.

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

Patrick Seymour

Super-talented Montreal-based illustrator and digital artist. Home page. He created several modular typefaces in 2011.

In 2012, he created Muse, Gotham Streets (a prismatic typeface), Slinky, Stencil, Tulipe (counterless), Bad Billy (multilined, art deco), The Great Carnival (beveled caps), Web Font (prismatic), Jump Jump Font (octagonal), Fashion (a horizontally striped typeface), OK (prismatic), The Aviator (horizontally striped poster face), La Bonne Aventure (prismatic and slightly art deco), the rope-themed typeface Noeud Marin, the shaded boat name typeface Bleu Marine, the multiline caps typeface Origami, the moustache-inspired caps typeface Mous Type (ornamental moustache-shaped capitals), the multilined display typeface Empire, the hand-drawn Une Typo Faite A La Main, and the prismatic typeface Anabelypster. After a bout of salmonella, he created Intestino, still in 2012. In Motion (2012) is an awesome prismatic art deco typeface.

Images of his stunning work from 2011: i, ii, ii, iv, v, vi, vii, viii, ix, x.

His Cathédrale project (2011) starts from a squarish face and transforms it gradually into one that contains the features of a cathedral.

Creations in 2013: Shapes (geometric font), Gold Deco, Dentelle, Twist, Sleek (a thin slab serif), Say Say Say (multiline, prismatic, hypnotic), Metrick (a gridded typeface), Film Noir (an overlay type system), Tam Tam, Diner (a striped all caps typeface), Spot Light Font (prismatic), Flora, Bright Diamond, Incandescent, XVII (multilined display face), Konga (a multiline script), Shiny Diamond, Splash (paint font), Chicago (prismatic neon tube face), Taxi (a wonderful multiline typeface), Papale (religious symbology alphabet made to mock the papal system), Empreinte (pure op-art), Broken Arrow Font (multiline caps face), Liquid Paper Font, Sunset (prismatic), Boogie (Broadway-style art deco family), New Art Deco (prismatic art deco face), Poule de Luxe, Burnout (a prismatic typeface), Marble Maze Font, M Gagnon (ornamental caps influenced by the design work of Denis Gagnon).

FontStruct fonts: Test3 (2012), Jump Jump 2 (2012).

Typefaces made in 2014: Moiré, Decora, Magnetic, Noise (TV noise emulation), Yes (multilined font), Broderie (braided letters), SAS (multilined), Full House, Heart Font (prismatic), 1976 (inspired by the 1976 Olympic Games in Montreal), Gold (prismatic art deco typeface), Lace, Bike.

Typefaces from 2015: Detour, Allie X, Grad Font, Duct Tape, Mint Julep (bilined art deco beauty), Hourglass, Stuntman (prismatic), La Dame de Coeur (playing card font), Fog.

Typefaces from 2016: Road Free (a free prismatic font), Solitaire (card font), Joliette, Denis (named after Montreal's mayor, Denis Coderre), Montreal (a prismatic typeface based on the logo of the city of Montreal), Cherry Cola Font, Bro & Co (multilined art deco beauty), Macramee (multilined).

Typefaces from 2017: The Simple Font (sans), Le Cabinet (multilined neo deco).

Typefaces from 2018: Atrium (a sublime multiline art deco beauty), Pride (a color font to support the LGBT community).

Typefaces from 2019: Columbarium (a beveled typeface), The Invisible Font, The Usual Font, Recettes d'Ici (handcrafted style for menu design), Vinyl (multiline), Gasoline (a gasoline spill textured font), Reflet, Mint Soda (a fashion mag extravaganza), Glamarrr (a sailor or pirate font).

Typefaces from 2020: Siren (a wonderful mermaid-themed initial caps font, half Engravers MT and half mermaid), Homa (decorative caps), Luna (blocky caps), Chicken Bone, Happier (an all caps 3d color font), Dollara (a polygonal typeface), Stay Home, Mundo Disko (prismatic).

Typefaces from 2021: Deliria, The National Bank Open font (created for a tennis tournament).

Behance link. Hellofont link (for buying his fonts).

Typefaces from 2022: Trumpets (deco caps). [Google] [More] ⦿

Paul Barnes
[Modern Typography]

Paul Harpin

British designer who worked for Condé Nast in the 1980s. Paul Harpin created his first typeface, Laura---a twelve-weight typeface family--in 2014, assisted by Paul Hickson. It is named after his niece Laura, who died of cancer, and has Display, Stencil, Ribbon and Regular styles. In 2017, he co-founded London Type. At London Type he published these typefaces:

LDN Mammoth Woodblock and LDN Mammoth (2019), which is based on a hand drawn letterpress style headline typeface by artwork expert Peter Taylor.
LDN CircleLine (2019), with single, double and triple line typefaces. He writes: LDN CircleLine is an eclectic slab serif in eight overlapping styles [...] to work well on their own or as stackable layers. Paul drew inspiration from several sources; the Post Office Double Line typeface designed by John Miles (Banks & Miles), the simplicity of the London Underground symbol, and by Lance Wyman's designs for the 1968 Olympic Games.
London Hoxton Square (2019). An extra black, slab serif headline font, where every character is the same width and fits into a square for alignment purposes.
The high contrast fashion mag typeface Kondon Modern (2019).
London Mixed (2019). Three styles, from a humanist sans to slab.
London Grace Roman (2019). A roman inscriptional caps typeface.
LDN Southbank (2020). A sturdy slab serif inspired by London during the Festival of Britain era. Accompanied by its art school and more experimental cousin LDN Northbank (2020).
LDN Queenstown (2020). A single weight slightly quirky ultra light monolinear typeface that takes inspiration from a sketch of an early sans by the Victorian calligraphic artist John Vinycomb Esq. Paul writes: Vinycomb was probably about 120 years ahead of the game, and Queenstown faithfully retains some of the charmingly unusual letterforms of JV's early modern sans serif. Characters of note include a gorgeous pince-nez letter g and a long tailed cap Q, one of four Q alternates.

[Google] [More] ⦿

Paula Fraysse

During her graphic design studies in Buenos Aires, Paula Fraysse created the high-contrast fashion mag typeface Living Thoughts (2014). [Google] [More] ⦿

Paula Nazal Selaive

Santiago de Chile-based creator of Selaive (2011, Latinotype), a geometric monoline sans with an extreme hairline weight, a bold, and several curly alternates. She also made the curly swashy script typeface Dulce (2011; Dulce Pro appeared in 2013 at Latinotype). Dulce has slight teardrop terminals.

In 2012, she and Daniel Hernandez created the Bosque family at Latinotype, which comes with six variants, Normal, Wood, Shadow, Wood Shadow, Dingbats and Shadow One. Julieta is a curly swashy thin monoline typeface family. Romeo (Latinotype) is a swashy curly condensed unicase typeface.

In 2013, with Daniel Hernandez, she designed the layered type system Trend, also at Latinotype. See also Trend Rough (2014).

In 2014, together with Daniel Hernandez, she created the upright good-spirited coffee shop script Showcase. It is morally supported by a set of Ornaments and a few Sans and Slab styles.

Revista (2015, Paula Nazal Selaive, Marcelo Quiroz and Daniel Hernandez, at Latinotype) is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. It has Revista Script (connected style), Revista Stencil, Revista Dingbats, Revista Inline and the didone Revista all caps set of typefaces. Revista won an award at Tipos Latinos 2016.

In 2016, she designed the delicate display didone typeface family Camila (Latinotype), for which she was influenced by Coco Chanel.

In 2017, Paula Nazal and Daniel Hernandez co-designed Trenda, a geometric sans family based on the uppercase of Trend. The rounded edge version of Trenda is Boston [corrections and review by Alfonso Garcia and Rodrigo Fuenzalida].

In 2018, Paula Nazal and Daniel Hernandez co-designed the monoline connected script font Save The Date.

Facundo (2020, Paula Nazal Selaive and Daniel Hernandez, at Latinotype) is a 14-style geometric sans family. [Google] [MyFonts] [More] ⦿

Paulo Goode

English designer in West Cork, Ireland. In 2014, he designed the classical roman caps typeface Carrig---not Trajan, but still influenced by stone carving. He also created the similar typefaces Carrig Roman (2015), Carrig Italic (2015), Carrig Refined (2015), Carrig Rough (2016), Carrigeen (2014), and Carrig Pro (2017). Woodford Bourne (2015, 8 weights for 16 fonts in all, from Hairline to Black) is a 19th century grotesque typeface that pays homage to the historic stone cast type in the building façades of the former Woodford, Bourne & Co. in Cork City, Ireland. It was imprioved and extended in 2016 as Woodford Bourne Pro. Arundel (2015) is a beveled medieval typeface.

Typefaces from 2016: Didonesque (didone headline typeface characterized by a large x-height and slightly curved v, w and y), Fnord (a serif family designed with a mischievous streak), Fnord Display (in Engraved, Inline and Woodcut styles), Eponymous (an experiment with chunky serifs), Pseudonym (a subtly falred sans with interlocking and unicase features).

Typefaces from 2017: Didonesque Ghost (a stylish very contrasted didone typeface family), Banjax (humanist sans, followed in 2018 by Banjax Notched), Faded Grandeur (inspired by stone engravings that have withered and decayed over time), Torus (a rounded monoline organic sans; see also Torus Variations (2018): Torus Notched, Torus Inline, Torus Outline and Torus Biline), Meccanica (an intoxicating nuts and bolts-style engineering typeface).

Typefaces from 2018: Eurocine (this is in the wide elliptical sans genre: This typeface attempts to capture the mood of movie credits from European Cinema in the 1970s, with a focus on Giallo films in particular. In terms of style, Eurocine sits somewhere between Walter Baum and Konrad Friedrich Bauer's Folio, and Aldo Novarese's Eurostile), Polyphonic (a 60-font slab serif family), Majesty (flared, incised), Verbatim (a 60-font sans family that was inspired by the best (and worst) of 1970s science fiction TV shows and movies, and aims to extract the essence of futuristic type from that era).

Typefaces from 2019: Didonesque Script, Modica (an 18-style geometric sans that came from Technica), Technica (a more conservative rounded geometric sans / techno family than his earlier Meccanica), Rhetoric (a semi-cursive typeface), Quorthon (blackletter, in Black, Dark and Grey substyles), Yolk (a sans family based on the shape of an egg yolk), Transcend (an all caps titling typeface), Ergonomique (a humanist sans in 18 styles), Eloquence (a renaissance font family), Didonesque Stencil.

Typefaces from 2020: Rodia (an 18-style oddball (sic) geometric typeface inspired by the iconic RADIO signage that was once in place at 5041, Pico Boulevard, Los Angeles in 1985), Arise (an 18-style text typeface family characterized by hooked terminals), Slabber (a slab serif inspired by 19th century wood type), Audacious (a 20-style decorative serif), Cream (a warm text family, with the heavier weights leaning towards Cooper Black), Sqwared, Logik (sci-fi).

Typefaces from 2021: Evoque (a 36-style contrast-rich text typeface; followed in 2022 by the 16-style family Evoque Text which includes two variable fonts), Sienna (14 styles and two variable fonts; a warm soft serif with some angular design elements that make it a great choice as a text typeface), Torus Pro, Harmonique (a 32-style incised serif).

Creative Market link. MyFonts link. Fontsquirrel link. [Google] [MyFonts] [More] ⦿

Paulo Rangel

Aka Skomii. Austrian creator of the hand-printed typefaces Simallos (2012), Scriptia Happy (2012) and Danï Donne (2012), of the sans typeface Aster (2012), of the avant-garde hairline caps typeface Veron (2012, +Extra), and of the counterless typeface Chronodue (2012).

Typefaces from 2013: Rhino Luz, Erasaur, Always Together, Aspergit (avant-garde sans family), Science Fair, Our First Kiss (upright monoline connected script), Marchesa, Marte (hairline avant-garde font), New Spirit (2013), Max And The Dust, Essence Sans (avant-garde sans), Moondance, Dalmais (Peignotian fashion mag face), Mers (circular arc font), Camieis (squarish face), Cliche 21 (avant-garde hairline sans), Old Cave (brush face), Aspargo (hand-printed), The Rainmaker (outlined 3d face), Skandar.

Typefaces from 2014: Oxymorons, I Never Learn, Realize My Passion, Stark (geometric sans), Pistara (thin avant garde sans), Maloire, Arenq (bilined).

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

Pedro Cruz

Pedro Cruz (PCZ Design) is an art director in Porto, Portugal. He made the avant garde techno typeface click-ec (2011) for a client. Zentzua (2013) is an octagonal custom typeface. Polis (2014) is a hairline sans typeface made for the short film Polis. Epiq (2015) is a two-width typeface made for the fashion brand Epiq of Africa. Behance link. Old URL. [Google] [More] ⦿

Pedro Julien
[Luvburn]

Pedro Leal

Pedro Leal graduated in graphic design and advertising from the ESEIG-Escola Superior de Estudos Industriais e de Engenharia in Vila do Conde, Portugal, and lives in Porto. In 2010 he obtained a degree in type design at ESAD (Escola Superior de Artes e Design, Matosinhos) and started working at DSType. MyFonts link. Behance link.

He used FontStruct in 2008 to create the pixel typeface Minimal 8pt (514 glyphs!). In 2010, he created the text family Mafra at DSType. This was followed a bit later by Mafra Display (2010; +Medium, +Black). Apud and Apud Display (2010, DSType) are high-contrast typefaces.

Penna (2011) is a calligraphic type system. Braga (2011, Dino dos Santos and Pedro Leal, DS Type) is a layered font design family. Dino writes: Braga is an exuberant baroque typeface, named after a Portuguese city, also known as the baroque capital of Portugal. Our latest typographic extravaganza comes with a multitude of fonts designed to work like layers, allowing to insert color, lines, gradients, patterns, baroque, floral swashes, and many other graphic elements. Starting with Braga Base, you can add any of the twenty-three available styles, to create colourful typographic designs.

In 2012, he designed User, User Stencil and User Upright>/a>, a monospaced type family with 30 styles, from Hairline to Bold. This too will many awards. Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed together with Dino dos Santos at DS Type. Solido (2012, with Dino dos Santos, DS Type) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts. In 2020, a variable font was added to Solido.

In 2012, he created the sans family Global, with its own dedicated web site, The Global Font. In 2013, he followed that up with the Global Stencil typeface family.

In 2013, Dino dos Santos and Pedro Leal published Diversa, a set of nine very different fonts that are jointly kerned so that letters can be swapped out and replaced at will. Diversa Std (2014) extends this to include Stencil, Inline and other decorative styles. Pedro Leal's main typeface of 2013 is Aparo, a script that is calligraphic, yet keeps the characteristics of penmanship scripts, and the pizzazz of a good fashion font.

In 2014, he published Ocre and Ocre Poster in sans and slab serif substyles inspired by W.A. Dwiggins, Torio, a penmanship script based on a style used in Arte de Escribir por Reglas y con Muestras (1798, by Spanish penman Torcuato Torío de la Riva y Herrer). Torio received the Communication Arts Type Award of Excellence in 2014.

In 2015, he created the large Rudo and Rude Slab typeface families that exhibit many humanist traits: Rude ExtraWide, Rude Icons, Rude SemiCondensed, Rude SemiWide, Rude Wide, Rude, Rude Condensed, Rude ExtraCondensed, Rude Slab, Rude Slab Condensed, Rude Slab ExtraCondensed, Rude Slab ExtraWide, Rude Slab SemiCondensed, Rude Slab SemiWide, Rude Slab Wide, Rude Slab, Rude Slab Condensed, Rude Slab ExtraCondensed, Rude Slab ExtraWide, Rude Slab SemiCondensed, Rude Slab SemiWide, Rude Slab Wide. Early in 2015, he also did a custom typeface family for the Jornal de Notícias, including sans, serif and micro sub-styles. Dino dos Santos and Pedro Leal published Jules and Jules Text in the summer of 2015---a fat fashion mag didone 45-style family inspired by several plates from Portuguese calligrapher Antonio Jacintho de Araujo; it comes in Big, Colossal and Epic. Ecra is a workhorse slab serif, also done in 2015. Viska (2015, by Dino dos Santos and Pedro Leal) is designed for small print. Finally, TCF Zellige (2015, TypeCult) is a modular typeface inspired by the tiles that can be found in Southern Europe and North Africa.

Typefaces from 2016: Oposta (Italian, Western style pushed to the esthetic extreme; received the Communication Arts Type Award of Excellence in 2017), Ardina (with Dino dos Santos: a text typeface family with three optical sizes).

Typefaces from 2017: Scrittore (a heavy dark Italian bastarda influenced by the connected hand of Giovanniantonio Tagliente and Robert Granjon's Civilité; at DS Type), Zart (a voluptuous ebullient black didone, or fat face; +Script). Fusta (a gorgeous wood-type inspired poster typeface), Ordem (a low-contrast contemporary Capitalis Monumentalis).

Typefaces from 2018: Glitched (an experimental variable spacing font), Striver (a crisp contrasted curvy display typeface), Certo Slab and Certo Sans, Foreday (a forward-looking typeface family with associated variable font, covering sans, serif, semi-sans and semi-serif), Perfil (an inline and swashy high end script).

Typefaces from 2019: Akut (a purely angular typeface with some rounded corners), Denso (by Dino dos Santos and Pedro Leal: a great condensed variable font with weight, serif and optical size axes), Jornada (a multistyle family with a Fraktur, a chancery, a bookish style called Libro, a news text serif, a clean sans, a slab serif, a monospace, and a penmanship script, all in one family dubbed hygienic post-punk by Leal).

In 2020, Dino dos Santos and Pedro Leal designed Larga, which was inspired by the typefaces shown in the specimens of the Fundiçãao Typographica Portuense from 1874. Larga is a wide all caps family and comes with a variable opentype format. Pedro also designed Effigy (a text typeface with slightly ballooning stems), Haste (a typeface that flirts with reverse contrast), Mescla and Enorme (an ultra massive and modular 3000-glyph mastodont of a font, together with Dino dos Santos; based on constructivist principles) in 2020.

Typefaces from 2021: Orla (a straightforward interpretation of the Skeleton Antique No2 from the Stephenson, Blake & Co. foundry; for the sans, the serifs were removed), Elaine (+Ombre, +Fleurer; a complete baroque / Elzevir family influenced by Jacques-François Rosart in its ornamental styles). [Google] [MyFonts] [More] ⦿

Pedro Lobo
[Uppertype]

Pedro Lobo
[Type Factory]

Pedro Mascarenhas
[Mom (or: MOM)]

Pedro Veneziano

Graphic design student at Universidade Estadual Paulista (Unesp) in Brazil, who libves in Bauru. Creator of the elegant fashionable (and free) ultra-contrast geometric typeface Intent (2012).

Peter Gabor

Born in Budapest in 1957, but Parisian since 1957. Designer and type artist who made many custom and magazine fonts. Blog. There is an ongoing feud between Porchez and Gabor which has invaded the internet waves. Gabor's blog and Porchez's blog are the stages for this royal battle. Generally, Gabor decries the hypocrisy in the type industry and calls for the Foundation of a Sir Francis Drake Society. The Book Antiqua/Palatino case and the Bitstream/Linotype battle irked Gabor, and he likes to expose type designers whose fonts are too close to others. Among his creations:

American Match. For Paris Match.
Elle Gabor. A great fashion-conscious geometric sans family. For Elle magazine.
Firmin Didot.
Futura Canal.
Gabor 2000 (TypoGabor Phototitrage, 2000).
Gabor Script (TypoGabor Phototitrage, 1975).
Les Échos.
Libération (1994). Four typefaces for the newspaper.
Manu Script Short (1995). A free script font based on his own handwriting.
Mermoz (TypoGabor Phototitrage, 1988). A roman style mini-serif family.
Moka Presse.
Nintendo: a pixel face.
Sade (Salon Sade, 1976).
Serge Lutens: a severe Calvinist face.
Total: commissioned by the gas company.
Yves Saint-Laurent.

[Google] [More] ⦿

Peter Guckes

German designer of the fifties diner family Frigidaire (2004, URW, designed with Monika Fischer), the experimental typeface Kettapila (2006, URW, with Monika Fischer), the squarish and fashionable family FontForum Phet (2008, URW++, with Monika Fischer) and the curvy Curly Lady (2006, URW, with Monika Fischer). FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿

Phantom Foundry
[Jean-Baptiste Morizot]

Type designer at the open source type foundry Velvetyne in Paris. His creations there include Trickster (2017: blackletter), Bluu Next (2014, a free wedge serif typeface) and Steps Mono (with Raphael Bastide).

In 2015, he switched to the commmercial camp, and cooperated with the Fontyou team in the production of the didone typeface family Télémaque FY, which brings Didot in its most rigid and tuxedoed manner, for the black-and-white fashion mags showing James Bond with a black bowtie and spotless high-contrast shirt.

In 2016, Alisa Nowak, Julie Soudanne and Jean-Baptiste Morizot co-designed Graphico (Indian Type Foundry): Its letterforms are industrial and square-sided. The typeface looks like the product of precision mechanics: it should be featured together with tech---either old tech like appliances or watches, or new tech like apps and laptop stands. Still for Indian Type Foundry in 2016, he designed the hipster sans typeface family Bobo---perhaps one of the greatest hipster typefaces of all times. Bobo stands for bourgeois Bohemian---I am not sure it is identical to gauche caviar, but that is the societal class the author of this typographic encyclopedia belongs to.

In 2016, Morizot designed the high contrast wedge serif newspaper typeface families Editor and Editor Condensed, the 6-style techno font Technor (free at Fontshare; squarish with inflated horizontal strokes), and the car license plate font License at Indian Type Foundry.

In 2017, as part of the new Black Foundry, he extended his free font Bluu and even added a variable font to the set, as well as a collection of emojis. The new name is Bluusuuperstar: Bluu Suuperstar is a brutalist serif typeface featuring very prominent triangular-wedges for serifs and terminals. Bluu Suuperstar's letters have a tall x-height, and the diamond dots are a chief characteristic of the design. Notches like these [diamonds] are found in several blackletter designs; but most-famously in the romain du roi created for Louis XIV. Nothing in Bluu Suuperstar is soft or cuddly; this is a sharp typeface, and you could cut yourself on its letters. The separate emoji font, designed by Gaëtan Baehr, is wittily named Bluumoji, and it includes 73 glyphs.

In 2018, Morizot set up Phantom Foundry, where he published Super Fat Bob (2018) and Phantom Sans (2018: trying to bring some warmth to the geometric sans genre, and now also a variable typeface).

Typefaces from 2019: Cosmetic (Indian Type Foundry: a high-contrast fashion mag sans family), TXT25 (an unconventional extreme-axis (variable) text typeface).

Typefaces from 2020: Karrik (a free britalist font designed with Lucas Le Bihan), Token (at Future Fonts---on purpose, Morizot mixes discordant styles to create a Frankenstein monster of a typeface; he added Token Bebop in 2021), Kola (a molecular rounded stencil typeface published at Indian Type Foundry; free at Fontshare)

Typefaces from 2021: Pally (at Fontshare; a 3-style asymmetric rounded sans with a playful children's book or comic strip rhythm), Zodiak (2021, Jérémie Hornus, Gaetan Baehr, Jean-Baptiste Morizot, Alisa Nowak, and Théo Guillard at Fontshare; a free 24-style text family with Century-like newspaper roots and sturdy bracketed slab serifs that was originally named Claire (2020)), NaN Tragedy (an 8-style serif with display and Text subfamilies, and a variable font option; Tragedy is classical and sturdy, yet mischievous and unconventional).

Fontshop link. Future Fonts link. Home page. Fontsquirrel link. Jean-Baptiste Morizot at Velvetyne. [Google] [MyFonts] [More] ⦿

Philip Cronerud
[Mediumextrabold (or: M XB Foundry)]

Phong Phan

Graphic design student based in Denmark, Haderslev. Currently he is studying graphic communication at the School of Visual Communication. Creator of the fashion mag typeface Vojens (2011). Behance link. [Google] [More] ⦿

Phospho
[Roland Hörmann]

Austrian foundry (est. 2008) located in Vienna, and run by Roland Hörmann (b. 1976, Krems, Austria), who did some pixel fonts in the nineties for the Commodore64, and is presently art director and graphic designer.

In 2007, he created Eltaus, an art nouveau font. Hörmann created the free brushy blackletter grunge typeface Adhesive Nr. Seven (2008), and the connected fifties style script typeface Luxus Brut (2009), and the simple handwriting family Neonoir (2010).

In 2011, he published the graffiti typeface Whatka.

In 2012, Roland Hörmann and Felix Auer co-designed the refined didone fashion mag display typeface Aquus (+the outline version, Aquus Linearis).

In 2014, Roland completely reworked Luxus Brut and published Luxus Brut Sparkling, a luxurious high-contrast calligraphic script typeface.

In 2015, he continued in the tradition of outstanding and striking display types by publishing Gloss Drop in the Treefrog genre. He writes: This is not a Barbie Script dolled up for the next beauty contest. It is imperfection and naivety dripping from every letter that makes this font stand out. An enviable choice for magazine headers, book covers or record covers. Works also well as a companion to hand-drawn or painted illustrations. Gloss Drop can even rock your wedding designs if they are seeking for something that makes a difference.

Typefaces from 2018: Antipol (a reverse stress sans typeface family). [Google] [MyFonts] [More] ⦿

Pier Paolo

Caixias do Sul and/or Florianopolis, Brazil-based designer of the free blocky typeface Pilaca (2012, free), which was developed for the identity of USC (Union de Skaters Caxienses), or Uniao dos Skatistas Caxiensas). Pilaca can be used in 3d applications. Figa (2012, free) is an alchemic typeface.

In 2015, he made the free fashion mag (art deco) display typeface Bauru (2015).

Plamen Petrov

Bulgarian designer of the tall slab serif Carnival VP (with Vladimir Fedotov) and the ligature font Slang (2019, at Vladimir Fedotov's VP Creative Shop).

Typefaces from 2020: Black Gold VP (a high contrast display font; with Vladimir Fedotov), Kompot (a condensed all caps decorative serif; co-designed with Vladimir Fedotov), Chalga VP (a decorative serif co-designed with Vladimir Fedotov), Ablation (a 6-style all caps geometric sans jointly done by Vladimir Fedotov and Plamen Petrov), Midnight Tales (vintage decorative caps jointly done by Vladimir Fedotov and Plamen Petrov), Akros (a fashion mag font by Vladimir Fedotov and Plamen Petrov), Daylight Dreams (a festive all caps typeface by Vladimir Fedotov and Plamen Petrov), Zink VP (a bold all caps sans by Vladimir Fedotov and Plamen Petrov), Billionaire Club (art deco caps; by Vladimir Fedotov and Plamen Petrov), Blackpaper (a negative space font by Vladimir Fedotov and Plamen Petrov), Metria Street (a monolinear condensed interlocking sans by Vladimir Fedotov and Plamen Petrov), Monday Boulevard (an all caps art deco typeface by Vladimir Fedotov and Plamen Petrov), Sombre (a negative space font by Vladimir Fedotov and Plamen Petrov), Bubbble Gum (a 9-style rounded monolinear sans by Vladimir Fedotov and Plamen Petrov), Equinox VP (a futuristic all caps font by Vladimir Fedotov and Plamen Petrov), Inertia (a logo font family, with Vladimir Fedotov), Inure (a ball terminal typeface, with Vladimir Fedotov), Papillon VP (with Vladimir Fedotov), Bungalow VP, Fika VP (a rounded and modular typeface by Vladimir Fedotov and Vladimir Fedotov), Kavo Serif (a 5-style all caps didone by Vladimir Fedotov and Plamen Petrov), Kavo Inline (with Vladimir Fedotov), Kavo Sans (with Vladimir Fedotov), Quilin (decorative and swashy; with Vladimir Fedotov), Silver Queen (a ball terminal typeface; with Vladimir Fedotov), and the weathered Greenth (2020; with Vladimir Fedotov).

Typefaces from 2021: Aisling (a six-style ultra-compressed sans), Stolen Love (a 16-style fashion mag serif), Cruell (a high contrast ball terminal laden fashion headline typeface), Mother VP (a high-contrast fashion font with plenty of ball terminals), Magoa (a serif typeface with extreme contrast), Sorcha (a ball terminal display font by Vladimir Fedotov and Plamen Petrov) Christmas, French VP (an all caps glamour font adorned with gigantic ball terminals; with Vladimir Fedotov), Perfectly Splendid (a ball terminals all caps typeface; with Vladimir Fedotov), Italian VP (a 21-style tall slab serif in which the bold weight is still thin by international standards; with Vladimir Fedotov), Huova (a decorative all caps serif by Vladimir Fedotov and Plamen Petrov), Kompot Slab (by Vladimir Fedotov and Plamen Petrov), Unique VP (a fashion mag titling font with many ligatures and swashes), Chalga VPoutline (a classy outline font by Vladimir Fedotov and Plamen Petrov), Mila VP (a disturbing sans & serif hybrid), Kompot Sans (an all caps titling sans by Vlamen Petrov and Vladimir Fedotov), Kompot Display, Avoqado (a 6-style all caps sans with features of DIN; by Vladimir Fedotov and Plamen Petrov), Kuchek (a ligature-rich decorative serif, with Vladimir Fedotov).

Typefaces from 2022: Forbidden Love (a condensed fashion mag serif), Vintage Mintage (a display serif), Lonely Moon VP (a delicate yet eerie typeface), Malinger VP (an elegnat display serif), Sign That (a wild script), Trixie Script, Enchanted Love (a 7-style display sans). [Google] [MyFonts] [More] ⦿

Playtype

Place to buy fonts made by E-type designers. Located in Vesterbro / Copenhagen, it was started in 2006. Another URL. The typefaces were designed by Jonas Hecksher (JH), Henrik Kubel (HK), and Jens Kajus (JK). By category:

Humanist sans: Abidale (JH), Bingo Sans (JH), Flavin (HK), ID00 Sans (JH, a huge family), Ole (HK), Parsons Green (HK), Premiere (JK), Test (HK), Triumph (HK).
Grotesk: Academy Sans (JH), Battersea 2010 (HK), Boing (HK, fat rounded), Cabo (JK), Contribute (JK, semi-octagonal), Dane (HK), Fletch Text (JH), Grot 10 (HK), Hall (JH), Hill (JH), Jazz House (JH), Lettre Gothic (JH), London (HK), Magna (HK), Mari (JH), Naive (HK), Norwegian (JH), Republic (JH), The Wave (JH), Vertigo (JH), Willumsen (JH).
Slab serif: Academy Serif (JH), FM (HK), Outsiders (HK, typewriter style).
Geometric sans: Agita (JK), Cubitt Solid (HK, rounded octagonal and techno), Geometric (JH), Juli Sans (2016: by Rasmus Michaëlis and Torsten Lindsø Andersen), Noir Text (JH, avant-garde), Nosferato (HK, squarish), Square (HK, squarish).
Monospaced: Access Code (JH), Italian Plate (JH).
Square Sans: JP Special Sans (JH), Zetta Round and Zetta Sans (JH).
Didone: De Archie (JH), JP Special Serif (JH), Monday (unknown designer), Venti Quattro (JH).
Garalde: ID00 Serif (JH), Primo Serif (JH).
Modern: Bingo Serif (JH), Kunstuff (HK), Maximum (HK).
Display serif: CPH Signs, De Archie Display (JH), Fru Olsen (JH), Home Display (JH), Impacto (HK), Signsystem (HK), S4AE (HK), Symphony Display (JH), Trojan (HK), Vogue Floral (HK), Vogue Paris (HK).
Ordinary body text serif: Home Text (JH), Typewriter (HK).
Stencil: Danmark (HK), Staton (HK).
Various display types: 4590 (HK, thin octagonal), 60 Display (HK), Agriculture (HK), Archi (HK), Aveny T (HK), Banknote (HK), Bauhause (HK, kitchen tile face), CPH Tram (HK), CWM (HK, octagonal), Collecting (unknown designer; +Stencil), Copenhagen (HK), Donny Playtype (unknown designer; fat face), Du Nord Dingbats (JH, circled letters), Elephant (JH, art nouveau), Eyes Lies (unknown designer), Gameover (unknown designer), Glendale (JK, Peignotian), Hazelwood (JH), Hermes Baby (JH, old typewriter), Julius (JH), Klampenborg 2010 (HK), Movie Playtype (JH), New Press (JH, slab serif), Optic (unknown designer, dot matrix), Ornamenta (HK), Safety (JH), Speed Playtype (JH, octagonal, techno), Tagstyle (HK, hand-printed), Tempo Playtype (JK, dot matrix), Tobe (HK, mechanical), Trood (JH, octagonal), Zadie (HK, ornamental).
Dingbats: Flowers (HK).
Commissioned typefaces include Nouvel (inspired by Jean Nouvel's architecture for Koncerthuset, the new concert venue designed for the Danish Broadcasting Corporation) and Medic (designed for emergency medicine).
Variable fonts: Cutalic (2020).

[Google] [More] ⦿

Popskraft Lab
[Alexey Popov]

Alexey Popov, or Alex Pop for short (Popskraft Lab, Buchardo, Argentina, and now New York City) designed the children's book / cartoon font family Beebzz and the comic book typeface Beaverist in 2016. In 2013, he created the techno typeface Technozis. In 2017, he published the layered font 3D Bulb Lamp, the beveled typeface Legend, the (great!) neon font Nightlife, the Warm Lamp alphabet, the colorful children's book font Happy Kids, and the art deco sans typeface Artnoova.

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] ⦿

Positype
[Neil Summerour]

Positype was founded in 2002 by Athens and/or Jefferson, GA-based designer and type designer Neil Summerour (b. 1972, Azores, Portugal). Neil began developing typefaces in 1996 with the 1996 Olympic Brick Paver Project proprietary typeface. He is the co-principal and senior designer of Athens-based interactive, design, and advertising agency Genetic:ICG. In the summer of 2003, he began teaching Advanced Electronic Design in the Graphic Design Department at The University of Georgia.

Swash & Kern is the bespoke lettering and typeface design alter ego of Neil Summerour.

In 2001, Neil published his first two type designs with [T-26] Digital Type Foundry in Chicago, IL. Since then, he has released tens of font families including hiragana and katakana fonts. Positype fonts are sold by Myfonts.com and [T-26].

Klingspor link. Facebook link. Blog. Behance link. Union Fonts link.

The list of his fonts:

Aago (2017). A 54-style sans family.
Aaux, Aaux Office (2002), Aaux Pro (2004), Aaux Next (2009, 72 typefaces), Aaux Alphanumera, Aaux Emoticons.
Agent Sans (2021). An economical 22-style sans intended to be warm although the name seems to contradict that.
The Air superfamily (2011), which consists of 81 sans typefaces. Followed by Air Soft (2011), Air Pro (2021), Air Pro Condensed (2022) and Air Pro XCondensed (2022). He writes about Air: Heavily influenced by Summerour's Aaux Next typeface and Akzidenz-Grotesk, the typeface features a very efficient footprint, logical weight options, small caps, expanded numeral sets, extensive language support, and 5 total widths.
Altar (8-weight Gothic family).
Akagi (2008): 20 style sans family. Extended and refreshed in 2011 into Akagi Pro.
AMP (at Union fonts).
Anago (2012) is a softly rounded sans family, the product of a designer addicted to designing sans families.
Anarcharsis (2002): a serif family inspired by incomplete rubbing made from a stone wall located in the Bahamas.
Angel Script (2009, TypeTrust).
Baka (2005, a fantastic scratchy handwriting face), Baka Too (2006; followed in 2010 by Baka Expert).
The Bodoniesque family (Umbrella Type).
Cherry Blossoms (2018). A crayon script.
Claustrum (2003).
Clear Sans (2013). Starting from a monoline rather geometric set of thin weights, this typeface family morphs into a more humanist beast, with a, b, d and g having a squeezed look at the intercepts. And maybe because of that, this unclassifiable typeface is quite appealing. Followed by Clear Sans Text and Clear Sans Screen.
Courage (2019). A high contrast ultra black poster typeface.
Couture (2015) and Couture Sans (2015). Summerour was charmed by Imre Reiner's Corvinus when he designed this extremely high-contrast pair of fashion mag typeface families together with Mary Catherine Pflug.
Cynapse (2003; or Cynapse Pro. 2004, 12 weights). A sans family.
In 2018, Martina Flor and Neil Summerour published the layerable Tuscan typeface family Decorata.
Delphi (2014). A decorative multiline typeface by Lily Feinberg and Neil Summerour.
Directors Gothic (2013, Lettering Inc). A large retro sans family.
Donatora (2004).
Dream Big (2019). A swashy script typeface with weathered edges.
Ego (2003, octagonal family).
Epic (2007-2009, a 12-style contemporary garalde).
Ether, Ether Connected.
Eva (2003).
Filmotype Dancer (2012).
Filmotype Harvard (2015). Based on a Filmotype brush script from 1955.
Filmotype Horizon (2011).
Flirt Script (2014). Flirt Script won an award at TDC 2014.
Friendly (2012). In part based on Morris Fuller Benton's upright script typeface Announcement.
Fugu (2009, rough-outlined script family, winner at TDC2 2010).
Ginza (2008, a squarish techno family), and Ginza Narrow (2011).
Good Karma (2017). A sumi brush font. See also Good Karma Smooth (2020).
Grava (2018, twenty fonts) and Grava Display: Quirky and sharp, Grava is Neil Summerour's injection of warmth within the geometric sans font category.
Halogen (2012). An organic wide techno sans family. In 2014, he added Halogen Slab and Halogen Flare (flared). All have hairlines.
Headcold (2004).
Hype (2019). A collection of 432 low contrast gothic sans typefaces consisting of three subfamilies of 144 fonts each: Hype vol 1, Hype vol 2, Hype vol 3.
Ice Cream (2021). A creamy vernacular non-connected script for food packaging.
Iru1, Iru2.
Juicy (T-26, 2004, brushdrawn family).
Kari and Kari Pro (2005): a connected upright script. Kari Display (2009). Redrawn in 2020 and released as Kari (2020).
Kryptk Flash (2003).
Kurosawa Bastard, Kurosawa Hand, Kurosawa Sans, Kurosawa Serif, Kurosawa Hiragana, Kurosawa Katakana.
Love Script (2014). A high energy high contrast brush pen / marker script. Love Script won an award in the TDC 2015 Type Design competition.
Luce (2004).
Lush Script (2011). A connected script inspired by the 1940s.
Lust (2012), a curvy hight-contrast didone in the Pistilli style. Neil: The result yielded a rather diverse typographic gene pool: a little Scotch Modern, a little Didone and Didot, a dominant dose of Caslon, and a pinch of Baskerville-- all wrapped up in the leggy body of a Brazilian supermodel. A confident, self-reliant typeface that shows just enough to keep everyone staring and leave them wanting more. Followed by Lust Slim (2014). In 2015, these were extended to the large families Lust Pro [dedicated page] and Lust Pro Didone.
Lust Script (2013). This is a curvier, sexier (Neil's words) version of Lust. For use in fashion magazines and large sizes.
Macha (2012). A sans family. In 2015, this was followed by Lust Hedonist, which has Didone, Italic and Script sub-styles---the ultimate fashion mag typeface. In 2021, he added Lust Sans (a 12-style high-contrast fashion mag typeface family), Lust Didone (a 6-style contribution to the fat face genre), Lust Stencil (six styles), Lust Text (ten styles).
The Type Trust: Magneta (2009, The Type Trust). Includes a Condensed subfamily.
Marshmallow (2017). A super-creamy high-contrast script typeface straight from a parisian bonbonnerie.
Murecho (2021). Murecho is a low-stroke contrast, flat terminal sans serif Japanese typeface designed for text settings in Japan. It covers Hiragana, Katakana, and Kanji (JOYO+). It also supports Latin, Cyrillic, and Greek.
Muscle (2009, TypeTrust---a futuristic family).
Nori (2010): a calligraphic brush typeface obtained by applying the Pilot Japan Kanji Fude brush pen on paper. It has over 1100 glyphs, 250 ligatures, 487 alternate characters, 125+ swash and titling alternates, lining and old style numerals. Awarded at TDC2 2011.
Organic (2009). A rounded warm sans family. In 2021, he published the 16-style Organic Pro.
Penumbra.
Plastek (2004-2009).
The R.E.M. Athens project involves three fonts published in 2009, REM Orange, REM Accelerate and REM Tourfont. They are based on ideas by Chris Bilheimer for the band R.E.M. (Michael Stipe and Chris Bilheimer). Both attended the fine arts program at the University of Georgia. Michael Stipe, singer and lyricist, formed R.E.M. in 1980. Bilheimer began working with the band in 1994.
In 2019, Martina Flor and Neil Summerour released the extensive typeface family Ribbons at Positype.
Romp (2009, condensed hand-printed).
Reserve (2018). A text typeface family designed to accompany Summerour's Scotch typeface family.
Rhythm (2011). An italic inline and solid display family based on ATF's Ratio (ca. 1930) and Herbert Thannhaeuser's Adastra (1928).
Rough Love (2014). A brushy crayon script.
Scotch (2017). An 31-style scotch roman typeface family consisting of Scotch Text, Scotch Display (more contrast), Scotch Deck (for subheads) and Scotch Dingbats. In 2020, he added Scotch Compressed to the set.
Shameless (2013). A connected penmanship-style script.
Sneakers (2003-2004): athletic lettering family. Also, Sneakers Script and Sneakers Max (2019: rounded and ultra fat).
So Lovely (2019).
Tactical (2011, octagonal mechanical face; +Stencil).
In 2012, he won the Second Akashi Prize in the kanji (!!!) category of the Morisawa Type Design Competition for Tegaki. Tegaki also won at TDC 2013.
Truss Ultra Light (2006): hairline architectural font.
Vekta Serif (2009), Vekta Neo and Vekta Sans (2009, a sans family at TypeTrust).
Wasabi Condensed and Wasabi (2010): an organic elliptical family, based on Iru.
Yumi (2003, techno font, Union Fonts).

His life in hiw own words: Neil Summerour is a type designer, lettering artist, calligrapher and designer based in Georgia, USA with one foot in Takamatsu, Japan. After graduating from The University of Georgia Lamar Dodd School of Art with a BFA in Graphic Design, he soon found himself opening his own studio to deal with the flow of freelance work. [...] Neil opened his personal type foundry, Positype, in 2000 to feed his ever-growing desire for type design. He later co-founded TypeTrust (2002) with Silas Dilworth as his addiction to type and lettering grew. [...] He was an adjunct art professor at The University of Georgia in graphic design and taught graphic design at the Governor's School for the Arts. [...] As a typeface designer, he has published over 60 typeface families and produced numerous custom typefaces for clients worldwide. [...] He has won the Type Directors Club Certificate of Excellence in Type Design in 2010 and 2011 for Fugu and Nori, respectively.

Showcase of Neil Summerour's fonts. [Google] [MyFonts] [More] ⦿

Prikken over Stien
[Audun Stien]

Audun Stien, a graphic designer from Oslo, is based in Melbourne, Australia. He created the high-contrast fashion mag typeface Strax (2012). [Google] [More] ⦿

Prive Studios (was: Government Studios, or: GVMNT)
[Max Privalov]

Max Privalov's foundry, Government Studios (was: GVMNT), was based in Los Angeles. Government Studios was originally a film studio, designing fonts for future film projects.

Typefaces from 2012: the bamboo cut-tipped caps typeface Envy Races (with possible use in fashion mags), the Peignotian typeface Counterfeit Black, and the wide wedge-serifed slightly engraved high-contrast titling typeface Black Feud.

In 2014, Government Studios designed the spiky all-caps typeface Spotlight and the flared typeface Opium (which was designed using the herbarium specimens of Papaver somniferum).

In 2016, the Government Studios label was replaced by Prive Studios, and Max Privalov became Max Prive. As Max Prive, he designed the sans typefaces Skin in 2016 and Muguet in 2017.

Typefaces from 2018: Merrant (a 3-style geometric grotesk straight from the Futura era).

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

Production Type
[Jean-Baptiste Levée]

Jean-Baptiste Levée is a French type designer based in Paris. He is a co-founder of the Bureau des Affaires Typographiques, and teaches typeface design at ESAD Amiens (and before that, at the Caen-Cherbourg school of Arts & Media and at the University of Corte). His latest work is mostly published at Production Type which he manages. He designs custom and retail typefaces, and has won multiuple awards for his type designs. Other designers publishing at Production Type include Yoann Minet, Sandra Carrera, Yohanna My Nguyen, Emmanuel Besse, Mathieu Réguer, Quentin Schmerber and Loic Sander. In 2020, the support team included Hugues Gentile, Dorine Sauzet, Suehli Tan and Igino Marini. Levée's typeface portfolio:

Vuitton Persona (2007): a family made under the supervision of Porchez for Vuitton's bags.
Wallpaper corporate typeface (2008): Under the art direction of Meirion Pritchard and Christian Schwartz, this 2-style sans was developed for the architectural magazine Wallpaper. It is a self-confessed blend of Meta and Amplitude.
Le Monde Courrier (2008): an extension and OpenType completion of the glyph tables of Porchez's LeMonde Courrier (2002).
Panorama (2004-2008): an elegant full-fledged sans family from hairline to extended bold, and from Extra Condensed to Extra Extended. It can be bought at Production Type.
Henderson Serif & Sans (2006): This is a Baskerville family conceived by J.-F. Porchez, but extended and perfected by Levée. The Sans is in the style of Arial with large x-height. The Typofonderie page does not mention Levée.
Retiro (2007): Done with J.-F. Porchez for Madriz Magazine. This is a didone family with juicy and classy alternates. It became a retail font at Typofonderie in 2015.
Pimkie (2006): a playful feminine display face.
Seenk Serif and Seenk Sans: a text family done with Christophe Badani in 2005.
Expert (2009): a unicase typeface done for magazine, ca. 2009.
Acier BAT (2009-2010, BAT Foundry): an extensive family that builds on Cassandre's 1930 font by the same name.
Gemeli and Gemeli Mono (by Levée, assisted by Emmanuel Besse and Hugo Marucco). This sans family can be bought at Production Type. For Gemeli Micro (2018), Gemeli's x-height was enlarged, extenders shortened, stance widened, spacing loosened, and forms simplified.
Synthese.
Carrefour Origin (2011). A tall thin face. This custom typeface led to the vretail typeface family Origin Super Condensed.
Cogito Atelier Malte Martin. The sans family Cogito can be bought at Production Type.
Telerama Dogon. This is a matchstick or campground face.
Nathan Enfantine (2011) and Enfantine (2015). A simple upright connected (school?) script.
RMNGP Constellation (2013) is the bespoke dot matrix typeface of Réunion des Musées Nationaux---Grand Palais for their on-site, online and printed communications.
Vanité for Vanity Fair France (2013).
Plinc Beaux Arts Didot (2014). A classical didone digitized from the original Photo-Lettering film matrix by Jean-Baptiste Levée for House Industries.
Countach (2014, Production type). Described as follows by the designers and team, Superscript2, J.-B. Levée, Sandra Carrera and Irina Smirnova: Countach, the tough compact sans supercharged with brawn & brains. Developed for The Crew, a critically acclaimed auto racing video game, Countach evokes the muscular and mechanical dynamics of fast cars and urban adventure.
Reception Semi (2014). A hybrid corporate typeface for Unibail / Rodamco.
Renault Carname for Renault cars. This typeface won an award in the TDC Typeface Design competition in 2017.
Fournier Orchestre de Paris (2014): Fournier ODP is the exclusive corporate typeface of Orchestre de Paris. Named after Pierre-Simon Fournier Le Jeune (1712-1768), punchcutter and typefounder. Famous for his musical founts, the Parisian Pierre-Simon Fournier is considered one of the first French moderns. The typeface borrows from the numerous alphabets produced by Fournier, retaining only the finest cuts and adding its own peculiarities: anachronical ampersand, reversed letters in reverence to poster ephemeras of the times. The Graphiques series are designed to allow for polychromic settings. The Gothic series are a nod to the residues of modernism. Faithful to the tradition of optical sizes, different designs have been assigned to different scales of use. By Jean-Baptiste Levé, who was assisted by Yoann Minet, Mathieu Réguer, Laurent Bourcellier and Roxane Gataud.
Libé (2015). Rob Mientjes writes about this custom typeface family done for Libération: Libé is a family of a wide array of sans serif fonts and a set of stubborn typewriter fonts with a slightly sloppy underline style. The sans part of the family is a hybrid Excoffon, nineteen-seventies, tight-but-not-touching fever dream. If the spirit of Excoffon is alive, it has possessed Libé Sans. The Typewriter styles are a typographically successful, if unexpected, match.
Granville (2015). A Peignotian (or modulated) sans published by Production Type.
Minotaur (2014, with Yoann Minet). Minotaur won an award in the TDC 2015 Type Design competition.
Proto Grotesk (2014). Proto Grotesk won an award in the TDC 2015 Type Design competition. Review by André Mora, who writes: This beast is a strong sans serif with two mean weights. While others were busy breeding show dogs, Proto emerged from the love den of a couple of mutts high as hell. It ain't tame. It'll never be domesticated. Proto Slab and Proto Slab Condensed followed later.
Cobalte (2015, Production Type). A flared lapidary sans serif family.
Courrèges (2016) for the fashion house.
Boreal (2016). A sans family.
Columbia Sans and Columbia Sans Display (2016, Jean-Baptiste Levée). Initially intended as a sans version of Times New Roman, Levée's explorations take him far afield through his flirtation with reverse stress and his back-rotated small o. He writes: Columbia is an unorthodox blend of multiple historical models. It excavates the so-called Elzevir style, an example of permeability between French and Dutch flavours. The type's restrained nature eschews caricature, giving paragraphs a clean texture while retaining the classical touch expected from late Renaissance typefaces. Initially commissioned by science magazine Sciences & Avenir, Columbia strikes a balance between rigorous topics and an approachable, informal tone.
ARC (2016). A custom multiline typeface for the City of Paris (L'Arc de l'Innovation).
Spectral (2017). A 7-style sharp-edged book face by Jean-Baptiste Levée related to Mrs. Eaves, and freely available at Google Fonts. Levée describes the influence of the French Elzevir on Spectral. The type experts opine that the spacing is too loose.
Alpine (2017). A custom sans family for the new Alpine Vision automobile.
Antique Gothic (2017). A condensed vintage sans with extreme x-height, designed by Jean-Baptiste Levée, with the help of Emmanuel Besse, Yoann Minet, Quentin Schmerber, Hugues Gentile, Pauline Fourest, and Kristina Jandova.
Cardinal Classic and Cardinal Fruit (2018). A large transitional typeface family by Jean-Baptiste Levée, Yoann Minet and Quentin Schmerber. The tightly set and high impact photojournalism typeface family Cardinal Photo was added in 2020.
Media Sans (2018). A typeface family with tight spacing and some extra condensed styles to be used in headlines and on posters. It was influenced by Frutiger's Antique Presse (at Deberny & Peignot) and some European typefaces of the 1960s and 1970s, such as the tightly letterspaced Brasilia, the squarish caps of Eurostile, and the oddly contrasted Antique Olive.
LVMH Air (2018). A knife-edged fashion typeface family custom designed for LVMH (Moet Hennessy & Louis Vuitton), a French multinational luxury goods conglomerate that specializes in snob appeal.
Duperré Sans (2018). A custom sans by Jean-Baptiste Levée and Quentin Schmerber for École Duperré.
Acier (2019). A bi-colored revival of Cassandre's Acier (1930, Deberny & Peignot).
Tesseract (2019). A display typeface with edges as sharp as a bamboo-cutting machete. Stuff for James Bond movies.

Speaker at ATypI 2013 in Amsterdam and ATypI 2014 in Barcelona. Speaker at ATypI 2016 in Warsaw.

Behance link. Old URL. Klingspor link. Home page of Jean-Baptiste Levée. [Google] [More] ⦿

Przemyslaw Hoffer

Przemec Hoffer is the Lodz, Poland-based creator of the hairline titling sans typeface Basicl (2012) and of Basic Title Font (2012, hairline caps).

In 2013, he designed Madame Klara, Madame Deloblat and Madame Mary, a trio of thin slab serif typefaces for glamour magazines.

In 2014, he made the octagonal typeface Mechanik. In 2016, he started work on Laktoza.

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

Putu Dody Permana
[Hishand Studio]

Pyotr Bushuev
[Naum Type]

Qamari Ally
[Ultrabrain]

Qaratype
[Anass Qara]

Moroccan type designer. His typefaces from 2021: Neon LED V2, Fansthome (a fine upright rabbit-eared calligraphic script), Floukista (a 6-style sans), Chorasign (script), Koolvexa (a 4-style display serif looking for its own identity), Basta Sweet, Love Heart Script (a scrapbook script), Bakiya (a brush script), Neon Love, and Riwayat (a bold brush script).

Typefaces from 2022: Migontama (a stylish serif), Lostgun Plus (a fashion mag typeface), Metablue (a 16-style geometric sans), Lostgun (a display serif with many ligatures), Sofimaria (a display sans in six styles). [Google] [MyFonts] [More] ⦿

Qendrim Uka

Pristina, Kosovo (was: Turana, Albania)-based student-designer of the alphading typeface Albanian Flag (2014). In 2017 he designed the free display typeface Cactus and the free hipster typeface Iceland.

In 2019, he designed the geometric typeface Minsk Sans, the color font Bahnhof, the spindly fashion mag typeface Atticus, and the display sans typeface Saudade.

In 2020, he released the free display typeface Gaia Condensed. [Google] [More] ⦿

Quan Ika

Chicago, IL-based designer of the monolinear octagonal typeface family ATC Saturn (2015, Avondale Type Company) and the high-contrast fashion mag didone typeface Madison (2015).

In 2016, he designed the very functional monospaced programming font ATC Harris. Behance link. [Google] [More] ⦿

Rachael Legge

Scottish graphic/ux design student located in Los Angeles. In 2019, she designed the didone fashion mag typeface Effrontée. [Google] [More] ⦿

Rachele Andrews

During her student days in Brisbane, Australia, Rachele Andrews designed the fashion mag typeface A La Paris (2018). [Google] [More] ⦿

Rafael Jordán/0Oliver

Rafael Jordan Oliver, aka Barry Bianco, is a graphic designer and calligrapher in Valencia, Spain, b. 1983, Alzira. Graduate of EASD in Valencia, class of 2013. His typefaces:

A geometric Futura / Bauhaus style typeface family called Geometric Obsession (2012).
The curly all-caps typeface Nord Type, which is based on the modern letters of Gregorio Muñoz at Valencia's train station L'Estació del Nord. It was his graduation project at EASD.
The commercial didone typeface Didac (2014). The Italic followed in 2015-2016. Buy it here.
At Type@Paris in 2015, he designed Carmen Maria (named after his wife), a sharp-serifed fashion mag typeface rooted in Carolingian calligraphy.
Las Naves Condensed (2017). A grotesque typeface designed under the art direction of Sebastian Alos for "Las Naves" foundation.
Bantha Sans and Bantha Serif (2017). Sturdy multi-purpose typefaces.
Bianco Slab (2017, Fontstore).
Brava Slab (2018). Almost monolinear, with Latin curves in the italics. Followed in 2019 by Brava Sans.
Ostium (2019). An inline unicase font with proportions close to classical romans.
Carmensin (2020). A humanist text family characterized by smooth curves, a large x-height and open counters. It includes a Display subfamily and some stencil styles.
Redoneta (2020). A 12-style geometric sans. Followed in 2022 by Redoneta Rounded (12 styles).
Tannen (2021). A layerable blackletter family, and an interpretation of Erich Meyer's Tannenberg (1933-1935).
Tannen (2021). A layerable German expressionist blackletter family, and an interpretation of Erich Meyer's Tannenberg (1933-1935).

[Google] [MyFonts] [More] ⦿

Rahmad Mulyadi
[Baron WNM]

Raimei Lu

Taiwan-based designer of the high-contrast typeface family Rae Low (2019, with Yang Lu). [Google] [MyFonts] [More] ⦿

Rajesh Rajput
[Nav Raw]

Rakel Tómas
[Silk Type]

Rani

Type designer and artist at Lettering Delights who made these fonts: Baby Toys, Doodlescrap, Fall Frolic, Fearful Fiends, Gobble Gobble, JDA Frosty, JDA Kris Kringle, JDA Passion Posies, Party Hoopla, Rock n Roll, Sightsee, Travel On, Wedding Tags, Western Ware, Fall Flourish, Whack-A-Doo Blue, Whack-a-Doo Pink, Carnival Treats, Country Carnival, Fashionista, Haute Couture, Sightsee, Travel On, Believe, Princess Ballerina, Craft Queen, Darn and Yarn, In the Kitchen, Recipe Book, Below Freezing, No Peeking, Ski Bunny, Fall Frolic, First Thanksgiving, Gobble Gobble, Alien Alarm, Boogie Monsters, Fearful Fiends, Animal Rock, Band Practice, Rock n Roll, Spotlight, Arrr!, Fishies, Ocean Floor, Sea Maids, At the Ranch, Hoedown, Rodeo Heroes, Western Ware, Bride and Groom, Wedding Day, Wedding Doves, Wedding Tags, Baby Tags, Baby Toys, My Baby Boy - Dark Skin Tone, My Baby Boy - Light Skin Tone, My Baby Boy - Medium Skin Tone, My Baby Girl - Dark Skin Tone, My Baby Girl - Light Skin Tone, My Baby Girl - Medium Skin Tone, Mariachi, Matadors, Mexican Folk Animals, Señoritas, Fairy Princess, Flying Fairies, Gnomes, Knights, Party Hoopla, Party Kids - Boys, Party Kids - Girls, Party Tags, Chinese New Year, Geisha, Koi, Panda, Couple Claus, Santa Mice, Santa's Workshop, Vacation Santa, Heart Queen, Mad Tea Party, Talking Flowers, Wonderland Friends, Boo at the Zoo, Creepy Ghoulies, Haunted Houses, Mummy Spiders, Diva Tags, Dude Tags, Skaterboy, Spirit Squad, Teeny Boppers, Top Jock, JDA Cinderella, JDA Frog Prince, JDA Jack and the Beanstalk, JDA Little Mermaid, JDA Puss n Boots, JDA Thumbelina. [Google] [More] ⦿

Ratna Krismawati
[Krismagraph]

Rebecca Allen
[Duet Atelier]

René Bieder

Berliner (b. 1982) who made the ultrafat counterless typeface RB Titrage Number One (2010). RB No3.1 (2012) is an elliptical sans family that has 18 styles. RB No2 (2011) is a free geometric, gothic display font inspired by the German industry in the late 19th century. RBNo2.1 (2012) is a condensed sans serif typeface with a technical and geometric appearance. In 2012, he started his own commercial foundry.

Quadon (2013) is a slab serif that seems ideally suited for information design. Gentona (2013) is a neutral neo-grotesque sans that has 18 styles/weights. His last typeface family of 2013 is Canaro, a spurless simple information design sans with very large counters---some weights are free.

Still in the early 20-th century tradition of neutral sans typefaces, but with influences from breakaway designs such as Futura and Avant Garde, René Bieder created Campton in 2014. The excellent slab serif version of Campton is Choplin (2014). Just before the end of 2014, he surprised with yet another powerful sans typeface family, Galano Grotesque, the punchier Galano Grotesque Alt, which shows geometric roots that go back to Futura, Avant Garde and Avenir, and the display version Galano Classic, which has smaller x-height.

Typefaces from 2015: Mirador (a high contrast wedge serif typeface family with many angular details).

Typefaces from 2016: Sagona (a Clarendon style slab serif family), Rational (a Swiss style sans family), Rational TW (the typewriter version of Rational).

Typefaces from 2017: Quarion (neo-humanist sans), Milliard (part geometric, part humanist sans family consisting of 22 weights.

Typefaces from 2018: Faktum (an exploration of the geometric genre with modulated joints), Mackay (a transitional serif inspired by Alexander Kay's Ronaldson from 1884), Franca (a neo-grotesk with large x-height named after the typefaces it inherits shapes from Franklin and Helvetica).

Typefaces from 2019: Total Sans (monolinear and widely spaced), Magnat (a high contrast fashion mag sans family in Poster, Head and Text subfamilies).

Typefaces from 2020: Freigeist (a typeface family based on the early British grotesks from the 19th century), Novera (a 40-style geometric sans divided into Novera Modern and Novera Classic subfamilies, characterized by vertical terminals, circular shapes and angular apexes).

Behance link. Klingspor link. Interview in 2014 by MyFonts. [Google] [MyFonts] [More] ⦿

Reserves (or: AE Type)
[Michael Jarboe]

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

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

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

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

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

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

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

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

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

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

Resistenza
[Giuseppe Salerno]

Giuseppe Salerno (aka Resistenza.es) is an Italian graphic designer, specializing in web design. He lived in Torino, Amsterdam, Madrid, and Valencia, and currently works in Valencia, Berlin and Turin. Studio Resistenza was cofounded by Giuseppe Salerno and Paco Gonzales.

In 2010, he made the circular multiline face Afrobeat (+Light), the fat counterless typeface Vito Sans (2010), Wonderwall (2010, like a skeletal construction), the high-contrast art deco typeface Zaza (2010), and the pure Italian vintage art deco face Luxx (futurism).

Other work: an art deco poster.

Direct links to his fonts: Zaza, Afrobeat, Vito Sans, Luxx, Wonder Wall, Afrobeat Light.

Creations from 2011: Ratatan, Bodoni At Home (a handpainted Bodoni), Arcanotype (2011, delicate caps, individually drawn using Chinese ink on Japanese calligraphy paper), Babushka (2011), Dolce Caffe (2011), Adelaida (hand-printed poster face), Monella (octagonal).

Production in 2012: Ampersanders (a font with many ampersands), BLAQ (an ornamental blackletter caps typeface inspired by Henry W. Troy), The Bay (hand-printed all caps poster face), Bratislove (an artsy hand-drawn typeface), Modernissimo (decorative modern art-inspired caps), Clementina (hand-printed caps), Afrobeat Gothic (angular multiline face).

Typefaces from 2013: Glob (bubblegum face), Archivio (slab serif family with very open counters), Mina (connected script), Monster Hand (brush script), Berliner Fraktur (a flat brush fraktur inspired by Rudolf Koch), The Luxx (a redesign of the 2010 art deco sans typeface Luxx---a comparable typeface is Mostra Nuova by Mark Simonson), Starburst (calligraphic gestural light script), Caramello Script, Copperlove (copperplate script), Yma Italic (retro script), Sonica Brush.

Typefaces from 2014: Stencil Creek, Elastica (handcrafted typeface family), Elastica (hand-drawn poster family), Nautica (copperplate script, extended in 2018 to Nautica Sottile and the monoline version Nautica Line), Ingles (copperplate script), Peperoncino Sans (a decorative sans serif font system designed with a marker), Attica RSZ (inspired by Caslon Italian and Novarese's Estro), Montana (poster family, +Icona), Superb (a yummy creamy script, co-designed with Paco Gonzalez), Dolce Caffe 3D, Coming Home (a hairline curly script based on a childish handwriting), Rachele (a monoline connected script with a large x-height), The Crashed Fonts (a glaz krak family), Newland (inspired by Rudolf Koch's Neuland), Two Fingers (a funky hand-drawn family that includes, e.g., Two Fingers Bodoni, Two Fingers Courier, Two Fingers Poster [blackboard bold] and Two Fingers Script).

Typefaces from 2015: Modern Love (brush script), Mela (a gorgeous pointed brush / walnut ink typeface), Turquoise (a calligraphic serif type influenced by capitalis romana; not to be confused with Ahmet Altun's Turquoise typeface from 2011; co-designed with Paco Gonzalez, it was extended in 2019 in Turquoise Inline, and a new version was added in 2021, Turquoise Tuscan), Mina Chic (a wide connected calligraphic fashion mag script), Natura (connected fountain pen script, with accompanying Notebook, Icons and Stamps (initial caps) styles), Stencil Creek (inspired by Akzidenz Grotesk and influenced by street signs of the North West Pacific), Quaderno (monoline upright signage script).

Typefaces from 2016: Xmas Wishes, Gianduja (2016, a chocolate box script typeface family co-designed with Andrea Tardivo and Paco Gonzalez). Apero (a handcrafted emulation of sans and slab styles; the sans serif was inspired by vintage local liquor labels), Respect (a brush script sign painting typeface), Mentha (a calligraphic connected script typeface).

Typefaces from 2017: Peperoncino Vintage, Shabby Chic (wide signature script), Merendina (rounded sans family), Adore You (dry brush script), Quaderno Slanted (monolinear connected script), Love Wins (a collection of signage type phrases), Beach Please (watercolor brush), Timberline (dry brush script), Orbita (stencil shadow), Modern Love Slanted (brush style), Gessetto (a chalk lettering family).

Typefaces from 2018: Pesto Fresco (a wonderful 28-font layerable font family for use in hand-lettered posters), Instamood (a casual script), Auster (an unconventional flared and reverse contrast sans; followed in 2019 by Auster Rounded by Paco Gonzalez and Giuseppe Salerno, and in 2020 by Auster Variable), Smoothy (brush script), Voguing (a multiline typeface inspired by the movement and glamour of the 80�s and New York ballrooms scene), Beach Please Vintage, La Bodeguita (calligraphic), Contigo (with Paco Gonzalez; see also Contigo Vintage ), Story Tales (folklore style, with many choices of textures and possibility of layering), DreamTeam (multilined).

Typefaces from 2019 co-designed by Paco Gonzalez and Giuseppe Salerno: the brush typefaces Pando Script and Parkour, the Tuscan family Royale, the chalk font Dolce Caffe Chalk, the brush script Batticuore, the bry brush script typeface Blue Jeans, the layered handcrafted sans typeface Dolcissimo, and the font duo Sunday Morning.

Typefaces from 2019 by Giuseppe Salerno: SmoothyPro (with Paco Gonzalez), Auster Slab (a reverse stress slab).

Typefaces from 2020: Vermouth (a layerable font based on Italian signs from the 1960s), Big Mamma (a hand-printed slab serif by Giuseppe Salerno and Paco Gonzalez), Suerte (a reverse contrast display type, inspired by Aldo Novarese's Estro; with Paco Gonzalez), Norman (a fashion mag typeface by Paco Gonzalez and Giuseppe Salerno), Royale Italic (Tuscan; with Paco Gonzalez), Groupie (a psychedelic delight), Hello Fresh (with Paco Gonzalez), Nostalgia and Nostalgia Flowers (with Paco Gonzalez), Tresor (a romantic flared sans; with Paco Gonzalez), Pesto Fresco Italic (with Paco Gonzalez).

Typefaces from 2021: Industria Serif (54 styles; by Giuseppe Salerno and Paco Gonzalez), Guess What (hand-printed), Little Boxes (a fat finger font), Notes (a notebook script family), Annuario (an 48-style sans initially created for a calendar), Norman Stencil, Norman Variable, Videomusic (script), Norman Fat (a decorative high-contrast razor-sharp serif).

Typefaces from 2022: Oddity (a stylish calligraphic script).

His type blog is called It's Not My Type. Behance link. Creative Market link. Klingspor link. Creattica link. [Google] [MyFonts] [More] ⦿

Reyrey Blue
[Risca Anitawati]

Designer in Magelang (was: Yogyakarta), Indonesia, b. 1989. In 2020, she created the script typefaces Grand Amoura (script), Black Colnes, Des Rosesa, Nathiya, Lazy Boy, Brocke Jackson, Summer Like (+Sans), Magic Glass, Sweet Janette, Ceriya, La Muselle, Las Antonio, Shine de Love and Marionite.

Typefaces from 2021: Blinks High (a monoline script), Rhastelie (a sharp-edged reverse stress display serif), Christmas Melody (a calligraphic script), Billies Island (script), Bonjour Sydney (brush script), Mellaney Script, Bonjour Sydney (script), Le Vangeline (a calligraphic script), Soligant (an elegant typeface), Asillynne (an inky script), Paisleigh (a thin calligraphic script), Romantic Sunday (a graceful calligraphic script), The Julayna (a formal calligraphic script), Mon de Tresor (a condensed fashion mag serif), Medyson (a fattish vintage serif), Baby Rainbow, Magic Glass, Californian Beach, Caliner Script, The Bernardo, The Adelyne Script, La Vieste (a display serif with swashes), The Keandro (a signage script).

Typefaces from 2022: Roxale Story (a fashion mag serif), Te Quirtez (a sharp-edged vampire serif with rhombic tittles), Des Morgan (a condensed fashion mag serif), Triple Lemon, Cupid Darling (a scrapbook font), Seventh August (a display serif). [Google] [MyFonts] [More] ⦿

Reza Rasenda
[Bagerich Type Foundry (was: Zealab Fonts Division, Zea Fonts, Zea Lab, Zeaspace)]

Richard Lipton
[Lipton Letter Design]

Ricky Richards

London-based freelance graphic designer who studied graphic design at Worcester University.

In 2011, he created the Rubix Cube Typeface, Suave (2011, an avant garde fashion mag family with art deco elements), Marble Display Font (2011, a geometric experiment).

In 2013, he created the modular display typeface Marilyn. iHis 2016 typeface Quizle is similar.

Behance link. Old URL. Yet another URL. [Google] [More] ⦿

Rina Kartina
[Saxofont]

Risca Anitawati
[Reyrey Blue]

Riya Bhandarri

Mumbai, India-based designer of the high-contrast sans typeface Touché (2016). Behance link. [Google] [More] ⦿

Riyadh Rahman
[Ergibi Studio]

Rizki Maulana
[Rizkimau's Art Gallery]

Rizkimau's Art Gallery
[Rizki Maulana]

Aceh, Indonesia-based designer of the display typefaces Queen (2016) and Royal (2016, +Italic: fashion didone style with swashes, ligatures, and all possible OpenType tricks). Creative Market link. [Google] [MyFonts] [More] ⦿

Robert Alonso
[BA Graphics]

Robert Harling

Born in Highbury, North London in 1910, Robert was brought up by an aunt after the early deaths of his parents, and went to school in Brighton and London. He lived in Godstore, Surrey, and died in 2008. He studied at the Central School of Arts and Crafts, London. He first worked as a designer for the Daily Mail and was simultaneously an adviser on typography for London Transport and for the Sheffield-based foundry Stephenson Blake&Co, designing their literature and three popular display typefaces:

Playbill (1938) is a Western saloon face. Digital versions exist at Softmaker (as Prescott), URW++ (as Playbill), Elsner&Flake, and Bitstream (as Circus 721).
Chisel (1939) is an engravers typeface done at Stephenson Blake. Compare Bavo (Enschede). Digital versions exist at URW++, Elsner&Flake, and SoftMaker (where it is called Carlisle).
Tea Chest (1939, Stephenson Blake) is an elegant stencil typeface. Digital revivals: Tea Chest (1999, Sigred Claessens and Günther Flake, Apply Interactive), East India Company NF (2011, Nick Curtis), Pekoe JNL (2020, Jeff Levine).

While still in his twenties, Robert co-founded and became editor of Typography, a journal of contemporary lettering and print, published by his friend and ally James Shand at the Shenval Press. When it first appeared in 1936, the journal broke new ground in its coverage of the European avant garde---including the first serious article on Jan Tschichold's work to be published in Britain. In 1951, he designed Keyboard (at Stephenson&Blake; Schnelle mentions 1949).

Typographic adviser to London Transport, and director of one of London's leading advertising agencies. With James Shand, he was the founder of the Shenval Press in Hertford. He published the quarterly magazine Typography. After WWII, he published Alphabet&Image. He was also the typographic adviser and architecture correspondent for the Sunday Times. He was a during their service with naval intelligence in the second world war. Author of Ian Fleming (2015), a book about Fleming published seven years after his death.

Linotype link. FontShop link.

Obituary by Fiona MacCarthy in The Guardian. [Google] [MyFonts] [More] ⦿

Robert Huber

Zurich, Switzerland-based designer (b. 1982) who completed Fachklasse Grafik in Luzern in 2006, and obtained a BA in Graphic Design from ECAL/University of Art and Design Lausanne in 2010. In 2012, he founded his graphic design studio in Lausanne. In 2016, he started to teach at ECAL. His typefaces:

At Lineto he released LL Moderne (2013-2017), a humanist sans with dynamic curves.
RH Inter. Started in 2013, this is a reinterpretation of an archaic grotesque of German origin.
Vogue Light.
Corporate typefaces for the fashion industry, such as Balenciaga's logotype (2013), two bespoke typefaces for the agency MarioTestino+ (2014), and a new logotype for French luxury leather goods brand Lancel (2015).

[Google] [More] ⦿

Robert Tirado

Talented illustrator in Madrid who drew some ornamental caps in 2011. Check also his Ladytron poster (2011) and his fashion illustrations. Robert was born in Caracas, Venezuela, in 1977. Home page. [Google] [More] ⦿

Robin Mientjes
[Tiny Type Co]

Robin Schwarz

During her studies in Osnabrück, Germany, Robin Schwarz designed the thin fashionable sans typeface Monopulsar (2016) and the hexagonal techno typeface The Algorithm (2016). [Google] [More] ⦿

Rockboys Studio (or: Rockboy Studio)
[Hayinah Hayinah]

Graphic designer in Jambi, Indonesia, who says that most of his clients are tattoo craftsmen. Creator of Angelissa (2020: a formal calligraphic font), Hayes Preston (2020: a signage script) and Huntly, (2020: a decorative blackletter font that has interesting options for adding frills and swashes).

Typefaces from 2021: Rosica, Andina Janelia (a heavy monoline script), Geotrica (a 4-style geometric sans), Jack Mason (a script with a large x-height), Kinghood (serif), Reymond (a sturdy brush script), Beauty Festival (script), Buffallo (a scrapbook script), Hellowhiten (a signature script), Linguista (a monoline upright script), Santarino (a dry brush script), Autosmash (a dry brush script), Avengeline (script), Delphanium (calligraphic script), Reskova (a dry brush script), Alphayouth (a dry brush script), Brostone (a dry brush script), Geostar (dry brush caps), Stargold (script), Castonvilla (a creamy script), Shutdown Brush (a dry brush script), Anabelia (an upright monoline script), Hugio (a decorative serif), Belliza (a dry brush script), Priscilla (a scrapbook script), Bottania (a scrapbook script), Brettisa (script), Alovetha (script), Warmtone (script), Westerna (script) Shootballs (a fat finger script), Boldetton (a scrapbook script), Roselitta (a wild calligraphic script), Aghitta (brush script), Rustcyber (a dry brush script), Brushtter (a dry brush font), Slatteros (a brush script), Finesolla (a dry brush script), Strike Brush, Thunder (a bold brush script), Deska Magosta (a swashy display serif), Mogenta Signature, Darkness Brush, Blackshot (an exaggerated Victorian typeface), Battle Skill (a dry brush font), Bellazio (a tall and effective dry brush script), Astallya Script (monolinear), The Classic Signature, Zero Master (a techno stencil for cyber-starved geeks), Roxelane (hyper-ornamental and Victorian, perhaps useful for tattoos), Ludovica (a formal calligraphic script).

Typefaces from 2022: Contagia (a meaty decorative serif), Vessagio (a tuxedoed sans). [Google] [MyFonts] [More] ⦿

Rodrigo Aguadé

Madrid-based creator of the beveled and drop shadow typeface family Smoking Club (2013), which was inspired by titling in black and white movies. Buy the typeface at MATOI Design lab. Ogle it here.

Typophile link. [Google] [More] ⦿

Roland Hörmann
[Phospho]

Roman Shchyukin
[Zerotoohero]

Ronny Studio
[Rony Rizki Jaya]

Lamongan, Indonesia-based designer of these typefaces in 2022: Invisible (an 18-style sans with large x-height), Bleach (an elephant foot display serif), Geffroge Authentic (a reverse stress display sans), Robecha Daniera (a fashion mag serif), Bellarosta (script), Deserved (a curvy psychedelic font), Midtown Groveed (an all caps display serif), Phitagate (a signature script), Lessti (a sharp-edged display serif), Straight Ahead, Goodnight London, Bestigia. [Google] [MyFonts] [More] ⦿

Rony Rizki Jaya
[Ronny Studio]

Rose Aron

Rose Aron, who works at cartier International in Paris as a graphic designer, created Lacroix (2013), an ornamental typeface that was inspired by couturier Christian Lacroix. Behance link. [Google] [More] ⦿

Ruiwei Kho

Singapore-based creator of the compass-and-ruler didone typeface Reedling (2015). With its long ascenders and descenders, and stylish details, it is useful for fashion magazines. [Google] [More] ⦿

Ryan Thomas
[Drawwwn Studio]

Ryul Davidson
[Brenners Template]

Sabrina Bortoloso

Designer in Buenos Aires. In Pablo Cosgaya's course at UBA, she created the high-contrast dodone-inspired fashion mag typeface Viphnori (2012). [Google] [More] ⦿

Said Ismail
[Hadiftype]

Saiful Anwar
[Sealoung (was: Masay Letter)]

Sam Howard

During his graphic design studies at Liverpool Art and Design Academy, Sam Howard created the fashionista didone typeface Pensiero (2013) and showed its use as a wine bottle label. [Google] [More] ⦿

Sam Small

Sam Small (Kansas City, MO) designed the ultra-contrasted minimalist squarish typeface Minutia (2012) during his studies at the Kansas City Art Institute.

Samah Mausoof

Based in Male, The Maldives, Samah Mausoof created the condensed sans paperclip typeface San Serif Fontana (2013), which was inspired by Brazilian fashion model Isabeli Fontana. [Google] [More] ⦿

Samuel George

During his studies in Barcelona under Andreu Balius, Samuel George created the high-contrast fashion mag script typeface Chantal (2013). Behance link. [Google] [More] ⦿

Samuelstype Design
[Hans Samuelson]

Hans Samuelson is a freelance graphic designer in Stockholm. He runs Samuelstype Design. Fonts from his hand include Maya Samuels (2007-2010), Malcolm Samuels (2008), April Samuels (2000), the Arnold Samuels family (2007, fashionable sans), Lucy Samuels (2011, a simple rounded monoline sans family), Colin Samuels (2003), Owen S (2012, a sans family with a hairline weight), Rebecca Samuels (2001), Rosemary Samuels (2000), Victoria Samuels (2000, script), Andrew Samuels (2003, minimalist sans), Elliot Samuels (1999), Chelsea Samuels (2003, serif), Henrietta Samuels (2009, calligraphic), Bradley S. (2009, stencil), Orlando Samuels (2009, ornamental script; +Shade), and Spencer Samuels (2003, italic).

Fonts from 2013: Brooklyn Samuels, Rubica (originally drawn as a pitch for a headline sans typeface for one of Sweden's supermarket chains, it is both geometric and warm).

In 2015, he published the 60-style typeface family Magica which consists of Jade (no serif), Onyx, Ruby and Topaz (full serif).

In 2018, he published Hoxton Samuels (a sans workhorse).

Typefaces from 2021: Metropolia (a 5-style monoline art deco sans).

Typefaces from 2022: Darling Rose (a stonecutting font inspired by faded stone cuttings in a churchyard), Reba Samuels (15 styles: sans, slab serif and italic).

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

Sandi Dez
[Zeune Type Foundry (was: Zeune Ink Foundry)]

Sandro Dujmenovic

Zadar and/or Zagreb, Croatia-based designer. Creator of Renedi Sans (2007), a 21st century version of Didot.

In 2014, he designed Réal, a fashion mag typeface family (Homme, Serif, and Femme) that is imagined as a custom type for Yves Saint Laurent. Réal Serif is a lapidary typeface, while Réal Homme is a contrasted almost Peignotian sans typeface. [Google] [More] ⦿

Sani Sanjaya
[Arthy Type]

Sanket Avlani

Art director in London. He created a forceful hipster display typeface for the identity of Aqua Dominatrix in 2015. [Google] [More] ⦿

Sans and Sons (was: Agga Swistblnk)
[Angga Suwista]

Malang, Indonesia-based designer who also uses the name Agga. Creator of the free fonts Lucker (2013), Blnker (2013, a spurred Victorian typeface), BLNK Taper Lucker (2013) and Sivernake (2013, a spurred typeface).

Typefaces from 2014, some of which are commercial: Wilder, Rocking Rochoes, Rocking Bones, Brch Handdrawn, Reidfork, Hoverage (letterpress emulation, spurred), Hobric (letterpress emulation), Blnc (vintage, hand-lettered), Garado Blnco (spurred), Bracker (spurred Victorian typeface), Averake (sic) Glam (spurred, Victorian).

Typefaces from 2015: Ruffle, Ruffle Beauty, Moabhoers, Neaments (watercolor script: a renamed version of Sortdecai Handmade Script?), Banthers, Bleakerst (free), Monthoers (a free letterpress emulation font), Monthoers Signature, Sortdecai (a fantastic watercolor brush script in sub-styles called Handmade, Handmade Script, Vintage, Script, Display, Cursive Script, Cursive Wild Script, and Brush Script).

Typefaces from 2016: the script typeface Missmallove (designed by Lativa), Yellow Dawns (chalky), Coellack, Moalang (tweetware), Duwhoers (tweetware brush script).

Typefaces from 2017: Achillers Bant, Bouchers Script 2.0, Smbrn Stencil, Bouchers (vintage layered typeface), Moalang Pro, Salted Monthoers, Bouchers Layered, Garagethers.

Typefaces from 2018: Moalang-Melintang, Moalang X, Carters Layered.

Typefaces from 2019: Chalmers, Bouchers X1, Scarlett Display, Miss Waited, Buenos Script (brushed). Carphe (Sans, Script), Gourmet Le French (+Script) and Hello Paris (Serif and Script).

Typefaces from 2020: Olivia James (a wild script), Bulgari (a fashion mag serif), Peach (a display serif), Hello Paris Sans (an all caps fashion mag course), La Mango (a 6-style fashion font with refined serifs), Hello Branch (a decorative serif defined by its ligatures), Salty Feathers (a great inky signature script), Margot (a fashionable display serif).

Typefaces from 2021: Silver Future (a wild script), Fragile Serif (a display serif), Manne (fashion mag caps), Grande (in the Windsor style), Bethany (an inky rabbit ear script), Groovy Fruity (a creamy display serif), Blanch Sage, Frunchy Sage (a decorative serif with bent ascenders and descenders).

Typefaces from 2022: Charis (a modernized display serif).

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

Sansakerta (or: DN Art)
[Dean Nugraha]

Bandung, Indonesia-based designer (b. 2000) in 2020 of Glory Sunshine (a meaty and soft vintage decorative serif), Beauty Magnolia (a dynamic decorative sans), Million Dreams (a vintage display serif), Balinesse (a display serif), Glimmer of Light (all caps, high contrast), and Roenksync.

Typefaces from 2021: Glory Sunshine (a plump serif), Glitther Syavina (a decorative fashion mag serif). [Google] [MyFonts] [More] ⦿

Santi Rey

British designer of the 71-style neo-grotesque Britanica (2020), the stylish transitional typeface Moneta (2020), the Peignotian Moneta Sans (2020) and the supermarket signage script Mercadillo (2020).

Typefaces from 2021: Alfreda (a 6-style grotesque that experiments with dramatic ultra-thin horizontal strokes), Trona (a five-style condensed wedge serif), Gazpacho (a stocky serif font in 14 styles). [Google] [MyFonts] [More] ⦿

Sara Esnaashari

Canadian creator of the fashion mag typeface Bravura (2011). [Google] [More] ⦿

Sarah Cannon

Sarah Cannon (Portland, OR) created the condensed display typeface Geraldine (2013).

Sasha Saulich

Graphic designer in Saint Petersburg, Russia. Creator of a high-contrast fashion mag Latin typeface called Creative Font (2013). [Google] [More] ⦿

Satriyo Hutomo
[Muntab Art]

Saxofont
[Rina Kartina]

Indonesian designer of Aulian (Arabic emulation) (2021), Lesham (a squarish display font) (2021), Chatara (an all caps fashion mag sans) (2021), Cheyra (a mono-height fashion mag typeface) (2021) and Zeo Xay (a modular display typeface) (2021). [Google] [MyFonts] [More] ⦿

Schoener
[Florian Paizs]

Schoener (Augsburg, Germany) was set up in 2012 by Florian Paizs and Hermann Krauss. Though mainly a design studio, Schoener started making fonts in 2015, starting with the free-demo thin sans fashion mag typeface Elegant Lux (2015), an interpretation of Hans Möhring's sketches of Elegant Grotesk (1928-1929). More weights than just mager are planned in the near future.

In 2019, he released the extensive grotesk typeface family Zoom at The Designers Foundry.

Home page. Buy the fonts at The Designers Foundry. [Google] [More] ⦿

Sealoung (was: Masay Letter)
[Saiful Anwar]

Mojokerto, Indonesia-based designer (b. 1986) of these typefaces in 2020: Abimoty, Agoxes Game (octagonal), Amellya (wild calligraphic), Arahma, Asgore (a horror font), Assiaam, Aulidah, Battom Glory (a curly blackletter), Blapuhy (a dry brush script), Blondie, Bodihel, Brithny (a plumpish upright script), Busero (a speed emulating sports font), Christmas (a signage script), Deuglas (a wide monolinear sans), Domino, Duralit, Endellia (dry brush), Fastrace (a race car font), Gladish, Gondes, Hello Father (a heavy upright script), Kafenot, Kehraut, Killega (a decorative serif), Kris Kringle (Christmas-themed caps), Little Aliens, Love Money (an upright script), Merry Santa, Miss Mince, Moody, Queen, Rayhed, Sadish (a spurred decorative blackletter all caps typeface), Challiren (a Valentine's day script), Sakurata (oriental simulation), Santomyse Eridupes (a heavy rabbit ear script), Stiffeny Maritta (a rhythmic script), Tehisa, The Backro, Time Christmas (a retro signage script), Wuudy Cow, Yogurt Luber (a dripping paint font).

Typefaces from 2021: Saevul (an elegant inline typeface), Maferic (a display serif and script), Liferdas (an 18-style transitional serif), Adeston (a fashion mag serif), Edhan Martine (luxury serif), Abygaer (a refined display serif), Asbigan (a ligature serif), Maguire (a display sans), Angela (a swashy display serif), Nergisha (a trendy fashionable serif typeface), Weatsyam (a stylish signature script), Weatsyam (a stylish signature script), Mansdefia (a formal calligraphic script), Romantic (a script with personality), Bandes (an upright supermarket script), Love Rysma (a scrapbook font), Adaniya (a calligraphic signage script), Alyesina (calligraphic), Hay Monster (a scrapbook font), Balloon Duwoor (a scrapbook font), Crazy Robot (a blocky all caps typeface), Belyna (an upright script), Lovelys (a textured script), Sanderyna (a signature script), Magemin (a decorative serif), Hello Bucin, Founder Christmas, Amania (a bold signature script).

Typefaces from 2022: Sugela (a display serif), Ramadhan Amazing (Aarabic emulation), Algoria (a 36-style sans), Sageyl (a spider web serif). [Google] [MyFonts] [More] ⦿

Sensatype (was: Sunshine Design)
[Muhammad Zamroni Hamzah]

Indonesian designer who specializes in ligature-laden display serif fonts. Creator of the curvy display typefaces Emirates (2019) and Michael (2019), the cartoon font Wonder Boys (2019), the stylish ligature-rich Abigail (2019) and Giveaway (2019: a classic, almost Trajan, roman caps typeface), and the stylish sans typeface Meganté (2019).

Typefaces from 2020: Vintage (a rounded display serif), John Mayer (a ligature font), Bruney (an elegant titling font with tons of ligatures), Angle (yet another ligature font), Reborn, Richy, Charming, Malibu (almost psychedelic), Diamond, Knockout (a sports sans), Baby School (a rounded sans), Catchy Mager (a decorative serif), Saudagar, Sparkling Moscow Script (a rabbit ear script and a fashionable serif).

Typefaces from 2021: Satisfy (a sharp-edged typeface), Ginger (a stylish sans), Regards (a warm display serif), Famous (a stylish feminine sans), Ginkgo (a stylish serif), Runalto (a luxury serif).

Typefaces from 2022: Noah (a flared display serif), Santiago (a stylish serif). [Google] [MyFonts] [More] ⦿

Serdar Ozturk
[Arodora Type]

Serebryakov Type Foundry (or: Serebryakov TF, S TF; was Onetypethree Foundry, or: Dzianis Serabrakou)
[Denis Serebryakov]

Denis Serebryakov's Design studio in Minsk, Belarus creates logotypes and identity based on original lettering and own production fonts. Appetite (2011) is a black upright script family. It was followed by Appetite Contrast (2012) and the italic version, Appetite New (2012), the sketched version, Appetite Sketch (2013), and Appetite Rounded (2014). In 2016, it was updated to Appetite Pro. In 2017, it was extended to Appetite Pro Rounded.

Myster (2012) is a random font in which each glyph has three alternatives. General (2012) is an elegant casual sans family. Germes (2012) is a grotesk family with some contrast and with some reverse serifs added sparingly. Germes Sans (2012) is the sans version.

Statut (2012) is an elegant thin typeface that is based on calligraphic work by Belarusian artist Pavel Semchenko.

Oldsman No. 1 (2012) is a fashion mag typeface.

Displace (2013, +Displace Cut, +Displace 2.0 in 2019, +Displace Serif in 2019) is a sans typeface drawn with a tilted nib. Ultratype (2013) is an angular typeface designed for Ultralab.

Typefaces from 2014: Bouquet (a fat brushy script, with Cyrillic).

Typefaces from 2015: Ultratype Beta.

Typefaces from 2016: Nature Product.

Typefaces from 2017: Canapa (humanistic sans), Rozza (a curvy decorative stencil typeface).

Typefaces from 2018: Epos.

Typefaces from 2019: AMDG (a sans commissioned by Artox Media design Group).

Typefaces from 2020: Nekst (a 7-style geometric sans with a reference to bent metal tubing; +a variable style).

Typefaces from 2021: Taler (a 7-style avant-garde slab serif featuring plastic stiffness).

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

Sergio Haruo
[Hattori Supply Co (was: Corgi Astronaut)]

Sergio Miguel

Graphic designer from Porto, Portugal, b. 1990, who is studying at ESAD.CR in Caldas da Reinha, Portugal. Creator of Paradis (2013), the Hipster typeface (2013) and of the geometric monoline sans typeface Bagua (2013). Donzela (2013) is a high-contrast hairline fashion mag typeface. Dandy (2013) and Aroma (2013, hairline) are further fashion mag typeface families.

Typefaces from 2014: Telekinesis.

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

Sergiy Tkachenko
[4th February]

Shadya Emery

Graduate of EVAV (Sierre, Switzerland, class of 2014 and HEAD (Geneva), class of 2018. Sion, Switzerland-based designer of the free high contrast fashion mag typeface Shamery (2016), and the free monospaced monoline typeface Goldberg (2017) while studying at the University of Art and Design (HEAD) in Geneva. In 2019, he released the free grotesque typeface Myste. [Google] [More] ⦿

Shaheena Siddique

Brisbane, Australia-based creator of the fashion mag typeface Modello (2014). [Google] [More] ⦿

Sharkshock
[Dennis Ludlow]

Dennis Ludlow (Sharkshock Productions, Raleigh, NC) started making mostly free fonts in 1999. On August 28, 2001, Dennis announced that he would stop producing fonts, forever. To prove himself wrong, he became more prolific trhan ever, and ultimately started designing retail fonts as well.

His early typefaces include Hot Pizza (2001), Hawaiian Punk, Royal Acidbath, Little Caesar, Subway, Holiday India, Mobsters, Dallas Cowboys (Western look, 2004), Dark Crystal, Queen of Camelot (2015), Green Eggs and Spam (2015), Ludlow Strong Ale (2015, German beer label font), Space Angel (2014), Electrox, Cowboys, Dolphins, Viking Stencil, Lexust (2002), Padaloma (2002), Fujita Ray (2002), Willy Wonka, Hursheys, Grinched (a Halloween or beatnik font), Honda, Busch Gardenz, Holiday India (2000), Simpsons, Blockbusted, IHOP, Chicken Fool A, Playtoy (2000: like the masthead of Playboy), Cowboys (2001), Dreamscar (2001, has a Cyrillic version), Mr. Goodbaur, Dr. Peppers, Oreos, Air Millhouse, Fruitopia, Raiders, TGI Friday, Jolly-Raunchy, Mouser, Pirate-Keg, Fujita Ray (2015), Modeccio (2015, art deco), Wendyville (2015, Western), Vonique 64 (2015, avant-garde style), Your Royal Majesty (2015, a unique blackletter-inspired vampire script), Hackney Block (2015), Thunder Lord (2015, an outlined variant of Raiderfont), Republica Minor (2015), News of the World (2015: a news headline font), TH3 Machine (2015), Funkrocker (2015, inky, grungy), Tiki Tropic (2015: a tiki font), TypoGraphica (2015, a strong geometric sans), Vonique 92 (2015, circle-based fashion sans), Reisenberg (2015, a black titling sans; v2.0 dates from 2018). There is also a medium-sized categorized archive, with subsections such as cartoon fonts and movie fonts.

Typefaces from 2016: Twiddlestix, Konigsberg (rounded sans), Wicked Mouse (looney tunes typeface), Heathergreen (a tall condensed sans), Wonderbar (psychedelic), College Block (athletic lettering), Death Star, Ring of Kerry (uncial style), Blockletter (octagonal), Café Françoise, Cronus (round monoline sans), Suissnord (a wide sans display typeface), Grinched 2.0 (an update of Grinched), Red Seven (futuristic), Enchanted Land (derived from the blackletter genre), Freakshow (ornamental ransom note font), Deutschlander (a condensed sans for movie credits and similar applications).

Typefaces from 2017: Lemonade Stand, Dark & Black, Hennigar (a heavy compact sans in the spirit of Impact), Durango Western, Banbury (a heavy display didone), United Kingdom (techno), Goldoni, Kingsmen.

Typefaces from 2018: Bloomsburg (a 6-style organic sans; +Cyrillic), Stupid Meeting (an all caps display typeface), Medusa Gothic, Carson (tall grotesque), Collegeblock 2 (an octagonal varsity font), Medusa Gothic, Royal Crescent (sans), Praetoria, Papaya Sunrise, Helmswald Post (blackletter).

Typefaces from 2019: Deutschlander 2.0 (an organic monoline sans, with coverage of Cyrillic and Greek), Zanzabar (a genie lamp or Arabic emulation typeface), Vonique 43 (an organic fashion mag sans), Delacorso Outlines (tall decorative caps), Kwixter Sketch (for Latin and Cyrillic).

Typefaces from 2020: Stupid Meeting (an all caps sans with a comic book feel, appropriately named to describe most COVID era Zoom work sessions), Toyster (a plumpish typeface), Wonderbar 2 (psychedelic, all caps), Boldstrom (a tightly spaced heavy industrial sans), Reisenberg, Snicker Snack, Crosshatcher (a sketched font), Czesko (a skyline font), Storybook Ending (a mix of uncial and Tuscan), Toyster (a bubblegum font).

Typefaces from 2021: Kamryn (a display serif), Mouser (an organic geometric sans in six styles), Dottingham (a Victorian typeface), Tempestua (a sharp bold display sans), Lemonade Stand, Brontoburger (a vernacular typeface).

Typefaces from 2022: Jumbalo (a bubblegum font).

Abstract Fonts link. Creative Fabrica link. [Google] [MyFonts] [More] ⦿

Sharp Type
[Lucas Benjamin Sharp]

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 Typeslashcode in New York. In 2011, he and Juan Carlos Pagan set up Pagan&Sharp in Brooklyn, NY, but they split a few years later. In 2015, Lucas Sharp and Chantra Malee [at Sharp Type, Malee handles business, brand management, marketing, graphic design and sales] started Sharp Type in New York City. In 2020, the collaborators and type designers included Josh Finklea, Connor Davenport, Marc Rouault, My-Lan Thuong, Calvin Kwok, and Justin Sloane. Lucas Sharp's typefaces:

Happy Stache (2010). A blackletter.
Hera (2010). A ball terminal-laden ornate didone done for his thesis at Parsons. His talent shines through his award-quality ornamental didone family, Hera Big (2010), which is an extension of his earlier thesis work.
Designer Sucks (2010). An ultra-fat and counterless typeface.
The free fat counterless typeface Doughboy (2010). In 2014, Greg Gazdowicz and Lucas Sharp co-designed Doughboy Pro, a bubble bath typeface.
Lucas Sharp does penmanship drawings such as Go Big Or Go Home (2010) and We're on a roll (2010).
Together, Pagan and Sharp published Malleable Grotesque Regular (2011).
Sharp Sans (2013, Incubator subfoundry of Village). Sharp Sans is a geometric sans with a non-geometric semi-curvy italic. Sharp Sans No. 2 (2015) is more geometric. It has Bayer / Bauhaus alternates, Lubalin avant garde style interlocking capitals, and pays tribute to those styles. Sharp Sans No. 2 (2015, Incubator): While Sharp Sans No. 1 ends its round monolines with diagonally sheared terminals, Sharp Sans No. 2 shears those terminals on a 90 degree angle.
Ogg (2013) is a fashion mag typeface inspired by the hand lettering of 20th century book designer and calligrapher Oscar Ogg. Ogg won an award at TDC 2014. Review by Bethany Heck.
Frauen [Roman, Script] (2015, Incubator). A calligraphic pair. The Roman is partially based on the calligraphy of Friedrich Neugebauer [on the cover of an almanac of Berlin debutantes published in 1945 titled, Die schönsten Frauen der Welt], and partly Lucas's own creation. Production assistance from Wei Huang.
Sharp Sans was modified in 2016 for Hillary Clinton's campaign, on commission for Michael Bierut of Pentagram. They write: The newest iteration of Sharp Sans was conceived for the Hillary Clinton 2016 campaign. Michael Bierut and the Pentagram team chose Sharp Sans Display No.1 as the main typeface of the campaign identity, but such a monumental project required a sturdier and more utilitarian typeface. The new Sharp Sans is completely redrawn and shaped by the rigorous typographic demands of modern visual communications. What sets the new Sharp Sans apart is a raised x-height, and newly opened counters that make it optimal for both text and display layouts; a new, more versatile approach, of which the two Display versions were not previously designed for. The set has Slab and Stencil styles as well.
In 2016, Sharp designed a custom Trajan-inspired typeface for Anthonly Lent, the jeweler.
Sharp Grotesk (2017), 259 fonts strong and several years in the making. Village writes: Sharp Grotesk sits at the intersection of mid-century modernist rigor and Victorian hand-hewn vernacular. Lucas considered Adrian Frutiger's monumental Univers suite of fonts, with its grid of multiple weights and widths, applying this underlying construction principle to letterforms echoing the forms of American and northern European wood types. Sharp Grotesk won sixth prize in the TDC Typeface Design competition in 2017.
Lucas Sharp and Connor Davenport finished the Dutch oldstyle typeface Eros Text in 2017. Eros Text was influenced By Jan van Krimpen's Sheldon and Bram de Does's Lexicon. Eros Text B has longer ascenders than Eros Text A.
Halyard (2017). An information design sans typeface family by Joshua Darden, Lucas Sharp and Eben Sorkin.
Respira Black (2017). A contemporary blackletter inspired by Spanish and English models from the 15th and 16th centuries.
Sharp Slab (2018).
Beatrice and Beatrice Display (2018) by Lucas Sharp assisted by Connor Davenport and Kia Tasbihgou: Beatrice is a new kind of typeface. The family is an exploration of contrast methodologies, combining various aspects from the canon expansionist systems, inverted contrast, and the contrast behavior of standard sans-serif grotesks. These methodologies were dissected and used as cornerstones in building our own system, with the final result landing largely in unexplored territory. Built on the foundation of a traditional American Gothic but with tight-as-can-be spacing, the superfamily spans a robust set of weights and includes 2 optical sizes: a super high-contrast, tightly packed Display cut, as well as a standard low-contrast cut, designed to function beautifully in a wide range of optical sizes.
In 2019, Lucas Sharp and Marc Rouault wrapped up Doyle at Sharp Type. The chubby Doyle interpolates between Cooper Black and ITC American Typewriter.
In 2021, Lucas Sharp and My-Lan Thuong, assisted by Wei Huang and Marc Rouault, designed Salter. Slater Roman is based on calligraphic book jackets by Georg(e) Salter from 1941, and Salter Italic is inspired by two of Oscar Ogg's book jacket alphabets from 1942.

Type catalog, 2010. [Google] [MyFonts] [More] ⦿

Shibu PG

Kochi, India-based designer of the blackboard bold typeface Achi (2015) and the free fashion mag typeface Aila (2017). Gumroad link. Behance link. [Google] [More] ⦿

Shinya Okabe
[Daylight Fonts]

ShowUp Type Foundry
[Aulia Rahman]

Or Aulya Rahman. Banda Aceh, Indonesia-based designer of the signage script typefaces Mekar Script (2016) and Nelda Script (2015). In 2016, he made the connected monoline script font Sakura, the logotype script The Angel (removed after a few days, but then reinstated), the script package Beauty Sunset, the handcrafted typeface Oliver, the poster typeface Lumberjack, the brush font Strength Script, and the connected signage typeface Florance Script.

In 2017, he designed Bagman (connected monoline script), The Moon (a free brush script), Alaska (a fat brush script), Maveric (a dry brush script) and Signature Script.

Typefaces from 2018: Margents (signage script), Specta Retro Script (2018, with Hendra Maulia).

Typefaces from 2019: Lumberjack, Oliver, Matao Serif (a decorative didone typeface done with Hendra Maulia), The Night (curly script).

Typefaces from 2020: Monesta (an 18-style sharp-edged display serif; +a variable style), Nagaiya (a 15-style display sans (+a variable cut) characterized by sharp spurs; by Aulia Rahman and Hendra Maulia), Rustler Barter (a display font done with Hendra Maulia), Neue Metana (a wide display sans by Aulia Rahman and Hendra Maulia), Masculine Script.

Typefaces from 2021: Markisa (an 18-style humanist sans and a variable font), Magtis (a 10-style retro fashion mag serif by Aulia Rahman and Hendra Maulia), Magis (a 21-style display sans), Cigra (a decorative serif by Aulia Rahman and Hendra Maulia).

Typefaces from 2022: Garcia (a Picasso-esque display typeface by Aulia Rahman and Hendra Maulia), Consta (an 8-style display serif by Aulia Rahman and Hendra Maulia). [Google] [MyFonts] [More] ⦿

Sienna Gray

Poulsbo, WA-based creator of the thin fashion mag sans typeface Gray Sans (2015). This typeface was developed during her studies at NCAD in Poulsbo. [Google] [More] ⦿

Silk Type
[Rakel Tómas]

Or Rakel Tómasdottir. Graphic designer in Reykjavik, Iceland, who works for Glamour Iceland (as art director) and Condé Nast, and graduated from Iceland Academy of the Arts in 2016. Her full name is Rakel Tómasdóttir. In 2015, she created the high-contrast fashion magazine typeface Glam, which is used in Glamour Iceland Magazine.

She set up Silk Type in 2017 and promptly published the high-contrast fashion mag typeface family Silk Serif.

In 2018, she published another fashion mag bracketed serif typeface, Velvet, or Velour, and followed it up with Velour Raw (for text in smaller sizes).

Typefaces from 2019: Silk Sans Display.

Typefaces from 2021: Gingham (a 10-style geometric sans that mixes in some of Renner's early playful Futura elements), Chiffon (a delicate serif). [Google] [MyFonts] [More] ⦿

Simon Clausen

Haderslev, Denmark-based designer of the high-contrast fashion mag typeface Couture (2013).

Simon Schmidt
[Closefonts]

Simon Walker
[Beasts of England]

Skyline Fonts

Skyline fonts are fonts that are ultra narrow or condensed in a style often seen in American magazines in the 1930s and 1940s. This group contains fonts such as Swifty (2011, Alex Sheldon, Match & Kerosene), Empire (1989-1994, David Berlow and Kelley Ehrgott-Milligan, Font Bureau), Spire (Ann Pomeroy, Group Type), LTC Spire (2005, Lanston), Corvinus Skyline (1991, Ann Pomeroy, Group Type), Niagara (1994, Tobias Frere-Jones, Font Bureau), and Manygo Serif (2012, Michel Troy).

Font Bureau's Empire is a 7-style extension of the Empire type designed in 1937 by Morris Fuller Benton for Vogue, where it was used as a headline style. A year later, in 1938, Sol Hess created an ultra-narrow didone caps only family called Spire, which similar magazine titling applications. It was that typeface that was extended in digital form by Ann Pomeroy of Group Type and by Lanston in 2005. The typeface family Niagara by Tobias Frere-Jones revisits both styles. A separate duckling with its ultra large x-height is Corvinus Skyline, designed in 1934 by Imre Reiner. It was digitized in 1991 by Group Type. [Google] [More] ⦿

Solenn Bordeau

Graduate of Ecole Estienne in Paris, class of 2019. She quickly turned into one of the world's top designers. Her typefaces:

During her studies at Ecole Estienne in Paris, Solenn Bordeau designed the display typeface Jules Verne (2019).
At Zetafonts, she helped with the design and production of Eastman (2020, by Francesco Canovaro and Andrea Tartarelli). Eastman is a 178-font geometric sans workhorse family with Bauhaus genes developed for maximum versatility both in display and text use, with a wide weight range and a solid monolinear design featuring a tall x-height. It comes with a two axis variable font (weight, italic angle).
In 2020, Cosimo Lorenzo Pancini and Mariachiara Fantini---with the help of Solenn Bordeau---released Erotique at Zetafonts. Erotique evolved from Lovelace, an earlier Zetafonts typeface. Zetafonts describe this evil serif as follows: it challenges its romantic curves with the glitchy and fluid aestethic of transmodern neo-brutalist typography.
co-designer with Jérémie Hornus of Egitto (2020, Black Foundry), a huge Egyptian (slab serif) family that is accompanied by a handy variable font.
In 2020, Francesco Canovaro and Solenn Bordeau released their hip exaggerated-inktrap font family Sunshine at Zetafonts.
Sunshine Pro (2020, Zetafonts) was designed by Cosimo Lorenzo Pancini and Solenn Bordeau expanding the original Sunshine design by Francesco Canovaro, part of the Quarantype collection (2020), which in turn was designed as a typeface for good vibes against Covid-19. Sunshine Pro is an experimental Clarendon-style font with variable contrast along the weight axis---contrast is reversed in light weight, minimized in the regular weight and peaks in the bold and heavy weights.

[Google] [More] ⦿

Something Design
[George Dobrogeanu]

Ploiesti, Romania-based designer of Winchester Condensed (2014), Picnic Caps (2014) and Grocery Rounded (2014).

In 2015, he designed the beautiful watercolor brush typeface Toscana, the old typewriter font Enigma Typewriter Sans, the connected script typeface Melancolie, the script typeface Annabelle (2015), the hyper-curly script La Provence, and the thin avant garde fashion sans typeface Eva.

Typefaces from 2016: Tall and Tiny Font Duo, Novus Sans, Playbook, Agave, Wanda Script (which he calls a pin-up style), Capital (dry brush font), Halftone Sans (textured), Quantum, Dystopia.

Typefaces from 2018: Faun (an exquisite decorative caps typeface).

Creative Market link. Behance link. Home page. [Google] [More] ⦿

Sonal Gadre-Shintre

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. [Google] [More] ⦿

Sonia Vaz

Lisbon, Portugal-based designer of the high-contrast ball terminal-laden free Peignotian style typeface Tosca (2013-2014), which was a school project at ESAD.CR. Dafont link. [Google] [More] ⦿

Stanley Dai

Web designer in San Francisco who created the decorative didone typeface Ogee in 2018. [Google] [More] ⦿

Star Brand

Moscow-based designer of Vogue font (2016) for Latin. [Google] [More] ⦿

Stayclean

Las Palmas-based art director who created Royal Navarro (2012, fashion mag high-contrast display face).

Stefan Wetterstrand
[Lunch Type (or: Steppot)]

Studio Aurora (was: Platform Design)

Stefania Malmsten

Stefania Malmsten is a Swedish art director and a graphic designer with clients mainly in the fields of art, fashion and film. She was one of the founders of Pop and Bibel magazines in Sweden and is a former art director at Vogue Hommes International in Paris. In 2006, Stefania Malmsten received The Berling Prize, Sweden's most prestigious graphic design-prize. In 2013, Stefania founded the design studio Malmsten Hellberg together with designer Ulrika Hellberg. Stefania is currently the Creative Director at Rodeo Magazine in Sweden.

She co-designed the thin display typeface Line in 2013 with Göran Söderström (Letters from Sweden). The typeface was originally designed for Swedish fashion and culture magazine Rodeo in 2012 before it was released for commercial use at the end of 2013. Line comes in 5 super thin styles. The thinnest is possibly the thinnest typeface commercially available anywhere.

During the work with Rodeo magazine, Stefania got the idea for a typeface that would be the exact opposite of Line---a heavy face where the counter spaces in the characters would correspond to the differents widths in Line. The idea was shelved at the time but was used as a custom face for the documentary Maj 68. Inline is available since 2021 from Letters from Sweden in three widths, with seven optical variants in each width. Included is also a variable font. [Google] [MyFonts] [More] ⦿

Stefania Papai

At the Visual Arts Institute in Eger, Hungary, Stefania Papai designed Ansovald (2019) as a school project modification of Oswald Light. In 2019, she released the fashion mag typeface Unda. In 2020, she finished the monoline script typeface Solaris. [Google] [More] ⦿

Stephanie Zubia

Stephanie Zubia (Juarez, Mexico) designed the high-contrast experimental typeface Louvre in 2013. [Google] [More] ⦿

Steve Mehallo

Steve Mehallo was born in San Francisco in 1967. He is a freelance graphic designer, educator, illustrator and font designer specializing in brand strategies, custom font development and logos. His clients have included Monotype, Microsoft, Ascender Corp, The Unicode Consortium, Netscape, TiVo, Nike, The David and Lucile Packard Foundation, The Learning Company and several more. He is also a past president of the Art Directors and Artists Club of Sacramento, board member of Another Poster for Peace, was the lead curator of the contemporary graphic design exhibition Spoken With Eyes at the UC Davis Design Museum and has taught design courses at UC Davis, Santa Clara University, The Art Institute of California and Sacramento-based American River College. First Redwood City, CA, and now Sacramento, CA-based. Creator of these fonts:

The street lettering font Alta California in 1994 (Agfa): Alta California is a ransom note-style sample of wood type and other types.
The beautiful old typewriter family Chandler 42 at Psy/Ops.
MartiniAtJoes family (1996-1997) is available through Agfa-Monotype and PsyOps: futuristic meets the 50s.
Niedermann Grotesk (2011). He writes: It is a peculiar style of lettering---which was originally inspired by the Sachplakat (object poster) work of Lucien Bernhard---and adapted for hot metal in 1908 by Hermann Hoffmann. 100 years ago, the style became a workhorse of the German printing industry.
Escoffier Capitaux (2008) is named for culinary legend Auguste Escoffier (1846-1835) and inspired by lettering used in vintage French advertising---including the work of commercial illustrator/fashion designer Ernst Dryden (1887-1938), with a hearty serving of 1960s ligatures influenced by the work of Herb Lubalin (1918-81) as well as a twist of Claude Garamond (1480ish-1561).
TwentyFourNinetyOne (2008, Ascender Corp) is a reinterpretation of the alphabet of 1919 by Theo van Doesburg.
Jeanne Moderno (2009) is an art deco take on Bodoni, in 9 styles.

Klingspor link. FontShop link. Blog. MyFonts link.

View Steve Mehallo's typefaces. [Google] [MyFonts] [More] ⦿

Stewart Scott-Curran

Atlanta, GA-based graphic designer and illustrator. His typefaces include Hampden (2011, an art deco caps face), Geometra (2011, octagonal) and Skyler (2011, a great high-contrast fashion mag face). [Google] [More] ⦿

Stine Juhl

At the Royal Danish Academy of Fine Arts School of Design, Stine Juhl created a fashion mag didone typeface in 2017. [Google] [More] ⦿

Storic Type (or: Flavor Type, or: Flavortype)
[Panji Nugraha]

Flavor Type was an Indonesian design studio located in Bandung in which Panji Nugraha, Ilham Herry and Maghrib Lab were involved. In 2017, Panji Nugraha set up Storic Type.

Panji Nugraha is the Bandung, Indonesia-based designer of Caferus (2014), Murmers (2014, Victorian), Bonerica (2014, a Victorian typeface), Vanderchalk (2014) and Glowist (codesigned in 2014 with Ilham Herry and Maghrib Lab at Flavor Type).

In 2015, he made My Dear Script (penmanship script), Hava Shine (Victorian signage face), Lovile, La Chalk (chalk writing emulation), Carneval (a fun hand-drawn typeface family with a possibility of layering), To Dear (brush script typeface), Allic (brush typeface), Vidiz (a swashy slab serif poster typeface), Levitte Script, Leila, Holisun (brush face), Vacamous, Summerica, Callalily, Vicent (watercolor brush), Morning Sugar (brush script), Blacky, Lonssa (hand-drawn type, with ornaments), Heartwell (a wonderful brushy poster script), Noside (a splashy brush), Toxine and Fruty.

Typefaces from 2016: Enlighten (bouncy sans), Bite Chalk, Stay Alive (Victorian), Dafodil (Western), Vercha, De Arloy (art nouveau), Herald Bouncy, Mon Cheri (signage script).

Typefaces from 2017: Relove (Victorian), Floresh, Chester (a layered spurred vintage typeface), Recipe Daily (free), Glandish, Moody Blue (a curly Victorian typeface), Reborn (ornamental Victorian typeface), Recipe Diary.

Typefaces from 2018: Limit Corner (Victorian), Bride Chalk (sans and serif).

Typefaces from 2019: Borest (a luxurious flared sans by Ilham Herry and Maghrib Lab), Fulgate (by Ilham Herry and Adam Fathony).

Typefaces from 2020: Muray House (a bold swashy bathroom towel typeface by Ilham Herry and Adam Fathoni Haris), Esteric (a playful retro jazz typeface).

Flavortype's catalog in 2022 showed these typeface families:

Barlon (2022). Art nouveau, modernized. By Ilham Herry and Adam Fathony Haris.
Borest (2019). A luxurious flared sans by Ilham Herry, Adam Fathony Haris and Maghrib Lab.
Budge (2020). A layerable retro signage script.
Bumsy (2021). A bold display serif by Ilham Herry and Adam Fathoni Haris.
Esteric (2020). A playful tapered retro jazz font. By Ilham Herry and Adam Fathony Haris.
Fulgate (2019). A luxury display family by Ilham Herry and Adam Fathony Haris.
Genty (2020). A creamy retro signage script typeface by Ilham Herry and Adam Fathoni Haris.
Glaw (2020). A psychedelic font by Ilham Herry and Adam Fathoni Haris.
Monvar (2021). A layerable Cooper Black style typeface. By Ilham Herry and Adam Fathony Haris.
Muray House (2020). A bold swashy bathroom towel typeface. By Ilham Herry and Adam Fathony Haris.
Rische (2021). A 6-style display serif with huge counters and an enormous x-height. By Ilham Herry and Adam Fathony Haris.

Creative Market link for Flavor Type. Another Behance link. Behance link. Another Behance link. Another Creative Market link. [Google] [MyFonts] [More] ⦿

Struvictory Art
[Viktoryia Strukouskaya]

Struvictory Art (Hrodna, Belarus) is run by Viktoryia Strukouskaya and Viktor Strukovski. Most of their typefaces are jointly designed. Their creations include the patterned typeface Endless Hygge in 2017. In 2018, they designed the decorative Mexican flavor typeface Mexico, the textured Nordic Tale, the tribal font Solaris, the color font Jazz, the floral typeface Gardenia, Insectarium, Folk Tile, the alchemic typeface Majolica (released in 2019 as Maiolica), Rustic Spring, Africa, and the tribal African font Tabu.

Typefaces from 2019: Runista, Runista Symbols, Wigwams, Aronia, Norwolk (a Nordic folklore font, +Symbols), Solarica (a tribal font family), Agnostic Font (a hipster font), Modesto (arts and crafts style font), Wigwam and Wigwam Symbols (a tribal font), Sealife.

Typefaces from 2020: Moonwild (a celestial font and symbol set), Moonwild Decorative, Okaeri (a Japanese emulation foint), Quizles (a stencil serif), Doubleganger (a Peignotian typeface for fashion magazines that plays on two different widths), Hedonist (a great modern poster sans).

Typefaces from 2021: Hygge Adore (a hairline slab serif), Geonica (a great geometric deco typeface), Le Tarot (a spurred celestial font), Stonage (stone age letters and patterns), Foliart (floriated, blackboard bold; originally called Foliar), Mystyline Decorative, Ajoure (a folk art font that includes a set of symbols).

Typefaces from 2022: Nomad Decorative (a decorative boho font). [Google] [MyFonts] [More] ⦿

British designer based in Dubai and/or London, whose company is called Studio Aurora (was: Design by Platform, or: Platform Design). His typefaces:

In 2018: the stylish display typeface Ceylon, the ultra-condensed typeface Burokku (free trial) and Sukima Stencil.
In 2019: Equinox (sans and serif: a caps only fashion mag typeface), La Rosa (a fashionable mini-serifed typeface), Everglade (sans), Palm Beach (a delicate all caps sans), Ranahan (a tall all caps sans), Bliss Bucket (octagonal caps), Enzyme (a monoline sans), Quebec (a Peignotian sans).
In 2020: Nightfall (a fashion mag display type), Eclipse (a tall intestinal serif), Felix (a condensed display serif), Lexington (a great art deco typeface), Musque (a fashion mag serif), Leilani (a display serif), Kassan, Sunscreen (a soft serif), Adagio, Skylight, Gyoza (a fashion mag typeface), Belize, the Americana series [Wichita (a slab serif), Sedona (stencil), Dinetah, Prescott (script), Cedar Park, Laredo, and Quaker], Acapulco (a great Peignotian sans), Legion (a wedge serif), Ekland (a display sans), Aurora Grotesk, Quavo (a fat finger font), Artemis (a flared typeface), Kangri (a stylish stencil serif typeface), Oakland (a stylish all caps display typeface), Rothko (art deco inspired), Fjord Stamp (a soft bold serif), Fjord Bold, Seminyak, and the handwriting series [Jolly, Quavo, Sanshand, Kurafuto, Aurora Script].
In 2021: Jacuzzi Club (reverse stress), Tankobon (a flared deco typeface), Laredo Rounded (octagonal).

[Google] [More] ⦿

Studio Frames

Hong Kong-based designer of the condensed fashion mag typeface Moustique (2019). [Google] [More] ⦿

Suitcase Type Foundry
[Tomás Brousil]

Suitcase Type is a Czech foundry, est. 2003 by Tomas Brousil (b. 1975), who lives in Prague. He graduated from the Prague Academy of Arts, Architecture and Design (Type Design and Typography, MgA. 2009) where his graduation project was the 96-family Tabac typeface system, published in 2010. He teaches in the Type Design and Typography department of the Prague Academy of Arts, Architecture and Design.

The Tabac family started with Tabac Sans in 2010. It was augmented in 2012 with Tabac Slab and Tabac Mono, which have a full range of weights from Hairline to Black. Tabac Glam, a fashionable Peignotian high contrast sans, was added in 2016, and Tabac Micro in 2018. In 2019, he published Tabac Big Glam, Tabac Big Sans, Tabac Big Slab and Tabac Big.

Other typefaces from 2008-2010 include Monopol (a six-weight condensed sans that includes a hairline weight), Idealista (2010, organic, a mix of styles), Nudista (2009, a multistyle take on DIN with a superb fashion mag hairline, Nudista Thin), Kulturista (2009, a part slab part serif extension of Nudista), Comenia Sans (2008, a 12-style complementary family to Storm's Comenia Serif for school textbooks), Metalista (2008, unicase octagonal metallic face).

2007 was a successful year. Brousil created Bistro Script (2007, fifties diner style script), Corpulent (2007), and Gloriola (2007, a sans in 14 styles, including a hairline. The last typeface family won an award at TDC2 2008 and at Typographica's Best of 2007. Stephen Coles likes its position between the cool sterility of de Groot's monolinears and the warmth of Latin designers: With a broad range of weights, a complete Western character set, and a sack of ligatures and alternates, Gloriola has the depth required for complex identity systems and publication design. This shrewd response to the fashions of today is going to be useful for many years to come.). The year 2007 also saw Purista (a 10-style cousin of Eurostile), which includes hairline weights. Ellen Lupton says this about Purista: I've been feeling hungry for a stylish, edgy sans who enjoys evenings out on the town and long mornings of crisp conversation. In other words, I've been craving a font who likes to party but who can also help out with the dishes.

Production in 2005-2006: Teimer's Antiqua (2006: a didone family based onn unpublished 1967 design by Pavel Teimer), Rokoko (2006, an octagonal custom typeface for the Rokoko Theatre in Prague), Sandwich (2006, a lively display caps set), Vafle (2006: based on an original concept by Marek Pistora from 1997, with minor adaptations and 11 new weights), Dederon Sans and Serif (2005, the sans version being inspired by TypoArt's Liberta; see also here for a comparison with Underware's Dolly), Dederon Serif.

Typefaces from 2004 or earlier include Fishmonger (2004, a sans family), RePublic (a 2004 revival, done with Radek Sidun, of Public by Stanislav Marso, 1955. Note that Public was used to set the text of a Czechoslovak Communist party newspaper, Rudé Právo), Botanika (2005, a sans family including many typewriter styles and several mono weights), Atrament (2003, a narrowed grotesque inspired by the lettering used on the title of the almanac "Devetsil - Revolucni slovnik" (1922) edited by Karel Teige, in 30 styles!), Magion (2004, a simple geometric font), Fishmonger (2004, a broad 50-weight futuristic family), Katarine (2004, a warm sans family with appropriate dingbats added in), and Orgovan (2004-2005, a punk/brush family).

Typefaces from 2013 include the roundish sans family Ladislav: 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. The g consists of two disjoint circles.

Typefaces from 2014: Urban Grotesk (a very airy, open grotesque typeface with large x-height and uniform grayness).

Typefaces from 2015: Pacifista (stencil).

Typefaces from 2016: BC Novatica (by Tomas Brousil and Marek Pistora (Briefcase Type): Novatica was created based on a commission from the Czech commercial television station Nova in 2007. Marek Pistora worked with Tomas Brousil to create an alternative to a readable, simply designed sans. They naturally called the typeface Novatica. In 2014 TV Nova decided to abandon Novatica for good, and in so doing it released the exclusive licence it had been using. Novatica thus became a new typeface offered by Briefcase Type Foundry.

Typefaces from 2017: Jaroslav (monolinear sans, named after Jaroslav Benda, followed in 2020 by Benda), Pepi and Rudi (a sans and slab pair based on basic shapes such as circles, rectangles and triangles).

Typefaces from 2020: Atyp BL (+variable), Atyp (+variable). A 25-style sans family remotely influenced by Bauhaus.

Typefaces from 2021: Crabath (a 72-style transitional typeface family based on the 1761 specimen book of Czech typefounder Vaclav Jan Krabat; this family covers several optical ranges, from Subhead to Display to Text, and features wonderful initial caps).

Typefaces from 2022: Atyp Kido (a 6-weight and variable rounded sans family for Latin, Greek and Cyrillic).

Brousil made many corporate or identity fonts. Examples include Brzda (a custom font for Czech artist Pavel Brazda), Budovatel (a custom font for the Bohemian National Hall in New York), and Union (custom webfonts for the Czech graphic design union).

MyFonts page. Behance link. Klingspor link. MyFonts interview.

View Tomas Brousil's typefaces. [Google] [MyFonts] [More] ⦿

Sukjana Almunandar
[Alcode]

Sumotype Foundry
[Oscar Fernando Guerrero Cañizares]

Born in 1981 in Colombia, Oscar Guerrero lives in Pasto, Narino, in the southwest of Colombia. His graduation work in 2012 at FADU UBA (University of Buenos Aires) is the Venetian text typeface Epica. Epica was first released in 2014 at Sumotype and later, in 2020, by Sudtipos as Epica Pro.

In 2014, he set up Sumotype Foundry in Bogota, Colombia. The Sumotype fonts include Proyecta (2014: a great wedge-serifed ultra-fat stencil typeface), Septima (2014, sans family for urban signage), Epica (2014 release: this typeface won an award at Tipos Latinos 2014), Farma (2014, a roundish headline sans), Republica del Diseño (2014, stencil), Moira (2014).

Typefaces from 2015: Babar (an inspiring heavy poster typeface also headed for stardom).

Typefaces from 2016: Pacha (free square-shaped tribal typeface with plenty of ligatures).

In 2018, he published the creamy fashion mag italic headline font Vala (Monotype).

In 2019, he added the retro script typeface Playland (Monotype).

Typefaces from 2021: June (a variable font by Fer Cozzi and Oscar Guerrero), Fuga (an experimental hybrid sans).

Typefaces from 2022: Gregor (a hybrid sans serif typeface family with two variants, Upright and Slanted; the design is inspired by some advertising graphic designs used in the United States during the 60's and 70's; published at Bastardatype), The Irish Pub (identity and custom typeface in a Celtic / beer bottle / German expressionist style).

Typeface developer at Omnibus Type. Future Fonts link. [Google] [MyFonts] [More] ⦿

Suomi Type Foundry
[Tomi Haaparanta]

Tomi Haaparanta (b. Vaasa, Finland, 1967) is a Finnish type designer and art director. He created many great fonts, and founded Suomi Type Foundry in 2005. Speaker at ATypI 2005 in Helsinki. MyFonts link. FontShop link. Klingspor link. His typefaces, suboptimally grouped:

Typefaces from 2016: Suomi Hand Script.
Typefaces from 2015: Tool (a classic, narrow and clean sans serif family with seven weights), Triangle (wedge serif typeface), Tip (a modulated sans).
Typefaces from 2013: Abandon (a basic sans family), This (a rounded family), Abiding (slab serif).
Typefaces from 2012: SciFly (a free rounded sans commissioned by Flyerzone).
Typefaces from 2011: Tow (a headline font family), Grumpy Black (Black 24 is based on the headline typeface ITC Grouch (1970, Ronne Bonder and Tom Carnase), and the other styles are increasingly of higher contrast).
Creations in 2010: Tenner (very plump and round, good for signage), Tart Heavy (fat slabs to drool over), That (a display family, +Open, +Irregular, +Bold), Thud (an industrial belt octagonal/mechanical family), Steelworks (a sturdy mechanical sans), Taste This (sans family), Telltale, Titillation (rounded), Tide (connected script emulating ink flow), Taffee (narrow sans), Televisio, Tournedot (a very cute and lively semi-serif headline face), Tem pest, Tristan (hand-printed), Cider Script, Toffee Script (after an art nouveau typeface called Regina Cursive, which was published by H. Berthold Messinglinienfabrik und Schriftgiesserei around 1895). Tonsure Script (a high-contrast connected script), Ticketbook (for movie posters), Suomi Sans (a family with special counters).
Creations in 2009: Tar (rounded sans family), Marimekko (a slab family for a Finnish clothing company, adapted from its 1954 Olivetti typewriter roots), Vektori (monoline octagonal), Kaapeli (Tomi's take on Kabel), Suomi Slab Serif (related to American Typewriter), Marimekko Sans, Tee Franklin (gothic sans family, made for The British Vogue---check out the light weight; done with Brian Kaszonyi), Tobacco (octagonal, based on drawing program emulation), Pannartz (based on a scan of a 1476 text by Sweynheim&Pannartz), Suomi Hand (FontShop), That (4-weight serif family), Talbot (connected script patterned after the Talbot car logo), Taint (modular ink trap face), Tailor (slab serif), Tink, Tale 40, Tale 20, Story 40, Story 20 (all pixel fonts), Tictac (a 3D face), Giro (done on purpose to mimic the ugly Giro d'Italia geometric logo font), Tame (rounded sans), Suomi Script, Explosion (grunge).
Creations in 2007: Caxton Script (blackletter).
At ITC: ITC Tetra (2005, squarish face), ITC Tomism (2005, modeled after Church Slavonic), ITC Tyke (2004, a take on Cooper Black).
At Psy-Ops: Temporal, Torus.
At T-26: Talmud (1998, faux Hebrew), TyrantRoman (1998, an Exocet-style face, T-26), Tumbler, Torino-Book, Tonic, Terylene, Tension, Teebone, Task-Toobig, Target (2004), Tantalus, Aged (1999), and Taper (2009, slab serif), the experimental sans families Target Recut (2004).
At FUSE: FutuRoman (FUSE95).
Tang (2004, an anti-inkbleed sans family done for very small point sizes).
At Agfa Creative Alliance: Tangerine, Teethreedee, Twinkle.
With Klaus Haapaniemi and Brian Kaszonyi: the 15-font War family in 1999-2000.
At Linotype: TeebrushPaint LT Std (2003).
Game (family).
Tubby.

Dafont link.

View Tomi Haaparanta's typefaces. [Google] [MyFonts] [More] ⦿

Superior Type
[Vojtech Riha]

Type foundry in Prague, Czechia, est. 2014 by Vojtech Riha (b. 1989), who studied at the Technical School of Ceramics in Karlovy Vary, and at the Studio of Typography of the Academy of Arts, Architecture and Design in Prague.

His typefaces:

Vegan (2014): a modern, structured sans featuring delicate, humanist elements. Vegan was inspired by Stanislav Marso's distinctive shadow font Vega (1956, Grafotechna). This workhorse family has six styles and six matching italics.
Kunda Book (2015). This text won a bronze medal at the European Design awards.
The sans typeface family Hrot (2016). He writes: Grown organically from the soft aesthetics of Swiss and German airline posters, Hrot is a versatile sans-serif family with eighteen distinctive cuts. Works perfectly in elegant headlines and gives perfect impact to any logotype.
At Briefcase Type, he published BC Dres (partly octagonal), Kakao (hand-drawn: when drawing Kakao, he frequently referenced Bohumil Lanz and Zdenek Nemecek's book Typeface in Advertising (published by Merkur Publishing House, Prague, 1974)), BC Pramen Sans and Slab, BC Motel Sans and Slab and BC Steiner in 2014. Dres reappeared in 2019 at Superior Type.
In 2018, Vojtech Riha and Matyas Machat co-designed Slavia and Slavia Press + Repress. The former is a socially awkward 1910-era grotesque, and the latter two typefaces are letterpress style cousins.
In 2020, Riha released the geometric sans typeface family Raptor.
Lenora (2021). A fashion mag didone that flirts with the fatface in its heavier weights. Covering Latin, Greek and Cyrillic. John Boardley opines: A kind of RuPaul meets Bodoni in this self-assured, sassy and supremely sumptuous new family.

[Google] [MyFonts] [More] ⦿

Surplus Type
[Colin Whitlock]

Canadian designer of Blackshore (2020: a painted all caps SVG format sans), Restoration (2020: a weathered vintage typeface), and the all caps fashion mag sans typeface Highfield (2020). [Google] [MyFonts] [More] ⦿

Sweetest Goods

German designer of these typefaces in 2019: Sauvage (a stylish display typeface), Celesse (a display serif typeface), Limitless (a condensed squarish all caps typeface family), Sugar Rush (script).

In 2020, they released the fashion mag typefaces Vanda (a starry and threatening display typeface à la Barnbrook), Vultura, Chatoyer, the decorative sharp-angled serif typeface Sovana (a display serif), and the decorative all caps serif typeface Askja.

Typefaces from 2021: Astralaga (a decorative serif family with five styles), Josseline (a stylish fashion mag font), Apricosa (a modern display serif). [Google] [MyFonts] [More] ⦿

Swiss Typefaces
[Ian Party]

Swiss Typefaces is a foundry run by Ian Party (Territet, Switzerland, b. 19777, Lausanne) and Emmanuel Rey. It evolved from B+P Swiss Typefaces and BP Type Foundry, where BP stands for Buechi et Party. Maxime Buechi is still loosely affiliated with Swiss Typefaces but is now spending more time in London. Ian Party studied first at ECAL in Lausanne and then at the KABK in The Hague. In 2004, he cofounded B&P Type Foundry with Maxime Buechi. Since 2005, he teaches type design at ECAL in Lausanne. Home page of Ian Party. The new site B+P Swiss Typefaces was born in 2011, and it was renamed just Swiss Typefaces at the end of 2013. Swiss Typefaces is headquartered in Vevey, Switzerland. Their fonts:

Romain BP and Romain BP Headline (2007). Party writes: Based on the Commission Jeaugeon's models and on Philippe Grandjean's classic character, the Romain BP celebrates the marriage of geometric rationality and elegance, of science and craftsmanship. The Romain BP Text is actually closer to the Commission's model than Grandjean's Romain du Roi. It is more synthetic in its structure, more radical, and thus, more modern. It is a contemporary text typeface based on a structure that was created in 1690, not a revival mimicking Greandjean's shapes..
Sang Bleu (2008), designed for the magazine SangBleu. This is a fantastic set of fonts based on the structure of Romain du roi. The collection also extends to extremes unusual like the Hairline Compressed or the Hairline Sans, providing graphic designers very strong stylistic tools. It includes light serif typefaces and very structured and geometric sans typefaces. I expect this project to be showered with awards. In 2014, Romain and SangBleu will be combined in a new SangBleu.
Celsiane (2007), a sans typeface with a chiseled-in-stone feel. Still being developed, it is based on Party's work at ECAL in 2004.
Esquire (2009): A custom headline typeface originally designed in 2007 for the gentleman's magazine Esquire under the art directorship of David McKendrick. It will be commercially released in 2009.
Aurora (2008, an experimental geometric face): not available.
Hebdo (2008): a private typeface for the swiss news mag L'Hebdo. It has two slab weights and nine sans weights.
Rosette BP: a serif typeface under development.
Didot BP: Codesigned with Maxime Buechi in 2003, this will be released in the spring of 2009.
La Police BP is a serif typeface by François Rappo.
Folkwang (2008): an exploration in the area of artsy transitional typefaces.
Codesigner in 2006 with Maxime Buechi of a corporate typeface for the Centre for Curatorial Studies Bard&Hessel Museum, New York.
BP Diet (2009) is an extremely fat and rounded jello-fed typeface. Chris Lozos calls it morbidly obese.
Suisse BP International (2011) by Ian Party is a very "Swiss" sans family by Ian Party. At the start of 2014, the Suisse collection consists of Suisse Works (a serifed family), Suisse Neue (with small slabs and/or serifs) and Suisse International (a sans; +Condensed, +Mono).
New Fournier BP (2011) is a 24-style Fournier family by François Rappo.
Simplon BP (2011) and its monospaced brother Simplon BP Mono (2011) were made by Emmanuel Rey. This geometric sans was made for information design purposes. Now just called Simplon.
Euclid Flex (2012-2013). This sans family does something unique in the type world---it uses opentype to provide a smorgasbord of alternate styles for each weight---a mammoth undertaking! These substyles are called pixel, mixed, unicase, dotted, one-line, cut, hidden, drops, contrasted, zigzag, circular, triangle, square, and street. It grew out of a 2010 typeface by Emmanuel Rey called Euclid BP.
New Paris (2014). A didone family with text and headline versions and a non-contrast sans version called Skyline. New Paris is characterized by soft-cornered vertices in the M, N, V and W.
Azer (codesigned with Wael Morcos and Pascal Zoghbi) won an award at TDC 2014.
Ikanseeyouall (2018): A fantastic exaggerated bulbous fat Caslon popularized in the 1970s and 1980s by designers like Tom Carnase and Ed Benguiat. Other typefaces in their experimental lab include Black Mamba, Kopyme, Vogy Smog, Euclid Mono, Krsna, Brrr, Euclid Stencil and Riviera.
Riviera Nights (2020). A sharp-edged sans family with narrow joins. Apparently, this typeface is usaed by Rolls Royce.

Klingspor link. [Google] [More] ⦿

Syed Faraz Ahmad
[Creative Ultra (was: Creative Whoa, Symufa, or Creative Tacos)]

Synthview
[Jan Tonellato]

Jan Tonellato is an independent Polish web and graphic designer (b. 1979, Poznan), currently living in Paris. He attended the 2010 type design master class at Poli-Design (Politecnico) in Milan. Since 2019, Synthview's fonts are available from Adobe Fonts.

He created Novecento (2011), a useful 32-style uppercase-only sans family that covers every European language, and is loaded with plenty of opentype features. Six weights of it were free. It became a hugely successful commercial typeface in the two years after its publication. In 2013, Novecento Slab was published. In 2016, he added the layered typeface Novecento Carved and in 2020 Novecento Slab Rough.

In 2019, he published the high-contrast 5-optical-size didone typeface family Operetta (Fontspring link).

In 2021, he released Contralto (a fashionable high contrast sans in 40 styles).

Fontsquirrel link. MyFonts link for Synthview. Klingspor link. Behance link. Fontspring link. Home page. Adobe Fonts. [Google] [MyFonts] [More] ⦿

Tal Leming
[Type Supply]

Talia Ovadia Laniado

During her studies in New York City, Talia Ovadia Laniado designed the high-contrast deco fashion mag font Mayden (2016). [Google] [More] ⦿

Tamás Birinyi

Graphic designer in Budapest. He created Hand BT (2011). Behance link. He also created the extreme contrast fashion mag typeface Duett (2010). [Google] [More] ⦿

Tan Type

Designer specializing in exquisite decorative display typefaces. Typefaces from 2020 include Garland, Aegean, Mon Cheri, Luna Negra, Kindred, Pearl, Vivre Libre, Astoria (wavy, intestinal), Nightingale, Ashford, Angleton, St. Canard, Giok, Variety, The Whistling, Jambore and the rounded decorative serif display typefaces Tangkiwood and Harmoni.

Typefaces from 2021: Liebe (art nouveau / intestinal), Aesop (a reverse stress art nouveau-style display typeface), Daisy (a groovy typeface with deep soft cuts), Gardenia (a hipster style display serif), Egret (a condensed display serif), Headline, Twinkle (a fashion mag typeface), New York (a plump blackletter-inspired display typeface), Meringue (like a font for impressionist painters), Nimbus (psychedelic), Summers (an informal sans), Belgravia (a display serif), Clementine (a decorative teardrop https://github.com/MonicaRizzolli/Tomorrowserif), Winston (flared), Magnolia, Moon Light (art nouveau, psychedelic), Spring (wavy), Rosebud (an intestinal typeface with a daring name), Mignon (a stylish display serif), Buster (art nouveau-inspired capitals), Parfait, Grandeur (Belle epoqyue style), Songbird (a soft serif), Cinema Paradiso (a great art nouveau initials typeface).

Typefaces from 2022: Waverly Display, Alder (wavy), Algiers (a display typeface). [Google] [More] ⦿

Tania Debono

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] ⦿

Tania Santos

Under the guidance of Dino dos Santos in the Master Degree program in Graphic Design and Editorial Projects, FBAUP, Porto, Portugal, Tania santos created an untitled fashion mag typeface (2014). [Google] [More] ⦿

Tatiana Nikitina

Moscow-based designer of a Cyrillic steampunk-themed typeface in 2015. [Google] [More] ⦿

Taylor Cash

Spartanburg, SC-based creator of Seagram (2012), a high-contrast fashion serif typeface that is based on the Seagram building in Manhattan, and was inspirewd by Didot and Archer Hairline.

Taylor Hillestad

Originally from Minneapolis, MN, Taylor Hillestad studied at the Kansas City Art Institute, where she created the display chic typeface Highcraze (2013). [Google] [More] ⦿

Tebaltipis Studio (or: Tebaltipis Lab)
[Dzulka Elfira]

Aceh Besar, Banda Aceh, Indonesia-based designer (b. 1991) of these script typefaces in 2020: Westline Script, Kelsey Script, Mollinda Script, Headmista (brush), Edwardsile Signature, Megidame, Rasthmon Brush (a quick brush script), Stylleda Brush (brush script), Hilmounte, Arilyam Script, Braylend Script (a brush script), Imestaviga Signature.

Typefaces from 2021: Reusco Display (a flared display typeface), Hackie Script, Mergian Regular (a decorative and elegant serif), Honeypirls Regular (a bold display serif), Mockejoe Font (a chamfered futuristic typeface), Kedmote Script (a fat finger script), Medisonatyl Signature, Artukge Script (a script), Dartybe Script (for signage), Edhustem Signature, Hevojniwal Signature (a wild signature script), Edwarstile Signature (a signature font), Headmista Script, Hilmounte Signature, Karlostine Font (a fat finger font).

Typefaces from 2022: Breasto Display (a decorative serif), Permola Display (a fashion mag serif), Pagers Display (a vintage mini-serif), Vriegbe Script. [Google] [MyFonts] [More] ⦿

Tegh Co
[Teguh Kharyanda]

Indonesian designer of these typefaces in 2020: Rugrats Display (psychedelic), Rugrats sans, Coolumbus (an all caps fashion mag titling typeface), Skandinavia Display. [Google] [More] ⦿

Teguh Kharyanda
[Tegh Co]

Terminal Design
[James Montalbano]

Terminal Design is the company of James Montalbano in Brooklyn, New York, est. 1990. He was the President of the Type Directors Club, 2002-2003. He teaches type design at the School of Visual Arts in New York City. Feature on him by John Berry. In 2019, he declared at Typedrawers: I'm so tired of type design, so we must assume that threw in the towel. James designed these fonts:

In an earlier life as part of Fonthaus, ca. 1994-1995, I believe that Montalbano designed fonts like DidotDisplayAntiqueTdi, DidotDisplayRegularTdi, ProgressivePsychoOneTdi (through Six) and SenzaTDI (many weights).
718 (2010). A clean 24-style sans family influenced by as many typefaces as there are immigrants in Brooklyn. Named after the non-Manhattan area code.
Alfon (2003). Montalbano calls it a muscular text typeface. It has chamfered corners and cupped serifs.
Badinage. A connected retro script.
Cappella (2013). It is a direct result of the work done on the Fordham Chapel custom font commission. A one weight, all caps design based on wood carved lettering from a Fordham University chapel honoring fallen alumni.
Choice Sans, Choice Sans Compressed, Choice Sans Condensed (2014).
ClearviewADA, ClearviewADA Condensed, ClearviewHwy, ClearviewText, ClearviewText Compressed, ClearviewText Condensed. The legible sans serif family ClearviewOne, designed for highway signs, and used for US highway signs starting in 2002. The highway sign font family is called ClearviewHwy), and is further explored here. ClearviewHwy is used for highways in the USA starting in 2004 (see the discussion here). The OpenType version of ClearviewOne is called ClearviewText (2007). ClearviewADA (2007) is a family of Clearview fonts that conform to the letterform specifications for signage outlined in the Americans with Disabilities Act legislation. Free download. Clearview was discontinued in 2016 by the US Federal Highway Administration, in favor of the older Highway Gothic from the 1940s: Report by Citylab.
Consul Caption, Consul Deck, Consul Display, Consul Text (2009). A 48-style text family. Optically sized, it emerged from a Gustave Mayeur design done by Montalbano for Mens Vogue. Consul has a hint of didone, but the brackets are rounded and the stems gently flared. In Montalbano's palette, this is one of the beauties.
Enclave (2007): A sixteen font slab serif family.
Fervent (2013). A sans version of Badinage.
Giacomo 2.0. a well-balanced and interesting sans-serif family. Includes Cyrillics.
Insouciant (2011). An upright connected script family..
At ITC: ITC Orbon 2020, ITC Orbon (1995-1996: a strange experimental typeface), ITC Nora (1997), ITC Freddo (1996, a fat poster typeface).
Kaboodle (2018). A wood type with extended Latin, Greek and Cyrillic.
Kinney (2011). A type family for tables and information design. James's self-proclaimed attempt at creating a neutral serif.
Latin 512, Latin 512 Compressed, Latin 512 Condensed, Latin 512 Expanded. An 80-style didone family with triangular or wedge serifs typical of the Latin style.
Moraine (2009). A serif family with a wide generous feel. Stems are flexed and tapered and serifs are cupped.
Notary (2017).
Now Playing (2007): A digital revival of the naïve plastic lettering that was used on the marquee of the Apollo Theater in Harlem.
Quotient (2015). An elegant sans typeface family without italics. Montalbano describes it as trajan Sans because of its classical roman proportions. many details such as the rhombic dots on the i's are inscriptional in nature.
Rawlinson 2.0, Rawlinson 2.0 Condensed, Rawlinson Roadway (2003). A serif family, which includes a Condensed sub-family). NPS Rawlinson Roadway is an old style serif typeface currently used for the United States National Park Service's road signs. It was created to replace Clarendon and uses James Montalbano's wife's last name.
Shenandoah. A display type based on the wood letters at Shenandoah National park.
Social (2012). A rounded sans family for on-line use.
Tangent (2007): A geometric sans in sixteen styles.
Trilon, Trilon Compressed, Trilon Condensed, Trilon Expanded (2009): A sans typeface family. Montalbano calls it a 21st century gothic.
VF Sans, VF Sans Condensed (2011). An avant-garde family with 32 styles. James explains its release: Back in the late 90s I designed a family of sans serif fonts for Vanity Fair magazine. I based them on various sans serif designs from the 1930s with nothing particular in mind. They have been compared to Intertype's Vogue, and I do see the connection, but it wasn't my intention of doing a Vogue revival. They have been kept out of circulation these last many years at Vanity Fair's request, but it appears that during the last few years Vanity Fair has lost interest in them. They no longer grace the front cover of the magazine, and they appear with less and less frequency inside the publication. I've also noticed several pirated uses of them as they have popped up on some book jacket designs. So with Vanity Fair's permission I felt it time to set them free.
Yo Andy, Yo Frankie, Yo Lucy, Yo Sophie, Yo Zelda. The Yo series (2010) consists of 200 didone styles. It is subdivided into Yo Andy, Yo Frankie, Yo Lucy, Yo Sophie and Yo Zelda. This didone family has two axes (weight, extension) with 100 regular members finished in 2010 and 100 italics added in 2014. They reach in alphabetical order from condensed (Andy) to extended (Zelda).

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:

Collins Geometric.
DM Marquee. A dot matrix all caps design created for Mother NY for their client, Daily Motion.
Early Learning Sans. A family of 12 fonts designed for MeadWestvaco's Early Learning Products division for use in educational products teaching young students the basics of letter construction.
Fordham Chapel. Based on wood carved lettering from a Fordham University chapel honoring fallen alumni.
Fortune Titling. Based on the Fortune logo.
Glamour Display, Glamour Script. The latter is a roundhand script. Both were done for Glamour magazine.
JCP News Gothics. Created for DDB Chicago, for use in the It's all in there campaign for JC Penney. Should work with existing Monotype News Gothic fonts.
Johan Gothic. A condensed sans serif designed for Conde Nast Sports for Women, which changed its name to Women's Sports, which then changed its name to Women's Sports and Fitness. The type was named for the art director who commissioned it.
Lucky Gothic.
Mens Vogue-Mayeur. Mayeur Display, an original design created in 2005 for Men's Vogue. Based on 19th Century French text types from the Parisian foundry of Gustave Mayeur.
Now Playing. As part of the renovation of The Apollo Theatre, Now Playing was designed to reflect the plastic marquee lettering of the 1940s.
NPS Roadway. Montalbano writes: Designed to replace the Clarendon road guide sign typeface that the U.S National Park Service used as part of their identity. NPS Roadway was tested by Pennsylvania Transportation Institute and was found to decrease legend length by 10-15% while increasing readability by 11%. Part of a total redesign of the Park Service identity (that included the Rawlinson series of fonts) the font has been approved by FHWA (Federal Highway Administration) for use on all Federal roads.
Skinny Eric. A painfully thin version of Gill Sans, designed for Self Magazine.
Social. Two weights of a rounded sans serif design to compliment the Living Social logo design.
VF Didot, VF Sans, VF Sans Condensed, VF Script. All done for Vanity Fair. VF Didot is a slightly condensed design based on the many New York didot alphabets drawn during the 1940s and 50s. VF Sans is Vanity Fair's workhorse. VF Script is an original script created for Vanity Fair Magazine in 1999, loosely based on lettering found on a French Automobile Poster from the mid-1920s.
Vogue AG, Vogue Didot Extended. Vogue AG is a nine-weight sans serif design mixing elements of Futura and Avant Garde Gothic. The Extra Light weight was designed for Vogue magazine in 2004 while the remaining weights were added in 2007 and updated in 2011.

Klingspor link. FontShop link. Linotype link. Behance link. View James Montalbano's typefaces done at ITC. [Google] [MyFonts] [More] ⦿

Teuku Riski Firmana
[TRF Fonts]

Thanarat Vachiruckul
[Type 714]

The Creative Agency

Studio in Wilkes-Barre, PA. One of their specialties is type design. These typefaces were announced in 2013 (and will soon be available for purchase): Boardwalk typeface (a condensed slab inspired by 1950's boardwalk signage), Full Service (a fashionable sans with oodles of contrast), Milan Sans (another fashionable sans, almost in the style of Peignot), Propaganda (based on WWII posters).

The Ivy Foundry
[Jan Maack]

Aarhus, Denmark-based designer (b. 1968) who worked as an art director and graphic designer since 1990. He started making typefaces in 2006. Ten years later he established The Ivy Foundry and wrote: The Ivy Foundry is committed to helping brands and corporations fine-tuning their visual voice. In 2018, The Ivy Foundry joined Type Network. At The Ivy Foundry, he published

Ivy Epic (2021).
Ivy Presto (2019: +Display, +Headline).
Ivy Journal (2018). This transitional serif face is loosely based on both the seminal Roman inscriptional capitals and classic movable type in the style of Bembo, Baskerville, and Times New Roman.
Swing King (2017). Hand-crafted.
IvyStyle TW (2016). A friendly slab serif with ball terminals. Unlike the typewriter faces it takes its cues from, IvyStyle TW is a proportional design with a large number of weights.
IvyStyle Sans (2016). Type Network analyzes: IvyStyle Sans is the sans serif component, a Scandinavian design reminiscent of the classic American Gothics. With open apertures and clean lines, the slightly narrow neohumanist letterforms abandon geometric rigidity in favor of improved reading comfort.
Swing King (2018). Type Network writes that it is a casual sans serif created in collaboration with Danish illustrator Erik Sørensen. Throughout his decades-long career, Sørensen always had a hard time finding the right typographic voice to complement his drawings. He teamed up with Maack to produce a useful typeface that was neither cartoonish nor handwritten, but a joyful illustrated font imbued with the warmth and charm of his drawings.
Ivy Mode (2018). A fashion mag sans family.

Creator of these typefaces at FontFont / FontShop:

FF Speak (2007). A 17-style rounded geometric sans family which includes a hairline weight, Speak-Light. A relative of Eurostile.
FF Cube (2008). A large geometric sans with the industrial design feel of Eurostile and a large x-height.
FF Marselis (2012). A sans serif family. He also designed FF Marselis Serif (2016) and FF Marselis Slab (2013). FF Marselis was chosen in 2016 for large letteing at Brussels Airport in 2016.

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

Thierry Fétiveau

French freelance graphic and type designer who started his own commercial type foundry in 2014. Now based in Nantes, Thierry was educated in Nantes and studied Typography & Language at ESAD in Amiens, France, class of 2014. His typefaces:

Andersen. His graduation project from Nantes.
Batutah (2013-2014). A Latin / Arabic bicephalic typeface family for his graduation project at ESAD. "Batutah" refers to the Arab pilgrim Ibn Batutah who traveled from Spain to China in the thirteenth century. This Latin / Arabic typeface is intended primarily for magazines.
Futago (2013). A fashion mag hiragana and katakana didone. Thierry: Futago is a Japanese typeface of 141 glyphs intended to go with Latin typefaces from Didot family. Its name, which means twin, expresses clearly its objective: to be used in bilingual texts in order to create a graphic unity. This typeface has been selected by the website Typography Served in 2013.
Wilson (2013). A visit by Laura Mesaguer led Thierry to the development of a 3-style Tuscan stencil typeface called Wilson (2013).
Dark Times (2013). An extra-light revival of a gothic textura.
Lewis (2014). A Tuscan stencil typeface.
For the comic book artist Milena Picard, he custom-designed the comic book typeface family Anelim (2017).
The art deco all caps Utopiales (2018): This typeface has been tailor-made for the Utopiales, an international science-fiction festival at the Cité des Congrès in Nantes. The Cité des Congrès in Nantes asked me to create a new titling typeface only in capitals following their art deco inspirations. I based it on the letters of this period found in the streets of Nantes that are part of the history and identity of the city.
In 2019 he made a typeface, Bouclard, on commission for the publishing house Bouclard in Nantes.

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

Three Horn Faces
[Anna Tribelhorn]

Graduate of Parsons School of Design in New York. Stockholm, Sweden-based designer of Cosmopolis (2021), a charismatic fashion mag typeface based on didone shapes. [Google] [MyFonts] [More] ⦿

Tien-Min Liao
[Typeji]

Tim Degner

Tim Degner (Fort Myers, FL) lists his interests as fashion illustration, CAD and type design, specializing in hand-drawn alphabets (not digital fonts) such as Hipster (20 10). Decopolitan (art deco face) and Tartan Cabaret (fontified by Carla Zetina-Yglesias of carlazetina.com) are at Chank's.

Behance link. He is a graphic designer now in Seattle. [Google] [More] ⦿

Timo Titzmann

Since 2006, Timo is a student of communication design at FH Wismar in Wismar, Germany. His typefaces: TJ Evolette A (2011, an uppercase grotesque (fashion mag?) caps family, done at 26+ with Jakob Runge; possibly one of the first hipster typefaces), Say It Fat (2010; a free font; part of the "Schriftentwicklung Basiskurs" project by Lucas de Groot at the Fachhochschule Potsdam) and Quadro Blackface (2010; in the style of Quencha).

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

Ting Kit Wong
[TKT Kate]

Tiny Type Co
[Robin Mientjes]

Tiny Type Co. was established by Dutch graphic and type designer Robin Mientjes in 2016, in Oslo, Norway. Robin writes about herself: Robin Mientjes is a genderqueer feminist type designer, with an obsession for baking, cooking, and thoughtful graphic design. She's been designing for print and web for fifteen years, and studied at the KABK. Her typefaces:

She contributed to the open source font project Open Baskerville (2009).
Dover Display in Sans and Serif versions (2012-2016), with some contrast, sharp edges, and historic influences from the British types Caslon and Gill Sans. Dover Text (Sans and Serif) followed in 2017. Mientjes: Dover Serif Text is a modern Caslon, and Dover Sans Text is the Gill Sans you've always wanted to pair it with. Together, they do it all.
Hume (2016): a collection of sans and display typefaces for the redesign of BNordaaker.
Peaches. A pixel font designed for a comic book artist.
Charlotte Greeven. A high-contrast didone typeface created for fashion designer and illustrator Charlotte Greeven.
Antikva. An angular design based on Oldrich Menhart's Manuskript Antikva (1943). It was developed during her studies at KABK.
Monumental Grotesk (2016). Based on the architectural lettering of Piet Zwart for his friend, Hendrik Berlage.

Home page. [Google] [More] ⦿

TKT Kate
[Ting Kit Wong]

Hong Kong-based designer. In 2021, he released TKT Kate (a fashion mag typeface inspired by Optima). [Google] [MyFonts] [More] ⦿

Tobias Saul

Düsseldorf-Germany-based designer of these typefaces:

The art deco era serif typeface Brilon (2017).
The vintage signage typeface Royal Signage (2017).
Blackriver (2017). A vintage label font.
The Victorian typefaces Old Alfie (2018) and Old Erika (2018).
The vintage typeface family Milkstore (2018).
Mirosa (2018).
Mogan (2019). A text typeface.
Charoe (2019). A poster sans.
Chatillon (2019). A luxury brand sans.

[Google] [More] ⦿

Tom Cunningham
[New Tropical Design Studio]

Tom McAuliffe
[McLetters Hand-Made Type]

Tomás Brousil
[Suitcase Type Foundry]

Tomato Košir

Prolific Slovenian graphic designer (b. 1978, Kranju) who made the typefaces Geotip (1998, geometric experiment), Grotesca (1998), Russia (1999, Cyrillic simulation font), Stisca (1999), Walbotomy (2000, Walbaum letters rotated to make other letters), Circularum (2000), Quadra (2000, a squarish font), QuadraII, Mikona (2000) and J477 (2000, underbelt and uppercut, left and right versions of minimalist ideas). He is designing the corporate identity of the Ministry of Culture of the Republic of Slovenia. Designer of the sans typeface Finting (2006).

Cofounder of the TipoBrda type design conferences, held annually since 2006 in Slovenia.

From 2010 until 2012, he organized four type design workshops in Slovenia called tipoRenesansa. From 2012 onwards, these events were renamed TypeClinic. They are typically held in February and August of every year.

Creator of the futuristic experimental typeface Laufr during the design workshop TipoBrda in 2008. From 2011 until 2013, he designed the didone family Rastignac (+Italic). Rastignac Bold appeared in 2014 and the excellentissimo didone fashion mag beauty Rastignac Black in 2015.

He finished his master's degree in 2007 at the Department for Design, Academy of Fine Arts and Design in Ljubljana. In 2010 he became Assistant Professor at Academy of Fine Arts and Design in Ljubljana. In the same year, he created Spacioneza. Other typefaces, designed ca. 2016: Mikona, Quadra, QuadraII, Stiska, Walbotomy, Circularum, Geotip, Grotesca, Russia (constructivist, or Cyrillic simulation font). .

Behance link.

Lolita Band poster (2010). [Google] [More] ⦿

Tomi Haaparanta
[Suomi Type Foundry]

TRF Fonts
[Teuku Riski Firmana]

Or Teuku Risky Firmina. Aceh, Indonesia-based designer of the script typefaces Reshonta (2017) and Gibrael (2018, a calligraphic tattoo script), and the calligraphic typefaces Aston Script (2018: formal calligraphy), Fresh Script (2017: formal calligraphy) and Cherella Script (2017).

Typefaces from 2020: Nirotica (a sexy fashion mag serif with red carpet swashes), Mirolica (another fashion mag serif).

Typefaces from 2021: Glosta (a powerful sharp-edged bold display typeface). [Google] [MyFonts] [More] ⦿

Trine Rask

Danish designer Trine Rask lived in Den Haag from 2003-2004, as a graduate student at the KABK. In her final project there, she designed North (published in 2008 by LazyDogs), a book typeface suiting the textimage of the four Scandinavian languages, Danish, New Norwegian, Bokmal and Swedish.

Trine Rask teaches type design at The Danish School of Media and The Danish Design School in Copenhagen.

Author of Skriftdesign - øvelser på papiret (2009).

In 2009, Trine went commercial at MyFonts.

Her early fonts include Tommy Slim (2003, an all caps font to be used at 48 points and above), Case (a casual printed face), Pixel, Covergirl (2006, a stylish upright connected script for the fashion industry), Jewel (extra heavy with large contrast), and Brandts (sans serif).

Her rounded typeface family Rum (2009) won an award at TDC2 2010). Rum is not named after the drink, but is just Danish for "room, space". In 2010, she published Rum Sans, a humanist modular sans serif to accompany Rum. In 2021, she added a poster version, Rum Plakat.

In 2012, Trine designed Bornholm Tejn, named after the Tejn village on the rocky Danish island of Bornholm. It is a rough stone-cut polgonal typeface. It was followed some time later in 2012 by Bornholm Sandvig, in 2013 by Bornholm Dondal (stone-cut emulation) and in 2016 by the lowercase variant, Bornholm Tejn Low. She also published Rum Serif that year.

In 2013, she finished Bornholm Allinge (chiseled stone face). Rum Sans (a humanist sans in 11 styles) and Rum Soft Sans (11 styles) were part of the commercial typeface library at Incubator / Village, but showed up in 2021 at MyFonts.

Typefaces from 2019: Matita Geometric (a 5-style humanist geometric typeface designed with mathematics in mind), Matita Connected, Matita Written (hand-printed to teach handwriting), Slik.

Typefaces from 2020: Matita Informal.

Typefaces from 2022: Rum Silhouette. [Google] [MyFonts] [More] ⦿

Tuan Le

For the identity of the on-line flower store Jan nha co hoa in Vietnam, Tuan Le designed the high-contrast fashion typeface Gypsophila (2019). [Google] [More] ⦿

Tulus Driyo
[Hindia Studio]

Tural Alisoy
[Tural Aliyev]

Baku, Azerbaijan-based designer (b. 1988) of these typefaces:

In 2017: The Latin / Cyrillic sans typefaces Lokbatan, Khojasan and Balakhani.
In 2018: Father Script.
In 2019: Film Fiction Sans, La Route (a wide fashion mag typeface), Modern Times (for Latin, Greek, Cyrillic, and many other langauges) and the semi-blackletter typeface Neo Paralletter.
In 2020: Typefire (an 8-style display serif family), Tatype (a ten-style grotesk), Tappatarap (a display sans with flared stems; for Latin and Cyrillic), Film Fiction Semi Expanded.
In 2021: TA Moderustic (a 6-style part geometric part grotesque typeface for Latin, Greek and Cyrillic), TA Father 60 (handwriting).
In 2022: TA Bankslab Art Nouveau (a slab serif for Latin and Cyrillic), TA Bankslab Shadow, TA Bankslab (a 10-style slab serif based upon the signs on the art nouveau building of the Northern Bank of St. Petersburg's Baku branch, built in 1903-1905; for Latin and Cyrillic).
TA Charged (2022). A display serif with wiggles, notches, the works.

Facebook link. Home page. [Google] [MyFonts] [More] ⦿

Tural Aliyev
[Tural Alisoy]

Tyler Brulé, Monocle, Plantin

Tuscani Cardoso

Graphic designer in Johannesburg, South Africa, who made the very thin display typeface Rebanada (2010) and the Peignotian fashion mag typeface Mayfith (2011). [Google] [More] ⦿

Tyler Brulé is the founder of Wallpaper, a mag for art, design, lifestyle, interiors and fashion. He also founded the snobbish mag Monocle, whose typography was discussed by Stephen Coles. It only features Helvetica and Plantin.

Coles: I am convinced that Monocle, now 2 years old, has almost single-handedly given new life to Plantin. The early 20th century relic is suddenly appearing in other magazines and brands after years of relative obscurity. It's not just a copycat trend. With its solemn tone, paper-conserving width, and large x-height, Plantin has definite merit as an alternative to Times and other magazine text typefaces. Monotype recently released Pro versions of the fonts with small caps, fractions, and both text and lining figures built in. But David John Earls replied to that: Lovely design, unfathomably bad and pretentious content. What a waste of Plantin. [Google] [More] ⦿

Type 714
[Thanarat Vachiruckul]

Designer whose last name is sometimes spelled Vachirukul. He published the dingbat typefaces Bulleta One and Two (2011) at the Thai foundry Katatrad. This pair of typefaces is meant to provide bullets for lists and tables.

In 2014, Thanarat created the rounded humanist sans typeface Montio (Montio), the stencil typeface Vanage (Katatrad), the fashion mag didone sans typeface family Vage, and the monoline thin sans family Malina (Katatrad).

His typeface Muttayat won an award in the Thai typeface category at Granshan 2014.

In 2015, still at Katatrad, Thanarat Vachiruckul created the humanist sans typeface family Rigo.

Typefaces from 2016 include Danos (a sans family inspired by the classic industrial grotesque and geometric typefaces) and Stenka (stencil). Prompt won an award at Granshan 2016 in the Thai typeface category.

Typefaces from 2017: Sango (rounded sans), Ramston (a humanist sans in 20 styles published by Katatrad), Cabarno (a condensed sans typeface family published by Katatrad).

Typefaces from 2018: Kodchasan (Google Fonts, Cadson Demak), K2D (Google Fonts, Cadson Demak).

Typefaces from 2019: Hergon Grotesk (Katatrad).

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

Type Dish
[Eko Bimantara]

Jakarta, Indonesia-based designer of the free typeface Kalem Light (2016) and the free headline sans typeface Saff (2016).

In 2017 he published the calligraphic typeface Anther, the clean legible sans typeface family Syabil, which features a free weight, Syabil Book. Kecap (2017) is a creamy upright script. Musk (a modulated sans) and Musk Script (a signature font) followed at the end of 2017.

Typefaces from 2018: Urbax (a signage script), Anakoala (serif), Mulka (sans), Fexa (rounded hexagonal).

Typefaces from 2019: Hornbill (a supermarket serif family), Rossanova (a 36-style semi-serif family with some flared strokes), Clab (a slab serif family), Mollen (an information design sans with 48 styles), Anko (text or newspaper type), Malvie (free demo), the free font Remove, Dear Pony (a great text typeface which Eko describes as sweet, warm, kinky, classy), Ageo (a 16-style geometric sans family).

Typefaces from 2020: Blogh (a heavy inktrapped display typeface), Dunley (a creamy script), Amio (a mix between script and sans; in six styles), EB Mensch (a 32-style family consisting of sturdy legible humanist sans and slab serif sets; features include large x height, low caps, spacious counters and apertures, and diagonal and sunken stroke ends), Florania (a decorative serif), Stannum, Bovino (an 18-style display serif), Modeco (a fashion-friendly 18-style geometric art deco sans characterized by an earring lower case g), EB Corp (a simple 18-style corporate sans family), Slippery (an oldstyle text typeface family), Hando (neo-grotesk).

Typefaces from 2021: Manju (a soft supermarket typeface in ten styles with two additional variable fonts), Shallot (a well-balanced 10-style serif with pointy terminals), Kutai (an ethnic typeface family), Capuche (a gorgeous eccentric bloated display font), Kimaus (a reverse contrast music note emulation font), Sandor (a striking blackletter / medieval typeface), Bizmo (an 18-style headline sans family; includes two variable fonts), Homade (a 12-style display sans), Svelte (a condensed serif), Altone (an 18-style geometric sans), Highman (a tall bold condensed all caps titling sans), Vanio (a 12-style wedge serif family). [Google] [MyFonts] [More] ⦿

Type Factory
[Hilmius Akbar]

Bandung, Indonesia-based designer of these fonts in 2020: Antonie, Black House, Black Passion (a dry brush script), Brentley, Charmelya, Galguna, Hackbot (a pixel font), Hailey, Hello Madelyne, Hi Rolley, Hollowtown (graffiti), How Dare You, Life Of Apple, Monkey Geek, Punkiss, Randhu, Reviola, Sendha, Seymore, Silver Flower, Someday, Sounding, Speedkings, The Speciment, Thundra.

Typefaces from 2021: How Dare You (grungy vintage caps), Mystic Forest (a chalk font), Hello Jones (a vintage shadow font), My Home (a fat finger font), Honey Jar (handprinted), My Fox (a scrapbook font), Beachfly (a decorative serif), Hardinge (a hand-drawn blackletter), Chalkboy (sketched).

Their catalog in 2022 showed 250 fonts: Abilane, Abrock, Acetone, Aestetic, Allista, Amal Baik, Aquarex, Archking, Aslah, Authentique, Avena, Avoda (a fashion mag sans), Baker's Dozen, Bakery Home, Baleho, Baloba, Bancak, Bangke, Barnies, Bayleigh, Beach Hits, Beachfly, Big Heroes, Big Jelly, Big Tales, Black Passion, Blackold, Bloody Camp, Bluffton, Bodor, Bratton (spurred), Bricius, Brickrow, Brickson, Brutaly, Bunaken, Came Back, Candola, Candyful, Carisyn, Chalkboy, Charmelya, Cider Lime, Classy, Coconutz, Cold Army, Combust, Coming Sans, Cordion, Cosmogen, Crabug, Crow Bait, Cutenest, Cybersky, Daewon, Dandely, Dark Magic, Day n Nite, Daya Sans, Death World, Debug, Delta Force, Destro (stencil), Dirty Drags, Dutch Brigade, El Mayor, Elecstrom, Exton, Fall Season, Fall Story, Fire Ace, Fronzy, Fun Show, Galguna, Garden Bloom, Gludak, God Doll, Golday, Grane, Grateful Life, Gummies, Gunji (Japanese emulation), Hackbot, Hacklife, Hadest, Hadeya, Hailey, Hakan, Hakio, Hakubo (Japanese emulation), Haloha, Happy Gnome, Hara, Hardinge, Harvest Day, Harvest Time, Hastag, Hazeland, Hello Jones, Hello Madelyne (a calligraphic script), Hellow, Helsinky, Hey Jack, Hey Jane, Hiccup, Hollowtown, Home to Rome, Honey Belly, Horrific (a horror font), How Dare You, Howling Nightmare, Jackal Band, Javanica (a vintage label typeface), Jonks, Jungle Hope, Just For You, Just Ruth, Kahlil, Kana & Hana, Kanatala, Kastil, Kesal, Killing Me, King Castle, King Malik, Klassiek (a crayon font), Kohatu, Kulo, Kurayami (Japanese emulation), Last Mission, Legendary Runes, Life Rolling, Life of Apples, Lubang Hitam, Madsense, Madtune, Maluku, Marsea, Marsela, Marshed, Mauricio, Melon, Mexican City (a Western slab serif), Miami Beat (a multiline font), Mighty Star, Mika Story, Mister Hipster, Mistery, Mistis (spooky), Mocktail Blues, Modeon (a wonderful layered all caps sans), Moeloek, Monde, Monkey Geek, My Fox, My Home, Mystic Forest, Night Vibes, Nightscary, On My Way, Orchard Song, Ovalie, Panikos, Parylicious, Poked, Princess Star, Punkiss, Qabil, Quirky Bay, Rabiul, Racula, Randhu, Rebutan, Reclaim Glory, Rekan, Remily, Renji, Retro Sick, Reviola Bold Script, Risky Venture, Romeda (a vintage serif), Runboy, Salacia, Saluyu Script, Sandatory, Savilla, Savon Burg, School Kids, Scribery, Secret Mansion, Seledina, Semur, Sendha, Senja, Sensai, Serkan (a Celtic font), Seymore, Shade June, Shayan, She Dance, Shocked Up, Show Up!, Shufen, Shutter Speed, Sketchup (a sketched font), Skullbone, Sneak Peak, Snooby, Soda Land, Someday, Sorreal, Sounding, Space Corner, Speedkings, Spirit Freak, Steak House, Sticky Web, Stitch Boy, Story of Alundra, Summer Blaze, Summer Blues, Summer Creamy, Sundae Bite, Sunday Coffee, Sunkiss Bliss, Sweet Beans, Sweet Cherry, Tangisan, The End Story, The Millers, The Speciment, Thundra, Ugly Byte, Uncracked, Urbanded, Vintage Wheel (a retro signage script), Voltec, Wake Snake, Walers, Walk Away, Wavemax, Weloved, West Yard, Wicked, Wild Justice, Winola, Wonder Magic, Wonder Soul, Wrecked Works.

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

Type Factory
[Pedro Lobo]

Type Factory is Pedro Lobo, a Guimaraes, Portugal-based illustrator and designer. In 2011, he set up Uppertype to sell some of his fonts.

Lobo created the experimental geometric typeface Monkey (2011), the geometric art deco family Jono (2011), the blackboard bold typeface YDXS (2011), and the logotype Sanjo (2011). Molesk (2011, a free slabby display face) is free.

In 2011, he published the extensive fashion mag family Akila, which comes in two subfamilies, Akila Bouma, and Akila Didone, both adorned with refined outlines and high contrast. Images of Akila: i, ii, iii, iv, v, vi.

Typefaces from 2012 include Codhigo, Borba (a beautiful inline headline face), Wannabe, Desk (3d shadow face), Smart, Kleiner, Tabbaco and Fabrica.

Personal page. Behance link for Pedro Lobo. Behance link for Type Factory. [Google] [More] ⦿

Type Innovations
[Alex O. Kaczun]

Alex Kaczun is a type designer and type expert based in Northport, NY. At MyFonts he wrote: Much of Alex's career was spent at the premier type foundry, Linotype-Hell, where he was the principal type designer and worked on many font projects aimed at modernizing the Linotype Library. Alex managed the development of The Adobe PostScript Font Library and created multiple master fonts for Apple Computer's QuickDraw technology. In 1980, he joined a small group of entrepreneurs and pioneered the development of the world's first digital font library at Bitstream, then located in Cambridge, Massachusetts. Afterwards, Alex took a position at Bozell-Worldwide, a large international advertising company, where he was type director and managed the front desk at the CPS Group. The company is well known for their successful "Got Milk" ad campaign. At Bozell, Alex honed his skills in graphic design, desktop publishing, prepress print production and the web.

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 Republic
[Andreu Balius Planelles]

Catalan foundry headed by Andreu Balius (b. 1962), who is based in Barcelona and Son (Alt Aneu), Lleida. Balius holds a PhD in Design from the University of Southampton (UK) and teaches typography and type design at EINA, University School of Design and Art, in Barcelona.

Balius set up Garcia Fonts in 1989. He co-founded Typerware in 1996 (which existed until 2001), where he managed type-related projects for La Vanguardia newspaper, La Fura dels Baus and Primavera Sound Festival. In 2003, he launched Type Republic, catering to clients such as SEAT/Wolkswagen group, Victoria's Secret, Acciona, Ferrovial, and designed text typefaces for newspapers such as La Gaceta, Tribuna (Salamanca, Spain) and La Discusion (Chile).

Some fonts sold through MyFonts:

Pradell (2003). This is a Latin text family based on original Spanish 18th century type specimens cut by Catalan punchcutter Eudald Pradell (1721-1788). Balius won a Bukvaraz 2001 award for Pradell. Pradell also won an award at the TDC2 Type Directors Club's Type Design Competition 2002. He added Pradell Arabic some time later.
In 2008, Balius designed the curly dance-fest themed Carmen for the new edition of Prosper Merimée's drama. In 2012, Type Republic designed the fashion didone typeface Carmen Fine Display for Victoria's Secret.
Mecano (2007, geometric sans).
Taüll (2007, Basque meets blackletter).
Czeska (after woodcuts by Vojtech Preissig).
Super Veloz (2005, with Alex Trochut). This fantastic layered type system is based on Joan Trochut-Blanchard's modular typeface. SV Marfil (2004) and SV Fauno were created from Superveloz modules. In 2020, Andreu Balius and Ricard Garcia released The Superveloz Centenary Collection at Type Republic to honor Joan Trochut's 1942 masterpiece. It consists of SV Mambo, SV Jazz, SV Bebop, SV Bolero, SV Swing and SV Twist. In 2021, Ricard Garcia and Andreu Balius added the large family SuperVeloz Caps which consists of SV Caps Bebop SV Caps Bolero SV Caps Jazz SV Caps Mambo SV Caps Swing and SV Caps Twist.
Barna (2011), a slightly humanist textbook sans, and Barna Stencil (2011).
Trochut.
Matilde (connected pixel script).
Proximus (2014). A corporate typeface for the Belgian communication company.
Patufet (2018-2019). By Andreu Balius and Ricard Garcia. A warm text family inspired by Catalan folk tales. For hairlines, one can't go thinner than Patufet Finet. In 2020, they added Patufet Mono.
Poblet (2018: Solid, Diamond, Bevel). By Andreu Balius and Ricard Garcia. A stylish titling or display typeface that includes a vintage inline style.
Rioja (2014-2015). This sans typeface family was first designed for the identity of University of La Rioja, in Logroño, and it was further developed in 2014 for commercial distribution.
Tuqbal Pro (2015-2019, by Andreu Balius and Juan Luis Blanco). Tubqal Pro is a tri-script type family based on its previous Tubqal typeface commissioned by the Khatt Foundation as part of the Typographic Matchmaking in the Maghrib 3.0, the 3rd edition of the multi-script typographic research project of the Khatt Foundation. It includes Latin, Arabic (+Farsi) and Tifinagh (for the Tifinagh based languages: Tamazight (Central Atlas), Kabyle, Tamazight (Standard Moroccan), Tachawit, Tachelhit, Tagdal, Tamahaq, Tahaggart, Tamasheq, Tarifit, Tamajaq, Tawallammat, Tamajeq, Tayart, Tumzabt, Zenaga).
Aloma (2017-2020). A delicate fashion mag typeface best suited for titling, Aloma is inspired by Aloma, a novel written in 1938 by Catalan writer Mercè Rodoreda. The typeface refers slightly to art deco headlines and to the Catalan Noucentisme movement.
Groundbeat (2020). A stencil family by Andreu Balius and Ricard Garcia.

Custom / bespoke typefaces include Carmen VS (for Victoria's Secret, New York), Ferrovial, Dsignes (a wayfinding sans), VLC (for Valencia Tourism Bureau), Lladro (sans), Forum.

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

Type Supply
[Tal Leming]

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

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

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

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

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

Typeji
[Tien-Min Liao]

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).

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] ⦿

Typemefonts (was: 26plus zeichen)
[Jakob Runge]

Jakob Runge (M&uum;nchen, Germany) graduated from Fachhochschule Würzburg-Schweinfurt and Muthesius Academy of Fine Arts and Design in Kiel. In 2014, Jakob Runge set up Typemefonts in München, Germany, to market his own typefaces. Before that, he was involved in 26plus, or 26+, a foundry located in Kiel, Germany: It is a platform to present and encourage student-created fonts. In 2015, he started TypeMates with Nils Thomsen. Currently he works in Munich as an independent type and brand designer and typographic consultant. Apart from his work for design agencies, he teaches typography and type design at university of applied sciences in Münster since 2011.

His early typefaces include the free condensed octagonal typeface Fracmetrica (2009). Other typefaces of Runge's designed in 2009 and 2010---all at 26plus-zeichen---include Singula, Edelsans (a geometric sans), Sinews (a manly sans which he compares with Klavika and Corpid), JJ Realis (a Swiss sans), Ugl-y (2010), Cojonna (2010; curly--an exercise on ball terminals), Capitalis Nova (2010, dot matrix family), Graphit (2010), Devion (2010, semi-angular serif face), Textrusion (2010, Escher-style trompe l'oeuil), Frgmt (2010, experimental), Samblone (2011, an Asian-look stencil face), TJ Evolette A (2011, with Timo Titzmann---a fashionable geometric grotesque caps family).

In 2014, Jakob Runge set up Typemefonts in München, Germany, to market his own typefaces, starting with the slab serif typeface Muriza (dedicated site), FF Franziska (2014: an offshoot of his graduation typeface), Mem (experimental geometric face), and the geometric sans FF Cera. Runge began work on FF Franziska in 2012 as part of a Masters thesis at Muthesius Academy of Fine Arts and Design in Kiel under the guidance of Albert-Jan Pool and André Heers. Hamburg-based information designers Christian Hruschka and Stefan Semrau used FF Franziska for the new Bündner Tagblatt. The modern, fresh layout won the European Newspaper Award 2013 in the category of Typography. Dedicated web site.

In 2015, he created Cera PRO, Cera Stencil, Cera CY, Cera Stencil CY, Cera GR, Cera Stencil GR, Cera, and Cera Stencil Std (an extensive sans and stencil family for Latin, Greek and Cyrillic). In 2016, he added Cera Brush (in cooperation with Max Kostopoulos). In 2017, Jakob Runge teamed up with Lisa Fischbach for Cera Round Pro, an absolutely wonderful geometric rounded sans typeface family that covers Latin, Greek and Cyrillic. In 2018, Jakob added Cera Condensed + Compact Pro.

Jakob Runge, with the help of Lisa Fischbach, designed Harrison Serif Pro (a slab serif) in 2017 at Typemates.

In 2016, Jakob Runge and Lisa Fischbach co-designed the bespoke sans typeface family SAM Text and SAM Headline at TypeMates for the food company S:A:M. Jakob Runge finished Urby and Urby Soft.

In 2018, Runge published the techno/industrial sans typeface family Sinews Sans Pro at TypeMates.

In 2019, Jakob Runge, Nils Thomsen and Lisa Fischbach released Halvar and wrote: Halvar, a German engineered type system that extends to extremes. With bulky proportions and constructed forms, Halvar is a pragmatic grotesk with the raw charm of an engineer. A type system ready to explore, Halvar has 81 styles, wide to condensed, hairline to black, roman to oblique and then to superslanted, structured into three subfamilies: the wide Breitschrift, regular Mittelschrift and condensed Engschrift. Halvar Stencil, which was released simultaneously, is a German engineering stencil font family.

In 2021, Mona Franz and Jakob Runge published the sans families Gratimo Grotesk, Gratimo Classic, Grato Grotesk and Grato Classic at Typemates. Consulting on Cyrillic by Ilya Ruderman and Yury Ostromentsky. They write: Grato and Gratimo are a system of typefaces joined by geometry but differing in genre and function. Grato's geometric core is shared by two designs with different terminals and different uppercase proportions to make a Grotesk and a Classic. And, for greater function and economy, both were redrawn for text and interface: Gratimo Grotesk and Gratimo Classic. [...] Grato is a family of two typefaces, modernist Grotesk and the humanist voice of the Geometric Suite Classic. A timeless typeface, it combines a pure, present voice with idiosyncrasy and luxury. Ignoring most calligraphic conventions, Grato is shaped by pure forms, low stroke modulation and square dots that contrast with almost perfect circles. Grato Classic pursues the classical proportions of early British geometric typefaces, while Grotesk inherits the industrial logic of early German ones. The result is a family of quirks and clarity, a substantial family for identity and editorial work. Grato includes a spectrum of nine weights, from fine hairlines to super heavy blacks.

Runge's corporate custom typefaces include Lenbach Grotesk (2014).

Klingspor link. Dafont link. Behance link for Runge. (old) link to 26pus zeichen. Jakob Runge's home page. Behance link for Typemefonts. [Google] [MyFonts] [More] ⦿

Typetemp Studio (was: Geranium Space, Moovied Co, Eight Type Rits, Letter Rits Type, Templatehere)
[Haris Purnama Putra]

Aka Geranium Space, Moovied Co, Rits Studio and Letter Rits Type and Template Here and Megi Satyo and Megi Widodo and Megi Satyo Widodo (b. 1993) and Geranium.co and Haris Purnama Putra. In 2020, the latest reincarnation was Typetemp Studio which was co-founded with Egi Ahmad Mufid.

Lampung, Indonesia-based designer (b. 1996) of the signage script typefaces Callerious (2019), Modster Script (2019), Qintan Script (2018), Adelaide (2018; aka Azzardo), Purnama (2017) and Chasing Star (2018; brush style), the dry brush typefaces Flassty (2019), Springfield (2019), Housky (2019), and Southgirl (2019), and the script typefaces Austine (2019), Outlander (2019), Guigliamore (2019), Quillenghton (2019), Mettda (2019), Arkland (2019: monoline), Breavenheart (2019), Jesselyne Script (2019), Claude (2018), Wilderness (2018), Magnolia (2018), Oregon Script (2018), Made Hellios (2018), Ballerina (2018), Dreamland (2018), Charlotte (2018), Geraldine (2018), Laura Hellaw (2018), Sureder (2018), Sureder Stylish (2018), Cherry Blossom (2018) and Lattravis (2017).

Typefaces from 2020: Classy Brune Sans, Klarinda (a decorative serif), Mitchaella Luxury Serif (a decorative serif), Oliver Blush, Casanova Serif Display (a decorative serif by Haris Purnama Putra and Egi Ahmad Mufid), Crimson Foam (a wild calligraphic font by Haris Purnama Putra and Egi Ahmad Mufid), Chairine, Klarinda Remenont (a decorative serif), Sonettons, Cheapsman (a 4-style headline sans), Aetrina Script, Hugolers Stylish Modern (a decorative serif by Egi Ahmad Mufid), Irish Belle (script), Novocane (a monoline script), St Lousie Dayton, Eunila Script, Nocarine Script, The Billvort (script), Victoryia Wastinger (a decorative serif), Handley (monoline script), Blanchope (brush script), Lavitanie (monoline script), Hampshire (script), Anxiety, Blackhills (dry brush script), Huntington (dry brush script), Crystal Dust, Billy Smith (a signature script), Houstiny, Signature Flavour, Irlandya (a dry brush script), Rubellion Script, Lostmoond Script, Quechely, Bollivia Script, Vacation Brush, Rosemellind Signature, Lotterras, Mighty Brush, Marryliane, Frankfield Script, Bravenheart Script, Halmaherra Signature, Kileegon Zales, Aurelly Signature, Billy Smith, Crystal Dust, Flaura, Histeria Script, Huntington, Irlandya, Signature Flavour, Threesixty.

Typefaces from 2021: Bougerose (a reverse stress display typeface), Silk Flower, Creamy Sunday, Housky, Springfield, Housting, Kiyoka, Koln, South Amsterdam (font duo),Ladysmith, Butter Fluid, Neutral Autumn, Aurelly, Crystal Dust, Southgirl, Blackhills, Crystal Sandstone, Pineapple Palm Tree, Kindbold, Portofolio, Irlandya, Signature Flavour, Huntington, Flassty, Rutch Display (a display typeface), Coastine, Allenoire (a bold display serif), Stay Wild, Northern Worssley, Bleu Femee (informal), Allegra de Amour (a fashion mag typeface), Ruth Clair (calligraphic script), Quetry Serif (a wedge serif), Rotterburg.

Typefaces from 2022: Aqala (a hipster display face), Graindeur (a modern display serif). [Google] [MyFonts] [More] ⦿

Typeverything
[Andrei Robu]

Andrei Robu is a super-artist, award-winning photographer, art director, illustrator, type designer and rising star based in Barcelona. Andrei started freelancing ca. 2002 shortly landing clients like Sprite and Coca-Cola. In 2006 he became Chief Graphic Designer at Leo Burnett, Bucharest, Romania. In 2008 he joined Acme as a managing partner and design director. After three and a half years he left Acme and started his own practice. In 2014 he relocated to Barcelona where he works together with his partner Andreea Robescu. During his career he founded a few platforms for promoting other talents: Designers Go To Heaven (2009-2017), Calligraphica (2012-2017), Typeverything (2011).

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:

Berry (2022). A seven-style+variable font family that oozes mischief and flexes its muscles.
Boldoni (2021). A fat face family.
Bourbon St (2020). A flashy experimental Marilyn-Monroe-just-walked-into-the-room kinda typeface.
Brule (2020). A throwback to the larger-is-better 1970s.
Champ (2021, by Cristi Bordeianu and Andrei Robu). A starkly incised display typeface family ranging from fashionable ultra-heavy to a flared thin. It includes a variable font as well.
Choco or Robu Choco Script (2017). An upright signage script.
Cottonhouse (2019). A Victorian typeface Cottonhouse by Andrei Robu, Kevin Cantrell and Arlo Vance.
Deia (2021). Advertized as a 7-weights bracketed serif that will do wonders on packaging projects.
Faroe (2022). A 7-style+variable font: a contemporary take on the art-nouveau period.
Fat Stencil Numerals (2016).
Fitzroy Display (2014). This art deco typeface was co-designed with Kevin Cantrell for the Fitzroy Condos in New York.
Flako Stencil.
Friseur. A supermarket script based on the 18th-century English roundhand.
Graf (2021). A very bold display and poster typeface that livens up the show with strategic ink traps.
Kitsune (2015). A thin connected script typeface published at The Designers Foundry. Re-released in 2019 by Typeverything.
Loggia (2020). A fashion mag typeface.
Loto Sans (2021). A geometric sans family.
Marques (2020). A luxurious display font.
Misfits (2018). A blackletter typeface.
Mochi (2021). An 8-style display sans with pointy terminals.
Motorino (2016). A connected retro script typeface.
Mr. Banks (2019) and Mr. Banks Serif (2020). Mr Banks is a stencil font.
Palace (2022). Based on vintage luggage labels from The Belle Époque (1890-1910).
Raval. A blackletter.
Roa Display. An angular and angry wedge serif.
Robu Bold. A retro signage script typeface originally created in 2010. Released in 2015 at The Designers Foundry. Re-released in 2019 at Typeverything.
Robu Grotesk (2017).
Robu Display (2017). In the fat didone genre.
Robu Stencil (2017).
Sharpie Pro (2020). A vernacular marker pen font.
Sports Numerals or Robu Sports Numerals (2017).
Vance Serif (2018). With Kevin Cantrell. They write: Vance Serif began as a proprietary typeface for Clayton Vance Architecture. Inspired by classical Roman architecture and proportions, Vance burgeoned from geometric angles and slants to decorative swashes and serifs to give life and nuance; architecture vivified by the human persona.
Writer (2022). A graffiti font.
Zufo (2017). A great children's book or comic strip typeface family.

Subpage with more experimental type. Flickr page. Behance link. Behance link for Typeverything. Old web site. Typeverything link. [Google] [MyFonts] [More] ⦿

Typofonderie (was: Porchez Typofonderie)
[Jean-François Porchez]

Jean-François Porchez (b. 1964) lived in Malakoff near Paris until 2006, when he moved to Sèvres, and from there to Clamart in 2008. He studied at the Atelier Nationale de Recherche Typographique (or ANRT), and caught the world's attention when he created a new type family for Le Monde in 1994. His fonts Angie and Apolline were prize-winning entries at the Morisawa Typeface competition. He received the Charles Peignot award in 1998, and many awards at Bukvaraz in 2001 for fonts such as Ambroise and Anisette. He runs an increasingly important foundry, Porchez Typofonderie, and is the main typographical driving force in France today. He set up ZeCraft. Until 2004, he taught typography at ENSAD in Paris, and teaches occasionally at Reading. From 2004 until 2007, he was President of ATypI. His fonts:

Airco Std (2020). An italic at 27 degrees to evoke speed.
Allumi PTF (2009---Eurostile meets Frutiger). Allumi comes in 27 styles. In 2021, Allumi Inline was added. Allumi Dingbats (2009) is free: it has several fists and arrows.
Alpha Poste (2005). A sans family for the group La Poste.
Ambroise, Ambroise Firmin (condensed) and Ambroise François (extra condensed) (2001, 30 fonts in all). Inspired by late style (1830s) Didot's, and with g, y and k as in the types of Vibert, the Didot family punchcutter as per the specimen books of the Fonderie Générale. This family was updated and extended with a new italic in 2016 as Ambroise Pro.
Angie (1995, FontFont). A flared humanist sans in six styles.
Anisette (1997, Font Bureau), Anisette Petite (2001-2008). Anisette is an art deco / avant garde family. The Petite is trending towards a more standard geometric sans. Anisette Pro Petite appeared in 2013.
The Typelab fonts Antwerpen (1993) and Antarée (1993).
Apolline (1995-1998, Porchez Typofonderie).
Arcane (1997, Ogilvy-Quérac).
Ardoise (2010). An extension of the Charente typeface (1999), which Porchez designed for the daily La Charente Libre, following the simple style of Franklin Gothic. The typeface extension to normal widths was developed from 2006 by Porchez and was used in 2010 in the redesign of the magazine Pelerin. Porchez: Ardoise PTF and its 45 series could be considered as an homage to Antique Olive. [...] It is virtually immune to distortion.
Audace Std (2020). A curvy sans.
Bienvenue (1999-2000, for France Telecom), Francetelecom-Demi (1999-2000, also for France Telecom).
Charente (2000).
AW Conqueror (2010). Jean-François Porchez was approached at the end of 2009 by Reflex Image to create a set of typefaces to relaunch the Conqueror papers collection. AW Conqueror is a family of free fonts available at the slow, chaotic and dysfunctional Conqueror.com / Arjo Wiggins web site. Styles include AW Conqueror Sans, AW Conqueror Slab, AW Conqueror Inline, AW Conqueror Didot and AW Conqueror Carved (with horizontal stripes as in money fonts). Not to be confused with the 2005 family called Conqueror by Yuri Gordon.
Courrier (1997).
Deréon (2005). Custom design for Beyoncé Knowles, remotely related to Dwiggins' Caledonia.
Disney Channel (1997).
Henderson Serif & Sans [2006). A Baskerville-meets-Arial family conceived by J.-F. Porchez, but extended and perfected by J.-B. Levée.
La Terre (1994-2000). Circulated on abf under the names BAAAAALaTerre-Regular in 2002.
Le Monde Journal (1997), Le Monde Sans (1997), Le Monde Livre and Le Monde Livre Classic (1997), Le Monde Journal Ipa (2003, a phonetic family), Le Monde Costa (Costa Crociere), Le Monde Courrier (2002).
Linotype Sabon (2002). An interpretation of Tschichold's Sabon. This project was conceived at Type Sexy Night in Leipzig with a thoroughly drunk Bruno Steinert.;
Lion (1998, Peugeot automobiles).
Pyrénée (1996, Albert Boton, Carré Noir).
Mencken (2005). For the Baltimore Sun, dubbed a contemporary Didot by JFP himself. Mencken replaces Retina for the stock tables and small print---Retina was originally created by typographer Tobias Frere-Jones of Hoefler&Frere-Jones for use in The Wall Street Journal, but seems harder to read than Mencken). In 2017, it was developed into a 163-style family, consisting the low contrast transitional Mencken Text, and the Scotch didone Mencken Head. It was also used near the end of presidential campaign of Emmanuel Macron. It is named after American journalist and satirist Henry Louis Mencken (1880-1956). For a retail version, see Mencken (2020, Typofonderie).
Parisine (1996). Read about the history here. Parisine Office was done in 2005 for the RATP. Other weights include Parisine Clair, Parisine Sombre, Parisine Plus.
Renault Identité (2004). Designed for Renault, and based on lettering by Eric de Berranger.
Retiro (2006-2009). A Didot headline suitably ibericized for the magazine Madriz. Winner at TDC2 2010.
Singulier (2012) is a geometric sans typeface created for Yves Saint Laurent Parfums. It was inspired by the monogram and logotype called Yves Saint Laurent that was created by Cassandre in the early 1960s.
Sitaline (a corporate type for SITA, 1998).
Vuitton Persona (2007). An all-capital two-color custom font designed for Louis Vuitton Malletier. Retail since 2008.
Ysans was conceived in 2010 and published in 2017. Influenced by Cassandre's lettering, this geometric sans is aimed at the fashion industry. Its beveled multiline version is Ysans Mondrian.
In 2020, he designed Arteria, a compressed display typeface family inspired by Italian shop signs and wood types.
In 2021, Porchez developed the wonderful copperplate calligraphic typeface family Altesse, which is a typographic adaptation of the scripts engraved by the French copperplate masters from the 19th and 20th centuries. Altesse comes in many optical sizes. It won the grand prize in the 2022 Tokyo TDC competition.
In late 2021, he released Astronef Super, a retro-futuristic typeface family with seven weights pushed to the extreme on both ends.

FontFont write-up. Adobe write-up. Bio. At ATypI 2004 in Prague, he spoke about Parisine and legibility.

In 2014, Adverbum published the French/English book Jean François Porchez L'excellence typographique---The haute couture of typeface design, which has pieces by Karen Cheng, Aaron Levin, Muriel Paris and Sumner Stone.

Linotype link. Behance link. Another Behance link. FontShop link. MyFonts link. MyFonts interview in 2009. Behance link. Speaker at ATypI 2010 in Dublin.

View the typefaces made by Typofonderie Porchez. Adobe link. [Google] [MyFonts] [More] ⦿

Typogama
[Michael Parson]

Typogama is the personal foundry of Swiss designer Michael Parson (b. Geneva, Switzerland, 1979), who published these fonts in 2003 as part of Linotype's Taketype 5 collection: Anlinear LT Std Bold, Anlinear LT Std Light, Anlinear LT Std Regular, Arabdream LT Std (Arabic simulation face), ClassicusTitulus LT Std, Hexatype LT Std Bold, Morocco LT Std, Jan LT Std, Ned LT Std, Pargrid LT Std Cross, Pargrid LT Std Regular, Pargrid LT Std Trash, Piercing LT Std Bold, Piercing LT Std Code, Piercing LT Std Regular, Raclette LT Std.

Most of Parson's fonts cover both Latin and Cyrillic.

In 2004, he made Clans (T-26, blackletter) and Boulas (T-26).

In 2006, he released these at T-26: Boutan (Indic simulation face), Heraldry (dingbats), Palm Icons (dingbats for golf), Wingbat (aircraft dingbats).

In 2007, still at T-26: Heraldry, Thunderbolt 73 through 76 (from techno stencil to techno sans).

In 2008, at T26: Ealing (geometric sans family, with a hairline), Bauhau (6 weights), Jane (a rounded sans in 12 weights), Quean, Halja (a modular sharp-edged blackletter with illuminated capitals), Faddish (a high-contrast vogue family), Big Boy (11 styles, a slab family from grunge to regular, accompanied by BigSigns, a hand sign font).

Fonts from 2010: Tinsel (condensed), Rusty (Latin / Cyrillic constructivist typeface inspired by snowboarding), Vindaloo (+Outline, T26), Kimbo (octagonal slabby family), Cyrus (for Latin, Greek and Cyrillic), Calvin (a monoline sans family, +Hairline), Checkpoint (rounded display sans that won an award at Modern Cyrillic 2014), Fuera (2011: a bilined typeface, T26).

In 2013, he published Selecta (an organic rounded sans, T26), Thunderbolt (an octagonal army style typeface family with a military stencil, T-26), Xcetera (2011), Ignorance (an American 19th century style penmanship font), Psalta (an octagonal blackletter typeface), Nadsat (a geometric display sans with some interlocking letters), Cobono (organic sans), Prox (sans face), Zurika (a wonderful crazy script face), Faddish (T26: a fashion mag typeface), Heraldry (T26), Cedi (YWFT: a hand-printed typeface family with huge multi-character ligature set to simulate real handwriting), Tcho (T26: a soft rounded sans family that covers Latin, Thai, Arabic, Greek and other scripts), Dejecta (a striking scratched titling face, T26), Nedo (2011, a bold prismatic display typeface inspired by the work of Nedo Mion Ferrario in Venezuela), Quam (2012, an elliptical sans family), Pictypo (2012, a useful icon typeface).

In 2014, he updated the interlocking poster display typeface Tinsel (T26---original from 2010) and published the fantastic cartoon / comic book typeface family Bangbang. Siggy (2014) is a funky typeface. Lale (2014), which won an award in the TDC 2015 Type Design competition, uses the opentype features to set up a font system for flowers. Jane (2014) is a rounded sans typeface family. Vulgat (2014) is a vibrant display typeface based on uncial letterforms. Elsuave is a free rounded piano key typeface.

Typefaces from 2015: Chickenz, Framez, Jackazz, Raubam (free), Martinaz (signage script).

Typefaces from 2016: Auro (rounded sans), Dejecta (rough and ragged), Apollonius (a swashy didone), Rosengarten (vintage type influenced by Lucian Barnhard), Deleplace (influenced by didones), Furius (Tuscan style).

Typefaces from 2017: Kurstiva (an informal sans family), Banja (a plump signage script), Bignoy (Wild West, modernized), Kimbo (octagonal), Mensrea (organic sans with beveled, inline, and various layered and graffiti styles), Nibbles (a food truck-inspired dingbat typeface), Huggy (an art nouveau typeface influenced by the work of Heinrich Heinz).

Typefaces from 2018: Brinnan (a wide sans), Zoltana (a floriated, abll terminal-laden fancy titling typeface), Genesa, Kufin (a free Kufic emulation typeface), Madden (an angry dry brush poster typeface).

Typefaces from 2019: Ahsing (oriental look font), Convexion (a creamy display typeface), Vidocq (based on 19th century woodcut styles).

Typefaces from 2020: Fiducia (inspired by the first Swiss banknotes), Gorgonzo (a creamy bold typeface designed for attention grabbing headlines), Thrifty (a clean minimalist sans family).

Typefaces from 2021: Oildale (an oily and creamy display typeface), Conica (a fine extra bold condensed poster typeface).

Typefaces from 2022: Xotor (a double-inline or prismatic font with octagonal outlines).

Behance link. Klingspor link. Hellofont link. MyFonts link.

View Michael Parson's typefaces. [Google] [MyFonts] [More] ⦿

Typografische (was: Hardal Studio)
[Fatih Hardal]

Istanbul, Turkey-based founder of Hardal Studiuo, and later Typografische. His typefaces include Hardal Serif (2018), the free experimental font Cylinder (2018), and the free experimental typeface Nisantasi (2018, a gothic fraktur).

In 2018, Fatih Hardal and Mustafa Akülker co-designed the hipster sans typeface Unshaped. At Marmara University, he designed the commercial typeface Hardal Serif (2018).

In 2018, Fatih Hardal and Muhittin Gunes set up Bold Type Istanbul. Their joint typefaces at Bold Type include the sans typeface families Bold Type Modern (2018) and Bold Type Grotesk (2018).

One of his most remarkable typefaces is the Bauhaus-style fat font Quad (2018).

Typefaces from 2019: FH Giselle, FH Fraktur.

Typefaces from 2020: FH Cordelia Display (with Japanese brush stroke terminals), FH Oscar (a grotesque family inspired by Breite Grotesk, Akzidenz Grotesk and Monotype Grotesque; some alternate letters follow the hipster trend), FH Phemister (inspired by Phemister Old Style by Alexander Phemister), FH 1089 Display (a severe contrast fashion mag typefaces with a stunning negative 40 degree axis), FH Ronaldson (a sharp-edged typeface family; like FH Phemister, it is inspired by Ronaldson Old Style).

Typefaces from 2022: FH Alpha (two styles, loosely based on Hermann Zapf's Optima), FH Ampersand (42 styles, inspired by Elzevir Gothic, 1897, ATF). [Google] [More] ⦿

Typographica: Best of 2007

Typographica's Oscars for 2007, the unofficial but highly respected list of best types of the past year. Double and triple winners are Tomáš Brousil, Kris Sowersby and Christian Schwartz.

Calligraphic: Burgues Script by Alejandro Paul.
Scripts and bouncers: Kinescope by Mark Simonson, MVB Sacre Bleu by Mark van Bronkhorst, Olicana by Nick Cooke, Scriptonah and Casual Script by John Nahmias, Los Niches by Juan Pablo de Gregorio, BistroScript by Tomáš Brousil, Beorcana by Carl Crossgrove (too brushy to be labeled a sans), Burbank by Tal Leming (too bouncy to be called a sans).
Sans family: National by Kris Sowersby, Graphik by Christian Schwartz, Taz III by Luc(as) de Groot, Gloriola by Tomáš Brousil, Urbana by César Puertas.
Octagonal/mechanical: Purista by Tomáš Brousil.
Serif text family: Arno Pro by Robert Slimbach, FF Meta Serif by Spiekermann, Schwartz, and Sowersby, Feijoa by Kris Sowersby, Greta by Peter Bilak.
All purpose families: Leitura by Dino dos Santos, Anselm by František Štorm.
Slab or heavy serif: Malaga by Xavier Dupré, Lineare Serif by Eduardo Tunni.
Special purpose: Beowolf & BeoSans by Erik van Blokland and Just van Rossum, Fab by Patrick Griffin.
Small sizes, pixelish: Minuscule by Thomas Huot-Marchand, Restraint by Marian Bantjes with Ross Mills.
Blackletter: Blaktur by Ken Barber.
Vogue: Giorgio by Christian Schwartz.

[Google] [More] ⦿

Typomancer
[Warit Chaiyakul]

Warit Chaiyakul (Typomancer) is a type designer from Bangkok, Thailand. He created the upright connected script typeface Rhyme Casual (2012) and its unconnected cousin Rhyme Formal (2012).

All of Warit's typefaces cover Latin and Thai. Warit also designed Wongklom (2012, a rounded sans), Theorem (2012, didone), Charm (2012, serifed face), Conflict (2012, sans), Arch (2012).

In 2013, he published Acid (an upright script), the rounded didone typeface family Lynx, the hybrid didone family Felis, the rounded humanist sans family Lounge, the calligraphic script family Mist, and the Latin / Thai sans typeface Quark.

Dawnora (2014, +Initials, +Headline) is a flared swashy display type family. Auxilia (+Condensed) is a geometric sans typeface family.

Typefaces from 2015: Cline (slab serif and sans), Cline (a slab and sans family), Lince (16 fashion mag typefaces rooted in didones), Felis Script.

Typefaces from 2016: Eirlys (a sharp-edged typeface with a medieval or Irish character), Conflict (sans), Ounce (a didone typeface), Cloud (some weights are free).

Typefaces from 2017: Cloud Soft (soft rounded sans; free LightBold weight), Gwyner, Charm (a warm rounded sans).

Typefaces from 2018: Muirne (a Celtic semi-serif typeface family), Pinala (script and sans duo).

Typefaces from 2019: Cloud Lucent, Cloud Script (free).

Typefaces from 2020: Belynos. [Google] [MyFonts] [More] ⦿

Typonine
[Nikola Djurek]

Typonine was founded in 2005 in Croatia and The Netherlands by Nikola Djurek. Djurek was born in Croatia, and studied in The Netherlands at postgraduate master course Type and Media at Royal Academy of Art in The Hague (2004-2005), he later earned his PhD degree in the graphic and type-design field. Nikola is a partner at Typotheque, and teaches at Art Academy DVK, University of Split and University of Zagreb. He lives in Zabok, Croatia.

Typotheque link. MyFonts page. Alternate URL. FontShop link. Behance link.

Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona. In Amsterdam, he presented a system that weds Latin and Cyrillic scripts. The chronology of his typefaces:

2002. He created the gorgeous gorgeous gorgeous stencil family Jan (T-26), the 4-weight screen font family Makro (T-26), the computer simulation font Bronika, and Escom (T-26).
2003. At Stereo Typehaus, he published the Tribeca, Magasine, Soho and Novella families. At Garagefonts, he published the sans serif family Tera. New fonts being planned then included the serif family Albeka, the octagonal family Hetra, and the sans families Patagonia.
2006. Porta (a 130-weight serif family, now available as DTL Porta: it is advertised as type for the tabloids), Typonine Stencil (or T9 Stencil, aka SeeMore), and Tribeca. At OurType, he published the serif type Amalia (2005-2006).
2007-2008. Tempera Sans, Tempera Biblio, Tempera Rose, Typonine Sans (+Mono, +Hairline, +Condensed), Typonine Stencil, Tesla Dynamo (fat rounded), Sablona, Greta Display (Typotheque), Fedra Display (Typotheque), Brioni Text (Typotheque, a promising slab serif family, with a large number of glyphs), Marlene (book face). Marlene is accompanied by Marlene High, Marlene Stencil and Marlene Display.
2009. Nota. A curvy and very readable sans.
2010. The Plan Grotesque family (Typotheque; +Stencil, Condensed, Condensed Stencil, Italic).
2011. Delvard (Typotheque). This sans family was followed in 2022 by Delvard Serif (Display, Text, Subhead), which has a large x-height and a generous width.
2012. Thema (2012) is a high-contrast display typeface with pointy serifs. With Marija Juza (Babushke Studio, Zagreb) Djurek co-designed Balkan, a Latin / Cyrillic sans / stencil type system that won an award at TDC 2012.
2013: Nocturno (+Display, +Stencil). A play on contrasts. Lumin (for editorial work, including Sans, Sans Condensed and Display subfamilies: see Typotheque). DTL Porta (Text and Display, Dutch Type Library) and DTL Porta News.
2014: Valter (Typotheque). A variable contrast Peignotian sans inspired by pointed-pen writing. Valter won an award in the TDC 2015 Type Design competition.
In 2016, Peter Bilak, Nikola Djurek and Hrvoje Zivcic published the Uni Grotesk typeface family at Typotheque. It is based on Grafotechna's 1951 typeface Universal Grotesk, which in turn is based on 1934 design by Vladimir Balthasar. Tremolo (Typotheque, 2015) won an award at TDC 2016.
In 2016, Nikola published Bara at Typotheque in three optical sizes, Text, Display and Grande. He writes: Bara is inspired by the carved, incised metal types of the Dutch Golden Age. It is not a historical revival, but a loose interpretation of a typeface found in "The steadfast tin soldier" by Joh. Enschedé en Zonen (Haarlem, published by Spectatorpers in 1992), hand-set by Bram de Does in so-called Schefferletter, also known as Enschedé English-bodied Roman No6. The origins of this historical typeface are unclear, probably dating to early 16th century.
Francis Gradient (2016, Typotheque): is a capital-only Sans-serif typeface with with high contrast of thick and thin strokes, ideal for creating strong headlines. Francis draws its inspiration from an early 20th century lettering style often seen in European advertising, but also from the rational geometry that lends a rhythm to the typeface in text. [...] The typeface dynamically increasing or decreasing character widths. These remarkable text patterns are possible because each Gradient style contains 2,690 glyphs that are selected automatically using OpenType's Contextual Alternates feature.
Gordian (2017, Typotheque). A monoline rounded sans family with irresistible charm. Followed in 218 by Gordian Knott and Gordian Kapitalen.
The Plotter techno superfamily in these styles: Regular, Mono, Hand, Display, Wave, Stencil, Liner, Line Mono, Liner Mono Stencil, Liner Display, Liner Stencil, and Mono Stencil.
Diurnal (2017: Text and Display). Diurnal Mono (2022): a humanist monospaced typeface with calligraphic traits.
The Brenner superfamily, which comes in Display, Sans, Script, Sans Condensed, Serif, Slab and Mono versions.
Murtaugh and Riggs (2020, Typotheque).
Tremolo Sans (2020).
Maro (2021). A stencil typeface published by Typotheque. It includes a variable font.

View Typonine's typefaces.

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

Tzaddi Esguerra

Freelance illustrator and typographer in Iligan City in The Philippines. She created a wonderful typographic poster based an iconic 1950s Vogue cover. [Google] [More] ⦿

Ultrabrain
[Qamari Ally]

Specialist of fashion mag typefaces. Qamari Ally (Ultrabrain, Paris, France) made the delicately thin display types Luxurious (2011) and Qult (2011), and the high-contrast serif script typeface Transition (2011). He also did the grotesk display typeface Pli (2011). Behance link. [Google] [More] ⦿

Up Up Creative
[Julie Green]

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.

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] ⦿

Uppertype
[Pedro Lobo]

Portuguese foundry in Guimaraes and Porto, est. 2011 by Pedro Lobo, that sells Yorker (2012, a layered athletic lettering font), Borba (2012, a beautiful inline typeface), Sahara (2012, an antique shadow caps face), Akila (2012, a fashion mag didone), Public (2012, art deco marquee face), Scape (2012), Smart (2012, inline caps face), Desk (2012, shadow caps face), Kleiner (2012), Fabrica, Wannabe (octagonal), Kodhigo (slab serif), Molesk (2011, a free slab display face), Tabbaco (connected retro script) and Jono (2011, art deco).

Typefaces from 2013: Player (a layered beveled typeface system), Porto (tweetware), Woodstik (a tall gothic wood type layered sans family that plays with texture and letterpress), Darko (alchemic, designed under the motto Uppertype goes hipster), Player (a layered type system), Bonie (organic sans).

In 2015, he made the cursive school script font London Script and the vintage handcrafted Vintagefolk.

Typefaces from 2016 include Roska (a free stencil type) and Twoface (an Escher-style impossible font).

In 2018, he published the layered multiline stencil font family Issue, the multiline typeface The Social, and Borba Neu. [Google] [More] ⦿

US fonts in 40s and 50s

Fonts popular in the US in the 40s and 50s as listed by typophiles: Alternate Gothic / Alpin Gothic, Futura, Garamond, Baskerville, Century, Caslon, News Gothic / Trade Gothic, Stymie / Memphis / Beton, Poster Bodoni, Onyx, Metrolite, Metromedium, Metroblack, Rockwell, Kaufmann, Balloon, Bank Script, Mademoiselle (Thompson), Alexey Brodovitch (Vogue). [Google] [More] ⦿

Valentina Peccin

Porto Alegre, Brazil-based designer of the teardrop-themed fashion mag or display typeface V (2016). [Google] [More] ⦿

Valentine Proust

Artistic director in Paris whose type designs are published through Fontyou. Her typefaces:

The connected handwriting font Yumana (2012).
Younion FY (2013, with Alisa Nowak, Gregori Vincens, Elvire Volk, Gia Tran). Younion One FY is free at Dafont.
Achille FY (2012). A slab serif typeface done with Gia Tran, Alisa Nowak, Gregori Vincens, and Bertrand Reguron. She also created Achille II FY (2014, a slab serif by Alisa Nowak, Valentine Proust, and Gregori Vincens).
The EPS format display typeface Alice FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It was inspired by Adrien Genevard's lettering. Sub-themes are Alice in Wonderland and playing cards.
The EPS format frilly script typeface Lullaby FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It too was inspired by Adrien Genevard's lettering.
Exquise FY (2013) is a fashion mag didone co-designed by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou.
In 2013, Denis Moulin, Bertrand Reguron, Valentine Proust and Laurène Girbal co-designed the hipster typeface Theory FY, an alchemic typeface.
The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.
In 2014, Proust designed Meeko FY, a Latin display typeface genetically linked to the didones.

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

Valentino Vergan
[Martin Katibi]

Kenyan graphic designer who released Zanna (a stylish didone) and Balbek (a bold condensed sans) in 2021.

Typefaces from 2022: Enoway, Velbina (luxurious vintage caps), Qellia (an elegant display sans). [Google] [MyFonts] [More] ⦿

Valery Zaveryaev
[Gaslight (or: Valery Zaveryaev)]

VB Studio
[Victor Bartis]

Bucharest, Romania-based designer of the branding and fashion mag typeface Glysa (2019). In 2020, he published the elegant decorative serif Kaftan Serif. Type Department link. [Google] [MyFonts] [More] ⦿

Vero Pallardo

Graduate of EASD in Valencia, Spain. Valencia-based based designer of the didone-serifed fashion mag typeface Vero (2018). [Google] [More] ⦿

Vian Peanu

Bucharest-based partner in Dos Cabrones, with Andrei Ograda. His fonts can be bought under the name at Creative Market.

Vian Peanu designed Cirquit, It's Friday, Dioda, Sting, Desgraciado, Daedal, Bastard, Minette, Magnus (rounded piano key face), Lacuna (hairline stencil), Fat Lady (2010), Cylon, Dgtl, Kalypso, Sting, Passio, Maha, Qanat, It's Friday, Violently Violent (2011, art deco/piano key family), Asymptote (2011, thin display face).

In 2012, Vian Peanu and Andrei Ograda co-designed Venin (a beautiful high-contrast thorned fashion mag family with art deco aspirations). Vian designed the layered typeface Uxie.

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

Victor Bartis
[VB Studio]

Victor Bature

Graphic designer in London. Behance link. Ramen (2010) is a great high-contrast typographic poster for an imaginary fashion mag. [Google] [More] ⦿

Victoria Byrum

Graphic designer in Raleigh, NC. Creator of these typefaces in 2012: Ezra (she says: Ezra is a Modern typeface designed to break the stereotype of Moderns only being used in the fashion industry. I was heavily inspired by Bodoni's regularity with measurable and repeatable forms and sought to create a typeface that utilized the interchangeable parts concept and pushed Modern typefaces past design stigmas), Beehive. [Google] [More] ⦿

Viktoryia Strukouskaya
[Struvictory Art]

Vitor Braz

Lisbon, Portugal-based designer of the experimental geometric typeface Agaro (2011), the neon tube typeface Bulb (2011), Punku (2011), and the high-contrast fashion mag caps typeface Esquise (2011).

In 2013, he designed the alchemic typeface Lunaria.

Cargo collective link. [Google] [More] ⦿

VJ Type (was: Violaine & Jérémy)
[Jérémy Schneider]

In 2011, Violaine Orsoni and Jérémy Schneider set up their studio, Violaine & Jérémy, in Paris. Schneider studied at Ecole Professionnelle Supérieure d'Arts graphiques et d'Architecture de la Ville de Paris (EPSAA). Their work is fashionable, elegant, unique, ground-breaking and delightfully experimental.

In 2015 Schneider designed Nord and Sud for Théâtre des Bouffes du Nord.

In 2016, they designed the (custom) Tuscan typeface Tribute, the gorgeous deco poster typeface Dida and the tall typeface Scali for Théâtre des Bouffes du Nord. Schneider added the expressive and frivolous display typeface Canopée in 2016 as well.

In 2017, Violaine Orsoni and Jérémy Schneider published the stylish typeface Traviata.

In 2018, Jérémy Schneider designed the stylish typeface family Kobe, and the exquisite but delicate all caps typeface Love. In that same year, VJ Type released the corporate art deco type Archibald, Les Gros mots, Big Fernand, Art Team, Napoleon Stratege, Lukas Dong, and Cage.

In 2019, they created the identity, illustrations, fonts and menus for the Parisian restaurants Baba and Mamie (art deco), and the angular display typeface Cako. Jérémy Schneider designed the luxurious fashion mag typeface Voyage in 2019 as well.

Typefaces from 2020: Jäger (by Jérémy Schneider), a tribute to fine craftsmanship. Jäger is a display typeface for headlines and short texts. Its first drawings were developed for an exhibition in 2015 at the Musée des Arts Décoratifs in Paris. Jäger is inspired by techniques mastered by craftsmen in their work, such as hollowed-out counter forms reminiscent of engravings, sculptures or chisel work. The angles give the impression of having been cut in wood, while the contours are rounded.

Typefaces from 2021: Dahlia (an art nouveau serif by Jérémy Schneider that was influenvced by Italian lake posters from ca. 1910), Mun (a samurai sword caps typeface for the identity of Japanese restaurant Mun Camps Elysées), Kobe (experimental). [Google] [More] ⦿

Vladimir Fedotov
[VP Creative Shop]

Vogue

Vogue is a Stephenson Blake sans caps typeface made in 1929. There is a slightly different typeface called Intertype Vogue, created in 1930, about which Mac McGrew writes: Vogue is an American sans-serif type, cut by Intertype in light and bold weights early in 1930. It had been created for Conde Nast of Vogue magazine. but was released also to the general printing trade. It is generally quite similar to Futura (q.v.), but caps are the full height of ascenders, and descenders are a bit longer; most noticeable in the original version are the very long crossbar of G and the vertical tail of Q. The bold weight is about equivalent to Futura Medium. Extra bold, oblique, and condensed versions were added over the next several years, and it became especially popular for newspaper work. Vogue Extra Condensed was designed by Edwin Shaar in 1971 for the New York Times classified display, and cut in 48-point only. Several sets of alternate characters in some versions enabled users of this series to simulate the general appearance of Futura, Kabel, or Tempo, while r the light and bold weights also offered unusual squared versions of kmnru, derived from early tentative designs for Futura. Through an unusual twist of names, Vogue Medium Condensed is bolder than Vogue Bold Condensed. Vogue Bold Extra Condensed (not to be confused with Vogue Extra Bold Condensed), is made only in a few large sizes and departs somewhat in design. Lining Vogue and Lining Vogue Bold are made in several sizes of caps and figures to cast on a 6- or 12-point body in the manner of Copperplate Gothic; also one small size of 18-point.

For a modern revival, see Richard Miller's Intervogue (2018). [Google] [More] ⦿

Vogue December 2008

Fashion alphabet created for Vogue UK, December 2008. Unknown creator. [Google] [More] ⦿

Vogue Fonts and more

"Miss at le Playa" takes through a tour of fonts used by fashion mags and fashion houses. On its cover, Vogue uses Didot Display, while Vogue Paris uses the free Exotica and Dogwood, as well as Romantiques. Chanel's logo uses Blue Highway Expanded Bold. For Jimmy Choo, it is University Roman LET, while Dior prefers Nicolas Cochin T Regular. Dolce and Gabbana play it safe with Futura SH-Dem Bold and Light. [Google] [More] ⦿

Vojtech Riha
[Superior Type]

Volker Busse
[F25 Digital Typeface Design]

VP Creative Shop
[Vladimir Fedotov]

Bulgarian designer (b. 1991, Varna) of these typefaces in 2017: Nova (a great logo font), Selfish Script, Delicious Yellow Script, Emanuela (a charming upright calligraphic script), Mikaela Script, Sailor (handcrafted), Parrot, Octopus, Everest Script, Stork, Dork, Boxo, Pino.

Typefaces from 2018: Cross Road, Desire, Marvin, Contraband (all caps display sans), Christmas (a ball terminal-laden font), Trixie, Musa, Vendée, Just Because, Splendor, Vovchik (art deco), Varna, Summer, Jane Doe, Opinio, Melancholy, MadHouse Sans, Rebel, Irina, Gentleman (art deco), Fancy, Rhino, Rimini, Tamira (high contrast luxury font), Aria (ultra-condensed), Elena, Good Wish, Kavaler (fashion mag typeface), April, Belinda Script, North East (high-contrast family), Golden Bird Serif (a fashion mag typeface), Dark Heart (an eerie typeface), Nova Logo, Maria (blackboard bold), Signature VP, Moderna, Hashtag, Fonatik, Sugar Serif, Spice Serif, Highway (vintage script), Ravenside (a fashion mag typeface family), Georgia (stylish), Pandora Display (piano key typeface), Desislava (a fashion sans with several selections of textures; the outline style is free), Young Rebel (a partially free spurred font duo), Alexandria (piano key style), Blu Purpl (a partly free sci-fi typeface family), Kalpazan (partly free: a tall condensed unicase font), Pinchik (a simple rounded sans), Echo (14-style squarish sans), Elephant (with a free Outline style), Golden Age (curly calligraphic script), Rose Gold (fashion mag serif), Godlike (monoline script).

Typefaces from 2019: Propaganda, Mallie, Clementine Script, Phoeniks, Orenda (script), Monument, Rose Gold (a fashion mag typeface), Sunflower (+Script), Gentleman, Minibus, Lelushka (an inky brush script), Mondaze, Kindel (a stylish geometric typeface family), Kalorama (a font duo), Fabulist, Explorers, Errorist, Afterclap, Lotus Eater, Cute Animals, Black Gold (a stylish all caps typeface), Mantrum (brush), Highway (script), Exquisite, Belinda, Tamira, Pathway Script, Sunlight, Serendius, Portraits, Hysteria Script, Bock, Indigo, Bosnia (a monolinear all caps sans), Hippo Sans Serif, Zemarah (calligraphic), Portraits, Mooka Powder (font duo), Momentus, Searchlight, Dream (a fashion mag headline typeface), Melancholy, Knowhere (grunge), Elena (a luxury serif), Hashtag Moderna (a Peignotian sans), Musa Display, Ultimus and Ultimus Serif (fashion mag fonts), Alpha.

Typefaces from 2020: Black Gold VP (a high contrast display font; with Plamen Petrov), Kompot (a condensed all caps decorative serif; co-designed with Plamen Petrov), Chalga VP (a decorative serif co-designed with Plamen Petrov), Ablation (a 6-style all caps geometric sans jointly done by Vladimir Fedotov and Plamen Petrov), Midnight Tales (vintage decorative caps jointly done by Vladimir Fedotov and Plamen Petrov), Akros (a fashion mag font by Vladimir Fedotov and Plamen Petrov), Daylight Dreams (a festive all caps typeface by Vladimir Fedotov and Plamen Petrov), Zink VP (a bold all caps sans by Vladimir Fedotov and Plamen Petrov), Billionaire Club (art deco caps; by Vladimir Fedotov and Plamen Petrov), Blackpaper (a negative space font by Vladimir Fedotov and Plamen Petrov), Metria Street (a monolinear condensed interlocking sans by Vladimir Fedotov and Plamen Petrov), Monday Boulevard (an all caps art deco typeface by Vladimir Fedotov and Plamen Petrov), Sombre (a negative space font by Vladimir Fedotov and Plamen Petrov), Bubbble Gum (a 10-style rounded monolinear sans by Vladimir Fedotov and Plamen Petrov), Equinox VP (a futuristic all caps font by Vladimir Fedotov and Plamen Petrov), Inertia (a logo font, with Plamen Petrov), Inure (a ball terminal typeface, with Plamen Petrov), Papillon VP (with Plamen Petrov), Bungalow VP, Fika VP (a rounded and modular typeface by Vladimir Fedotov and Plamen Petrov), Kavo Serif (a 5-style all caps didone by Vladimir Fedotov and Plamen Petrov), Kavo Inline (with Plamen Petrov), Kavo Sans (with Plamen Petrov), Silver Queen (a ball terminal typeface; with Plamen Petrov), Anteric, Agelast (all caps, futuristic sans), Quilin (decorative and swashy; with Plamen Petrov), Akros (an art deco serif typeface), Metria Street (art deco), Blackpaper (a font that experiments with negative space), Mischief (brush), Slang, Daylight Dreams, Kavo (a 17-style family), Midnight Tales, the tall slab serif Carnival VP (with Plamen Petrov), and the weathered Greenth (with Plamen Petrov).

Typefaces from 2021, all by Vladimir Fedotov and Plamen Petrov: Aisling (a six-style ultra-compressed sans), Stolen Love (a 16-style fashion mag serif), Cruell (a high contrast ball terminal laden fashion headline typeface), Mother VP (a high-contrast fashion font with plenty of ball terminals), Magoa (a serif typeface with extreme contrast), Sorcha (a ball terminal display font by Vladimir Fedotov and Plamen Petrov), Stolen Love (a fashion mag font), Defect (grunge), Tacenda (grungy caps in SVG and OTF formats), Magoa serif (a ligature typeface), Sonder Serif (decorative, for fashion mags), Oldink (grungy), Arowen (grungy, SVG format), Cruell Serif (with ball terminals), Mother Serif (also a play on ball terminals), Derau (a bitmap SVG watercolor font), Akrasia (an SVG watercolor font), French VP (an all caps glamour font adorned with gigantic ball terminals; with Plamen Petrov), Perfectly Splendid (a ball terminals all caps typeface; with Plamen Petrov), Italian VP (a 21-style tall slab serif in which the bold weight is still thin by international standards), Huova (a decorative all caps serif), Kompot Slab, Kompot Display, Unique VP (a fashion mag titling font with many ligatures and swashes), Bronx (sans and inline), Monday Boulevard (an art deco typeface), Chalga VPoutline (a classy outline font), Mila VP (a disturbing sans & serif hybrid), Kompot Sans (an all caps titling sans), Avoqado (a 6-style all caps sans with features of DIN), Kuchek (a ligature-rich decorative serif).

Creative Market link. Graphicriver link. Personal web site. [Google] [MyFonts] [More] ⦿

Vultype Co
[Candra Hamdani]

Jakarta, Indonesia-based designer of Grahamo (2019: a luxury script), Batisde (2019: a font duo), Haglos (2019: a signage script), Delpina (2019, a vintage monilinear sans; at Vultype), Quefira (2019: monoline script), The Bredan (2019: script), The Bredan Sans (2019), Handler (2019: an interlocking typeface), the monoline script typeface Hesland (2019: free demo) and the letterpress emulation font The Foregen (2019).

Typefaces from 2020: Kroast funny, Hadrey (a signage script), Brushter (a brush script), Roullasse, Matt Rostine (a signature script), Dagtton, Mirande (a thin all caps fashion font), Hadrey, The Grenhil (a grungy vintage font), Suttimmos, Dagtton, Aliters, Austin, Battnise, Boldris, Butgone, Goodboom, Magnolia, Rubin Key, Stobils, Willdom, Ragila (a decorative serif), Betmo Romate Hood, Grahm Sans, Sartadi, Goshbe (brush), Aurelig (monoline script), Delfina, Bhortead (vintage, grungy), Hargael (monoline script; a free font duo), Cremona, Nathan (script), Old Bridges, Boilgo, Acelire Rosse, Sregale (brush script), Analisa, Melanox (stencil), Anamortee (free).

Typefaces from 2021: Stange (futuristic), Kodaro (an all caps typeface adorned with intestinal curves), Grunberg (letterpress emulation), Kastel Voire (a display serif), Grahm (vintage, all caps). Creative Fabrica link. [Google] [MyFonts] [More] ⦿

Vuuuds
[Agung Syaifudin]

Aka Vuuuds. Denpasar, Indonesia-based designer of these typefaces in 2021: Alfine, Efton Serif (decorative), Emilea, Fistro (an avant garde fashion font with hipster traits), Fromy, Fugi, Hues Serif, Musky (decorative).

Typefaces from 2020: Arsen (a font duo), Cagily (a decorative serif), De Hudson, Froyas, Gesmont (a striking fashion mag font), Kasual, Moric, Smith Signature, Tefis (a decorative serif), Thiago (a decorative serif), Lavagne (an almost-stencil), Carlsen (script).

Typefaces from 2019: Claire (Sans, Script), Tango (a poetic irregular script), Serfict (calligraphic), Serfict Sans (outlined caps), Charles UK (a formal upright script), Moret (a children's script), Olifer (Serif+Script), Callies Script (swashy calligraphic script), Hector Ink (a Treefrog style ink splatter script).

Typefaces from 2018: Theory, Ezalor (an inky script), Chase (a clean geometric sans family), Manila, Stay, Mono, Lipstick (a signature font), Figo (an inky script), New (sans), York (script), Roth, Reusk Script, Paris, Adelia, Rosie Kiley (a font duo consisting of the titling typeface Track and the script typeface Kiley), Artemis Script, Anter Script, Gloams, Redge, Muster Script, Stylish Script, Georgia Script.

Typefaces from 2017: Bianca (signature font), Lisbeth Script, Wilder Script, Kalisa (signature font), The Bloom, Earnis, Mient, Styler, Erily Script, Miyuki (calligraphic), Mussie, Kesley Script, Faust Script, Recolter (a stunning poster typeface), Caities, Emily (script), Roth, Hukster, Rovist Script, Renith (connected script).

Typefaces from 2016: Hulleva, Callet, Theos Script, Void (rounded sans), Lemonia, Revel (script), First Text (primitive script), Magical Script, Mauret Script (calligraphic), Rosgart (a signature font), Plore (experimental sans), Murtics (a signature font), Infister (minimalist modernist sans), Beafust, Astter (calligraphic script), Humos (connected school script), Hullist (connected handwriting), Happy Tum, Little Bite (children's book font), Millace (calligraphic script), Grafter (connected signage font), Elgard (brush script), Flotus (calligraphic), Pitter (fat finger font), Scripter (formal calligraphic style), Muffet (connected monoline script), Waltus Script (calligraphic and connected), Feruci, Evertype, Breital Script, Castellia, Enough Script, Rollfunk, Hottuf, Staiger (script), Fintype, Themost Script (calligraphic), Fuster Script.

In 2015, he made the brush script typefaces Mauvet Rios, Reusk (a great informal calligraphic typeface), Mostter (calligraphic script), Foldeck (a rounded monoline sans), Quickfox, Serffost, Hurgey, Gothup, Gullick, Wilfur Script and Barkless, the hairline script font Catties, the fine hand-drawn poster font Monofor, the handcrafted connected script fonts Wellone, Anter Script, Cindelia, Ruffest and Perston, the handpainted Emillyne, Herlock, Forsa, the calligraphic font Herfume (loaded with alternates), the handcrafted font family Latype (Brush, Hand, Script, Serif, Condensed, Sans, Extras), the brush typefaces Nufertum (a great medieval travel log script), Nufertum Sans, Northline, Stokebridge, Fouyers Script, Heiger Script and Wayback, and of the handwriting font Allegate. He also designed Bubble Tea, Whalerig, Klasdot, Hello June, Retro Board, London Train, Rope&Bag, Strip Box, Yellow Jelly, Wide West, Funky Disco, Fat Burger, Sweet Lollipop, Dance Club, Crazy Type, Avicelyns (a connected script), Blackyard (a monoline connected script), and Nanoline Icons (which contains 2061 icons divided into 30+ categories: symbol, weather, building, financial & shopping, user, emoticon, hand gesture, medicine, body parts, image, audio, video, music, charts, map, security, document, furniture, kitchen, drink, fruit, food, chat, email, tools, text, communication, business, time, science, laundry, zodiac, kids, energy, animal, clouds, transportation).

Typefaces from 2022: Georgia Script, Lecory (a fashionable typeface with high contrast). [Google] [More] ⦿

Wahyu S. Adi Wibowo
[Eaver Studio (or: Wahyu & Sani Co)]

Walk-On

Walk-On (2015) is a free didone-inspired fashion mag typeface in AI format. There is no indication who made it, so I will classify it as orphaned. [Google] [More] ⦿

Walter Käch

Teacher of Adrian Frutiger, b. 1901, Ottenbach, Switzerland. Pic. Here, you can find wonderful advice for making well-adjusted alphabets. In this wikipedia, we read: At the age of 16, Frutiger was apprenticed as compositor to a printer in the nearby town of Interlaken for four years and attended classes at the Zürich School of Arts and Crafts. (Rauri) Under the tutelage of Walter Käch from 1949 to 1951, students learned type design by rubbing forms from Roman inscriptions. The students then applied the knowledge learned from these ancient letterforms to their own type creations. The students came to realize that the way the inscriptions were made was an outline applied with a pen, and then chiseled into the rock. When students were first learning to design typefaces, they used pens to create flowing letterforms. Then students moved on to work with pencil. No instruments, such as rulers were used- everything was done by eye, and corrections had to be made by scraping the markings off with a knife. Frutiger respected Käch, and felt he was a fine teacher who allowed many different views to be prevalent. However, the young student disagreed with his teacher on how technical and defined forms should be. Käch was a calligrapher, and thought because punch cutters used a grid their forms were too harsh and technical. His typefaces are all dated 1949 and were published by ZHdK Zurich:

Arte Antica (a great fat didone headline face)
Au cerf (formal calligraphy)
Capitalis Monumentalis (roman capitals)
Flo rist (slab serif)
Gegr 1845 (multiline)
Modes de Paris (condensed didone headline Vogue-style)
Optik Foto Film (fat slab serif)
Oertli & Co
Picture Gallery (flared roman)
Rauch waren (fat sans)
Röntgen Therapie (1949). A fat humanist sans. Digitally revived by Scott Vander Zee, ca. 2017.
Segel Club (fat sans headline)
V elos

Author of the lettering manual Schriften/Lettering/Ecritures (1949), which, according to Peter Bain, establishes a conversation between typeface designers, typefounders, and those who were drawing letters in a typographic age. [Google] [More] ⦿

Warit Chaiyakul
[Typomancer]

Wassim Awadallah
[BluGraphic (or: Graphic Pear)]

Webvilla

Polish designer of the thin upright script typeface Mila (2016) and the sans typefaces Friday (2016), N78 Thin (2016) and Exmila (2016).

Typefaces from 2017: The Youngest (textured), Harold (fashionable), Philemon (handcrafted), Tamarind (handcrafted blackboard bold typeface duo), June Morning, Cardamine (marker caps), Cedrus, Tarant (sans), Gramin (a great inky brush font), Moricandia, Thyme (curly letters), Parsley, Lovage (all caps sans poster type), Camomile, Chervil (sketched), Hornimet (watercolor brush), Asure (rounded all caps geometric sans), Savory (handcrafted), Anise (thick watercolor brush script), Hagna (sans), Marjoram (curly script), Caraway, Fonto.

Typefaces from 2018: Realism (headline sans). [Google] [More] ⦿

Wildan Carfont
[Wildan Suprian Syah]

Known as Wildan Carbon and Wildan Suprian Syah. Indonesian designer of Broken Home (in the style of a paper cutout font) (2020), Dubrovnik Hill (a wide signature script) (2020), Stitching of Children (2020: a children's book font), Angkringanth (2020: a script typeface), Caniago (2020: a flared, all caps fashion mag typeface), Environment (2020: a 4-style geometric sans), Gleefully (2020), Alexandria Rose (2020: a monolinear signature script), Aerobic (2020: an all caps display typeface), Adolf William (2020: an upright script), Rafting Class (2020: handcrafted sans capitals), the fat finger fonts Conversion (2020) and Molineria Latifolia (2020).

Typefaces from 2021: Mastji (a plump decorative serif), Journal Republica (a three-style text serif), The Morille (a retro display serif), Qomarun (a decorative caps typeface), Hoogy (casual caps), Women Frame (a signature script), Herbal Medicine (a scrapbook font), Auxiliary (a heavy humanist sans with a pinched lower case x), Warrior of World (a gladiator font), Seductive Height (a condensed poster sans), Martabat, Weather In October (imitating child scripts).

Typefaces from 2022: Cafgone (a fashion mag sans), Oblygasi (a vintage teardrop serif), Adegoke (a display sans), Qapitaly (a stylish display sans). [Google] [MyFonts] [More] ⦿

Wildan Suprian Syah
[Wildan Carfont]

Xavier Quintana Soler

Barcelona-based designer of the fashionable typeface Birth Display (2019). [Google] [More] ⦿

Yahya Qara
[Yahya Type]

Yahya Type
[Yahya Qara]

Moroccan designer of Histeagin (2021: a stylish serif), Peroba Rosa (2021: an 8-style simple monolinear rounded sans with a knee-capped lower case e), Florida Rose (2021: a sharp version of Peroba Rosa), Heroliga (2021: a 4-style fashion font), Bechilo (2021: a thin fashion mag serif), Rose River (2021: a lachrymal serif) and Felousia (2021: a decorative serif).

Typefaces from 2022: Mitreba (a serifed typeface). [Google] [MyFonts] [More] ⦿

Yai Salinas

Graphic designer from Buenos Aires, Argentina, at some point located in Madrid, Spain, who made the free purely geometric typeface called Geometric Way in 2010.

In 2014, Yai made the free decorative caps typeface Craft (for craftsmen), the Greek-inspired caps typeface Hera and Destroy (2014: futuristic ornamental initials. Free download). In 2014, Tano Veron and Yai Salinas co-designed the free vector format colored display typeface Carioca.

In 2015, Yai Salinas created the hipster typeface Hera, the free blueprint font Craft Font, free vector font Helana (color, all caps) and the free decorative caps typeface Sea.

Typefaces from 2016: The free experimental draftsman typeface Lieben, the free textured ink-saving Arial GTI and Times GTI, the high contrast didone-inspired free fashion mag typeface Ginebra (revitalized in 2022 as GinZwei), the free decorative blackletter typeface Ethelvina, and the free thin connect-the-dots typeface Fina (which was designed for Design Hooks).

Typefaces from 2017: Gaia (floral caps), Aires (a free color font at Fontself), the free textured color typeface Electra, the free colorful all caps Ariel Black typeface.

Typefaces from 2018: Mercurio SVG (+color), Iris SVG, Russia 2018 (color fonts), Portugal, Sppain, Germany, England, France, Argentina, Flux (a nicely textured all caps color slab serif), Agatha (a free tall condensed slab serif).

Typefaces from 2019: Margo (floral initial caps), Renata (a text family), Flora (textured caps), Easter (textured caps), Antiça, Crack (decorative caps), Christmas, Itze (a colorful textured all caps typeface), Demeter, Regia (floriated caps), Venus (free).

Typefaces from 2020: Kaliope (a delicate and daring fashion mag display typeface), Acelga (a warm text typeface), Mora, Cut & Paste (a ransom note font), Nagy (Memphis-style exuberant capital letters), Block (3d), Konga (a wonderful color font).

Typefaces from 2021: Mood Font (colourful and festive), Cleo (decorative caps).

Flickr page, where she goes under the name Dopamina. Behance link. Dafont link. Creative Market link. [Google] [More] ⦿

Yang Lu

Taiwan-based designer of the high-contrast typeface family Rae Low (2019, with Raimei Lu) and the 25-style low contrast large x-height sans family Gaba (2019: the smiling g in Gaba Ultra is especially pleasing). [Google] [MyFonts] [More] ⦿

Yassin Baggar

Yassin Baggar (b. 1985, Switzerland) studied graphic design at School of Applied Arts, La Chaux-de-Fonds and MA in type design from the TypeMedia, KABK, in The Hague. Since 2007, he worked freelance on identities, books and other printed matters for various studios in Switzerland and Berlin. Before joining TypeMedia KABK (where he obtained a Masters in 2011), he worked for different studios in Berlin.

A collaboration with Anton Koovit on custom typefaces for GQ France led in 2012 to the founding of Fatype, a digital type foundry for retail and custom typefaces.

Codesigner with Anton Koovit of the slab serif family Arvo (2010). His graduation work at KABK included the development of Bois (2011): Bois is a Roman Antiqua flirting with Gothic influences. The design, based on calligraphy and craftsmanship, was inspired by the works of Villu Toots, Rudolf Koch, Oldrich Menhart, and William Morris. The name Bois, French for wood, stands for the natural and solid aspect of the typeface.

In 2012, he created the custom typeface family Derzeit for Derzeit, the Berlin Fashion Week Daily. It was designed in collaboration with art director Manuel Schibli.

Yassin designed the high-contrast Peignotian sans family Beausite Fit and Beausite Grand in 2014 at Fatype. It comes with subfamilies called Grotesk, Grand and Slick, and has fashion mag appeal. Beausite Classic is a more standard sans. Between 2014 and 2018, with the help of Anton Koovit and Selina Bernet, it grew to 56 styles.

Anton Koovit and Yassin Baggar offer a new take on Fatype's U8 (the typeface that ios based on lettering in Berlin's subway) in their UCity typeface family (2019). [Google] [More] ⦿

Yony Fernando Huaman

Graduate from FADU, University of Buenos Aires, who created the skinny display typeface Dammar (2010), a condensed fashion mag cover page face. Now an illustrator in Buenos Aires, he created the modular display typeface Eva (2014) and the exaggerated curly fat typeface didone Dan (2014). [Google] [More] ⦿

Youssef Habchi

Strasbourg and now Metz, France-based creator of Ormont Light (2013), a free geometric sans titling typeface.

Marbre Sans (2014) is a free Peignotian fashion mag typeface. Still in 2014, Youssef designed the free sans family Kirvy and the free calligraphic connected script typeface Brotherhood Script, which on January 18, 2015, was by almost a factor of two the most downloaded font at Dafont.

In 2015, he published the thin calligraphic typeface Distant Stroke, the athletic lettering font Sablon Up (College, College Alt), the textured typeface Sablon Washed and the calligraphic Darleston. Steamster and Beastform are rhythmic pen scripts. Indelible is a dry marker script, while Milton One and Two are copperplate calligraphic scripts.

Typefaces from 2016: Tasty Birds (a handcrafted tall all caps didone family), Highjack, Road Rage (angry brush script), Blacksword (a flowing script).

Typefaces from 2017: Quinzey (monoline pen font), Crabmeal, Javacom (signature script), Antro Vectra (handwriting), Infinite Stroke (connected script).

Typefaces from 2018: Mafakanev, Stingray, Hughs (script), Dulcelin (script).

Typefaces from 2019: Reglisse (an oily font), North Wave (a tilted script), Deuxieme Rang (a ronde), Fishes Friends (a fat finger or marker pen font), Spring Romance (wreaths), Retwisted, 62 Dragz (a speed track font), Midnight Drive, Buvard, Sand Dunes (a dry brush script).

Typefaces from 2020: Eternate (monoline script), Gavabon (sketched), Superficious.

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

Youthlabs Studio (was: Zrox Studio, Muhammad Fathi Al Ghazi)
[Fathi Al Ghazi]

Or Youthlabs Studio, or Zrox Studio. Bandar Lampung, Indonesia-based graphic designer and lettering artist, b. 1997, whose name is either Muhammad Fathi Al Ghazi or Jafar Furgon. Creator of the strange typeface Sword Shit (2018), the handcrafted Kinderspiel (2018), the Victorian typeface Royale Kingdom (2018), the signage script typeface Thipe (2018) and the bloody brush font Mad Faith (2018: inside the font we find the name Jafar Furgon, so it is unclear who designed what). Other script typefaces include Mellati Script (2018), Grumpys (2018), Geralia (2018) and Washington Rough Script (2018).

Typefaces from 2019: Black Widow, Halmahera Island, Hustle Hardcore, Kathlyn, Yuminika, Hamburg.

Typefaces from 2020: Qaligo (a decorative serif), Milky White (a dry brush script), Supermove, Rose Brown, Piassey (a decorative serif), Basics Serif, Agrasia, Black Widow, Blues Coast, Schoolyst, Zephyrush.

Typefaces from 2021: Baskvrl Club (a reverse stress typeface with art nouveau features), Keira (a display serif), Lucky Change (a ligatured serif), Allenia (a delicate fashion mag font), Kagnue (a stocky flared display serif).

Typefaces from 2022: Kagnue (a display serif). [Google] [MyFonts] [More] ⦿

Yuky Hwang

During her studies in New York City, Yuky Hwang designed the fashion ad typeface Vanguard (2013). [Google] [More] ⦿

Yuri Gordon
[Letterhead Studio YG]

Yusup Saputra
[Dysa Studio]

Zaher Almajed

Zaher Al Majed is an art director in Manama, Bahrain. In 2014, he designed the free lion claw-inspired compass-and-ruler typeface Zodiaclaw, and the free ITC Fenice modification Meticulous Ariel. During his computer and communication engineering studies at Ahlia University (Bahrain) in 2015, he created the free circle-based font Alien Glyph (2015).

In 2016, he designed the free display typeface Averoster. In 2017, he published the fashion mag didone typefaces Quartz (free) and Ahpuch Apollyon (free). [Google] [More] ⦿

Zahratul Laila
[Dora Typefoundry]