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10. Tage der Typografie

The X. Tage der Typografie (or: typohochzehn) were held from 22-25 May 2008 at the Institut für Bildung, Medien und Kunst in Lage-Hörste, Germany. Speakers included Indra Kupferschmid (workshop on titling), Jan Middendorp (ten years type design), Paul van der Laan (pixel font workshop), Renate Dölzer and Angelika Götz (calendar design workshop), Tanja Huckenbeck and Peter Reichard (poster workshop), and Ralf de Jong (book design). [Google] [More]  ⦿

1001 Fonts
[Max Bloch]

This is Bremen, Germany-based Maximilian Bloch's fun free font archive. Useful, to the point, professional, complete, and entertaining. Has a messageboard, and is categorized in any possible way. If you want to download 500 fonts in the minimum possible time, this is not your place though. Newest additions.

Behance link. [Google] [More]  ⦿

11. Tage der Typografie

The XI. Tage der Typografie were held from 9-11 October 2009 in Düsseldorf, with the cooperation of Akademie Druck+Medien NRW and Mediencommunity 2.0. The head honchos are Tanja Huckenbeck and Peter Reichard. [Google] [More]  ⦿

12. Tage der Typografie

The XII. Tage der Typografie were held from 5-7 November 2010 in Düsseldorf, with the cooperation of Akademie Druck+Medien NRW. The head honchos are Tanja Huckenbeck and Peter Reichard. Speakers include Victor Malsy (Willich), Mathieu Lommen (Amsterdam) and Alessio Leonardo (Berlin). [Google] [More]  ⦿

123 Buero
[Timo Gaessner]

123 Buero is Timo Gaessner's graphic design studio, est. 2002 in Berlin. Gaessner studied at the Kunstacademie in Maastricht, at the University of Arts, Berlin, and at G. Rietveld Academie, Amsterdam. He was a founding member of Balcony Magazine in Paris in 2001. His typefaces include 123Naiv (2004), 123Queen (2004), 123Sweater (2005), 123Julia (2001). All of these are characterized by minimalist shapes. Fonts like 123Naiv can also be bought at Die Gestalten. Free font: Naiv-Fat (2007). Since 2010, partner with Alexander Meyer in Milieu Grotesque. At MilieuGrotesque (or: Meyer&Gässner, Zurich), his fonts Maison (2010, grotesque family) and Chapeau (2010, rounded) can be bought.

In 2014, Timo designed Patron at Milieu Grotesque, a typeface inspired by type designers Günther Gerhard Lange and Roger Excoffon. [Google] [More]  ⦿

13. Tage der Typografie

The XIII. Tage der Typografie were held from 11-13 November 2011 in Düsseldorf, with the cooperation of Akademie Druck+Medien NRW. The head honchos were Tanja Huckenbeck and Peter Reichard. Speakers included Andrea Schmidt and Uta Schneider. [Google] [More]  ⦿

14. Tage der Typografie

The XIV. Tage der Typografie was held from 28-30 June 2013 in Lage-Hörste. Speakers: Andreas Koop, Lukas Hartmann, Tanja Huckenbeck, Niklaus Troxler, Dirk Uhlenbrock. [Google] [More]  ⦿

21. Bundestreffen des Forum Typografie

The "21. Bundestreffen des Forum Typografie" took place in Hannover, Germany, from 11-13 June 2004. Speakers include Underware, Tarek Atrissi, Ruedi Baur, Andreas Maxbauer, Hermann Lúbbe und Walter Hellmann. [Google] [More]  ⦿

33pt | contributing to typography

Two day meeting on January 19-20 2005 at the Fachhochschule Dortmund (Germany) organized by Stefan Claudius. Speakers: Dirk Uhlenbrock (Signalgrau), Natascha Dell (Fontzine), Joerg Hemker (Herr Hemker), Verena Gerlach (Frau Gerlach), Peter Bruhn (Fountain), Joost Korngold, Walter Pamminger, Peter Bilak (Typotheque), 3deluxe, Underware. [Google] [More]  ⦿

3type

Shanghai, China-based type foundry, est. 2017, with a foreign office in Berlin. They specialize in multilingual and multiscriptual typography and type matching, in particular for Chinese, Latin, Cyrillic and Arabic. Their font catalog in 2020:

  • Astronomer (2018). An attractive Latin / Hanzi text typeface that refers to the Ming Dynasty astronomer / mathematician / scholar Xu Guangqi (aka Paul Siu, 1562-1633).
  • Dinkie Bitmap (2018-2020). A pixel typeface for Latin, Arabic, Hebrew, Cyrillic and Chinese by Willie Liu.
  • Ellenda (2018). An art deco typeface by Zheng Chuyang.
  • Faustina (2010-2018). A poster typeface by Zheng Chuyang, after an idea by Luise Schenker. It covers Latin, Cyrillic and Arabic, including the Persian, Urdu, Uyghur, Kazakh and Kirgiz versions. It also has a rich set of Emojis.
  • Freundschafts-Antiqua Neue (2017), by Roman Wilhelm. Covering Latin, Vietnamese, and Hanyu Pinyin, this 6-style typeface family revives the award-winning text typeface Freundschafts-Antiqua made in 1959 by Yu Bingnan.
  • Hong Kong Street Face (2015). A Hanzi font by Roman Wilhelm that reflects the character of Hong Kong.
  • Xingkai Next (2017). A modern polygonal typeface for Hanzi, by Li Zhiqian. It was derived from cursive handwriting and Chinese calligraphy.
  • Ryan Serif (2017). A Latin display typeface by Ryan Lau.
  • Weaf Mono (2017-2018). A monospaced monolinear sans family by Zheng Chuyang and Li Zhiqian, covering Latin, Hanzi (Chinese), Arabic, Cyrillic and Devanagari. It also has some emoji characters.
  • RVS Basic (2021). A brilliant and bold reverse-contrast typeface with an emphasis on Hanzi. Commercial letterings from the Republic of China and a calligraphic style named Qishu from the Qing Dynasty jointly inspired the typeface. Award winner at 25 TDC in 2022.
[Google] [More]  ⦿

45 Symbols

The book 45 Symbols published in Köln in 2014 introduces 45 projects of 45 symbols (so 45 times 45 icons in all) created by students from Parsons The New School For Design (New York), Academy of Media Arts Cologne, Hong Kong Baptist University, Lebanese American University Beirut. Falmouth University UK, and Universidad de los Andes (Bogota) on a variety of themes. [Google] [More]  ⦿

6. Tage der Typografie

The "6. Tage der Typografie" were held from 10-13 June 2004 at the Institut für Bildung, Medien und Kunst in Lage-Hörste, Germany. In German. Speakers include Peter Reichard (on stencil types), Ingo Krepinsky, Etienne Giradet (on typo-voyeurs), and Gabine Heinze and Michael Touma (on star symbols). [Google] [More]  ⦿

7. Tage der Typografie

The "7. Tage der Typografie" were held from 26-29 May 2005 at the Institut für Bildung, Medien und Kunst in Lage-Hörste, Germany. In German. Speakers include Ralf de Jong, Kai Büschl, Peter Reichard, Tanja Huckenbeck, Ingo Krepinsky, Stefan Krömer, and Gabine Heinze. [Google] [More]  ⦿

70th Birthday laudatio
[Manfred Klein]

On his 70th birthday, Apostrophe summarized Manfred Klain's contributions, calling him the Mark Twain of type: I have really fond memories of Manfred's earliest works, some stuff he did for Apply, Alphabets, and Fontshop. That was the early- to mid- 1990s, when type was still making the transition from photolettering and punches onto this new digital platform. Every old type and its grandfather were being scanned and digitized in all the swift intensity of serial killers, as if time were running out on us. Business concepts were being built around computer letters, territories were being marked, borders drawn... and into all this comes the work of Manfred Klein, like a breath of lake breeze to make light of everything. His Quill script and its hilarious dingbats were among the first "deviate" shockers in type originals. His Birds and Witches dingbats will in my mind always be the very first "funnybats" ever made. Also I shouldn't forget to credit him with the very first digitization I have ever seen of Gutenberg's type. There's been many attempts at it after that, but none had that same first-time effect on me. I'm having a hard time believing that the man's turning seventy now. I can't help but feel a little cheated. I've only known of him for less than 8 or 9 years. I've always thought of him as a star, so imagine if I knew him in his thirties, fourties, or fifties. Still, I was lucky enough to learn of him, learn from him, even communicate with him... all that makes me feel less cheated, and somehow much more life-wise. My one-liner about Manfred, if I were ever asked to compose one, would be this: The Mark Twain of type is a German called Manfred Klein. [Google] [MyFonts] [More]  ⦿

9. Tage der Typografie

The 9. Tage der Typografie was held from 7-10 June 2007 at the Institut für Bildung, Medien und Kunst in Lage-Hörste, Germany. The theme is Noblesse oblique. Speakers include the Typonauten (Ingo Krepinsky and Stefan Krömer), Dan Reynolds, and the Spatium people (Tanja Huckenbeck and Peter Reichard). Alternate URL. [Google] [More]  ⦿

912lab
[Adrian Spiegel]

Adrian Spiegel (912lab, Germany), aka Prinzadi, created the pixel typeface Minusio (2014). In 2017, he designed a brush typeface also called Minusio.

(Old) Prinzadi link. Graphicriver link. [Google] [More]  ⦿

A. Froescher

German designer of these blackletter typefaces: Block Fraktur (1914-1915, Berthold), Stuttgarter Fraktur (1915, Berthold). [Google] [More]  ⦿

A. M.

German designer of the free typewriter font AM Type 1 (2016) and the ornamental caps typeface AM Intex (2016). [Google] [More]  ⦿

Aarhaus
[Ari Hausel]

Aarhaus is Ari Hausel's German type foundry located near Munich, est. 2006. Hausels's teachers included Heinz Peikert (calligraphy) and Günter Gerhard Lange (typography).

In 2015, he designed the German expressionist typeface Irrlicht based on Christian Heinrich Kleukens's 1923 typeface Judith Type. Dunkle Irrlicht is a fairly faithful rendition and extension of Judith Type. The Licht style combines a stencil version and an inline version that was inspired by dry, cracked wood. [Google] [MyFonts] [More]  ⦿

Aaron Wolber

During his studies at he Akademie für Gestaltung in Köln, Germany, Aaron Wolber created the display sans typeface Gemeinschaft (2013, custom made for a catholic community in Geyen), the geometric sans Basic Alphabet (2013), and the serif typeface Zwanzig (2013).

Behance link. [Google] [More]  ⦿

ABC Design
[Johannes Birkenbach]

Johannes Birkenbach (b. 1956, Ludwigshafen) began his career with D. Stempel AG in 1983 drawing typefaces and moved to digital typeface design and development while working at Linotype in Germany and then Monotype in the UK. Since 1994 Johannes has operated his own design studio, ABC Design, and has worked with Ascender since 2004 on many font projects. In 2008, he joined Ascender Corp and is associated with its German branch.

Based in Pirmasens, Germany, his fonts include the Bijoux, Palazzo Caps (1997), Palazzo Text (2004), Jeunesse (1993), Jeunesse Slab (1993), Jeunesse Sans (1993), Cicero Caps (1996), Ambiente (2004), Jocelyn, Jonas, Ulissa, and Perrywood (Monotype, 1993).

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

Abel & Stone

Design studio in Munich, Germany. Creators of the art deco typeface Quarantaene during the apex of the Ebola scare in 2014. Behance link. [Google] [More]  ⦿

Abitz.Com Multilingual Software

Berlin-based company that sells these school fonts: TrueType-Schulschriften (including Lateinische Ausgangsschrift mit 1, 2, und 4 Linien, Vereinfachte Ausgangsschrift mit Lineaturen, Schulausgangsschrift, Druckschriften Hamburg und Bayern, MO-MARA, auch mit angepassten Buchstaben für die 1. Klasse, Schwungübungen für die Schreibschriften, mit und ohne Linien), TrueType-Rätselschriften (which includes mainly dingbat fonts), and TrueType-Schulpiktogramme (dingbats such as Symbole und Sinnbilder für den Schulalltag, Anlautschriften, Bausteinschriften, Kästchenschriften, Matheschriften mit dem Zahlenstrahl, Rahmenschriften, Spaßschriften und Symbole, Uhren). [Google] [More]  ⦿

Abraham Quantosch de Nostre

Graduate of the University of Münster, Germany, who is based in Hildesheim. Designer of the free ultra-black typeface Klotz (2015). Behance link. [Google] [More]  ⦿

Achaz Reuss

In house type designer at Elsner&Flake. He designed an elegant high-contrast art deco display typeface Miami EF in 1994, the broken black lettering typeface EF Splitter, the horizon lettering typeface EF Eastside in 1995, and Nivea in 2000 (for Beiersdorf).

Designer of the Bank Gothic style gaspipe sans family FF QType (2004, FontFont) in Condensed, Compressed, Extended, SemiExtended and Square versions.

In 2007, he created Bodoni Stencil (URW++). Other URW creations include Latin, Nimbus Roman Modern Compress, URW Compress and URW Oklahoma (art deco).

  • In 2022, FontFont released FF DIN Stencil (by Albert-Jan Pool, Achaz Reuss and Antonia Cornelius) and its variable sidekick, FF DIN Stencil Variable.

    FontShop link. Klingspor link. Linotype link.

    Catalog of his typefaces. [Google] [MyFonts] [More]  ⦿

  • Achim Reichert

    Type designer based in Paris, who makes experimental commercial fonts at "For Home or Office Use" (Frankfurt). One of his families is called Lini (2000, semi-technical). Others: 2Try-Strich, 3Try-Straight, 4Try-kerned, 7Try-Medserif, 8Try-Micro, 12Try-Lego, 131Try-Klinspor, 161Try-Bitter, 172Try-Reg, 1722Try-Fliess Fett, 1721Try-Reg Inline, 174Try-Serif, 1742Try-Serif Fett, 18Try-Annette, Densite, Ouvert, Knubb, Knubb-20, Lini Eins, Lini Drei, Lini-Viers, Love-1, Love-10, NEW FEw, NEW GEw, NEW Klein, sBit34, WIR 2, WIR 3, WIR 4, WIR 6Vi, WIR 7Vi, WIR 7Vi Fat. Achim also runs Vier5 with Marco Fiedler, a graphic design studio. At Vier5, he published the experimental typeface SVT (2010) and the futuristic angular Shake (2010), which was originally designed for the Centre d'art Contemporain de Brétigny in France. [Google] [More]  ⦿

    Achim Stump
    [Alt-Katholiken in Deutschland]

    [More]  ⦿

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

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

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

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

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

    Acrylnimbus
    [Tot Mischstab]

    Acrylnimbus offers the free fonts made by Tot Mischstab in 1998-1999: MischstabApfelsaft, MischstabAvocadoTrauma, MischstabDecibelRepulse, MischstabOblivion, MischstabOpiumRiver, MischstabPopanz, MischstabPortionControl, MischstabSugarSweet, MischstabThirdEcho, MischstabUmbrellaPatina, MischstabZahnschwein. Alternate URL. [Google] [More]  ⦿

    Action King

    German designer of the graffiti font Los Vatos Locos (2008). Dafont link. [Google] [More]  ⦿

    Actiontype.de
    [Tanja Diezmann]

    German designers of some experimental 2d and 3d fonts, under the guidance of Professor Tanja Diezmann from the Hochschule Anhalt in Dessau. Fonts include Isometrie (sans), Actiontype Bold (3d), Actiontype Light, Actiontype Serif (slab serif). Using these fonts as base models, several random fonts were constructed by interpolation. Actiontype is managed by Marcus Schaefer in Dessau. [Google] [More]  ⦿

    Adam Bell
    [Belldorado]

    [MyFonts] [More]  ⦿

    Adam Numrich
    [Schriftgiesserei A. Numrich & Co]

    [More]  ⦿

    Adam Sommerfeld

    German creator of a Herbert Bayer-inspired lower case typeface that was developed during a workshop with Lucas De Groot in 2012. [Google] [More]  ⦿

    Adam Twardoch

    Adam Twardoch (b. 1975) was raised in Tychy, Poland, and graduated from the University of Frankfurt/Oder, Germany. He worked at for Agentur GmbH, a Frankfurt/Oder-based design firm. Since 1991, Adam has advised numerous type designers on Central European extensions of their typefaces and has created localized versions of over fifty fonts. He frequently writes on type-related matters, and is the founder of Font.org, a (now defunct) website featuring articles about typography in English and Polish. Adam Twardoch is Director of Products of FontLab (since 2004), and is typographic consultant at Linotype (since 2002) and Tiro Typeworks (since 2001), and general font specialist at MyFonts (2000-2012). Since 2012 he is based in Berlin.

    Adam Twardoch is working in the field of font technology, multilingual typography, CSS webfonts, Unicode and OpenType.

    His typefaces:

    • Andromeda SL (1997-2006). The unicase Andromeda SL font was inspired by a 1970's-like logo design for the "Andromeda" cinema in Tychy, Poland.
    • Nadyezhda SL One (2007). Intended for testing of OpenType Layout features support in an application, this font is an extension of the Bitstream Vera Mono font, originally designed by Jim Lyles.
    • In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova.
    • In 2017, Adam released the free 163-font collection Schticks, which is based on STIX Two.
    • In 2019, Adam Twardoch published the free Robert Sans typeface family at Open Font Library. Robert Sans is a fork off Christian Robertson's Roboto font. It was further developed by Cristiano Sobral in Bert Sans (2020).

    Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2016 in Warsaw and at ATypI 2018 in Antwerp. [Google] [MyFonts] [More]  ⦿

    Adaylife
    [Hee Jun Kim]

    Adaylife is the Berlin-based foundry of Hee Jun Kim. He published the squarish sans family ADIL Sans, the script typeface Love Letter, and the art deco typeface Rolly Pops in 2010.

    In 2012, he created the super-fat counterless octagonal Korean typeface Nemo Nemo Hanguel.

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

    Adelina Apostolova

    Adelina Apostolova is a graphic designer from Bulgaria, living and working in Germany. In 2020 she released the fat piano key stencil typeface Apura. [Google] [MyFonts] [More]  ⦿

    ADGY
    [Maximilian Hesse]

    Design studio of Maximilian Hesse and Marina Kraus in München, Germany. Creators of the organic sans typeface Grey (2013), which is advertized as a free typeface, but there are no download buttons. In 2013, ADGY also designed the stencil typeface Monor and the ultra-fat display typeface Meat.

    Typefaces from 2014: Nova, Linea, PX (pixel face). The condensed organic sans typeface Schwabing Sans was published in 2015.

    Behance link. [Google] [More]  ⦿

    Adolf Behrmann

    Born in Tockum (near Riga, Latvia) in 1876, he died in Bialystok in 1942. German type designer who designed the classical display typeface Rundfunk at Berthold in 1928. This typeface was digitized by Nick Curtis as Radio Ranch NF. He also designed Radio and Radio Versal in 1928 at H. Berthold AG.

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

    Adolf Heimberg

    Blackletter type designer: Urdeutsch (1924-1925, Genzsch&Heyse). See the digital revival by Petra Heidorn (2004). Free download of that font at Dafont.

    Notes: The sample at Klingspor's site uses Heidorn's font, but no credit is given to her there. Schnelle spells Heimberg's name Heimberger. [Google] [More]  ⦿

    Adolf Meier

    Hofkonditor (court confectioner) in Detmold, Germany. Author of Schriften-Album fur Konditoren nebst Monogrammen und Tortenschildern (ca. 1910, Heinrich Killinger, Konditoreibucherverlag, Nordhausen). This wonderful book shows many decorative capital alphabets designed mainly for decorating pies, cakes, and pastries. Local PDF file for that book. [Google] [More]  ⦿

    Adolph Rusch

    Or Adolf Rusch von Ingweiler, who was active in Strasbourg from 1460 until 1489. The first roman antiqua north of the Alps is ascribed to him in 1464. The consensus is that this was not as pretty as the later types by Griffo et al.

    Nevertheless, Shane Brandes did a large digital revival of his antiqua in 2013 and called it Rusch.

    Revivals by Alexis Faudot and Rafael Ribas in 2018 during a type design workshop at ESAL Metz and Bibliothèque municipale de Metz, France:

    • Rusch Bizarre 103R. A Proto-Roman first used in Strasbourg by Adolf Rusch for Raban Maur's De universo between 1467-74 (exact date unknown) and used until 1475.
    • Rusch 100G, Gotico-Antiqua first used in Strasbourg by Adolf Rusch for Balbus' Catholicon, between 1470-75 (exact date unknown) and used until 1478.
    [Google] [More]  ⦿

    Adrian Bach

    Adrian Bach (Essen, Germany) created the calligraphic typeface Broken Hand Regular (2013). Behance link. [Google] [More]  ⦿

    Adrian Doe

    Designer in Berlin, Germany. In 2017, Justin Vin and Adrian Doe co-designed the free fluffy puffy Softa typeface. [Google] [More]  ⦿

    Adrian Frutiger

    Famous type designer born in 1928 in Unterseen, Switzerland, who died in September 2015. He closely cooperated with Linotype-Hell AG, after having been artistic director at Deberny-Peignot in Paris since 1952. He established his own studio in 1962 with André Gürtler and Bruno Pfaftli. Art director for Editions Hermann, Paris 1957 to 1967. Frutiger lived near Bern, Switzerland, and was very interested in woodcuts. In 2009, Heidrun Osterer and Philipp Stamm coedited Adrian Frutiger Typefaces The Complete Works (Birkhäuser Verlag), a 460-page opus based on conversations with Frutiger himself and on extensive research in France, England, Germany, and Switzerland. Quote: Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay. He designed over 100 fonts. Here is a partial list:

    • Président (Deberny&Peignot, 1954). Digitized by Linotype in 2003.
    • Delta.
    • Phoebus (Deberny&Peignot, 1953).
    • Element-Grotesk.
    • Federduktus.
    • Ondine (Deberny&Peignot, 1953-1954). The Bitstream version of this font is Formal Script 421. Adobe, Linotype and URW++ each have digital versions called Ondine. Bitstream's Calligraphic 421 is slightly different.
    • Méridien (Deberny&Peignot, 1955-1957). Digitized by Adobe/Linotype in 1989.
    • Caractères Lumitype.
    • Univers (Deberny&Peignot, 1957). About the name, Frutiger wrote I liked the name Monde because of the simplicity of the sequence of letters. The name Europe was also discussed; but Charles Peignot had international sales plans for the typeface and had to consider the effect of the name in other languages. Monde was unsuitable for German, in which der Mond means "the moon". I suggested "Universal", whereupon Peignot decided, in all modesty, that "Univers" was the most all-embracing name!. Univers IBM Composer followed. In 2010, Linotype published Univers Next, which includes 59 Linotype Univers weights and 4 monospaced Linotype Univers Typewriter weights, and can be rented for a mere 2675 Euros. In 2018, Linotype added Univers Next Typewriter. In 2020, Linotype's Akira Kobayashi dusted off Univers Next Cyrillic and Univers Next Paneuropean.
    • Egyptienne F (1955, Fonderie Deberny&Peignot; 1960, for the Photon/Lumitype machine).
    • Opéra (1959-1961, Sofratype).
    • Alphabet Orly (1959, Aéroport d'Orly).
    • Apollo (1962-1964, Monotype): the first type designed for the new Monotype photosetting equipment.
    • Alphabet Entreprise Francis Bouygues.
    • Concorde (1959, Sofratype, with André Gürtler).
    • Serifen-Grotesk/Gespannte Grotesk.
    • Alphabet Algol.
    • Astra Frutiger. A typeface variant of Frutiger licensed under Linotype. It is the font used on the highways in Switzerland.
    • Serifa (1967-1968, Bauersche Giesserei). URW++ lists the serif family in its 2008 on-line catalog. Other names include OPTI Silver (Castcraft), Ares Serif 94, and Sierra. Bitstream published the digital typeface Serifa BT. But it is also sold by Adobe, Tilde, Linotype, URW++, Scangraphic, and Elsner & Flake. The slab serif is robust and is based on the letterforms of Univers.
    • OCR-B (1966-1968, European Computer Manufacturers Association).
    • Alphabet EDF-GDF (1959, Électricité de France, Gaz de France).
    • Katalog.
    • Devanagari (1967) and Tamil (1970), both done for Monotype Corporation.
    • Alpha BP (1965, British Petroleum&Co.).
    • Dokumenta (1969, Journal National Zeitung Suisse).
    • Alphabet Facom (1971).
    • Alphabet Roissy (1970, Aéroport de Roissy Charles de Gaulle).
    • Alphabet Brancher (1972, Brancher).
    • Iridium (1972, Stempel). A didone with slight flaring.
    • Alphabet Métro (1973, RATP): for the subway in Paris.
    • Alphabet Centre Georges Pompidou. The CGP typeface (first called Beaubourg) used in the Centre Georges Pompidou from 1976-1994 is by Hans-Jörg Hunziker and Adrian Frutiger, and was developed as part of the visual identity program of Jean Widmer. It is said that André Baldinger digitized it in 1997.
    • Frutiger (1975-1976, Stempel, with Hans-Jörg Hunziker). In 1999, Frutiger Next was published by Linotype. In 2009, that was followed by Neue Frutiger (a cooperation between Frutiger and Linotype's Akira Kobayashi). In fact, Frutiger, the typeface was made for the Charles De Gaulle Airport in 1968 for signage---it was originally called Roissy, and had to be similar to Univers. It was released publically as Frutiger in 1976. The modern Bitstream version is called Humanist 777. Frutiger Next Greek (with Eva Masoura) won an award at TDC 2006. Other digital implementations of Frutiger: M690 (SoftMaker), Quebec Serial (SoftMaker), Frutus (URW), Provencale (Autologic), Frontiere (Compugraphic), Freeborn (Scangraphic), Siegfried (Varityper). In 2018, under the aegis of Akira Kobayashi, the Monotype Design studio published the 150-language superfamily Neue Frutiger World (including coverage for Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese).
    • Glypha (1979, Stempel). See Gentleman in the Scangraphic collection).
    • Icône (1980-1982, Stempel, Linotype). Digitized by Linotype in 2003.
    • Breughel (1982, Stempel; 1988, Linotype).
    • Dolmen.
    • Tiemann.
    • Versailles (1983, Stempel).
    • Linotype Centennial (1986). Based on Morris Fuller Benton's Clarendon typeface Century, Linotype Centennial was designed for Linotype's 100th birthday.
    • Avenir (1988, Linotype). In 2004, Linotype Avenir Next was published, under the supervision of Akira Kobayashi, and with the help of a few others. In 2021, the Monotype team released Avenir Next Paneuropean (56 styles, by Akira Kobayashi). Avenir Next World, released by Linotype in 2021, is an expansive family of fonts that offers support for more than 150 languages and scripts. The subfamilies include Avenir Next Hebrew, Avenir Next Thai, Avenir Next Cyrillic, Avenir Next Arabic and Avenir Next Georgian. Avenir Next World contains 10 weights, from UltraLight to Heavy.

      Contributors besides Adrian Frutiger and Akira Kobayashi: Anuthin Wongsunkakon (Thai), Yanek Iontef (Hebrew), Akaki Razmadze (Georgian), Nadine Chahine (Arabic), Toshi Omagari (Arabic) and Elena Papassissa (Greek, Armenian). Lovely poster by Ines Vital (2011).

    • Westside.
    • Vectora (1991, Linotype).
    • Linotype Didot (1991). See also Linotype Didot eText Pro (2013), which was optimized by Linotype for use on screens and small devices.
    • Herculanum (1989, Linotype): a stone age font.
    • Shiseido (1992).
    • Frutiger Capitalis (2006, Linotype): a further exploration in the style of Herculanum, Pompeijana and Rusticana. Linotype trademarked that name even though at least five fonts by the name Capitalis already exist.
    • Pompeijana (1993, Linotype).
    • Rusticana (1993, Linotype).
    • Frutiger Stones (1998, Linotype) and Frutiger Symbols.
    • Frutiger Neonscript.
    • Courier New, based on Howard Kettler's Courier, was one of Frutiger's projects he was involved in ca. 2000.
    • AstraFrutiger (2002): a new signage typeface for the Swiss roads. Erich Alb comments: With a Frutiger condensed Type and illuminated signs during night it is mutch better readable.
    • Nami (2008) is a chiseled-stone sans family, made with the help of Linotype's Akira Kobayashi.
    • Neue Frutiger (2009, with Akira Kobayashi) has twice as many weights as the original Frutiger family.
    • In 2019, the Linotype team released variable fonts for Frutiger's main typeface families, Avenir Next Variable, Neue Frutiger Variable, and Univers Next Variable.
    Bio by Nicholas Fabian. Erich Alb wrote a book about his work: Adrian Frutiger Formen und Gegenformen/Forms and Counterforms (Cham, 1998). Winner of the Gutenberg Prize in 1986 and the 006 Typography Award from The Society for Typographic Aficionados (SOTA). Famous quote (from a conversation in 1990 between Frutiger and Maxim Zhukov about Hermann Zapf's URW Grotesk): Hermann ist nicht ein Groteskermann. A quote from his keynote speech at ATypI1990: If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.

    Frutiger's books include Type Sign Symbol and Signs and Symbols. Their Design and Meaning (1989, with Andrew Bluhm, published by Studio Editions, London; Amazon link).

    Linotype link. FontShop link. Adrian Frutiger, sa carrière française (2008) is Adèle Houssin's graduation thesis at Estienne.

    Klingspor link. Wikipedia link. View Adrian Frutiger's typefaces.

    View some digital versions of Avenir. Vimeo movie on Frutiger by Christine Kopp and Christoph Frutiger entitled "Der Mann von Schwarz und weiss: Adrian Frutiger". More Vimeo movies. [Google] [MyFonts] [More]  ⦿

    Adrian Spiegel
    [912lab]

    [More]  ⦿

    Adriana Esteve Hernandez
    [Adriprints]

    [MyFonts] [More]  ⦿

    Adriana Lessmöllmann

    Illustrator / designer in Trier, Germany. She created the display typeface Maki (2013). [Google] [More]  ⦿

    Adriprints
    [Adriana Esteve Hernandez]

    Adriana Hernandez (b. Miami, FL) established Adriprints in 2008. She is located in Munich, Germany.

    Her fonts include Kicks (2012, a fun hand-printed typeface for children's books), Stitching Kit (2010, dings), Fiddleshticks (2009, linocut), Sorbet and Sorbet Wide (2009, like architectural letters), Fancypants (2010, curly lettering), Stitchin Crochet (2009, dingbats), Trellis (2009, hand-printed), and Draft Punk (2009, comic book style).

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

    Adult Human Male
    [Alex Hy]

    Adult Human Male is the type foundry of Malaysian designer Alex Hy, who is located in Berlin or Ireland. His Twitter account says that he is New York, Paris and Coolock. His Dafont account calls him Irish. Whatever. Alex has two aspects, a commercial one, expressed in his commercial foundry Adult Human Male, and a free one via his Squack site on Dafont.

    The commercial Alex created the grunge stencil typeface Butterworth (2011), the hand-drawn Teksi (2011), the monoline squarish family Ebdus (2011), Valis (2011, futuristic), and the thin avant garde monoline typeface New Slang (2011). Gordito (2011) is a graffiti style bubble font that says Smurf.

    In 2012, Alex published the poster caps typeface Areaman, Stink Lines (multilined typeface) and Penang (art deco signage typeface seen on Penang by the creator). Straights Light is a beautiful pair of bilined all caps typefaces. Dale Kids is a children's book typeface. Hokkien (2012) is an art deco typeface with Chinese influences. Mister Mustard is a chubby rounded art deco typeface. Barkley (2012) is a textured caps typeface with a chalk board feel. Liner Notes (2012) is a bilined hand-drawn typeface. Bartleby (2012) is a hand-drawn all caps display font.

    The free font foundry Squack has the hand-printed typefaces Barker Allcaps (2012), Scrapist (2012, sketched), Billy Boy (2011, 3d), Quito Chicken (2011, 3d), Fred Wild West (2011, a grungy western face), Coolock Black (2011), Zapftig (2011), Ringworm (2011), Suicide Draft (2011), National Granite (2011, a 3d stone chisel face), Whiskey Fingers (2010), Wank Hands (2010) and Middle Man (2010), and the irregular typefaces Zapftig (2011), Shock Corridor, Pollo Asado, Middle Woman, Ghost Words, Late Puberty, Parrannoyed (2010, ransom note face), the hairline typeface Rexic (2011), Black Grapes (2012), Chump (2012, hand-printed capitals), Areman OT (2012), and the grungy Skidmarks (2012).

    Typefaces from 2013: Salas (a chunky cartoon face), Rabid (a crayon font), Strokin (a great brush face---part charcoal part paint strokes), Bevel Hands, Bunk (a layered beveled type system absed on a monoline fat rounded sans, Bunk Base 2), Spengler (inline face), Vastra (Bauhaus style, organic), Swingers (curly and cartoonish), Chump Change, Treves Sans (crayon face), Quincey (2017).

    We read that the fonts are designed by EircomTest. Aka Squack, MiddleMan and Alex H.

    Dafont link. Creative Market link. Twitter link.

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

    AgenturBM
    [Björn Kohl]

    Aschaffenburg, Germany-based designer of the modular typefaces Butch (2018), Chiron (2018) and Anthony (2018). [Google] [More]  ⦿

    Agnes von Beöczy

    Librito.de is the web outfit of Agnes von Beöczy and Florian Zietz, who are located in Hamburg, Germany. They are involved in graphic and type design, calligraphy and illustration. Designers of FF Headz (dingbats), Cutz (informal script that is way better than Comic Sans), Segmenta (2008, a modular, octagonal typeface designed by Zietz), and Zansibar (a great type project concerned wit the reconstruction of an old map alphabet). [Google] [MyFonts] [More]  ⦿

    Agnese Pagliano
    [Little Asshole]

    [More]  ⦿

    Aidfonts (was: Antropos)
    [Lutz Baar]

    Lutz Baar (b. Berlin, 1946) ran Antropos. He is a calligrapher/type designer who runs a design studio called Miraculus Artwork in Gothenburg, Sweden. At the now defunct Antropos site, he used to offer Antropos (2002), a free prehistoric-lettering font. He is a contributor to the anthroposophic style of thinking and creating.

    Baar published these typefaces with Linotype: Atlantis, Linotype Kaliber, Linotype Balder (1994), Linotype Ordinar (2000), Linotype Pisa (1997), Feltpen, Nordica (chiseled typeface).

    Nice fonts at old Antropos site included: Aristoteles, Platonia, Andromeda, Zeitgeist, Artemis, Andromeda Engschrift, BaarAntropos, BaarAntroposAidfont, BaarAntroposBold, BaarAntroposBoldItalic, BaarAntroposCaps, BaarAntroposDisplay, BaarAntroposEngschrift, BaarAntroposItalic, BaarGoetheanis (2002), BaarLemuria (2002), BaarMetanoia (2002), BaarMetanoiaBold, BaarMetanoiaBoldItalic, BaarMetanoiaItalic, BaarPhilos, BaarPhilosBold, BaarPhilosBoldItalic, BaarPhilosItalic, BaarSophia (2002), BaarSophiaBold, BaarSophiaBoldItalic, BaarSophiaItalic, BaarZeitgeist.

    He founded Menschengeist and Aidfonts (2005), where one can download his Sophia, Metanoia and Philos families.

    Dafont link. Linotype link. FontShop link/ Klingspor link. Fontspace link.

    Catalog of Lutz Baar's commercial typefaces. See also here. [Google] [MyFonts] [More]  ⦿

    Aileena Manja

    German designer of all caps typefaces in 2019 that have art deco and art nouveau influences. [Google] [More]  ⦿

    Akademie der bildenden Künste Stuttgart

    Description of the main type work at the Academy of Graphic Arts in Stuttgart. The big names there were Walter Brudi, J.V. Cissarz, F.H.E. Schneidler and Walter Veit. From 1920 until 1948, F.H.E. Schneidler was head of the graphics division of the Akademie der bildenden Künste Stuttgart.

    Some stencil alphabet by them (ca. 1930), and later digitized by "Mindofone" as free art deco stencil typeface Glas Deco (2012). Other examples [taken from the book Handsatzschriften des Instituts für Buchgestaltung an der Staatlichen Akademie der bildenden Künste Stuttgart von Walter Brudi, J.V. Cissarz F.H.E. Schneidler und Walter Veit include Veit Antiqua (Walter Veit), Brudi Mediaeval, Brudi Kursiv and Pan (Walter Brudi), Cissarz-Latein.

    The following typefaces are by F.H.E. Schneidler: Amalthea, Bayreuth, Buchdeutsch Zierbuchstaben, Buchdeutsch, Deutsch Roemisch Fett, Deutsch Roemisch Kursiv, Deutsch Roemisch, Die Zierde, Ganz Grobe Gotisch, Graphik, Halbfette Buchdeutsch, Halbfette Deutsch, Halbfette Schneidler Schwabacher, Juniperus Antiqua, Kontrast, Legende, Schmalfetten Gotisch, Schneidler Antiqua, Schneidler Fraktur Zierbuchstaben, Schneidler Mediaeval Halbfett, Schneidler Mediaeval Kursiv, Schneidler Mediaeval, Schneidler Schwabacher Initialen, SSchneidler Untergrund, Schneidler Werk Latein, Schneidler Zierat, Schneidler, Suevia Fraktur Initialen, Zentenar Fraktur Halbfett, Zentenar Fraktur, Zentenar. [Google] [More]  ⦿

    Akalollip
    [Loïc Sander]

    Loïc Sander (Akalollip) is a Strasbourg-based graphic and type designer, b. Germany. He is associated with Production Type.

    Creator of the free font family Fengardo Neue (2012, Velvetyne Type Foundry and Open Font Library), a (very) humanist sans with a Gillian lower case g.

    In 2015, he designed the didone typeface family Trianon at Production Type, in Text, Grande and Caption sub-families. Benedikt Bramböck writes: Weighing in at a total number of forty-two styles spread out over four size-specific families, it is certainly not another blunt revival of a Didot typeface. Even more remarkable than the size of the type system is the stylistic scope it covers, including elaborate italics, monolinear Lights, heavily slab-serif-flavored Caption cuts, and Grande styles that verge on becoming stencils---all referencing different works from the golden era of the Didots. With this pluralism of style and character, Trianon almost commands you to use it in all the "wrong"ways, exhibiting flamboyant shapes, flexibility, and individuality. In 2016, he added the gorgeous fat didone typeface Trianon Normande, which was done with the aid of Sandra Carrera, Roxane Gataud and Yoann Minet at Production Type.

    Fontsquirrel link. Loïc Sander at Velvetyne. [Google] [More]  ⦿

    Akiem Helmling

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

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

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

    Akira Kobayashi

    Born in 1960 in Niigata, Japan. Studied at the Musashino Art University in Tokyo. He also studied calligraphy at the London College of Printing. He became a freelance designer in 1997. Akira Kobayashi, who was based in Tokyo prior to his move to the Franfurt area, is an accomplished type designer who has created numerous typefaces for Sha-Ken, Dainippon Screen (where he made the kanji font Hiragino Mincho), TypeBank (from 1993-1997), ITC and Linotype, where he is Type Director since 2001. Interview. His numerous awards include the Type Directors Club awards in 1998 (ITC Woodland), 1999 (the art deco styled ITC Silvermoon, and ITC Japanese Garden), and 2000 (FF Clifford), the 1999 Kyrillitsa award for ITC Japanese Garden, the 3rd International Digital Type Design Contest by Linotype Library (for the informal and quirky 4-style Linotype Conrad (1999): Linotype states that Kobayashi took his inspiration from a print typeface of the 15th century created by two German printers named Konrad Sweynheim and Arnold Pannartz), and the 5th Morisawa International Typeface Competition (in which he received an Honourable Mention for his typeface Socia Oldstyle). CV at bukvaraz. Interview in 2006. His typefaces:

    • Helvetica Neue eText Pro (2013).
    • Dainippon Screen: the kanji font Hiragino Mincho.
    • ITC: ITC Scarborough (1998), ITC Luna, ITC Silvermoon, ITC Japanese Garden, ITC Seven Treasures (1998), ITC Magnifico Daytime and Nighttime (1999), ITC Vineyard (1999), ITC Woodland Demi (1997).
    • Adobe: Calcite Pro (sans-serif italic at Adobe, in OpenType format).
    • Linotype: Akko Sans and Akko Rounded (2011; Akko Rounded is situated between DIN, Isonorm and Cooper Black, while Akko Sans is an elliptical organic sans related to both DIN and Neue Helvetica), Akko Condensed (2015), Akko Pro Condensed (2015), Akko Pan-European (2015), Eurostile Next (2008, after Aldo Novarese's original), Eurostile Candy and Eurostile Unicase, Cosmiqua (2007, a lively didone serif family based on 19th century English advertising types, and in particular Miller&Richard's Caledonian Italic), Metro Office (2006, a severe sans after a family of Dwiggins from the 20s), Neuzeit Office (2006, modeled after the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotypes design studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939), DIN Next (2009, based on the classic DIN 1451), Times Europa Office (2006, modeled after the original serif family produced by Walter Tracy and the Linotypes design studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for the Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman.), Trump Mediaeval Office (2006), Linotype Conrad (1999), Optima Nova (2002, a new version of Optima that includes 40 weights, half of them italic), Linotype Avenir Next (2003, 48 weights developed with its original creator, Adrian Frutiger, and to be used also by the city of Amsterdam from 2003 onwards), Avenir Next Rounded (2012, in conjunction with Sandra Winter), Avenir Next Paneuropean (2021: 56 styles), Zapfino Extra, Palatino Sans and Palation Sans Informal (2006, with Hermann Zapf; won an award at TDC2 2007). Frutiger Serif (2008) is based on Frutiger's Meridien and the Frutiger (sans) family. Diotima Classic (2008, with Gudrun Zapf von Hesse) revives Gudrun's Diotima from 1951. In 2008-2009, Akira Kobayashi and Tom Grace unified and extended Trade Gothic to Trade Gothic Next (17 styles). Neue Frutiger (2009, with Adrian Frutiger) has twice as many weights as the orifinal Frutiger family. Later in 2009, the extensive DIN Next Pro, co-designed with Sandra Winter, saw the light. I assume that this was mainly done so as to meet the competition of FontShop's FF DIN (by Albert-Jan Pool).
    • Fontshop: Acanthus (2000, large Fontfont family), FF Clifford (gorgeous text face!). In 2009, he and Hermann Zapf cooperated on Virtuosa Classic, a calligraphic script that updates and revives Zapf's own 1952-1953 creation, Virtuosa.
    • Typebox: TX Lithium (2001, The Typebox).
    • Oddities: Skid Row (1990), Socia Oldstyle.
    • Suntory corporate types (2003-2005), developed with the help of Matthew Carter and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
    • In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype.
    • Alexey Chekulaev and Akira Kobayashi (Monotype) won a Granshan 2014 award for the Cyrillic typeface SST.
    • In 2016, Akira Kobayashi and Sandra Winter co-designed Applied Sans (32 styles) at Monotype. It is in the tradition of vintage sans typeface such as Venus and Ideal Grotesk and competes with Rod McDonald's splendid Classic Grotesque (2011-2016)..
    • Member of a type design team at Monotype that created the Tazugane Gothic typeface in 2017. Designed by Akira Kobayashi, Kazuhiro Yamada and Ryota Doi of the Monotype Studio, the Tazugane Gothic typeface offers ten weights and was developed to complement Neue Frutiger. It is the first original Japanese typeface in Monotype's history. Followed in 2018 by the more restrained Tazugane Info. Variable fonts published in 2022: Tazugane Gothic Variable, Tazugane Info Variable.
    • SST (2017). A set of fonts for Latin, Cyrillic, Thai, Vietnamese, Arabic and Japanese.
    • DIN Next Stencil (2017). Developed together with Sabina Chipara.
    • DIN Next Decorative (mostly textured styles such as Rust, Slab Rust, Stencil Rust and Shadow).
    • Univers Next Cyrillic and Univers Next Paneuropean, both released in 2020, extending Adrian Frutiger's Univers.
    • Shorai Sans (2022) and Shorai Sans Variable (2022). A 10-style Latin / Japanese sans by Akira Kobayashi, Monotype Studio and Ryota Doi, designed as a companion typeface to Avenir Next.
    At ATypI 2008 in St. Petersburg, he ran a Linotype student type design workshop.

    Speaker at ATypI 2012 in Hong Kong: Rounded sans in Japan.

    View Akiro Kobayashi's typefaces.

    Klingspor link. FontShop link. Eurostile Next review. Linotype link. Monotype link. MyFonts interview in 2017. [Google] [MyFonts] [More]  ⦿

    Aktiengesellschaft für Schriftgiesserei und Maschinenbau (or: AG für Schriftgiesserei)

    Foundry in Offenbach, Germany. Their main specimen book is Haupt-Probe über Schriftgiesserei-Erzeugnisse und Messing-Material (1911, Offenbach am Main). House typefaces include the blackletters Angelsächsisch, Archiv-Gotisch (1909), Asta (1902), Freigotisch, and Schöffer-Gotisch (ca. 1900). Heinrich (Heinz) König made the blackletter typeface Germania (1903). Eduard Brox designed Moderne Alt-Fraktur (1907; some give the date 1910). Albert Christian Auspurg created the blackletter typefaces Apart (1911) and Fraktur-Kursiv (1923). Their art nouveau typefaces include Apollo (ca. 1900), Inserat Kursiv, Neptun, Tedesca.

    For digital revivals, see Appeal DT (2007, Malcolm Wooden, a revival of Apollo) and RMU Neptun (2021, Ralph M. Unger). [Google] [More]  ⦿

    Albert Christoph Auspurg

    German type designer, b. Frankfurt am Main, 1868, d. Leipzig, 1943. His oeuvre:

    • At C.E. Weber: Start (1934).
    • At Ludwig&Mayer: Aristokrat (1912), Miracle (1931, a script face), Rasse (1924), Schöndeutsch (1934), Reklame-Fraktur (1914; revived in 2016 by Ralph M. Unger as Reklame Fraktur), the gorgeous long-legged Mona Lisa (1930; digital version by Pat Hickson, 1992), the blackletter typeface Deutsche Kraft (1915), Brigitte (1935), the display roman typeface Krimhilde (1933-1934; with Schwabacher-style capitals, though).
    • At Schriftguss: Lido (1936, script face) and Miami (1934). Digital revivals of Krimhilde were done by Ralf Herrmann (as Krimhilde, 2018) and Klaus Burkhardt (also as Krimhilde). Rick Banks's F37 Attila was inspired by Krimhilde. Miami was revived in 2020 by Ralph M. Unger as Elbflorenz.
    • At Benjamin and Krebs: Brentano Fraktur (1915-1916), Federzug Antiqua (1913), Nürnberger Kanzlei (1906), Schönbrunn (1928), Trajan Versalien (1928).
    • At Genzsch&Heyse, he did Hans Sachs Gotisch (1911, revived in 2005 by Petra Heidorn; the typeface also appeared at Ludwig & Wagner, where some date the Initialen style at 1902---Hans Sachs Gotisch was named after Hans Sachs from Nürnberg, 1494-1576, who was a master singer and songwriter), Domina (1929), Souverän (1913).
    • At Haas: Castor (1924), Pollux (1925).
    • At Trennert: Trocadero Kursiv (1927, a script font with flourished capitals). In 2010, it was extended and revived by Ralph Unger as Trocadero Pro.
    • At Berthold: the peculiar Messe Grotesk family (1921-1927) and the shaded titling typeface Vesta (1926, a Mexican simulation face; for a digitization, see Visillo Adornado (2006, Nick Curtis) or Venezuela RR (2000, Pat Hickson at Rabbit Reproductions Type foundry, aka Red Rooster)). The Messe Grotesk design was revived by Nick Curtis as Troglodyte NF (2006-2011) and by Paul Hickson as Messe Grotesk (1997, Red Rooster).
    • At AG für Schriftgiesserei in Offenbach: the blackletter typefaces Apart (1911) and Fraktur-Kursiv (1923).
    • At Schelter & Gisecke: Kolibri (1915; for a digital version of this multiline open typeface caps face, see Trochilida NF (2012, Nick Curtis)).
    • At Berling: the italic open capitals typeface Berling Kortversaler.
    • At Lettergieterij Amsterdam: Albert or Select (ca. 1936). Revived by Paul Hickson as Honduras RR at Red Rooster.
    [Google] [MyFonts] [More]  ⦿

    Albert Falckenberg & Comp

    Magdeburg-based foundry. [Google] [More]  ⦿

    Albert Kapr

    German type designer, typographer, calligrapher, author and educator, b. Stuttgart (1918), d. 1995. He was art director at the Dresden type foundry VEB Typoart from 1964 until 1977. He founded and led the Institut für Buchgestaltung at the Hochschule für Grafik und Buchkunst at Leipzig from 1956 until 1978. Obituary by Harald Suess. Page at Klingspor. MyFonts page. Catalog of Albert Kapr's typefaces

    He designed these typefaces:

    • Faust-Antiqua (1958-1959), or just Faust. This right-footed serif typeface suffers from the ugly duck syndrom. Nevertheless, it inspired Nick Curtis to design Kaprice NF (2010). In 1993, Steve Jackaman revived it as Faust RR.
    • Leipzig (with Otto Erler in 1963). A font with large x-height.
    • Leipziger-Antiqua (1959). Revived by Tim Ahrens in 2004 as JAF Lapture. It was also digitized--close to the original and under the original name--by Ralph Unger at URW in 2005. And it was shamelessly digitized by Linotype and sold as Hawkhurst without mentioning the Leipziger Antiqua source, in fact claiming that Hawkhurst is an original.
    • Calendon-Antiqua (1965).
    • Prillwitz-Antiqua (1971, Typoart, with Werner Schulze).
    • Magna Kyrillisch (1975).
    • Circa 1975, he created Garamond Cyrillic at Typoart.

    A specialist of blackletter, he was passionate about Gotische Bastarda.

    Author of these books:

    • Fraktur: Form und Geschichte der gebrochenen Schriften (1993, H. Schmidt, Mainz).
    • F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). Co-authors: Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg.
    • The Art of Lettering; The history, anatomy, and aesthetics of the roman letterforms (München, K.G. Saur, 1983, original edition in German by VEB Verlag: Dresden, 1971).
    • Schriftkunst. Geschichte, Anatomie und Schönheit der lateinischenn Buchstaben (Dresden, 1971).
    • Schrift- und Buchkunst (VEB Fachbuchverlag, Leipzig, 1982).
    [Google] [MyFonts] [More]  ⦿

    Albert Knab

    Type designer (b. Oberlauringen/Unterfranken, 1870, d. 1948). He created Edelgotisch (1901, J.G. Schelter&Giesecke). [Google] [More]  ⦿

    Albert Schiemann
    [Font Pincushion]

    [More]  ⦿

    Albert Wilhelm Kafemann
    [J. G. Francke Nachfolger]

    [More]  ⦿

    Albert Windisch

    Designer (b. Friedberg, 1878, d. 1967) of Windisch Kursiv (1917, Klingspor). He lived in Frankfurt where he taught design at the Kunstgewerbeschule. Author of Die künstlerische Drucktype. [Google] [More]  ⦿

    Albert-Jan Pool
    [FF DIN]

    [More]  ⦿

    Albert-Jan Pool

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

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

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

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

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

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

    Pic.

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

    Albrecht Dürer

    Born and died in Nuremberg, Germany, 1471-1528. Painter, wood carver and copper engraver extraordinaire, famous for many great geometrical and structured capitals and proportioned designs, carried out with compass and ruler. Example from 1524. Another example, ca. 1500. Best known for the books on the geometry of letters, Unterweysung der Messung [A Course on the Art of Measurement] [or: Of the Just Shaping of Letters], published in 1525. See here.

    Images of his work: his famous set of German Renaissance Capitals (1525), Gothic Capitals, German Minuscule, his famous rhinoceros (1515) and his blackletter type Dürerfraktur (1519).

    Digital typefaces based on Duerer's work:

    • Terry Wüdenbachs at P22: P22 Durer Caps (2004).
    • MichelM at URW++: Hands on Albrecht (2005).
    • Amy E. Conger: Duerer (2006).
    • SoftMaker: Albrecht Duerer Fraktur Pro (2016). A revival of Duerer's ornamental blackletter.
    • Christopher Adams: Just Letters (2012, blackletter). This was based on Albrecht Duerer's Of the Just Shaping of Letters (1525).
    • Alan Hoenig: The Computer Duerer fonts (1990). A set of Metafont typefaces.
    • Dieter Steffmann: Duerer Gotisch (2001).
    • Jeff Jackson: JGJDurerGothic (1997).
    • Gilles Le Corre: 1525 Durer Initials (2010).
    • David nalle: Albrecht Durer Gothic.
    • Martin Lorenz and Joan Pastor: VLNL TpDuro (2019). A blackletter.
    • Manfred Klein. The geometrical overlays reminiscent of Duerer are another recurrent theme in Manfred Klein's work. Fonts directly or indirectly related to Duerer's compass-and-ruler constructions made by Manfred Klein include DancingVampyrish, GrafBoldBold, GrafCirculum, GrafCirculumBricks, GrafObliqueItalic, GrafRoundishMedium, GridConcreteDue, GridConcreteLogoable, OldConstructedCaps, RodauButtons, RodauButtonsInverse, RodgauHeads, RodgauerFisheyes, RodgauerOne, RodgauerOneRoundMedium, RodgauerThree, RodgauerThreeRoundedMedium, RodgauerTwo, RodgauerTwoRounded-Medium, RomanGridCaps, SketchesByDuerer-Inverse, SketchesByDuerer, TheRoots, XPCrazy-Light, XPFourTwoContourMedium, XperimentypoFS, XperimentypoFSBlack, XperimentypoFSWhite, XperimentypoFourBRound, XperimentypoFourCRoundInvers, XperimentypoFourRound, XperimentypoNr1, XperimentypoNr1Oblique, XperimentypoStripes-One, XperimentypoStripes-Two, XperimentypoThree-B-Square, XperimentypoThree-C-Square, XperimentypoThree-Crazy, XperimentypoThreeSquares, XperimentypoTwo, XperimentypoTwoCrazy, XperimentypoTwoStripes. Download page. Download all these fonts in onze zip file.
    [Google] [MyFonts] [More]  ⦿

    Albrecht Seemann

    Author of Handbuch der Schriftarten (Leipzig, 1926), a nearly comprehensive listing of all types at all German type foundries at that time. Just the name index of the types takes 38 pages. Download at Klingspor of the original volume from 1926, and the addenda published in 1927. 1929, 1930, 1933/1935, 1936/1937, und 1938/1939 under the name Nachträge. Emil Wetzig (Leipzig) helped with the production.

    Local download. [Google] [More]  ⦿

    Aleksandra Samulenkova

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

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

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

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

    Bold Monday link. [Google] [More]  ⦿

    Alessandro Malcotti

    During his Masters studies at Politecnico di Milano, he spent a year in Berlin where he designed the blackletterish typeface The Raven (2015) in a course taught by Luc(as) de Groot at Fachhochschule Potsdam. Earlier, in 2012, he created the condensed octagonal typeface Fiat that is based on Fiat's logo. Fiat was a school project completed with Cecilia Negri and Virginia Nardelli. [Google] [More]  ⦿

    Alessandro Sommer

    During his studies, Bielefeld, Germany-based Alessandro Sommer developed the symmetric experimental typeface Otto in 2017. [Google] [More]  ⦿

    Alessia Sistori

    During her communication design studies, Alessia Sistori (Berlin, Germany) created Clarity Font (2013, thin and geometric) and Pommesensalade (2013, a rhombic font). [Google] [More]  ⦿

    Alessio Leonardi
    [BuyMyFonts (or: BMF)]

    [MyFonts] [More]  ⦿

    Alex Glatz

    Illustrator and cartoonist Alex Glatz (Alex Glatz Studio, Nuremberg, Germany) designed a handcrafted typeface in 2017, as well as a school script in the style of Deutsche Normalschrift (2017). Behance link. [Google] [More]  ⦿

    Alex Hy
    [Adult Human Male]

    [MyFonts] [More]  ⦿

    Alex Rich

    Type designer at ACME. [Google] [More]  ⦿

    Alex Rütten
    [Formsport]

    [MyFonts] [More]  ⦿

    Alex Schnaible

    German art director. In 2019, he published the 500-icon font Speakons. [Google] [MyFonts] [More]  ⦿

    Alex Volmer
    [Leftover Lasagne]

    [MyFonts] [More]  ⦿

    Alexander Alexandrowitsch Roth
    [Neue (or: Neue Foundry)]

    [MyFonts] [More]  ⦿

    Alexander Beck

    Mainz, Germany-based creator of Fadista (2013) during his studies at the University of Applied Sciences Mainz. Calling Fadista another fucking hip and trendy experimental grotesque---which we call hipster typefaces in my pages---, he explains: The main references were letterings from sheet music to the traditional Portuguese fado created by the artist Stuart Carvalhais (1887-1961). Behance link. [Google] [MyFonts] [More]  ⦿

    Alexander Branczyk
    [Face 2 Face (or: F2F)]

    [MyFonts] [More]  ⦿

    Alexander Dosiehn

    German designer Alexander Dosiehn created Liga Sans (2001, Linotype). It was part of his graduate thesis at the Fachhochschule Düsseldorf. FontShop link. [Google] [MyFonts] [More]  ⦿

    Alexander Ertle

    Hamburg-based communication designer. He created the experimental typeface Kubik (2012).

    Behance link. [Google] [More]  ⦿

    Alexander Fritsch
    [Loudar]

    [More]  ⦿

    Alexander Hermann

    Berlin-based designer of the counterless modular headline font Viertel (2012). [Google] [More]  ⦿

    Alexander Kaiser

    German designer of Drawvetica Mini (2012, sketched).

    Dafont link. . [Google] [More]  ⦿

    Alexander Koch

    Author of 600 Monogramme Und Zeichen (Darmstadt, 1920). Local download. [Google] [More]  ⦿

    Alexander Koch

    Designer of Damned Dingbats EF in 1993. He was associated with Germany's Apply Design. [Google] [More]  ⦿

    Alexander Lange

    Karlsruhe-based software developer. Creator of the large (and free) Unicode font Quivira (2005). It covers mathematics, chess, astrological symbols, arrows, fists, Latin, Greek, Cyrillic, Hebrew, Armenian, Georgian, Tifinagh, Coptic, emoticons, Vai, and Braille, to name just a few ranges. Alexander graduated in computer science at the Hochschule Mannheim University of Applied Sciences (degree: Diplom-Informatiker (UAS)). [Google] [More]  ⦿

    Alexander Peifer

    Trier, Germany-based designer of the compass-and-ruler font Camp (2015). Behance link. [Google] [More]  ⦿

    Alexander Roth

    Creator of Red Dot (2007, a dot matrix font: free if you ask). [Google] [More]  ⦿

    Alexander Rühl

    Alexander Rühl studied at Kunstschule Alsterdamm and worked for URW. Presently, he runs the graphic design studio Ruehl Design.

    Creator of the flared text family ITC Lennox Book in 1996: ITC Lennox Bold (1996), ITC Lennox Book (1996), ITC Lennox Medium (1996).

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

    Alexander Selg

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

    Alexander Sperl

    German designer (aka laynecom) at FontStruct in 2008 of band, blokk_2, maiden, substance, Fette Serif (fat, octagonal), Runde Pixelig, Velvet, Thin Sans, Constr, Clear Serif, Blokk.

    Added in 2009: Russisch Brot, Block Out (3d face, +Filled1, + Filled2), Bold Stencil Sans, Script Pixelig, Dorky Corners Sans, Haus der Kunst (inspired by the building in München by that name), Fraktur Test, Fette Sans (nice), Emilia, Runde Pixelig (pixel script).

    Creations in 2010: Fraktur Test, The Plot (octagonal, architectural), 80s Metal Band, Fieldwork Font (pixel), Black Metal, I slabbed the Seriff, Play (curly face).

    Creations in 2011: Obvious Stencil (Bauhaus, or piano key), Supercali (a psychedelic font inspired by the cover for A.R. Kane's "I"), Manuale (with straight slabs; +Manuale Giocoso, 2012), Graphite (fat and rounded), Graphite 2, Hinterland Italic (quaint Victorian face).

    From 2012: Linea Fraktur (extended in 2013 to Linea Runde), Black Organic (spiky blackletter), Green Organic (a spurred blackletter), Standard Sans, Modular Blackout Bold Condensed, Viva Las Vegas, Helios, Faux Pas Serif (Egyptian typeface), Nova Thin Extended (this hairline sans is a tour de force---it is the first successful hairline sans typeface ever made by anyone using FontStruct), Bencraft.

    Fonts from 2013: Meadow Bold, Lush Capitals, SwiftStroke, Its Slab To Be Square, Mellow Doubt, Ligure Black, Beige Organic, Trafo, Trafo Evolution, Codester Mono (a programming font), Swash Buckle, Nova Thin Extended (a hairline sans), Meson Sans, Burgwald Exquisite Bold Condensed, Editoriale, Coalescimen, A La Carte, Hampton Italic, Baby Elephant (fat grotesque).

    Fonts from 2014: Terminal One (a basic sans), Fanomino, Fontris (like Tetris), Schlaraffenland (+Variant: great rounded sans family), Crystalline, Tick Brush, Manuale Neue Bold, Terminal One, Sanspura, Italics Study, Mundane Black Extended, Heavy Grain, Wineshop Stencil, Folds and Rhizones, Viva Las Inline.

    Fonts from 2015: Augustine, Coleridge, Framtid, Licht-Sans, Quire-Bold, Quire, Static-Grotesk, Tattoo-Parlour, The-Gift-Serif, Tuileries-Black, Usual-Type, Ziseleur, Zungenschlag, Blackesteverblack.

    Klingspor link. [Google] [More]  ⦿

    Alexander Stephenson

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

    Alexander Tibus

    Berlin-based designer (b. 1978, Ostfildern-Ruit) who studied at FH Wiesbaden. Creator of the unbelievable experimental font Wirefox (Die Gestalten, 2006), consisting of diagonal lines only. See it to believe it! He also designed Ambiva, which creates the illusion of type by showing the characters' shade only.

    Klingspor link. [Google] [More]  ⦿

    Alexandra Schwarzwald

    Type designer who joined Neue as business partner in October 2020. She was born and raised in Berlin, Germany, and studied at HTW University of Applied Science. She worked at FontShop International as a font technician. Subsequently Alexandra supported Monotype's font marketing teams for brands such as FontShop, FontFont, Linotype, MyFonts and Fonts.com. In 2018 she became a full-time employee of the Monotype London Office holding the position of a Senior Graphic Designer.

    Designer of Neue UXUI Icons (2020, at Neue), a seven-style set of icon fonts. Each font in turn contains 1155 icons covering areas such as office equipment, social media, controls, layout, music, navigation and weather, in addition to about 200 arrows. She added the 6-icon set Neue OS Icons later in 2020. In 2021, she released Neue UXUI Icons Rounded.

    With Alexander Roth, she designed the soft versions of Roth's Neue Radial family in 2021: Neue Radial Soft A, Neue Radial Soft B (18 styles), Neue Radial Soft C, Neue Radial Soft D. [Google] [MyFonts] [More]  ⦿

    Alexis Luengas
    [Alexis Luengas Zimmer]

    German type designer in Karlsruhe. He created Rhetorica (2011): Its design is motivated by the elegant roman letters of the Rennaissance, capturing the vitality seen in the hand of masters like Granjon, Garamond, Jenson and Van den Keere, but also neohumanist typographers like Zapf.

    In 2012, Luengas published the Meleo family. This organic semiserif family is characterized by a large x-height, and a contrast between the round nature of the regular style and the angular calligraphic features of the italic styles.

    In 2013, he started work on Didotesque.

    His main project in 2014 was Cavatina, a font for writing music: Cavatina is my misuse (to put it nicely) of the OpenType font architecture, inspired by Travis Kochel's FF Chartwell. Similarly, the font relies on contextual alternates and ligatures to take care of the formatting and allow the support of a wide range of musical grammar. Among others, it is possible to write over four octaves of different notes, key and time signatures, barlines, accidentals, articulations as well as ornamentation, providing a system robust enough to allow fast musical composition. Additionally, I have written an open-source converter that translates the Cavatina text files to MIDI and MusicXML. A browser based text editor with integrated MIDI playback is also provided for those who don't have a Mac. Cavatina exploits the liga, calt and gsub rules in Opentype. [Google] [MyFonts] [More]  ⦿

    Alexis Luengas Zimmer
    [Alexis Luengas]

    [MyFonts] [More]  ⦿

    Alfons Muntean

    German designer (b. 1977) who lives in Karlsruhe. Dafont link. Creator of the shaded serif typeface 404error (2006). [Google] [More]  ⦿

    Alfons Schneider

    German type designer, b. 1890, Groitzsch, d. 1946, Mühlberg/Elbe. He studied at the Staatlichen Akademie für graphische Künste und Buchgewerbe in Leipzig, where he taught typography from 1934 onwards.

    Alfons Schneider created the blackletter typeface Franken Deutsch (1934-1939, Ludwig Wagner), and the didone family Pergamon Antiqua (1937, Ludwig Wagner; +Mager, +schmalhalbfett, +halbfett, +fett, +schmalfett), and Pergamon Kursiv (1938).

    L. Wagner mentions the typefaces Pergamon Werkschrift, Pergamon Kursiv halbfett, Pergamon Kursiv kräftig and Pergamon schmalhalbfett. Schneider published all his typefaces at L. Wagner.

    Pergamon was digitally revived in 2016 by Coen Hofmann at URW++ as Fontforum Pergamon. More than a decade before that, Softmaker created its own digital revival, P700 Deco. Franken Deutsch was revived in 2015 by Peter Wiegel as CAT Franken Deutsch. [Google] [More]  ⦿

    Alfred Finsterer

    Type designer (b. 1908, Nürnberg, d. 1996, Stuttgart) who designed fonts at Klingspor such as Duo licht/Duo dunkel (1954). Figura (1954, Stempel) is a condensed didone face. Google] [More]  ⦿

    Alfred Mahlau

    German (?) designer who made the avant garde typeface Mahlau in 1926, which was in the Elsner&Flake and Scangraphic collections. The Elsner&Flake typeface dates from 1986. [Google] [More]  ⦿

    Alfred Riedel

    Type designer in Freiburg (b. Waldkirch, 1906; d. Freiburg, 1969) who was a pupil of Rudolf Koch, and studied at the Badischen Landeskunstschule in Karlsruhe. He designed books for Verlag Herder from 1935 onwards. His typefaces include the fat face Domino (Ludwig&Mayer, 1954). A digital revival was created by Nick Curtis in 2007, called Idle Fancy NF.

    His typefaces Adamas and Adamas Unziale (1963, for Herder Verlag) were made into a phototype by Monotype.

    Sample of blackletter calligraphy. [Google] [MyFonts] [More]  ⦿

    Alfred Smeets

    Designer at Germany's Apply Design of RIO (1994). [Google] [More]  ⦿

    Alfred Tilp

    German type designer and artist, b. Bühmen or Karlsbad, 1932, d. 2006. He was professor since 1973, and retired from Fachhochschule Würzburg in 1996. He still lives in Würzburg. Tilp runs Tilp Art, his computer art web site.

    Bio. FontShop link. Klingspor link.

    Typefaces:

    [Google] [MyFonts] [More]  ⦿

    Alfredo Ascari

    Graphic designer in Berlin. In 2016, he designed the modular multiline typeface Bauhaus (2016) following the principles of architectural modernism. [Google] [More]  ⦿

    Alice Pawelczyk

    During her studies under Lucas DeGroot in Berlin, Alice Pawelczyk created the techno typeface Technika (2013). [Google] [More]  ⦿

    Alina Sava
    [Fonts Arena]

    [More]  ⦿

    Alma Tatjana Neu
    [Tata Tatze]

    [More]  ⦿

    Almut Schmitt

    During her graphic design studies in Trier, Germany, Almut Schmitt designed the paper-fold typeface Ganeo (2013). [Google] [More]  ⦿

    Alois Ganslmeier

    German type designer. With Andy Jörder and Jörg Herz, he created the ultra-fat constructivist family Coma (2010, Volcano). Klingspor link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Alois Ludwig

    Brno-born architect (1872) who worked in München and Vienna and died in 1969. Some of his lettering. [Google] [More]  ⦿

    Alphabet Type

    In December 2014, font engineer Andreas Eigendorf and type designer Stephan Müller founded a font-production, type-technology, and knowledge hub based in Berlin called Alphabet Type. Its expertise and custom tools help type designers and foundries turn their typefaces into fully functional software. As of early 2018, it employed these technical type specialists and font engineers: Andreas Eigendorf, Stephan Müller, Philipp Acsany, Monika Bartels, Anke Bonk, Benedikt Bramböck, Sophie Caron, Gergo Kokai and Paul Spehr. [Google] [More]  ⦿

    Alte Schriften
    [Susuanne Ulmke]

    German page advertising a CD with nice old writing samples (in tiff, not ttf!!!). Mostly decorated initials and Fraktur. R.G. Arens' Sütterlin font can be downloaded from this site, which is run by Susanne Ulmke in Arnsberg, Germany. [Google] [More]  ⦿

    Alte Schwabacher

    A classic form of blackletter first seen in 1472 in Augsburg where Johann Bämler created a version. It was very popular in the 16th century. Revived, e.g., by the following foundries: Drugulin/D. Stempel (1919), Benjamin Krebs (1918), Genzsch&Heyse (1835), Berthold, C.F. Rühl (1903). [Google] [More]  ⦿

    Althhochdeutsches Wörterbuch

    The TimesGerman family in truetype (Times with special symbols for a German dictionary). [Google] [More]  ⦿

    Alt-Katholiken in Deutschland
    [Achim Stump]

    A truetype font called Alt-Katholiken, with religious logos, made by Achim Stump. Free, but you need to ask by email. In German. [Google] [More]  ⦿

    Amina Urkumbayeva

    During her studies at Btk University of Applied Science in Berlin, Germany, Amina Urkumbayeva designed the rune-inspired hipster typeface Runotype (2016). [Google] [More]  ⦿

    Amir Asgari

    Iranian graphic designer who lived in Turkey and after a stint in Washington Park, WA, he is now based in Germany. He graduated from B.A Hacettepe University in Ankara in 2012, and from the Mirak Fine Art School in Tabriz, Iran, in 2005. His typefaces:

    • The pixel typeface Overpixel (2012).
    • Qewek (2021). A thin slab serif.
    [Google] [MyFonts] [More]  ⦿

    Ana Laura Ferraz

    Brazilian graphic designer at Plau (Rio de Janeiro, Brazil), who lives in Köln, Germany.

    In 2019, she co-designed Muda, a corporate typeface for the fashion brand Oficina Muda with Carlos Mignot, Gabriel Menezes and Rodrigo Saiani.

    In 2021, Ana Laura Ferraz, Valter Costa, Carlos Mignot and Rodrigo Saiani designed the handcrafted black poster and branding typeface Vinila for the identity of grammar teacher Eduardo Valladares' personal brand EDU VLLD (Edu stands for Eduardo and Education while VLLD represents Valladares and Vulnerability). [Google] [More]  ⦿

    Andre Levy

    Visual artist in Frankfurt, Germany, who created the poster typeface Naked Muse in 2017. Behance link. [Google] [More]  ⦿

    Andre Maaßen

    German designer André Maaßen (b. 1963, Neuss) studied communication design at the University of Wuppertal. In 1994, he founded Atelier für Kommunikationsdesign together with Anne Franke. Additionally, Maaßen has been teaching at the Ruhrakademie in Schwerte since 1992, and has also taught briefly at the University of Wuppertal. His first typeface was the funky calligraphic serif typeface family Varius (2004, Linotype). Varius includes ornamental styles with music notation and standard ornaments, called Livius Musika and Livius Ornaments, respectively. In 2007, he released the 4-style display sans typeface Anno at Linotype. Anno was inspired by the design of a New Year's card for the year 2000. [Google] [MyFonts] [More]  ⦿

    Andre Roquette

    Freelance graphic designer and illustrator in Munich, who designed Angle Type (2010, experimental). [Google] [More]  ⦿

    Andre Waitz

    Andre Waitz, aka Der Schurke, is the German designer of the hand-printed grungy outline font Suppenkasper (2008). [Google] [More]  ⦿

    Andrea Anner

    Andrea Anner is a Berlin-based Swiss graphic designer. After a Masters in Art Direction and Type Design at ECAL, she founded the design practice AnnerPerrin together with Martina Perrin. With Thibault Brevet, she has founded a studio for digital development.

    Co-designer with Ian Party of Suisse International Condensed (2013). Designer of Rouillé (2010-2011 a revival of a French Renaissance typeface from 1581, possibly designed by Robert Granjon), Fokko, Euclid, and Finito (2012: a humanist sans done for a Masters thesis at ECAL in Lausanne). [Google] [More]  ⦿

    Andrea Bartsch

    German designer, b. 1971.

    Dafont link. Creator of the free fonts B Kings (2009, funny figurines), Paul Pulpo (2011), Junglefood (2011), FC Podolski (2010, logos). [Google] [More]  ⦿

    Andrea D'Auria

    Italian graphic designer and illustrator in Berlin, who created the shaded display typeface Pomodorino in 2013 for a restaurant identity. One Have To Coma Again (2013) is an angular display sans typeface.

    Behance link. [Google] [More]  ⦿

    Andrea Deinert

    Andrea Deinert (b. 1985) studied Communication Design at the Trier University of Applied Sciences and graduated in 2013. Since then she has been working as a designer in Cologne.

    She created the thin paperclip typeface Filament (2013) and Mrs Tailor (2014, Volcano). Dafont link. Volcano Type link. [Google] [More]  ⦿

    Andrea Knudsen

    German graphic designer who designed the runic typeface Creatividad Agotada (2011). [Google] [More]  ⦿

    Andrea Schulz

    Berlin-based graphic designer and illustrator who graduated in 2011 from the School of Art and Design in Berlin Weissensee. Creator of these typefaces at Burodestruct in 2010: BD Circo (2010), BD Plankton (2010). [Google] [More]  ⦿

    Andrea Stan

    Romanian lettering artist based in Germany. Designer of the informal inline typeface Thanks (2020, Monotype). [Google] [MyFonts] [More]  ⦿

    Andrea Tinnes
    [Typecuts]

    [MyFonts] [More]  ⦿

    André Kniepkamp

    Designer at Elsner&Flake of the dot matrix font EF Kirmes. FontShop link. [Google] [MyFonts] [More]  ⦿

    André Leonhardt

    German designer, b. 1977, aka Leo, who studied graphic design at Anhalt University in Dessau in 2005. Between 2010 and 2015 he taught typography at Anhalt University in Dessau. In 2016, he co-founded Interfont with Dennis Michaelis.

    After an apprenticeship with Lucas de Groot and Fred Smeijers, he created Neue Sans (2005), a six-weight font that can be freely downloaded from OurType, Fred Smeijers' foundry. Neue Sans Pro (2007) is not free, however.

    In 2015, Laura Dreßler (Schauschau, Berlin), André Leonhardt and Dennis Michaelis co-designed the monospaced typewriter typeface family Monoela (published in 2016 by Interfont).

    In 2019, Leonhardt released Ideal, a top-heavy sans typeface, at Interfont. Klingspor link. Our Type link. [Google] [MyFonts] [More]  ⦿

    André Nossek
    [Via Grafik Gestaltungsbüro (was: Meanworks)]

    [More]  ⦿

    André Rösler

    Graduate of the Fachhochschule für Gestaltung Pforzheim in 1997. He is co-founder of mal4 - Bürogemeinschaft für Gestaltung in Karlsruhe, and has worked as a freelance illustrator and designer since 1996. In 1999, he became involved in making and directing animation films for Anschi und Karl-Heinz, a children's television program aired weekly. Rösler illustrated several picture books for the Peter Hammer Publishing House. This probably explains why and how he designed Brüll Pictos, a very funny frog dingbat typeface (for some time, free from Volcano Type), which accompanied the hand-drawn lettering typefaces Brüll Aussen and Brüll Innen. Brüll was created for foreign editions of the childrens book Kannst du brüllen?, which has been released in 2003 by Peter Hammer Publishers, Wuppertal. [Google] [More]  ⦿

    André Schulz-Werner
    [Sundowntower]

    [More]  ⦿

    André-Pascal Werthwein

    During his studies, Mannhein, Germany-based André-Pascal Werthwein designed Generative Type (2017). Behance link. [Google] [More]  ⦿

    Andreas Brietzke
    [Pixel und Punkte]

    [More]  ⦿

    Andreas Dauerer

    Graphic designer in Berlin. His typefaces include Asgard Grotesk (2012), Evil Neue (2012, sans), Jjang (2012), Ladro (2012), Schicke (2012, geometric sans), Tano (2012), Sherman Mono (2012), Tsukunft (2012, experimental), Arsene (2012), Decodorant (2012), Kirky (2012), Nordfrost (2012), Sedadda (2012), Sloth (2012, an avant garde sans), Svangard (2012), Yueah Mono (2012), and Kamek (2012, a great feather pen rendering of a Venetian renaissance typeface).

    Behance link. [Google] [More]  ⦿

    Andreas Eigendorf

    Berlin, Germany-based font engineer. Designer of several CE versions of FontFont fonts, such as the CE versions of Ole Schaefer's Fago: FF Fago Office Sans CE, Fago Office Serif CE (2000).

    He also helped with the finalization of some fonts at Primetype, e.g., the PTL Maurea family.

    He joined Carrois Type Design in Berlin, where he is involved in many type projects. One example is the angular grotesk typeface done by Carrois Type Design in 2008 for the Russian Railways. This work was carried out with Dmitri Lavrow, and invloved Andreas Eigendorf and Ralph du Carrois.

    In December 2014, Andreas Eigendorf and type designer Stephan Müller founded a font-production, type-technology, and knowledge hub based in Berlin, Alphabet Type. Its expertise and custom tools help type designers and foundries turn their typefaces into fully functional software.

    In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova.

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

    Andreas Frohloff

    Calligrapher and type designer in Berlin, b. 1956, who headed the type department at FontShop International and then became Head of the Tech Department at Monotype in Berlin. He cooperated with Axel Betram on the text family Rabenau (2011, Linotype), which was earlier called Lucinde. Images: i, ii, iii.

    In 2012, Frohloff and Bertram published the friendly typeface FF Videtur: The concept for FF Videtur is based on bitmap fonts Axel Bertram created for the state television broadcaster in East Germany (GDR Television) during the 1980s. Thorough research and testing led to the creation of an open, functional serif typeface with alternating contrast. Freed from yesteryear's technical restrictions, the new FF Videtur was entirely redrawn while keeping the best characteristics of the earlier forms. Despite its workmanlike appearance at first glance, its warm character is undeniable. The reasons for this are its modest stroke contrast; the open, clearly differentiated letterforms; the relatively short and rounded wedge-shaped serifs; and the consistent rhythm it sets in lines of text. [Google] [MyFonts] [More]  ⦿

    Andreas Göbel
    [Sütterlin --- Deutsche Schreibschrift]

    [More]  ⦿

    Andreas Hild
    [Hild Design]

    [MyFonts] [More]  ⦿

    Andreas Höfeld
    [Fontgrube AH]

    [More]  ⦿

    Andreas Jung

    Type designer from Schorndorf, Germany, b. 1968. of Trombo (FontShop). FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Andreas Karl

    German type designer of Linotype Fluxus (1997, shaky handprinting) and Linotype Mailbox (1997, at sign for all characters). Kevin Pease claims that Linotype Mailbox is the worst font ever created, both in concept and execution.

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

    Andreas Klimek-Falke

    Designer at Germany's Apply Design of fonts such as BigDots, 1993. [Google] [More]  ⦿

    Andreas Koch

    Freelance book and type designer from Bielefeld, Germany. Second prize at the 3rd International Digital Type Design Contest by Linotype Library with his flared sans face Linotype Projekt (1999). He also designed Damned Dingbats (Apply Design, 1993).

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

    Andreas Koeniger

    This German designer used iFontmaker in 2011 to create Handstyle AK, a very clean narrow hand-printed face. [Google] [More]  ⦿

    Andreas Köhler

    German punchcutter and typefounder in Nuremberg, where he published a type specimen of Fraktur in 1710, a borders speciman in 1715, and another Fraktur in 1714. Norstedt (Stockholm) has a Fraktur by him.German punchcutter and typefounder in Nuremberg, where he published a type specimen of Fraktur in 1710, a borders speciman in 1715, and another Fraktur in 1714. Norstedt (Stockholm) has a Fraktur by him. [Google] [More]  ⦿

    Andreas Lehmann
    [Katwin-Schriften]

    [More]  ⦿

    Andreas Münch
    [Buro Lazer]

    [More]  ⦿

    Andreas Preis

    Berlin-based illustrator and graphic designer, who created the squarish semi-stencil typeface Jongehonden in 2012.

    Behance link. [Google] [More]  ⦿

    Andreas Seidel
    [Type in Berlin]

    [More]  ⦿

    Andreas Seidel
    [astype.de (or: Astype)]

    [MyFonts] [More]  ⦿

    Andreas Siess

    German designer. Dafont link.

    Creator of the free octagonal / mechanical typeface family Amboss (2012), and of the hand-printed Anilin (2012). [Google] [More]  ⦿

    Andreas Sommerwerk

    Berlin-based type designer, b. Vienna, 1974. Andreas Sommerwerk was educated as a product designer at the University of Applied Arts Vienna and has been active in areas like graphic, product, and, more recently, service design. MyFonts link. Sommerwerk Ink (2010) is inspired by typography found on old German shop windows. He writes: It is a script font, but instead of imitating human handwriting and the gestures connected to it, the goal was to come up with a new writing flow and stroke order. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Andreas Steinbrecher

    Aka Ando Karambo. Illustrator and graphic designer in Düsseldorf, Germany, who designed Samson (2013) and Aquazoo (2014: a rounded sans and paperclip typeface rolled into one; designed together with g31 for the Aquazoo Löbbecke Museum Branding).

    Typefaces from 2016: the non-conformist typeface family Caractère Anal (the name was chosen in reference to people with an anal personality. Some may prefer the equivalent name Caractère Trumpiste), Baechlemeid (a handcrafted typeface for the Bächlemeid architects in Konstanz) and Japanische Populärkultur (stretchable gridded letters). [Google] [More]  ⦿

    Andreas Stötzner
    [SIAS (or: Signographical Institute Andreas Stötzner)]

    [MyFonts] [More]  ⦿

    Andreas Twardzik

    During his studies in Trier, Germany, Andreas Twardzik (b. Schweinfurt) designed the free brush script typeface Hammock (2016). Behance link. Dafont link. [Google] [More]  ⦿

    Andreas Uebele
    [Nice To Type (was: Übertype)]

    [More]  ⦿

    Andreas Wehner
    [TechStat]

    [More]  ⦿

    Andreas Weygandt

    AW Siam English Not Thai is a free Latin font with a Siamese look, designed by Andreas Wegandt (Germany).

    Fontspace link. Yet another URL. Dafont link. [Google] [More]  ⦿

    Andreas Wohlleben

    Andreas Wohlleben is an illustrator based in Böblingen, Germany. In 2013, he published Wayfinding Sans Symbols (FDI), which has hundreds of wayfinding symbols that can be used with typefaces such as Ralf Herrmann's Wayfinding Sans Pro. [Google] [MyFonts] [More]  ⦿

    Andrej Krahne

    Branding director in Braunschweig, Germany. His typographic work in Type Sex with Durex (2010) is remarkable. Behance link. [Google] [More]  ⦿

    Andrew S. Meit

    Plantation, FL-based designer of GoodCityModernPlain (1991, a blackletter font based on J. Gutenburg's 42-line bible), and LombardocMedium (1991).

    Fontspace link. [Google] [More]  ⦿

    Andrew Sinn

    Andrew Sinn is a digital creative from Berlin, Germany. He primarily works in UX / interaction design and additionally in vectors, 3D and game design. In 2019, he published the dancing baseline font family Heraklion. [Google] [MyFonts] [More]  ⦿

    Andy Jörder

    Type designer. With Alois Ganslmeier and Jörg Herz, he created the ultra-fat constructivist family Coma (Coma, Volcano). [Google] [MyFonts] [More]  ⦿

    Angela Bolliger

    German-Swiss typographer. With Julien Saurin, she published the classic avant-gardist hand-drawn typeface Paris (2012, La Goupil). It comes with art nouveau ornaments called Paris Serif Ornaments. [Google] [More]  ⦿

    Angela Neubauer
    [Julliversum]

    [More]  ⦿

    Angelo Stitz
    [Metatype]

    [More]  ⦿

    Angie Biso
    [Type Rookie]

    [MyFonts] [More]  ⦿

    Ania Cremer

    German Linotype Library designer (b. Jülich, 1969) of the pi fonts Pinxit astro, Pinxit Office and Pinxit Private at Linotype. FontShop link. MyFonts.com blurb. Ania lives in Berlin. [Google] [MyFonts] [More]  ⦿

    Anissa Carrington

    Wurzburg, Germany-based creator of Kabana (2014), an avant garde sans typeface custom designed for a soccer world championship afterparty. Behance link. [Google] [More]  ⦿

    Anita Jürgeleit
    [Type This Studio]

    [MyFonts] [More]  ⦿

    Anja Escherich

    Designer at Elsner&Flake in 1998 of the wonderful dingbat fonts EF Imagination Black, EF Imagination Fisheyes, EF Imagination Flowers, EF Imagination Magic.

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

    Anja Gindele

    German illustrator and graphic designer who works at Keller Maurer Design in Munich. Born in Ravensburg in 1982, as a student in 2007, she created SQ 324, a slab serif, under the guidance of Hans-Jürg Hunziker und Rudolf Barmettler. In 2007, she designed interesting wayfinding symbols for the botanical garden of Zurich. [Google] [More]  ⦿

    Anja Gollor

    Creator with Henry Hajdu of Pixtur (2005), a pixel version of Fette Haenel Fraktur. This font can be found on the CD that comes with Fraktur Mon Amour (Hermann Schmidt Verlag, 2006). [Google] [More]  ⦿

    Anja Nickel

    Swiss designer of the art nouveau-inspired typeface Voluptan (2020) at HAV Hamburg. [Google] [More]  ⦿

    Anja Udovicic

    Graduate of Banja Luka College, Bosnia. Duesseldorf, Germany-based designer of a great colorful shaded all caps typeface in 2019. [Google] [More]  ⦿

    Anke Arnold
    [Anke Art]

    [More]  ⦿

    Anke Art
    [Anke Arnold]

    Wernau (was: Wendlingen), Germany-based Anke Arnold's free fonts: aa QWERTZ-Tasten (2012: German keyboard font), aa Halftone (2012: texture face), aa Tafelschrift (2012, school font), Car Go Frame (2011), Car-Go Plain (2011, modeled after German license plate lettering), Typo Garden (2010, alphadings), 80er Teenie Demo (2009), Acki Preschool (2009), Just Another Stamp (2009), Firlefanz (2009, curly letters), Pixelstitch (2006), AnkeHand (2003), Hole-Hearted (2003, Gill Sans with hearts), KRITZEL (scratchy pen), MilkyWay, FrightNight, Eminenz (2002), Scribble, Skribus, Why, TooLazyToPractice, XXX, CheapInkkilledmyPrinter, Storch (alphadings), Alexandras-Stempelkasten, Anatevka-Caps, BulletMix, Catwalk, Duke, Dukeplus (2000, blackletter), Riddleprint, Anke-Print, AnkeCalligraph, Titanic, Wasser, butterbrotpapier, distracted-musician, dyslexic, manko, quixotic, verrutscht, zladdi, barcoded, BulletMix2, CAR-GO-2, Fortunaschwein (nice curly script; no punctuation or numbers), Round, BigBrothers&Sisters, BoringLesson, CrimesceneAfterimage, Incognitype (old typewriter), Jenna'sPopsicles, Japanese Brush (1996), Knuffig (2000), MonkyBusiness, Olympia2000, Samba, Dandelion, Kritzel (2003, scratchy hand), Krystal (2000, snow simulation typeface based on Gill Sans), Nervous, ParryHotter (2001, a Harry Potter blackletter face), Pffft, Tschiroki, Heart2Heart (heart alphadings), Anke Sans.

    English page. For 10DM (5 USD), Anke will make your handwriting into a font! Alternate URL. Dafont link. Another link. Open Font Library link. [Google] [More]  ⦿

    Anke Bonk

    Anke got into the type industry while interning at FontWerk in 2010. Since then she worked primarily on font hinting projects before joining the team of Alphabet Type in Berlin in January 2018 as a font engineer. [Google] [More]  ⦿

    Anke Klasen

    Young designer at fontgrube who made Linax. [Google] [More]  ⦿

    Anna

    German creator of Anna's Handschrift (2012). [Google] [More]  ⦿

    Anna

    German designer (b. 1990) who created the handwriting typeface AnnasSchrift (2008). [Google] [More]  ⦿

    Anna Bergmann

    Berlin-based designer of the semi-blackletter typeface Frago (2014). [Google] [More]  ⦿

    Anna Cairns

    Anna Cairns (b. 1989) studied Communication Design at the University of the Arts Berlin, Willem de Kooning Academie Rotterdam and University of Art and Design Karlsruhe. She interned at Magma Design Studio and works as a freelancer designing type, websites, publications and visual identities. In 2016, she created the American signage brush script typeface Acron (Volcano Type). Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Anna Gerstner

    Karlsruhe, Germany-based creator of the following typeface in or just before 2013: Normal, Papercut, Feltpen, Circus (spurred typeface), Be Mine, Scribble 1 and 2 (sketched typefaces). She works as a junior art director. [Google] [More]  ⦿

    Anna London

    Berlin, Germany-based designer of the tweetware font White Pine (2015) and the handcrafted All Good Alchemy (2015). Behance link. [Google] [More]  ⦿

    Anna Mandoki
    [e27]

    [More]  ⦿

    Anna Maria Schildbach

    Designer (b. 1924) at D. Stempel of Montan (1954), a bold condensed titling font. She wrorked at stempel in the 1950s before becoming a teacher. [Google] [More]  ⦿

    Anna Simons

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

    Anna Stoltenberg

    Daughter of URW++'s font software specialist Axel Stoltenberg (Hamburg, Germany). In 2014, Axel and Anna co-designed Three Dee (URW++), a creamy 3d shadow typeface with overlapping letters. The shadows were developed with the Ikarus program. Inspiration came from chalkboard restaurant menus. [Google] [MyFonts] [More]  ⦿

    Anna Szonn

    Graphic designer in Gemmingen, Germany, who created the brush script typeface Mishelle (2017), and several sets of icons such as Clothing Icons and Gold Crown Icons. In 2018, she published Fashionable and Blooming Alphabet. [Google] [More]  ⦿

    Anne Boskamp

    German designer of the nice scratchy grungy all caps typeface Merlin LL (1994, Linotype). In 2003, she published Goodies LT Std A and B in the Linotype Taketype 5 collection. Bio at Linotype. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Anne Elster

    Hamburg, Germany-based designer of the roundish comic book typeface Picas Proper Hand (2016). Behance link. Dafont link. [Google] [More]  ⦿

    Anne Maraike Czieslik

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

    Anne Pellenz

    At Hochschule RheinMain in Wiesbaden, Germany, Anne Pellenz created the organic sans typeface Dingenskirchen (2015). [Google] [More]  ⦿

    Anne Schotte

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Anne Schröder
    [Bobsmade]

    [More]  ⦿

    Anne van Ohlen

    During her studies, Anne van Ohlen (Hamburg, Germany) designed the display typeface Alfie (2016). [Google] [More]  ⦿

    Annelena Grascht

    German designer of the coffee bean themed font Cafe Time (2009). [Google] [More]  ⦿

    Annemarie Weber

    Berlin-based designer of Doodle Type (2017). Behance link. [Google] [More]  ⦿

    Annette C. Disslin

    German letterpress and metal type shop located in Waeschenbeuren, Germany, and run by Annette C. Disslin. The shop is called manufaktur Papiergebunden. [Google] [More]  ⦿

    Annette Ludwig

    Director of the Gutenberg Museum. In 2016, Petra Eisele, Annette Ludwig and Isabel Naegele published Futura: Die Schrift (in German). The English version Futura: The Typeface (Laurence King) followed in 2017. [Google] [More]  ⦿

    Annette Wüsthoff

    German designer at xplicit Berlin. Codesigner of Brush Poster Grotesk (2017, a fun semi grungy typeface designed for the children's exhibition 1,2,3 Kultummel from Labyrinth Kindermuseum Berlin by xplicit, Berlin (Annette Wüsthoff, Alexander Branczyk and Mascha Wansart) and Manuel Viergutz; loaded with glyphs and decorative extras like arrows, dingbats, emojis, symbols, geometric shapes, catchwords and decorative ligatures). [Google] [MyFonts] [More]  ⦿

    Annie Cuellar

    Creator of the free fat finger fonts Raquel (2014), ABCP (2014), Dwarf Runes (2014) and Annie (2014). [Google] [More]  ⦿

    Annika Mechelhoff

    German designer of a few experimemtal typefaces in 2017 such as Futura Zensur, Futura Fragment and Futura Echo. [Google] [More]  ⦿

    Ann-Kathrin Englisch

    German designer of a straight-edged stick typeface in 2019. [Google] [More]  ⦿

    Annkathrin Haberland

    Graphic designer in München, Germany, who created the squarish typeface family Scarabaeus (2017) based on the shapes of insects. [Google] [More]  ⦿

    Ann-Sophie Webering

    German graphic designer. Creator of the fat finger font Boldbolder Hand (2020). [Google] [More]  ⦿

    Ansgar Knipschild

    Designer at Germany's Apply Design of fonts such as Uhura (1993), Grind (1994), Bastard (1995). [Google] [More]  ⦿

    Ansgar Krause

    Commercial fonts (partial demos available) by Professor Ansgar Krause: Funktionsanalyse, Generalbass, SmartTools, GitarrenTools, Lyrics. Mac and Windows. Names of the demo fonts: FinalAnalyseDemo, FinalGeneralbassDemo, FinalGitarreDemo, FinalGriffbrettHorizDemo, FinalGriffbrettVertDemo, FinalLyricsRegularDemo, FinalSmartToolsDEMO. The demos are useless (the fonts of course will be fine!). [Google] [More]  ⦿

    Ansgar Schoppmeyer

    Type designer (b. 1857, Berlin, d. 1922, Berlin) who made Flinsch-Fraktur (1911, Flinsch, Bauersche Giesserei). Flinsch Fraktur is also called Frankfurter Fraktur. [Google] [More]  ⦿

    Antifa Publishing

    Hannover, Germany-based outfit that published the Fraktur font Propaganda (1999). Download here. [Google] [More]  ⦿

    Antitype
    [Chris Corrado]

    German designer of the retro futuristic typeface family Taranto (2020). [Google] [MyFonts] [More]  ⦿

    Antje Driemeyer
    [Driemeyer Design]

    [MyFonts] [More]  ⦿

    Antje Wolf

    Designer at Germany's Apply Design. [Google] [More]  ⦿

    Anton Bohlin

    Berlin, Germany (was: Jamtland, Sweden)-based designer (b. 1988) of Rub My Soap (2015, a free animated font), Runkmuskel (2011, hand-printed), Woodwarrior (2013, a hipster typeface with runic influences), tweetware hipster typeface), Wasteland (2014, a tweetware brush typeface advertized as post-apocalyptic), and PXLPLZ (2012, pixel face).

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

    Anton Koberger

    Nürnberg-based printer who created many interesting typefaces in the late 15th century, as narrated by Christoph Reske in Eine neue Entdeckung zur Druckgeschichte der Schedelschen Weltchronik (note: Schedelschen Weltchronik (1492) is a book by Hartmann Schedel). These include a gorgeous Rotunda and Schwabacher (1492), a Druckbastarda, and other original Fraktur typefaces, called No. 9 and No. 11 by Reske. Koberger was first and foremost a printer, who made the first illustrated bible in 1475, and printed, as hinted to above, Schedelschen Weltchronik (1492). He died in 1515. MyFonts page. Modern digital types based on Koberger abound:

    • Manfred Klein created the blackletter typeface FF Koberger for Fontfont.
    • Ernst H. Wulfert created a blackletter typeface called Koberger.
    • Paulo W created ScotoKobergerFrakturN11 (2007) and ScotoKobergerFrakturN9 (2007). He chose the name because of Ottaviano Scotus, whose blackletter types were similar to Koberger's. Paulo W writes: Ottaviano Scotus headed a distinguished family of Venetian printers. Born of a noble family of Monza, he came to Venice at the age of 35 and operated a press there between 1479 and 1484. He continued as an editor until 1499 whereupon his heirs, including his brothers and nephews, undertook their own activity (1499-1532).
    [Google] [MyFonts] [More]  ⦿

    Anton Koovit
    [Fatype]

    [MyFonts] [More]  ⦿

    Anton Koovit

    Anton Koovit was born in Tallinn, Estonia, in 1981, and studied graphic design at the Estonian Academy of Arts, ESAG Paris and at the Gerrit Rietveld Academy in Amsterdam. In 2006, he obtained a masters in type design at KABK in Den Haag. Anton set up his own company Khork OÜ in 2006. In 2007 he moved to Berlin, Germany. He is "extraordinary assistant professor" of typography/type design at the Estonian Academy of Arts.

    In 2012, he and Yassin Baggar set up Fatype, a type foundry in Berlin and Neuchatel, Switzerland.

    His most well known typeface design is Adam BP (2007, B&P Foundry), a 4-weight sans family. He also designed Aleksei (2010, unreleased serif face), GQ Slab, GQ Baton (b Anton Koovit and Yassin Baggar), U8 (2010: a grotesk family based on lettering in the Berlin underground), Arvo (2010: a free slab serif family at Google Font Directory, co-designed with Yassin Baggar). Anton Koovit and Yassin Baggar offer a new take on U8 in their UCity typeface family (2019).

    Experimental typefaces by him include Kork Sausage, Boudo (collage alphabet), Planton, Velo (geometric).

    Allan (2010) and Arvo are free at the Google Directory.

    Fontsquirrel link. Behance link for Fatype. [Google] [MyFonts] [More]  ⦿

    Anton Krause

    Hamburg-based designer of the steampunk font Steamjunk (2014). [Google] [More]  ⦿

    Anton Nevin

    Hamburg, Germany-based web and graphic designer. In 2017, he created the squarish typeface Bricker. Behance link. [Google] [More]  ⦿

    Anton Schilli

    German designer who studied at FH Trier. Creator of Line Ultralight (2011, a hairline monoline sans). Dafont link. [Google] [More]  ⦿

    Antoni Tudisco

    Hamburg-based designer of Cleptotronik (2012), a 3d visual effects caps alphabet.

    Behance link. [Google] [More]  ⦿

    Antonia Cornelius

    German type and communication designer, lecturer and researcher with a special interest in legibility and readability (b. 1989). She obtained a Bachelor's in communication design with Jovica Veljovic at Hamburg University of Applied Science, where her thesis was entitled The Letters in my Head. What Creatives should know about reading processes in order to design joyful reading experiences. She also did a Master's with Veljovic, which led to her Legilux typeface family (a transitional serif with optical sizes as well as a sans serif) and further research on legibility. She graduated in 2017. Antonia joined Dutch Design in 2017 and extended the FF DIN family to FF DIN Slab. Furthermore, she re-engineered the whole FF DIN family itself to make variable fonts; she also added Bulgarian Cyrillic and other characters; finally, she also made FF DIN Stencil into a functional three axis variable font. Since 2018, she teaches type design at Muthesius University of Fine Arts and Design in Kiel.

    Her typefaces:

    • Legilux (2016). A transitional serif with optical sizes as well as a sans serif developed during her Masters studies at Hamburg University of Applied Science.
    • FF DIN Slab (2022). With Albert-Jan Pool.
    • FF DIN Slab Variable (2022). With Albert-Jan Pool.
    • FF DIN Stencil (2022). With Albert-Jan Pool and Achaz Reuss.
    • FF DIN Stencil Variable (2022). With Albert-Jan Pool and Achaz Reuss.
    • FF DIN Paneuropean (2022). With Albert-Jan Pool, Achaz Reuss, Aleksei Chekulaev and Panos Haratzopoulos. See also and FF DIN Paneuropean Variable (with Achaz Reuss, Aleksei Chekulaev, Albert-Jan Pool and Panos Haratzopoulos).

    Antonia Cornelius won the People's Choice award for Legilux in 2016 at the Morisawa Type Design Competition 2016.

    Speaker at ATypI 2018 in Antwerp on the topic of legibility: Typeface designers Antonia Cornelius and Björn Schumacher conducted a preliminary study for their final master's projects. They set up a reading-speed test by reverting to well-tried test material, which they set in their new typefaces Legilux and Text Type as well as the common Walbaum Standard. Focusing on the effect of the optical scaling method, the typefaces were tested in two sizes: 1.5 mm and 1 mm x-height. The results tend to show a positive effect for optical adjustments in type designs. [Google] [MyFonts] [More]  ⦿

    Antonia Huber

    German designer of the smooth organic display typeface Cirrus (2008, Avoid Red Arrows). [Google] [More]  ⦿

    Antonia Schön

    At Hochschule RheinMain, Wiesbaden, Germany-based Antonia Schön designed Morsch (2018), an interesting typeface that combines the angularity of blackletter with the primitive nature of wood type. [Google] [More]  ⦿

    Anya D

    Berlin, Germany-based designer of Mamma Mia (2017). [Google] [More]  ⦿

    Apostolos Simeonakis

    Designer of screen fonts for 5 to 8 point at screentype.de (or: Cybedesign): Tolski (2000) and Totally Regular (2000). [Google] [More]  ⦿

    Apply

    Defunct type magazine published by the German foundry, Apply Design. [Google] [More]  ⦿

    Apply Design Group
    [Thomas Sokolowski]

    German foundry (est. 1989) based in Hannover and run by Thomas Sokolowski, selling mainly display fonts. Thomas made standard ransom note fonts such as Mystery EF Mixed (1990). He also designed about ten clean old typewriter fonts such as Old Typewriter EF Regular, 1990. Other fonts include the ultra-thin Spirit EF, Imprimeur Classique (1989, a computer modern face), Scripture (1990, handwriting).

    Sokolowski founded Apply Design Group in Hanover, Germany, in 1989. Apply Design Typeface Library. Overview.

    Fonts and designers: DNA (by Steven Boss), CasaSeraSera (by Yanek Iontef), Nurse Ratchet (by Don Synstelien), Thordis, Amoebia (by Jens Gehlhaar), Aspera (by Harald Oehlerking), Bastard (1995, Ansgar Knipschild), BigDots (1993, Andreas Klimek-Falke), Birds (Manfred Klein), Blindfish (1992, Jens Gehlhaar), BodoniRough (1998, Thomas Sokolowski), FuturRough, GaramondRough (1997, Christian Terbeck), Rohrfeder-Rough (1997, Christian Terbeck), Bumpers, Casc Seta, Coltrane, Concept One, Concept Two, Cornwall, DamnedDingbats, DeconStruct, Electrobazar, Elside, EthnoFont, Fuzzy (1998, Jonas Gonell), Gagamond (1993, Jens Gehlhaar), Grind (1994, Ansgar Knipschild), Hansel (Catinka Keul, children's handwriting), Homeboyz (1994, Oliver Hoffmann), ImprimeurClassique (a didone font, 1993, Thomas Sokolowski), Indian Summer, Las Bonitas (1992, Thomas Sokolowski), MarieLuise (1994, Dietmar Schmidt), MedLed, Merz (1993, Thomas Sokolowski: not clear idf this is supposed to be a dada typeface), Monterrey (1993, Thomas Sokolowski), MoreKaputt, Mex (1992, Thomas Sokolowski), Mystery (1992, Thomas Sokolowski), Old Typewriter (1992, Thomas Sokolowski), Tierfreund, Thing (1993, Mathias Maassen-Pohlen), Paccer, Rio (1994, Alfred Smeets), Scripture, Spirit, Steelplate, Truck, Uhura (1993, Ansgar Knipschild), Xtronic (1995, Thomas Sokolowski), Tokay, ScreamHot, scanneZ, Fanatique, Euredice, and WhyNot. Great web presentation, and complete character sets. In grunge, Concept is as good as they come, for example.

    The company also sells a CD with erotic icons. CD ROM called "typografica" with high quality display fonts in PostScript. List of fonts. Fonts sold by Faces. Other type designers: Manfred Klein, Alexander Koch, Carlo Krüger, Antje Wolf.

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

    Apply Interactive

    German stencil typeface and typographic service outfit located in Hamburg. MyFonts site. Besides Caslon Fina Stencil and Serpentine Stencil (Dick Jensen), the following typefaces or families were made in 1999 by Sigrid Claessens and Günther Flake: Advera Stencil, Stencil Antiqua (1999, by Sigrid Claessens and Günther Flake), Arston Stencil, Chico Stencil, Ferro Stencil, La Pina Stencil, Lasertac Stencil, Reedon Stencil, Rounded Stencil, Walton Stencil, Western Stencil, Glaser Stencil (after a typeface by Milton Glaser), Bank Stencil (1930s typeface of Morris Fuller Benton), Geometric Stencil (originally by Paul Renner), Tea Chest Stencil (after a typeface by Robert Harling, 1939).

    MyFonts offers these fonts: Arston Stencil, Caslon Fina Stencil, Reedon Stencil, Western Stencil, Stencil Antiqua, Advera Stencil, Glaser Stencil, Rounded Stencil, Bank Stencil, Tea Chest Stencil, Lasertac Stencil, Geometric Stencil, Walton Stencil, Ferro Stencil, Serpentine Stencil, Chico Stencil, La Pina Stencil, OCR-A AI (Apply Interactive). [Google] [MyFonts] [More]  ⦿

    ArabTex
    [Klaus Lagally]

    If you use LaTeX and want the top of the line in Arabic fonts (and free too!), get the metafont that comes with ArabTex: From the University of Stuttgart, Professor Klaus Lagally's ArabTeX is a LaTeX extension for high-quality Arabic writing. It is free. Lagally is also responsible for the xnsh package for ArabTeX. CTAN archive. He published ArabTEX - Typesetting Arabic with Vowels and Ligatures, EuroTEX'92 (Prague), 1992. [Google] [More]  ⦿

    Aral

    Type foundry in Germany. [Google] [MyFonts] [More]  ⦿

    Archetypo.xyz

    Archetypo.xyz was set up in 2020 by Joaquin Contreras and Miguel Hernandez Montoya, South American type designers based in Germany. Their typefaces:

    [Google] [MyFonts] [More]  ⦿

    Ari Hausel
    [Aarhaus]

    [MyFonts] [More]  ⦿

    Ariane Spanier

    German designer who created some typefaces including Spanari. Interview. [Google] [More]  ⦿

    Arif Demir

    Designer and illustrator first based in Hannover and later in Munich, Germany. His creations include the sans typeface Edelmann (2013), which according to him was created as a blend of Futura and DIN. This font was created at Hochschule Hannover under the guidance of Florian Schick and Walter Hellmann. Behance link. Cargo Collective link. [Google] [More]  ⦿

    Armin Brenner

    Partner of Markus John at New Letters, a German design and typography studio cofounded in 2015 by both. In 2013, they co-designed Tilde (2013) and Meriva (2015). Armin also designed Voltaire (2014).

    In 2017, Markus John and Armin Brenner designed the high-contrast display and headline antiqua serif typeface Freya and published New Mériva Mono.

    In 2017, Markus John and Armin Brenner released their take on Helvetica / Neue Haas Grotesk, called Anais. Like Helvetica, it has horizontal / vertical terminals, but the x-height of Anais dominates.

    In 2021, they released the ink-trapped display typeface Kjell. [Google] [More]  ⦿

    Armin Retzko

    German designer of QuasariaLL Regular (1994), a font with really illegible extra-condensed characters.

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

    Arne Freytag
    [Fontador (was: Arne Freytag)]

    [MyFonts] [More]  ⦿

    Arne Götje
    [CJK Unifonts]

    [More]  ⦿

    Arne Meyer

    Berlin-based designer who studied at Hochschule Hannover. In 2016, he created DIN Blind (2016) which is a monospaced DIN adapted to Braille. It follows the E-DIN 32976 norm for tactile writing. [Google] [More]  ⦿

    Arno Drescher

    Type designer (b. Auerbach, Germany, 1882, d. Braunschweig, 1971) who studied at the Akademie für Kunstgewerbe in Dresden, and became professor there in 1920. During World War II, Arno Drescher was director of the Akademie für graphische Künste und Buchgewerbe in Leipzig. After a period as freelance designer, he finally moved to Braunschweig in 1960.

    Drescher is best known for his large geometric Super Grotesk family (Schriftguss, 1930). The list of his typefaces:

    • Appell (1933, Schriftguss).
    • Arabella (1936, Ludwig Wagner) and Arabella Favorit (1939, Ludwig Wagner). A cursive pair of typefaces. Digital revivals include Arabella (ca. 1999) by Dieter Steffmann and Arabella Pro (2006) by Ralph M. Unger.
    • Drescher Eilschrift (1934, Wilhelm Woelmer).
    • Drescher Versalien (1927, Schriftguss). Aka Drescher Initials. An open lineale titling typeface.
    • Duplex (1930, Typoart and 1937, Schriftguss). An all caps inline typefaces.
    • Energos (1932, Schriftguss). An early brush script. Revived by Ralph M. Unger in 2008 as Energia Pro (2008).
    • Fundamental Grotesk (1938-1939, Ludwig Wagner) and Fundamental Kursiv. In several weights.
    • Helion (Schriftguss, 1935, and Fonderie Française, 1935, a 3-d shaded outline font). Digitally revived by Ralph M. Unger in 2020 as RMU Helion.
    • Manutius Antiqua (1935, Ludwig Wagner), Manutius Kursiv (1935, Ludwig Wagner). This typeface is idenitical to Johannes Wagner's Antiqua 505 (1955).
    • Milo (1940, Schriftguss). A shadow typeface.
    • Onyx (1936, Schelter & Giesecke). A multiline art deco titling typeface.
    • Schreibmeister Kursiv (1958, at Ludwig Wagner). A formal cursive font. Schreibmeister (2021) is Ralph Unger's interpretation.
    • Super Grotesk (1930, Schriftguss). This geometric typeface family was revived at FontShop in 1999 by Svend Smital as FF Super Grotesk, and at Bitstream in 2001 by Nicolai Gogoll as Drescher Grotesk BT. Super Grotesk Schmalfett (1933) was revived in 2020 by Ralph M. Unger as RMU Gong.
    • Super Blickfang (1932, Schriftguss), Super Elektrik (1931, Schriftguss), Super Reflex (1931, Schriftguss). For a digital revival, see FF Super.

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

    Arnold Boecklin

    Jugendstil artist. The Jugendstil movement originated in the late 19th century in Bavaria around München and had artists like Boecklin. The driving force of the Jugendstil movement was the magazine Münchner Jugend which showcased the designs of German art nouveau artists.

    Scriptorium has a number of fonts based on the Jugendstil movement: Munich is derived from the hand-lettered title of the magazine, Jugend and Campobello are decorative initials designed for the magazine, and Phaeton is based on lettering from the period.

    Otto Weisert, who ran the Schriftgiesserei Otto Weisert in Stuttgart, designed the Jugendstil-style font Arnold Boecklin in 1904 (available at URW, Linotype, Adobe, Mecanorma, and others, and copied and modified tens of times)---it is that design that most typographers probably associate most with Arnold Boecklin.

    View some digital implementations of Arnold Boecklin. [Google] [More]  ⦿

    Arnold Erin

    German lettering artist. Designer of the felt pen and marker font Dahlia (2020). [Google] [MyFonts] [More]  ⦿

    Arnold Lämmel

    Author in 1969 of an article in Die deutsche Schrift of Schulschrift in Deutschland (about handwriting education in schools in Germany). [Google] [More]  ⦿

    Arnold Pannartz

    German printer (b. Köln, d. 1476), who left Mainz with Conrad Sweynheym to establish Italy's first printing press, in the monastery of St. Scholastica at Subiaco. There, they published three books, Cicero's De Oratore, the Opera of Lactantius, and St. Augustine's De Civitate Dei. In 1467, they set up a press in the De Massimi palace in Rome, from where they published 50 more books.

    Nicholas Fabian on Pannartz. Catholic Encyclopedia. Literature: Burger: The Printers and Publishers of the XV Century (London, 1902); Fumagalli: Dictionnaire géogrique d'Italie pour servir à l'histoire de l'imprimerie dans ce pays (Florence, 1905); Löffler: Sweinheim und Pannartz in Zeitschrift für Bücherfreunde, IX (Bielefeld, 1905), and Die ersten deutschen Drucker in Italien in Historisch-politische Blätter, CXLIII (Munich, 1909).

    Revivals of their typefaces, blends between humanist and blackletter, include:

    [Google] [MyFonts] [More]  ⦿

    Arnold ter Hoernen

    German printer, based in Köln, active from 1470 until 1483. Aka Arnold Therhoernen, Arnold ter Humen and Arnold Horn. Aka Arnold Therhoernen, Arnold ter Humen and Arnold Horn. Born in Hoorn (Zuidersee), he died in Köln in 1483 or 1484.

    In 2013, Shane Brandes created a typeface, Therhoernen, named after him. [Google] [More]  ⦿

    Arthur Eisenmenger

    Despite contradictory claims by the European politicians like Jacque Santer, then president of the European Commission, the Euro symbol was first designed (in 1973 and 1974) by a German designer, Luxembourg-based euro-fanatic, Arthur Eisenmenger (b. 1914, Basel, Switzerland; d. 2002, Eislingen, Germany), who was the former chief graphic designer of the European Community until his retirement in 1974. He also designed the European Union flag. Eisenmenger claimed that it was in fact he who created the symbol a quarter of a century before its unveiling in 1997. The European commission claimed that it was chosen in December 1996 after an internal competition headed by Yves Thibault de Silguy. [Google] [MyFonts] [More]  ⦿

    Arthur Ersosi

    During his studies at HSNR, Arthur Ersosi (Krefeld, Germany) designed the beautiful ultra-black humanist sans typeface Roy Black (2013). In 2015, he designed the loud advertising typeface Rabenstein Ultra (2015). [Google] [More]  ⦿

    Arthur Pestner

    German type designer, who created the blackletter headline typeface family Deutsche Reichs-Schrift (1915, Wilhelm Woellmer). Other weights: Fett (1915), Schmal (1924), Eng (1919), Schmalfett (1924), Schmalhalbfett (1917). [Google] [More]  ⦿

    Arthur Ritzel

    Ritzel (b. Offenbach, 1910, d. 2002) headed the letter drawing office at Stempel from World War II until his retirement in the late 1960s. He was responsible for the redrawing of Haas Neue Grotesk into Helvetica. German designer of Rotation (1971, Linotype), now available at Adobe and Linotype, and named after the rotation newsprint machine for which is was particularly suited. Linotype states: The font displays the influence of Old Face design and gives newsprint a feeling of lightness and elegance. Hunt Roman was cut in steel by Arthur Ritzel between 1961 and 1963, and cast by the Stempel foundry in Frankfurt in four sizes only, 12, 14, 18 and 24 points. It was designed as a private typeface for Mrs. Rachel McMasters Miller Hunt, The Hunt Botanical Library in Pittsburgh/Pennsylvania. Used with special permission by Jack Stauffacher, The Greenwood Press, San Francisco, and Sebastian and Will Carter, The Rampant Lions Press, Cambridge/England. Linotype link. [Google] [MyFonts] [More]  ⦿

    Arthur Schulze

    German punchcutter. Designer at Ludwig&Mayer of the blackletter typeface Werbekraft (1926) and of the script typeface Mammut (or Werbeschrift Mammut) (1927; see also L. Wagner in 1928 and 1932). At Schelter & Giesecke, he published Ambra (1924). At Lettergieterij Amsterdam, he created Schaduw Capitals (1919).

    Revivals include Schulze Werbekraft (Peter Wiegel, 2017) and WF Neue Werbe Kraft (Oliver Weiss, Walden Font, 2016-2017). [Google] [More]  ⦿

    Arthur Schuricht

    Born in 1882 in Leipzig, died in 1945 in Vienna. Creator of Hammerschrift (or Hammer Unziale), ca. 1921, a modern pseudo-Gaelic uncial typeface named after Victor Hammer. [Google] [More]  ⦿

    Arthur Smit

    Berlin, Germany-based designer of the free geometric poster typeface Metrika (2019). [Google] [More]  ⦿

    Artill (or Artill Typs)
    [Lukas Bischoff]

    Artill is Lukas Bischoff's foundry in Aachen (and before that, Trier), Germany, est. 2009. Lukas is a stylist and designer based in Trier. He created Sketch Rockwell (2008), one of the nicest sketched style fonts anywhere.

    Commercial typefaces include Luco Sans (2009), Sketch Block (2009) and the octagonal family Wombat (2009). Yaa (2010) is a hand-sketched headline font. Dock 11 (2011) is a (free) heavy art deco headline face. Sketch Gothic (2011) is a sketched Franklin Gothic.

    Typefaces from 2012: Zwodrei, Kurt (a hand-printed typeface), Artill Weather Icons (free).

    In 2014, together with Sascha Timplan at Stereotypes, he created the athletic lettering typeface family Atletico. See also here.

    In 2016, Sascha Timplan and Lukas Bischoff published the handsome sans typeface family Golden Sans. In 2016, Fargus Meiser and Lukas Bischoff co-designed Paul Grotesk and Paul Soft. In 2018, they added Paul Slab and Paul Slab Soft. In 2021, they released Paul Grotesk Stencil.

    Behance link. Blog. Old URL. Klingspor link. Abstract Fonts link. Dafont link. Behance link. [Google] [MyFonts] [More]  ⦿

    Artur Tenczynski

    , Hamburg, Germany and Stockholm, Sweden-based designer of the decorative typeface Indian Summer (2015) and the 3d number font FC (2019). [Google] [More]  ⦿

    Astrid Groborsch

    Designer at Brass Fonts in Cologne of the pictogram font BF Temptice (with Guido Schneider, 1998-1999). MyFonts link. [Google] [MyFonts] [More]  ⦿

    Astrid Scheuerhorst

    Hamburg-based lithographer (b. 1967). FF Call is her first font: it is a family of pixel fonts made in 2000.

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

    Astrid Zellmann

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    astype.de (or: Astype)
    [Andreas Seidel]

    Astype.de is a German foundry started in 2003 by illustrator and type designer Andreas Seidel (b. 1975, bad saarow, near Berlin, Germany). He lives in Cottbus, Germany. In 1998, he obtained a Masters degree in business administration. In 2007, he and Ingo Preuss set up The German Type Foundry. In 2017, he joined the initial crew at Fust & friends. The typefaces:

    • One of his first typefaces was Crayfish (originally a URW font, but withdrawn by Seidel from URW in 2002). Crayfish is a display type originally designed for an American Football club. The Crayfish typefaces are sold as Thunder Bold and Titan Bold.
    • Check his nice weather symbols (not a font).
    • He finished Ornaments Thanksgiving and the great ASTYPEOrnaments-WineGrape A (2004).
    • He is working on 14th century initials (2003).
    • He created Sattler (2003): Joseph Kaspar Sattler, one of the great German art nouveau artists created these nice initials in 1897 for the famous royal monumental book project Die Nibelunge for the Reichsdruckerei Berlin. Only 200 exclusive signed masterpieces were printed in four years from 1900 till 1904. Joseph Sattler was the art director, type designer and designer in one person. The Reichsdruckerei showed samples of the unfinished work in 1900 at the world exhibition in Paris to advertise the high craftsmanship of the German presses.
    • He made Heraut (2003), an art nouveau lettering typeface based on a 1901 design of Hermann Hoffmann called Herold Reklameschrift.
    • He created Sveva AS Versal (2003, art nouveau).
    • About Missa Solemnis, he writes: Solemnis was designed by Günter Gerhard Lange and first cut in metal 1953 (this is the date he quotes himself, other sources mention 1950 or 1952). It seems to be one of his earliest typeface designs that he had done as a freelancer for H. Berthold AG in Berlin. [...] Missa Solemnis AS is a new, remastered and extended version of Mr Lange's typeface. The font is available in the OpenType format and comes in two styles: 1953 and 2003. The 1953 style contains all characters of the original metal type, as well as a few additions. [...] The 2003 cut is more delicate and makes extensive use of the OpenType format. It contains over 650 glyphs, covering Roman-based languages of Western and Central Europe. His Solemnis inspired Simeon AS (2003), a 650-glyph uncial style face.
    • In 2004, he created Missale Incana, an interpretation of a typeface from Herbert Thannhaueser.
    • Still in 2004, he created ASTYPE Ornaments Christmas A2 and ASTYPE Ornaments Christmas A. These were followed in 2005 by ASTYPE Ornaments Christmas B.
    • He made Missale Lunea (2004). This has astroligical symbols, moon phases and medieval characters.
    • In 2005, the exquisite calligraphic script typeface Gracia was added, consisting of Gracia No. 44, 45, 54 and 55 (graceful calligraphic script), and Gracia Solo.
    • Paola is a redesigned, new interpretation of a brush typeface from Carl Rudolf Pohl.
    • He made Adana (2005): The roots of Adana going back to the year 1930, to the Berlin-based German graphic designer Wilhelm Berg. His typeface can be interpreted as an answer to Lucian Bernhards Schönschrift. The Initials are nearly close to the original drawings but the Circular typeface was changed dramaticly. Excentric, unusual forms and loops were changed to fit todays needs. Due to the lack of a corresponding Roman letter form, the Regular version was designed including small caps, fitting the contrast and swinging shapes of Adana Circular. Both typefaces play well together in all kinds of adverts, as well with designs like Bodoni or Didot.
    • Alea AS Initials (2005) is a floral faced based on the drawings of Maria Ballé.
    • Taiko (2006). A revival of Otto Arpke's Arpke Antiqua (1928, copperplate).
    • ASTYPE Ornaments Accolades A (2007), and ASTYPE Ornaments Accolades C (2011).
    • GTF Toshna Std (2008, German Type Foundry) is a garaldic type family in three optical weights, after a 1955 family called Tschörtner-Antiqua by Hellmuth Tschörtner that was very popular in the DDR.
    • Secca (2009, German Type Foundry) is a simple sans family rooted in early German grotesque type designs. See also Secca Soft (2014) and Secca Stencil (2015).
    • Nepos (2010) is an experimental modular type kit consisting of ready-made typefaces and a set of special BUILD fonts to build your own letters and ornaments. These BUILD fonts can be used on layers with different colors and overprinting for special effects. The effects like Antiplex can be considered as kitchen tiles. There are also color inversions and stencil types.
    • Secca Saloon (2011) is a versatile ornamental Western family.
    • Popsil (2011) is a white-on-black hand-printed poster face.
    • Ademo (2011) is a classic shaded layered 3d caps face, based on two typefaces designed by Carl Albert Fahrenwaldt that were published in 1931-1932 by Schriftguss AG.
    • Wood Bonnet Antique No.7 (2012) is based on real vintage wood type blocks from Switzerland.
    • VTG Stencil US No. 4 (2012) is based on plate US No. 4 from New York Stencil Works. This revolving stencil-plate was invented by Eugene L. Tarbox and patented in 1868. The military stencil fonts VTG Stencil US No. 2 (+Ornaments), VTG Stencil US No. 51, VTG Stencil UK No. 76, VTG Stencil Germany No. 101 (2014, modeled after historic blackletter stencil plates from Bavaria), and VTG Stencil US No. 72 followed in 2014. In 2016, he added Vtg Stencil DIN.
    • VTG Stencil Germany No. 1 (2013) is a set of nicely executed didone stencil typefaces based on real models used in Germany from 1871-1918 and later. There is a Sketch style.
    • Wood Poster Eight (2015) is a free wood type slab serif.
    • Alea Initials (2017, floriated caps).
    • Wood Bonnet Grotesque No 4 (2017).
    • The Vtg Stencil France series (2017) in substyles Vtg Stencil France No1, Vtg Stencil France No3 and No. 5.
    • The expressionist typeface Alarm (2017, Fust & Friends), which is based on an old design of Heinz König also called Alarm (1928, at Trennert).
    • Presto (2017, Fust & Friends), a revival of a script by Helmut Matheis (1970).
    • Vtg Stencil Italy No2 (2018).
    • Rocaie (2018). Decorative caps base on antique rococo letters from a gilding workshop.
    • Wood Heinz No.4 (2019). Wood Heinz No.4 offers up to four printed look variations of all the Latin base letters and figures. An OpenType letter rotator is programmed into the fonts to emulate the randomness of wood type printing. Also: Wood Heinz No.2 (2019).
    • Missale Solis (2019). An uncial typeface that overhauls Missale Lunea (2004).
    • Vtg Stencil UK No2 (2019).
    • Vtg Stencil Marsh (2020). Based on one inch stencils, cut by a Marsh machine. Marsh was an American stencil machine maker in the 1920s.
    • Bonnet Grotesque Narrow (2020). A condensed grotesque family.

    Behance link. Creative Market link. Fust & Friends link. Klingspor link. Home page. See also here.

    View Andreas Seidel's typefaces. [Google] [MyFonts] [More]  ⦿

    Atelier Carvalho Bernau
    [Kai Bernau]

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

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

    Typefaces:

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

    Klingspor link. [Google] [More]  ⦿

    Atelier im Dachgeschoss
    [Klaus Czytko]

    At Jakob Software, Jürgen Jakob offers these free fonts on behalf of its designer (I guess), Klaus Czytko from Atelier im Dachgeschoss in Göttingen, Germany: InternBlindenschriftBraille, InternBuchstabieralphabet, InternFlaggenalphabet (flags), InternMorsealphabet (morse), InternWinkeralphabet, InternZeichensprache (sign language). These are all made in 2001 and have copyright to Atelier im Dachgeschoss/Czytko in Göttingen, Germany. [Google] [More]  ⦿

    Atelier Vonau
    [Bernd Vonau]

    Mosbach, Germany-based designer of Mibelle (2015), Edmond Bold (2015), Brad Bold (2015, brush font), Josia (2015, handcrafted by a child), Palm Script (2015, curly font), Sarayon (2015, fat crayon script based on daughter Sarah's handwriting), Friday Script (2014), Vector Font No 5 (2015), Jekyde Bold (2015, fat brush font), Inkje Italic (2015, brush),Bbambink (2015) and Bambist Condensed (2015, hand-made with bamboo pen and ink).

    Typefaces from 2016: Miller Mini, Palim (grungy curly script), Mondeen, Mondeen Condensed.

    Typefaces from 2017: JuliMoon. Creative Market link. [Google] [More]  ⦿

    Athos Santiago

    Essen, Germany-based designer of the sports font Born & Bred (2019), which is being used for athletic gear by Decathlon. [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]  ⦿

    Atlier Hurra
    [Thomas Witte]

    Thomas Witte (Atlier Hurra, Berlin, Germany) created the dingbat typeface Hurra verve in 2014. Another URL. Behance link. [Google] [More]  ⦿

    Attila Korap

    Font technology specialist at Linotype, Germany. He was born in Manisa (Turkey) in 1974 and grew up in Marburg (Germany) before moving to Frankfurt in 1994. He studied political science and computer science at the Johann-Wolfgang-Goethe Universität and later at the Fernuniversität Hagen. He joined Linotype as an intern in 2000 before becoming the full time Font Technology Specialist in 2002. At ATypI 2008 in St. Petersburg, he spoke about Automation in font production. Speaker at ATypI 2011 in Reykjavik on the topic of web fonts. [Google] [More]  ⦿

    ATypI Technology Committee Meeting

    Held in Heidelberg, Germany, on February 20, 2003 in the afternoon, at Zum Güldenen Schaf, Haupstraße 115, Heidelberg. Open to everyone. [Google] [More]  ⦿

    Augenbluten
    [Axel Pfaender]

    Free fonts at the German outfit Augenbluten (Mac only): Poprock, Destroy Dingbats, Menace, Destroy Gotisch (Fraktur), Excellence (multiline font), Augmented, Maschinen (octagonal), Nano, Mikrokomputer (pixel face). All these fonts are by a group of four people among which we find Axel Pfaender. The group calls itself "interfaces - symposium ueber schrift und sprache". PC versions at Augmented.de.

    Dafont link. [Google] [More]  ⦿

    August E. Woerner

    Punchcutter born in Frankfurt am Main (1844), who died in New York in 1896. He worked for some time at A.D. Farmer&Son in New York, as well as at Conner Type foundry, and at Bruce Type foundry after his emigration to the USA in 1868. In Germany, he was a punchcutter at Flinsch and from 1864-1868 at Haas in Basel.

    McGrew says: Merrymount was designed by Bertram G. Goodhue for Daniel B. Updike's Merrymount Press in Boston, and was cut only in 18-point. This was used in an impressive Altar Book, which established the reputation of Updike and his Press. Steve Watts says the typeface was cut by Mr. [August] Woerner of A. D. Farmer&Son Type Foundry in New York. The original punches and matrices are preserved by the Providence (Rhode Island) Public Library as part of its extensive Updike Collection, where a note with the mats says, "Cut by A. Woener (sic), June 21st, 1895."

    His typefaces: Bruce No. 11, No. 13 and No. 21 (Bruce Type foundry), German no.91 (1876, Bruce), Penman Script No.2053 (Bruce), Merrymount (1896, Merrymount Press), and the following typefaces published at Farmer, Little & Co: Card Gothic (1893), Gotham (ca. 1890), Lightface, Old Style No. 5 (ca. 1887), Old Style No. 5 Italic, and No. 6, 15, 17, 18, 20 21, 22 and 23. [Google] [More]  ⦿

    August Haiduk

    Creator (b. 1880, Gleichenberg) of Haiduk Antiqua (1908, Bauersche Giesserei) and Haiduk Antiqua Halbfette (1910, Bauersche Giesserei). He also made Haiduk Kursiv (1910, Bauersche Giesserei). [Google] [More]  ⦿

    August Piehler

    German creator of the display typefaces Piehler Schrift (1922) and Piehler Kursiv (1923) at Schriftguss AG vormalich Brüder Butter. [Google] [More]  ⦿

    August Rosenberger

    German punchcutter, b. 1893, Frankfurt, d. 1980, Frankfurt. At D. Stempel AG, he cut Zapf's flower alphabet. The flower initial caps appear in a book "Das Blumen-ABC", couthored by Hermann Zapf and August Rosenberger, and is based on Zapf's brush drawings from 1943-1946. [Google] [MyFonts] [More]  ⦿

    Augusto Siccardi

    Graphic designer at Brrrands in Berlin, Germany. In 2017, he designed the free display sans typeface Ascardi Sans and writes: Ascardi Sans is a retro display font with a touch of murkiness to it. Inspired by American advertising, Italian posters, logos and signs from the 1960s until late in the 20th Century. This typeface is designed for headlines, posters, and corporate identities. The characters were originally hand drawn with a Parallel Pen. Ascardi was conceived as a timeless font. Behance link. [Google] [More]  ⦿

    Aurelian Hallhuber

    German type and graphic designer. He used Morse code in the creation of the experimental typeface New Samuel (2012). [Google] [More]  ⦿

    Authentic
    [Julius Wiescher]

    German foundry, est. 2009 by Julius Wiescher (b. 1991), who is the youngest son of famous type designer Gert Wiescher. His font Thin Pen (2009) is based on an ancestor of the German DIN-Schrift. The font was traced with a plastic template on transparent paper, scanned and worked over carefully to keep the handmade, authentic touch. Other fonts by him: DonJulio and Donna Julia (2008, Autographis, calligraphic script fonts made with Gert), Flatpen (2008, Autographis, with Gert), Norm Pen (2011, based on an ancestor of DIN Schrift), Bold Pen (2011, bold version of Norm Pen), Groucho (2011, a high-contrast flowing script), Authentic (2011, a connected copperplate script), Oldhand (2011, shaky handwriting), Holz Caps (2011, an irregular wood type simulation face), Poing (2011, a flowing calligraphic script), Cri Cri (2011, slab serif comic book face).

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

    Autographis
    [Gert Wiescher]

    München-based foundry, est. 2008 by Gert Wiescher, whose main font foundry is Wiescher Design. Myfonts link. Specializing in handwritten scripts and rough fonts, they created Obsession A through F (2012, a penmanship typeface family), Pigalle Swing (2012), Amaro (2011, a signage script family; + Amaro Block, +Amaro Fleurie), Obsession (2011, a calligraphic family), Astara (2010), Golden Love (2010), Homer (2010, a comic character script), Moon Love (2010), Perfecto (2010), Nikita (2009, upright connected script), English Lazy Bird (2009), Script Hand (2009), Angel Eyes (2009), Cheap Thrill (2009), Viva Maria (2009), True Love (2009), WildThing (2009), Doria (2009), Verena (2009), Astria (2009), Chloe (2009), Bea (2009, brush), Xan (2009, rough Japanese-style script), Fat Sally (2009, comic book face), Wally (2009, calligraphic), Ysadora (2009, calligraphic), Zoe (2009, calligraphic), Joyosa (2009), Ulissia (2009, hand-drawn slab serif), Querida (2009), Riana (2008), Quiana (2008), Quirina (2008, calligraphic), Naomi (2009, calligraphic; based on his Nana), Don Julio (2008, calligraphic), Donna Julia (2008, calligraphic), Novita (2008, calligraphic), Novido (2008), Flatpen (2008, a rounded sans face), Kato (2008), Leona (2008, brush script), Tina (2008, fat brush), Maeva (2008, calligraphic script), Oona (2008, like Maeva), the brush script Paula (2008), the upright cursive typefaces Grazia (2008) and Greta (2008), the brush script Juliana (2008), the comic book style typefaces Carina (2008), Isara (2008), Kiki (2008), and Fanny (2008), and the calligraphic script typefaces Dalia (2008), Elisara (2008), Simona (2008), Helenia (2008), Annabella (2008), Brigitta (2008) and Constanza (2008). Gert writes about himself: I went to Paris when I was very young, just for the sake of art. That caused many a sleepless night to my beloved mother, but she accepted my decision. Once I met Salvador Dalí, but he did not take me very seriously. To this day I dont know why! After some years I decided to start a serious life. I got married and studied graphic design at the Hochschule der Künste in Berlin. Making detours, once more to Paris, then to Barcelona, where I designed the OECD pavillion for the Osaka World Expo at the office of Harnden&Bombelli, I reached South Africa. Grey and Young advertising got to know me! I had to fiddle around with Agfa cameras and films, Epol dog-food, several kinds of toilet paper, unbelievable insurance companies and I-dont-know-what. Sometime on a holiday in Munich I stayed there. Someone made me an offer I did not want to refuse. DFS&R-Dorland bought me out of South African slavery! I now became an art-director for Paulaner, CMA, Phillip Morris, and Peugeot. Being a young adventurous man, I changed to the Herrwerth&Partner agency, which at that time was supposed to be the most creative outfit in town. Mister Herrwerth taught me to think simple. I was allowed to introduce IKEA into the German market. Afterwards I became Creative Partner with Lauenstein&Partner. That was OK, til someone discovered his love for horses! Thats when I rented my own office in 1982! Since then I design some typefaces per year, I guide a couple of nice young people (apprentices) along to designer stardom. I write a couple of books and newspaper articles about design, computers, food, drink and crime! As a graphic designer I have nothing but happy clients! I am open to every challenge! [Google] [MyFonts] [More]  ⦿

    Avila Tiu

    As a student at HMKW Köln, Avila Tiu designed the modular 3d typeface Paige (2017). [Google] [More]  ⦿

    Avoid Red Arrows

    The students of arts and design at HfG Karlsruhe present their work in 2008: Amoto (Nadja Schoch), Barbarossa (Peter Stahmer: grunge), Cirrus (Antonia Huber: liquid style), Fourty Five Degrees (Emanuel K: octagonal), Hopfen (Martin Borst: display sans), Letrix (Miriam Bauer: modular octagonal), Lokomo (Claudia Kappenberger: experimental), Mayfield Display, Monta (Stefanie Miller), Moto Moto (Piero Glina: octagonal), Nancy (Masa Busic: art deco), Oceanic (Simone Gier: rounded techno), Platine (Lise Naujack: multiline, inspired by chip wiring), Pluk (Simon Roth: poster stencil), Quitt (Marko Greve: experimental multiline), Sophonho (Daniel Schludi: display sans), Vahen (Nicolaz Groll: display sans).

    Avoid Red Arrows is run by Marko Grewe, Stefanie Miller, Simon Roth, and Peter Stahmer. [Google] [More]  ⦿

    Axel Bertram

    Axel Bertram was born in Dresden in 1936. He studied at the Berlin Weissensee Academy of Fine and Applied Arts. From 1972 to 1986 and from 1989 to 1992 he worked as a university lecturer in typeface and graphic design at the Berlin-Weissensee Academy of Fine and Applied Arts. He was made professor in 1977. He has been active in graphic design, publicity work, and most importantly, digital typeface design.

    Designer of delicately quaint Lucinde family in 16 styles (2011, Linotype), in collaboration with calligrapher and type designer Andreas Frohloff. Lucinde was later renamed Rabenau. Images: i, ii, iii.

    Linotype writes: In March 1999, Axel Bertram carried out the first test prints of a typeface which he had originally developed for his own use. He had been searching for an appropriate script to evoke both a significant period in the history of printing and the literary historical milieu of Berlin around 1900. His attention was drawn to Friedrich Schlegel's novel Lucinde which appeared to great acclaim in 1799 and whose ideas found great sympathy in Axel Bertram. (The novel deals with the major re-ordering of the roles between men and women, in particular arising from the lifestyle of a young Romantic. Sensibility and intellectual attraction, earthly and heavenly love were no longer to be seen as irreconcilable opposites and certainly not to be seen as being divinely pre-ordained for one sex only. This was a small historical step on the path towards equality of rights for the sexes. The novel remained an incomplete fragment and the ideas contained did not catch on in the author's lifetime. These new demands had, however, found a voice and continued to resonate.) In 1999 the new typeface was therefore dedicated to the ideals of this young Romantic with all its sublime insolence.

    In 2012, he published FF Videtur, together with Andreas Frohloff: The concept for FF Videtur is based on bitmap fonts Axel Bertram created for the state television broadcaster in East Germany (GDR Television) during the 1980s. Thorough research and testing led to the creation of an open, functional serif typeface with alternating contrast. Freed from yesteryear's technical restrictions, the new FF Videtur was entirely redrawn while keeping the best characteristics of the earlier forms. Despite its workmanlike appearance at first glance, its warm character is undeniable. The reasons for this are its modest stroke contrast; the open, clearly differentiated letterforms; the relatively short and rounded wedge-shaped serifs; and the consistent rhythm it sets in lines of text.

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

    Axel Peemöller

    Young designer at fontgrube who made Polymer. [Google] [More]  ⦿

    Axel Pfaender
    [Augenbluten]

    [More]  ⦿

    Axel Stoltenberg

    German Ikarus program developer at URW++. He was also part of the team that developed the font software program DTL OT Master, which was programmed at URW++ in Hamburg, Germany. The team comprised Dr. Juergen Willrodt, Axel Stoltenberg, Hartmut Schwarz, Peter Rosenfeld and Frank E. Blokland, with Karsten Luecke as advisor and also author of the OTM manual.

    In 2014, Axel and his daughter Anna Stoltenberg co-designed Three Dee (URW++), a creamy 3d shadow typeface with overlapping letters. The shadows were developed with the Ikarus program. Inspiration came from chalkboard restaurant menus. [Google] [MyFonts] [More]  ⦿

    B. Stonefield

    B. Stonefield (Hamburg, Germany) created Stonefield Script (2011, a marker script), and Stonefield (2011, a rounded art deco style stencil family). [Google] [More]  ⦿

    B. Wichmann

    German web developer. FontStructor who made Eldsie (2012). [Google] [More]  ⦿

    B2302
    [Simon Becker]

    Berlin-based designer Simon Becker (aka B2302) created Legere (2012, HypeForType). It has Light, Regular and Deco styles.

    In 2013, with Federico Neeva Orrù, he created a versatile octagonal multiline display family, Vasarely, named after optical artist Victor Vasarely.

    In 2014, Simon designed the manicured sans typeface family Helado together with Sabrina Ekecik and Benjamin Campana. Vagtur (a tweetware hybrid of VAG Rounded and Fette Fraktur) was co-designed with Sabrina Ekecik.

    In 2016, he designed the deco typeface Twokes.

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

    Bad Taste Design
    [Bianca Schlich]

    German creator of the spurred typeface Biker Diamond (2017) and the tattoo fonts Bad Sailor (2018), Sailors Diary Sans (2018) and Sailors Diary Title Slab (2018). Graphicriver link. [Google] [More]  ⦿

    Baldericus van den Horick

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

    Bank Graphic Design Today
    [Sebastian Bissinger]

    BANK is a French/German design agency based in Berlin, led by Laure Boer and Sebastian Bissinger. It marketed its fonts through T-26, starting in 2009, but later switched to Colophon. In 2009, Sebastian Bissinger and Matthieu David made the display typefaces Sintra and Yummy. Sintra is a 3d typeface that simulates letters made from folded material---Sebastian Bissinger was inspired by the sign of a shoe shop in Sintra, Portugal. Yummy was inspired by cookie cutters.

    Laure Boer and Sebastian Bissinger published their all caps license plate font Guida at Colophon Type Foundry. Guida is based on an Italian license plate that was in use some time between 1980 and 1990. [Google] [More]  ⦿

    Baptiste Stecher

    Berliner who designed Termino511 (2011) during his studies at the University of Applied Sciences Potsdam. Behance link. [Google] [More]  ⦿

    Barbara Cain

    Born in 1954 in Löpten, Germany, Barbara cain studied at the Hochschule für Grafik und Buchkunst in Leipzig. Designer at Typoart of Fetta Antiqua and Schmallfette Antiqua, two didone typefaces. [Google] [More]  ⦿

    Barbara Klingenberg

    Flensburg, Germany-based designer of the potato print typeface Rue Morgue (2017). [Google] [More]  ⦿

    Barske.com
    [Helge Barske]

    German foundry that had some free offerings by Berlin-based graphic designer, typographer and illustrator, Helge Barske. In 2001, he made Dirty Bitch, Kombuese, Badfag, Gogogogo, Kloezzler, Klozzbats, Krossklozz, Mahoney, Pixelplastique, Plastiquekingdom, Sinner (constructivist), Snowbats, Stanzefett, Suplex. Several dot matrix and pixel fonts. The fonts typically had no punctuation though. At some point, the free font pages disappeared. KingConvex (2009, hairline) was shown at Behance. Schneusel Sans (2010) is a soft octagonal face.

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

    Bart Laubsch

    During his studies in Berlin, Germany, Bart Laubsch created the slab serif typeface Ciclotta (2012). [Google] [More]  ⦿

    Bart Stax
    [Kraftfahrzeugkennzeichen]

    [More]  ⦿

    Bartholomaeus Ghotan

    Bartholomäus Ghotan was the foremost authority on printing liturgical texts in his era. He had previously worked as a priest at Magdeburg (Germany) where he learned about book printing and decided to start a new career. His clerical training made him an expert on the subject of liturgical books and he printed the very first missal, Missale Praemonstratense there in 1479. Ghotan moved to Lübeck and continued to make liturgical books. In 1486 he was invited to Stockholm where he printed several books for Swedish dioceses, including Missale Strengnense. In 1487 he had a disagreement with the government led by regent Sten Sture and returned to Lübeck where he printed Missale Aboense in 1488. Ghotan continued printing books in Lübeck for several years before deciding to open a printing shop at Novgorod in 1493. He probably died in Novgorod in 1494. Some suspect that he was killed in the disturbances caused by the conflict between the Hanseatic League and Czar Ivan the Great but the real cause of death is unknown.

    The letterforms of the digital font Missaali (2016, Tommi Syrjänen) are based on Missale Aboense. Ghotan followed the standard practice of the time and set the missal using textura, a type based on textualis formata that was the prevalent late-medieval script in Germany for the most valuable manuscripts. Thirty years earlier Gutenberg had used the same script for his famous bibles. Missale also has a number of large initials that are mostly set in the Lombardic style. [Google] [More]  ⦿

    Bartholomaeus Zientek

    German designer at Team 505 who is based in Berlin. During his studies, he created the bike-themed font Felge (2012, with David Benski). Behance link. Cargo collective link. [Google] [More]  ⦿

    Basari Design

    Berlin-based studio. Designers of the icon font The Earth (2016). Creative Market link. [Google] [More]  ⦿

    Basil Boyacos

    Berlin, Germany-based designer of the free weathered blackletter typeface family Au (2018). [Google] [More]  ⦿

    Bastarda -- Schwabacher

    Bastarda (Schwabacher in German) dominated printing in Europe in the last part of the 15th and the first part of the 16th centuries. It breaks with the heavy Textura that Gutenberg used in his first books and his bible. All of the Lutherian books were set in Schwabacher, which was nearer to handwriting. It was probably first used by Johannes Bäumler in Augsburg in 1472. In any case, it was in use in Nürnberg in 1485, and showed up in 1490 in Anton Koberger's Schedelsche Weltchronik and in 1498 in Albrecht Dürer's Apokalypse. Examples: a hand-drawn Schwabacher from 1489, a sample by Johann Schoeffer in Mainz, dated 1521, and a fancy title page. In the middle of the 16th century, it was displaced by fraktur as the most-used German typeface. German link. Characterized by the pointed o (both top and bottom), the Asian-looking "g", the Garamond-like "h" and the "A" that thinks it is a "U", it was rejuvenated in the 18th century by German foundries such as Genzsch and Heyse (Alte Schwabacher, 1835, and Neue Schwabacher, 1876) and Klingspor (Offenbacher Schwabacher, 1900), and type designers such as Ehmcke (1916) and Schneidler (1918) who all produced beautiful readable typefaces.

    The French bâtarde (bastarda) became popular in France under the patronage of Jean, Duc de Berry, 1340-1416, and remained popular well into the 1600s. It is largely similar to Schwabacher although Schwabacher shows the (unreadable, U-like) open capital A that bâtarde avoids, as a rule.

    There are many digital Schwabacher typefaces. See, e.g., Alte Schwabacher by Berthold, Alte Schwabacher by URW++, or Adobe's Duc de Berry, Bigelow's Lucida Blackletter, or P22's SchwarzKopfNew and SchwarzKopfOld. [Google] [More]  ⦿

    Bauersche Giesserei blackletter fonts

    Andreas Seidel lists the blackletter typefaces published by the Bauersche Giesserei (and I added a few more):

    • Flinsch Privat, 1919
    • Renata, 1914. Digital revivals as renata by Gerhard Helzel, and later by Peter Wiegel.
    • Bernhard Fraktur, 1913-22
    • Frankfurter Fraktur, 1905 / after 1911 renamed to Flinsch Fraktur
    • Flinsch Germanisch, 1876
    • Zentenar Fraktur, 1937, named after the 100-year anniversary of the Bauer Foundry
    • Herkules-Gotisch (1898)
    • Hoyer Fraktur, 1935-37
    • Weiß Gotisch, 1936, E. R. Weiß
    • Weiß Rundgotisch, 1937
    • Weiß Fraktur, 1914
    • Element, 1933
    • Gotika, 1933
    • Laudan Kanzlei, 1913
    • Manuskript Gotisch (1905-1923; note: I thought the correct date was 1899), made after letters created by Wolfgang Hopyl in 1514.
    • Leipziger Fraktur, 1909
    • Wieynck Fraktur, 1912, Prof. Heinrich Wieynck
    • Gotisch, 1906, Georg Barlösius
    • Enge Gotisch (1880). Digital version by Gerhard Helzel done in 2008.
    [Google] [More]  ⦿

    Bauersche Giesserei: Hauptprobe in gedrängter Form der Bauerschen Giesserei

    Type specimen book by Bauersche Giesserei published ca. 1915. Open Library link. Archive.org link. Local download. Local download, colored version [27MB].

    An earlier and more volumunous book of specimens is Hauptprobe der Bauerschen Giesserei in Frankfurt am main und Barcelona (Frankfurt am Main, 1907). [Google] [More]  ⦿

    Bauersche Schriftgiesserei

    Frankfurt-based foundry started in 1837 by Johann Christian Bauer. At the end of the 19th century, the new owner was Georg Hartmann. On its staff, it had designers such as Konrad F. Bauer [Alpha (1954), Beta (1954), Folio (1956-63), Imprimatur (1952-55), Volta (1956), Verdi (1957), Impressum (1963), all made with Walter Baum], Lucian Bernhard [Bernhard Condensed, 1912], Hugo Steiner-Prag [Batarde, 1916], Julius Diez [vignetten, 1910-1912], Henri Wieynck [Trianon, 1906; Cursive Renaissance, 1912; Wieynck-Kursiv, 1912], Georg Hartmann, Paul Renner [Futura, 1937], Emil Rudolf Weiß [Weiß Fraktur, 1924], Berthold Wolpe [Handwerkerzeichen, 1936; Hyperion, 1931; Rundgotisch, 1938] and F.H. Ernst Scheidler [Legend, 1937]. In its glory period, Bauer's leader was Heinrich Jost (1889-1949), from 1922 until 1948, who with punchcutter Louis Hoell made a beautiful version of Bodoni, now known as Bauer Bodoni. A New York office was set up in 1927, but after the 1960s, the foundry declined and finally closed its doors in 1972. Its typefaces were passed on to its Barcelona branch, Fundición Tipográfica Neufville. See also here. Digitized typefaces include Futura ND (Paul Renner, redigitized by Marie-Therésè Koreman at Neufville in 1999), Edison Swirl SG (late 1800s, digitized by Spiece Graphics), Gable Antique Condensed SG (late 1800s, digitized by Spiece Graphics), Weiß (Bitstream, based on a family made in 1924-1931 by Emil Rudolf Weiss), Bauer Bodoni (1926, FT Bauer, made by Heinrich Jost and Louis Hoell), Bauer Bodoni (Adobe version), Candida (1936, now digitized at FT Bauer), Charme (1957, now available from FT Bauer), Impressum, Imprimatur, Venus (1907-1927, now at FT Bauer), Venus and Hermes (both available at Linotype; Venus is also at URW), Volta (1955), and Phyllis (1911, aka Wieynck Cursive). Other typefaces: Bernhard Cursive (1962), Constantia, Hellenic Wide (1962), Lucian (1962), Cantate (1962), Gillies Gothic (1962), Horizon (1962), Folio (1962), Bauer Beton (1962), Bauer Topic (1962), Bauer Classic (1962), Elizabeth (1962), Cartoon (1962), Trafton Script, Astoria, Lilith, Legend (1937), Fortune, Folio Kursiv, Folio Grotesk (1960), Cantate (1958), Papageno (1958), Verdi (1957), Amalthea (1957), Magic (1955), Steile Futura Kursiv (1955), Columna (1955), Maxim (1955), Tivolischmuck (1950), Symphonie (1938, by Imre Reiner, in 1945 called Stradivarius), Weiß Antiqua (1950), Legende (1950), Quick (1950), Ballé Initials (1940), Beton (1940), Corvinus (1934), Bernhard Roman (1930), Hyperion (1931), Volta Kursiv (1955), Rundgotisch (1938), Hoyer Fraktur (1935), Gotika (1934), Jubilaeums-Initialen (1902), Jubilaeums Antiqua (1902), Victoria Antiqua (1902), Künstler Grotesk, Lichte Futura (1931), Weiß Fraktur (1924), Reklameschrift Herkules, Herkules-Gotisch (1898), Enge Gotisch (ca. 1880: digital version by Gerhard Helzel), Ehmcke Antiqua (1921), Batarde (1916), Wieynck-Kursiv (1912), Zweifarbige Grotesk Kursiv, Cursive Renaissance (1912), Manuskript Gotisch (1899; after Wolfgang Hopyl, 1514), Graziosa (1914 or earlier, script face), Kleukens Antiqua (1910), Barlösius Schrift (1906-1907, H. Barlösius), Trianon (1906), Hohenzollern (1902, + Initialen), Telefunken (1959), Sinfonia (script), Amerikanische Alt-Gotisch (1903, influenced by Henry William Bradley's and Joseph Warren Phinney's 1895 art nouveau face, Bradley). Some of their vignettes were captured in Dieter Steffmann's Schluss Vignetten (2002). In house samples: AntiquaBrotschriften-IX-Garnitur, Einfache Kanzlei (ca. 1830), Enge halbfette Zeitungsfraktur, Fette Gotisch, Moderne halbfette Fraktur, Gotisch. [Google] [MyFonts] [More]  ⦿

    Bauhaus Hoch: 24. Forum Typografie

    Type meeting in Weimar, Germany, held from 17-20 September 2009. Speakers included Wolfgang Beinert, Axel Bertram, Uwe Brückner, Lucas de Groot, Ralf de Jong, Gerd Fleischmann, Ralf Hermann, Eike König, Alessio Leonardi, Andreas Maxbauer, Hans Eduard Meier, Jörg Petri, Albert-Jan Pool, Mariko Takagi, Dirk Uhlenbrock, Vilim Vasata, and Olaf Weber. Alternate URL. [Google] [More]  ⦿

    Bauhaus School
    [Walter Gropius]

    The Bauhaus school was founded in 1919 by Walter Gropius. It was based in Weimar (1919 to 1925), and then in Dessau (1925 to 1932), and finally in Berlin (1932 to 1933), before it was closed by the Nazi regime. Its directors were Walter Gropius (1919-1928), H. Meyer (1928-1930) and Mies Van der Rohe (1930-1933).

    The Bauhaus movement, which cut almost everything to its bare minimum and naked essentials, influenced art, architecture, graphic design, interior design, industrial design, and typography. Its typographical masters included Josef Albers (who made Kombinationsschrift in the 1920s), Herbert Bayer (famous for his Universal), Joost Schmidt and Kurt Schwitters. Bauhaus-style typefaces emerged everywhere---Futura (Paul Renner), Super Grotesk (Arno Drescher), and the types of Moholy-Nagy.

    Among the digital representatives, we note ITC Bauhaus (1975, Ed Benguiat and Victor Caruso), BH Geometric 572 (Bitstream), P22 Bayer, R790 (Softmaker), and Dessau (by Gábor Kóthay).

    Penela's pages on Bauhaus. Jürgen Siebert on Bauhaus.

    Brief bio of Walter Gropius, the founder: Born to a family of architects, he himself studied architecture in Munich from 1903-1904 and in Berlin from 1905-1907, and worked for Peter Behrens until 1910. In 1919, he founded the Bauhaus School. In Programm des Staatlichen Bauhauses Weimar (1919), he describes a utopian craft guild combining architecture, sculpture, and painting into a single creative expression [Gesamtkunstwerk].

    Wikipedia page. Bauhaus Museum Dessau. Bauhaus Museum Weimar. [Google] [More]  ⦿

    bBox Type
    [Ralph Oliver du Carrois]

    Berlin-based type foundry run by Ralph du Carrois and Anja Meiners. Their friends are Jenny du Carrois, Natalie Rauch, Mark Froemberg, and they cooperate with Erik Spiekermann, FontShop, Monotype, (URW)++, Adam Twardoch, Alphabet Type, Okan Tustas, The Fontpad, TN Typography, Mota Italic, Akaki Razmadze, Hasan Abu Afash, Fontef, Lettersoup, and Thomas Maier. As of 2018, their typefaces include:

    • ABeZeh (2016). A school book font family by Anja Meiners.
    • Belbo (2016). A sans by Ralph du Carrois.
    • FingerPaint (2015). By Ralph du Carrois.
    • Fira Sans (2012-2018). By Carrois and Spiekermann, who explain this famous open source typeface: Born in 2012 in close cooperation with Erik Spiekermann. Fira Sans, the little sister of Meta---Erik's famous and worldwide well known typeface. Fira Sans was originally designed as a typeface for the Mozilla OS, Fira Sans has developed towards a standalone OpenSource project. After Mozilla withdrew from the project, we integrated small bug fixes and several requests for the 4.3 release. Additionally, Fira now offers localised features for Hungarian, Serbian, Macedonian and Bulgarian. Especially the locl BGR, which was designed in cooperation with Bulgarian type designers Botio Nikoltchev and Vassil Kateliev, is a real treat. The free typeface family Trujillo (2019) is a fork (a small modification) of Fira Sans by bBox Type GmbH, Carrois Corporate GbR and Edenspiekermann AG.
    • FiraGO (2012-2018). A (free) outgrowth of Fira Sans: In 2016, the geo data provider Here chose Fira Sans as their corporate typeface. Their need for a broader language coverage especially in map applications led them to commission us with a global script extension. Thanks to our great team of designers, consultants and technicians, the project was completed by 2017. Based on the Fira Sans 4.3 glyph set, FiraGO now supports Arabic, Devanagari, Georgian, Hebrew and Thai.
    • Gintronic (2016). A programming font by Mark Froemberg.
    • Gute (2018). A rounded sans by Ralph du Carrois and Anja Meiners.
    • Krikikrak and Krikikrak Dingbats (2016). By Jenny du Carrois.
    • Lonne (2017). By Natalie Rauch.
    • Mamotschka (2017). By Anja Meiners based on her mother's handwriting.
    • Midori (2018). A rounded sans by Ralph du Carrois.
    • Neue Galerie (2017). By Ralph du Carrois who explains: In 2010, together with Anja Knust, we reworked Mies van der Rohe's sketches of the typeface Allzweck. During this interesting and historical project we had to carefully consider when to stick to the original and when to optimise it typographically. See also du Carrois's Allzweck (2012).
    • Quist (2016). A contemporary gothic sans by Ralph du Carrois.
    • Raikka (2016). By Natalie Rauch.
    [Google] [More]  ⦿

    Bea Stach

    German designer of the signage / brush typeface Laken (2008, Avoid Red Arrows). [Google] [More]  ⦿

    Beata Babinska

    Graphic artist in London. Designer of the face-themed typeface Graphic Face (2017). [Google] [More]  ⦿

    Beatrice Davies

    Bio copied from Fust & Friends, a foundry set up in 2017 by Jan Middendorp in Berlin: Beatrice Naomi Davies grew up in Acquapendente, Central Italy, but as a young girl spent two years in New York and two years in Seoul, South Korea, where her grandmother lived. She attended IISAC art high school in Orvieto, Italy. In 2010 she attended the School of Visual Arts of New York, NY. She moved to Berlin in early 2012. [...] She combines her illustration work with animation, theatre, branding, logo design and hand-lettering. She became MyFonts' principal illustrator and portrayed dozens of type designers. Noticing her stylistic versatility, Fust & Friends invited her to contribute a set of dingbats and illustrations compatible with Minjoo Ham's Teddy script---which became the Teddings font. Teddings (2017) was fontified by Andreas Seidel and Minjoo Ham. [Google] [MyFonts] [More]  ⦿

    Beautiful New Fonts
    [Igor Petrovic]

    Facebook group that announces new fonts, run by Igor Petrovic (Berlin). The last post was in 2017. [Google] [More]  ⦿

    Behö

    German designer of the hand-printed typeface Ed Snowden (2014). [Google] [More]  ⦿

    BeJota
    [Bruno Jara Ahumada]

    Santiago, Chile-born type designer who graduated from Universidad de Santiago de Chile in 2015 and 2016. After work at the Museo de Arte Contemporaneo and Museo Nacional de Bellas Artes, he joined the Latinotype foundry in Santiago. He moved to Konstanz, Germany and set up his own type foundry, BeJota in 2021.

    In 2016, Bruno Jara Ahumada, Alfonso Garcia, Luciano Vergara, Daniel Hernandez and the Latinotype Team designed the roman square capital headline typeface family Assemblage.

    With Luciano Vergara, he designed the angular Jurassic park style typeface Los Lana Niu (2016).

    In 2018, inspired by Herb Lubalin's ITC Serif Gothic, Jorge Cisterna and Bruno Jara co-designed the layerable font family Lumiere at Latinotype.

    Typefaces from 2019: Galeria (Latinotype: a monoline slab serif typeface inspired by modern art gallery buildings, museums and cultural centers where organic forms and straight lines predominate).

    In 2019, Jorge Cisterna and Bruno Jara developed the vintage layerable typeface Blackberry (Los Andes). Blackberry is inspired by vintage packaging and old fashion ads. It has woodtype characteristics such as angular serifs, and light and diagonal curves.

    Typefaces from 2020: Diablito One (a two-font and four dingbat-font package by Rodrigo Araya Salas and Bruno Jara Ahumada), Galpon Pro (a great vernacular signage and/or comic book typeface for Latin, Greek and Cyrillic; with Rodrigo Araya Salas), Skippie (a comic book family by Andrey Kudryavtsev, Rodrigo Araya Salas, Bruno Jara Ahumada and Franco Jonas, and four sets of dingbats including Skippie Monster Lucha Libre and Skippie Monster Halloween).

    Typefaces from 2021: Rhein (an 18-strong rounded monoline sans family with a gorgeous inline style), Loyola Next (a 14-style sans by Rodrigo Araya Salas and Bruno Jara Ahumada), Showcase Sans (as part of a custom job for Vino Licensioso; this project includes sexy icons), Konstanz (an 8-style Bauhaus-inspired sans family), Picaflor (a titling or children's book typeface by Rodrigo Araya Salas and Bruno Jara Ahumada), Picaflor Soft (a fine national park or children's book family of organic sans fonts by Rodrigo Araya Salas and Bruno Jara Ahumada).

    Typefaces from 2022: Garvo and Garvo Poster (6 styles each; based on old Hollywood movie posters, vintage film credit designs; Garvo pays homage to Herb Lubalin's Serif Gothic font and is named after Greta Garbo). Linkedin link. [Google] [MyFonts] [More]  ⦿

    Belldorado
    [Adam Bell]

    Foundry in München, Germany, run by Adam Bell (b. 1972, Landsberg), who despite his name is a native German. After learning to be a silkscreen printer he studied graphic design in Würzburg. Together with Tanja Kischel and Georg Behringer, he runs a small design agency and shop called Umwerk in München since 2004.

    Creator of the octagonal family called Longhorn (2012), which includes a 3d style as well as a stencil style. [Google] [MyFonts] [More]  ⦿

    Ben Bold
    [Bold Studio (was: Studio BB)]

    [MyFonts] [More]  ⦿

    Ben D. Sawyer

    Designer and illustrator in Trier, Germany. Creator of the typeface ION (2011), which is showcased on some of his posters. [Google] [More]  ⦿

    Ben Kothe

    Ben Kothe (Kontur Networx, Germany) created the tape font XuitsFont (2013). This is a commercial hook. Fontspace link. [Google] [More]  ⦿

    Ben Wittner

    In 2018, Ben Wittner, Sascha Thoma and Timm Hartmann edited Bi-Scriptual: Typography and Graphic Design with Multiple Script Systems (Niggli). Each chapter covers a different language and is written by a graphic designer who is a native speaker of that language. The languages covered are Arabic by Lara Captan & Kristian Sarkis, Cyrillic by Eugene Yukechev, Devanagari by Vaibhav Singh, Greek by Gerry Leonaidas, Hangul (Korean) by Jeongmin Kwon, Hanzi by Keith Tam, Hebrew by Lirion Levi Turkenich & Adi Stern and Kanji/Hiragana/Katakana (Chinese and Japanese) by Mariko Takagi.

    Talib (2004) is a type project of eps51, a Berlin-based graphic design studio founded in 2004 by Sascha Thoma and Ben Wittner. They developed these faux Arabic fonts: Talib Old Style (calligraphic), Talib Kulkufi, and Talib Mohandes.

    In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable. [Google] [More]  ⦿

    Benedict Herr

    German type designer in Stuttgart. He created the art deco stencil typeface Crème de la rue (2010). [Google] [MyFonts] [More]  ⦿

    Benedikt Bramböck

    Benedikt Bramböck studied visual communication in Austria and Switzerland and type design in The Hague. He interned and later was employed by Fontshop International in Berlin. Since 2015 he works for Alphabet Type and is part of the team behind Berlin's Typostammtisch. Speaker at ATypI 2016 in Warsaw. [Google] [More]  ⦿

    Benedikt Luft

    Talented illustrator and designer in frankfurt, Germany, who created several display typeface for a project called Bergsee (2017). Behance link. [Google] [More]  ⦿

    Benedikt Matern
    [Yung & Frish]

    [MyFonts] [More]  ⦿

    Benjamin Behrendt

    Graphic designer and illustrator from Hannover, Germany. During his studies at the University of Appliedc Sciences and Arts in Hannover, he created a rounded bold sans typeface called Manchester (2012). [Google] [More]  ⦿

    Benjamin Broschinski

    For Martina Flor's type design course in Dessau, Germany, Benjamin Broschinski created the free constructivist typeface Monarc Sans (2014) and the accompanying Monarc Serif (2014). [Google] [More]  ⦿

    Benjamin Krebs
    [Benjamin Krebs]

    German foundry established in 1816 by Benjamin Krebs (1785-1858) and based in Frankfurt, which grew out of Schriftgießerey der Andreäischen Buchhandlung. Many of its shares were acquired by D. Stempel in 1933. A list of the typefaces:

    • By Franz Riedinger: Merian Fraktur (1910), Phänomen (1927), Riedingerschrift (1903), Riedinger Mediäval (1929), Riedinger Kursiv (1929), Ideal Schreibschrift (Franz Riedinger, 1927) Ideal I (Krebs staff, 1903), Brentano Fraktur Schmalfett (1917), Archiv Kursiv (1907), Altschwabacher (Werkschrift 1917, Schmalfett 1922, Mager 1923), Epoche (1912), Rohrfeder Fraktur (1909), Rediviva (1905-1907, blackletter in halbfett and schmalfett; also called Deutsche Werkschrift Rediviva), Altschwabacher Werkschrift (1918).
    • By A. Auspurg: Brentano Fraktur (1916), Federzug Antiqua (1913), Nürnberger Kanzlei (1906), Schönbrunn (1928), Trajan Versalien (1928).
    • By P.E. Lautenbach: Epoche (1912), Frankfurter Buchschrift (1906).
    • By L. von Hohlwein: Hohlweinschrift (1907).
    • By W. Grosz: Künstler Gotisch (1900).
    • Hartwig Poppelbaum: Hartwig-Schrift (1928), Hartwig Werkschrift (1927).
    • By the staff: Faksimile (1898 script face), Eureka, Oceana, Robusta, Ideal Schreibschrift (1903; kräftige, also called Ideal II, was added in 1909), Katalog Antiqua (1911), Komet (1907, an art nouveau typeface revived by Dimitriy Horoshkin in 2017 as DXKometa), Latina (1922: a heavy roman with tall ascenders; identical to ATF's Avil), Pompadour (1911), Reklame Elzevir (1896), Xylo (1924: for a digital version, see Xylo by ITC), Bureaukrat (1918), Buchschrift, Alte Schwabacher (1914), Karten-Gotisch (1903), Reform (1903), Viktoria Gotisch, Viktoria-Ornamente (1903), Archiv-Antiqua (+halbfette) (1908), Archiv-Kursiv (1908). [Reichardt attributes some of these to Riedinger]
    Krebs published Handbuch der Buchdruckerkunst in 1827, a 830 page monster. Type specimen books started appearing in 1885 under the name Benjamin Krebs, Nachfolger (successor). An 1890 publication identifies this successor as Hartwig Poppelbaum. In 1916, Gustav Mori published a book on the foundry, Die Schriftgiesserei Benjamin Krebs Nachf., Frankfurt a.M. Ein Beitrag zur Geschichte des Frankfurter Schriftgiesser-Gewerbes. They were taken over by Ludwig&Mayer, and then Klingspor and finally Stempel (in 1933). Hans Reichardt's PDF file on Krebs. [Google] [MyFonts] [More]  ⦿

    Benjamin Krebs
    [Benjamin Krebs]

    [MyFonts] [More]  ⦿

    Benjamin Krebs blackletter fonts

    Andreas Seidel lists the blackletter typefaces published by the Benjamin Krebs foundry (and I added a few):

    • Normale Fraktur
    • Neue Fraktur
    • Bismarck Fraktur
    • Kräftige Fraktur
    • Caxton Type
    • Fraktur Buchschrift
    • Kaiser Gotisch (date unknown, before 1907). Also sold by Stempel, Kloberg, and Weisert, and as Royal Black by Reed. Seemann (1926) lists the mager (light) as available from Krebs, and the regular weight from AG für Schriftgießerei and Stempel. Digital revivals of the regular weight include Kaiser Gothic (Dan X. Solo, included in the Celtic and Medieval Alphabets book by Dover, 1998) and Kaiser-Gotisch (G. Helzel, 2001, used for sample). KaiserzeitGotisch (D. Steffmann, 2001) is a free version of the Solotype version.
    • Künstler Gotisch
    • Psalter Gotisch (ca. 1890). Digital revivals include TbC Psalter Gotisch (2014, Chiron), Psalter Gotisch (2012, Alter Littera), and Psalter Gotisch (2009, Paulo W).
    • Neue Kanzlei
    • Fette Kanzlei
    • Enge Altgotisch
    • Mammut Gotisch
    • Robusta
    [Google] [More]  ⦿

    Benjamin Pollach

    Berlin, Germany-based designer of an experimental font for Wired Magazine (2016). Behance link. [Google] [More]  ⦿

    Benjamin Taschner

    Muenchen, Germany-based designer of the Cyrillic simulation typeface Anom (2019). [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]  ⦿

    Benny Demmer

    German creator of the Tuscan font Beans (2009) and the italic signage typeface Garcia (2009). Dafont link. [Google] [More]  ⦿

    Berenike Eimler

    Born in Darmstadt in 1989, Berenike is a student at the Hochschule für Gestaltung Offenbach. Behance link. Creator of an alphabet, Corner (2010). This is not a font, I think. Creator of Peek (2011, FontStruct). [Google] [More]  ⦿

    Bergfest Design

    Creative art direction studio in Hamburg, Germany. They created the corporate typeface family Wempe in Antiqua and Grotesque styles. The fonts are called GDW Antiqua and GDW Grotesque (2015).

    Together with Kontrastmoment, Bergfest created BMW Display, Mini Display and Rolls Royce Display (2015). Behance link. [Google] [More]  ⦿

    Berlin Type School

    On the 29th and 30th of July 2016, the Berlin University of the Arts' UdK TypoLabor hosted the first Berlin Type School Away-Days. This was a free typography & type design festival for UdK design students and professional designers. There was no admission fee, and there were no corporate sponsors. Berlin Type School is an initiative started by Dan Reynolds and Martina Flor. [Google] [More]  ⦿

    Berliner Type

    Type and graphic design competition, open to typefaces designed in Germany, Austria and Switzerland. Past winners were often selected for certain corporate projects, not for type design per se. The type awards since 2006 are on-line. The competitions are numbered. For example, 2013 is the 45th competition. [Google] [More]  ⦿

    Bernd Baringhorst

    German designer who has his own graphic design studio in Dortmund. Behance link. Creator of a great minimalistic logo face for the Swiss company Swyx (2009). [Google] [More]  ⦿

    Bernd Casper

    German creator of the free medieval writing font Schnitger 1680 Regular (2009), which can be had from Dafont. [Google] [More]  ⦿

    Bernd Duesmann
    [Uploaders.de]

    [More]  ⦿

    Bernd Holthusen

    Type director and manager at Scangraphic in the 1980s and 1990s. Author of a number of thick specimaen volumes including Scangraphic Digital Type Collection A-F (1985), Scangraphic Digital Type Collection G-Z (1985), Scangraphic Digital Type Collection Index (1988), Scangraphic Digital Type Collection Supplement 1 (1988), and Scangraphic Digital Type Collection Supplement 2 A-Z Body types (1988). [Google] [More]  ⦿

    Bernd Hülsmann

    German type designer at URW++, b. 1978, Dülmen. After studies at Fachhochschule Münster in 2009, he set up Designwerk H. In 2016, he completed the simple 4-style sans typeface families Semikolon Classic and Semikolon Plus. URW++ explains: Optimal readability by reduced, distinct letter forms. Appropriate for early readers of any age in schools and other educational institutions. SemikolonPlus minimizes the risk of confusing similar characters and therefore is predestinated for the use in text blocks, work sheets and educational games. [Google] [MyFonts] [More]  ⦿

    Bernd Krönker

    Bernd Krönker (Cabinet Gold van d'Vlies, Bremen, Germany) designed Groteskschrift (2013). Behance link. [Google] [More]  ⦿

    Bernd Montag

    Limbach-Oberfrohna (Saxony)-based designer (b. 1987) of the calligraphic roman display typeface Chantelli Antiqua (2007) and the sans family Sansation (2008-2009) [poster of Sansation by Flavia Schreiber].

    In 2013, he published the black titling sans typeface Majoris.

    Abstract Fonts link. Dafont link. Kernest link. Klingspor link. Fontspace lunk. [Google] [More]  ⦿

    Bernd Möllenstädt

    The designer of the well-known Formata typeface (available at Berthold), Bernd Möllenstädt was born in 1943 in Germany and died in 2013. He lived in Westfalia, Berlin and finally Munich. He studied typesetting and graphic design, and joined the Berthold type foundry in 1967. In 1968, he became the head of the type design department, and remained head until 1990. Lange was the artistic director there, and when Lange retired in 1990, Möllenstädt became type director.

    He designed two strong sans font families for the Berthold Exklusiv Collection, Formata (1984) and Signata (1993). Formata, a popular sans serif face, is the corporate typeface of Postbank, Allianz, VW Skoda and Infratest Burke.

    Since 1998, Möllenstädt has worked independently from his own studio in Munich, and continues his association with Berthold as an independent designer. He most recently completed small caps and fractions for Formata, and added the Euro symbol to many typefaces in the Berthold collection.

    At Dalton Maag, he was responsible for SkodaSans (2000-2001), a custom font family that may be downloaded here.

    In 2016, URW publised his text typeface Classica Pro, which was unfinished when Möllenstädt died in 2013. The missing styles and details were done under the guidance of Volker Schnebel.

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

    Bernd Pfannkuchen

    Designer of the condensed font Linotype Lichtwerk (1999).

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

    Bernd Plontsch

    German creator of the iFontMaker font Wennsrockt (2010, a squarish hand-printed face). [Google] [More]  ⦿

    Bernd Volmer

    Bernd Volmer is a graphic and type designer from Germany. Before attending type and media, he graduated with a BA in 2011 from the ArtEZ in Arnhem. During this time he also did an internship at Atelier Carvalho Bernau and developed his knowledge and interest in type design and typography. After graduation he started as a freelancer.

    In 2013, he graduated from the Type & Media program at KABK, Den Haag. His graduation typeface, Curtis, is based on broad nib calligraphy, and manages in its palette of styles to cover the broad ground between powerful German expressionist display types and very readable text types. In my view, it is the best of the twelve typefaces of the graduation class.

    In 2010, Bernd Volmer and Ateleir Carvalho Bernau published the free typeface Jean-Luc, which is named after Jean-Luc Godard. Carvalho / Bernau write: We didn't find out who originally made the lettering for these two movies. Some speculate it could have been Godard himself---Godard's interest in graphic design and typography is clear, with many of his other films employing such strong typography-only titles and intertitles. They are almost a self-sufficient entity, another character in the movie, another comment. This style of lettering is so interesting to us because it is such a clear renunciation of the pretty, classical title screens that were common in that time more conservative films. It has a more vernacular and brutishly low-brow character; this lettering comes from the street. We can not prove this at all, but we think it may be derived from the stencil letters of the Plaque Découpée Universelle (or PDU), a lettering device invented in the 1870s by a certain Joseph A. David, and first seen in France at the 1878 Exposition Universelle, where it found broad appeal and rapid adoption. We think this style of lettering was absorbed into the public domain vernacular of French lettering, and that the 2 ou 3 choses titles are derived from these quotidien lettering style, as it would seem to fit Godard's obsession with vernacular typography.

    In 2019, he published the two-axis (weight and serifs) variable font Seraphs.

    Co-designer wit Hannes von Doehren of Palast (Text, Display, Poster; in 2021: 36 styles).

    Future Fonts link. [Google] [More]  ⦿

    Bernd Vonau
    [Atelier Vonau]

    [More]  ⦿

    Bernhard Hörlberger

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

    Bernhard Pankok

    German graphical artist, painter and printmaker, 1872-1943. He studied at the Düsseldorf and Berlin Art Academies. From 1892 Bernhard Pankok had a studio of his own in Munich. There he freelanced as an artist, graphic artist and illustrator for the journals "Pan" and "Jugend". Greatly impressed by the British Arts and Crafts movement, Bernhard Pankok joined Hermann Obrist, Richard Riemerschmid, and Bruno Paul in founding the Munich Vereinigte Werkstätten für Kunst im Handwerk. Afterwards, he also designed furniture, stage sets, interiors and buildings, and painted portraits. In 1907 Bernhard Pankok was a co-founder of the Deutscher Werkbund. [Google] [More]  ⦿

    Bernhard Wolliger

    German designer of many original pixel fonts at HI-TYPE. These include HI-Score, HI-Skyflipper.

    Dafont link. [Google] [More]  ⦿

    Bert Typography
    [Stefan Ruetz]

    This was also called A Hundred Dollars and a Dog (AHDAAD), located in Mainz, Germany. This studio, run jointly by Isabelle Gehrmann and Stefan Ruetz, did graphic design and art direction. Creators of some (free) experimental typefaces for Neo2 magazine in Spain, such as Bert (2005, a futuristic face). [Google] [More]  ⦿

    Berthold Direct Corp
    [Harvey Hunt]

    Once called Berthold Types and now Berthold Direct Inc, this companay is located in Chicago, IL, and was/is run by Harvey Hunt (1949-2022) and his wife Melissa Hunt, an attorney. The font collection is aristocratic, unpolluted by grunge and cheap thrills, featuring many well-known text type families. On the other hand, typophiles all over the world are aghast at the marketing strategies of Berthold. The fonts, all having "BE" or "BQ" in the font names, originated from Berthold AG in Germany, a company that went bankrupt. Some people argue that the Chicago-based Berthold has no rights to the old Berthold AG collection---a fact documented by Uli Stiehl. But most importantly, the Hunts became famous because of the numerous lawsuits typically related to the selection of font names too close to names in their collection.

    A few months after Hunt's death, Monotype acquired the Berthold collection.

    For many years, on and off between about 1970 and his death in 2009, Günter Gerhard Lange was the typographic director [of Berthold Direct Corp, and its German "predecessor" Berthold]. Lange, along with Bernd Möllenstadt and Dieter Hofrichter, formed the core of Berthold's Type Atelier located in München to continue the development of the Berthold Exklusiv typefaces. The classics in the collection include Akzidenz-Grotesk, Block, City, AG Book, Delta, Formata, Imago and Laudatio. Frequent contributors in the 1970s and 1980s were Friedrich Poppl and Gustav Jaeger.

    There are also many less frequently used older typefaces like Normande (1860), Augustea (1905-1926), and Michelangelo (1950, by Hermann Zapf).

    MyFonts link.

    Cover of their sans catalog. Cover of their modern typeface catalog. [Image: Karim Ahmed uses Normande BT in a beautiful poster]

    The main Berthold typefaces at MyFonts. Large catalog of Berthold's typefaces, given in alphabetical order. See also here. [Google] [MyFonts] [More]  ⦿

    Berthold Ludewig

    German teacher and typographer who created the calligraphic metafont Suetterlin, which can be found here. This font can be used for writing in the so-called Schwell style. [Google] [More]  ⦿

    Berthold Types Limited
    [Harvey Hunt]

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

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

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

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

    Berthold Ulrich Hofmann

    German penman who published Gründliche and leichte Anweissung zur Zierlichen Schreib-Kunst der lieben Jugend zum besten und auf vielfaltiges Zegehren an den Tag gegeben von Berthold Ulrich Hofmann Schreib und Rechenmeister in Nürnberg in Nürnberg in 1694. [Google] [More]  ⦿

    Berthold Wolpe

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

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

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

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

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

    Bertholdgate I: Die selbsternannten Rechtsnachfolger der Aktiengesellschaft H. Berthold AG

    German language article by Ulrich Stiehl regarding the question: Who is the legal successor of H. Berthold AG? And a damning indictment of the Hunts who run Berthold Types in Chicago. The main dates in this sad case, beautifully researched by Stiehl:

    • 1858: Hermann Berthold (1831-1904) founds the company in Berlin.
    • 1896: The company becomes Aktiengesellschaft H. Berthold AG.
    • 1896-1960s: The company operates from Berlin and Stuttgart under the name H. Berthold AG Schriftgiesserei und Messelinienfabrik.
    • 1960s-1993: The company uses the name H. Berthold AG.
    • 1993: H. Berthold AG files for bankruptcy. Its main business at that point was the sale of phototypesetting machines, not fonts, and that business had come to a standstill. The 1800 fonts at the time of the bankruptcy are all listed in Stiehl's document.
    • 1993: The bankrupt company had incredible debts, and no one was interested in taking over those debts. So, the bankruptcy court in Berlin decided to liquidate the company. There is no legal successor (Rechtsnachfolger). For a period of 30 years after 1993, any legal successor would have to take care of the debts.
    • 1994-now: Several companies stake out claims of being legal successors or at least copyright owners of Berthold fonts:
      • Softmaker GmbH in Nürnberg, owned by Martin Kotulla. His 59 Euro CD with 10,000 fonts (the best buy in the business) has over 1,000 of Berthold's 1,800 fonts. The names were changed. Softmaker claims to have copyright to these fonts.
      • Berthold Types Limited, Chicago, owned by Harvey and Melissa Hunt: The CD "Exklusiv Collection" has 800 of the 1,800 Berthold fonts but costs 6350 Euros. This outfit uses the old Berthold names. Incredibly, Berthold Types claims to have the copyright, and states that it is the legal successor of H. Berthold AG. (How can this be, if they never assumed the debts?) To complicxate matters, the company started calling itself Berthold Direct Corp in 2005.
      • Franzis Verlag GmbH, owned by Werner Mützel and others: The CD "1800 Profischriften für Windows" (16 Euros, 4 Euros on Ebay) has 1,800 fonts, of which 1,200 (renamed, though) are from the Berthold collection. Franzis claims to have copyright to these fonts. Note: these fonts are qualitywise indistinguishable from the Berthold Types collection.
      • FontStuff Ltd, London, or Bertlib Corporation, a post office box company which started up a font business on the web in 2005 based on the old Berthold collection. Just as Berthold Types Limited, they say that they are the legal successors of H. Berthold AG, and that the copyright is theirs. The web site disappeared at the end of 2005 though. Stiehl belives that the company was a front for Klaus-Dieter Bartel's "Babylon Schrift Kontor" (a defunct foundry). Bartel died recently.
    As an example, Stiehl compares the copyright lines of several Akzidenz Grotesk styles, starting with H. Berthold AG's own Akzidenz Grotesk Buch (copyright H. Berthold AG, 1992). This was followed by Agba by Franzis (copyright ClassicFontCorporation, 1993), AG Book by Berthold Types (copyright Berthold LLC, 1997 and 2001), Atkins by Softmaker (copyright Softmaker Software GmbH, 2002), Gothic 725 (Bitstream), Ancona (Infinitype), A750 Sans Schoolbook (Softmaker), and Europa-Grotesk by Bertlib (copyright BERTLib Corporation, 2004). Stiehl then notes that the quality of the cheapest collection (Franzis) is just like that of Berthold Types Limited, Chicago. He observes that Berthold Types does not have an office in Germany--for otherwise they could be in legal trouble for misleading web visitors into thinking that they are the legal owners of the Berthold collection. I quote from them: Berthold Types is the legal successor to H. Berthold AG, the highly regarded German type foundry. Stiehl produces a document signed by Dr. Susanne Teipel from an attorney's office (Schwabe Sandmair Marx) in München (representing Berthold Types) in which the following official statement is made: Berthold Types is the legal successor to H. Berthold AG. Stiehl believes that this alone could spell serious trouble in Germany for both that law firm and Berthold Types. Development in 2008: Berthold fonts are now sold through Linotype/Monotype. [Google] [More]  ⦿

    BERTLib (Fontstuff)

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

    Bertram Kaiser
    [Kaiser Type]

    [MyFonts] [More]  ⦿

    Beta Bi

    German corporate font design firm (click on FontLabor). Mac fonts: Beta Modul, Beta Wyriad, Beta Kabel, Beta Blocker, Beta Base (pixel font), Beta Norm, Beta Vector. Based in Hamburg. [Google] [More]  ⦿

    Betterfear.us (or: XXII Fonts, Or Doubletwo Studios)
    [Lecter Johnson]

    Lecter Johnson (Betterfear.us) published many free fonts between 2007-2012. At Behance, we find the name John Thorn (Germany) and a mention of Hamburg, but also a reference to Greatwhite in Beirut, Lebanon.

    Typefaces: XXII Sinoz DSP (2010-2011, elliptical face), XXII Gory Bastard (2011), XXII BLACKMETAL WARRIOR (2010), XXII Menga (2010, a technical sans family), XXIIARMY (2007, stencil), XXIIDECONSTRUCTION-DESTRUCTION-AREA (2007, grunge), XXIIDONT-MESS-WITH-VIKINGS-HARDCORE (2007, octagonal), XXIISTRAIGHT-ARMY, Army Dirty (grunge stencil), XXIIUltimate-Black-Metal (2007, cracked metal look), XXII Scratch (2007, scratchy face), XXII DEVILS-RIGHT-HAND (hand-printed), XXII BLACK-BLOCK (grunge), XXII MISANTHROPIA (2008, a rigid geometric sans family), XXII Arabian Onenightstand (2008: Arabic or Indic simulation face), XXII Urban Cutouts (2009, grunge), and XXII Static (2007, futuristic).

    His web site has a threatening nazi sort of look, but the fonts are (were) free. Betterfear.us claims to be located in St. Pauli, Hamburg, and is also known on MyFonts, where some of its fonts can be bought, as Doubletwo Studios. These include XXII Yonia (rounded script family loaded with opentype features), XXII Goregrinder, XXII Grober Bleistift (2013, marker font), XXII Centar (a sans family with a free regular style), XXII Totenkult (2012), XXII Blackened Wood (2013), XXII Candylove (heavy signage or packaging script), XXII Centars Sans (2012), XXII Daemon Runes (2012), XXII Total Death (2012), XXII HandTypewriter (2012), XXII Daemon (2012), XXII Marker (2011), XXII BLACK BLOCK SERIFA (2008), XXII Mescaline (2009 Western style), XXII Misanthropia (2010, geometric sans), XXII Marker (2011), XXII Blasphema (2011) and XXII STREITKRAFT (2008, a stencil family with grungy versions added). Older list of fonts: Devils Right Hand (blackboard script), Black Block (grunge), Static (techno), Ultimate Blackmetal, Scratch, Don't Mess With Vikings, Army Dirty (grunge stencil), Army Straight, Black Block Eroded.

    Typefaces from 2014: XXII YeahScript (signage script).

    Typefaces from 2015: XXII Geom (a geometric sans typeface family), XXII Awesome Script (for signage).

    Typefaces from 2016: XXII Neue Norm (techno sans), XXII Cool Script, XXII Geom (a geometric sans typeface family), XXII Grober Pinsel (brush typeface).

    Typefaces from 2017: XXII Neue Norm Rounded, XXII InAshes (grungy blackletter).

    Typefaces from 2018: XXII Geom Slab.

    Klingspor link. Alternate URL. Behance link. Dafont link. Another Behance link. Old URL. Another Dafont link Yet another Behance link. And a final Behance link. [Google] [MyFonts] [More]  ⦿

    Betty Nane

    Berlin, Germany-based designer of tthe calligraphic script typeface Gingertea Script (2016) and Vintage Stamps One (2016). [Google] [More]  ⦿

    Beuron
    [Keno Wehr]

    The free Beuron package maintained by Keno Wehr (University of Oldenburg, Germany) provides the typeface used in the works of the Beuron art school for use with TeX and LaTeX. It is a monumental script consisting of capital letters only. The fonts are provided as Metafont sources and in the Type 1 format. This package was launched in 2016, and includes suitable font selection commands for use with LaTeX.

    Wehr explains Beuronese art: Beuronese art was a reform movement of Christian art, established by Peter Lenz (1832-1928) and Jakob Wueger (1829-1892), who were friends from their studies in Munich, during their stay in Rome in the 1860s. On the one hand, it arose from the art of the Nazarene movement, but on the other hand, it turned away from the naturalism of the Romantic period and strove for a more geometrically stylized depiction of Christian themes. An important impact on this had the examination of ancient Egyptian art, which becomes noticable especially by a far-reaching renunciation of spatial depth in depiction. Lenz and Wueger entered the Benedictine abbey of Beuron (near Sigmaringen in Southern Germany) in 1872 and 1870 respectively, where they worked as Pater Desiderius and Pater Gabriel. Beuronese art was essentially carried by the circle of their pupils from the monastery in the following decades up to the 1930s. The Beuronese artists were not only commissioned to paint and furnish the monastery of Beuron itself, reestablished in 1863, but also quite a lot of other churches and monasteries in several countries of Europe. The Beuron art school reached its summit about 1900, when it received attention by the world of art beyond the religious milieu through the participation in various exhibitions. Due to the Second World War and church renovations in the following period many works of Beuronese art were partially or totally destroyed. Today remaining works can be seen for instance in Beuron (Chapel of St Maurus1 and Archabbey of St Martin), Ruedesheim am Rhein (Abbey of St Hildegard), Prague (churches of the former abbeys of Emaus and St Gabriel), but also in America in Conception/Missouri (Basilica of the Immaculate Conception). The murals painted by the artists of the Beuron school were provided with monumental inscriptions, taken from the Holy Bible or the prayer tradition of the Church, which support the didactic character of the paintings. For these paintings a script with some striking features was used, recurring in the most murals and also craft objects of the school with only minor variations. Unfortunately the art-historic literature dealing with Beuronese art says absolutely nothing about this script, although it constitutes obviously an integral part of that art. So the origin of the script is a matter of conjecture. Possibly it is in influenced by the inscriptions of early Christian basilicas in Italy. The Beuron typeface is recommended for headings and ornaments in prayer books, hymnals and the like.

    References: Hubert Krins: Die Kunst der Beuroner Schule. Wie ein Lichtblick vom Himmel, Beuron: Beuroner Kunstverlag, 1998. Harald Siebenmorgen: Die Anfaenge der Beuroner Kunstschule. Peter Lenz und Jakob Wueger 1850-1875. Ein Beitrag zur Genese der Formabstraktion in der Moderne, Sigmaringen: Thorbecke, 1983. [Google] [More]  ⦿

    B.G. Teubner

    Benedictus Gotthelf Teubner was a publisher in Leipzig, Germany. One of their typographic oeuvres was Schrift- und Polytypen-Proben (1846), a model book aimed at printers that contains some fonts, decorative borders, printer's ornaments, emblems, and clip-art motifs. Additional link with some images. [Google] [More]  ⦿

    Bianca Berning

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

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

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

    Bianca Schlich
    [Bad Taste Design]

    [More]  ⦿

    Bibliographisches Institut & F.A. Brockhaus AG
    [Sigrid Hecker]

    Mannheim-based company which has the copyright of these fonts made in 1997: Uc_020, Uc_021, Uc_030, Uc_200, Uc_210, Uc_211, Uc_220, Uc_221, Uc_251, Uc_260, Ucs020, Ucs021, Ucs030, Ucs200, Ucs210, Ucs211, Ucs220, Ucs221, Ucs251, Ucs260, Ucs270. These were custom designed by Sigrid Hecker, Vits Bureau für Gestaltung, Mannheim. Note: F.A. Brockhaus AG was a printer and publisher in Leipzig, Germany. [Google] [More]  ⦿

    Bibliothekarische Sonderzeichen

    Free truetype fonts with library symbols. [Google] [More]  ⦿

    Bildung Hessen
    [Brigitte Betz]

    At Ulrich Kalina's site of Bilding Hessen, a few free Braille fonts: 8ptBraille0, 8ptBraille78, 8ptBraille8, 8ptbraille7, blistabraille, blistabraille6+. The 8pt series was designed and created by Kalina's colleague, Brigitte Betz, at the Deutsche Blindenstudienanstalt Marburg. [Google] [More]  ⦿

    Bill Dettering
    [SWFTE]

    [More]  ⦿

    Bionic Type Engineering (or: Bionic Systems)
    [Malte Haust]

    Malte Haust (b. 1974, Kassel) studied graphic design at FH Duesseldorf from 1995 until 2002. With Doris Fürst, he founded Bionic Systems in 1999 in Duesseldorf, using the nicknames juici (for Doris) and dePhrag2.0 (for Malte).

    At T26, he published Kernfusion, SynKro (2000, dot matrix font), Cyberwar (2000), Comsat (2000, a stencil family), Comsat Navy (2000), InterFacer (1998) and Doris Orange (2000, free at Maniackers).

    Full font list in 2002: 01.MB Truth, Alphabot, BTEBioterminal family (by Malte Haus), Comsat, Comsat Navy, Comsat Breakdown, Cyberwar, Doris Orange, Interfacer, Kernfusion, Neo Tokio, SynKro, Team Riders, Technik, Überform.

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

    Birte Ludwig

    Graduate of the Hochschule für Angewandte Wissenschaften in hamburg. Designer at Designer Shock in Berlin of the fonts DSYogasaanAdvanced, DSYogasaanBeginners (both Indic simulation fonts, now commercial fonts at Die Gestalten) and DSMrGreenies (dingbats), all made in 2001. Klingspor link. [Google] [More]  ⦿

    Bissantz SparkFonts 5
    [Ralf Steinsträsser]

    TrueType Fonts for the character-oriented generation of sparklines with SparkMaker. The fonts were made in 2005-2006 by a German guy at Bissantz GmbH, Ralf Steinsträsser: TrueType Fonts for the character-oriented generation of sparklines with SparkMaker. They are dingbat fonts with lines, histograms, pieces of circles, all designed to make graphs, pie charts, and stock market charts. It is a data visualization tool. [Google] [More]  ⦿

    Bjoern Karnebogen

    Author of the (German) thesis Type and Image (2003). [Google] [More]  ⦿

    Björn Börris Peters

    German graphic and type designer. He graduated in visual communication in 1999 from the Staatlichen Akademie der Bildenden Künste Stuttgart. Since 2008, he teaches at the HTWG Konstanz.

    At Volcano, he designed the modular geometric family Trimatic (2009-2010).

    Data Pilot (additional URL). Design Klinik: another URL. Klingspor link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Björn Danzke

    German designer of the destructionist typeface Georg (2005). Dafont link. [Google] [More]  ⦿

    Björn Gogalla
    [Letter Edit]

    [MyFonts] [More]  ⦿

    Björn Hansen

    German Linotype designer of Algologfont (1997). [Google] [MyFonts] [More]  ⦿

    Björn Kohl
    [AgenturBM]

    [More]  ⦿

    Björn Löbach

    German designer of the free hand-printed font Typooo (2012). [Google] [More]  ⦿

    Blackletter on German bank notes

    100 Reichsmark from 1908, 20 Million Reichsmark from 1923, 50 Reichsmark in 1933 and 100 reichsmark in 1935. [Google] [More]  ⦿

    Blackmoon Foundry (was: La Letteria, or: Anatole Type Foundry)
    [Elena Albertoni]

    Elena Albertoni (Blackmoon Foundry, and before that, La Letteria, and before that, Anatole Type Foundry, est. 2005) is an Italian type designer (b. 1979, Bergamo) who studied at ESAD Amiens and the Ecole Estienne in Paris, before taking a position as type designer at FontFabrik in Berlin, where she still lives. She cofounded Anatole Type Foundry with Pascal Duez. La Letteria is located in Berlin. In 2011, Elena cofounded LetterinBerlin, a studio dedicated to handmade and digital design, with a special focus on lettering and type-design.

    At the Rencontres de Lure 2005, she spoke about OpenType and Latin characters.

    Her typefaces:

    • The connected script typeface Dolce (2005), which won an award at the TDC2 2005 type competition.
    • Dyna (2009). A connected feminine script. Review of Dolce & Dyna.
    • Kigara.
    • Scritta (connected calligraphic script). Followed by Scritta Nuova (2011): a rhythmic upright connected script, which evokes retro calligraphic styles taught in Italian schools around the 1950s.
    • Helene (squarish face).
    • Valora.
    • Schneider.
    • Gregoria. A Gregorian chant font that won an award at TDC2 2007.
    • Deja Rip and Deja Web (2010). An eight-style sans family of great utility, co-designed with Fred Bordfeld; Cyrillic included.
    • Acuta (2010). An all-purpose type family.
    • Nouvelle Vague (2011). A connected display script along the lines of Mistral.
    • Spinnaker (2011). A sans design based on French and UK lettering found on posters for travel by ship.
    • The plump and curvy script typeface Molle (2012, Google Web Fonts).
    • Kiez (2016, The Blackmoon Foundry).
    • Vidal (2018). A wide sans with low contrast and medium-to-tall ascenders.
    • Coast (2018). An almost monoline sans inspired by enamel signs from the 1920s.

    Alternate URL. MyFonts link. Behance link. Klingspor link. Google Plus link. [Google] [MyFonts] [More]  ⦿

    Blondina Elms Pastel

    Blondina lived and worked in Martinique, France for eight years. She graduated in 1999 from Insitut régional d'art visuel de la Martinique (IRAVM). Blondina founded Atelier Elms in Cave Hill, Barbados, in 2002. Her clients can be found in the United States, the British Virgin Islands, Martinique, Dominica and Barbados. She returned to settle in Barbados in November 2003. Graduate of the University of Reading in 2011. Her graduation typeface there was Naej (2011), a typeface family for recreational children's storybooks. Lively and bouncy, it blends script and sans into a refreshing breakfast. She calls the family calligraphic and neohumanist. Blondina finally published Naej in 2012 at a German foundry, URW.

    In 2013, she graduated from the Plantin Institute's type design program under Frank E. Blokland. Her graduation typeface there was the children's storybook font Calina. At Plantin, she also attempted a Jacques Francois rosart revival.

    She writes that for Google Fonts, she developed Dinah (for Latin and Devanagari), but there is no record of that at Google Fonts.

    Custom fonts by Blondina include Barefoot (for bare Greetings greeting cards)

    Presently, she is a PhD student at the Aix-Marseille University, and is based in Aix-en-Provence. Since 2015, she organizes Typote, mobile workshops for training in calligraphy, lettering, typeface design and graphic design. [Google] [MyFonts] [More]  ⦿

    BMW Motorrad

    A corporate sans designed in 2007 by URW for BMW. Download. [Google] [More]  ⦿

    Boaz Balachsan

    Designer in Berlin who made the handcrafted typeface Digital Boaz in 2017. Behance link. [Google] [More]  ⦿

    Bobsmade
    [Anne Schröder]

    Erfurt, Germany-based creator (b. 1987) of Madsch (2008) and bobsmade font (2007, 3d). Alternate URL. Link at Dafont. [Google] [More]  ⦿

    Bold Studio (was: Studio BB)
    [Ben Bold]

    Lake Konstanz, Germany-based designer of these typefaces:

    • The pixel typeface BB Bitmap (2008, for a rock band).
    • The BB Roller Mono Pro typeface family (2013-2017, +Text, +TextSoft +Headline, +HeadlineSoft).
    • The octagonal typeface system BB Strata (2015-2018). See also BB Strata Pro (2019).
    • BBT Series 2011-2014: Various contributions, including numerals, for clock typography.
    • BB Studio Pro (2013-2017). A sans family, with Greek, Cyrillic, Mono and Stencil substyles. See also BB Studio Round Pro (2013-2017).
    • BB Torsos Pro (2019). Based on the shape and proportion of the human body. Interpolations between styles are mathematically precise and innovative.
    • Noname Pro (2019).
    • BB Manual Mono Pro (2020). At 60 fonts, probably the largest monospaced typeface in the world in 2020. The glyphs are organic, monowidth and simple.
    • BB Anonym Pro (2020). A rounded version of Noname (2019).
    • BB Casual Pro (2020). A 34-style sans.
    [Google] [MyFonts] [More]  ⦿

    BOODAS.DE
    [Boris Schandert]

    Sankt Augustin, Germany-based creator (b. 1981) of the pixel typeface BOODASDREIECKE (2007): all the pixels are in fact small triangles. He also designed BOODAS.DE|Subtract (2007, negative octagonal), My (2007), Boodas.de|My|Regular (2007, octagonal, free), Redhead (2007, geometric, experimental), Bourier (2007, like Courier with bowls filled in and frills added), Slimbo (2008, hairline geometric). All his fonts are free. [Google] [More]  ⦿

    BOOKNET
    [Wolfgang Reifarth]

    Free Booknet Architekt and BOOKNETFeather1 truetype fonts TTF by Wolfgang Reifarth from Kelkheim, Germany. Also a handwriting truetype font service. [Google] [More]  ⦿

    Boris Brumnjak

    Boris Brumnjak (b. Berlin, 1977, d. 2017) was a graphic designer who studied at LetteVerein Berlin until 1999. He designed the monospace retrotech pixel font Facsimile at T-26 in 2001. Since 2000, he ran brumnjak.com / grappa blotto in Berlin, which was involved in corporate design. He practiced design in Berlin, Wuppertal and Chicago.

    Obituary by Juergen Siebert. [Google] [MyFonts] [More]  ⦿

    Boris Dworschak

    Pforzheim-based Boris Dworschak graduated in 2003 from the University of Applied Sciences in Pforzheim, Germany. Designer at Stereo Typehaus of Zentrale (2004, a 6-weight sans), Sanford Script (2004, curly), Partisan East (Cyrillic simulation face), Partisan West, Basic, Angel Dust (2004) and Master (2004).

    At [T-26], he designed Gaijin (2005, a great 3-d family, +Shadow), Raster (2002, a 10-weight rectangular lettering font family).

    In 2004, Boris joined Union Fonts, where you can get his typeface Dakar (2004).

    He started his own design studio, Boris Dworschak in 2004.

    In 2005, he founded dworschak&hoos with Heiko Hoos in Karlsruhe.

    He created the stencil typeface Exakt, and the mechanical typefaces Ikiru Sans and Ikiru Serif (2009) at Die Gestalten.

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

    Boris Kahl

    Born in 1975 in Schwäbisch Gmünd, Kahl graduated in 2001 from the Hochschule für Gestaltung in Pforzheim. Boris Kahl is Art Director of the German advertising agency MAGMA (Büro für Gestaltung) since 2001. He cofounded the German type and design weblog Slanted. His type designs are published at Volcano Type (Karlsruhe):

    • Athletic lettering: Sports (grungy, with Lars Harmsen), Sports Skinny.
    • Blackletter: Frakturbo, Fraktendon (=Fraktur+Clarendon, co-designed with Harmsen)
    • Dingbats: Mr. J. Smith Eye, Mr. J. Smith Head, Mr. J. Smith Mouth, Mr. J. Smith Nose, and Mr. J. Smith Wanted are experimental dingbat typefaces by Nikolaii Renger, based on an idea of Lars Harmsen, and digitized by Ulrich Weiss and Boris Kahl. These won an award at the 2005 FUSE competition. Multigenic are a collection of black and white boxes and rectangles (free).
    • Dot matrix typefaces: C64 (original Commodore 64 font), Doublepoint (five styles), Monopoint (three styles), Rollerblind, Rollerblind Grid
    • Grungy: Mud (free), Psycho, Poke
    • Hand-drawn: Decomic Oblique
    • LED style: Digibeck, Strichcode (a family co-designed with Harmsen).
    • Kitchen tile typefaces: Bus, Bus PI.
    • Patriot family, done with Lars Harmsen: Saddam, Commander Robot, Fidel, Slobbodan, Osama, George.
    • Pixel typefaces: Amiga, Screeny, Pixel, C64, Fette Pixel
    • Script typefaces: Filou (free, three styles)
    • Techno typefaces: DigiBo, Teckbo (2002. Boris Kahl writes: Retro-Avant-Garde for Club-Flyer-Honks and Plastic-Pussy-Chicks)
    • Uncial: Chaucer

    free fonts at Dafont include Filou Medium (2010, calligraphic).

    View Boris Kahl's typefaces.

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

    Boris Kochan

    Principal of Kochan & Partner Design Agency in München, b. 1962. Codesigner with Robert Strauch (Lazydogs Type Foundry, München, Germany) of Streets of London (2013), a lapidary typeface family that extends an alphabet created by David Kindersley for London's street signs. His talk at ATypI 2014 in Barcelona was entitled Design and Identity---Between global types and local characters. [Google] [More]  ⦿

    Boris Moser
    [Helldunkel]

    [More]  ⦿

    Boris Schandert
    [BOODAS.DE]

    [More]  ⦿

    Boris Schrage
    [Loreley Design]

    [MyFonts] [More]  ⦿

    Bormanns Schrifterlass, Lucian Bernhard und der Völkische Beobachter

    Lutz Schweizer published the text of the decree of January 3, 1941 signed by M. Bormann on behalf of the Nazi party. He declares: "Die sogenannte gotische Schrift als eine deutsche Schrift anzusehen oder zu bezeichnen ist falsch. In Wirklichkeit besteht die sogenannte gotische Schrift aus Schwabacher Judenlettern." [It is wrong to consider the gothic script (Fraktur) as a national German script. It is in fact nothing but Jewish Schwabacher characters.] Lucian Bernhard (1883-1972), one of Germany's main designers, had created Bernhard Fraktur (1913), and this was subsequently used in Der Völkische Beobachter, the central party newspaper and publication. It is ironic, Schweizer notes, that Lucian Bernhard himself was Jewish. On the topic Bormann's decree, Heinrich Heeger wrote Verbot Deutschen Schrift Durch Adolf Hitler in volume 55 (1997) of Die deutsche Schrift. [Google] [More]  ⦿

    Botio Nikoltchev
    [Lettersoup]

    [MyFonts] [More]  ⦿

    Braille DIN
    [Jochen Evertz]

    Braille DIN (2005, Fontshop) is due to Jochen Evertz. It follows the DIN specs 32980 and the packing standards of the German pharmaceutical industry. The price (159 Euros) is outrageous for a bunch of dots. [Google] [More]  ⦿

    Brandstiftung Design Gruppe
    [Sven Winterstein]

    Fonts by Sven Winterstein from Dortmund, Germany: Ronja Regular, Ronja Bold, Lichtbild (free) and Tri-Top (free). He works at Brandstiftung Design Gruppe. To find the fonts: Click "mehr Information" on the right bottom of the page and a window pops up. In the middle you will see "Brandstiftung Font Manufaktur": click the red arrows in the corresponding right cell. [Google] [More]  ⦿

    Brass Fonts
    [Guido Schneider]

    Cologne-based group of type designers, founded in 1996: Guido Schneider, Hartmut Schaarschmidt, Martin Bauermeister, René Tillmann, Rolf Zaremba. There are many original free fonts here: Amnesia (René Tillmann; now also sold by URW), Anorexia (G. Schneider, 1996), Battery, Battery Seriph, Battery Leak (Tuschemann, 1996), Matula (G. Schneider, 1997), Nobody (G. Schneider), Paul D (Guido Schneider, 1996), Sanctus, SubZero (Guido Schneider, 1996), SynkopSemi, Veto, Visitor (R. Zaremba, 1996), BiaBia (very avant-garde, G. Schneider, 1996), Corpa Gothic (sold by URW++), Cuba (G. Schneider, 1997), Hone (Piano Dog, 1996), Saw, SoloSans (G. Schneider, 1996), Souper, Styptic, Fluxgold (slabserif, G. Schneider 1999), Rotwang (G. Schneider 1998), Styptic (Tuschemann, 1995), Stoneman (Tuschemann, 1998), Jaruselsky (1997, G. Schneider). Well, that is, these fonts have just the basic alphabet and all numbers 3 and 6 have been removed. The full versions are ultra-expensive, at about 110DM per weight (typically, 4 weights per font). More fonts: Temptice (dingbat by A. Groborsch/G. Schneider 98/99, 80DM), Tara (G. Schneider, 1998, 240DM), Corpa Serif (G. Schneider 1998), Fiona Serif, Slab and Script family (2003, G. Schneider). URW marketed these fonts: BF Anorexia, BF Corpa Gothic, BF Corpa Serif, BF Cuba, BF Fluxgold, BF Invicta, BF Jaruselsky, BF Matula, BF Nobody, BF Paul'D, BF Rotwang, BF Solo Sans, BF Stoneman, BF Stypic, BF SubZero, BF Tara.

    Custom fonts by Schneider: Girato (Giraffentoast), Fiona (MDR - Mitteldeutscher Rundfunk), Sion Script (Sion Brauerei), Supralux (Super RTL). He is working on Veltro Pro (a script) and Breite Kanzlei (blackletter).

    MyFonts sells BF Anorexia (a grunge typeface by Schneider), BF Corpa Gothic (a DIN-like family done in 1997 by Schneider), Corpa Gothic Pro (a 2019 revival of Corpa Gothic), BF Corpa Serif (1997, a slab serif family by Schneider), BF Cuba (a pixel typeface by Schneider), Fiona Script (2006, connected), Fiona Serif, BF Fiona Slab (2006, Guido Schneider), BF Fluxgold (1998, Schneider), BF Invicta (2006, a roman inscriptional family by Schneider), BF Jaruselsky (1997, Guido Schneider), BF Matula (1996, an organic typeface by Guido Schneider), BF Nobody (1995, a roman typeface by Schneider with pointy experimental serifs), BF Paul D (a grunge blackletter typeface by Schneider), BF Rotwang (1997, a transitional typeface by Guido Schneider), BF Solo Sans (1995, Schneider's grotesk family), BF Stoneman (1997, a decorative poster typeface by Schneider), BF Styptic (a grunge paperclip typeface by Schneider), BF Sub Zero (experimental, by Schneider), BF Tara (1999, a humanist sans family by Schneider), BF Girando Pro (a garalde made by Guido Schneider in 2010).

    Typefaces from 2018: BF Rotwang Pro (a redesign by Schneider of his 1997 typeface, BF Rotwang; named after C.L. Rotwang, the inventor of the Mensch-Maschine from the film Metropolis (1925/1926), BF Rotwang relates to the high-contrast transitional and didone styles), BF Konkret Grotesk Pro (a 16-style grotesk family by Guido Schneider with over 1500 glyphs per font).

    Typefaces from 2021: BF Garant (a 20-style geometric sans with open counters, tapered spurs and diagonal cut ascenders and descenders).

    Klingspor link.

    View Guido Schneider's typefaces. [Google] [MyFonts] [More]  ⦿

    Brave Type (was: Brave Lion Fonts)
    [Leonhard Katschner]

    Berlin, Germany-based designer, who is a member of a consortium called USE (or USE Mediengestaltung, or: Union Sozialer Einrichtungen GmbH). In 2019, he started his own commercial foundry, Brave Lion Fonts. His fonts include the sharp-edged all caps sans typeface Masculina (2019), the pixel typeface Block Rock (2018), Nasa 21 (2019), Reduza Infinity (2019: a minimalist monoline sans), Neue Jugend (2019: an all caps art nouveau typeface) and Versalis Ink (2019).

    Typefaces from 2020: Character Sans (a 5-style sans), Flatfoot (a display mini-serif), Hybridea (a display serif with high contrast).

    Typefaces from 2021: Knive (display serif), Easy Sans, Valkyrie (slab serif caps), Wayne (a Western style slab serif), Writing Icons, Travel Icons, Kosmon (an aerospace font).

    Typefaces from 2022: Mash, Moony (an 8-style all caps sans). Creative Fabrica link. [Google] [MyFonts] [More]  ⦿

    Breitenlauf
    [Tobias Baggemann]

    Tobias Baggemann (Breitenlauf) is a German graphic and type designer. He designed Construct (2011, contructivist).

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

    Brigitte Behrens

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Brigitte Betz
    [Bildung Hessen]

    [More]  ⦿

    Brigitte Schuster

    Brigitte Schuster is a graphic designer, calligrapher and lettering artist who graduated in 2008 from Concordia University in Montreal (only one block away from Luc's house...). She wrote about herself: I am an independent Art Director (Graphic Design), Print Artist and Photographer practicing in Montreal, Canada. I am currently teaching typography and photography courses in the Graphic Design department of a college in Montreal. After attending a three-year graphic design program in Munich, Germany, I spent a few years working there both as an employee for print and web agencies, and as a freelancer. In 2005, I completed a Bachelor in Fine Arts, with a specialization in painting from the Italian Academy of Fine Arts of Carrara, Italy. [...] I moved to Canada in 2005 where I continued working in and for the graphic design industry. In 2008 I completed the Graduate Certificate in Digital Technologies in Design Art Practice at Montreal's Concordia University. In my graphic design practice I ideally work in editorial design, also corporate branding, with a focus on typography. Over the last year or two, I developed a great interest in type, which I express in my calligraphy and lettering work and type design research. Graduate of the Masters program in type design at KABK, 2010. Author of Brush calligraphy with a tree branch (2009) and Book Designers from the Netherlands (2014). In 2013, she founded the imprint Brigitte Schuster Editeur. Presently, she lives and works in Bern, Switzerland.

    Her typefaces:

    • Canella (2010): a book ad magazine family with the angular necessities required for small print. Part of her Masters project at KABK.
    • Life Sans (2008).
    • A revival of Monotype Plantin (2010).
    • Cardamon (2015 Linotype). Cardamon is an old style serif design with large x-height and a sturdy look. Its proportions are inspired by 16th century punch-cutters Hendrik van den Keere and Robert Granjon.
    [Google] [MyFonts] [More]  ⦿

    Brink Type
    [Christoph York]

    Christoph York is a British graphic and type designer currently splitting his time between Berlin and London. He specialises in branding and identity design. His typefaces:

    • The precise geometric sans serif family Segma (2018), which spans the thickness range from Black to Thin (hairline).
    • BR Firma (2018). BR Firma is a functional geometric sans serif consisting of eight weights ranging from thin to black with matching italics.
    • At The Designers Foundry, he released Shape (2019), a contemporary geometric type family in 18 styles.
    • BR Omega (2019: a thin to black-weighted clear geometric sans).
    • BR Hendrix (2019). In 16 styles. Described as a modern geometric grotesque.
    • BR Candor (2020). A sixteen-style geometric sans in the Futura tradition.
    • BR Omny (2020). A slightly rounded geometric sans typeface.
    • BR Nebula (2020). A 20-style sans inspired by Futura.
    • BR Sonoma (2020). A 16-style sans with strong rhythm and clean geometric features.
    • BR Cobane (2021). A 16-style neo-grotesque.
    • BR Shape (2022). An 18-style geometric sans.
    [Google] [MyFonts] [More]  ⦿

    Britta Hackenberger

    Hamburg, Germany-based creator (b. 1973) of the techno typeface Pixochrome (2007). Dafont link. [Google] [More]  ⦿

    Britta Siegmund

    Graphic designer in Hanover, Germany, who studied at FHH in Hanover. Behance link. Another Behance link. She is experimenting with letters, and designed letters by dissolving ink in water (Tinten in Wasser), such as in the Sepia alphabet (2009). Connected (2009) is another experimental alphabet. There is also the avant-garde Sepia family (2009). Fency (2009) uses fences to populate the glyphs. High Five (2010) is a monoline geometric hairline sans. Poster. [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]  ⦿

    Brötz and Glock

    Frankfurt-based foundry established in 1892. Many of its shares were acquired by D. Stempel in 1919. [Google] [More]  ⦿

    Bruna Vasconcelos

    Berlin, Germany-based designer of the legible sans typeface Cappuccino (2019, done while studying at Design Akademie Berlin). [Google] [More]  ⦿

    Bruno Jacoby

    Gruppo Due (Berlin, London, Karlsruhe and Bern) is a type design platform and foundry offering retail typefaces, alongside bespoke designs resulting from a close collaboration with our commissioners. Gruppo Due was founded in 2019 by Moritz Appich, Massimiliano Audretsch, Jonas Grünwald and Bruno Jacoby.

    He published these typefaces at Gruppo Due:

    • G2 Kosmos. A monolinear rounded sans by Moritz Appich and Bruno Jacoby. They write: G2 Kosmos is a modernistic monoline typeface. Its simple shapes follow a geometric grid, but don't hesitate to break free to form better flowing and smoother letters. The grid is the same one artist and designer Wolfgang Schmidt used for his Lebenszeichen. This system of signs was developed to measure the entire cosmos of his emotions and experiences. The typeface's first incarnation was drawn as part of the 2019 diploma project by Maxim Weirich surrounding the Lebenszeichen.
    [Google] [More]  ⦿

    Bruno Jara Ahumada
    [BeJota]

    [MyFonts] [More]  ⦿

    Bruno Paul

    German architect, illustrator, interior designer, and furniture designer, 1874-1968. Illustrator for the art nouveau magazine Jugend (1896) and for the satirical magazine Simplicissimus (1897-1906). [Google] [More]  ⦿

    Bruno Seuchter

    Art nouveau type designer, who created Die Fäche 1 (1900). Little is known, except that HiH stumbled on a 1902 publication by Seuchter called Die Fäche, in which he found the art nouveau face that they revived in 2008 as Seuchter Experimental. [Google] [MyFonts] [More]  ⦿

    Brüder Butter

    Dresden, Germany-based foundry, est. 1894, which prospered in the 1920s. One of its most popular typefaces was the German industrial Kraftwerk font, Ohio Kraft. Brüder Butter later became Schriftguss AG, and then finally in 1951, VEB Typoart, the main type foundry in East Germany.

    Oliver Weiss, who has excellent digital revivals of the Ohio series called Neue Ohio (2016-2017), describes the mascot that can be seen on all of Brüder Butter's materials, the green Buttermännchen, designed by Karl Sigrist: a curious mark: a stumpy, little man in a great-coat and tapered top hat. His arms are raised, his face is cheers. [Google] [More]  ⦿

    Buchstabenakrobatik

    German designer of the brush signage typeface Sign Hand (2020). [Google] [More]  ⦿

    Bund für Deutsche Schrift und Sprache

    Magazine dealing with Fraktur (history, font-designers) and German language, est. 1927. Written in German and typed in blackletter. Currently edited by Harald Rösler. Gerda Delbanco of Delbanco Frakturschriften is the wife of Helmut Delbanco, who is the chairman of the Bund. Alternate URL. [Google] [More]  ⦿

    Bund für Liturgie und Gregorianik
    [Holger Peter Sandhofe]

    The defunct site www.nocturnale.de had commercial music fonts by Holger Peter Sandhofe (1972-2005) from Bonn:

    • Hufnagelnotation, Quadratnotation and Medicaeanotation: medieval notations for Gregorian chants.
    • HPS Antiphonale, Solesmes, and HPS Vatikan-Initialen (from the 15th century): decorative iniial caps fonts.
    • HPS Garamond: a medieval text font family in Normal, Kursiv, Fett and Fett-Kursiv.
    [Google] [More]  ⦿

    Buntype
    [Ralf Sander]

    German designer, with Petra Niedernolte, of the techno sans family Bunken Tech Sans (2014, Buntype), Bunken Tech Sans Wide (2015), and Bunita Swash Pro.

    In 2016, Ralf Sander and Petra Niedernolte co-designed the minimalist rounded sans typeface Bunuelo Clean Pro and in 2017 Bunday Slab and Bunday Sans and Bunaero Pro (Petra Niedernolte and Ralf Sander). Bunaero Pro is advertized as a friendly sans, and hits all the right notes---it is optimized almost to perfection. Subfamilies include Classic, the shapely Up, and the accompanying Italic.

    Typefaces from 2018: Bunaero (by Ralf Sander and Petra Niedernolte), Bunday Clean (by Ralf Sander and Petra Niedernolte). [Google] [MyFonts] [More]  ⦿

    Buntype

    Type foundry in Bielefeld, Germany, est. 2014. The first typeface is the techno sans family Bunken Tech Sans (2014, Petra Niedernolte and Ralf Sander). In 2015, they published Bunita Swash Pro (Petra Niedernolte and Ralf Sander) and in 2017 Bunday Slab (Petra Niedernolte and Ralf Sander) and Bunaero Pro (Petra Niedernolte and Ralf Sander). Bunaero Pro is advertized as a friendly sans, and hits all the right notes---it is optimized almost to perfection. Subfamilies include Classic, the shapely Up, and the accompanying Italic. Behance link. [Google] [MyFonts] [More]  ⦿

    Bureau Borsche
    [Mirko Borsche]

    Bureau Borsche, a graphic design studio in München, Germany, was founded in 2007 by Mirko Borsche. They made almost exclusively bespoke typefaces. These include:

    • Isar, Tush Extra (2012: a flared typeface), Archive and Alston (2012, The Entente) for Tush Magazine.
    • A custom typeface for Tunica Magazine.
    • Tweety for Korakrit Arunanondchai.
    • Super Paper Grotesque for Super Paper.
    • Moroi (2013, by Galle Renaudin) for (R)evolution by Danton Denk Raum.
    • Libreville (2012: derived from Libre Baskerville) for SEPP Magazine.
    • Felipe (by Geoffrey Pellet) for I Iz Felipe Fanzine.
    • Muenchen Regular (2012, by Bureau Borsche and Tobias Weber: a Trajan caps typeface). For the Bavarian State Opera.
    • Harial for the Bavarian State Opera.
    • Andri3000 for BR Orchestra.
    • Dalhem for Bjoern Dahlem Theorie des Himmels.
    • Sumatra for Mickey Mao book (ECAL).
    • Dorothy for Horst Magazine.
    [Google] [More]  ⦿

    Bureauschwarz
    [Patric Schwarz]

    Patric Schwarz (Bureauschwarz) is the German designer of the free über-macho Stahlbeton (2005). Download here. A graduate from Dortmund (2003), he set up Neuefabrik after his graduation. Since 2008, he works in Berlin.

    Klingspor link. [Google] [More]  ⦿

    Burma Group Tuebingen

    Heiko&War War Min Schaefer run a wonderful site in support of Aung San Suu Kyi and a free Burma. They made 70 downloadable Burmese fonts: Burma, Burmese1_1, CECLASSIC, CEClassicTrueType, CEExcelTrueTypeMedium, CENORMAL, CENewClassicTrueType, CE_EXCEL, Karen3_0, Lik_Tai, Mya_NormalA, MyanTTF. Also at this site: AungSanBurma and SuuKyiBurma (by Soe Pyne), Innwa_, WwinBurmese and Wwin_Hlaing_Medium (by Win Tun), Type, Code1 and Code2 (by Shwe Naing-Ngan Myanmar True Type Fonts), Geocomp_S19A (by GEOCOMP MYANMAR), Theiree (by Len Aye), Win___Innwa (by Zaw Htut). [Google] [More]  ⦿

    Buro Lazer
    [Andreas Münch]

    Andreas Münch (Buro Lazer, Nuremberg and Berlin) created the hairline octagonal typeface VS Lazor Racor (2010).

    Dafont link. [Google] [More]  ⦿

    Büro Dunst
    [Christoph Dunst]

    Christoph Dunst is a graphic and type designer living and working in Berlin, Germany. He studied at the Royal Academy of Fine Arts in Den Haag, The Netherlands, where he graduated with a degree in graphic and typographic design and a masters in type design. In 2006 he founded the design studio Büro Dunst in Den Haag, which he moved in 2009 to Berlin, lock, stock and barrel. In 2012, he set up Atlas Font Foundry.

    Designer of the text family Novel, which won an award at TDC2 2009. He calls his Novel Sans Pro (2011) a new humanist grotesque face---a contradictio in terminis. In 2011, he added Novel Mono Pro, a monospaced grotesk family, and Novel Sans Condensed Pro, a great family for information design. In 2012, Novel Sans Rounded Pro followed. In 2015, Christoph added Novel Sans Rounded Italics Pro.

    Other typefaces: Heimat Sans (2010, a monoline sans family), FF DIN Round (2010), Heungkuk Sans (the corporate typeface of the Heungkuk Finance Group, Seoul, South Korea).

    Klingspor link. Atlas Font Foundry link. [Google] [MyFonts] [More]  ⦿

    Büro für Aufmerksamkeit (was: Font Bastard)
    [Thomas Junold]

    Type and graphic design studio run by Thomas Junold in Aachen, est. 2006. He is the designer of Actor Sans (2006), which started out based on ideas of Kai Oetzbach (if I read the text at 26zeichen correctly)

    More recent URL. Google Font Directory link where one can download Actor. OFL link. Font Bastard link (old). Klingspor link. [Google] [More]  ⦿

    Büro für Gestaltung Janssen
    [Daniel Janssen]

    Büro für Gestaltung Janssen, or Janssen Design, is located in Hamburg. It is involved in print, screen, animation, corporate and type design, and was founded in 2002 by Sylvia and Daniel Janssen. Together, they designed these typefaces:

    • Bias Regular (2008, T-26). An experimental pixel-based face.
    • Gretel (2005, Fountain), a cross-stitch pattern font.
    • Loop (2005, T-26).
    • Kaa, a multilined hypnotizing face. This and some other typefaces are also available at T-26.
    • Engel (2003, At T-26). See also here.
    • Vitus (2003, Fountain: Vitus is a bold typeface with occasional delicate strokes. It'a based on a typeface found on one of the million mark notes released during the inflation in the 1920's). See also here.
    • Emily, a connected script font, with some borders. Designed in 2003 with Sylvia Janssen, it is similar to Monte Carlo Script NF (2002, Nick Curtis), and both are based on a font called Medicis by Deberny and Peignot, ca. 1920.
    • AF Nitro, a techno/LED collection of typefaces.
    • Diavolo, a fifties diner face.
    • Unovis, a minimalist squarish typeface with hard to distinguish u, n and v lower case characters.
    • Sektor, a sans face.
    • Sonar, a display sans.
    • Masina, a simple geometric sans.
    • Cash (no idea what this looks like).
    • Initialen, a 21st century initial caps face.
    • EF Gigant, a 96-weight techno family (Elsner and Flake, 2006).
    • Emily: a connected upright script available from T26.
    • Atlantik: six sets of line elements, sold by Veer and Fountain. The Atlantik typeface is a result of a poster design made for the Habour Museum Hamburg.
    • Diago (2008, T-26): a striped op art sans.
    • Oceane (2009, T-26). An avant-garde face.
    • Karl (2010, T26). A script face.

    FontShop link. Klingspor link. T26 link.

    View Daniel Janssen's typefaces. [Google] [MyFonts] [More]  ⦿

    BuyMyFonts (or: BMF)
    [Alessio Leonardi]

    Alessio Leonardi (b. Florence, 1965) is an Italian designer and type designer who lives in Berlin since 1990. He worked in Berlin at MetaDesign of Erik Spiekermann and in Frankfurt at xplicit. In 1997, with Priska Wollein, he opened the office Leonardi Wollein Visuelle Konzepte in Berlin. His humor shows through his letters and his many dingbats.

    In 2002 he founded Buy My Fonts that produces typefaces for corporate applications and also for standard use.

    Speaker at ATypI in Rome in 2002. In 2004 he published his book From the Cow to the Typewriter: the (true) History of Writing. The Alberobanana project tries to suggest an alphabet that could have been. In 2007, he started the pixel font project BMF Elettriche. Available from MyFonts, it includes 648 styles. Speaker at ATypI 2007 in Brighton.

    Linotype link. Typefaces.de site.

    His fonts include

    • F2F Ale Ornaments (1994, +Rotato, +Spirato), Ale Signs, Ale Transport: all done at Linotype.
    • F2F Allineato (1995): grunge, part of the Face2Face project.
    • Alternativo Franklin Gothic
    • Aposto
    • F2F Al Retto (1995): grunge, part of the Face2Face project.
    • BMF Ale Pi Fonts
    • BMF Atypico (1994): organic.
    • FF Baukasten (1995): grungy pixel face.
    • BMF Bolbody, or Bolbodico.
    • Bodetica
    • BMF Brohan Black (2000)
    • BMF Bread Type.
    • BMF Brera.
    • FF Cavolfiore
    • FF Coltello (+Figure)
    • BMF Cratilo Poster (1996, +Signs): angular face.
    • Cool Wool
    • Cotton Club
    • Debaq Face
    • BMF Elleonora Dun Tondo, BMF Elleonora Dun Cane (1994): script typefaces.
    • Etica Temporale
    • Font Card (2000)
    • FF Forchetta (+figure)
    • BMF Fontcard (2000): Monospaced, modular.
    • FF Graffio (+Visivo) (1995): scratchy graffiti face.
    • Graffiti One, Two, Three and Four (1993): at AA International.
    • Ha Manga Irregular (+Pictures)
    • FF Handwriter (+Symbols)
    • Happy Days
    • BMF However
    • Kaos
    • BMF Imme Gothic (2001): made for the official communication of the wedding of Imme and Alessio.
    • BMF Just Do It Again (1999).
    • FF Letterine (+Archetipetti, +Esagerate, +Teatro): kid font family.
    • BMF Love and Hate Pie (2010)
    • F2F Madame Butterfly (1995)
    • FF Matto, FF Matto Porco, FF Matto Sans, matto Sans Porco: blotchy.
    • Metadoni
    • F2F Metamorfosi (1995): experimental, part of the Face2Face project.
    • FF Mulinex
    • BMF Mekanikamente
    • F2F Mekkaso Tomanik
    • BMF Objects Pi (2010)
    • Omegalo
    • BMF Planets Pi (2010)
    • F2F Poison Flowers (1994).
    • FF Priska Serif (+Little Creatures)
    • F2F Prototipa Multipla
    • F2F Provinciali
    • BMF Quaderno
    • Samuele
    • Schering type family (2000): done for a pharmaceutical company headquartered in Berlin. Includes Sans, Serif, Letter.
    • BMF Serbatoio (1991): Pixel face, originally called This Is Not (My Beautiful Wife). Includes Pieno, Vuoto, Prospettico.
    • F2F Simbolico
    • BMF Sicily (1991): grungy ransom note face.
    • Stone Washed
    • F2F Tagliatelle Sugo
    • Tagliatelle Poster, Tagliatelle Grazie, Tagliatelle Tagliate
    • Tempore
    • BMF Testuale, BMF Testuale Sans, BMF Testuale Cornici (1994): angular family.
    • BMF Zazi.
    • BMF Zodiac Pi (2010)

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

    C. Adam

    Designer at Genzsch&Heyse, who made Rex (1924). [Google] [More]  ⦿

    C. E. Weber

    Stuttgart-based foundry established in 1827, and taken over by D. Stempel in 1970, which in turn became Linotype in the eighties. Their library included Druckhaus Antiqua (1919), Schadow Antiqua (1938), Mars Grotesk, Weber Fraktur (1860) and typefaces by these designers:

    • Albert Auspurg: Start (1935).
    • Julius Kirn: Bison (1935-1938). This brush typeface was revived as Brush 738 BT (Bitstream) and as RMU Bison (2020, Ralph M. Unger).
    • Walter Jakobs (or Jacobs): Chronika (1936), Verzierte Chronika (1937), Chronika fett (1938) and Chronika licht (1939).
    • Hans Möhring: Gabriele (1938; Hastings mentions 1947).
    • Erich Mollowitz: Forelle and Forelle Auszeichnung (1936, script types).
    • Willy Schaefer: Neon (1935).
    • Friedrich Hermann Ernst Schneidler: Bayreuth (1935), Deutsch Roemisch (1923; Kursiv in 1926, fett in 1930), Roemisch fett (1930), Kontrast (1930), Suevia Fraktur (+halbfett).
    • Georg Trump: Amati (1951), Codex (1954), Delphin I and II (1951), Forum I and II (1948 and 1952), Jaguar (1965), Palomba (1954, script), Schadow (Antiqua 1938, Antiqua werk, 1948, Kursiv 1942, Antiqua Fett 1952, Antiqua halbfett 1939, Antiqua Schmalfett 1945), Signum (1955), Time Script (+Light and Medium) (1956), Trump Mediaeval (1954; Kursiv and halbfett in 1956; fett in 1958; Kursiv fett and schmal halbfett in 1962).
    • Wagner&Schmidt, Leipzig: Colonna Antiqua (1908; halbfett in 1911), Druckhaus Kursiv, Druckhaus Antiqua (1919; +fett, + halbfett, +schmalhalbfett), Ekkehard (1903), Erika (1920; +halbfett), Margarete (<1927), Orient Antiqua (1914), Parlements Fraktur (1908), Progress Reklameschrift.
    [Google] [MyFonts] [More]  ⦿

    C. P. Melzer

    Leipzig-based foundry founded in 1841 by book printer Karl Ph. Melzer (d. 1846). In 1871, the company became Hundertstund & Pries, and was owned by Firma August Pries. [Google] [More]  ⦿

    C. Rüger

    Leipzig-based foundry. [Google] [More]  ⦿

    Calvin-Noël Klein
    [Klein Productions]

    [MyFonts] [More]  ⦿

    Camelot Typefaces GbR

    Camelot is an independent type collective and self-publisher of typefaces based in Leipzig, Germany, and founded by Maurice Göldner, Katharina Köhler and Wolfgang Schwärzler. Their typefaces include Lelo and Rosart by Katharina Köhler, Gräbenbach by Wolfgang Schwärzler and the text typefaces Rando and Rando Display (by Maurice Göldner), about which we read: Rando Display is the crispy companion of Rando, a contemporary homage to German romanesque typefaces from the late 19th/early 20th century such as Anker Romanisch (Schelter & Giesecke) or Hamburger Römisch (Schriftguss AG).

    In 2020, they released Eliza and Eliza Mono by Pawel Wolowitsch and the Camelot crew.

    Between 2018 and 2021, they developed a new bespoke typeface, Gus, for MoCa (The Museum of Contemporary Art in Cleveland). [Google] [More]  ⦿

    Camila Peralta

    Berlin-based designer of the didone display typeface Canelé (2015). Behance link. [Google] [More]  ⦿

    Camilla Wiedemann

    During her studies, wiesbaden, Germany-based Camilla Wiedemann designed The New Palmer, a deco typeface influenced by and named after famous American penman Norman Austin Palmer, who suggested a similar script ca. 1888. Behance link. [Google] [More]  ⦿

    Camo Design

    Design studio in Husum, Germany. Behance link. Creators of the pixel font D3516N (2002). [Google] [More]  ⦿

    Cape Arcona

    In October 2002, Stefan Claudius and Thomas Schostok started Cape Arcona, a foundry with free and commercial fonts, based in Essen, Germany. It also carries some fonts by Raymond Brekelmans.

    Catalog of their best selling typefaces. Creative Market link.

    List of typefaces made before 2005: CIA, Cosmo-Pluto, Cosmo-Saturn, Elvis in Stereo, Moskow Has A Plan, Dr. No, Play-Real, Play-Roman, Play-Script, Play-Dynamic, Play-Wild, Sensuell, Viva Las Vegas. Free fonts: Address Unknown (Raymond Breukelmans), CA Traktor, CA Aircona, Aircona Shadow, Aircona Fill, No Dr. Tall, KissKissBangBang, GingerMint, Stardust, Texas Funeral, Strongman, Aires, Alternative3, AfterMidnightSaleJunk, Koenigsbrueck. In 2004, they designed CA Spy Royal (Thomas Schostok). CA Magic Hour (Stefan Claudius: a speed emulation font), CA Geheimagent (Stefan Claudius), CA Trasher (Thomas Schostok), CA No Dr. (Thomas Schostok), CA Prologue (Stefan Claudius).

    In 2005, they published CA Magic Hour Shadow (free font by Stefan Claudius), and CA Zaracusa (a sans by Stefan Claudius). Still in 2005, we have new free fonts by Stefanie Koerner: CA Dater, CA Fusion, and CA Scribb. The commercial fonts of 2005 include CA BND, CA Wolkenfluff (a creamy sans with a stencil, a gloss (bubblegum), and a trash style), CA Emeralda (a script face), CA Blitzkrieg pop, CA 12C13C, CA Monodon (+Ultra), and CA Pussy Galore.

    In 2006, they added CA After Midnight Sale (free, by Schostok), CA Boiled Beef (free), C.I.A. (original design from 1999 by Thomas Schostok), Dekoria (a saloon font by Stefan Claudius), CA Subbacultcha (dingbats) and CA Zaracusa (a sans family by Stefan Claudius).

    In 2007, CAPartyRebel, CARebelParty (both comic book style fonts), CA BND Trash (grunge), CA Kink (Thomas Schostok), CA Uruguay (Thomas Schostok, a lettering for a revolution with huge ink traps), CA Coronado, CA Plushy (free brush script by Stefan Claudius) and CA Fragile were added.

    The harvest from 2009: CA Cula, CA Cula Superfat, CA Gothique Superfat, the grunge pack (including CA Nars 1,2,3,X, CA Trasher), CA Misfit (by Stefanie Koerner).

    Fonts from 2010: CA Normal (grotesque sans, Stefan Claudius), CA Sivle (Elvis backwards: a grunge look, but made based on circular and rectangular overlaid grids; free).

    Fonts from 2011: CA Normal Serif (by Stefan Claudius).

    Fonts from 2013: CA Postal (Stefan Claudius).

    Typefaces from 2016: CA Fourty Open (blackboard bold style).

    Typefaces from 2017: CA Coronado (a painted layerable all caps poster typeface with western influences), CA Negroni (a layered typeface by Stefan Claudius based on hand-drawn logotypes from the early part of the 20th century by artists such as Wilhelm Deffke (1887-1950)).

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

    Carina Ostermayer

    Designer in Munich who created an angular piano key typeface called Dok (2013). [Google] [More]  ⦿

    Carina Schneider

    Graphic designer in Betzdorf, Germany. She describes her typeface Ella (2016) as a modern and adult female font with a confident charisma. Ella is inspired by Barbour and Bell MT. [Google] [More]  ⦿

    Carl Adam

    Carl Adam taught design at the Staatlichen Fachschule für das Buchgewerbe in Hamburg. He designed the openface font Rex (1924, Genzsch & Heyse). [Google] [More]  ⦿

    Carl Albert Fahrenwaldt

    German designer (b. Stettin, 1864, d. Stuttgart, 1941). He studied lithography from 1878-1882, and worked as a lithographer in Stuttgart from 1891-1895. After that, until 1939, he was a free-lance graphic designer in Stuttgart. He made these typefaces:

    • Edelweiß (1936-1937, Schriftguss): an art nouveau typeface.
    • Hohenzollern (1902, Bauersche Giesserei); a blackletter face. For a revival, see the free font CAT Hohenzollern (2014) by Peter Wiegel, and Hohenzollern (2004, Petra Heidorn).
    • Imperial (Bauersche Giesserei): a fat version of Hohenzollern.
    • Mainzer Fraktur (1901, H. Berthold AG and Bauer). The Mainzer Fraktur was digitized by Gerhard Helzel, and also by Markwart Lindenthal (Fraktur.de). Free versions include Berthold Mainzer Fraktur (2014, Peter Wiegel) and Unifraktur Maguntia (2010, J. Mach Wust).
    • A school script typeface dated 1901. For a free digital version of this, see Peter Wiegel's Helvetia Verbundene (2010).
    • Minister (1929, Schriftguss). This family comes with Antiqua and Kursiv in various weights, as well as Minister Initlen. Adobe and Linotype have their own digital versions. The Minister family comes with a white on black circle titling font called Minister Kreis Versalien (1933). For further developments of Minister, see, e.g., David Bergsland's Biblia and Biblia Serif (2017).
    • Prominent (1936, Schriftguss): a beautiful set of filled-in open initials.
    • Symbol (1933): an engraved set of initials.
    Ademo (2011, Andreas Seidel) is a shaded 3d caps typeface based on two designs of Fahrenwaldt done for Schriftguss in 1931-1932.

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

    Carl Ernst Pöschel

    German printer and typographer (b. Leipzig, 1874, d. Scheidegg, 1944). In 1900, he joins his father's printing shop, Poeschel&Trepte, in Leipzig. In 1907, he starts up Janus-Presse with Walter Tiemann, the first private press in Germany. In 1918, Janus-Presse is taken over by Insel Publishing House. His fonts include Janus-Presse-Schrift (1907, with Walter Tiemann) and Winckelmann-Antiqua (1920). He published "Antiqua als deutsche Normalschrift" (with F.L. Habbel, Berlin, 1942). He is said to have brought the blackletter typeface Caslon-Gotisch in 1904 from England to Leipzig---the latter typeface showed up in the VEB Typoart catalog. [Google] [More]  ⦿

    Carl Faulmann

    Johann Christoph Carl Faulmann or Karl Faulmann, b. Halle an der Saale, Germany, 1835, d. Vienna, Austria, 1894. In his Geschichte der Schrift: Von den Hieroglyphen bis heute (2002), Harald Haarmann describes Faulmann as a pioneer in the study of writing in the 19th century. He writes that when Carl Faulmann published his Illustrierte Geschichte der Schrift in 1880, his work was the first universal history on the subject and stood alone on the academic landscape of the day.

    Carl Faulmann initially trained to be a typesetter. His travels led him to Munich, where in 1854 he saw shorthand types from the Royal Court and State Printers in Vienna. Faulmann was inspired by the experience to develop similar versions for Franz Xaver Gabelsberger's stenography system which was popular in the southern part of Germany. In 1855 he became typesetter for foreign languages at the court in Vienna. After four years he resigned from state service and worked as a stenography teacher and typesetter. On the side he continued to augment his language skills auto-didactically, learning Hebrew, Persian and Sanskrit, among others. He wrote various works on linguistic fundamentals that were re-issued for decades. In 1884, Carl Faulmann was named professor of stenography at the University of Vienna. A complete compendium of his work can be found in this German wikipedia page. His books include

    [Google] [More]  ⦿

    Carl Gustav Naumann

    C.G. Naumann is Carl Gustav Naumann, who ran a family printing business in Leipzig. In 1901, he published Schriftproben der Firma C.G. Naumann. Sample pages of that book are shown in the link. Poster by Naumann. [Google] [More]  ⦿

    Carl Hermann Albert Anklam

    German type designer, b. 1842, Berlin, d. 1931, Berlin. In 1870, he started working at Genzsch and Heyse in Hamburg as punchcutter and engraver. His Neue Schwabacher of 1876 became a very popular typeface.

    Anklam created Mönchs-Gotisch (or: Mediaeval-Gotisch) in 1877 (Schnelle says 1881) at Genzsch & Heyse. In 1876, he made Neue Schwabacher (normal and halbfett) at Genzsch & Heyse (and Klinkhardt). That same type can also be found at many other typefoundries, including J. John&Söhne, Shelter&Giesecke, Ludwig & Mayer, Gebr. Klingspor, AG Schriftguss, Barnhart Brothers Spindler, H. Berthold AG, etcetera.

    Author/editor of Kunstwerke der Schrift Bund für deutsche Sprache und Schrift (Großenkneten 1994).

    Digital revivals include Schwabacher Mager Gross and Möncgs-Gotisch, both by Gerhard Helzel, and Neue Schwabacher (2021) by Ralph Unger. [Google] [More]  ⦿

    Carl Kloberg
    [Giesserei Carl Kloberg]

    [More]  ⦿

    Carl Marx

    Marx enrolled as a student at Bauhaus Dessau after completing an apprenticeship as a decoration painter. He took courses with Joost Schmidt, Josef Albers, Wassily Kandinsky, and Ludwig Mies van der Rohe, and continued his studies at the Bauhaus when the school moved to Berlin. He was part of a group that tried to revive the Bauhaus in Dessau after World War II.

    On of his organic rounded sans typefaces is revived by Hidetaka Yamasaki as Carl Marx (2018) as part of the Adobe Originals collection. [Google] [More]  ⦿

    Carl Otto Czeschka

    Type and graphic designer, b. 1878, Vienna, d. 1960, Hamburg. From 1894 until 1899, he studied at the Akademie der bildenden Künste in Vienna. He was a member of the Vienna Secession in 1900 and joined the Wiener Werkstätte in 1905 where he created his most famous illustrated book, Die Nibelungen (1909). He taught at the Kunstgewerbeschule in Vienna (1902-07) and at the Kunstgewerbeschule in Hamburg (1907).

    Czeschka designed Olympia (1914; Klingspor mentions 1929 for Olympia 1 and 1931 for Olympia 2), Czeschka Antiqua (1914: an art nouveau style face) and Czeschka (1914, a grotesk) at Genzsch&Heyse.

    In 2022, Alejandro Paul (Sudtipos) revived and expanded Olympia as Wienerin with the inclusion of numerous alternative signs and ligatures, and the addition of a variable font. [Google] [MyFonts] [More]  ⦿

    Carl Rudolph Pohl

    Designer (b. 1900, Rastenburg, Germany) of the brush script Polo (Typoart, 1960). It was digitally redesigned and reinterpreted by Andreas Seidel as Paola (2003) and by Ralph M. Unger as Polo (2008, URW++).

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

    Carla Schwenk

    Communication designer in München, Germany. In 2017, she created the display typeface Carlson. [Google] [More]  ⦿

    Carla Schweyer

    German designer of the sans family Ambigue (1999, Linotype), originally called Confidence. She studied under Jovica Veljovic in Hamburg. [Google] [MyFonts] [More]  ⦿

    Carlo Krüger
    [Fontkingz]

    [MyFonts] [More]  ⦿

    Carlos Winkow

    Carlos Winkow is a version of his original name, Carl Winckow. Winkow (1882-1952) was born in Sömmerda, Germany but worked in Spain from 1909 until 1934 for Richard Gans, in Germany from 1936 until 1939 for Norddeutschen Schriftgiesserei in Berlin, and in Spain again from 1940 onwards at Fundicion Tipografica Nacional in Madrid. His typefaces include

    • Alfrodita (1946). An engraved typeface published by FT Nacional.
    • Alcazar (FT Nacional, 1944). An inline 3d titling font.
    • Astur (1948, FT Nacional). A wooden plank typeface.
    • Belinda (FT Nacional).
    • Cursiva Rusinal (FT Nacional). This is identical to Reporter except in the alternates.
    • Electra (FT Nacional, early 1940s). An almost avant-garde sans family, which includes the ultra thin Estrecha Fina weight. Romeo (Font Bureau) takes some cues from Electra and says that it is a spectacular art deco sanserif with an unusually fine condensed series. See also Casablanca (1997, Steve Jackaman for ITF, now Red Rooster Collection; a revival of Electra Clara) and Carlos (Jason Castle, CastleType). Klingspor dates Electra Fina in 1942.
    • Elzeviriano Ibarra (1931, for Fundicion Tipografica Richard Gans). Lucia Walter revived Winkow's 1931 text typeface Elzeviriano Ibarra in 2011. See also Gans Ibarra (2006, Intellecta Design).
    • Gong (1945, Johannes Wagner; Norddeutschen Schriftgiesserei). A chalk script face. Jaspert mentions the date 1951. A standard non-chalk version of Gong was done by J. Wagner in 1967, and was published as Jowa Script (Jowa Schreibschrift), which in turn provided inspiration for Iova Nova (2007, Ralph M. Unger)
    • Grotesca Radio (Richard Gans Foundry), at least according to some sources. For a revival and reinterpretation, see Radar (2019) by Marta Sanchez Marco for Type-o-Tones.
    • Hispalis (+Cursiva, +Negro, +Titling, +Negro Titling) (1940, FT Nacional).
    • Iberica (FT Nacional, 1942). An open shaded inclined 3d lineale. See Roller (1997, Pat Hickson, ITF and Red Rooster Collection).
    • Nacional (+Cursiva, +Negra) (1941, Nacional). A calligraphic roman in old medieval Spanish style with Clasico Nacional 1 and Clasico Nacional Negro weights. See Madrid (Steve Jackaman, Red Rooster Collection) for a digital revival.
    • Numantina (1940, FT Nacional). Revived by Nick Curtis as Numancia NF (2011, Nicks Fonts).
    • Radar (1940, FT Nacional). a brush script.
    • The brush script typeface Reporter (1938, the Wagner foundry; Norddeutschen Schriftgiesserei). Digital revivals: Reporter No. 2 (Adobe), Reporter 2 (Linotype).
    • Rusinol (1941, FT Nacional).

    Linotype page. Klingspor link. FontShop link. View some digital versions of Winkow's typefaces. [Google] [MyFonts] [More]  ⦿

    Carmen Nacher

    Berlin-based designer of a curvy decorative caps typeface in 2020. [Google] [More]  ⦿

    Carmen Reina

    While styudying at UdK Berlin, Carmen Reina co-designed the experimental modular typeface together wth Johannes Breyer. This typeface uses a few circular arc- and rectangular-shaped modules. It is inspired by Nebiolo's Fregio Mecano. [Google] [More]  ⦿

    Carolin Piechotta

    Graphic design student at the University of Applied Sciences and Arts in Hannover, 2011-2013. During her studies in 2013, she developed the compass and ruler typeface Dysphoria. [Google] [More]  ⦿

    Carolin Wanitzek

    During her studies at the University Of Applied Sciences in Mannheim, Germany, Carolin Wanitzek created the thin sans typeface Plaisir (2010). Behance link. [Google] [More]  ⦿

    Carolin Wohltmann

    Hannover, Germany-based designer of the jagged experimental typeface Transformer (2016). Behance link. [Google] [More]  ⦿

    Carolin Wohtmann

    Hannover, Germany-based designer of the jewelry-inspired Transformertype (2015). Behance link. [Google] [More]  ⦿

    Carolina Giovagnoli

    Born in Rosario, Argentina, in 1976, she studied type design at UBA in Buenos Aires from 2009 until 2010, and co-founded the type coop Huerta Tipográfica. Carolina is currently based in Berlin.

    Her graduation typeface at FADU-UBA, Andada, was awarded at the Second Bienal Iberoamericana of Design (BID 10) and at Tipos Latinos 2012. Andada is a warm text typeface designed specially for Argentinian and Paraguayan (Guarani) text. Andada is free at Google Fonts and Open Font Library. It was commercially released at Huerta Tipografica in 2020 as Andada ht Pro. In 2021, Google Fonts published Andada Pro.

    With Andrés Torresi, she developed Cambo (2011, Huerta Tipográfica), a family for Latin and Khmer [a free weight at Fontsquirrel].

    Robots ht, which uses layering to construct robots, won an award at Tipos Latinos 2014. There is a useful accompanying font called Robots HT Arrows. Winner at Tipos Latinos 2018 of a type design award for Robots HT.

    In 2014, Huerta Tipografica published the free text typeface family Caladea which was designed by Carolina Giovagnoli and Andrés Torresi. Caladea is based on Lato and is metric-compatible with Microsoft's Cambria.

    In 2015, Andrés Torresi and Carolina Giovagnoli developed the Devanagari typeface family Sarali at Huerta Tipografica (free at Google Web Fonts). The Latin part is based on Torresi's Telex (2012).

    Sura (2015, Google Web Fonts) is a Devanagari typeface family designed by Carolina Giovagnoli. It is based on the original Latin typeface Andada, a serif typeface for text.

    Winner at Tipos Latinos 2018 of a type design award for Laura HT.

    In 2020, she designed the stone cut typeface Das ABC der Scheren.

    In 2021, she released Weg, an experimental font based on interweaved lines. [Google] [MyFonts] [More]  ⦿

    Caroline Birkel

    During her studies at Hochschule Trier Kommunikationsdesign, Caroline Birkel created the modular typeface Kalinka (2014) [Google] [More]  ⦿

    Caroline Herr

    German designer who studied communication design in 2013. In 2020, she released Lina Serif, a five-style hybrid of antiqua and didone (and a variable font). [Google] [MyFonts] [More]  ⦿

    Carrois Type Design
    [Ralph du Carrois]

    Carrois Type Design (Berlin, Germany) started up officially ca. 2010, although Ralph du Carrois has been designing typefaces since ca. 2002. This dynamic company in Germany has three art directors, Jenny du Carrois, Anja Meiners and Botjo Nikoltchev. All three also design typefaces, as well as Adam Twardoch, Andreas Eigendorf and Ralph du Carrois himself. The company specializes in custom type.

    Typefaces (a *very* incomplete list, with apologies, but I can't tell from the web site who made what...):

    • Allzweck MvdR (2010-2011), a revival of a sans typeface influenced by Planzkissen by Mies van der Rohe. This was commissioned by Neue Nationalgalerie.
    • The corporate typeface Cisco Sans (2010), which is positioned midway between Helvetica and Akzidenz Grotesk.
    • Fira Sans (2013, for Firefox; with Erik Spiekermann). Google Web Font link. Mozilla download page. Google web Fonts published Fira Sans Condensed and Fira Sans Extra Condensed (2012-2016) in 2017. CTAN link.
    • Krikrikrak and Blumenkohl (2013, children's scripts).
    • PTL Manohara (2010, Primetype: a humanist sans by Botio Nikoltchev), Sadgirl(2006, Primetype), and PTL Maurea (2005, Primetype). Ralph du Carrois made many more fonts at Primetype prior to the establishment of Carrois Type design.
    • Free Google Web Fonts made in 2012: ABeeZee (Anja Meiners: a sans typeface created to help children), Carrois Gothic, Carrois Gothic SC, Finger Paint (brush face).
    • Icon fonts for a number of companies: Bosch (2011), Herzberger Bäckerei (2011), Hybride Iconwelt (2007), Ponce, Russian Rail, Sentres Wettericons, ZDF Nachrichten.
    • Several typefaces were created in cooperation with Erik Spiekermann's group between 2007 and 2012. These include work on Meta Serif Pro (2011), Meta Science (2012: done for De Gruyter, it is based on Meta and Meta serif), FF Meta (2008: some thin italic weights), TERN or Trans European Road Network (2007-2008), ZDF Nachrichten (2009, plus many icons), Lautschrift (2012: a phonetic script done for Erik Spiekermann to add to his Meta and Meta Serif families), and Unit Slab Pro (2009).
    • Inarea Sans (2003) and Inarea (2003-2005).
    • FR Classic (2002). This typeface was used in the redesign of the Frankfurter Rundschau. This didone is based on a reworking of LT Gianotten by Antonio Pace.
    • Two condensed sans typefaces done for the subway system in Rome in 2005. Some icons were also made in that project.
    • Share (2006). A free techno monospaced family made for the TYPO3 Association.
    • An angular grotesk done in 2008 for the Russian Railways. This work was carried out with Dmitri Lavrow, and invloved Andreas Eigendorf and Ralph du Carrois.
    • Suzuki (2006) is a corporate gothic font that replaces Franklin Gothic at Suzuki as house style.

    About Ralph du Carrois, b. 1975: He graduated at the Staatliche Hochschule für Gestaltung Karlsruhe in 2004 with his first typeface family PTL Maurea. Since 2000 he has worked for different companies or agencies. In 2003 he founded the studio seite4 in Berlin with its main focus on type design and corporate identity design. [Google] [More]  ⦿

    Carsten Becker

    German digital photographer who lives near Kassel, Germany. Creator of Corbach (2006, hand-printed style). Alternate URL. [Google] [More]  ⦿

    Carsten Kraemer

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Carsten Ost

    Experimental font designer in Germany. [Google] [More]  ⦿

    Carsten Prenger

    Carsten Prenger (b. 1982, Osnabrück, Germany) graduated in 2008 from the University of Applied Sciences, Niederrhein. He works as a graphic designer and made the geometric typeface Circlez (2011). Behance link. [Google] [More]  ⦿

    Carsten Raffel
    [USOTA (United States of the Art)]

    [MyFonts] [More]  ⦿

    Carsten Schweig

    Type designer at ACME. He made Nicoteen 13 AF (1998, grunge) and AF Syrup (1998, slab serif). [Google] [More]  ⦿

    Carsten Strinkau

    Graduate of Kunstschule Wandsbek in Hamburg, Germany. Designer at URW++ of FontForum CSPaket, CSCourtHandD (medieval calligraphy based on the handwriting of monks in the 16th century), CSFuzzyLogD and CSTakahashiD (oriental simulation, a hommage to the Japanese Manga artist Katsuhiro Otomo and his character/figure Takashi from the Akira-Manga). His fonts are sold under the name CS Fonts, and through URW++, and through MyFonts.com. [Google] [MyFonts] [More]  ⦿

    Carsten Wierspecker

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Caspar Bauer

    During his studies in Trier, Germany, Caspar Bauer designed the modular techno typeface Bistro (2013). Behance link. [Google] [More]  ⦿

    Caspar Schleupner

    German teacher of mathematics and writing, b. Nürnberg, 1535, d. Breslau, 1598. Example of his lettering. [Google] [More]  ⦿

    Casper Neff

    Casper Neff introduced the chancery script (cancellaresca) in Germany in his 1549 book, Thesaurium artis scriptoriae. [Google] [More]  ⦿

    CAT Design Wolgast
    [Peter Wiegel]

    Wolgast-based type designer Peter Wiegel (b. 1955) runs CAT Design Wolgast. Designer of these free fonts:

    • In 2019: Kufi Pattern.
    • In 2018: Aurach Tri (a trilined typeface), Googee (monoline circle-themed sans), Gianna (medieval script), Hamburger Schwabacher.
    • In 2017: Eyechart (heavy slab serif), Border Control (inline), Espresso Dolce (rounded sans), Gotisch Weiss, Halt (a dry brush typeface after Walter Hoehnisch's Stop from 1939), Kanzler, Llewie (rounded sans), Schulze Werbekraft (expressionist, after Arthur Schulze, 1926).
    • In 2016: Ronaldson Gothic (after a MacKellar, Smiths & Jordan Co original), Vorgang (a great 1920s geometric sans), 5by7 (LED pixel font), BP 12-22 (industrial sans), u DIN 1451 Mittelschrift, Flubby, Gaeilge (Irish / uncial), Junior CAT (after Hans Heimbeck, 1936), CAT Liebing Gotisch (after Kurt Liebing), Tippa (an old typewriter font based on Adler Tippa 1).
    • In 2015: Nuernberg (blackletter), CAT Schmalfette Thannhaeuser (blackletter), Offenbacher Reform (a revival of Offenbacher Reform, a blackletter typeface by Roos & Junge), Autobahn (blackletter), Barloesius Schrift (after Georg Barloesius's Barlösius Schrift, 1906), CAT-Franken-Deutsch (after Alfons Schneider, 1936), Fuckin Gwenhwyfar, CAT Kurier (a script after Herbert Thanhaeuser's Kurier from 1939), CAT Linz, CAT Rhythmus (a sharp-edged black grotesk after a Schriftguss AG original), DIN Schablonierschrift (DIN-based stencil), CAT North Licht, Feronia, Fette National Fraktur (after Walter Hoehnisch, 1934), Grobe-Plakat-Fraktur, CAT Childs (fifties style cursive typeface), Jena Gotisch (decorative caps), Kabinett Fraktur (after Johann Friedrich Unger, 1793-1794), Wattauchimma (heavy hipster sans), Friedolin (blackletter), Lorem Ipsum, Symphonie (a calligraphic script, reviving Imre Reiner's Symphonie (1938), also called Stradivarius (1945)), Power (a retro techno typeface), Krugmann Brush, Omega.
    • In 2014: BernerBasisschrift1, BernerBasisschrift2 (school script), Berolina, Brausepulver (after Brause & Co., 1912), Fette Mikado (psychedelic style oriental look), Germanica, Gloria, HentimpsCirclet (blackletter), Hofstaetten (blackletter), Kleinsemmering, KuenstlerGotisch (blackletter), LacledeCAT (psychedelic), NeptunCAT, Neue Zier Schrift (a mischievous curly script), Pommern Gotisch, Reclame, CAT Report (retro brush script), Rueck-Italic, Rueck, RueckLeft, RueckLicht, RundschriftCAT (hairline ronde), Standard Graf (German expressionist and hexagonal typeface), Teutonic, VerzierteFavorite, VictoriaCAT, AdmiralCAT (a retro script), Dynamo (poster font), Des Malers Fraktur, Kanzleyrath (blackletter), Ober-Tuerkheim (art nouveau), PopplFrakturCAT (blackletter), Rundkursiv, Modeschrift (fifties script), Biedermeier Kursiv, Ehmcke Federfraktur (after a 1935 font by F.H. Ehmcke), Wernicke Schwabacher (after an original by Emmi Wernicke), Gotische Missalschrift, Hand Textur (after a 1935 font by F.H. Ehmcke), Renata (after a 1914 bastarda by Bauersche Giesserei), Rundgotisch Rauh (possibly after a Schelter & Giesecke design from 1903), Offenbacher Schwabacher (after Kurt Wanschura's bastarda from 1900), Incopins Clusters (multilined typeface), BadGong, Bernardo Moda (Bold, Semibold, Moda, Contrast: modeled after Lucian Bernhard's Bernhard fashion), CAT-Hohenzollern (after a 1902 art nouveau font by Bauersche), CATNorth, CATNorthLicht, CATNorthShadow, CAT Zentenaer Fraktur UNZ1 (a blackletter after a 1937 original by F.H.E. Schneidler), Coggers-Tariqa, EirikRaude, Fabrik (a geometric sans), Grobe Deutschmeister (German expressionist face), Harry Piel (or Piehl--a tattoo font), Kanalisirung, Klaber-Fraktur, Peter Obscure, Rumburak (a fat retro script), Flottflott (retro script), Indira K, Regent UNZ (a Schwabacher), Postamt, TGL 0-1451 Engschrift (a DIN-like font).
    • In 2013: Spartakus (+Round), Cut Me Out (white on black sans), 5by9 (dot matrix face), Tartlers End (high-contrast ball terminal face), Alpha 54 (rounded flared script face), Chunk Five Ex (slab serif; he writes: With permission of Meredith Mandel, the original author of the ASCII-Font Chunk Five, I have extended Chunk Five Ex to a full featured unicode font with all figures used in Latin and Cyrillic writing), Simple Print (simple sans), Fette Bauersche Antiqua (a didone fat face), Manuskript Gothisch (after Manuskript Gotisch (1899, Bauersche), which was modeled after Wolfgang Hopyl's 1514 Textura), Quast (hairy font).
    • Still in 2013, he published a number of school scripts, including Neue Rudelskopf, Deutsche Normalschrift, Imrans School, Rastenburg (German school font), and Bienchen.
    • In 2012: Hardman (connected fifties script), Immermann (a quaint slab serif), Quast (grunge), Fundamental Brigade (sans family), DiffiKult (a bilined face), Men Nefer (a Memphis lookalike), Fette Unz Fraktur (like Fette Fraktur), Mutter Krause (for the reconstruction of the 1929 silent movie "Mutter Krausens Fahrt ins Glück", where it is used for intertitles, that where missing. The font is redrawn from the original intertitles), Youbilee (a font with laurels).
    • In 2010: Alfabilder (dingbats), Gondrin (athletic lettering with a 3d effect), Helvetia Verbundene (making Helvetica into a school script? The original typeface was by Carl Albert Fahrenwaldt 1901), Proletarsk (a grotesk face), Vis-à-vis (great idea--a double-storied serif face), ApolloASM (Victorian), BertholdrMainzerFraktur, Doergon-Regular (license plate font), DoergonBackshift, DoergonShift, Eureka (Victorian, ornamental face), GoeschenFraktur (1880-style Fraktur used in Sammlung Göschen books), Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, Moderne3DSchwabacher, ModerneGekippteSchwabacher, StrassburgFraktur, TGL0-16 (same as DIN 16), TGL0-17 (same as DIN 17), TGL0-17Alt, Tank (emblems of gas companies), EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular (typewriter), ErikaOrmig, Fibel Vienna (2012, a high-legged sans), GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift (German Schreibschrift), Midroba-Regular (a strong mechanical octagonal face), MidrobaSchatten, MMX2010 (futuristic), Präsent60, Rotunda Pommerania (blackletter), TengwarOptime, TengwarOptimeDiagon, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe.
    • In 2009: 18thCenturyInitials, 18thCenturyKurrent-Regular, 18thCenturyKurrentAlternates, German writing from the 18th century), CentreClaws, CentreClawsBeam1, CentreClawsSlant, Cöntgen Kanzley Regular (blackletter), Cöntgen Kanzley Aufrecht (2009), ElficCaslin, H1N1, Loxembourg1910Shadow (an art nouveau-influenced stencil face), Luxembourg1910, Tschichold, VarietScala (an art deco sans family), Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, KochFetteDeutscheSchrift (blackletter), MoradoFelt-Regular (upright connected script), MoradoMarker (2009), MoradoNib, PreussischeVI9 (DIN-like family), PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, SchatternvonPreussischeVI9, Stage (art deco), Ring Matrix (dot matrix), Nathan, Amptmann Script (2009, upright connected script), Cat Shop, Blankenburg (blackletter), Murrx (arched face), Schwaben Alt (1988, bastarda), Vrango, 14LED (Regular, Phattt-Heavy, Rised-Black), 24LED (+Bright, +Grid, +Modul), DIN1451fetteBreitschrift1936-Regular, FibelNord (basic sans family with an architectural twist), FibelSued (family), PaneuropaBankette, PaneuropaCrashbarrier-Black, PaneuropaFreeway, PaneuropaHighway, PaneuropaRoad, PaneuropaStreet, PaneuropaWrongWay, Quirkus (family), RingMatrix (dot matrix family), RingMatrix3D, RingMatrixTwo, DiscipuliBritannica (connected script), GruenewaldVA-Regular (connected school script), Rudelskopfdeutsch-Aufrecht, WiegelLatein (connected school script), WiegelLateinMedium (2009), Morado, Moebius Bicolor (art deco), Elbaris (sans), ElbarisOutline, Nomitais (multiline face), RostockKaligraph, Waschkueche, WaschkuecheGrob-Ultra, WiegelKurrent (traditional German school script), WiegelKurrentMedium, XAyax, XAyaxOutline (2009), Kaufhalle (squarish), Quimbie (art deco), CasaSans-Regular, Elb-Tunnel, MeyneTextur (blackletter), Yiggivoo, TGL 31034-1 (futuristic sans), Beroga (a simple organic sans).
    • Before 2009: Xayax, PreussischeIV44Ausgabe3 (2006, a severe sans), Utusi Star (1989, very condensed all-caps face), Avocado (2006, script face), CbeNormal (2006, script face), Leipzig Fraktur (+Bold) (2006), Berlin Email (2006, a condensed sans family, followed in 2009 by Berlin Email Serif), MaassslicerItalic (2006, a futuristic typeface made for Rudolf Maass + Partner GmbH), Powerweld (a gorgeous avant-garde typeface made for OPTI Pumpen und Technik GmbH), WolgastScript (2005), WolgastTwo (2006, connected script), WolgastTwoBold, ZeichenDreihundert-Regular, ZeichenHundert-Regular, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular (2006, traffic dingbats), Djerba simplified (Arabic font, Computer and Technologie, Hamburg, 1995; it can be downloaded here), Titus FrakturBaltic (1998), TITUS FrakturEast Normal (1998), and TITUS FrakturWest Normal (1998) [which used to be downloadable here; these fonts were retired and the Titus name dropped; most of the glyphs made it to Schwaben Alt].

    Dafont link. One more URL. Fontspace link. Yet another URL. Font Squirrel link. Fontsy link.

    The list of his truetype and opentype typefaces as of 2011: 18thCenturyInitials, 18thCenturyKurrentStart, 18thCenturyKurrentText, Alfabilder, AlteDIN1451Mittelschrift, AlteDIN1451Mittelschriftgepraegt, AmptmannScript, ApolloASM, Avocado, Barnroof, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, BerlinEmailWideSemibold, Beroga, Beroga, BerogaFettig-Bold, BerogaFettig-Bold, BertholdMainzerFrakturUNZ1A-Italic, BertholdMainzerFrakturUNZ1A, BertholdrMainzerFraktur, Blankenburg-Regular, BlankenburgUNZ1A-Italic, BlankenburgUNZ1A, CasaSans-Regular, CasaSans, CasaSansFettig-Bold, CatShop, CentreClaws, CentreClawsBeam1, CentreClawsSlant, ChunkFiveEx, CntgenKanzley-Regular, CntgenKanzleyAufrecht, DIN1451fetteBreitschrift1936-Regular, DiscipuliBritannica, DiscipuliBritannicaBold, Doergon-Regular, DoergonBackshift, DoergonShift, DoergonWave-Regular, Elb-Tunnel, Elb-TunnelSchatten, Elbaris, ElbarisOutline, ElficCaslin, EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular, ErikaOrmig, Eureka, FibelNord-Bold, FibelNord-BoldItalic, FibelNord-Italic, FibelNord, FibelNordKontur, FibelSued-Bold, FibelSued-BoldItalic, FibelSued-Italic, FibelSued, FibelSuedKontur, GoeschenFraktur, GoeschenFrakturUNZ1A-Italic, GoeschenFrakturUNZ1A, Gondrin, GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift, GruenewaldVA-Regular, GruenewaldVA1.Klasse, GruenewaldVA3.Klasse, H1N1, HelvetiaVerbundene, KochFetteDeutscheSchrift, KochFetteDeutscheSchriftUNZ1A-Italic, KochFetteDeutscheSchriftUNZ1A, LeipzigFrakturBold, LeipzigFrakturHeavy-ExtraBold, LeipzigFrakturLF-Bold, LeipzigFrakturLF-Normal, LeipzigFrakturNormal, LeipzigFrakturUNZ1A-Bold, LeipzigFrakturUNZ1A-BoldItalic, LeipzigFrakturUNZ1A-Italic, LeipzigFrakturUNZ1A, Luxembourg1910, Luxembourg1910Contur, Luxembourg1910Ombre, MMX2010-Regular, Maassslicer3D, Maassslicer3D, MaassslicerItalic, MaassslicerItalic, Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, MeyneTextur, MeyneTexturUNZ1A-Italic, MeyneTexturUNZ1A, Midroba-Regular, MidrobaSchatten, Moderne3DSchwabacher, ModerneFetteSchwabacher, ModerneFetteSchwabacherUNZ1A-Italic, ModerneFetteSchwabacherUNZ1A, ModerneGekippteSchwabacher, MoradoFelt-Regular, MoradoMarker, MoradoNib, MoradoSharp-Regular, Murrx, Nathan-CondensedRegular, Nathan-ExpandedRegular, Nathan-Semi-expandedRegular, Nathan, NathanAlternates-CondensedRegular, NathanAlternates-ExpandedRegular, NathanAlternates-Semi-expandedRegular, NathanAlternates, Nomitais, Nomitais, Numikki, Numukki-Italic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, PreussischeIV44Ausgabe3, PreussischeVI9, PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, Proletarsk, Prsent60, Quimbie, Quimbie3D, QuimbieShaddow, QuimbieUH, Quirkus-Bold, Quirkus-BoldItalic, Quirkus-Italic, Quirkus, QuirkusOut, QuirkusUpsideDown, RostockKaligraph, RotundaPommerania, RotundaPommeraniaUNZ1A-Italic, RotundaPommeraniaUNZ1A, Rudelskopfdeutsch-Aufrecht, SchatternvonPreussischeVI9, Schulfibel-Nord-Linie-2, SchwabenAlt-Bold, SchwabenAltUNZ1A-Italic, SchwabenAltUNZ1A, Stage, StrassburgFraktur-Regular, TGL0-16, TGL0-17, TGL0-17Alt, TGL31034-1, TGL31034-1, TGL31034-2, TGL31034-2, Tank, TengwarOptime, TengwarOptimeDiagon, TitilliumMaps29L-1wt, TitilliumMaps29L-400wt, TitilliumMaps29L-800wt, TitilliumMaps29L-999wt, TitilliumText22L-1wt, TitilliumText22L-250wt, TitilliumText22L-400wt, TitilliumText22L-600wt, TitilliumText22L-800wt, TitilliumText22L-999wt, TitilliumTitle20, UtusiStar-Bold, UtusiStar, VarietScala, Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, Via-A-Vis, Vrng, Waschkueche, Waschkueche, WaschkuecheGrob-Ultra, WaschkuecheGrob-Ultra, WiegelKurrent, WiegelKurrent, WiegelKurrentMedium, WiegelKurrentMedium, WiegelLatein, WiegelLateinMedium, WolgastScript, WolgastScript, WolgastTwo, WolgastTwo, WolgastTwoBold, WolgastTwoBold, XAyax, XAyax, XAyaxOutline, XAyaxOutline, YiggivooUnicode-Italic, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D-Italic, YiggivooUnicode3D, YiggivooUnicode3D, ZeichenDreihundert-Regular, ZeichenDreihundertAlt, ZeichenHundert-Regular, ZeichenHundertAlt, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular, ZeichenZweihundertAlt, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalle, kaufhalleblech, kaufhalleblech, moebius.

    His type 1 fonts as of 2011: Avocado, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, Beroga, BerogaFettig-Bold, CasaSans, Elb-Tunnel, Elb-TunnelSchatten, Maassslicer3D, MaassslicerItalic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, Quimbie, QuimbieUH, RostockKaligraph, TGL31034-1, TGL31034-2, UtusiStar-Bold, UtusiStar, Waschkueche, WaschkuecheGrob-Ultra, WolgastScript, WolgastTwo, WolgastTwoBold, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalleblech.

    A list of typefaces in alphabetical order, with descriptive comments provided by Reynir Heidberg Stefansson from Iceland: 18th Century Kurrent (Kurrent-style handwriting, Wiegel-coded), Alfabilder (Alphabetic picture font for the German alphabet), Amptmann Script (Partly-connected, upright writing, used on Prussian Railways pattern drawings), ApolloASM (Jugendstil, vaguely resembling an ornate Bocklin), Avocado (Handwriting, broad-nib pen-style), Berlin Email (Narrow sans-serif, based on emailled signage; Wiegel-coded), Berlin Email Serif (Narrow serif, based on emailled signage; Wiegel-coded), Beroga (All-minuscule, rounded marker-style sans-serif with ca. 8° slope), Berthold Mainzer Fraktur (Fraktur in Wiegel (Regular only) and UNZ1(A) coding), Blankenburg (Semicondensed Tannenberg in Wiegel (Regular only) and UNZ1(A) coding), Casa Sans (Squarish, broad-nib pen-style block writing), CatShop (Serif, soft of an acid-washed didone), cbe Normal (Sans-serif, narrow, somewhat cuneiform), Centre Claws (Sans-serif, Art Deco display, a bit like Broadway), Cöntgen Kanzlei (Cöntgen Kanzley) (Fraktur-based calligraphy by Heinrich Hugo Cöntgen, Wiegel coding), DiffiKult (Sans-serif, display, no horizontal lines), DIN 1451 fette Breitschrift 1936 (The now-withdrawn Wide version of DIN 1451 traffic font), Discipuli Britannica (UK school handwriting), Doergon (Slab-serif, narrow-ish, all majuscule), CAT Eckmann, Elabris (Elbaris) (Sans-serif, caps/smallcaps, shades of DIN1451 Engschrift), Elb-Tunnel (Sans-serif, based on signage in the old Elbe tunnel in Hamburg), Elbic Caslon (Elfic Caslon, Elfic Caslin) (a Caslon for the Queen Galadriel), Erika Type (Erica Type) (Slab-serif, typewriter, comes from Wiegel's old Erika typewriter), Eureka (Serif, caps/smallcaps, Art Deco/Jugendstil), Fibel Nord (2009, sans-serif, based on German school primer), Fibel Sued (2009, sans-serif, based on German school primer), Fibel Vienna (Sans-serif, based on Austrian school primer), Fundamental Brigade (Sans-serif, geometric, some UNZ1 ligatures), Göschen Fraktur (Goeschen Fraktur) (Fraktur with a biblical feel, Wiegel (Rg only) and UNZ1 coding), Gondrini (Gondrin) (Sans-serif, geometric, display, shaded outlines, cookie-cutter), Greifswalder Deutsche Schrift (Handwriting, based on Rudolf Koch's Offenbacher Kurrent, Wiegel coding), Greifswalder Tengwar (Tengwar handwriting in Offenbach style), Gruenewald VA (Latin-style schoolhand, Wiegel coding), H1N1 (Heavy display typeface made of parallel wavetrains), Hardman (Heavy, wide, squarish logotype with connecting letters), Helvetia Verbundene (Swiss handwriting), Immermann (Display, resembles a seriffed Radio/Rundfunk, UNZ1 coding), Kaufhalle (Display, recreation of HO Kaufhalle logotype), Koch Fette Deutsche Schrift (Very plain fraktur, Wiegel (Rg only) and UNZ1 coding), Leipzig Fraktur (Fraktur for bread text, Wiegel coding), Leipzig Fraktur UNZ1A (Fraktur for bread text), Luxembourg 1910 (Sans-serif, Jugendstil display typeface from old spice drawers), Maass Slicer (Maassslicer) (Sans-serif, oblique display face, orig. logotype), Makushka (Sort-of an Elabris with minuscules, looks overlayable), Men Nefer (Slab-serif, geometric, UNZ1 coding), Midroba (Spur-serif, display, all-majuscule, heavy, octal), MMX2010 (Sans-serif, display, caps/smallcaps, TV game machine feel), Moderne Schwabacher (Heavily reworked, Wiegel coding), Moderne Fette Schwabacher UNZ1A (Heavily reworked, Wiegel coding), Möbius (moebius) (Sans-serif, display, bicolour (u/c = non-spacing fills, l/c = spacing outlines)), Morado (Connected handwriting with nib or marker pen), Murrx (Heavy display typeface made from ellipsoids on NE-SW axis), Mutter Krause (Serif, slanting, Jugendstil-feel), CAT Neuzeit and CAT Neuzeit Schatten (2012-2014), Nathan (Slab-serif, hand-drawn.), Nomatais (Nomitais) (Elabris with multiple levels of outlines), Numukki (Conlang, knotted-line, good for separators and scenebreaks), Powerweld (Sans-serif, Bauhaus style, all-minuscule), Präsent 60 (PI font with various East German logos), Preussische IV 44 (PreussischeIV44Ausgabe3) (Repro of Prussian Railways pattern type IV 44 version 3), Preussische VI 9 (Repro of Prussian Railways pattern type VI 9 version 2), Proletarsk (Sans-serif, monoline, doubled-up questionmark), Quast (Brush type, all-majuscule, very rough outline), Quimbie (Sans-serif, all-majuscule, resembles Amelia), Quirkus (Sans-serif), Ring Matrix (LED matrix with ring LEDs, solid LEDs and ring LEDs with shadow), Rostock Kaligraph (Very round calligraphy, resembles rotunda), Rotunda Pommerania (Rotunda style, Wiegel-code (Regular only) or UNZ1-coded), Rudelskopf deutsch (Sans-serif, based on Kurrent-style letterforms), Schwaben Alt (Schwabacher in Wiegel- (Rg only) or UNZ1-coding.), Stage (Sans-serif, narrow, Art Deco, fleeting taste of Broadway), Strassburg Fraktur (Handwritten fraktur, ornate majuscules, Wiegel-coding), Tank (PI font with (gas/petrol) tank station logos), TengwarOptime (Optima for Tengwar), TGL 0-16/0-17 (East German versions of DIN 16 and DIN 17 blueprint types), TGL 31034-1, TGL 31034-2 (East German versions of DIN 6776 / DIN EN ISO 3098 blueprint types), Utusi Star (Sans-serif, slight resemblance with Rundfunk), Varieté (Sans-serif, all-majuscule or caps/smallcaps), Vis-A-Vis (Serif, all-majuscule, split in middle), Volk Redis (Kurrent handwriting, anno 1930-1941), Vrångö (LED matrix type like Ring Matrix), Waschküche (Serif, resembles Antykwa Torunska), Wiegel Kurrent (Kurrent-style handwriting), Wiegel Latein (Latin-style handwriting), Wolgast Script (Sloppy-looking handwriting with a broad-nib pen), Wolgast Two (Latin/Cyrillic handwriting), XAyax (Serif, Jugendstil, narrow, all-majuscule), Yiggivoo Unicode (Sans-serif, wide, tall x, board game packaging feel), Youbilee (PI font with various jubilee laurels), Verkehrszeichen (Zeichen) (PI fonts with traffic signs (in layers)), Verkehrszeichen alt (Zeichen Alt) (PI fonts with old traffic signs (in layers)).

    Abstract Fonts link. Dafont link. Kernest link. Klingspor link. CAT Fonts link. Fontesk link. [Google] [More]  ⦿

    Cathrin Altmeyer

    Saarbrücken, Germany-based designer of the rounded sans typeface Glow (2014). [Google] [More]  ⦿

    Catinka Keul

    Designer of the child script font Hansel (1993). She is part of the Apply Design Group. [Google] [More]  ⦿

    Catrin Mackowski

    Köln, Germany-based designer of the stick font Golt (2015). Behance link. [Google] [More]  ⦿

    cD Design
    [Cristian Dina]

    Cristian Dina (cD Design, Berlin, Germany) created the free fonts Cristian Handwrite (2014) and Alisco (2014, a sans). Behance link. [Google] [More]  ⦿

    cd-tec

    German handwriting font service: a truetype font of your writing costs 9.90 Euro. [Google] [More]  ⦿

    C.E. Fetzer

    In 1871-1872, C.E. Fetzer proposed a mathematically defined (raster-based) grotesk called Runde Groteskschrift. It was not a complete alphabet, but according to Albert-Jan Pool, it was the ancient ancestor of FF DIN. [Google] [More]  ⦿

    Céline Hurka

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

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

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

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

    Cesar Salazar

    Berlin, Germany-based designer (b. Venezuela) of the tall outlined poster typeface Giant (2020). [Google] [More]  ⦿

    C.F. Meier

    Darmstadt-based type designer who created the art nouveau font Meierschrift (1904-1908, Schelter&Giesecke). Revived by Oliver Weiss in 2020 as Meierschrift WF. [Google] [More]  ⦿

    C.F. Rühl

    Leipzig-based foundry. It produced typefaces such as Neuwerk-Type (1908, Georg Schiller's blackletter), Breitkopf-Fraktur (original by JGI Breitkopf, ca. 1760, redone in 1912), Alte Schwabacher, Diadem (1912, a blackletter by Georg Schiller), Neudeutsch, and Elementar-Deutsch (1911, a blackletter by Georg Schiller).

    C.F. Rühl is perhaps best known in the Hebrew community for its Frank Rühl typeface for Hebrew. The original Frank Rühl was designed in 1908 by Rafael Frank in collaboration with Auto Rühl of the C. F. Rühl foundry. A final version was released in 1910. Many Israeli books, newspapers and magazines use Frank Rühl as their main body text typeface in the 20th century. Many digital versions of this font exist. In 2016, Yanek Iontef designed the free Google Font Frank Ruhl Libre for Latin in Hebrew. Iontef's extension and modernization has five styles. [Google] [More]  ⦿

    C.G. Röder

    Publisher of the music notation font specimen book Noten- und Schriftproben der Röder'schen Officin in Leipzig (1860). [Google] [More]  ⦿

    C.G. Schoppe

    Designer of the blackletter font Centralschrift in 1853. Had his own foundry in Berlin. [Google] [More]  ⦿

    Chanel Mülhaupt
    [Liffey Type]

    [MyFonts] [More]  ⦿

    Chan-Nguyen

    German-based Vietnamese designer of CN Times and CN Arial, free fonts adapted for Vietnamese. [Google] [More]  ⦿

    Chaomin Shen

    Hannover, Germany-based designer of a Chinese paper folding typeface (2015). [Google] [More]  ⦿

    Charles Bukowski

    Henry Charles Bukowski (b. Andernach, Germany, 1920, d. San Pedro, CA, 1994) was a German-American poet, novelist, and short story writer. His writing was influenced by the social, cultural, and economic ambience of his home city of Los Angeles. Typefaces styled after Bukowski's work: Bukowski (2014, Ingi Kristján Sigurmarsson), Buk (2017, Jefferson Camargo). Dedicated web site.

    Some quotes:

    • Some people never go crazy. What truly horrible lives they must lead.
    • For those who believe in God, most of the big questions are answered. But for those of us who can't readily accept the God formula, the big answers don't remain stone-written. We adjust to new conditions and discoveries. We are pliable. Love need not be a command nor faith a dictum. I am my own god. We are here to unlearn the teachings of the church, state, and our educational system. We are here to drink beer. We are here to kill war. We are here to laugh at the odds and live our lives so well that Death will tremble to take us.
    • You have to die a few times before you can really live.
    • The problem with the world is that the intelligent people are full of doubts, while the stupid ones are full of confidence.
    • That's the problem with drinking, I thought, as I poured myself a drink. If something bad happens you drink in an attempt to forget; if something good happens you drink in order to celebrate; and if nothing happens you drink to make something happen.
    [Google] [More]  ⦿

    Charles Emil Heyer

    Chicago-based punch-cutter, 1841 (Berlin, b. Carl Emil Heyer)-1897 (Chicago). His typefaces have late Victorian and early art nouveau elements:

    • At BBS: Armenian (+Extended) (1879), Calumet (1887), Castle (1888, a clean basic sans), Challenge Lightface (1888), Fair (1893), Fair Open (1891), Grant No. 2 (1892), Heyer, Jewel Script (1888), La Salle (1889), Lakeside Script (1883), Lyric (+Lightface Lyric, 1882; in 1925 renamed to Greeting Card (+Light)), Maltese (+Open) (1878), Mayo, Myrtle Script (1885), Occident (+Shaded) (1881), Opaque, Plate Script, Princess Script (1887), Princeton, Solar (1888), Sylvan Text.
    • At Boston Type Foundry: Bank Note Italic Ornamented (1874 or 1875), Compressed Black (1875), Copperplate Italic (1875), Harlem (+Open, +Shade) (1875), Karnac (1874 [note: not sure this was done at Boston Type Foundry]), Mayence (1875), Nubian (1876), Rococo (1876), Vienna (1875).
    • At Western Type Foundry: Circular Gothic No. 44 (1879). For a revival, see Foundation Sans Number 44 (Henrik Kubel, 2018).
    List of patents taken on fonts, by date: 1879: Armenian extended, unnamed art nouveau face, unnamed BBS face. 1880: unnamed BBS face, unnamed BBS face. 1881: blackletter face, unnamed BBS face, unnamed BBS face, unnamed BBS face, unnamed BBS face. 1882: unnamed BBS face, unnamed BBS face, unnamed BBS face, unnamed BBS face. 1883: unnamed BBS face. 1884: unnamed art nouveau face, unnamed art nouveau face, unnamed art nouveau face, unnamed BBS face. 1886: unnamed BBS face, borders. 1887: School Script for BBS, unnamed BBS face, unnamed BBS face. 1888: unnamed BBS face, unnamed BBS face. 1891: ornaments for BBS. [Google] [More]  ⦿

    Charles Herman Becker

    ATF matrix and pattern maker. Born in Germany, he died in 1948. He was involved in the design of Cloister Cursive Handtooled (Cloister Handtooled Italic, 1923), Goudy Handtooled (1923; see Goudy Handtooled BT) and Novel Gothic (1928-1929, a heavy art deco face), all in cooperation with Morris Fuller Benton. He created Quick-Set Roman&Italic in 1918, also at ATF.

    Stephen Coles writes: Novel Gothic was frequently used for record covers in the 1960s-1970s particularly John Berg's designs at Columbia Records, such as Miles Davis: Bitches Brew. There are many digital typefaces in this 1920s showcard style (such as Kobalt), and many poor digitizations of Novel Gothic, but no faithful revival currently exists. Telenovela NF is a digital interpretation with an additional highlight effect, while Napoli and Naked Power are attempts to tame Novel Gothic's comical personality into large, straightforward sans families.

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

    Charles S. Kuzmanovic
    [Radar Five Media]

    [More]  ⦿

    Charlotte Lengersdorf

    German designer at the University of Applied Sciences Düsseldorf of the connected monoline typeface Agile. [Google] [More]  ⦿

    Charlotte Rohde

    During her studies, Berlin (was: Düsseldorf), Germany-based Charlotte Rohde designed Calyces (2017), Marguerite Grotesk (2017) and Marguerite Outline (2017). In 2018, she announced Serifbabe and New Typeface (I guess that is the name, as no context was given). Later fonts include the text typeface family Keroine (2020), Armand Grotesk, and the medieval typeface Hadogenes. [Google] [More]  ⦿

    Charter Design
    [Patrick Adamove]

    Patrick Adamove (Charter Design) is the Hamburg-based designer of Horoscopia (2000, dingbats) and CharterD-Normal (1999, grungy) at Garagefonts.

    At Charterdesign, he created Dementia 13 and Planquadrata.

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

    Chen Winner

    Under the guidance of Lucas de Groot at FH Potsdam in 2014, Chen Winner (Tel Aviv, Israel) designed the connected retro script font Flamingo. Behance link. [Google] [More]  ⦿

    Chess Ole!
    [Frank David]

    This German chess site has the following chess truetype fonts: Cheq, CheqFig, ChessOle!, ChessOle!Figurin. The latter two fonts are made by Frank David from Göttingen in 1993. [Google] [More]  ⦿

    ChessBase
    [Rolf Schlösser]

    ChessBase GmbH is based in Germany and is run by Rolf Schlösser. He made these chess fonts in 1994: DiagramTTCrystals, DiagramTTHabsburg, FigurineCrrCBBoldItalic, FigurineCrrCBBold, FigurineCrrCBItalic (monospace font), FigurineHlvCrys-BoldItalic, FigurineHlvCrys-Bold, FigurineHlvCrys-Italic, FigurineHlvCrys, FigurineHlvHabs-BoldItalic, FigurineHlvHabs-Bold, FigurineHlvHabs-Italic, FigurineHlvHabs, FigurineTmsCBBoldItalic, FigurineTmsCBBold, FigurineTmsCBItalic, FigurineTmsCB, FigurineTmsHabs-BoldItalic, FigurineTmsHabs-Bold, FigurineTmsHabs-Italic, FigurineTmsHabs. The Figurine series provide text fonts with appropriate chess glyphs added on. Some of these fonts are at certain sites on the web. For example, Diagram Chessbase has DiagramTTCrystals, DiagramTTFritz, DiagramTTHabsburg, DiagramTTBlindAll, DiagramTTBlindBlack, DiagramTTBlindwhite. Of these, DiagramTTFritz (1999) is by Monika Berger, and DiagramTTCrystals (1994) and DiagramTTHabsburg (1994) are by Rolf Schlösser. And UNF Chess Club has FigurineTmsCB, FigurineTmsCBBold, FigurineTmsCBBoldItalic, FigurineTmsCBItalic. [Google] [More]  ⦿

    Chiquita Clarissa

    Surabaya, Indonesia (and more recently, Bremen and then Berlin, Germany)-based designer of the decorative caps typeface Flowery Font (2014) and the needlecraft font Aska (2016). Earlier, she made the typographic poster Tribute to Bjork (2012).

    Blog. [Google] [More]  ⦿

    Chiron

    Chiron specializes in revivals of old German lead types, and creates an occasional original font. The list I am aware of:

    • TbC Liebing Type (2014). After Elite Gotisch (1909, Kurt Liebing for Schriftgiesserei Böttger).
    • TbC Psalter Gotisch (2014). After Benjamin Krebs Nachfolger, ca. 1890.
    • TbC Schmalfette Amtsfraktur (2014, after H.W. Hoffmeister, 1911, Stempel AG).
    • TbC Schaefer-Versalien (2012). A revival of Schaefer-Versalien (1927, Karl Hermann Schaefer, Schriftguss).
    • TbC Salzmann Fraktur (2012). After a design from 1911 by Max Salzmann for Schelter and Giesecke.
    • TbC Satyricon (2012). Based on the credits in Fellini's movie.
    • TbC Ramses-Antiqua (2012). A revival of Ramses Antiqua (1912, Hermann Delitsch, Shriftgiesserei Julius Klinkhardt).
    • TbC Grobe Serif (2012).
    • TbC Wiking Licht + Dunkel (2012). A revival of Wiking (1927, Heinz Koening, Schriftgiesserei J. D. Trennert & Sohn).
    • TbC Neue Roemische Antiqua (2012). A revival of Neue Roemische Antiqua (1924, Shriftgiesserei Julius Klinkhardt).
    • TbC Leipziger Neugotisch (2012). A revival of Leipziger Neugotisch (1913, Rudolf Engelhardt, Wagner).
    [Google] [More]  ⦿

    Chr. G. Heucke

    München-based foundry. [Google] [More]  ⦿

    Chris Campe

    German designer of the sans typeface Altona (2014). Altona is a geometric sans inspired by a World War I Memorial inscription found in Hamburg-Altona. [Google] [More]  ⦿

    Chris Corrado
    [Antitype]

    [MyFonts] [More]  ⦿

    Chris Lotz

    Bonn, Germany-based designer of the condensed sans titling typeface Above (2014). Behance link. [Google] [More]  ⦿

    Chris Molotov

    German digital artist, b. 1992, who lives in Karlsruhe. Creator of the angular tattoo or heavy metal typeface (or logotype) Molotov (2011). [Google] [More]  ⦿

    Chris Wiener

    Designer of GFWaterproof (1998), Storyboard (with Gottfried Müller), and Media Icons (1999) at GarageFonts. Chris was born in Romania and grew up in Germany. He lives in Emmershausen. [Google] [More]  ⦿

    Christa Röhrich

    Christa Röhrich (Oskar Lernt Englisch, Germany, b. 1987) created the hand-printed typeface OskarFont (2013). This is a commercial hook. Fontspace link. [Google] [More]  ⦿

    Christian Bauer
    [Secret Fontasies]

    [MyFonts] [More]  ⦿

    Christian Büning

    German designer (b. 1978) of Rolli (2007, with Elisabeth Schwarz), a font with pictograms for handicapped people. Another URL. [Google] [MyFonts] [More]  ⦿

    Christian Fenner
    [Digitale Heimat GmbH (was: Bean)]

    [More]  ⦿

    Christian Feurstein
    [Tour de Typo]

    [More]  ⦿

    Christian Gollwitzer

    Software and TeX specialist at the University of Bayreuth, Germany, who designed AuriocusKalligraphicus (2004), a calligraphic type 1 handwriting font. In 2006, these fonts were added: Lukas Svatba (originally called AmiciLogo for the group Amici Musicae Antiquae in September 2004, this was changed, after adding Czech and Slovak diacritics for the wedding of Lukas Palatinus and Ludmila Nyvltova in the Spring of 2005), Jana Skrivana. Alternate URL. From the readme file: Each font features oldstyle digits and (machine-generated) boldface and slanted versions. Lukas Svatba is provided in a variant with a long s with the same input convention as in fraktur.sty by Matthias Mühlich. [Google] [More]  ⦿

    Christian Gross

    Interface design student at FH Potsdam, Germany. He created the simple monoline display sans Canela (2011, 26zeichen). Leaves (2099) is a floriated ornamental caps typeface.

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

    Christian Gruber

    Waldsassen, Germany-based designer of the straight-edged typeface Geze (2018). [Google] [More]  ⦿

    Christian Gruber

    Graphic designer who studied and now works in Münchberg, Germany. His typefaces:

    • The sans typeface family Tabularasa (2019). Followed by Tabularasa Neue (2019) and enhanced by a variable font.
    • Baghira (2021). An 8-style text typeface with square tittles and angry serifs, with sharp teeth, by Christian Gruber and Moritz Kleinsorge. Baghira at I Love Typography.
    • Karlsbader Grotesk (2021). Inspired by the Swiss/International style.
    • Autre Display (2022). A two-axis variable typeface that offers full control over its serifs and oblique angle.

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

    Christian Gwiozda
    [Furiosum]

    [MyFonts] [More]  ⦿

    Christian Heinrich Kleukens

    German type designer (b. Achim, 1880, d. Darmstadt, 1954), brother of the more famous "Kleukens", Friedrich Wilhelm (1878-1956). In 1907, the two brothers started running the Ernst-Ludwig-Presse, the private printing shop of the duke Ernst Ludwig von Hessen. Burte-Fraktur by C.H. Kleukens was cut in 1928 for Mainzer Presse by Gustav Eichenauer, Rudolf Koch's favourite punchcutter. It was revived in 2003 by Manfred Klein and Petra Heidorn. He also added a handwritten freestyle version, Burtine 2003, and another interpretation, Burtinomatic (2004). Petra Heidorn revived it as Burte Fraktur in 2003.

    Judith Type (1923), a hookish hellish German expressionist typeface, was at the basis of Judith Type (2007, Nick Curtis), Holofernes NF (2007, Nick Curtis) and Irrlicht (2015, Ari Hausel, Aarhaus).

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

    Christian Heins

    Koblenz, Germany-based designer of the fatv fingerv font Heins ED3 (2017). [Google] [More]  ⦿

    Christian Horrer

    Konstanz, Germany-based designer of the sneaker lace-inspired typeface Lace Up (2017). [Google] [More]  ⦿

    Christian Jung
    [Christian Pannicke]

    [More]  ⦿

    Christian Künzer
    [Freaky Fonts]

    [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Christian Lindermann

    German designer at the University of Applied Sciences Düsseldorf of Cacao Grotesk and Transdigitale v4. [Google] [More]  ⦿

    Christian Matz

    Hof, Germany-based designer of the rounded poster typeface Jabber (2016). [Google] [More]  ⦿

    Christian Munk

    Danish designer (b. 1991), aka CMunk, who used FontStruct to create most of his typefaces. Dafont link.

    In 2008 he designed Flag Semaphore (+Smooth, Peace), Articulate, Font from NATO (military slab serif), Glockenwerk (pixel clock font), Glockenwerk Uhrzeit, Flags-and-NATO (dingbats), Font from NATO alpha, Tall, Flying-Circus (Western showtime typeface to imitate the Monty Python titling font), LCD-display, Simple (stencil font with 700 glyphs), TMNT, Tetris, sharp-pixels, Raster, Quad (nice stencil face), Inverted, Propaganda (Cyrillic font simulation), Empty Monospace, Pride, Stadium, Rounded, Dear God (script pixel face), Celtic Style.

    In 2009, he added 7x12 Pixel Mono, @bcde, Abstract Letter Patterns, Music, Texture, Diagonal, Gothic, Illusio, Unispace (typewriter type), Narrow Serif, Delta, Alien Double (great!), Donut, Flags-and-NATO, Simple-Fraktur-Initial, Simple-Fraktur, Texture, Friendly Serif, (+Soft), Invisible, Sharp, Heavy Diacritics, Concentrium, Continuous Digital Display, Elves, Pixies, Space Movie (+Ligatures), Flag Semaphore (+Smooth, +Peace), Articulate, BBT Biline Twist, Biline Twist, Empty Monospace, Unfix, Infix, Pride, Tyre Stencil (like tire threads---nifty...), and Overlap.

    FontStructions from 2010: Even (gridded), Brilliance, Slalom Vision, Quirky Serif, 7x12PixelMono, Ball Terminator, Gearbox, Prefix, Upside Down, Way Too Small (a minimalist pixel face), Butterfly, Ribbon Gymnastics, 2D Barcode, Horizon Stencil, Biline Twist, Blocktur, Symmetricus (alien writing?).

    FontStructions in 2011: 12 dice, Monotwist (tall, monospaced), Squarific (fat octagonal), Swirl (curly), Sweet (Victorian), Easter Eggs, 50 Fifty (experimental, geometric), Squarific (+Stencilious), Spiralix (spiral-themed for Latin and Cyrillic), Bloccus, Feet (monospaced).

    Creations from 2012: Düpbøl (German expressionist face), Slice, Blocktur, Alien Double, 7:12 serif (pixel face), Blick, Dry Heat (Isolates and Initials, Medials, Finals: an Arabic simulation family), FF9 Coin Slots, FF8 Untalic, FF7 w1de, FF6 Lean Mean, FF5 Bamana, FF4 Circulation, FF3 3times7, FF3 Runization, FF1 Glitchy, Squared, Puzzlish, Steep, Digitalis (octagonal), 50 Fifty (artsy and geometric), Monotwist, Infix. FF stands for Forgotten Fonts.

    Typefaces made in 2013: Ribbons And Banners, Digital Rome (pixel face), Censorship, Interlock, Bouma, Glaedelig Script, Hand XL Smooth, Vascomat, Spitzschtruct (emulation of Suetterlin), Neonic, Fish Scales, 7:12 Serif, Analogly, Squarific Fraktastic, Metro Sans (pixelish).

    Typefaces from 2014: Word Games, Shadows, Yuuroppuna pixel, Spines, Numbers, Tal Dansk, Zahlen Deutsch, Insular Typewriter, Nudge Nudge (dot matrix), 7:12 Serif (monospaced pixel font), Jovian, Squarafic Fraktastic, Computer Says No, Runic, Fluorescent (neon tube typeface).

    Typefaces from 2015: Hexagonia, Kapow (a comic book font), Fauxreign (a Thai emulation font).

    Typefaces from 2016: Ziplock (art deco), Vexillum (maritime signal flags).

    Typefaces from 2019: Drop Cap (Lombardic), Fun with Cubes (3d). [Google] [More]  ⦿

    Christian Nickodemus

    Trier-based graphic designer, who created the angular Static Font (2012). [Google] [More]  ⦿

    Christian Nimpsch

    Based in Zeitz, Germany, b. 1986. Creator of the grunge font Molotow (2007). Alternate URL. [Google] [More]  ⦿

    Christian Ollert

    Creator of the blackletter connected script type Grossmütterchen, made in 1917 for Schelter und Giesecke, Leipzig. It can be seen on the title page of volume 148 of Die Deutsche schrift. [Google] [More]  ⦿

    Christian Pannicke
    [Christian Jung]

    Christian Pannicke (Christian Jung) is a typeface designer and art director based in Berlin. His typefaces:

    • During his communication design studies in Berlin in 2013, Christian Pannicke created three typefaces, Aggi (a great carefully manicured display face), Alir (a modular squarish sans) and Neiga (a noteworthy free monoline Swiss slab serif described by Christian as glasklar und einfach).
    • The didone display typeface Agigi (2014), possibly renamed from Aggi.
    • The macho geometric sans serif typeface Amok (2014).
    • The roundish sans typeface Rodina (2014).
    • He designed Neue Cafe Grotesk for a final school project entitled Typography as a cultural embassy in the architecture of Berlin.
    • Nora (2014) and Nora Bold (2016): wedge serif magazine titling typefaces.
    • The letterpress emulation typeface family Heinrich (2017), which comes with several inline and textured styles.
    • The 20-style layerable poster typeface family Faust (2018).
    [Google] [More]  ⦿

    Christian Richter
    [Glyphicon]

    [More]  ⦿

    Christian Sander

    During his studies in Essen, Germany, Christian Sander designed the heavy sans typeface Love Alphabet (2013). [Google] [More]  ⦿

    Christian Schaarschmidt
    [Illunatic]

    [MyFonts] [More]  ⦿

    Christian Specht

    Essen, Germany-based designer of the grid-based typeface Above (2014). [Google] [More]  ⦿

    Christian Spremberg

    German type designer (b. 1956). At Delbanco-Frakturschriften, he created DS-Eisenacher Fraktur (1994), DS Wartburg Fraktur (1998, based on Barock Fraktur), DS-KlingsporBorgis, DS-Kochfraktur, DS-Jessen-Schrift (1998), DS-Schmuck (1998) and DS-Tannenberg. Lives in Siegen, Germany. [Google] [More]  ⦿

    Christian Terbeck

    Designer at Germany's Apply Design of fonts such as GaramondRough (1997) and Rohrfeder-Rough (1997). At Elsner&Flake, he designed EF Tempodrom (display letters between thick lines). Located in Bielefeld, he started Kobaltblau. FontShop link. [Google] [MyFonts] [More]  ⦿

    Christian Thiele

    Berlin-based designer who founded Knorke with Felix Schwarze. Together, they created these typefaces:

    • The free graffiti font The Fresh Prince (2015).
    • The sans typeface family Rummelsdorf (2017) and the similar sans family Rummelsburg (2018: inspired by old metal signs from the GDR).
    [Google] [MyFonts] [More]  ⦿

    Christian Urff

    Christian Urff (Lernsoftware Mathematik, Friedrichshafen, Germany) created the free informal school script typeface Grundschrift (2013, OFL). [Google] [More]  ⦿

    Christian Vornehm

    Mannheim-based designer of Linotype Seven (1997, brush face) and Linotype Zwitter.

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

    Christian Vukomanovic

    During his studies at Hochschule Hannover, Germany, Christian Vukomanovic designed the wavy display typeface Ebrietas (2016). [Google] [More]  ⦿

    Christian Wischnewski

    German designer of the pixel fonts Poppkorn (2018) and Satzkorn (2016). [Google] [More]  ⦿

    Christian Zinck

    German punchcutter who ran the Christian Zinck foundry in Wittenberg. Most of his work was done in the early part of the 18th century, when he supplied matrices to the Leipzig-based foundry B.C. Breitkopf. Zinck was born in Leipzig in 1698, and moved ca. 1720 to Wittenberg. Examples taken from the Norstedt foundry in Stockholm which had acquired some of the matrices: Colonel Fractur No22 and Nonpareil Fractur No23, Grobe Mittel No1, Grobe Mittel No2, Kleine Mittel Schrift No1, Petit Gammal Schwabach, Tertia Antiqua, Tertia Antiqua.

    Christian Zinck had a son, Johann Ludwig Zinck, b. 1728, Wittenberg. He moves in 1752 to Berlkin, where he was in charge of Fredrik II's type foundry and died in 1770. Christian Gottlob Zinck started a type foundry in 1764 in Augsburg, where he died in 1778. [Google] [More]  ⦿

    Christiane Boerdner

    Art director in Berlin who made the rectangular paper cut-out typeface Super Sonic Geisha (2009). [Google] [More]  ⦿

    Christian-Heinrich Wunderlich
    [Typografisches Cabinet]

    [More]  ⦿

    Christian-Heinrich Wunderlich
    [rotfont halle-ost]

    [More]  ⦿

    Christin Arnhold

    Designer in Trier, Germany. She used the lettering on a shop in Mainz to develop the signage script typeface Lapina (2011). [Google] [More]  ⦿

    Christina Haseloff

    German designer of the handcrafted typeface Waldprinzessin (2017). iFontmaker link. [Google] [More]  ⦿

    Christina Maria Bee
    [Type Destroyers]

    [More]  ⦿

    Christina Maria Bee

    Christina Bee ("Krizbi") is a type designer from Darmstadt who studied in Den Haag at the KABK in 2006, where she designed the Renaissance Antiqua typeface Olga while doing a Masters. Olga won an award at TDC2 2007. Christina lives in Hamburg.

    She participates in Type Destroyers with Frederik Berlaen.

    Other typefaces by Bee: Pony (2007, stencil). [Google] [More]  ⦿

    Christina Poth

    Graduate of ENSAD in Paris. In 2014, she created Oui FY (FontYou), a sans typeface designed to enable mixing letters of different heights. [Google] [MyFonts] [More]  ⦿

    Christina Sachse

    German type designer who published Linotype Boundaround in 1997.

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

    Christina Schultz

    Christina Schultz works as a freelance designer in London and Berlin. Her current focus is on iconography and intelligent fonts. Recent projects include logo, corporate and web design. She graduated from Central Saint Martins School of Art and Design with an MA in Communication Design in January 2005. At ATypI 2005 in Helsinki, she spoke about Piclig (for picture ligature), an intelligent OpenType font, which makes it possible to create symbols out of letters. These letters, when typed in a specific order, merge automatically and form picture ligatures. To achieve this replacement, piclig uses OpenType's contextual character substitution. The font contains a library of 112 symbols which are encoded not as images, but as characters. Piclig occupies little disk space, which is important in applications such as mobile phones. FF PicLig (2005, Fontshop). FF Piclig won an award at TDC2 2006.

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

    Christine ADM

    German designer who is now located in Chicago, IL. For a club night in Frankfurt, she created the straight-edged techno typeface Sexpol (2014). For KISD Gala 2012, she designed an experimental geometric solid typeface. Behance link. [Google] [More]  ⦿

    Christine Auf der Mauer

    Chicago-based designer of Potato Print Font (2013) and of a geometric typeface done for KISD (Köln International School of Design) Gala 2012. Behance link. [Google] [More]  ⦿

    Christine Gertsch
    [Modonomat]

    [MyFonts] [More]  ⦿

    Christine Hartmann

    Author (b. 1938) of Kalligraphie. Die Kunst des schönen Schreibens (1986-1989, with Christian Scheffler). In that book, she drew several alphabets, including an Antiqua Versalien, a Fraktur, a Humanistische Kursiv, a Schwabacher, and a Schwung Kursiv. She studied with Karlgeorg Hoefer at the Offenbacher Kunsthochschule. [Google] [More]  ⦿

    Christine Rudi

    Trier, Germany-based designer at FH Trier in 2019 of New Romanticism, which was based on Eleisha Pechey's Windsor (1905), which evokes the eras of romanticism and art nouveau. [Google] [More]  ⦿

    Christine Voigts

    Namibian-German designer of Linotype Dropink (1999), an adorable font in which letters are written with a scratchy inky fountain pen. One of my favorites in its genre.

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

    Christof Gassner

    Born in Zürich in 1941, Gassner is professor at the University of Kassel. He designed Vexier (1973), Leopard (1976), Knirsch (1976). [Google] [More]  ⦿

    Christoffel van Dijck

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

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

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

    Christoph Bergleiter

    Graphic designer in Ulm. Behance link. He created the horizontally striped typeface DIN Cut (2010). [Google] [More]  ⦿

    Christoph Dörre

    Christoph Dörre joined Philip Trautmann's Phitra Design in 2016 and then Shaped Fonts when Phitra changed its name. Based in Düsseldorf, Germany, he designed the free geometric sans typeface Coyote (2017), the free handcrafted Cinema (2017), the rounded sans typeface Cream (2017), the stencil font Leixo (2017), the dry brush script typeface Sidney (2017), the free slab serif typeface Tugano (2017), Airfly (2017: a minimalist sans), Equil (2017: a rounded wedge serif, accompanied by a stencil version) and the free graffiti script Friends (2017).

    In 2018, he designed Lifestyle (a flowing script), Hello Love (a brush script), Garatlo (a heavy script family), Spotlight and Spotlight Stencil.

    Typefaces from 2020: Argio (a rounded sans; +Stencil). Phitra Design link (obsolete). [Google] [More]  ⦿

    Christoph Dunst
    [Atlas Font Foundry]

    [MyFonts] [More]  ⦿

    Christoph Dunst
    [Büro Dunst]

    [MyFonts] [More]  ⦿

    Christoph Gey

    Graphic designer and illustrator in Köln, Germany. Behance link. Creator of the at deco typeface Josi Groove (2011). Logo. [Google] [More]  ⦿

    Christoph Hanser

    Cofounder and type designer at Typonauten, a Bremen and Hamburg-based commercial font foundry started in 1998. He made the interesting pixel font family Trixel (2002, free). [Google] [More]  ⦿

    Christoph Kaplan

    German designer from Trier, b. 1983. Creator of the quirky curly font The Croach (2007). [Google] [More]  ⦿

    Christoph Koeberlin
    [Sportsfonts]

    [MyFonts] [More]  ⦿

    Christoph Koeberlin

    Active type expert and type designer, who created FF Mark in 2013 together with Hannes von Döhren and the FontFont team. This 10-style font family spanning hairline to black is marketed as Ze new Germanetric sans. The FF Mark Ultra weight, published in 2015, is absolutely stunning. One of the weights of FF Mark is free.

    In 2016, he designed Fabrikat, which had creative input of Hannes von Döhren. This simple geometric sans serif family is based on the DIN style used in the 20th century by German engineers: It has a plain and precise appearance, and is a textbook example of a compass-and-ruler typeface. The monospaced almost-typewriter version Fabrikat Mono followed in 2017. In 2020, Fabrikat Normal was released at Hans von Doehren Fonts.

    In 2020, he released Pangea and Pangea Text at Fontwerk. He writes: Pangea is a symbol of not only living together but of global cooperation. While Gergo Kokai from Hungary supported him in the design of the upright characters, he brought Tanya George from India on board to work on the italics (work in progress). He consulted with Irene Vlachou from Greece and Ilya Ruderman from Russia to ensure the quality of the Greek and Cyrillic characters. The spacing and the kerning of the font would not have been possible without Igino Marini from Italy and his iKern tool. A broad foreign language extension seems obligatory for this omnicultural approach and in fact, extended Latin, Cyrillic, Greek and Vietnamese are already included. Arabic, Hebrew and other languages are to follow. In 2021, he added the free 20-style Pangea Afrikan family with coverage of most of Africa's languages.

    In 2016, he set up Sportsfonts, and promptly published the 24,000-glyph 49-font athletic lettering superfamily, Winner.

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

    Christoph Koeberlin
    [Typefacts]

    [More]  ⦿

    Christoph Koeberlin
    [Typefacts: The Best Free Fonts]

    [More]  ⦿

    Christoph Köckerling

    Creator (b. 1984) of the handwriting fonts Daubed (2008), Freihand (2008) and Kaunitz (2008). He also made the dingbat Ugly Faces (2008), linear-edged Koecki (2008) and the pixel typeface Koecki Pixel (2008). Christoph Köckerling lives in Köln, Germany. Link at fontsy. Link at Dafont. [Google] [More]  ⦿

    Christoph Kutta

    Designer (b. 1990, Germany) of the organic sans typeface Run (2013). [Google] [More]  ⦿

    Christoph Mescher

    Christoph Mescher was born in 1984 in Tübingen/Germany. After he graduated from Hochschule Pforzheim, University of Applied Arts in 2010, he has been working as a freelance graphic designer. He created some commercial typefaces, including the purely geometric typeface Synthica (2010, Volcano), which started out as a project at the Fachhochschule in Pforzheim, and is meant to be a reflection on electronic music.

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

    Christoph Mueller
    [Christoph Mueller Graphic Arts]

    [More]  ⦿

    Christoph Mueller Graphic Arts
    [Christoph Mueller]

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

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

    Christoph Rankers

    Born in 1980, Rankers is a free-lance graphic designer and cofounder of the design network DREIZEHN33 in 2006 in Freiburg, Germany. In 2008, he started his own studio in Freiburg. At Volcano Type, he created the experimental typeface Shiver (2008).

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

    Christoph Reichelt

    Disciple of Philipp Luidl, b. 1967, Munich, Germany. During his studies in Vienna, Christoph Reichelt designed the modular retro typeface Grande Coppi (2016). In 2021, he released Polydot (a connect-the-dots font). In 2022, he added Shackle One, a 7-style monolinear geometric sans in which most stroke connections and terminals are perpendicular; all curves have a light bend at their ends, similar to the lordosis of the cervical spine. [Google] [MyFonts] [More]  ⦿

    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]  ⦿

    Christoph Schwedhelm

    Author of Rekonstruiert (2013, Dortmund, Germany), which served as a Diploma Arbeit at the Fachhochschule Dortmund. This book has contributions by Friedrich Forssmann, Albert Rahmer and Bernhard Schnelle. It describes the process of reconstruction of some blackletter fonts, and discussions blackletter typography in general. The four revived blackletter typefaces showcased in the book are

    [Google] [More]  ⦿

    Christoph Seiler

    Born in 1982 in Karslruhe, he is one of the cofounders of Slanted, a German web log on typography and design. In 2007, he founded his own design studio, UpShapes Interactive.

    Drawn with a feather, Deadman (and Deadman Blotting and Deadman Squirting) is a gorgeous wild handwriting typeface reminiscent of the handwriting of British illustrator Ralph Steadman, and of Treefrog. It was published at Volcano in 2006 and has this wonderful motivation: The font family DEADman is mostly inspired by the weird style of the British illustrator Ralph Steadman. He had a long partnership with the American journalist Hunter S. Thompson, drawing pictures for several of his articles and books such as Fear and Loathing in Las Vegas.

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

    Christoph Singer

    Web page on the russification of Windows and related Slavic language font links. Christoph Singer who used to be based in Tübingen, Germany, created these (free) fonts: an old Russian lettering font Old Cyrillic, Metropol 95, Kirillica Nova Unicode (1998), Kirillica Wincyr (Old Church Slavonic), as well as the old Cyrillic fonts XSerif Trediakovskij, Xserif Old Russian, and XSerif Unicode. Singer's page on Unicode-compliant fonts. [Google] [More]  ⦿

    Christoph Spatschek

    German designer of the experimental typeface Zopf (2009, Avoid Red Arrows). [Google] [More]  ⦿

    Christoph Stahl

    Christoph Stahl (b. 1975, Marburg, Germany) studied at Kunsthochschule Kassel in 2002, and teaches at the Central Academy of Fine Arts, Beijing since 2003. First in the Computer Art Studio, and later in the School of Design and City Design School, Stahl wrote a doctoral thesis on Hanzi of the West, Letters of the East (2008- 2010). He earned a P.h.D. in Visual Communication at Central Academy of Fine Arts School of Design in 2010.

    Speaker at ATypI 2012 in Hong Kong: Hanzi of the West, letters of the East. [Google] [More]  ⦿

    Christoph Ulherr

    German designer of the fresh slab serif family Prana Pro (2011, URW), a typeface developed during his studies with Prof. Gertrud Nolte at the faculty of design of the Hochschule Würzburg, and under the artistic direction of Volker Schnebel, URW's type director.

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

    Christoph Windmueller
    [Kix]

    [More]  ⦿

    Christoph York
    [Brink Type]

    [MyFonts] [More]  ⦿

    Christopher Gram

    During his studies in Osnabrück, Germany, Christopher Gram created Zeta (2014), a large sans typeface family based on a grid system built on prime numbers. Free download. Behance link. [Google] [More]  ⦿

    Christopher Kalscheuer

    Graphic designer Christopher Kalscheuer studied from 1988 to 1994 at the Staatliche Akademie der Bildenden Künste in Stuttgart under Professor Günther Jacki. Since 1994 he has been working as a designer in Stuttgart. Creator of the organic text family FF Maverick (1995), which was originally designed for cultural events and projects oriented toward packaging. FontShop link. [Google] [MyFonts] [More]  ⦿

    Christopher Paul

    German creator in Trier of a typographic robot called Arnold (2012). He created the hand-printed typeface Tape It (2013).

    Behance link. [Google] [More]  ⦿

    Christopher Sower

    Author of "Ein Geistliches Magazien, oder: Aus den Schätzen der Schrifftgelehrten zum Himmelreich gelehrt, dargereichtes Altes und Neues" (1770-1772), Germantown. I cite a blurb from an exhibit at Columbia University: "Christopher Sower (1721-1784) was one of the most prosperous printers and businessmen in the North American colonies. Around 1740 he imported type from the Egenolff-Luther foundry in Frankfurt and used it to print many books, including the 1743 German Bible, the first to be printed in any European language in America. By 1770 he had imported matrices as well, and by 1772 his son Christopher Sower II began what may be considered the first successful American type foundry, although he still used European equipment. The legend at the bottom of page 136 of this religious periodical, published in late 1771 or early 1772, reads "Printed with the first types that have been cast in America." When the younger Sower died in 1778, his estate contained not only letter molds but also a large quantity of antimony, the critical ingredient of type metal, which at that time had to be imported to America." [Google] [More]  ⦿

    Christopher Stahl

    German type designer in Hamburg. He works as a graphic designer for the German advertising agency Scholz&Friends. In 2010, he made the square sans family Pragmatik.

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

    Christophorus Halsch

    During his studies, Freiburg im Breisgau, Germany-based Christophorus Halsch designed the stencil typeface Unperfect (2015) and the oval multiline typeface Racetrack (2015). [Google] [More]  ⦿

    Cihan Tamti

    Based in Bochum, Germany, Cihan Tamti is a graphic designer specialising in typography. He is the creator of typefaces including the incredible Giga Medium (a super heavy display font) and Le Virage. [Google] [More]  ⦿

    CJK Unifonts
    [Arne Götje]

    Arne Götje, a German who lives in Taiwan, works on a project to provide CJK unicode fonts. His work is based on the Arphic fonts AR PL ShanHeiSun Uni and AR PL ZenKai Uni. He added the Chinese dialect phonetic symbols. Furthermore, he merged the embedded Firefly Sung bitmap font into CJKUnifonts. In 2005, the work of the Hong Kong freefonts project (OAKA group) was also merged into CJK Unifonts. Additional URL.

    Free high quality Chinese truetype Unicode fonts under the Arphic license (Arphic is based in Taiwan). They contain almost 22000 characters (!!!) and contain glyphs for Big 5 Chinese, GB2312-80 Chinese, ISO8859-1,2,3,4,7,9,10,13,14,15 and Bopomofo extended for Minnan and Hakka (Taiwan). The missing glyphs for Japanese, Korean and HKSCS are under development. The fonts are Uming (Mingti, or printed) and Ukai (Kaiti, or brush stroke). They are gorgeous and reproduce well at small screen sizes. Subprojects include modules for typing the Taiwanese styles Minnan and Hakka. Colloborators: Aaron Cheung, Akar Chen, Alex Ho, Chow Lok Yuen, CP Tung, Eric (EC-graphic), Eric Chan Chi Shing, Firefly, Ga Ming, Jack Tse, John Ma, Kevin Tse, K.M. Lau, Kong, Kwok Wun Yung, Lam Wai Tung, Munkwui Ho, Qianqian Fang, Simon Wong, Shiu Kau Wong, Willy Yuen. [Google] [More]  ⦿

    Clara Diercks

    Münster, Germany-based designer of the transitional serif typeface Sonder (2016). Behance link. [Google] [More]  ⦿

    Claudia B. Kirsamer

    German calligrapher who made a stunning cover in 2003 for the blackletter magazine Die deutsche Sprache. Short bio. [Google] [More]  ⦿

    Claudia Kappenberger

    German designer of the outlined poster typeface Lokomo (2008, Avoid Red Arrows). [Google] [More]  ⦿

    Claudia Kipp

    Berlin-based German type designer (b. 1965) who graduated from Fachhochschule Bielefeld in 1992, where she studied under Gerd Fleischmann. She designed great sans serif family appropriately called Kipp at FontFont. Claudia published the following typefaces at URW++: Aculida (2004), Marin (2006, a severe stencil family), Expansion (2004), Kipp Clean (2004), Les Tres (2005, URW, a geometric sans family). Archive with over 23,000 links to commercial fonts. In 2008, she made and extensive sans family, FontForum Martines (URW++), and a big display family, FontForum Profil. Her FontForum Quadre (2008, URW++) is totally experimental again. And FontForum Siesta is a display sans family with a bit of Neuland playfulness.

    FontShop link. Klingspor link. View Claudia Kipp's typefaces. [Google] [MyFonts] [More]  ⦿

    Claudia Löffler

    German designer of Commeo (2009, Avoid Red Arrows), a multiline face. [Google] [More]  ⦿

    Claudia Silbermann

    Graphic designer and illustrator in Berlin. Communications Design student in Berlin at the University of Applied Science (HTW Berlin). Creator of a calligraphic blackletter pair of typefaces in 2012 tentatively called Vomit Serif and Vomit Blackletter.

    Behance link. [Google] [More]  ⦿

    Claudia Vollmer

    During her studies in Dessau, Germany, Claudia Vollmer created the free typeface Knatz (2014, with Thomas Kores). [Google] [More]  ⦿

    Claudia Walde

    Author of Street Fonts: Graffiti Alphabet From Around The World (Thomas & Hudson). [Google] [More]  ⦿

    Claudio Giovanniello

    Alsbach, Germany-based web designer, b. 1989. At Devian Tart, he published Pixelize (2008, pixel face). Kernest link. [Google] [More]  ⦿

    Clemens and Buschmann

    German designers of the blackletter typeface Neuzeit Fraktur (1909, H. Hoffmeister). [Google] [More]  ⦿

    Clemens Bergmann

    Based in Stuttgart, Germany, Clemens Bergmann designed the broken grotesk typeface Daimonion (2013). [Google] [More]  ⦿

    Clemens Rothbauer

    Dresden, Germany-based designer of the experimental (modular) typeface Sega (2009, 26plus-zeichen).

    Behance link. [Google] [More]  ⦿

    Cliff Modes

    German designer of the free pixel typefaces Jamboree (2016: based on the original team and player name font appearing in the SNES versions of the video games NBA Jam, NBA Jam Tournament Edition, and NBA Hangtime, developed by Iguana Entertainment and Funcom, and released by Acclaim Entertainment and Midway Games between 1994 and 1996), Galatype (2016: based on the original main text font appearing in the SNES video game Terranigma, known as Tenchi Souzou in Japan, developed by Quintet and released by Enix in 1995), Ishmeria (based on the original main text font appearing in the SNES video game Gemfire, known as Super Royal Blood in Japan, which was developed and released by Koei in 1992), Phantalia (2016: based on an original font appearing in the SNES video game Tales of Phantasia, developed by Wolf Team and released by Namco in 1995), NDS12 (2016: based on the original system font of the Nintendo DS handheld), ChronoType (2016: based on the original main text font appearing in the SNES video game Chrono Trigger, developed and released by Square in 1995), Arcology (2016: based on the original opening credit and title screen text font appearing in the SNES video game Shadowrun, developed by Beam Software and released by DataEast USA in 1993), MM Rock 9 (2016: based on several variants of the familiar font appearing in the earliest and latest installments of the Mega Man video game series, known as Rockman in Japan, which was developed and released by Capcom throughout the many years between 1987 and 2012), Steelflight (2016: based on the original main text font appearing in the SNES video game Shadowrun, developed by Beam Software and released by DataEast USA in 1993), RoadWC98 (2016: based on the original main text font appearing in the SNES video game FIFA: Road to World Cup 98, developed by XYZ Productions and released by Electronic Arts in 1997), Altima (2016: based on the original main text font appearing in the Sony PlayStation video game Final Fantasy Tactics, developed by Square and released by Square and Sony Computer Entertainment in 1997), Filgaia (2016: based on the original main text font appearing in the Sony PlayStation video game Wild Arms, developed by Media Vision and released by Sony in 1996), Igiari (2016: based on the original main text font appearing throughout the Ace Attorney video game series for the GameBoy Advance and Nintendo DS, known as Gyakuten Saiban in Japan, developed and released by Capcom between 2005 and 2011), Kouryuu (2016: based on the original main text font appearing in the SNES video game Kouryuu no Mimi, developed and released by VAP in 1995, and the font used for the inofficial English fan translation of the game), Quarlow (2016: based on the original main text font appearing in the SNES video game Super Punch-Out!!, which was developed and released by Nintendo in 1994), Reactor7 (2016: based on the original main text font appearing in the Sony PlayStation version of the video game Final Fantasy VII, developed and released by Squaresoft in 1997), Sangoku4 (2016: based on the original main text font appearing in the SNES video game Romance of The Three Kingdoms IV: Wall of Fire, known as Sangokushi IV in Japan, which was developed and released by Koei in 1994), Xentype (2016: a blackletter based on the larger original main dialog font appearing in the game Knights of Xentar, known as Dragon Knight III in Japan, which was developed by ELF Corporation and released by Megatech Software for PC DOS in 1995 and even earlier for the NEC PC-8801 and various other systems in 1991).

    In 2018, he published Megaten 20XX (based on the original typeface appearing in the Super Famicom video game Shin Megami Tensei II, developed and released by Atlus in 1994).

    Typefaces from 2019: WWare Type A, WWare Type B (based on an original pixel font appearing in the game WarioWare: D.I.Y).

    Aka Caveras, most of Cliff's typefaces are made with FontStruct. [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]  ⦿

    cmbright: Computer Modern Bright
    [Walter Schmidt]

    Family of sans serif metafonts based on Donald Knuth's CM font. It is lighter and less obtrusive than CMSS. Together with CM Bright there comes a family of typewriter fonts, CM Typwewriter Light, which look better in combination with CM Bright than the CMTT fonts would do. The whole package is by Walter Schmidt. A commercial-quality type 1 version of these fonts is available from Micropress. Free versions are available, in the cm-super font bundle (the T1 and TS1 encoded part of the set), and in hfbright (the OT1 encoded part, and the maths fonts). Development spanned 1996-2004. [Google] [More]  ⦿

    Coco Lobinger

    Multidisciplinary designer at Bauhaus-University Weimar. Creator of Serpiente Display (2020), a typeface with glyphs that evoke snakes and fangs. [Google] [More]  ⦿

    Codeluxe
    [Hugo Goeldner]

    Hugo Goeldner's German outfit which has a free slab serif pixel font to its credit: Delight (2006). In 2011, he created the monospaced type family for tables and programs called CDLX Mono (YWFT). [Google] [More]  ⦿

    Codin Repsch

    Creator (b. 1975) in Dresden, Germany, of Splatter (2011, ink splatter dings), Kristall (2011), Sketchcore (2011, dingbats of cartoon characters), UpstairsCVJMgraff (2010, comic book style), stencilddtown (2010, scanbats) and 3dfatsche (2010, 3d face, caps only).

    In 2012, he made Codygraff, the black rounded typeface Donner, Three Tentakel (2012, octopus-shaped glyphs), and the dingbat typefaces Human Chain and Electricsphere.

    In 2013, he designed Hip Hop Barbie.

    Home page. Dafont link. [Google] [More]  ⦿

    coding4web

    Köhler (coding4web) is the German creator of the LED font Digital (2013), which is based on Allen R. Walden's Crystal. Fontspace link. [Google] [More]  ⦿

    Cohezion Design

    Frankfurt, Germany-based designer of the art nouveau typeface Juneau (2015). Behance link. [Google] [More]  ⦿

    Colin Doerffler

    Colin Doerffler is an infradisciplinary designer based in Munich, Germany. Creator of the display typeface Bogoni (2018) and 12:51 (2019). [Google] [More]  ⦿

    Collide 24
    [Lena Manger]

    Lena Manger works multidisciplinary in the fields of visual communication and graphic design. She graduated from the University of Applied Sciences, Mainz in 2018, and currently lives and works in Berlin, Germany. In 2019, Lena Manger and Kevin Moll co-designed the spindly Victorian typeface Mystica Extended. [Google] [More]  ⦿

    Combit

    Site run by five guys from the Zürcher Hochschule der Künste. They designed CombitBox, a modular font of basic blackletter pieces. These pieces fit together to make nice blackletter fonts. Included are André Apel (Zürich), Jan Schöttler (München), Kim Hensler (Villingen), Thomas Wimmer, and Tom Prochnow (Dresden). [Google] [More]  ⦿

    Comedia: Revue suisse de l'imprimerie

    Comedia is a Swiss type magazine established in 2002. It has many interesting articles on typography and type design (in French and German). [Google] [More]  ⦿

    Concrete Math fonts
    [Ulrik Vieth]

    Ulrik Vieth (University of Duesseldorf, Germany) designed an alternative for Computer Modern. Concrete by itself may be used as a complete replacement for Computer Modern. Since Concrete is considerably darker than Computer Modern, this may be of particular interest for use in low-resolution printing or in applications such as posters or transparencies. Personally, I find this collection wonderful. Alternate early URL.

    Ulrik Vieth created the Concrete Math fonts to match the Concrete text fonts; the only early free versions are implemented in METAFONT. The ccfonts package by Walter Schmidt changes the text font to Concrete and changes the math font to the Concrete Math fonts if eulervm is not loaded. Note that Concrete Text has no bold, but the Computer Modern Bold does just fine for that. However, in 2022, Daniel Flipo developed a free OpenType font based on Vieth's Metafont, also called Concrete Math. [Google] [More]  ⦿

    Conrad Berner

    Type founder who succeeded Jacques Sabon in 1580. He was the son-in-law of Christian Egenolff and his successor at the Egenolff print office. His catalog of type specimens is dated 1592. The "Berner specimen" of 1592 formed the basis of the free Google Web Font family EB Garamond (or: Egelnoff-Berner Garamond) developed by Georg Duffner. In 1626, his foundry passed into the hands of Johann Luther. At the time, he was the main type supplier for Germany, the Scandinavian countries and the Netherlands. [Google] [More]  ⦿

    Constantin Groß

    Constantin Groß (aka Connum) (b. Karlsruhe, Germany, 1987), who lives in Karlsruhe, designed the handwriting typefaces TSS Scrubs Logo (2006) and TSS Scrubs (2006). Alternate URL. [Google] [More]  ⦿

    Constantin Pfeiffer

    Researcher and designer at the University of Applied Sciences in Darmstadt, Germany. Co-designer with Jerome Knebusch (Frankfurt am Main) of If (2017-2020). They write about If: Based on Futura Fett, released by the Bauer Foundry in Frankfurt in 1928, the type was pushed to extreme blackness without loosing its historical reference nor becoming a caricature. Decisions Paul Renner took to achieve maximum boldness like opening the counters of some letters were taken even further. The typeface, designed by Constantin Pfeiffer & Jérôme Knebush, was initially created during a workshop at the Gutenberg Museum Mainz on the occasion of the "Futura. Die Schrift" exhibition in 2017. [Google] [More]  ⦿

    Constanze Feige

    During her studies in Berlin, Constanze Feige designed the bold display typeface Pipersquare (2016). [Google] [More]  ⦿

    Constanze Kohlhaas

    Leipzig-based designer the chunky square-aligned typeface ATB+ (Around The Block) in 2021. [Google] [More]  ⦿

    Contrafonts (or: Frutitype; was: Sindicato de la Imagen, or: Cooperativa de Fundicion Tipografica)
    [Joaquín (jko) Contreras]

    Or Joaquin Contreras Soto. Santiago, Chili-based type cooperative where some free fonts have been produced: CNI (2004, a scary pixel typeface named after the Central Nacional de Información, the notorious Chilean intelligence bureau), CFT Maestro Rosamel, Masapunk (grunge, available from Latinotype), Jara (pixel face, Latinotype), Themo.

    Contreras won awards at Tipos Latinos 2008 for Romances (an exquisite calligraphic family) and Epístola. Other typefaces: LTT Jara, LTT Ferretería.

    He wrote a thesis at the Faculty of Architecture of the University in Chile in 2007 entitled Diseño de fuentes tipográficas, basadas en los libros integramente caligrafiados por Mauricio Amster en Chile.

    In 2011, he cofounded Los Andes Type, and published the octagonal typeface Fierro (2011) there.

    Typefaces not mentioned above include TCL Suma (2011), La Chimba (2010) and Nomono (2011, after an alphabet designed by Chilean illustrator Cristobal Schmal).

    He founded Contrafonts. Promptly, the medieval / uncial wedge serif all caps typeface CF Santiago won an award at Tipos Latinos 2018.

    In 2020, Joaquin Contreras and Miguel Hernandez Montoya set up Archetypo.xyz from their new base in Germany. They co-designed AA Actual Mono (2020: monospaced, in 10 styles).

    In 2021, Contreras set up Frutitype in Germany. At Frutitype, he released Cobre (a sans) in 2021.

    Old URL. Navajo.org site. [Google] [MyFonts] [More]  ⦿

    Cornelia Aust

    Student at the University of Wuppertal who made the experimental typefaces Split One and Split Two (2004). [Google] [More]  ⦿

    Cosman Damian May

    Born in 1807 in Frankfurt am Main, May was one of the most famous puchcutters of his day. Like many punchcutters, he started out under Andreas Schneider, the first punchcutter of the Dreslerschen Giesserei. In 1828, he went to England, where he worked for several years at Watts (London), Stephenson, Blake & Co. (Sheffield), and Miller & Richard (Edinburgh). He became partnet of Alex. Wilson & Son in London, where he worked from 1845 until 1852, when that company stopped operations. He returned to Frankfurt in 1852 where he cut many Fraktur and Antiqua types until 1963. Coota, a foundry in Stuttgart, bought his Bourgeois-Fraktur. He returned to London in 1863, and died there in 1865. May's company was then taken over by his son F. F. May, also a punchcutter. [Google] [More]  ⦿

    Cosmo F. Fairyhopper

    German creator (b. 1989) of the hand-printed font Fairy Cosmo (2009). [Google] [More]  ⦿

    Cotta'sche Schriftgießerei

    Stuttgart-based foundry. [Google] [More]  ⦿

    Cristian Bogdan Rosu

    Weiden, Germany-based designer of icon sets and typefaces. His type designs include Kernl Grotesk (2019) and the sci-fi font Future Primitive (2019). [Google] [More]  ⦿

    Cristian Dina
    [cD Design]

    [More]  ⦿

    Critzler
    [Thomas Bierschenk]

    Young Berlin-based type designer who made the Chemo family, Bionic Dynamic, Localizer, Localizer Clones and FF Magda Clean (1997, together with Henning Krause), a monospaced typewriter font related to Cornel Windlin's Magda, all at FontFont. His company is called Critzler Font Investigation. He created the fun Linotype typefaces Linotype Down Town, Linotype Go Tekk and Linotype Mindline in 1997. Before 1990, he was an East-German sign painter. He recently founded Pfadfinderei, an "all-round" agency for visual communication, where he designed the futuristic techno display type family FF TradeMarker (2007), Flomaster (1998, graffiti, done with Jayone), Vinataba Solid (2002), Nicola Zucka (2002, connected cursive script), Franz Jäger (2000, ultra fat, mini-slabbed), and Neo (2002, geometric as in the logo of the Neo car). [Google] [MyFonts] [More]  ⦿

    CybaPeeCreations (or: Typoasis)
    [Petra Heidorn]

    CybaPee is the nom de plume of Petra Heidorn who lives in Hamburg. She has created many typefaces (listed below) between 1997 and 2005 and has cooperated with several type designers on interesting projects. She is undoubtedly best known for her successful web site Typoasis (discontinued in 2016), where one could download her own creations, and those of her many friends. Petra was also heavily involved in several attempts to revive blackletter fonts, in cooperation with Manfred Klein, Dieter Steffmann, Paul Lloyd and others. She organized several revivals of the typefaces of Rudolf Koch and Ernst Schneidler. She also managed the extensive web presence of Manfred Klein.

    In 2016, she allowed me to host her fonts on my site. Download page. Download all her fonts in one zip file.

    Her typefaces:

    • AlphanatismConHeads (2001). Stamped style.
    • ArabDancesMediumItalic (2002). An Arabic simulation typeface done with Manfred Klain's assistance.
    • Azimech (1999).
    • Bauernschrift (2004). After a 1911 typeface from Bauersche Giesserei.
    • Bayreuth (2003). A nice scan-version of Bayreuth Fraktur by Ernst Schneidler for C.E. Weber in 1932.
    • Bibelschrift (2004). Codesigned with Manfred Klein, Bibelschrift revives a Fraktur from 1926-1928 used by the Bremer Presse, est. 1911. The Bremer Presse was bombed by the Americans in 1944.
    • BirthdayGreetz (1999).
    • Brahms Gotisch (2005). A blackletter typeface co-designed with Manfred Klein. It is a revival of a 1937 Genzsch&Heyse typeface designed by Heinz Beck.
    • Burte Fraktur (2003). After Christian Heinrich Kleukens for the Mainzer Presse, 1928.
    • CalliBrush (1999).
    • Camouflage (1999). Textured.
    • Chaos-Theorie (2000). A Halloween or vampire font.
    • Charon (1999). An angry and / or scary typeface.
    • Crystopian.
    • CursedKuerbis (1999).
    • Cyclin (2000). An ironwork font.
    • DecoCaps (1999). Ornamental caps.
    • DeutscheDruckschrift (2004). A revival of Heinz König's 1888 blackletter typeface for Genzsch&Heyse.
    • DeutscherSchmuck (2004). Codesigned with Manfred Klein, this ornamental dingbat font is a revival and extension of the Schmuck für Deutsche Druckschrift by Eduard Ege, Genzsch and Heyse, 1922.
    • DiamondDreams (1999). A pearly all caps typeface.
    • Ellipsoideogram (2000). An italic headline sans.
    • Epitough (1999). A sans.
    • Extemplary (1999).
    • Funtastique (1999). An exagerrated, almost bubbkly, art nouveau typeface.
    • Gondoliere (2000). A light-hearted poster typeface.
    • Gotika (2005). After Reiner's 1933 blackletter typeface for Bauer.
    • Greex (1999). A Greek emulation typeface.
    • Hans Sachs Gotisch (2005). Based on a typeface by that name of Albert Auspurg, 1911, Genzsch&Heyse.
    • Hartwig-Schrift (2005). A blackletter typeface that revives Hartwig Poppelbaum's Hartwig Schrift from 1927-1928.
    • Hasenchartbreaker (1999). A handcrafted typeface.
    • Heimat (2005). After Wilhelm Weimar's Heimat from 1917, Genzsch&Heyse.
    • HelvAssim (1999). A naughty take on Helvetica to needle Linotype.
    • Hohenzollern (2004). Based on Carl Albert Fahrenwaldt's blackletter typeface for Bauersche Giesserei, 1902.
    • HollandGotisch (2005). Designed together with with Manfred Klein, this is a revival of the textura typeface Nederduits (aka Fleischmann Gotisch) by Johann Michael Fleischmann, ca. 1750.
    • InkyDinky (1999).
    • IsleOfTheDead (1999). An angular handcrafted typeface reminiscent of the movie titling of Dr. Caligari.
    • Jaecker-Schrift (2005). Revival of the 1912 blackletter typeface by Wilhelm Jaecker for D. Stempel.
    • Kleukens-Fraktur (2004). A Schwabacher based on a design by Friedrich Wilhelm Kleukens, 1910.
    • KrasniFellows (1999). An old Slavonic emulation typeface.
    • KuehneRevised (2003). A blackletter typeface.
    • LadyIce-Italic, LadyIce-SmallCaps, LadyIce, LadyIceRevisited, LadyIceRevisitedUpper. An organic monoline sans typeface family developed together with Apostrophe.
    • Leibniz-Fraktur (2003). A Schwabacher typeface based on a house font at Genzsch & Heyse, 1912.
    • LeontineLoew. A warm and plump informal typeface.
    • LightBats (1999). Dingbats.
    • Lupinus (1999).
    • Lurzing-Initials (1997). A decorative caps typeface based on a 1908 typeface by Karl Lürzing that depicts naked figures.
    • Manuskript Gotisch (2004). A revival of a 1514 Textura typeface by Wolfgang Hopyl, which was a house typeface at the Bauersche Giesserei in 1899.
    • ModerneSchwabacher (2005). After a ca. 1900 typeface by the Otto Weisert foundry called Moderne Halbfette Schwabacher.
    • MonkeyHouseParty (2001).
    • MothproofScript (1999). A calligraphic typeface. The name is a take on frostmoth, one of Petra Heidorn's early aliases.
    • MuseAsis (2002). Artsy fartsy.
    • Napapiiri (1999).
    • Neudeutsch (2004). After a 1900 original by Otto Hupp for Genzsch&Heyse.
    • NeueFraktur, NeueFrakturExtraBold (2004). Revivals of typefaces by Johannes Wagner Schriftgiesserei in 1927.
    • NinjaLine (2000). An outlined graffiti typeface.
    • Nordland (2005). Based on a typeface by Heinz Beck for Trennert&Sohn, 1935.
    • Oetztype (1999). German expressionist. Named after the Tyrolian Iceman, Oetzi.
    • Oktoberfest (1999).
    • Pachyderm (1999). A nice ultra-fat typeface.
    • PeesCelticItalic, PeesCelticPlain, PeesCelticOutline (1999). Ornamental Celtic caps.
    • Pegypta, Pegyptienne (1999). Hieroglyph-inspired typewriter fonts.
    • PostmoderneFraktur (1999).
    • Rammstein (1999). A tall condensed typeface.
    • ResPublica (2000).
    • RoteFlora (1999). Garffiti style typeface.
    • RoyalGothic (1999). A swashy set of initials.
    • SadLisa. A kitchen tile font designed to support Lisa Jenkins in a copyright battle.
    • Sagittarius (1999). An arrowed typeface.
    • SailingJunco (1999). A stencil typeface.
    • Scalper-Bold, Scalper, ScalperInk (2001). Grunge style.
    • SchmalfetteGotisch (2004). Codesigned with Manfred Klein, this semi-Textura typeface is based on a type of Ernst Schneidler.
    • SchneidlerInitialen (2004). After F.H.E. Schneidler.
    • Schneidler Schwabacher (2004). After F.H.E. Schneidler.
    • SchwabachDeko (2005). This is Verzierte Schwabacher by Carl Kloberg, Leipzig, 1891. In 2005, Petra co-designed a similar revival of Verzierte Schwabacher with James Arboghast, simply called Verzierte Schwabacher. Her SchwabachDeko attempted to be as close as possible to the original.
    • Scoglietto (1999). A text typeface.
    • SerpentisBlack (2004). Digitization of a typeface by E.W. Tieffenbach for Officina Serpentis, 1913. This in turn is based on a Gotico-Antiqua by Peter Schoeffers (Mainz, 1462) which was refined in the late 15th century by Creussner and Koberger.
    • SlimlinerMicro (1999).
    • Smoke-Rasterized-Medium (2001). Degraded and textured.
    • SoftAutumn (1999).
    • Stoertebeker (1999). A mediaeval typeface with a rough outline.
    • SunnySide (2000).
    • Symphonie (2005). A digitization of Imre Reiner's Symphonie from 1938 (renamed Stradivarius in 1945).
    • TaraType (1999). A lapidary typeface named after Petra's friend, Sabine Taranowski.
    • Teutonia (2004). Based on a typeface by Roos & Junge, ca. 1900.
    • TipTop (2004). Based on a typeface from Schriftgiesserei Julius Klinkhardt, Leipzig, ca. 1900. Virtually identical to Teutonia.
    • ToolTime (1999). Dingbats.
    • TypesourceFanclub (2001). A heavy semi-slab serif.
    • Urdeutsch (2004). A rounded blackletter typeface based on Urdeutsch (1924-1925, Adolf Heimberg for Genzsch&Heyse).
    • Vogeler Caps (2002). Based on Heinrich Vogeler's decorative blackletter caps typeface Jugendstil Initialen (1905).
    • Weiss-Gotisch (2004). A revival of E.R. Weiss's typeface by that name, published in 1936 at the Bauersche Giesserei.
    • WelcomeY2K (2000). A casual typeface.
    • XmasTerpiece, XmasTerpieceSwashes (2001). A Fraktur font based on Rhapsodie by Ilse Schuele.

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

    Cynthia Celoudis

    German designer of the handcrafted typeface People (2015). [Google] [More]  ⦿

    Cyra Henn

    Motion designer in Berlin, who created the animated typeface Cyber (2015) and the hyper-experimental typeface Ters (2015). Behance link. [Google] [More]  ⦿

    D. Stempel (or: Stempel Studio)

    Frankfurt-based type foundry started in 1895 by David Stempel. Took over Roos&June in 1915. Gained a majority share in Klingspor Bros in 1917. Takes over Leipzig's Heinrich Hoffmeister foundry in 1918 and Leipzig's W. Drugulin foundry in 1919. Gains shareholding in the Haas'sche type foundry in 1927, and Benjamin Krebs in 1933. It becomes owner of Klingspor in 1956. In 1985 D. Stempel's type division was taken over by Linotype, and became Linotype's type department. Stempel's history, 1895-1955. Designers and fonts:

    • J. F. G. Binder: Binder Style (1959).
    • J. Boehland: Balzac (1951).
    • H. Bohn: Mondial (1936).
    • Walter Brudi: Orbis (1953), Pan (1954).
    • W. Buhe: Buhe Fraktur (1915).
    • W. Chappell: Trajanus (1939).
    • J. Christiansen: Christiansen Schrift (1909).
    • F. Heinrichsen: Gotenburg (1935-1937).
    • K. Hoefer: Prima (1957), Zebra (1965).
    • H. Hoffmeister: Amts Antiqua (1909), Stempel Fraktur (1914).
    • Holzhausen: Holzhausen Antiqua (1916).
    • M. Jacoby-Boy: Bravour (1912).
    • M. Kausche: Mosaik (1954).
    • F. W. Kleukens: Gotische Antiqua (1914), Helga Antiqua (1913), Ingeborg Antiqua (1910), Kleukens Fraktur (1911), Omega (1926), Radio Latein (1923, display didone).
    • R. Koch: Anzeigenschrift Deutsch (1923).
    • H. König: Heinz-König-Setzmaschinen-Fraktur (1913).
    • E. Meyer: Tannenberg (1933-1935).
    • Hans Eduard Meier: Syntax (1968).
    • H. Möhring: Elan (1928), Elegant Grotesk (1928).
    • C. Wilhelm Pischiner: Neuzeit Grotesk (1929).
    • H. Pauser: Petra (1954).
    • I. Reiner: Bazar (1956), Mustang (1956).
    • P. Renner: Renner Antiqua (1939).
    • H. Rhode: Humboldt Fraktur (1938).
    • F. K. Sallwey: Present (1974).
    • A. M. Schildbach: Montan (1954).
    • F. Schweimanns: Diana (1909), Propaganda (1901), Graziella (1905), Korso (1913).
    • W. Schwerdtner: Metropolis (1928), Mundus Antiqua (1929), Standard Latein (1929).
    • J. Tschichold: Sabon (1967).
    • M. Wilke: Diskus (1938), Gladiola (1936), Konzept (1968).
    • Friedrich Hermann Wobst: Globus (1932).
    • Rudolf Wolf: Memphis (1930).
    • Hermann Zapf: Gilgengart, Kompakt (1954), Melior (1952), Michelangelo (1950, roman caps), Optima (1958), Palatino (1950), Saphir (Linotype, 1953), Sistina (1951), Virtuosa (1952, revived in 2009 as Virtuosa Classic at Linotype with the help of Akira Kobayashi).
    • G. Zapf-von Hesse: Diotima Antiqua (1952), Smaragd (1953).
    • Staff: Büxenstein Antiqua (1912: revival by Gerhard Helzel), GerhardHelzel-BuxensteinFraktur-after-DStempel-1912.png">Büxenstein-Fraktur (1912: revival by Gerhard Helzel), AltSchwabacher, Europe, Eurostile, Forma, Garamond, Künstlerschreibschrift (1902), Univers, and the typewriter types Deberny, Haas and Olive.

    Specimen book of 1920.

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

    Dagmar Welle

    Graduate of the University of Leipzig. Author of Deutsche Schriftgiessereien und die künstlerichen Schriften zwischen 1900 und 1930 (1997, S. Roderer Verlag, Regensburg). Graduate from the University of Leipzig. [Google] [More]  ⦿

    Daimler Benz

    The Daimler Benz font series by Kurt Weidemann, created from 1985-1989 for Stuttgart's Daimler Chrysler company which markets Mercedes, is sold by URW++ in A (antiqua), S (sans serif) and E (Egyptian) styles: Corporate A bold, Corporate A bold italic, Corporate A demi, Corporate A demi italic, Corporate A family, Corporate A light, Corporate A light italic, Corporate A medium, Corporate A medium italic, Corporate A regular, Corporate A regular italic, Corporate ASE family, Corporate E bold, Corporate E bold italic, Corporate E demi, Corporate E demi italic, Corporate E family, Corporate E light, Corporate E light italic, Corporate E medium, Corporate E medium italic, Corporate E regular, Corporate E regular italic, Corporate S bold, Corporate S bold italic, Corporate S demi, Corporate S demi italic, Corporate S extra bold, Corporate S extra bold italic, Corporate S family, Corporate S light, Corporate S light italic, Corporate S medium, Corporate S medium italic, Corporate S regular, Corporate S regular italic, Corporate Small Caps A bold, Corporate Small Caps A demi, Corporate Small Caps A light, Corporate Small Caps A medium, Corporate Small Caps A regular, Corporate Small Caps E bold, Corporate Small Caps E demi, Corporate Small Caps E light, Corporate Small Caps E medium, Corporate Small Caps E regular, Corporate Small Caps S bold, Corporate Small Caps S demi, Corporate Small Caps S light, Corporate Small Caps S medium, Corporate Small Caps S regular.

    Picture of Gottlieb Daimler and his son Paul. [Google] [MyFonts] [More]  ⦿

    Dan Reynolds
    [TypeOff]

    [MyFonts] [More]  ⦿

    Dana Krusche

    Dana Krusche (Berlin, Germany) created the (typographic) gig poster Free Pussy Riot in 2014. Behance link. [Google] [More]  ⦿

    Dan-André Niemeyer

    German designer of Vision Regular (1997, Linotype), a font that takes inspiration from paperclips.

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

    Daniel Amann

    German designer at Fontkitchen Type Foundry of Cosicon (2003, dingbats) and Obivan (2004). [Google] [More]  ⦿

    Daniel Amor

    Stuttgart-based Danny Amor was active in the 1990s. His fonts include Jesse James (2000, Western), Future World (1999, LED simulation), New Kids (3D face), CascadeScript, the monospaced pixel typeface Topaz-8 (1994), and Sarah Bernhardt (1999).

    Fontspace link. He used the company name Brainstorm at some point. [Google] [More]  ⦿

    Daniel Angermann

    German graphic designer who has his own studio. He created the (free) experimental font family Drebiek (2008) around the theme of the triangle, the morbidly obese Diet-Fat (2008), Cartoons Abstract (2009), the monoline Cinga (2009), the experimental Boss M (2009), the art deco stencil typeface Trage Keinen Namen (2008) and the simple handwriting typeface Berger&Berger Caps (2009). One can also download a font tool called Typometer. At Dafont, he calls himself Dundeee.

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

    Daniel Baek

    Schwalbach am Taunus, Germany-based designer of the geometric solid typeface Onyu Leon (2016). Behance link. [Google] [More]  ⦿

    Daniel Bonrath

    As a design student in Germany, Daniel Bonrath created the free duct tape blackletter font Ruhrpott (2016, Citype), also called Gantzfeld Black. [Google] [More]  ⦿

    Daniel Bretzmann
    [Righttype]

    [More]  ⦿

    Daniel Faro

    Berlin, Germany-based graphic designer, who created the display sans typeface Twister in 2017. [Google] [More]  ⦿

    Daniel Fischer

    German creator of the free hand-printed typefaces Brush Strokes (2010), Sloppy Fingerwriting (2010), Picture Book Smooth (2010), and Picture Book Serif (2010). [Google] [More]  ⦿

    Daniel Fritz

    Born in Stuttgart (1971), Daniel Fritz designed the paper tape typeface FF Ticket in 2000. FontShop link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Daniel Frohwein

    Designer (b. 1985, Germany) of the textured typeface Paper Beach (2015) and the sans typeface Bus 201 Portugal München (2015). [Google] [More]  ⦿

    Daniel Gall

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

    Daniel Graf

    Designer of Empire (2009, blackletter). He is based in Berlin. [Google] [More]  ⦿

    Daniel Gremme

    Lithuanian designer of the devil-tailed serif typeface Skanaus (2020), which was developed under the mentorship of Prof. Ausra Lisauskiene and type designer Henning Skibbe. Gremme is based in Düsseldorf and sells his fonts through The Designers Foundry. [Google] [More]  ⦿

    Daniel Günther

    Designer from Rothenbuch, Germany, who created the sans typeface Ela Sans (2004). [Google] [More]  ⦿

    Daniel Henry Bastian

    Designer of the hand-printed families Frau Becker (2011) and Linda (2011), together with Volker Schnebel at Profonts. [Google] [MyFonts] [More]  ⦿

    Daniel Hopfer

    German artist (1470-1536) who created Alphabet of Capital Roman letters with metaphorical ornaments, an excessively ornamented alphabet. See here. Digitizations of his work include:

    Scans of his orginal work: German Capitals (1549). [Google] [More]  ⦿

    Daniel Janssen
    [Büro für Gestaltung Janssen]

    [MyFonts] [More]  ⦿

    Daniel Kluwe

    Berlin-based graphic designer. Creator of the monoline architectural typeface Positive Sans (2012). [Google] [More]  ⦿

    Daniel Lanzrath

    Graphic designer and art director in Daasdorf, Germany, b. 1983. In 2009, he created the geometric experimental typeface Bauklötze. [Google] [More]  ⦿

    Daniel Perraudin

    Daniel Perraudin (b. 1982) has worked with Uebele in Stuttgart, as a freelancer in Berlin, and since 2008 at the KMS team in München. Before that, he studied Information Design at Stuttgart Media University (Germany) and FH Joanneum Graz (Austria), where he graduated with distinction in 2007. He lives in Munich, Germany, and works as a designer in the areas of corporate design and typography. Founder and partner of Capitale Berlin/Vienna---a studio for branding, wayfinding systems and editorial design.

    His first release, the extensive Parka family of sans typefaces, started as part of his graduation project and benefited from the support of type designers Günter Gerhard Lange and Georg Salden. The Parka family was extended to 12 styles in 2008 and 2009, and was published by Font Bureau in 2010.

    Bergamo (2012) is a comprehensive angular book typeface.

    He studied in the Typemedia program at KABK Den Haag, class of 2012. His graduation project there is a typeface called Dato (Sans, Serif). Dato Serif is slightly angular and reads well at small sizes.

    In 2021, Fontwerk published his 18-style (+a variable font with weight and slope axes) family West, produced with the help of Andreas Frohloff and Christoph Koeberlin. Perraudin started development of the geometric sans West in 2013, and used it in the wayfinding system developed by Studio Gourdin and Capitale for Dresden's Gemäldegalerie Alte Meister. [Google] [MyFonts] [More]  ⦿

    Daniel Ramirez Perez

    Illustrator and art director in Berlin. Behance link.

    Creator of some beautiful typographic posters, such as the ones that announce some plays at the Volksbühne Berlin (2011). [Google] [More]  ⦿

    Daniel Reuber

    Daniel Reuber (Cologne, Germany) used Impact to design the ornamental caps font Goldsun (2012). His experimental water-inspired typeface H2O (2012) is simply spectacular. [Google] [More]  ⦿

    Daniel Sauthoff

    Author with Gilmar Wendt and Hans Peter Willberg of Schriften erkennen: eine Typologie der Satzschriften für Studenten, Grafiker, Setzer, Kunsterzieher und alle PC-User (1997, Verlag Hermann Schmidt, Mainz). [Google] [More]  ⦿

    Daniel Schludi

    Talented German designer in Karlsruhe whose Masters thesis led him to develop the grotesk family Medusa (2009). He also made Matricula (another grotesque), Sophonpho and Pilot Letters, all in 2009. Pilot Letters was exclusively created for a book about the painter Helmut Schuster. Rond (2009) is a dotted face.

    Behance link. Klingspor link. Avoid red Arrows link. [Google] [More]  ⦿

    Daniel Schops
    [Fuenfwerken Design AG]

    [MyFonts] [More]  ⦿

    Daniel Storek

    Braunschweig, Germany-based designer of the thin avant-garde sans typeface Mord Sans (2013). [Google] [More]  ⦿

    Daniel Stuhlpfarrer

    Berlin-based art director at Nulleins. Designer of the free squarish typeface Wean (2017). In 2019, he published the variable width display typefaces Innschbruck (sic) and Tschick, the experimental variable font Wabla, and the variable sans typeface Melange.

    At Type Departent, he published the all caps sans family Kritik (2020). The first design of Kritik was specially made for an architecture magazine and developed further over time. Type Department link. [Google] [More]  ⦿

    Daniel Utz

    Daniel Utz lives in Stuttgart, Germany. Involved in corporate (graphic and type) and interactive design, he also teaches digital typography at the Hochschule für Gestaltung in Schwäbisch Gmünd. Designer of FF Netto (2008), a simple rounded sans family created for minimalist designs, signage, and pictograms. This was extended to FF Netto Icons UI in 2014. In 2023, FF Netto became simply Netto.

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

    Daniel von Appen
    [Salival]

    [More]  ⦿

    Daniel Wenzel

    During his studies at HTWG Konstanz, Germany, Daniel Wenzel created the sans and serif typeface family Dekan (2015) and the sans typeface Hass Grotesk (2016). Still in 2016, he revived Alte Schwabacher as Schwabacher Grotesk.

    In 2017 he designed the sans typeface family Veelo. In 2017, Sergi Delgado and Daniel Wenzel co-designed the textured op-art typeface Aigua.

    Daniel wrote Automatisierte Schriftgestaltung / Automated Type Design to showcase how type design can be automated. That work was done under the mentoship of professors Brian Switzer and Jo Wickert. [Google] [More]  ⦿

    Daniel Woessner
    [Visual Mind Rockets]

    [MyFonts] [More]  ⦿

    Daniela Spinelli

    Graphic designer from Saarbrücken, Germany who lectures on typography at HBK Saar, University of Applied Science. In 2017, Stefan Huebsch and Daniela Spinelli co-designed Konkret (a sharp-edged all-caps secret service sans with some left-leaning Kontra italics) at Typocalypse. Behance link. [Google] [MyFonts] [More]  ⦿

    Danni Creative
    [Danni Wiebelhaus]

    German designer. In 2021, she published the vernacular supermarket or food packaging font Tropicalia Type. [Google] [MyFonts] [More]  ⦿

    Danni Wiebelhaus
    [Danni Creative]

    [MyFonts] [More]  ⦿

    Danny Bernecker

    German designer of the crayon font Beat Street (2018). [Google] [More]  ⦿

    Daphne Preston-Kendal
    [David Kendal]

    Using webfont conversion tools by Adam Schwartz, David Kendal (Berlin, Germany) created a set of free opentype fonts, ET Book OT, in 201 based on ET Book, the free Bembo-style typeface family by Dmitry Krasny, Bonnie Scranton, and Edward Tufte. Github link. [Google] [More]  ⦿

    Dare Art

    This outfit in Offenbach, Germany, used to sell a package of twelve commercial fonts. [Google] [More]  ⦿

    Daria Petrova

    Moscow-born type designer who first studied book design in Moscow and communication design in Berlin, and graduated from the Typemedia program at KABK, class of 2016, and is now working for LucasFonts in Berlin. Her graduation thesis, Ritual, is intended for use on gravestones, with sandblasting machines. The multi-style typeface family is German expressionist.

    At Future Fonts, she published the wedge serif display typeface Zangezi (2018), which began as a revival of Keystone Type Foundry's Salem. In 2019, she added Zangezi Sans, and wrote: A new take on the Grotesque genre that is neither cool and rational, nor friendly. Strong color, sharp endings, and an eccentric italic give Zangezi Sans a brutal yet elegant appearance, where "yet" doesn't mean a compromise. Its serpentinous, schizophrenic shapes are an expression of the pure joy of drawing. In 2020, she added Zangezi Sans Text.

    Typefaces from 2021: Zloy (Russian for evil, angry: this a wicked ultra-fat sharp-edged wedge serif poster typeface).

    Speaker at ATypI 2018 in Antwerp on grave markers. Interview. Future Fonts link. [Google] [More]  ⦿

    Dario Ferrando

    Graphic designer from Italy, freelancing in Berlin. Specializing in icons. He created the large free icon sets Linea (2014, including music, weather, e-commerce, software, arrowed and other subsets: free) and Outlined Icon Set (2014, free). See also PixsHub in New York City. [Google] [More]  ⦿

    Darius Gondor

    German designer at iFontMaker of A Type Goldrichtig (2011), a neatly printed face. Darius Gondor and Matthias Tratz co-designed the 3d typeface KIM (2014) and Protest Neue (2014). [Google] [More]  ⦿

    Darius Samek
    [Elster Fonts]

    [MyFonts] [More]  ⦿

    Daryl Roske

    Daryl Roske is a British and German national studying and working in Montreux, Switzerland and Hamburg, Germany. He studied visual arts at the College Voltaire in Geneva, graduating in 1991. He has carried out identity designs for Buitoni, The Art Center (Europe), the IDRH, and the Federal Office of Civil Aviation. His typefaces:

    • Fobia (1994, Font Bureau). A fun and exciting vampire script typeface, it is featured in Robin Williams' book A Blip in the Continuum (Peachpit Press).
    • Bauklotz (2010). Letters made from building blocks.

    Behance link. shr communication GmbH is his art direction and graphic design business in Hamburg. Klingspor link. FontShop link. Font Bureau link. [Google] [MyFonts] [More]  ⦿

    Data Becker

    Software corporation based in Düsseldorf and Needham Heights, MA. From the web page: "DATA BECKER CORPORATION (www.databecker.com) is a privately held publisher of high-quality, value-priced computer software and books for the North American retail market. DATA BECKER CORPORATION, founded in 1999, joins its associate company, DATA BECKER GmbH&Co. KG (Düsseldorf, Germany), one of the leading publishers of computer software, books, and magazines throughout Europe. Together they form a worldwide publishing powerhouse with operations in every major consumer software market." "Your Handwriting/Mi Letra/Meine Handschrift" is a 20 USD utility that lets you transform your scanned handwriting (you need a scanner though) into a handwriting font (truetype). For PCs. It can also be used to create fonts. Alternate URL (CD ROM Meine Handschrift). Alternate URL. See also here, here and here. Data Becker also sells a cheap CD with 2500 truetype fonts called Goldene Serie Schriftenpaket.

    Font Squirrel link. [Google] [More]  ⦿

    Dave Hänggi

    Berlin, Germany-based designer of Loqi (2016, an organic circle-based monoline sans custom-designed for a brand of bags), Moe (2015, decorative hipster caps), Satellites (2014, outlined geometric font inspired by the logo of DLR---the Deutsche Gesellschaft für Luft und Raumfahrt), Turna Round (2014, a roundish display alphabet), and Living Rooms (2014, an interlocking square-shaped blocky alphabet inspired by floor tiling). Behance link. [Google] [More]  ⦿

    Dave Tiedemann

    German creative director located in Hamburg. He designed the fat counterless typeface Assumption (2010). Behance link. He also made some typographically (and textually) strong advertising posters. [Google] [More]  ⦿

    David

    German designer of Pixel Tiny (2019). [Google] [More]  ⦿

    David Aldinger

    Dortmund, Germany-based designer of the headline display typeface Apathy (2013). Behance link. [Google] [More]  ⦿

    David Borchers

    Offenbach-based German designer (b. 1979, Frankfurt). Co-founder of Magazin 212 in 2001. At typeoff.de, he created the symbol font Teppic (2003). [Google] [More]  ⦿

    David Conrad

    Student at the University of Wuppertal who made the experimental typeface Schleife (2004). [Google] [More]  ⦿

    David Gobber

    David Gobber is a graphic designer currently based in Basel, where he is finishing his graduate studies at the FHNW Academy of Art and Design. Before that, he studied Visual Communication under Fons Hickmann at the University of the Arts Berlin. He created the headline typeface Raster (2012, +Decorative), which was designed on a grid. In 2014, he created the nibbed pen typeface Pachner. His latest typefaces include Lucifer (a threatening text typeface) and SQ (a pixelish typeface). [Google] [More]  ⦿

    David Hubner
    [Formlos (was: Folio)]

    [More]  ⦿

    David Huckert

    Graphic designer in Berlin.

    Dafont link.

    Creator of the free font Outasight (2012, spurred). [Google] [More]  ⦿

    David Ippendorf

    Illustrator David Ippendorf (Wuppertal, Germany) created the display typeface Polygram (2012).

    Behance link. [Google] [More]  ⦿

    David Jacob

    During his communication design studies in Berlin, David Jacob created the sans typeface Hirnkost (2014). Behance link. [Google] [More]  ⦿

    David Kendal
    [Daphne Preston-Kendal]

    [More]  ⦿

    David Kowalski

    Designer at URW++. In Veljovic's type design class at HAW Hamburg, DavidKowalski created the brush script typeface Maccaroni (2013). It can now be bought at URW++. [Google] [More]  ⦿

    David Leon Senger

    German creator in Berlin (b. 1976) of I Robot (2008, FontStruct), and Wecker (2009, LED/octagonal). Blog. [Google] [More]  ⦿

    David Matos

    Berlin-based designer. With FontStruct, David designed the modular typefaces Ines Stencil (2013) and Ines Regular (2013).

    In 2019, David Matos went commercial and released the tall condensed slab serif Unicorn. He writes that Unicorn was inspired by lettering in a furniture ad in Domus vol. 192, 1943. Domus was an architecture magazine. [Google] [MyFonts] [More]  ⦿

    David Muehlfeld

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

    David Phillips
    [Radar Design]

    [MyFonts] [More]  ⦿

    David Stempel

    German founder of the D. Stempel AG (Frankfurt, 1895). Born in 1869, died in 1927. [Google] [MyFonts] [More]  ⦿

    David Thometz
    [David Thometz Design]

    [MyFonts] [More]  ⦿

    David Thometz Design
    [David Thometz]

    David Thometz (b. Everett, WA, 1966) is a designer in South Jordan, UT (near Salt Lake City) who has produced some fonts for his own projects. In 2004, he moved to Hampton, TN. Typefaces by him include DTD Silvertone Woodtype, DTD Architrave Sans, DTD Tinhorn, DTD Venceremos Latin, DTD Hefeweizen (blackletter, beer bottle font), DTD Architrave (2001), DTD Digita (a great screen font), DTD Seriatim [+ Seriatim Gestalt, + Seriatim Uncial, 2003, + Seriatim Sans, 2003), DTW Erwin (2004, a Venetian newspaper typeface for the Erwin Record, a small, weekly newspaper in the town of Erwin in northeastern Tennessee, based on a cross of Plantin and Cloister), and Erwin Gothic (2007), its companion. About Erwin Gothic, he says: The design of Erwin Gothic is based on a series of German grotesque families from the early 1900s, designed originally by Johannes Wagner and distributed originally by Wagner&Schmidt as Wotan (ca. 1914?), Lessing, Reichsgrotesk and Edel Grotesque; and subsequently reworked and re-released by several foundries under these names as well as names such as Annonce Grotesque (ca. 1912?), Aurora Grotesk (ca. 1928), Neue Aurora Grotesk (1964) and Aura. Anzeigen Grotesk (ca. 1943) appears to be another offspring of these designs.

    In 2004, David Thometz Design made its debut at MyFonts with Seriatim (dingbats), Silvertone Woodtype and Hefeweizen.

    Klingspor link.

    View David Thometz's typefaces. [Google] [MyFonts] [More]  ⦿

    David Turner

    During his studies at Hochschule Hannover, Germany, the very talented David Turner designed the sharp-edged high-contrast poster typeface Bologna (2017) and the fantastic angular text typeface Bushwick (2017). [Google] [MyFonts] [More]  ⦿

    David Waschbüsch

    German designer of the experimental modular typeface Konstata (2013).

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

    David Waschbüsch
    [Fontom Type]

    [MyFonts] [More]  ⦿

    David Weinz

    Type designer of

    • Weinz Kurvalin (1987, Itek).
    • WTC Neufont (1987, WTC).
    [Google] [More]  ⦿

    David Willem Borgdorff

    German researcher at Ruhr University Bochum. Creator of the font Minoan Linear A (2004), which has the glyphs for the still undeciphered Minoan language. [Google] [More]  ⦿

    Deadbeat Boyhood

    Creator of the display typeface Neukreuz (2013), which was developed during a stay in Berlin. [Google] [More]  ⦿

    Deckersche Schriftgießerei
    [Rudolf Ludwig Decker]

    Berlin-based foundry of Rudolf Ludwig Decker. Their fonts include Deckersche Fractur (1844) and an uncial Greek that was used by both Oxford and Cambridge University Press in the late 1800s. That Greek typeface was revived in 2007 by George D. Matthiopoulos as GFS Decker. [Google] [More]  ⦿

    Decode Unicode

    A project of Johannes Bergerhausen at the University of Applied Sciences in Mainz, Germany. In 2005, the database of glyphs was opened for submission of material via the internet. They hope to make a gigantic database of all the world's characters. [Google] [More]  ⦿

    Deformat

    Nice German type link site. [Google] [More]  ⦿

    Degarism Studio
    [Deni Anggara]

    Berlin, Germany and/or Medan, Indonesia and/or Bandung, Indonesia-based designer who set uo first Degarism Studio and, in 2017, Formatype Foundry.

    His typefaces from 2016: Formatif Std (sans), Fortika Display (first published by Regario), Mono RGO (an octagonal typeface family first published by Vial Work, it has one free weight), and Metrisch (first designed with Gumpita Rahayu). I have no clue as to who is who in this Indonesian conundrum. I suspect that Deni Anggara only did the artwork and not the fonts, but it would be great if he could say that up front. He designed Fold No.21 Mono and Neutrif Pro.

    Typefaces from 2017: Neutrif Studio (a geometric sans), Neurial Grotesk (published in 2018 by Indian Type Foundry), Biotif (grotesque), Folty (a geometric sans), Mono RGO Pro.

    Typefaces from 2018: Monorama (a squarish octagoinal caps only typeface family published at Indian Type Foundry), Alliance (an 28-style grotesk sans), Rileno Sans (geometric sans).

    Typefaces from 2019: Regio Mono (a great monospaced choice, even as a programming font), Folito (a stylish modernist sans at Indian Type Foundry), Blimone and Blimone Inktrap, Aktifo (a geometric sans by Deni Anggara and Boyan Nurdiansyah). Aktifo, in 28 styles, covers Latin and Cyrillic.

    Typefaces from 2020: Bombay Mono (an octagonal typeface at Indian Type Foundry), Fracktif (geometric and grotesk at the same time).

    Behance link. Another Behance link. Cargo Collective link. Creative Market link. Old studio Formika link. [Google] [MyFonts] [More]  ⦿

    Dekor Labor A. Kofron

    German designer, b. 1984. Home page. In 2010, he created Dancing DL. [Google] [More]  ⦿

    Delbanco-Frakturschriften
    [Gerda Delbanco]

    Gerda Delbanco's German foundry in Ahlhorn, specializing in blackletter fonts. Great web presentation, and gorgeous glyphs. The company is owned by Gerda Delbanco, but it is not clear if she designed some or all of the typefaces. Some fonts were designed by Gerhard Helzel, and others by Christian Spremberg. This is one of the best sources of blackletter fonts in the world. Names of the fonts, which are nearly all historical revivals of the great blackletter fonts: Alte Schwabacher, Andreas Schrift, Breitkopf Fraktur, Caslon Gotisch, Claudius (1998, after Rudolf Koch, 1934-1937), Deutsche Kursive, Deutsche Werkschrift (+halbfett), Deutsche Zierschrift, Eckmann Schrift, Eisenacher Fraktur (1994, by Christian Spremberg), Ehmcke Schwabacher, Fette Gotisch, Fichte Fraktur, Frühling (after Rudolf Koch's original from 1917) [sample 1, sample 2, sample 3], DS-Garalang, DS-Garamond, DS Gotenbrg, Hermersdorf, Humboldt Fraktur (after a typeface by H. Rhode), Kleist Fraktur (1996, after the Walter Tiemann original from 1927-1928), Wilhelm Klingspor Schrift, Koch Fraktur, Rudolf Koch Kurrent (after the original school alphabet by Koch, done in 1935), Kurrent (a connected writing font based on examples from J.B. Henning, ca. 1817), Lincoln Gotisch, DS Maximilian Gotisch, DS Maximilian Zierbuchstaben, Normal Fraktur (this is a nameless typeface in the group of Biedermeier-Fraktur typefaces which also includes Schelter's Schulfraktur; also known elsewhere as Armin-Fraktur, Bürenstein-Fraktur, Mars-Fraktur and Pressa-Fraktur), Offenbacher Schwabacher (1996, after the 1899 font by Gustav Ruprecht at Rudhardsche), Old English, Peter Jessen Schrift (1997, after the original from 1924-1929 by Rudolf Koch), Post Fraktur, DS Ratdolt Rotunda, DS Salzmann Fraktur, DS Schmuck, Strassburg, DS Suetterlin, Tannenberg (after a 1933 Stempel typeface by Emil Meyer), DS Thannhaeuser Fraktur, DS Unger Fraktur (1999), DS Walbaum Fraktur, DS Wallau (1996, after Rudolf Koch, 1924-1936), Wartburg Fraktur, DS Weiss Gotisch, DS Wilhelm Klingspor Schrift, Wohe Kursive and Zentenar Fraktur (1997 (after F.H.E. Schneidler's original from 1937).

    Some of the copyright notices refer to the Bund für deutsche Sprache und Schrift, and others to PrimaFont, and this may explain some of the foundry's history. 1994 catalog. Part of the 1999 catalog. Part of the 2002 catalog. [Google] [More]  ⦿

    Deni Anggara
    [Degarism Studio]

    [MyFonts] [More]  ⦿

    Deni Todorova

    During her studies at New Bulgarian University in 2016, Deni Todorova (Bremen, Germany) designed a few Cyrillic sans typefaces. [Google] [More]  ⦿

    Denis Potschien

    Denis Potschien (Iserlohn, Germany) showed the history of type classification. In German. Link gone. [Google] [More]  ⦿

    Denise B.

    German designer of the free handwiting typeface Denise Handwriting (2010).

    Dafont link. [Google] [More]  ⦿

    Denise Kramm

    Art director in Berlin, who created the modern blackletter typeface Faltura in 2015. [Google] [More]  ⦿

    Denise Steitz

    Student at the University of Wuppertal who made the experimental typeface Cutout (2004). [Google] [More]  ⦿

    Dennis Adelmann

    Mannheim, Germany-based creator of Surya Grotesque (2013, an alchemic typeface created during his studies at the University Of Applied Sciences in Mannheim). Behance link. [Google] [More]  ⦿

    Dennis Cuenbuescue

    German typographer and illustrator from Bremerhaven. He created the free gridded font Boxy and the futuristic family Primus in 2010. The corporate / futuristic typeface Landa was also made in 2010. Quincy (2010) is a commercial display face. [Google] [More]  ⦿

    Dennis Dünnwald

    German type designer, b. 1986, Krefeld. He studied graphic design at the University of Applied Sciences Krefeld and designed a blackletter typeface for Volcano in 2010. In 2014, he created the antiqua typeface Duwal Pro (Volcano). [Google] [MyFonts] [More]  ⦿

    Dennis Michaelis

    Dennis Michaelis completed his Masters in visual communication at Berlin University of the Arts (UdK) in 2014. In 2014 Dennis co-founded Schauschau Design Studio (with Laura Dressler and André Leonhardt) and in 2016, he set up the type foundry Interfont with André Leonhardt. André Leonhardt and Dennis Michaelis co-designed the monospaced typewriter typeface family Monoela (published in 2016 by Interfont). [Google] [MyFonts] [More]  ⦿

    Dennis Wolf

    German creator of the hand-printed typeface Dennis (2010). [Google] [More]  ⦿

    Denver Design Lab

    Illustrator and designer in Denver, CO, who was born in Bavaria. He created the shiny 3d typeface Glitch Pro (2011). Behance link. [Google] [More]  ⦿

    Denys Ivanchenko

    At FH Potsdam, Potsdam, Germany-based Denys Ivanchenko designed the expressionist typeface Lanzen (2017). [Google] [More]  ⦿

    Der Jonas
    [Jonas Bonas]

    Jonas Bonas / Jonas Kraus is the Wuerzburg, Germany-based designer of the sans typeface Bamberger (earlier called Proud) (2015). [Google] [More]  ⦿

    Der rechtliche Schutz von Fonts

    This is the title of the German language article by legal experts Till Jaeger and Olaf Koglin which appeared in Die TeXnische Komödie 2/02, pages 35-46, 2002. It describes font protection in Germany and Europe. A summary:

    • Fonts can be protected as design (Geschmacksmuster).
    • If fonts are of artistic value and originality, they can be protected by copyright (Urheberrecht).
    • Font programs generated with Fontographer, Fontlab etc. are not protected by copyright. They say that this [generation by Fontographer, e.g.] is not enough for the European copyright, which only protects computer programs which are written by computer programmers, not computer programs generated automatically by computer programs such as Fontlab. The authors state that in the case of Fontlab it is not the "Urheber" [copyright seeker], but the "program Fontlab" that "creates" the font program. The user of Fontlab does not even see the source code or the object code of the generated font program, let alone writes the source code or object code. But in Europe, for a computer program to be protected by European copyright laws the computer program must be written either as source code or directly as object code by the computer programmer as a person, not by a machine (see also German copyright act, 69a Abs. 3 UrhG.) The legal experts state that it is the exception that font programs are written by computer programmers and hence that it is the exception that font programs are protected by European copyright acts. [Text above by Ulrich Stiehl, slightly edited.] When questioned whether hinting code in fonts make the font files into software, Tobias Hilbricht states: Font files (*.pfb, *.ttf etc.) are only protected as software, if the hinting has been done by original creative programming. Autohinting and little design changes using programs such as, e.g., Fontforge is not sufficient to make the resulting font a protectible software program. Mere inclusion of fonts either rasterized or in form of vectors makes the resulting documents not a program itself. Therefore this document is free of any software licensing issues if printed or distributed electronically.
    [Google] [More]  ⦿

    Der Tintenfisch
    [Martin Steiner]

    German designer of Black Stones (2020), Black Ruby (2019) and Black Brush (2019). [Google] [More]  ⦿

    Design Krefeld

    A set of 23 free fonts designed in 2019 by students of the Department of Design at Niederrhein University of Applied Sciences in Krefeld, Germany, on the occasion of the 100th anniversary of Bauhaus. The list of typefaces grouped by Bauhaus personality:

    • Anni Albers: Typefaces dkr Anni1 through dkr Anni6 by these groups: (1) Arabella Kuhn, Malina Hülsmann, Jessica Willner, (2) Lara Deißmann, Ellen Müller, Vanessa Pietzka, (3) Laura von Rebenstock, Silivio Jedynak, Alex Zemelka, (4) Mostafa Ashraf Mahmoud Mostafa, Saif Zainalabdeen, Linus Bock, (5) Helin Erceylan, Lisa Kaysers, Nele Konstanty, (6) Kai Banasch, Jan Kersten, Christopher Linnemann.
    • Gunta Stölzl: Typefaces dkr Gunta1 through dkr Gunta3 by these groups: (1) Melina Haase, Atussah Lutze, Mamoon Alramadan, (2) Katrin Pastwa, Jana Tillmanns, Annika Klumpen, (3) Jessica Bayerlein, Tra Mi Nguyen, Hanna Marie Kaddik.
    • Laszlo Moholy-Nagy: Typefaces dkr Laszlo 1 through dkr Laszlo 3 by these groups: (1) Laura Wilmsen, Jerome Kamp, Joshua Ebel, (2) Annika Strehlau, Karoline Delger, Nils Knell, (3) Cherin Mohr, Lena Ulrich, Viktor Gertkens.
    • Lyonel Feininger: Typefaces dkr Lyonel 1 through dkr Lyonel 3 by these groups: (1) Nicole Bosquet, Elizabeth Kanyukova, Uljana Butusow, (2) Nadia Natale, Jil Zander, Yllka Hulaj, (3) Linh Hoang, Katrin Wenger, Ann-Christine Gierkes.
    • Marcel Breuer: Typefaces dkr Marcel 1 through dkr Marcel 4 by these groups: (1) Lisa Eppers, Angelika Schittek, Elia Schlütter, (2) Antonia Diehlmann, Rabea Marquardt, Michaela Hommen, (3) Luisa Jansen, Birk Hoffmann, Nikolaos Theodoropolis, (4) Mitsuru Toki, Johanna Köstlin, Stina Bick Fuertes.
    • Marianne Brandt: Typefaces dkr Marianne1 through dkr Marianne4 by these groups: (1) Helena von der Forst, Anita Krenn, Jacqueline Schneider, (2) Sofie Kienzle, Tanja Paulsen, Alexander Fröhlich, (3) Anne Clemens, Samuel Heinbach, Stephan Fabry, (4) Maxim Schleicher, André Johanns, Hans Seeger.

    Design Made in Germany

    German design news. Has a small number of typographic items. [Google] [More]  ⦿

    Design Tourist
    [Henning Brehm]

    Calling himself a design tourist, German designer Henning Brehm makes fonts for films. His company in Berlin is also called Design Tourist. VLNL Agitka (2010-2020, 8 styles) contains Latin and Cyrillic characters, in a constructivist theme, and has a Neon sub-style that was used in the film Bourne Ultimatum. This family could originally be bought at Gestalten, but in 2020 the typeface was added to the Vette Letters collection.

    In 2010, he published Kraut, a round outline face, and Koffer (a screen font family).

    Pandorum (2012, a spaceship typeface, by Henning Brehm and Alejandro Lecuna) was especially designed for film sets in the science fiction movie Pandorum starring Ben Foster, Antje Traue and Denis Quaid.

    At Vette Letters, Henning Brehm created the squarish oriental simulation typeface VLNL Kimchi: The Kimchi font had its starting point in the making of the film Cloud Atlas, based on the novel by David Mitchell and directed by Lana & Andy Wachowski and Tom Tykwer. A first version of Kimchi was created for Papa Song---an underground fast food restaurant in a futuristic Neo Seoul in the year 2144. It was used for the menus, advertisement and packaging.

    In 2021, he released VLNL Gindicate at Vette Letters. He explains: The alcoholic beverage Gin is drunk around the world, as far back as the 13th century. Originally distilled as a medicine, it draws its main flavour from juniper berries. Gin is colourless itself but a major ingredient in a long list of famous colourful cocktails. Gimlet, Singapore Sling, Negroni, Charlie Chaplin, French 75, Vesper, Tom Collins, White Lady, Aviation, Monkey Gland, Southside, Gin Gin Mule and New Orleans Fizz are but a few of them. That made us decide it simply cannot be missing from the Vette Letters font collection. Vette Letters designer Henning Brehm originally designed VLNL Gindicate for the 2015 action movie Hitman: Agent 47. It was specifically used for the logo and signage of the maverick Syndicate International organisation in the film. It lay dormant in a folder for a while, when it was reworked into this flashy 5 weight family. [Google] [MyFonts] [More]  ⦿

    Designconcepts
    [Simon Bassler]

    Simon Baßler (Designconcepts, Furtwangen, Germany) designed the free typeface Iconconcepts Round (2017). [Google] [More]  ⦿

    desig-n.de

    Type glossary (in German). [Google] [More]  ⦿

    Designer in Action

    Type news in German. [Google] [More]  ⦿

    Designer Shock
    [Stefan Gandl]

    Commercial pages with about 80 (mainly pixel, techno and screen) fonts. Designer Shock is located in Berlin. Some of the fonts: DSBees (2003), DSBeeswax (2004), DSBembi (2002, paperclip type), DSBembijaga (2001), DS 1D (2000), DS 2D (2000), DS 3D (2000), DSClone, DSClone3D, DSCutout, DSHomeBack (2001), DSHomeFront, DSHomeSide, DSHomeTop, DSImitate, DS IBM series (2004), DSMrGreenies, DSGutschrift series (2003), DS Lane (2001: triline type), DSMufdi, DSMufdi3DL, DSMufdi3DR, DSNSW45, DSNSW55, DSNSW65, DSNSW75, DSNSW85, DSNSW95, DSP9RMX (2001), DSP9RMX3D, DSSQR35, DSSQR45, DSSQR553DL, DSSQR553DR, DSSQR55, DSSQR65, DSSQR75, DSSQR85, DSTicket35, DSTicket45, DSTicket55, DSTicket65, DSTicket75, DSTicket85, DSTicket95, DSVDOTXT1, DSVDOTXT2, DSVDOTXTError, DSYogasaanAdvanced, DSYogasaanBeginners, DS1D, DS2D, DS3D. Alternate URL. The main designer is Stefan Gandl. Others include Markus Angermeier, Birte Ludwig and Robert Meek. [Google] [More]  ⦿

    Designpiraten
    [Markus Strümpel]

    Berlin-based designer of the glitch font Swim (2020), Tibet Museum (2020: a reverse stress family created to harmonize with Tibetan) and the Tibetan font Pema (2020). [Google] [MyFonts] [More]  ⦿

    Detlef Reimers

    From Hamburg, Reimers designed the electronic circuit dingbat font Circuits in 1992. [Google] [More]  ⦿

    Deutsche Anwaltshotline

    I am unsure about the display typeface Deutsche Anwaltshotline (lit., hotline for German lawyers), a free font that was ublished in 2013. One refers to Deutsche Anwaltshotline, but I assume that this is just a ruse to increase traffic to this site [behavior expected from lawyers] or a link by someone who has a beef with the site [expected behavior against lawyers].

    Dafont link. [Google] [More]  ⦿

    Deutsche Rechtschreibung

    German writing rules, by Roman Schneider and Dr. Klaus Heller. [Google] [More]  ⦿

    Deutsche Schreibschrift in Österreich

    The German handwriting model for schools (Deutsche Schreibschrift) was also adopted in Austria as these examples from 1953 (due to Professor Alois Legruen) and 1971 show. [Google] [More]  ⦿

    Deutscher Werkbund

    The Deutscher Werkbund (the German Association of Craftsmen) is a German association of artists, architects, designers, and industrialists, established in 1907 by Joseph Maria Olbrich, Peter Behrens, Richard Riemerschmid, Bruno Paul and others in Munich at the instigation of Hermann Muthesius. It existed through 1934, and was re-established after World War II in 1950. The Werkbund became an important element in the development of modern architecture and industrial design, particularly in the later creation of the Bauhaus school of design. Its initial purpose was to establish a partnership of product manufacturers with design professionals to improve the competitiveness of German companies in global markets. The Werkbund was less an artistic movement than a state-sponsored effort to integrate traditional crafts and industrial mass-production techniques, to put Germany on a competitive footing with England and the United States. Among the Werkbund's more noted members was the architect Ludwig Mies Van der Rohe, who served as Architectural Director. Wikipedia link. [Google] [More]  ⦿

    Deutsches Institut für Normung e.V. (DIN)

    German institute based in Berlin. Owners of Fette Engschrift D (URW++). [Google] [More]  ⦿

    Dezyner Records (was: Dezyne.de)
    [Sebastian Bentler]

    Sebastian Bentler at Dezyner Records is the German designer (b. 1981) of mostly techno/futuristic fonts. Partial list: Neue Saat (2002, futuristic), Mayagen-r (2001), Tesh (2001), Smart AI Expansion (2001, pixel font), Cyborg 45 (2001), Quadspeed (2001, pixel font), FutureFlash (2001).

    Alternate URL. Alternate URL. Dafont link. [Google] [More]  ⦿

    Diana Fischer

    German type designer who created the rounded sans typeface Montix (2003, Linotype).

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

    Diana Ke

    Trier-based designer of the typefaces Olivia (2013, retro script) and Frieda (2013, hand-drawn poster font). [Google] [More]  ⦿

    Diana Kettern

    Graphic designer in Trier, Germany. Creator of Olivia Regular (2013, a retro script), Font Attic (2013, experimental typeface), Timeline (2013) and Frieda (2013, a hand-printed typeface). [Google] [More]  ⦿

    Diana R. Sassé

    German cartoonist and animated gif artist (b. 1965) who lives in Lorraine. She designed Horsedings (1999). See also here. Her fonts used to be here and here: Zyzox (1999, more dingbats of animals), Rotty Pen (handwriting), Adolar's Fart, and Corrupt Cop (handwriting). Fontspace link. [Google] [More]  ⦿

    Die Aerzte Fan

    Sebastian Pertsch's German language site. Free fonts: AdventureNormal, Cherry, FolioBT-ExtraBold. [Google] [More]  ⦿

    Die Brücke

    Die Brücke (The Bridge) was a group of German expressionist artists formed at the Königliche Technische Hochschule in Dresden in 1905, after which the Brücke Museum in Berlin was named. Founded by the Jugendstil architecture students Fritz Bleyl (1880-1966), Erich Heckel (1883-1970), Ernst Ludwig Kirchner (1880-1938) and Karl Schmidt-Rottluff (1884-1976), it later included members such as Emil Nolde (1867-1956), Max Pechstein (1881-1955) and Otto Mueller (1874-1930). It influenced the evolution of modern art and expressionism.

    Their drawings and paintings were often crude, even primitive. There was no hint of abstractness. Frequent use was made of woodblock printing. Robert Atkins in 1992 writes: The Die Brücke artists' emotionally agitated paintings of city streets and sexually charged events transpiring in country settings make their French counterparts, the Fauves, seem tame by comparison. Kirchner's home in particular became a venue which overthrew social conventions to allow casual love-making and frequent nudity. Group life-drawing sessions took place using models from the social circle, rather than professionals, and choosing quarter-hour poses to encourage spontaneity. The group disbanded ca. 1915.

    Several typefaces were inspired by the primitive lettering used in the manifesto and on paintings by type designers such as Richard Kegler (P22) and David Kerkhoff. [Google] [More]  ⦿

    Die (deutschen) Mikrotypographie-Regeln

    German typographical rules explained by Marion Neubauer. Continued here. [Google] [More]  ⦿

    Die Entwicklung unserer Schrift
    [Peter Doerling]

    Peter Doerling's visual overview of the styles of writing in Germany, for books, official documents (Urkunden) and in letters. For books, he takes us here:

    • 200-300: Roman capitals.
    • 300-500: Quadrata.
    • 500 on: Uncial.
    • 900 on: Karolingian minuscules.
    • 1200 on: Gothic minuscules.
    • Textura.
    • 1400 on: Rotunda.
    • 1500 on: Schwabacher.
    • 1600 on: Fraktur.
    • 1500 on: Humanistic style.
    • 1570 on: Antiqua.
    • 1900 on: Grotesk, Egyptian. [Note that he omits the modern style.]
    • 1960 on: Helvetica. (???)
    For official documents:
    • 200-300: Roman capitals.
    • 400-600: Rustica.
    • 500 on: Half Uncial.
    • 900 on: Karolingian minuscules.
    • 1500 on: Notula.
    • 1600 on: Canzlei (Cantzley, Kanzlei).
    • 1600 on: Humanistic Canzlei
    • 1875: Ronde, Rondo, Rundschrift.
    • 1915: Jugendstil.
    • 1930: Tannenberg.
    For letters:
    • 200-300: Roman capitals.
    • 400 on: Young Roman cursive.
    • 900 on: Karolingian minuscules.
    • 1300 on: Cursive.
    • 1600 on: Cancellaresca [refined formal script].
    • 1600 on: Kurrente.
    • 1600 on: Humanistic cursive.
    • 1800 on: deutsche Schreibschrift.
    • 1800 on: Lateinische (Latin) Schreibschrift.
    • 1930: Tannenberg.
    [Google] [More]  ⦿

    Die Freischwimmer

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Die Hochdeutschen Schriften aus dem 15ten bis zum 19ten Jahrhundert der Schriftgiesserei und Druckerei

    Book in German published by Enschedé en Zonen in Haarlem in 1919. Now available on the web, it deals with blackletter type. Local download. [Google] [More]  ⦿

    Die Schwabacher Schrift

    A German blackletter page on Schwabacher. The free Schwabacher truetype font Deco-A761 (1999) can be found here too. The page is run by SPD Bürgerbüro. The text on the page is quoted from Dr. Heinrich ten Wolde's article "Die Schwabacher Schrift" which appeared in "Die deutsche Schrift", Nr. 4, March 1952. Modern (19th and 20th century) versions of the Schwabacher style of Fraktur font:

    • Alte Schwabacher (1835, Genzsch&Heyse).
    • Neue Schwabacher (1876, Genzsch&Heyse).
    • Offenbacher Schwabacher (1900, Kurt Wanschura, Gebr. Klingspor).
    • Ehmcke Schwabacher (1914, Fritz Helmut Ehmcke, D. Stempel).
    • Schneidler Schwabacher (1918, Friedrich Hermann Ernst Schneidler, J.G. Shelter&Giesecke).
    [Google] [More]  ⦿

    Dieter Hofrichter
    [Hoftype]

    [MyFonts] [More]  ⦿

    Dieter Kurz

    German designer of the handwriting fonts Linotype Sketch (1997) and Linotype Matthias (1994), a winner in Linotype's 1st Type Design Contest.

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

    Dieter Steffmann

    FontShop was the name of Dieter Steffmann's foundry in Kreuztal, Germany (not to be confused with the FontShop foundry and font vendor). He made about 600 self-proclaimed "old-fashioned" fonts, and among these many Fraktur fonts. His site became too expensive to run, and was for about two decades hosted by Typoasis. His fonts can now de downloaded afrom 1001 Fonts. Alternate URL. Current list of fonts. See also here. New stuff. Fontspace link. A nice essay about Fraktur fonts accompanies the fonts. News. As Dieter puts it: I am not a designer but I add missing letters to public domain fonts in order to get a complete character set and I hint the fonts and create new weights (shadow, inline etc.) His Christbaumkugeln font, and how it was made. The font families:

    • Acorn Initialen (2000), Adine Kirnberg (2000, after David Rakowski's Adine Kirnberg Script, 1991), AI Parsons (1999: a simple conversion to truetype of AI Parsons (1994, Inna Gertsberg ans Susan Everett), which in turn revived Will Ransom's Parsons from the 1920s), Albert Text (2000), Alpine (2000), Altdeutsche Schrift (1998: a rotunda), Alte Caps (2000: white on black), Alte Schwabacher (2000, +Shadow), Ambrosia (2000), American Text (2000: a blackletter), Aneirin (2000: Lombardic), Angel (2000: an ironwork font), Anglican Text (2000: a frilly blackletter), Angular (1999: +Inline, +Shadow), Ann-Stone (2000: boxed art nouveau caps), Antique No. 14 (2000: fuzzy hand-crafted letters), Arabella (2000: script), ArabesqueInitialen (2002), Argos George (1999, an art nouveau font after Georges Lemmen's George-Lemmen-Schrift (1908); Steffmann added Argos Geirge Contour), Aristokrat Zierbuchstaben (2002, after a house font at Ludwig&Mayer, 1911), Ariston Script (2000: a formal calligraphic script), Art Nouveau Initialen (1999), Attic Antique, Augusta (2000: a rotunda; +Shadow).
    • Baldur (2000: art nouveau; +Shadow, +RoughSliced; after a schelter typeface from 1895), Ballade Bold (2002, a Schwabacher font based on Ballade Halbfette designed by Paul Renner in 1937; +Contour, +Shadow), Barock Initialen (2002: an incomplete decorative initials typeface), Becker (1999; +Shadow, +Inline), Beckett-Kanzlei (2001), Behrens-Schrift (2002: an art nouveau-inspired blackletter typeface based on an original by Peter Behrens), Belshaw (2000: a Victorian decorative serif), Belwe (2002, after an original by Georg Belwe, 1913; Gotisch, Vignetten), Benjamin Franklin Antique (2000, after a warm wood type designed in 1991 by Walter Kafton-Minkel simply called Benjamin), Berlin Squiggle Condensed, Bernhard Schmalfett, Bier und Wein Vignetten (2002, based on drawings from the Bauersche Giesserei), Billboard, Bizzaro, Black Forest (2000, blackletter; +Text, +ExtraBold), Black Knight (1999: blackletter), Blackletter (2001; +ExtraBold, +Shadow), Blackwood Castle (2000: an almost Lombardic blackletter; +Shadow), Breitkopf Fraktur (2000), Bretagne Gaelic (1999), Brian James Bold (2000, +Contour), Bridgnorth, Broadcast Titling (2000, 3d caps), Broadway Poster, Brock Script (2000: formal calligraphic script).
    • Cabaret (2000: all caps, +Contour, +Shadow), Campanile (2000: Victirian), Camp Fire (2000: wooden plank font), Canterbury Old English (2001: blackletter), Cardiff (2000: textured caps), Cardinal (2000: almost Lombardic; +Alternate, +Anglican), Carmen (1998: art nouveau style; +Shadow), Carrick Caps (2000), Caslon Antique, Caslon Fette Gotisch, Cavalier (2000), Celtic Frames (2000), Celtic Hand (2000), Challenge (2000; +Contour, +Shadow), Chelsea (2000: a serif), Chopin Script (2000, a formal penmanship script identical to Polonaise), Christbaumkugeln (1999: art nouveau alphadings consisting of Christmas ornaments), Chursächsische Fraktur, Cimbrian (2001: blackletter), Circus Ornate Caps (2001, a Western or circus font), Cloister Black Light (2001: blackletter), Coaster Black (2001, +Shadow), Coelnische Current Fraktur (2000), Colchester Black (2001: an ornamental blackletter), College, Courtrai (2000: a decorative blackletter), Coventry Garden, Cruickshank (2000: art nouveau caps).
    • Damn Noisy Kids (2002: a heavy brush font), Davy's Dingbats, Debussy, Decorated Roman Initials (2003), Deutsch Gotisch (2002: an expressive blackletter font; +Dutesch Gotisch Heavy, +Outline, +Shadow), Deutsche Uncialis (+Shadow) (2000), Deutsche Zierschrift (2002, after Rudolf Koch, 1919-1921), Devinne Swash (2000), Digits (2000), Direction (2000: letters with embedded arrows), Dobkin Script (2000: after David Rakowski, 1992, Domino, Domo Arigato (1999: oriental emulation), Dover, Driftwood Caps (2000: a wooden plank font), Due Date (2000: a grungy stencil typeface), Duerer Gotisch (2001), Duo Dunkel (+Licht), Durwent (2001: a rotunda).
    • Easter Bunny (after a 1994 font by Apropos Creations), Easter Egg (2001; after a 1994 font by Apropos Creations), Eckmann Initialen (2002, after the famous art nouveau typeface from 1900 by Otto Eckmann), Eckmann Plakatschrift (2002), Eckmann-Schrift (2002), Eckmann Titelschrift (2002), Eckmann Schmuck (2002), Egyptienne Zierinitialen (2002), Egyptienne Zierversalien (2002), Ehmcke-FrakturInitialen (2002), Ehmcke-Schwabacher Initialen (2002), Eichenlaub Initialen (2000), Eileen Caps (2000; after David Rakowski, 1992), Eisenbahn (2002, based on train vignettes at Bauersche Giesserei), Elzevier Caps (2000; after David Rakowski), Enge Holzschrift (2000; +Shadow), English Towne Medium (2000: a Fraktur), Epoque (1999; an art nouveau typeface; +Shadow, +Inline), Erbar Initialen, Estelle, Evil of Frankenstein, Express (1999).
    • Faktos (1998; a rip-off of Cory Maylett's Faktos, 1992; +Striped, +Contour, +Shadow), Fabliaux (2000: Lombardic caps), Fancy Card Text (2000: a textura), Fat Freddie (2000: a fat all caps font; +Shadow, +Outline), Faustus (2000: a Schwabacher), Fenwick Woodtype (blackletter: 2001), Fette Caslon Gotisch (2001), Fette Deutsche Schrift (2002, a revival of a Rudolf Koch font from 1908), Fette Egyptienne, Fette Haenel Fraktur (2000), Fette Kanzlei (2002), Fette Mainzer Fraktur (2001), Fette Steinschrift (2002), Fette Thannhäuser (2002; after Herbert Thannhäuser, 1937-1938; +Schattiert), Fette Trump Deutsch (20002, after Georg Trump, 1936), Firecat, Flaemische Kanzleischrift (2000: calligraphic), Flowers Initials (2000: floriated caps), Forelle (2002: a retro script; +Shadow), Fraenkisch Spitze Buchkursive (2002; after Lorenz Reinhard Spitzenpfeil, 1906), Fraktur Coelnische Current (2000), Fraktur Schmuck (2001: ornaments), Fraktur Shadowed (2001), Fraktur Theuerdank (2000: a Schwabacher), Frederick Text (2001: a blackletter), Futura Script.
    • Gabrielle (1999: a retro script), Ganz Grobe Gotisch (2000), Gebetbuch Fraktur (2000: a Schwabacher), Gebetsbuch Initialen (2001), Germania (2001, a revival of the 1903 blackletter typeface by Heinz König called Germania as well), Germania-Versalien, Gille Fils Zierinitialen (2002, after Gillé Fils, ca. 1820), Gingerbread Initials (Victorian initials, after an original from ca. 1890), Globus, Gloucester Initialen (2001), Gorilla Black (2000: rounded elephant feet font), Gotenburg A+B (2002, after Friedrich Heinrichsen), Gothenburg Fraktur (2000), Gotische Initialen (two different sets with the same name, one from 2000 and one from 2002), Gotisch Schmuck (2002, Fraktur), Goudy Initialen (2000), Goudy Medieval (2000), Goudy Thirty (2000), Grange (1999), GrenzschInitials (2001), Grusskarten Gotisch (2001), Gutenberg Textura (2000).
    • Haenel Fraktur Fett, Hansa (1999: art nouveau), Hansa Gotisch (2001: a textura), Hansen (1998; +Contour, +Shadow), Happy Easter (1994, by Apropos Creations: art deco caps), Harrowgate (2001: a textura), Hazard Signs (2000), Headline Text (2001: a textura), Hercules (1999: art nouveau), Herkules (2004: art nouveau), Hermann-Gotisch (2002; after an original by Herbert Thannhaeuser, 1934), Herold (2002), Hippy Stamp (2000: after rubber stamps from the 1960s), Hoedown (2000; +Shadow), Holla (2001; after Rudolf Koch), Holidayfont, Holtzschue(2000: a circus font, after David Rakowski, 1992), Honey Script (2000: a retro script), Horror Dingbats (2000; after Letters from the Claw, 1998), Houtsneeletter, Humboldt Fraktur (2002-2005; after a Schwabacher font by Hiero Rhode, 1938; +Zier, +Initialen).
    • Iglesia Light (2002), Iron Letters (2000), Isadora Original.
    • Jan Brad, Journal Dingbats, Jahreskreis (seasonal dingbats, 2002), JSL Blackletter Antique (2000, by Jeffrey S. Lee), Jugendstil Fraktur (originally designed by Heinz Koenig, 1907-1910), Jugendstil Ornamente (2002, art nouveau ornaments, after Schelter & Giesecke).
    • Kabinett Fraktur, Kaiserzeit Gotisch (2001), Kanzle (2001)i, Kanzlei Initialen (2002), Kalenderblatt Grotesk (2000), Kashmir (2001: an arts and crafts typeface), Kinder Vignetten (2002), KingsCross (2001: blackletter), Kinigstein Caps (2000: art nouveau initials after David Rakowski, 1990), Klarissa (2000), Kleist Fraktur + Zierbuchstaben (2002, after Walter Tiemann, 1928), Koch Antiqua (2002), Koch Antiqua Zierbuchstaben (2002), Koch Initialen (2000, after Rudolf Koch, 1922), Koenigsberger Gotisch (2001), Koenig-Type (2002; a Jugendstil Fraktur originally designed by Heinz Koenig, 1907-1910), Kohelet (2001), Koloss, Konanur Kaps (2000, after David Rakowski, 1991), Kramer, Krone Bold.
    • La Negrita (2000, +Shadow), Latina (2001: script), Lautenbach (2001, +Zierversalien), Legrand (1999: art nouveau), Lemiesz (2000), Lettres ombrées ornées (2002, based on a typeface by Schriftgiesserei J. Gillé, 1820), Linolschrift (2000, +Heavy, a linocut font as in the Munch paintings), Lintsec (2000, a stencil typeface, after David Rakowski, 1992), Liturgisch + Zierbuchstaben (2002, after Otto Hupp, 1906), Logger (2000, after David Rakowski, 1991), Lohengrin Fraktur (2000), Long Island Antiqua, Louisianne (1998-2000: +Contour, +Shadow; a bold upright connected script), Ludlow Dingbats (2000, after Ludlow, 1930), Luthersche Fraktur (2000).
    • Mainzer Fette Fraktur, Marker Felt (2001), Marketing Script (1999, +Shadow, +Inline), Marlboro (2000), Maximilian (2002, a Fraktur font and decorated caps based on Rudolf Koch, 1914; +Zier), Mayflower Antique (2000), Mediaeval Caps (2000), Medici Text (2002: an ornamental blackletter), Menuetto (1994, after K.R. Field), Messing Lettern (2000), Metropolitain (2000, an art nouveau font like the ine used for the Paris metro; +Contour, +Condensed), Middle Saxony Text (2001), Moderne Fraktur (1999), Monats-Vignetten (2002, based on drawings by Franz Franke for Bauersche Giesserei, 1920), Montague (2000), Monument (2002, after Oldrich Menhart, 1952), Mordred (2000), Morgan Twenty-Nine (1999: Victorian caps), Morris Roman Black (2002, after William Morris, 1893), Morris Initialen (2000, after William Morris).
    • Napoli Initialen (2000), Neptun Gotisch (1999), Neugotische Initialen (2002, after an original from 1890), North Face (2000), Nougat (2000), Nougat Nouveau Drop Caps (2000), Nubian (after Walter T. Sniffin's font from 1928).
    • Olde English, Old English Five (2000: blackletter), Old Town (2000: Western), Old London (2000: blackletter).
    • Packard Antique (2000), Paganini Text (2000: blackletter), Pamela (2000: an ornamental blackletter), Paris Metro (1998; +Outline), Parsons Heavy (2000, after Bill Ransom, 1918), Paulus Franck Initialen (2002), Penelope (2000, Victorian), Peter Schlehmil (2002, after Walter Tiemann, 1918-1921), Peter Schlemihl Fraktur, Picture Alphabet (2000; after an original from 1834), Pilsen Plakatschrift (2000), Pinewood (2000, like wooden branches), Pinocchio (based on a psychedelic typeface by Gustav Jaeger, TypeShop, 1994), Plakat-Fraktur (2001), Plakat Antiqua, Plastisch (2002: ornamental caps), Plastische Plakat Antiqua (2002), Plum Script (2000: an upright script)), Pointage (2000; after David Rakowski, 1992), Polonaise (1999: a formal calligraphic script), Polo Semi (2000), Powell Antique (2000), Prince Valiant (1999: blackletter), Printer's Ornaments One (after Blake Haber, 1994), Prisma (2003, a four-line typeface inspired by Rudolf Koch's Prisma), Progressive Text (2001), Puritan (2000, +Swash).
    • Quentin Caps (2001: Tuscan).
    • Rediviva (2002), Rediviva Zierbuchstaben (2002: a Schwabacher font after a 1905 typeface at Benjamin Krebs designed by Franz Riedinger), Reeperbahn (1999; aka Rope), Regatta Relief, Reiner Script, Relief Grotesk (2003), Revue Decor, Reynold Art Deco (2000: arts and crafts; +Contour), Rheinische Fraktur (1999: after a 1905 Stempel font called Arminius Fraktur and Rheinische Fraktur), Rio Grande, Rockmaker (2000, after David Rakowski, 1992), Roland 92000. +Shadow, +Contour), Rolling No. 1 ExtraBold (2000), Roman Antique (+Italic) (2000), Romantik Initialen (2000), Romantiques (2002: ornamental caps, perhaps a circus font), Rondo, Rosemary Roman (2001: a great calligraphic script based on Rosemary Hall's Rosemary Roman), Roskell (1998: a poster font, +Bold, +Shadow), Roslyn Contour (2000), Rossano (2000, +Shadow), Rothenburg Decorative (2000: a frilly blackletter), Rothenburg Fraktur, Royal Initialen (1999), Roycroft Initials (2000), Rudelsberg (Schrift, Initialen, Schmuck: a typeface family in Munch Jugendstil style, based on Otto Eckmann's Eckmann from 1901).
    • Saddlebag Black (2000: Western), Saloon ExtraBold, Saltino, Salto, Sans Plate Caps (2000), San Remo (2000: a Parisian art nouveau typeface), Sans Serif Shaded (2000, after a font by Stephenson Blake), Savings Bond, Schampel Black (2001: a blackletter), Schmalfette Fraktur (2000; +Schattiert), Schluss-Vignetten (2002, also from Bauersche Giesserei), Schmale Anzeigenschrift + Zierbuchstaben (2002, after Rudolf Koch's Deutsche Anzeigenschrift, 1916-1923), Schmuck Initialen (2001), Schwabacher (2002), Sebaldus-Gotisch (2002, a blackletter after H. Berthold's Sebaldus Gotisch from 1926), Sentinel (decorative caps from 2001), Sesame (2000, +Shadow), Shaded (2002, a take on Sans Serif Shaded by Stephenson, Blake & Co. Ltd., Sheffield), Sholom (1999: Hebrew emulation), Showboat Caps (2000), Shrapnel (2000: in the font, we find a reference to David Rakowski, 1992), Siegfried (2001, art nouveau, based on a typeface by Wilhelm Woellmer), Simplex, Sixties, Snowtop Caps (2001), Starburst (2000; after a 1990 font by David Rakowski), Steelplate Textura (2002), Stencil Display, Subway (2001: Black, Shadow), Supermarkt.
    • Tanach (2003: Hebrew emulation), Tannenberg (Fette Gotisch, Fett, Umrandet, Schattiert: after Emil Meyer, 1933-1935), Thannhaeuser Fette Fraktur, Thannhäuser Zier (2002; original by Herbert Thannhauser, 1937/38), Theuerdank Fraktur (2000; after Schoensperger's Theuerdank, 1517), Thorne Shaded (2002, a shaded didone based on a Robert Thorne design of 1810), Tierkreiszeichen (2002, zodiac signs, based on drawings by Franz Franke for Bauersche Giesserei), Tintoretto (2000, after a Schelter & Giesecke original), Titania (2001; after Titania by Haas, 1906), Titling Roman Antique, Tobago Poster (2001; +Shadow), Tone And Debs (2002; after a 1991 snow capped font by D. Rakowski; identical to Snowtop Caps in 2001), Tonight (2002: a marquee font), Topic, Toskanische Egyptienne Initialen (2003: after a 1889 font by Schelter & Giesecke), Transport Pictorials, Tribeca (2001, after a David Rakowski original), Trocadero Caps, Trucker Style ExtraBlack, Turtles (2000; an extension of Turtles by Neale Davidson), Typographer Caps (2000), Typographer Fraktur (2002), Typographer Gotisch (2002), Typographer Holidayfont (2002: Christmas dingbats), Typographer Rotunda (2002), Typographer Subway (2011), Typographer Textur (2002, Fraktur), Typographer Uncial Gotisch (2002), Typographer Woodcut Initials (2002), Typographer's Schmuck-Initialen.
    • Uechi Gotisch, Uncialis Deutsche, Unger Fraktur Zierbuchstaben (2002; after an ornamental caps typeface by Julius Nitsche done in 1908), Unicorn (2000).
    • Vadstena Rundgotisch, Varah Caps, Ventura Bold (2000), Verve (+Shadow, 2000), Victorian Initials (2001), Victorian Text (2001), Viking (2000), Vivian (2000, +Shadow), Vogeler Initialen (2002, aka Vogeler Caps), Volute (1999: art nouveau caps).
    • Walbaum Fraktur (after Justus Erich Walbaum, 1800), Wallau Deutsch, Wallau Rundgotisch, Wallau Unzial and Wallau Zierbuchstaben (2002; originals by Rudolf Koch 1925-1930), Walthari Text, Washington Text, Waterloo Relief, Wave, Weiß Initialen (2000), Weiss Lapidar (2002, revival of a typeface by Emil Rudolf Weiss), Weiss Rundgotisch (1998; Bold and Shadow), Werbedeutsch (2002, original by Herbert Thannhaeuser, 1934), Westminster Gotisch (2001: Lombardic), Wharmby (2000, a shadow font), White Bold (2003, a shadow font), Wieynk Fraktur (2002, +Initialen, + Caps Round; after a Schwabacher by Heinrich Wieynck, 1912), Wieynk Fraktur Vignetten (2001), Will-Harris Caps (2002, after David Rakowski, 1992), Woodcut.
    • Yellow Submarine (1995; after Stanley Davis's Amelia, 1966), Yentus (2001: Hebrew emulation), Yonkers (2001: a Rundgotisch font), Yorktown (2000: a Western wood type emulation font).
    • Zallman Caps (2000, after David Rakowski, 1991), Zentenar Fraktur (2003: after Friedrich Hermann Ernst Schneidler, 1937), Zentenar Zier (2002; after F.H.E. Schneidler, 1937), Zierinitialen 1 (2002, after an original from ca. 1800), Zierinitialen Two (2002; based on Deutsche Zierschrift by Rudolf Koch), Ziffern und Pfeile, Zither Script, Zodiac Pictorials.

    A set of TeX service files for many of the decorative caps fonts was published by Maurizio Loreti from the University of Padova.

    The collection is now also available in OpenType. 1001Fonts link. Fontsquirrel link. Dafont link. Fontspace link. Abstract Fonts link. Home page. [Google] [More]  ⦿

    Dieter Steffmann's blackletter typefaces
    [Tim Larson]

    A list of Dieter Steffmann's blackletter typefaces, as compiled by Tim Larson (Christ Trekker). Download them here.

    • Fraktur: Breitkopf Fraktur, Chursaechsische Fraktur, Cimbrian, DS Ballade, DS Luthersche, DS Walbaumfraktur, Durwent, Ehmcke-Fraktur Initialen, Fette deutsche Schrift, Fette Haenel Fraktur, Fraktur Shadowed, Gebetbuch Fraktur, Humboldt Fraktur, Kabinett-Fraktur, Kanzlei, Kleist-Fraktur, Koenig-Type, Moderne Fraktur, Neptun, Paganini, Peter Schlemihl, Plakat-Fraktur, Rediviva, Rothenburg Decorative, Schampel, Schmale Anzeigenschrift, Schmuck Initialen, Theuerdank Fraktur, Typographer Fraktur, Unger-Fraktur Zierbuchstaben, Walbaum Fraktur, Wallau, Washington Text, Wieynk Fraktur, Yonkers, Zentenar Fraktur.
    • Rotunda: Typographer Rotunda, Weiss Rundgotisch.
    • Schwabacher: Alte Schwabacher, Schwabacher.
    • Textura: American Text, Anglican Text, Beckett-Kanzlei, Black Forest, Blackletter Blackwood Castle, Canterbury, Cloister Black, Coelnische Current Fraktur, Colchester, Courtrai, Deutsch-Gotisch, DS Caslon Gotisch, DS Fette Gotisch, DS Weiss-Gotisch, DS Zierschrift, English Towne, Faustus, Fette Trump-Deutsch, Frederick Text, Ganz Grobe Gotisch, Gotenburg, Gothenburg Fraktur, Grusskarten Gotisch, Gutenberg Textura, Hansa Gotisch, Harrowgate, Headline Text, Iglesia, Kaiserzeit Gotisch, Kings Cross, Koenigsberger Gotisch, Liturgisch, Lohengrin, Maximilian, Medici Text, Middle Saxony Text, Old English Five, Old London, Olde English, Pamela, Prince Valiant, Progressive Text, Steelplate Textura, Tannenberg, Thannhaeuser Zier, Typographer Gotisch, Typographer Textur, Victorian Text, Werbedeutsch, Westminster Gotisch.
    • Script: DS Admiral.
    • Unclassified: Alpine, Aristokrat Zierbuchstaben, Augusta, Belwe, DS FetteThannhaeuser, DS HermannGotisch, DS Wallau, Fraenkisch, Lautenbach, Neugotische Initialen, Typographer Uncialgotisch, Zentenar Zier.
    [Google] [More]  ⦿

    Dieter Zembsch

    Born in 1943, Zembsch began his career in graphic arts as a typesetter. He subsequently studied graphic design at Mannheim (in 1968) and Stuttgart. While working as a packaging designer for the pharmaceutical firm of Mann&Schröder, in his spare time he designed the winning entry in Letraset's International Typeface Competition for 1972/73, a typeface named Beans. Another font, Jumping Jack, was first released as dry-transfer sheets by Mecanorma in 1975. He later worked as advertising manager for a German publishing house and, in 1977, he became an independent graphic designer, operating as Zembsch' werkstatt in Munich, specializing in book design. In addition to illustrating book jackets for other authors, he has written and illustrated several of his own works. Zembsch and partner Sophie Weiss currently run a design firm in Munich.

    In 2009, Nick Curtis designed a digital extension and modification of Beans called Free Holeys NF. Alan Jay Prescott's revival is called APT New Beans.

    The digital re-issue of Beans was done by Charles Grant and Lineto, and released by Lineto in 2008 as LL Beans and in 2020 as Jumping Jack. First designed in 2011, LL Jumping Jack remained unpublished for several years. In 2019, it was overhauled and its character set was completed by Sascha Bente at Lineto, with approval by Dieter Zembsch and Charles Grant. [Google] [MyFonts] [More]  ⦿

    Dietmar Schmidt

    Designer at Germany's Apply Design of fonts such as MarieLuise (1994). [Google] [More]  ⦿

    Dietrich Kerner

    German designer (b. 1961) of Moclan (2020), Ding Trek II (2020), Pepsi Perfect (2014), Marty (2014, a Back to the Futrure font), Observer (2012, an alchemic font), Anime (2012, a mysterious alphabet), Galactica-Pyramid-Card-Game (2009, dingbats), Lost Font (2007), Sci-Fi-Logos (2006) and DingTrek (2006, Star Trek font). [Google] [More]  ⦿

    Digital Type Company (DTC)
    [Volker Schnebel]

    Volker Schnebel is a German type designer, b. 1950. He started out in 1977 at URW. In 1981, he was consultant for Compugraphic, where he developed 800 bitmap fonts for DEC. With Fritz Renzo Heinze, he founded the Digital Type Company in 1985 in Hamburg. He digitized the 50 basic type families of Monotype, including Arial and Times. He developed the Latin portion of Hiragino Mincho. From 1990 until 1993, he developed 1000 Gravurfonts for Scripta, Paris. After that, he joined URW++, where he is type director and chief type designer. He also is a type designer for Profonts.

    Catalog of Volker Schnebel's typefaces.

    He designed Kronos-Trilogie, DTC Hermes, Imperial and Joker DTC (now at URW++). He digitized Hunziker's Siemens family, and made custom type for Swiss Re and ZF. He created FAZ-Fraktur (with G.G. Lange, at URW, the house font of the Frankfurter Allgemeine Zeitung based on Fette Gotisch; well, Times Ten and Eighteen are the other house fonts of that newspaper) and Biblica (with Kurt Weidemann). He created the Handelsblatt newspaper headline font and corporate type for Swiss Re, ZF, Fujitsu, A1 Easy, and other companies.

    At MyFonts, one can buy Black Market DTC, Hermes DTC and Imperial DTC as well as the SoftMaker families Dirty, Funky, Rough, which come in a total of 37 mostly grungy styles and are dated 1999.

    In 2010, he created Linda (hand-printed, Profonts), Marita Pro (Profonts), Manuel Pro (Profonts) and Martin (a sans; Profonts).

    In 2011, he published Justus Pro at URW, a modern Egyptienne with a humanist touch.

    In 2014, Profonts published his text typeface Martin Pro.

    In 2008, Volker Schnebel designed all the fonts in Nimbus Sans ME, the Middle East range of Nimbus Sans, including Arabic, Farsi, Cyrillic and Hebrew. It was published by URW Global at MyFonts in 2016.

    In 2016, URW++ published Schnebel's 48-style typeface family Kronos Sans Pro and Kronos Sans ME (covering Latin, Greek, Cyrillic, Hebrew and Arabic), and his 48-style URW DIN. Still in 2016, URW publised Bernd Möllenstädt's text typeface Classica Pro, which was unfinished when Möllenstädt died in 2013. The missing styles and details were filled in under the guidance of Volker Schnebel.

    Typefaces from 2017: URW Form (80 styles, based on Futura), and Schnebel Sans Pro (48 styles), actually designed in 2016, and perhaps his crowning achievement. He writes: It took me 12 years to bring this extensive font family to completion. A lot has been changed, transformed, peeled and developed in all those years. For many of my projects I used it as my quarry and so it might have become something like a synthesis of all my imaginations and experiences. To me Schnebel Sans represents the optimal design of a contemporary grotesque that perfectly unites dynamics with statics. For copy text the typefaces are very legible, neutrally and remain in the background, but despite this generate the necessary tension when set as headlines. It is available as a Pro Font, containing West, East Greek, and Cyrillic or as the Schnebel Sans ME, also containing Arabic and Hebrew. It is perhaps a renaming of Kronos Sans Pro.

    In 2018, he published the 36-style family Schnebel Slab Pro at URW.

    In 2019, Volker Schnebel (URW) and Arlette Boutros joined forces and published URW DIN Arabic.

    Catalog of DTC's typefaces. [Google] [MyFonts] [More]  ⦿

    Digital Type Company (or: DTC)
    [Fritz Renzo Heinze]

    German foundry in Hamburg, cofounded by Volker Schnebel and Fritz Renzo Heinze, where they produced about 450 fonts under the DTC label. MyFonts lists the main designer as Fritz Renzo Heinze. Typefaces include DTC Rough Variants, DTC Garamond Variants, DTC Funky Variants, DTC Frankli Gothic Variants, DTC Van Dijk Variants, DTC Brody Variants, DTC Plaza Variants, DTC Dirty Varinats. Each group has between 50 and 100 typefaces. The fonts are marketed by URW++. For example, URW sells DTC FunWorks1, a collection of 450 fonts in all formats. Catalog of DTC's typefaces. [Google] [MyFonts] [More]  ⦿

    Digitale Heimat GmbH (was: Bean)
    [Christian Fenner]

    German creator of the free slab serif typeface Efja (2010).

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

    Digitalpionese.de

    Foundry in Germany. Requires Flash. They published the Positec family in 2003. [Google] [More]  ⦿

    DIN 1451

    German highway, railway and industrial typeface that is based on strict specifications. It was used on German cars for license plates, as well as on German trains. Linotype writes: The abbreviation "DIN" stands for Deutsches Institut für Normung (The German Institute for Industrial Standards). In 1936, this standards committee settled upon DIN 1451 as the primary lettering style for use in the areas of technology, traffic, administration, and business. The committee chose a sans serif design because of its legibility, and because its forms are also easy to reproduce. This typefaces design was not foreseen to be used in advertisements or other "artistically oriented purposes," and there were disagreements about its aesthetic qualities. Nevertheless, the DIN typeface has been set everywhere in Germany since its adoption, especially on signs for town names and traffic directions. Over the decades, it has managed to make its way into advertisements, too, perhaps because of its ease of recognition. The contemporary font version of DIN 1451 has been adopted and used by designers in other countries as well, solidifying its world-wide design reputation. Try it out today for signage, magazine layouts, book covers, or flyers. DIN 1451s industrial heritage makes it surprisingly functional in just about any conceivable application. Poster by Federico Arguissein (2013). [Google] [More]  ⦿

    DIN 1658

    Dead link. DIN type classification system. [Google] [More]  ⦿

    DIN 17

    One of the later specifications of the Deutsches Institut für Normung, from 1938. A typeface that follows it was made by Scangraphic, DIN 17 SB. [Google] [More]  ⦿

    DIN specifications

    DIN is a set of typeface norms set by the Deutsches Institut für Normung (The German Institute for Industrial Standards). In 1919, Germany had its first (Grotesk) typeface for technical drawings that followed strict norms, the DIN 16. This was followed in 1927 by DIN 1451. The latter set of raster-based specifications was developed under the guidance of Siemens engineer Ludwig Goller in 1926-1927. The DIN 1451 would be further developed and broadened over the years, leading to DIN Engschrift and DIN Mittelschrift (1931). Various modifications led to DIN 1451 (1936), DIN 17 (1938) and the "new" DIN 16 (1934). The DIN was heavily used in Germany from 1936 until the 1980s in stencils, sold by companies such as Faber-Castell, Rotring, Staedtler, and Standardgraph. Articles on DIN:

    Poster by Federico Arguissein (2013). [Google] [More]  ⦿

    Dinamo
    [Johannes Breyer]

    Dinamo is a Swiss type foundry in Heiden established by Johannes Breyer and Fabian Harb after graduation from schools in Zurich, Basel and Amsterdam. Johannes and Fabian were visiting teachers at the Estonian Academy of the Arts, Tallinn. Johannes is teaching type design at University of the Arts Berlin (UDK) and HfG Offenbach. Fabian is lecturing typography at the School of Design St. Gallen. Their typefaces:

    • ABC Diatype (+Mono) (2020). A Swiss sans by Elias Hanzer, Johannes Breyer and Fabian Harb.
    • Favorit (2014) and Favorit Mono (2017). A basic sans family by Johannes Breyer and Fabian Harb.
    • Grow (2013). An experimental collaborative font family. Many of the members are multilined and even prismatic.
    • The heavy sans typeface Heureka (2009-2013).
    • Laica (2020). By Alessio D'Ellena.
    • ABC Maxi (2020). A hipster typeface by Andree Praat, Johannes Breyer and Fabian Harb. They write: With an underlying skeleton referencing mid-century and post-modern Swiss designs---including Josef Müller-Brockmann's CWS word mark (1958) and Marlyse Schmid and Bernard Müller Swatch logo (1981)---ABC Maxi's forms can by altered and animated by the user, stretching from Hairline to Black to everything in-between.
    • Pareto (2016). Western style typefaces by Erkin Karamemet, Fabian Harb and Johannes Breyer.
    • Prophet (2016). Prophet is designed in 2016 by Johannes Breyer, Fabian Harb & Erkin Karamemet. Technical support and mastering by Chi-Long Trieu. It is inspired by Joseph Churchward's Georgina.
    • In 2019, Johannes Breyer, Fabian Harb and Erkin Karamemet released Whyte and Whyte Inktrap at Dinamo.
    • Custom typefaces for Kunsthalle Zurich (CH), Warp Records (UK), Elton John (US), Yale Architecture (US), Manifesta 11 (CH), Harvard Graduate School of Design (US), Universal Music (GER), IBA Thüringen (GER), Festival B:om (KR), Gagosian Gallery (US), Planet Mu/Knives (GER/UK), LayTheme (GER) or the German, Estonian and Cyprus Pavillions at the 55th and 56th Venice Biennale.

    Johannes Breyer. Fabian Harb. [Google] [More]  ⦿

    Dingfontbats
    [Susanne Fiedler]

    Bavarian designer Susanne Fiedler created 35C, Affenschaukel (2000), Donnerwetter, Elefont, Franzi (2000), Hasi, Herr-Mueller-1, Herr-Mueller-2, I-just-call, Lieb-Mütterlein (alphadings with hearts), Lilians-Geburtstag, Mistwetter, Muelroy, Sssssum, Sassys-Teddys-1, Sassys-Teddys-2, Sassys-Teddys-3, Sassys-Sonne (alphadings), Schilderwald-alt, Schilderwald, Sonnenschein, Summer-in-the-city, WilliesPiano, Flyaway, Frogii, Gutes-Wetter,-schlechtes-Wetter, Hallo-du!, Roady-Roadrunner (alphadings), and For the Randolph Roadrunners (2000). Mostly letters with a theme added to them.

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

    Diogo Oliveira

    Portuguese designer (from Porto) who used FontStruct to make the modular (slabby or octogonal) typefaces Sexta-Feira (+Sans) and Mini-Bodoni in 2008-2009. As Grupo3, he designed the strong all caps monoline sans titling typeface Grupo3 (2014) for Ed Design Graphic & Web as part of the corporate design work they did for a Portuguese architecture company. Free download at Open Font Library. In 2017, he moved to Wuppertal, Germany.

    Home page. Behance link. Open Font Library link. Github link. FontStruct link. [Google] [More]  ⦿

    Dirk

    German designer of the free font Dirk Handfont (2008). It has German coverage, and is an extension of Handfont (2005) by Benji Park. [Google] [More]  ⦿

    Dirk Erdmann

    Osnabrück, Germany-based designer of the experimental grunge typeface Random (2017), which uses noise signals to disturb the glyph outlines. [Google] [More]  ⦿

    Dirk Heider

    Creator of Zierfische (2011, a signage face): Zierfische is based on an exterior sign for a tropical fish store in East Berlin (GDR). The original sign was salvaged and now resides in the Buchstaben Museum in Berlin. The museum commissioned the sign's original designer, Manfred Gensicke, to complete an alphabet based on the sign, which was then digitized by Dirk Heider resulting in the finished font "Zierfische." [Google] [More]  ⦿

    Dirk Schaechter
    [Faktor-i (or: Designsalon)]

    [More]  ⦿

    Dirk Schuster
    [Bropix]

    [MyFonts] [More]  ⦿

    Dirk Uhlenbrock
    [TypeType]

    [More]  ⦿

    Dirk Uhlenbrock
    [Eyesaw (was: Fontomas.com, or Signalgrau)]

    [MyFonts] [More]  ⦿

    Dirk Uhlenbrock
    [Signalgrau *(was: eyesaw fontz)]

    [More]  ⦿

    Dirk Van Damme

    Designer of the shareware family CopticGregor (with Gregor Wurst, 1994). [Google] [More]  ⦿

    Dirk W. Loenne
    [Institut fuer Indische Philologie und Kunstgeschichte]

    [More]  ⦿

    Dirk Wachowiak

    Stuttgart-based graphic designer (b. 1974). He studied Visual Communiaction at HFG Pforzheim and obtained a Masters of Fine Arts in Graphic Design at Yale University School of Art (2003-2005). In 2005 he taught type design at the State Academy of Art and Design Stuttgart and in 2008 typography at the School of Design of Pforzheim University. His typefaces:

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

    Dirk Widmann

    Frankfurt-based designer of the dot matrix blackletter-inspired typeface Globes (2016). Behance link. [Google] [More]  ⦿

    Dismantle Destroy
    [Matthew Tyndall]

    Dismantle Destroy (and before that, Dismantle Design) is located in Clarksville, TN, and is run by Matthew Tyndall (b. 1984), who according to MyFonts lives in Frankfurt, Germany. Creative Market link.

    Creator of Arrivals and Departures (2011, sans display face), Ask My Flashlight (2011, a bold and bouncy comic book style face), Quiet the Thief (2011, spurred face), Raila Skies (2011, a hand-printed typeface done with Ralia Staggs), Hello Arson (2011, grunge), and Badcap (2011, grunge).

    Typefaces from 2012: Monster Monster.

    Typefaces from 2013: Meet The Submarine, Coin Operated (sketch font), I know a ghost, Weathervanes, As You Wish (hand-printed), Hoods and Capers (piano key face), Everglow, Brave Mountains (hand-drawn 3d poster face), Biloxi, Savage Kids (Treefrog-like script), Sleeping Forest, Right as Rain, That's Just Gross, Silent Seas.

    Dafont link. The free typefaces at Dafont included the grunge typeface Devotion and Desire (2005), and Something Dangerous, and the hand-printed typeface Meet The Submarine (2011). Many more were added to the free list in 2013.

    In 2014, he made Hashi, Daruma (chubby poster typeface), Amely, Crybaby, Handguns, Real Friends, Solid Ground, Skag, Kazoku, Piano Fingers, Vagabond, Wolves at Night (brush font), Write This Down, Polar Bread, Hiroba (sci-fi), Hungry Hobo, Wakari, Suncrusher, Captain Chunk, Tegami (based on the handwriting of Kaori Onoda), Surfaced. [Google] [MyFonts] [More]  ⦿

    diytiful

    German designer of the sketched handcrafted typeface Nelship (2017). [Google] [More]  ⦿

    dmfstudio
    [Robert Perendi]

    German studio of Robert Perendi, who designed the free experimental fonts andre-bold, andrefist, andrefistshdw, andre-gestaucht-bold, andre-t-light in 2007. Located in Leipzig. [Google] [More]  ⦿

    Doepfer Musikelektronik GMBH

    BF_Symbols (communication dings, 1995), Doepfer (LED font by Doepfer Musikelektronik, 1995), Inter (Gary L. Ratay's travel dingbat font, 1991). See also here. [Google] [More]  ⦿

    Dominic Brighton

    Dominic Brighton studied communications design in Munich, Germany. He developed the font Interna during an internship at Melville Brand Design and published it in 2011 via Volcano. Klingspor link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Dominik Arenz

    Berlin, Germany-based designer of Hyper Trax (2019), a monoline typeface that takes inspiration from music from the 1990s. His Rugged Bois memes are also noteworthy. [Google] [More]  ⦿

    Dominik Bissem

    German designer at the University of Applied Sciences Düsseldorf of the neutral sans typeface Format Grotesk. [Google] [More]  ⦿

    Dominik Böhler

    Designer from Hersbruck, Germany, who created Gapee (2003, a sans face). [Google] [More]  ⦿

    Dominik Heilig

    Born in Schwaebisch Gmuend, Germany, in 1974. Designer of ALS Rundgang (2005, Art Lebedev Studio), a technical traffic signage face, first designed as a youthful face for Soyuznik Bank. [Google] [MyFonts] [More]  ⦿

    Dominik Johann

    Berlin, Germany-based designer of the free squarish typeface New Flesh (2017-2021). Github link. [Google] [More]  ⦿

    Dominik Schmitt

    Trier, Germany-based designer of the handcrafted Mexican simulation typeface Mezcal (2016), which is a school project. In 2015, the cranes in Hamburg's port inspired him when he designed the experimental typeface Gisbert. [Google] [More]  ⦿

    Dominik Thieme

    Barcelona-based designer of Nouveau Grotesque (2016) and Devianz Grotesk (2014). This typeface was originallly part of the corporate identitity of culture cafe KUAPO (Leipzig). Behance link. [Google] [More]  ⦿

    Dominique Boessner

    German type designer who created the rounded monoline stencil typeface Stencil Allround (2012, Letterwerk). [Google] [MyFonts] [More]  ⦿

    Doris Fürst

    Young designer at fontgrube who made BTENeoTokio. NeoTokio is now also at T26. [Google] [MyFonts] [More]  ⦿

    Dorothée Schraudner
    [Schraube]

    [MyFonts] [More]  ⦿

    doublestroke
    [Olaf Kummer]

    "doublestroke" is Olaf Kummer's blackboard bold math symbol font in metafont format. Olaf Kummer is at the University of Hamburg. [Google] [More]  ⦿

    dpi

    A German language page on the calculation of dpi for screens. Typically, today, they range from 72 dpi to 96 dpi and with larger monitors well over 100 dpi. To have text appear identical on all screens, we should adjust for that discrepancy. [Google] [More]  ⦿

    Dr. Roland Unger

    Dr. Roland Unger's German language glossary. HTML help. [Google] [More]  ⦿

    Drachenjäger

    Site of the blackletter caps font Gothic-Titel-offiziell (2000). [Google] [More]  ⦿

    Drhaieck

    Heidelberg, Germany-based creator of the bespoke geometric experimental typeface Indyanna (2011) and of Daily Work (2012). [Google] [More]  ⦿

    Driemeyer Design
    [Antje Driemeyer]

    Type foundry in München run by independent designer Antje Driemeyer, a graduate from the University of Applied Sciences Augsburg, Faculty of Design in 2004. Antje specializes in type design, corporate design and editorial design.

    Creator of Halvan (2012) and Henny (2012, hand-printed).

    In 2013, Antje designed the remarkable rounded blueprint sans family Herrmann, which comes in ten styles. Near the end of 2013, she published the avant garde architectural sans family Bauhans. Hanami (2015) is a set of kaleidoscopic ornaments. Frieda (2015) is a thin calligraphic typeface. [Google] [MyFonts] [More]  ⦿

    Driple

    Jannis Z (Driple, Munich, Germany) designed the clean rounded sans typeface Driple and the italic Veleno in 2017. [Google] [More]  ⦿

    Dropic Arts

    Magdeburg, Germany-based designer of the sci-fi typeface Dropic (2014). [Google] [More]  ⦿

    dtp Vertrieb und Marketing GmbH

    German company which sells this CD through Amazon for 16 Euros: Alte Schriften (2004). This has calligraphic, medieval and blackletter fonts. [Google] [More]  ⦿

    Ductype

    German pixel font foundry, est. 2004. Fonts by

    • Robert Flubacher (Heilbronn).
    • Ted Fröhlich (Hamburg): Omor, Schlichte Eleganz (2005), Olympia 1936 (2005), Scoredom (2005, 4 weights), Shinjuku (2005, 8 weights), Atomic Sister (2005, 2 weights), Extrudor (2005, 12 weights), Vampire (2005, 4 weights), Aussenborder (2005, 8 weights), Agitation (2005), Propaganda (2005), Hammerbrook (2005), Phat Ass (2005), Liliput (2005), Aktienindex, Stereo, Quadruplex.
    • Ulf Germann (Hannover).
    • Nico Hensel (Heidenheim): Modus, Nexo (2005, 6 weights), Lasse (2005), Western Trade (2005), Bmf, 16Point, 2-3, Freshments, Annenski, Creamy, Ego, Emily, F9, Grid, Hensi, Inverse, Julima, Knopf, Lyvox, Meo, MM, Ornigram (ornaments), Strike, Tool, Dejavu (2005).
    • Kai Heuser (Stuttgart): Horschd Eins.
    • Felix Braden: Aquarius (2005), TimetwistEight (2005).
    • Stefanie Koerner: Pxlpack (2005).
    • Karsten Müller: Tautenburg (2005).
    [Google] [More]  ⦿

    Duesterheit

    German designer (b, 1979). He created the pixel typeface glasklinge-minimal (2007). Home page. [Google] [More]  ⦿

    Duestype

    Duestype is an independent type foundry run by Sergej Krieger and Tim Schmeer in Duesseldorf, Germany, est. 2020. The pair studied communication design at the University of Applied Sciences in Duesseldorf. In 2022, they released Extragraph Display, a modular monolinear display typeface that only uses circular arcs and straight lines. [Google] [MyFonts] [More]  ⦿

    Duncan Wick

    German designer (b. 1988) of Dafter Harder Better Stronger (2009, brush) and Weird Tucan-Noobs from Saint Seson (2009, ???). [Google] [More]  ⦿

    Dustin Finke

    German creator of the proofreader symbol and text font Proofreader (2011, FontStruct). [Google] [More]  ⦿

    Dustin W

    Dustin W (BKMH Lab) is located in Germany.

    Dafont link.

    Creator of the children's hand typefaces Dustin (2012) and Dustinhofont (2012). [Google] [More]  ⦿

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

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

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

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

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

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

    Klingspor link.

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

    E. Eickhoff

    Designer at Genzsch&Heyse, who made Lithograph (1903). [Google] [More]  ⦿

    E. Wetzig

    Editor of Ausgewählte Druckschriften in Alphabeten, which was published in Leipzig by the Verein Leipziger Buchdruckereibesitzer as an educational aid. The Bund für deutsche Schrift has scanned in a third of the pages and put it on one of their CDs. [Google] [More]  ⦿

    e27
    [Anna Mandoki]

    Anna Mandoki and Stephan Mueller designed the free font ABCButton (2007, e27), in which strokes are just threads of a 9-holed button. "e27" is a design bureau in Berlin. [Google] [More]  ⦿

    Eberhard Dilba

    German author of Typographie-Lexikon (2005, in German). [Google] [More]  ⦿

    Edith Marold
    [Runenprojekt Kiel]

    [More]  ⦿

    Edmund Koch

    Foundry in the 19th century, based in Magdeburg. In 1904, they published Gravir-Anstalt und Messing-Schrift-Giesserei. Stempel für Hand- und Press-Vergoldung. [Google] [More]  ⦿

    Edmund Thiele

    Designer (b. Berlin, 1872, d. Offenbach, 1953) who worked for Haas'schen Schriftgiesserei in Münchenstein from 1921 until 1952. Creator of these typefaces at Haas:

    • Bodoni Antiqua (1924-1938). Many weights were developed over the years. When H. Berthold AG took over, this type survived as Berthold Bodoni.
    • Commercial Grotesk Fett (1945) and Halbfett (1940).
    • Ideal Antiqua Schmalhalbfett (1941). In Germany also sold as Jeannette.
    • Normale Grotesk (1942).
    • Superba (1934-1937). Superba was digitally revived by Red Rooster as Superba Pro (1992, and 2017).
    • Troubadour Licht (1931, a script face). Troubadour survives digitally as Rechtman Script (Intecsas). Also, RMU (Ralph M. Unger) created Troubadour Pro (in Medium and Engraved styles) in 2010.
    [Google] [More]  ⦿

    Eduard Brox

    German type designer who did mainly blackletter alphabets: Moderne Alt-Fraktur (1906; the date at AG für Schriftgiesserei und Maschinenbau is 1910), Hamburger Fraktur (1907, J. John Söhne; includes also Fette, Halbfette), Faust-Fraktur (1910, D. Stempel; includes also Fette, Halbfette, Schmale Halbfette), Neue Moderne Fraktur (normal and halbfett) (1909, elsewhere, this is known as Faust, Richard Wagner, Ideal, Dresdner Amts, Hamburger and Alt Fraktur). [Google] [More]  ⦿

    Eduard Ege

    München-based painter and graphic designer who designed type for Genzsch&Heyse, b. 1893, Stuttgart, d. 1978, München. He studied under Julius Dietz at the Kunstgewerbeschule München, and studied as well at the Kunstgewerbeschule Stuttgart. Eduard Ege made these typefaces:

    • Basalt (1926). A pre art deco all caps typeface.
    • Ege-Schrift (1921, Genzsch&Heyse). Jaspert, Berry and Johnson mention 1927. Seemann says 1923. Ege Schrift NF (2011, Nick Curtis) is a faithful revival of Ege-Schrift according to Curtis.
    • Ege Schmuck (1922, Genzsch&Heyse): ornaments for the Deutsche Druckschrift (Heinz König, 1888). A digitization and extension called DeutscherSchmuck was done by Manfred Klein and Petra Heidorn in 2004. Manfred added Druckschrift Initialen also in 2004.
    • Fiori Schmuck (for C.E. Weber): floral decorations.
    [Google] [More]  ⦿

    Eduard Felegeanu
    [Eduard's Pocket]

    [More]  ⦿

    Eduard Wilhelm Tieffenbach
    [Officina Serpentis]

    [More]  ⦿

    Eduard's Pocket
    [Eduard Felegeanu]

    Berlin, Germany-based designer of the free brush signage script typeface GoodHood (2020). He also created a 570-strong set set of icons, Rubber Icons that can be purchased from Graphikstash. [Google] [More]  ⦿

    EFB

    List of links to high-quality free fonts. In German. [Google] [More]  ⦿

    Egypta

    Hieroglyphic font archive at TypOasis. [Google] [More]  ⦿

    Eike Dingler
    [Mauve Type]

    [MyFonts] [More]  ⦿

    Eike König
    [Hort]

    [More]  ⦿

    Ein Reiseführer für Typografen

    Richard Felsner (Mainz, Germany) has some info on the history of type. [Google] [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).

    Behance link. [Google] [More]  ⦿

    Ekkehard Beck

    Ulm, Germany-based designer (b. 1969) at Fontkitchen Type Foundry of the dingbat typefaces Damgram (2004), Urban Dedication (2004) and DesignersSkulls (2005, skull dingbats). These typefaces are free. He also designed Mandalay (2006), a font with Burmese influences.

    Dafont link. Designers Skulls. Another Dafont link [Google] [More]  ⦿

    Elekrrofarbe

    Using iFontMaker, Elektrofarbe created Lux Berlin Font 1 (2011, outline hand-printed face). [Google] [More]  ⦿

    Elena Albertoni
    [La Letteria Berlin]

    [More]  ⦿

    Elena Albertoni
    [Blackmoon Foundry (was: La Letteria, or: Anatole Type Foundry)]

    [MyFonts] [More]  ⦿

    Elena Schaedel

    Visual communications designer in Germany. At 26plus, we can find her Amsterdam (a series of five fonts with Grachten, Vel, Huis, Fiets and Bloemen as themes, all modularly constructed from a few basic forms).

    In 2012, she published the Picassonian geometric experimental typeface MeM, done together with Jakob Runge, at 26plus.

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

    Elena Schneider

    Graphic designer from Dortmund, Germany, who lives in Husavik, Iceland. Her design company is called Elefont. After studying visual communication in the university of applied sciences in Dortmund, she co-founded the design studio Radau. Graduate of the University of Reading in 2011. Elena designs logos, retail and custom fonts. She is a visiting lecturer at HBK Saar and LHI Reykjavík, and a mentor at Alphabettes, a network to support and promote women in the type industry.

    Creator of these typefaces: Eskorte (2011, her graduation project), Eskorte Persian (2011), Klebo (2011, mechanical / octagonal), Eskorte Armenian (2011), Paroli (2011, a bold rounded signage face, Die Gestalten), and Biec (2012).

    In 2013, Eskorte was published by Rosetta Type. Eskorte supports Arabic, Farsi, Urdu, and over ninety languages using the Latin script. Titus Nemeth was consulted for the Arabic portion.

    Cargo Collective link.

    In 2016, Elena Schneider and Miles Newlyn co-designed the almost reverse contrast typeface family New Herman.

    In 2019, she published the experimental techno typefaces Halunke and Konsole at Future Fonts. She writes about Konsole: Konsole is a clean sans serif typeface with a touch of technology. Inspired by audio equipment, it gives off robotic energy. A variable font was added in 2019.

    Still in 2019, she released the German expressionist typeface Birra Bruin at Darden Studio.

    At Tomorrow Type, she released the Cyrillic version of Halunke (2020).

    Future Fonts link. [Google] [MyFonts] [More]  ⦿

    eleven 7 (or: typo.arts)

    Outfit based in Schelklingen, Germany. Makers of Big Bull (free), and Fontkit (commercial pixel fonts). Mac and PC. [Google] [More]  ⦿

    Elfriede

    During his studies in Berlin, Elfriede created the artsy illustrative typeface Drongo Typo (2013).

    Behance link. [Google] [More]  ⦿

    Eli Marc Mueller

    During his studies in Berlin, Eli Marc Mueller designed Graffiti Alphabet (2016). Behance link. [Google] [More]  ⦿

    Elia Preuss

    Student at HGB Leipzig in 2018. Designer of Reross (2018), a poster sans typeface published as part of the Adobe Originals collection. This typeface revives an alphabet by Bauhaus designer Reinhold Rossig (from 1929) and was influenced by the poster art of Hermann Werner Kubsch. Adobe expalins: Of all student work produced in Joost Schmidt's Bauhaus classes, Reinhold Rossig's (1903-1979) alphabet designs are perhaps closest to his master's teachings: monolinear, geometric lettering, constructed on grids using compass and ruler. Drafts by Rossig, dated 1929, also demonstrate explorations of letterform width and x-height. Almost ninety years later, Elia Preuss carefully preserves Rossig's letters and considerations in a proper typeface, by overcoming most of the optical mistakes captured in true geometric letterforms. To carry Rossig's design further away from Schmidt's influence, Preuss also lent more characteristic letters found on poster designs by fellow Bauhaus student Hermann Werner Kubsch. Reross is a true Bauhaus-influenced geometric sans, equipped with different historic influences and contemporary features. [Google] [MyFonts] [More]  ⦿

    Elias Hanzer
    [Hanzer Liccini]

    [More]  ⦿

    Elika Lakner

    During her studies at HAW Hamburg under Jovica Veljovic, Elika Lakner designer the sans typeface Fisch (2019). She also showcased a font in her Orangener Affe poster in 2019, but it is unsure if that font was made by her. [Google] [More]  ⦿

    Elina Bronstein

    Konz, Germany-based designer of the free brush typeface Nikora (2019). [Google] [More]  ⦿

    Elisa Hammerbacher

    Nürnberg, Germany-based designer of the bold display typeface Ilaia (2019). [Google] [More]  ⦿

    Elisabeth Friedländer

    German type designer (b. 1903, Berlin, d. 1984) who studied under Weiss. Sometimes her name is spelled Friedlander, without an umlaut. Pauline Paucker's book, New Borders The Working Life of Elizabeth Friedlander (Incline Press, 11A Printer Street, Oldham OLI IPN England), describes her life, including the story of her flight from Nazi Germany in 1936 (she was Jewish), to Italy. She had studied in Berlin with E.R. Weiss at the Berlin Academy. She joined the German fashion magazine Die Dame. In 1933 George Hartmann asked her to design a typeface for Bauersche Giesserei.

    She designed Elizabeth at Bauersche Giesserei in 1934---a Roman and Kursiv and a Bold that was never completed or produced---but she was unable to name the typeface Friedlander, as she had wished, because it was a recognizably Jewish name. She was associated for some time with the Bauer foundry. Her typeface was finally cut in 1939 but she had already left Germany because of the war. She went on to Italy and then later to London where she eventually worked with Jan Tschichold at Penguin Books doing covers for Penguin books, and became a celebrated graphic designer.

    Jim Rimmer's RTF Isabelle (roman and italic), made in 2006, is based on two delicate serif typefaces by Friedlander.

    Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters) and Linotype Friedlaender borders were revived in 2006 by Ari Rafaeli, and at an unknown date by Reymund Schroeder as Friedlaender.

    In 2005, Andreu Balius was commissioned to digitize the typeface now sold by Neufville Digital: Elizabeth ND (2007, 3 styles). Klingspor link. [Google] [MyFonts] [More]  ⦿

    Elisabeth Schwarz

    Münster-based German designer with Christian Büning of Rolli (2007), a font with pictograms for handicapped people. Another URL. Home page. [Google] [MyFonts] [More]  ⦿

    Elise Chastel

    Berlin, Germany-based designer of the experimental typeface Indecisive (2017). Behance link. [Google] [More]  ⦿

    Eliya Eshet

    Tel Aviv, Israel-based designer at HAV Hamburg of the display sans typeface Smug (2021), which features gently modulated strokes. [Google] [More]  ⦿

    Eliyahu Koren

    Influential Israeli graphic and type designer, 1907-2001. Pic. Koren Publishers still exists in Jerusalem today. At MyFonts, one can buy Koren MF (1943), Koren Rashi MF, Koren Siddur MF, and Koren Tanakh MF (1943), which were digitized by Masterfont in 2010. Wiki page. Quoting from the excellent biography by Joshua J. Friedman: Born Eliyahu Korngold in Nuremberg, Germany, in 1907, he immigrated to Palestine in 1933 and set about looking for work. Koren had excelled in art school, but in Palestine he found an underdeveloped graphic-design industry that largely amounted to sign-painting. His break came when the Jewish National Fund hired him to lead its first graphics department. In this position, which he kept for 21 years, Koren oversaw the creation of many of Israel's most prominent symbols, including its first postage stamp and, in his own design, the seal of the city of Jerusalem-a lion rampant in front of the Wailing Wall, framed by olive branches-still in use today. His greatest project got underway in the early 1940s, when Judah Magnes, the president of Hebrew University, asked Koren to create a new typeface for the first original edition of the Hebrew Bible to be published in Israel. Koren's art would complement the ambitious scholarly effort of Umberto Cassuto, a rabbi and Hebrew University professor who was searching for the most accurate ancient source manuscripts. But unexpectedly, and within a few years of each other, Magnes and Cassuto both died, leaving the project to founder. The Hebrew University Press, having already waited 10 years for its new Bible, simply reprinted a 19th-century edition with a few of Cassuto's emendations. Eliyahu Koren Eliyahu Koren, working on the Koren Bible typeface Koren decided to carry out the original effort on his own. He formed his own small publishing house and immersed himself in Hebrew manuscripts and early typefaces, looking for inspiration. He based his letter on medieval Sephardi script, while giving it a modern touch. He consulted an ophthalmologist and learned about early research into the legibility of Latin types. In every aspect of his work Koren was meticulous. When he received the cast metal type from the illustrious Deberny and Peignot foundry in France, Koren immediately spotted imperfections and sent it back. The foundry calculated the imprecision at three hundredths of a millimeter and recast the letter at its own expense. "In the final Koren design," writes the late Israeli book historian Leila Avrin, "the letters are sharp, almost never rounded, with balanced contrasts, faintly serifed, with its few diagonals always parallel to one another. The beauty of the letter never detracts from its readability." Koren was as diligent as Cassuto in striving for textual accuracy. He took great care with vowels and cantillation marks, which were drawn by hand and added to the typeset page. When the Bible was finally published, in 1962, it was celebrated in public ceremonies. "Israel is redeemed from shame," wrote Prime Minister David Ben-Gurion. "This is the first Jewish Bible in the last 400 years." Presidents of Israel would be sworn into office on it. A commemorative book published years later includes photos of the celebrations, plus two of Koren inspecting manuscripts and proofs at the start of the project, with his sleeves rolled up and his expression grave. His hair is dark. By the time the Koren Bible was published, 20 years later, it was mostly silver. It would take until the 1970s for Koren to begin work on his siddur. His central task was the same: to create beautiful, legible letters and pages to accentuate a sacred text. But unlike the Bible, the siddur is an anthology, pieced together from Torah verses and rabbinic writings. Koren therefore set out to design a new page layout that would differentiate the text, highlighting its source material and keeping the reader alert. Koren also developed a distinct but related siddur typeface, since he felt that the one he had developed for the Bible was too sacred to reuse, except for biblical quotations. This typeface was even more legible than the first, with similar letter pairs distinguished by their shape: dalet, for instance, extends its arm horizontally, while resh angles its arm upward. [Google] [MyFonts] [More]  ⦿

    Elke Herrnberger

    German designer (born Elke Swillus) of the highly original museum display typeface FF Yokkmokk (1993) at FontFont. FontShop link. Elke Herrnberger is working at her studio TRANSformer in Düsseldorf as an independent graphic designer. She took her final exams in 1996 at the Fachhochschule Düsseldorf. Since 1999 she has been head of the graphics and PR department at Petzinka Pink Architekten in Düsseldorf. [Google] [MyFonts] [More]  ⦿

    Elke Reisenbichler

    Heilbronn-based creator of a nice script alphabet in 1985. [Google] [More]  ⦿

    Ellbound Studio
    [Jan Angermüller]

    In 2016, Jan Angermüller (Germany) compiled the best list to date for music fonts. He also compares various fonts. His lists are subdivided as follows: (1) Classic music notation fonts (all) (1a) Classic music notation fonts (only SMuFL) (1b) Classic music notation fonts (only Unicode Musical Symbols area) (2) Handwritten music fonts (3) Examples of unavailable fonts (4) Medieval, Byzantine and ancient Greek fonts (5) Music fonts for word processing (i.e., stafflines and/or stems, beams included) (6) Chord fonts (7) Figured bass fonts (8) Fretboard fonts (9) Fingering/pedal fonts (10) Microtonal notation fonts (dedicated fonts or those with many accidentals) (11) Special music fonts (12) Text fonts for rehearsal marks (with border) (13) Suitable text/lyrics fonts. [Google] [More]  ⦿

    Elli Jaeger

    Hamburg-based designer and illustrator, who created an ornamental caps alphabet based on stamps called Stamp Collection (2012). [Google] [More]  ⦿

    Elmar Kniprath
    [Indolipi]

    [More]  ⦿

    Elmar Schmitt

    Author of Die Drucker der Wagnerschen Buchdruckerei in Ulm 1677-1804 Band II Vignetten Signete Initialen (Universitätsverlag Konstanz, Konstanz, 1984). A typical vignette. Vignette 142. Vignette depicting Silvanus. The Wagnerschen Buchdruckerei issued this Schreibschrift in 1765. [Google] [More]  ⦿

    Elsner&Flake

    German type foundry in Hamburg established in 1986 by Veronika Elsner and Günther Flake. They offer original fonts as well as improved versions of classical fonts. There are many non-Latin fonts as well. In-house designers include Jessica Hoppe (Carpediem), Verena Gerlach (Aranea), Petra Beisse (Petras Script), Uwe Melichar, Manuela Frahm (Fritz Dittert), Ralf Borowiak, Lisa von Paczkowski, and Achaz Reuss.

    Additions in 2005 include the dingbat typefaces Beautilities EF Alpha, Ornamental Rules EF, Diavolo Rules EF, Squares EF (Alpha, Beta and Gamma), Topographicals EF Alpha, Typoflorals EF Alpha, Typographicals EF Alpha, Typomix EF Alpha, Typosigns EF Alpha, Typospecs EF Alpha and Beta (which have several fists), Typostuff EF Alpha, Diavolo EF, Schablone EF, Gigant EF, Maloni EF, OCRA EF, EF Unovis (a 16-weight family inspired by Quadrat).

    In the hand-printed category, let us mention Filzerhand.

    Their blackletter collection includes some bastardas (Alte Schwabacher, Lucida Blackletter), some frakturs (Fraktur, Fette Fraktur EF, Justus Fraktur, NeueLutherscheFraktur, Walbaum-Fraktur), some rotundas (Weiss-Rundgotisch), and some texturas (Gotisch, Old English).

    Commissioned fonts include Castrol Sans (2007).

    Selected additional typefaces: Garamond Rough Pro (2018), Bluset Now Mono (2018), Newspoint (2017, based on Morris Fuller Benton's News Gothic), Meier Kapitalis (2013, a lapidary typeface based on a 1994 sketch by Hans Eduard Meier in his book Die Schriftentwicklung), Gillies Gothic EF (after William S. Gillies's 1935 original), EF Medieva, Bank Sans Caps EF, Metropolitain (1985) (after a 1905 art nouveau typeface by Fonderie Berthier).

    Fonts4ever link (2008). Listing at Fontworks. Future events schedule. New fonts.

    List of their fonts.

    Catalog of their typefaces [large web page warning]. See also here. [Google] [MyFonts] [More]  ⦿

    Elsner&Flake: events schedule

    Events schedule as compiled by Elsner&Flake. [Google] [More]  ⦿

    Elster Fonts
    [Darius Samek]

    German designer of:

    • Kontext Dot (2021). A halftone printing font. Still in 2021, this was followed by Kontext H and Kontext V (an experimental font family that plays with optical effects).
    • Billund (2021). A textured marquee font emulating letters made with Lego pieces. Billund covers Latin, Greek and Cyrillic.
    • The six-style gaspipe font Magpie (2021), which comes with additional stencil styles.
    [Google] [MyFonts] [More]  ⦿

    Emanuel Klieber

    German designer of the modular octagonal typeface Fourty Five Degree (2008, Avoid Red Arrows). [Google] [More]  ⦿

    Emil Doepler

    Designer at Klingspor of Vignetten (1902). [Google] [More]  ⦿

    Emil Gursch

    A peek into Schriftgiesserei Emil Gursch Berlin: Gesamtprobe Schriften Ornamente Vignetten Messinglinien (488 pages), one of Gursch's gorgeous specimen books. Emil Gursch was the main principal/owner of the Schriftgießerei Gursch in Berlin from 1866 until 1917, at which point the foundry was acquired by Otto Tech Berlin, an arm of H. Berthold AG. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Emil Gursch

    German foundry based in Berlin, active from 1866 until 1917, when it was acquired by H. Berthold AG. Klingspor's file on Gursch. Typefaces published by them include:

    • Accidenz-Versierungen.
    • Akademisch.
    • Alexandra (<1897).
    • Antiqua No. 2 through 9.
    • Apollo Grotesque (1897).
    • Alt-Gotisch (1899) mager&halbfett. Altgothische initialen.
    • Bambus Grotesque (1896).
    • Berliner Fraktur (ca. 1897).
    • Briefschrift Deutsch (<1899).
    • Britannia-Versalien (1902).
    • Continental Grotesque.
    • Dekorative Vignetten (1899).
    • Egyptienne.
    • Elzevir, ca. 1899: many weights and styles.
    • Eskorial (1909) and Eskorial halbfett (1908) by Eduard Lautenbach, published by Emil Gursch.
    • Flächer Ornamente (1899).
    • Fraktur 14g (1910), Fraktur 14 halbfett (1915), Fraktur 16 (1916), Fraktur No.4 through No.8. Halbfette and Moderne schmale halbfette Fraktur, Schmale Fette Zeitungs-Fraktur, Fette Fraktur.
    • Gloria (1898), Fette Gloria Kursiv (1904), Gloria fett (1902), Gloria schmalfett. Gloria Kuric schmalfett. Digitally revived in 2019 by Ralph M. Unger as RMU Gloria.
    • Gothisch (schmale enge, Courante and Accidenz), Renaissance Gothisch (1902: eng, magere and halbfette), Fette Gothisch (neueste and breite). Gothische Federzüge.
    • Grandezza I and II (1904) by Hermann Zehnpfundt.
    • Grotesque.
    • Hermes Grotesque (1897).
    • Hortensia (<1902). A digital version of this Victorian script was finished in 2009 as Hortensia by Canada Type: Hortensia was Gursch's most popular typeface, used extensively and prominently in many beautiful type catalogs, and a commonly seen design element in Germany for quite a while after its release.
    • Industria (1913, a grotesk designed for ads). Weights include Zart, Halbfett, Fett and Zephyr. By Hermann Zehnpfundt.
    • Journal (1912-1913) by Hermann Zehnpfundt. Weights include Antiqua, Kursiv, Antiqua Halbfett.
    • Breite Kanzlei, Moderne halbfette Kanzlei, Antike Kanzlei (wow!).
    • Kavalier (1910) by Hermann Zehnpfundt.
    • Klinger (1919, +Antiqua) by Julius Klinger.
    • Koenig-Type (1903-1907, Heinz König), Koenig Schwabacher (1912-1913, Heinz König), Koenig-Fraktur (1910, Heinz König. This is also called Gursch Fraktur),
    • Kontinental Grotesk.
    • Korona (1905, + Halbfett) by Albert Auspurg.
    • Mediaeval, Cursiv, Mediaeval Cursiv.
    • Monument (+Halbfett).
    • Moderne Schreibschrift.
    • Phönix-Cursiv (1897).
    • Polygon Undine (1904).
    • Roma (ca. 1897).
    • Rubens (1905) by Albert Auspurg.
    • Rundschrift.
    • Saxonia Einfassung (borders).
    • Schwabacher, Fette Schwabacher (1899).
    • Schwarze Hände, and many great math and astrological sets.
    • Senefelder (1908).
    • Sirius Ornamente (1908).
    • Skulptur (1901): has styles called Halbfett and Licht.
    • Sütterlin Unziale (+Halbfett), made in 1905 by Ludwig Sütterlin himself.
    • uncial gotisch or Morris Gotisch. For a digital version, see Morris Gotisch by Gerhard Helzel.
    • Versierte Italienne.
    • Werk Fraktur (fett, halbfett), done before 1907.
    • Zierschrift Roma, Zierschrift Apollo, Zierschrift Gloria, Boston Zierschrift.
    • Zirkular Kursiv (1913) by F. Müller-Münster.
    There were also numerous ornaments and vignettes. Published documents include Industria, eine charaktervolle Reklame-Grotesk (1913), Polygon-Undine. Fette Gloria-Kursiv (1904), Nachtrag zur Handprobe. Neue Erzeugnisse aus den Jahren 1898-1901 (1902), Munster-Sammlung der Schriftgiesserei Emil Gursch, Berlin S., Messinglinien-Fabrik und Gravir-Anstalt (1899). That last book is their main publcation, 112 pages of nicely presented specimens covering all lettertypes and ornaments in detail. A peek into one of Gursch's specimen books. PDF prepared by Klingspor Museum. [Google] [MyFonts] [More]  ⦿

    Emil Hölzl

    Designer of Hölzl-Mediaeval (+ Halbfette) (1912, D. Stempel AG; Seemann says 1916) and Hölzl-Mediaeval Kursiv (1916, D. Stempel AG). [Google] [More]  ⦿

    Emil Johannes (Hans) Kühne

    German type designer (b. 1910, Schmiedeberg-d. 1961, Hamburg), who, after studies in Offenbach under Rudolf Koch and Ernst Engel, became a soldier in 1939. After the war, he became a freelance graphic designer in Hamburg, where he also taught at Werbefachschule Hamburg. Wolfgang Hendlmeier summarized his contributions in 1985. His typefaces include:

    • Andreas Schrift (designed in 1942). It was cut in 1948 by J. Trennert und Sohn. In 1954, it was also at Gebr. Klingspor. It was recut in 1988 by Johannes Wagner. Delbanco's digital version is called DS Andreas Schrift. Gerhard Helzel also did a digital revival.
    • Logos (1955). Digital revival by Gerhard Helzel.
    • Deutsche Musterschrift, done in 1938 for the post office (Postbereich).
    • Deutsche Versalien (1934).
    • Halbfette Offenbach (1937). Fette Offenbach was done in 1936. Digital revival by Gerhard Helzel.
    • Kühne Antiqua (1939): looks like a Basque face. Klingspor mentions the date 1954. A digital version of this was done by ARTypes in 2010, called KuehneAntiquaAR.
    • Kühne Gotisch (1938). Revival by Gerhard Helzel.
    • Kühne Schrift (1937). This blackletter also has a mager weight. Klingspor mentions the dates 1954 and 1955.
    • Stahl (1937). There are fett, schmal-halbfett and schräg versions. Digitally revived as Stahl (2007) and Stahl Kursiv (2009) by Gerhard Helzel.

    Other material: Logos done by him. Brief German biography. A famous poster of the Nikolaikirche in Hamburg. Picture. [Google] [More]  ⦿

    Emil Meyer
    [Erich Meyer]

    Type designer (b. Offenbach, 1898, d. Waldshut, 1983). He created the blackletter typefaces Tannenberg mager and halbfett (1933-1935, D. Stempel) and Woellmer-Fraktur (1937, Wilhelm Woellmer). In several publications and web sites, Emil is called "Erich". Schnelle calls him Erich Mayer. Digitizations of his typefaces include Tannen (2021: a layerable family by Rafael Jordan Oliver), Tannenberg Fett (+Umrandet, +Schattiert, 2002, Dieter Steffmann), DS Tannenberg (2001, Delbanco) and Tannenberg (Gerhard Helzel). [Google] [More]  ⦿

    Emil Preetorius

    German stage designer (b. 1872, Mainz, d. 1973). Preetorius studied law and art history in Giessen. In 1909 he cofounded a school of illustration and the book trade in München together with Paul Renner. In 1928 Preetorius became a professor at the München Hochschule für Bildende Künste. He set stages for Richard Wagner and others. From 1953 to 1968 Emil Preetorius was the president of the Bayerische Akademie der Schönen Künste in München. [Google] [More]  ⦿

    Emil Rudolf Weiß

    German typographer, graphic artist, book artist, painter, type designer, poet and teacher, b. 1875, Lahr, d. 1942, Meersburg. His typefaces include

    • Weiss Roman (1926). Digital versions include one at Adobe.
    • Weiss-Fraktur (1909). This was commercialized in 1913 by Bauersche Giesserei. Digital versions: Weiss Fraktur (2004, Petra Heidorn and Manfred Klein), Emilia Fraktur (2021, Ralph Unger).
    • Weiss-Fraktur Kursiv (1923-1924, Bauer).
    • Weiss Antiqua (1928). Digital versions: W 690 Roman (SoftMaker), Emilia (2016, Ralph Unger), Weiss Antiqua (URW). In 2019, Rutherford Craze did his own revival.
    • Weiss Lapidar mager (1931). Revived as Weiss Lapidar in 2002 by Dieter Steffmann.
    • Neue Weiss-Fraktur (1935).
    • Lichte Initialen (1935). Revived by Manfred Klein in 2005 as WeissGotnitials.
    • Weiss-Gotisch (1936). A Textura typeface at Bauer, revived by Petra Heidorn in 2004 under the same name, by Delbanco as DS-Weiss-Gotisch, and by Ralph Unger as Emilia Gotisch in 2016.
    • Weiss-Kapitale (1931).
    • Weiss-Rundgotisch (1937, Bauer). Digitized by Fraktur.de, Nick Curtis (as Garmisch Rund NF, 2009), Elsner and Flake (as Weiss Rundgotisch), and Softmaker (as Gothic).
    • Weiss Rundgotisch Inititalen (1939), at the Bauersche Giesserei.
    • Rundgotisch and Uhlen Rundgotisch (1937), at Hansestadt Letter Foundry. Uhlen Rundgotisch became a Monotype font in 1938.
    • Weiß Initials (Series I, II, II Bold, III), the 1920's. Digital versions: Wellsbrook Initials SG (2004, Spiece Graphics), URW Weiss Titling, and Quadrivium NF (Nick Curtis).

    In 2011, Gerald Cinamon published E.R. Weiss: The Typography of an Artist (Oldham: Incline Press).

    Bio at Linotype, and at DdS. Footnote: Many textbooks incorrectly credit Weiss with Memphis (Stempel, 1929)---these include Mac McGrew, Rookledge, and Jaspert&Berry. Memphis was made by Rudolf Wolf.

    View Emil Rudolf Weiss's typefaces. Klingspor link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Emilie Montigny

    Art director in Berlin who designed the experimental Binary Font (2016). [Google] [More]  ⦿

    Emma Ritson

    Berlin-based designer of the beveled typeface Sykes (2018). [Google] [More]  ⦿

    Emmanuel Rey

    Partner of Ian Party in Swiss Typefaces. Swiss ex-student of Ian Party at ECAL in Lausanne.

    He created Tabloid (2007), a contemporary condensed sans serif font family, specifically designed to be used in big size for newspaper headlines. It comes in ten weights from UltraLight to UltraBlack.

    In 2010, he designed Euclid, a squarish design. See a version of Euclid in use by the city of Stockholm [called Stockholm Type], and read the (mostly negative) reactions of the typophiles. On Flickr, upon seeing that umlauts were replaced by macrons, Hrant Papazian writes: Pissed androgynous royals rule. At Swiss Typefaces Lab, he added Euclid Stencil (2019) and Euclid Mono Vanguard (2019: a hipster version).

    Other typefaces by him include Urbaines Medium (2009, grotesk caps), Simplon and Simplon Mono (2010, B+P Swiss Typefaces), Untitled (2010), Krsna (experimental) and Brrr (experimental).

    Another URL. [Google] [More]  ⦿

    Emmi Wernicke

    Designer of a blackletter typeface that was revived by Peter Wiegel in 2014 as Wernicke Schwabacher. [Google] [More]  ⦿

    Enrique Medarde

    During his graphic design studies in Berlin, Enrique Medarde designed an interesting typographic blueprint (2015). [Google] [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]  ⦿

    Erasmus Luther
    [Luthersche Fraktur]

    [More]  ⦿

    Erhard Grundeis

    German type designer at Ludwig&Mayer who made the script typeface Achtung (1932), and the oddly slab-serifed typeface Stadion (1929, Schriftguss). This ugly bird was revived by Nick Curtis in 2011 as Elektromoto Narrow NF. [Google] [More]  ⦿

    Erhard Kaiser

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

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

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

    Erhardt Ratdolt

    Augsburg-born printer (1447-1527). A master printer and type designer, he worked from ca. 1474 until ca. 1486 in Venice, where he printed many fine books. Ratdolt returned home and produced the first printer's type specimens sheet with a beautiful decorative initial and 15 different fonts to announce the occasion. He had the first type specimens sheet in the world, showing rotunda, roman and Greek typefaces in various sizes (date: 1486). Ratdolt specialized in missals, liturgical works, calendars, astronomical, astrological, and mathematical subjects, and often included masterful diagrams to illustrate the text. In 1482, he printed Euclid's Elements of Geometry, which became William Morris's reference source for his "while-wine" decorative borders. Erhard Ratdolt died in 1527 or 1528. See DS Ratdolt-Rotunda (Delbanco), a digital version based on a 1989 design by Wolfgang Hendlmeier in 1989. Type sample. Bio by Nicholas Fabian. See also here. [Google] [MyFonts] [More]  ⦿

    Erhardtische Schriftgießerei

    Leipzig-based foundry. [Google] [More]  ⦿

    Eric Schmitt
    [RichyType]

    [More]  ⦿

    Erich Gruner

    Graphic artist, painter, designer and illustrator, b. 1881, d. 1966. Graduate of the Königlichen Akademie fü graphische Künste und Buchgewerbe in Leipzig. Head of the Leipziger Kunstgewerbeschule from 1931 until 1946, when he became a freelance designer in Leipzig. Some time before 1914, he designed Gruner Antiqua at F.A. Brockhaus. He also designed some ornaments of Watteau Schrift und Schmuck (1913, Schelter and Giesecke). [Google] [More]  ⦿

    Erich Heckel

    Erich Heckel (b. 1883, Döbeln, d. 1970, Radolfzell) was a German painter and printmaker, and a founding member of the Die Brücke group which as active from 1905 until 1913. Heckel and the three other founding members of Die Brücke (i.e., Ernst Ludwig Kirchner, Karl Schmidt-Rotluff and Fritz Bley) admired the work of Edvard Munch, and aimed to make a "bridge" (Brücke) between traditional neo-romantic German painting and modern expressionist painting. Primitive, esp. African, art was also an inspiration to the members of the Die Brücke.

    In 1937 the Nazi Party declared Heckel's work degenerate. It forbade him to show his work in public, and more than 700 items of his art were confiscated from German museums. By 1944 all of his woodcut blocks and print plates had been destroyed. After World War II, Heckel lived at Gaienhofen near Lake Constanz, and taught at the Karlsruhe Academy until 1955. He continued painting until his death at Radolfzell in 1970.

    Heckel's woodcuts and lettering inspired a few typefaces, most notably:

    [Google] [More]  ⦿

    Erich Meyer
    [Emil Meyer]

    [More]  ⦿

    Erich Mollowitz

    German designer of these typefaces:

    • The medium weight formal script font Forelle (Weber, 1936), also called Rhinegold or Rheingold (Trennert, 1936). It has tall ascenders and short descenders. It is accompanied by Forelle Auszeichnung (1936). Mercury (Stephenson Blake) was copied from this. Jaunty Gent NF (2007, Nick Curtis) is based on Rheinhold Kräftig---surely Nick meant to write Rheingold Kräftig. Forelle Pro (2010, Ralph M. Unger) is another digital version of Forelle. Dieter Steffmann made the free font Forelle.
    • Anemone (1955, Genzsch&Heyse). A condensed all caps inline typeface.

    Misspellings of his name abound: R.S. Hutchings calls him Mallowitz. Others spell his name as Mollwitz. [Google] [MyFonts] [More]  ⦿

    Eric-Jean Müller

    Author of 50 Alphabete fuer Techniker und Fachschulen. Flickr link. Digital typefaces that are based on some of these alphabets include Eleckatrical Banana JNL (2021, Jeff Levine), Strike (ca. 2019, by Nick Sherman) and Simula Sans (2018, by Jillian Kaimo). [Google] [More]  ⦿

    Erik Banane

    During his studies, Mannheim, Germany-based Erik Banane created the display typeface Arktiz (2015). [Google] [More]  ⦿

    Erik Biebinger

    Trier, Germany-based designer of these typefaces: Arktiz (2015), Tullius (2017: a weathered all caps didone). [Google] [More]  ⦿

    Erik Faulhaber

    Type designer involved with Linotype. He studied design in Karlsruhe with Kurt Weidemann and others. His mentor is Adrian Frutiger. Since 1996 he is an independent designer. He has taught typography at the universities of Halle, Weimar and Wuppertal. He helped develop Frutiger Next at Linotype. However, after that effort, Linotype did not give him credit in the way he thought he deserved (the credited designer for Frutiger Next is Adrian Frutiger / Linotype Design Studio). He also worked on the Compatil family (Linotype), Vialog (Linotype: 22 weights commissioned by Professor Werner Schneider, originally developed for the signs in the Munich subway), Heidelberg Gothic (Linotype: for Heidelberger Druckmachinen AG), and corporate typefaces for the city of Milan (Milano), BMW (tracking adjustments for BMW Helvetica), Microsoft (Microsoft SC), and IBM (Greek and Vietnamese characters for the IBM corporate typeface). Wiki page. In 2006, he published Generis (Linotype) type system which consists of slab serif, serif, sans, and simple sans sub-systems, all compatible and loosely in the spirit of American gothic styles.

    His Aeonis font family (2009) contains 42 sans styles about which Linotype brags: Lapidary inscriptions from Ancient Greece spurred Faulhaber on to create this typeface's basic sans serif forms. This clarity is visible in the simplified form of the typeface's capital A. Further inspiration came from a domed lamp designed in 1952 by Wilhelm Wagonfeld; this went on to inspire the roundness in Aeonis. Faulhaber sees the conflict between antiquity and modernity as a struggle between angular and round forms. Author of Frutiger Die Wandlung eines Schriftklassikers (Niggli Verlag). Free lance designer since 1996. About the Frutiger Next flap:

    • Erik Faulhaber was interviewed and expressed his ideas about Frutiger and Frutiger Next in Frutiger Die Wandlung eines Schriftklassikers (2004, Niggli Verlag).
    • Adam Twardoch (Linotype) explains: No doubt, Erik Faulhaber has worked on the Frutiger Next project but the extent of that work is disputable. This is a typical case of getting credit. Type design only recently became an individual effort. Previously, a large team of people worked on a particular type, and yet typically, only one person got the credit as the designer. Even today, when FF Meta Pro is published, the credited designer is Erik Spiekermann and not Spiekermann, van Rossum, de Groot, Schäfer, Lipton, Schwartz, Safayev, Chayeva, Haratzopoulos et al. If it were so, it would be quite ridiculous anyway. If you want personal credit, you need to negotiate it upfront in the contract. Christian Schwartz and Erik Spiekermann collaborated on FF Unit and on FF Meta Headline. Schwartz does get personal credit for FF Meta Headline but not for FF Unit. This is obviously result of different negotiations in different projects. The credited designer for Frutiger Next is Adrian Frutiger / Linotype Design Studio. This means that Linotype chose not to personally credit the other designers who worked on the project, including Erik Faulhaber. This is similar for Linotype Univers. This is different for other projects, e.g., Avenir Next is credited to Adrian Frutiger / Akira Kobayashi, just like Palatino Nova and Optima Nova are credited Hermann Zapf / Akira Kobayashi. Altogether, such decisions are made on a per-project basis, and surely depend on the actual creative input of the other designer. Sometimes, designers arrange collaborations by themselves they might hire a collague to draw the small caps or florins in their own typeface if there is a tight deadline. Whenever youre a junior designer and embark on such a project, make sure to clarify issues such as personal credit *upfront*. Erik Faulhaber seemingly has not. He has seemingly agreed to hide his name behind the Linotype Design Studio label but now is trying to change reality retroactively. This is not how you work with other people.
    • Bruno Steinert (type manager, Linotype) retorts: the idea for Frutiger Next originated from discussions between himself, Adrian Frutiger, Professor Reinhard Haus, and Otmar Hoefer (marketing, Linotype). Linotype guided and financed the development and paid Faulhaber on an hourly basis. Frutiger and Faulhaber never worked together outside Linotype.

    In 2013, he published Xenois, Xenois Semi Pro, Xenois Sans Pro, Xenois Serif Pro, Xenois Soft, Xenois Super and Xenois Slab at Linotype.

    In 2017, he published Qantis Sans and Qantis Soft.

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

    Erik Sachse
    [Napoleon Services (was: Napoleon Typefaces)]

    [More]  ⦿

    Erik Sachse
    [Themtypes]

    [More]  ⦿

    Erik Schoefer

    Type designer at Avoid Red Arrows in Germany. His typefaces there, ca. 2018, include Foster. [Google] [More]  ⦿

    Erik Seitz

    Erik Seitz studied at the University of Applied Sciences Trier. In 2018, he designed Altum Sans. [Google] [MyFonts] [More]  ⦿

    Erik Spiekermann
    [Spiekermann's blog]

    [More]  ⦿

    Erik Spiekermann
    [Spiekermann's favorite typefaces]

    [More]  ⦿

    Erik Spiekermann

    German type designer and graphic designer par excellence, born in 1947 in Stadthagen. He set up MetaDesign in Berlin in 1979. In 1988 he set up FontShop, home of the FontFont collection. He holds an honorary professorship at the Academy of Arts in Bremen, is board member of ATypI and the German Design Council, and president of the ISTD (International Society of Typographic Designers). In July 2000, Erik left MetaDesign Berlin. He now lives and works in Berlin, London and San Francisco, designing publications, complex design systems and more typefaces. He collaborated on the publication of the comprehensive FontBook. Author of Stop Stealing Sheep & Find Out How Type Works (2nd Edition) (Adobe Press, Second Edition, 2002, First Edition, 1993). He taught typography at the Art Academy in Bremen, and is guest-lecturer at several schools around the world.

    In October 2003, he received the third Gerrit Noordzij Prize, which is given every other year to a designer who has played an important role in the field of type design and typography. It is an initiative of the postgraduate course in Type&Media at the Hague Royal Academy of Art with the Meermanno Museum (The Hague).

    His essay on information design.

    Biography. Bio at Linotype. Laudatio by John Walters of Eye Magazine. Blog.

    Presentation at ATypI 2006 in Lisbon. Presentation at ATypI 2008 in St. Petersburg. Interviewed in 2006 by Rob Forbes. Speaker at ATypI 2010 in Dublin.

    He made the following typefaces and type families:

    • Lo-Type (1913, Louis Oppenheim) was digitally adapted by Spiekermann for Berthold in 1979-1980. BERTLib sells it as Adlon Serif ST.
    • PT 55 (1986), the precursor of FF Meta.
    • Berthold Block
    • Berliner Grotesk (1979-1980, Berthold): based on an old Berthold AG typeface from 1923.
    • FF Govan (2001, by Ole Schaefer and Erik Spiekermann).
    • The huge families FF Meta1, FF Meta2, FF Meta3 (2003), FF Meta Condensed (1998) and FFMetaCorrespondence. The FF Meta families (1985) were originally designed for Bundespost, which did not use it--it stayed with Helvetica for a while and now uses Frutiger. Meta comes with CE, Cyrillic, Greek and Turkish sets as well. Weights like Meta Light (Thin, Hairline) Greek are available too. Spiekermann is a bit upset that Linotype's Textra (2002, a typeface by Jochen Schuss and Jörg Herz) looks like a cloned of Meta. FF Meta Condensed won an award at Modern Cyrillic 2014.
    • Meta Serif (2007) by Christian Schwartz, Kris Sowersby and Erik Spiekermann. Later extensions by Ralph du Carrois and Botio Nikoltchev.
    • ITC Officina in versions Sans Book (1989-1990) and Serif Book (1989-1990).
    • Boehringer Sans and Antiqua (1996): custom types.
    • Grid, which appeared in FUSE 3.
    • Codesigner with Ole Schaefer (FontShop, 2000) of FF InfoDisplay and FF InfoText in 1997 and of FF InfoOffice in 2000.
    • NokiaSans and NokiaSerif (2002, company identity family). This was in cooperation with Jelle Bosma. Before Nokia Sans and Serif, Nokia used Rotis. Nokia Sans and Serif were replaced by Nokia Pure (Bruno Maag) in 2011.
    • Glasgow Type (1999), for the city of Glasgow, taking inspiration from the Rennie Macintosh types.
    • Heidelberg Gothic (1999).
    • Symantec Sans and Serif (2003): custom types.
    • FF Unit (2003-2004; see also here), another sans family, which won an award at TDC2 2004. This was followed by FF Unit Rounded. And FF Unit Rounded started according to Erik as Gravis, the largest Apple dealer in Germany. FF Unit Slab (2009) is the product of a cooperation between Kris Sowersby, Christian Schwartz, and Erik Spiekermann.
    • ITC Officina Display (2001).
    • FF Meta Thin Light and Hairline (2003) and FF Meta Headline (2005). Developed jointly with Christian Schwartz and Josh Darden.
    • Bosch Sans and Bosch Serif (2004).
    • The SeatMeta family (2003) for Seat.
    • DB Type in six styles (Serif, Sans, Head, Condensed, Compressed, News): designed in 2005 in collaboration with Christian Schwartz for the Deutsche Bahn (train system in Germany). Some typohiles say that it reminds them of Bell Gothic and Vesta.
    • A Volkswagen company family based on a correction of Futura.
    • The DWR House Numbers Series (2006): four fonts with numerals for house numbers: Contemporary House Numbers, Tech House Numbers, Classic House Numbers (based on Bodoni), Industrial House Numbers (stencil). DWR stands for Design Within Reach.
    • Tech (2008, FontStruct), a rounded squarish headline face.
    • Axel (2009): developed jointly with Erik van Blokland and Ralph du Carrois, it is a system font with these features:
      • Similar letters and numbers are clearly distinguishable (l, i, I, 1, 7; 0, O; e, c #).
      • Increased contrast between regular and bold.
      • High legibility on the monitor via Clear Type support.
      • Seems to outperform Courier New, Verdana, Lucida Sans, Georgia, Arial and Calibri, according to their tests (although I would rank Calibri at or above Axel for many criteria).
    • In 2012-2013, Ralph du Carrois and Erik Spiekermann co-designed Fira Sans and Fira Mono for Firefox / Mozilla. This typeface is free for everyone. Google Web Font link. Open Font Library link. It is specially designed for small screens, and seems to do a good job at that. I am not a particular fan of a g with an aerodynamic wing and the bipolar l of Fira Mono, though. Mozilla download page. CTAN link. Google Web Fonts download page. Google web Fonts published Fira Sans Condensed (2012-2016) and Fira Sans Extra Condensed in 2017.
    • In 2013-204, Erik created HWT Artz, a wood type published in digital form by P22, which is based on early 20th century European poster lettering. Named after Dave Artz, a Hamilton Manufacturing retiree and master type trimmer, the proceeds of the sales will go to the Hamilton Wood Type and Printing Museum.
    • In 2015, Fontfont published FF Real, in 13 weights each for FF Real Text and FF Real Head. This typeface family by Erik Spiekermann and Ralph Olivier du Carrois is influenced by the German grotesques from ca. 1900 by foundries such as Theinhardt and H. Berthold AG.
    • In 2022, Erik Spiekermann, Anja Meiners, and Ralph du Carrois published the neo-grotesque superfamily Case at Fontwerk. It includes Micro and Text subfamilies.

    Picture of Eric Spiekermann shot by Chris Lozos at Typo SF in 2012.

    FontShop link.

    View Erik Spiekermann's typefaces. [Google] [MyFonts] [More]  ⦿

    Erika Brouwer

    Graphic designer in Berlin. At Behance, one can see her trendy bold typeface Carbon (2009). [Google] [More]  ⦿

    Erkin Karamemet
    [Studio Karamemet]

    [More]  ⦿

    ErlerSkibbeTönsmann (and: Character Type)
    [Henning Hartmut Skibbe]

    ErlerSkibbeTönsmann is an agency for corporate, editorial and typeface design in Hamburg, Germany. Its main type designer is Henning Hartmut Skibbe, a German communications designer located in Potsdam and/or or Hamburg, b. 1979. He studied graphic design at the University of Applied Science Potsdam and was a typeface design student of Luc(as) de Groot. Some time around 2019, Henning Skibbe set up Character Type and joined The Type Department. Skibbe's typefaces:

    • Arctic (2006). A headline font family. Arctic Black Basic is free.
    • Haptic (2008): a sans logotype that won an award at TDC2 2009). In 2015, Skibbe followed this up with the connected brush signage family Haptic Script. In 2019, HapticScript and Haptic Pro were rereleased at his own type foundry, Character Type.
    • Nautik (2004-2006). A free calligraphic take on Courier. Image by Francisco Baudizzone.
    • News Sans (2019). Ninety styles of pure newspaper and information design type.
    • Skibfont (2002-2003). A free calligraphic font.
    • Codesigner with Johannes Erler in 2009 of FF Dingbats 2.0, a redesign and update of FF Dingbats (1993). This was followed in 2014 by FF Dingbats 2.0 UI and FF Dingbats 2.0 Inverted UI.
    • The agency did the typeface design for Sueddeutsche Zeiting in 2011-2012. Its new corporate typeface, SZ (Serif, Sans, Sans Condensed, Text, 40 fonts in all), is described as follows by Henning's codesigner, Nils Thomsen: In 2011 and 2012 I participated on the corporate typeface for the German daily, "Süddeutsche Zeitung", at the office "Bureau ErlerSkibbeToensmann". Hand in hand with type designer Henning Skibbe and art director Christian Tönsmann the different styles and weights were carefully designed. The technical part was edited by fontshop.com. SZ Text is based on Excelsior (Chauncey H. Griffith, 1931). The new typeface got narrower and the capitals smaller and lighter. To this we added lots of new details, which worked better and made it overall more efficient in tight columns and line spacing. SZ Serif is based on SZ Text and replaced the "Times" (Stanley Morison, 1931). Higher contrast and slightly narrower letter shapes makes it more useful for headline typography. SZ Sans is designed for strong headlines and replaces "Helvetica" (Max Miedinger, 1957). Simple and silent shapes gives the right touch to the neutral character of "Süddeutsche Zeitung". SZ Sans Condensed is made for tables in the sport or economy segment. It replaces FF Unit (Erik Spiekermann & Christian Schwartz, 2003-2011).
    • In 2019, Skibbe published these four editorial design font families at Character Type: News Sans Compressed, News Sans Condensed, News Sans Extended, News Sans Wide. He writes: The News Sans family was designed to allow for a maximum range of visual shades when creating a typo­graphic look, effortlessly ranging from loud and expressive, to subtle and reserved. The large x-height combined with low as­cenders and descenders allows for tight and efficient designs. All sharp corners were trimmed off to add character and a nuance of extra space. NewsSans' strokes link humanist curves with American Grotesque details and solid square stems. Make no mistake, the w and other glyphs reveal fashionista hipster ideas from the 2010s, thus moving these families a bit away from old school American grotesques. In 2020, at The Type Department, News Sans was released under the new name New Sans (Compressed, Extended). Later in 2020, Skibbe released News Serif (20 styles, three optical sizes).

    MyFonts page. Linotype page. FontHaus page. Behance link. URL for Skibbe. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Ernst Bentele

    German author of Schrift geschrieben, gezeichnet und angewandt. Ein Lehrbuch für Schriftenmaler, Graphiker und sonstige schriftgestaltende Berufe (1952, Karl Gröner Verlag, Ulm-Söflingen), a guided tour of writing styles from constructed and calligraphed blackletter to written and drawn oldstyle, ornamented letters, and geometric grotesques. Some of his alphabets are shown in Hoffmann's Schriftatlas (1952). Alphabets by Bentele include Frankengold and Wechselstrich Handschrift. His alphabets provided inspiration to many digital era type designers:

    • AR Types designed Bentele Unziale.
    • Minjoo Ham revived Freely Drawn Italic and then went on to develop that typeface further into a layerable multi-color typeface, Teddy (2017, Fust & Friends).
    • Alejandro Paul (Sudtipos) revived Freely Drawn Italic as Bowling Script in 2014.
    • Alejandro Paul has another revival, Semilla (2011).
    • Perigord (David Nalle, 1993) is inspired by a Carolingian alphabet drawn by Bentele.
    [Google] [MyFonts] [More]  ⦿

    Ernst H. Wulfert

    Type enthusiast and genealogist in Bad Sassendorf, Germany, who made some Fraktur revivals such as Gutenberg-Bibelschrift, Kirchengotisch, Koberger, Lautenbach-Fraktur, Liebing-Fraktur, and Schönsperger. Home page. [Google] [More]  ⦿

    Ernst Hermann Karl Engel

    Typographer, type designer (b. 1879, Kassel, d. 1967, Bad König), teacher (at the Frankfurt Vocational School and at the College of Arts and Crafts in Offenbach am Main) and author of typographic books. In 1905, Engel became supervisor of in-house printing at the Klingspor foundry.

    At his own Ernst Engel Privatpresse (est. 1921; it would later be called Ernst Engel Presse Walter Stähle), he designed Mörike Fraktur (1922) with the punchcutter Rudolf Schiffner. Somehow, this typeface is also associated with Klingspor.

    In 1927, he created an art deco typeface which was revived in 2008 by Nick Curtis as Engel Stabenschrift NF. He made three Unziale that were all unicase ("Einbuchstabenschrift"), in 1927, 1930/31, and 1935, respectively. In 1939, he made a Schwabacher and finished Deutsche Schrift. Picture.

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

    Ernst Johnston (Edward) Lauschke

    Nineteenth century engraver (b. Germany, 1872, d. 1944) in Chicago. He designed these typefaces:

    • Pekin (1888). This is an oriental simulation typeface first published in 1888 at the Great Western Foundry under the name Dormer. It was very novel at the time, and shows the mannerism of art nouveau. The name Pekin was given to it by BB&S after Great Western morphed into BB&S. The name Pekin was probably first given in 1923, but surely before 1925. McGrew says this: Pekin is one of many typefaces renamed by BB&S for their 1925 specimen book. Its original name was Dormer, patented by the Great Western foundry in 1888 and credited to Ernst Lauschke. It is a very novel face, basically a fine-line letter with most characters having a heavier accented portion in an unconventional place. Vertical strokes on some of the capitals extend downward like descenders. It was made only in two sizes, one of which was later plated by Type Founders of Phoenix, after ATF had recast it in 1954. For a digital revival of Pekin, see Pekin by Solotype.
    • Handcraft Title and Handcraft Wide Title. Mac McGrew: Handcraft is renamed by BB&S for its 1925 specimen book. Handcraft Title was designed by Ernst Lauschke in 1887 as Spenser; this was followed by Wide Spenser which became Handcraft Wide Title. With lowercase added a few years later, Spenser became Southey, and later Handcraft.
    • Brevet Normal (1887). A Victorian typeface revived in digital form by Dan Solo.
    • Additional typefaces at BBS: In 1891, Julius Schmohl and Ernst Lauschke designed an art nouveau and a Victorian face for BBS. Unnamed BBS typeface from 1887.
    [Google] [MyFonts] [More]  ⦿

    Ernst Tremel

    Ernst Tremel s based in Muenster, Germany. He designed a Devanagari font called ShiDeva that includes a "volt" table and many ligatures. His pages also cover Tamil, and one can download the ETTamilNew font. He also has a Kurdish font, as well as maps about the Kurds and about Indian languages. About the Kurdish font, he writes: Kurdish AllAlphabets contains 694 glyphs and 529 standard kern pairs: Latin, Cyrillic and Arabic script. There are OpenType tables for Arabic and embedded bitmaps included.

    He joined the Open Font Library movement. He offers Ahuramazda there, which is an alphabet for the Avestan language: Avestan was an Iranian language in which the earliest Zoroastrian hymns were orally transmitted since 1500 BCE. Due to lingusitic change, fluency in Avestan as spoken a thousand years earlier was deteorating, and hence the need to write the language became increasingly apparent. By the 3rd century CE an alphabet was created to write down the ancient Avestan language.

    OFL link. Alternate URL. And another URL. [Google] [More]  ⦿

    Ernst Völker

    German designer of the titling typeface Vineta (1972 or 1973, VGC), an inline shaded Clarendon. A digital version of this was made by Bitstream called Vineta BT. Other photo-era typefaces by Völker: Voel Beat (a 3d-face, Berthold, 1978), Voel Bianca (a psychedelic typeface related to Motter Ombra; Berthold, 1978) and Voel Kars (a multiline electronic circuit board simulation face; Berthold, 1978).

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

    Erste Ungarische Schriftgießerei

    Budapest-based foundry acquired in 1926 by D. Stempel AG (50%) and H. Berthold AG (50%). Later it spun off from Stempel. In English: First Hungarian Type Foundry. [Google] [More]  ⦿

    Erwin Koch

    Type designer who worked for Rudolf Hell. His typefaces:

    • Angro (1989). A straightforward sans-serif family.
    • Dalcora (1989). A black italic display typeface made in 1989 at Hell.
    • Monanti (1989). A monospaced Courier style typeface.
    • Monti and Monti Semi Bold (1989). Done for R. Hell.

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

    Erzaehlzeichen
    [Holger Ziemann]

    Erzaehlzeichen is a Hamburg based foundry run by Holger Ziemann. He created the condensed display typeface Contentor (+Stencil) in 2015. Behance link. [Google] [MyFonts] [More]  ⦿

    E-Signature Digital Graphics

    Sylvie Peladeau's company in Ottawa creates custom fonts, primarily logo, handwriting and signature fonts for corporations to integrate with mail merge campaigns, office automation, fax software, and web pages. [Google] [More]  ⦿

    E-signature's glossary

    German type glossary. [Google] [More]  ⦿

    Esra Gülmen Bda

    Illustrator in Frankfurt, Germany. In 2012, she created the ultra-fat rounded typeface Smoothie. [Google] [More]  ⦿

    Esszet

    Type historian James Mosley explains that Abraham Lichtenthaler, a seventeenth century printer from the Bavarian town of Sulzbach is credited with introducing the character to roman printing type. Follow-up article by Jonathan Hoefler. [Google] [More]  ⦿

    Es:Tset

    Design studio in Berlin run by Chris Zibell and Mirco Fiss. Behance link. Creators of a few art deco typefaces such as Filmreif (2011). [Google] [More]  ⦿

    Eszet ligature

    Dr. Herbert E. Brekle from the Universität Regensburgexplains the history of the German ligature symbol ß. [Google] [More]  ⦿

    Eugen Kaelin

    German designer of the ornamental caps Verzierte Anfangsbuchstaben für Liturgisch (1988), to accompany Otto Hupp's Liturgisch (1906). [Google] [More]  ⦿

    Eugen Nerdinger

    German type and graphic designer (b. 1910, Augsburg, d. 1991, Augsburg) who created this text family in 1945. Coauthor with Lisa Beck of Schriftschreiben Schriftzeichnen (1977, München) and Kalligraphie (1988, München). Older texts by him include Alphabete (1974, München), Zeichen, Schrift und Ornament (1960, Callwey, München), and Buchstabenbuch (1954, Callwey, München). Nerdinger was active in the German resistance against the Nazis and was arrested in 1942 by the Gestapo and convicted to three and a half years of prison and forced labor. After the war, he worked chiefly at the Augsburger Kunstschule.

    One of his alphabets led to Lola (2013, Laura Meseguer). The workhorse Newbery Sans Pro (2018, Alejandro Paul) and the skyline didone Rigatoni (2017, Alejandro Paul) are also based on Nerdinger's examples. [Google] [More]  ⦿

    Eugen Philippi

    Eugen Philippi (b. 1978) is a German digital painter, aka Elspiko and as Doodle Lee Doo. He created Black Blocckks (2008), ConeOfSilence (2008, grunge), atthewindowPRO (2008, simple monowidth sans), Circleized (2008), Stencil Writer (2008) and Murder of Mayday (2008, octagonal, 4 styles). Stencil Writer is based on a workshop with Underware in which the plane is partitioned into 20 segments, and each character consists of a subset of these segments (without translating or turning any). This principle is a bit like that of a pixel font with non-square shapes. [Google] [More]  ⦿

    Eugen Weiß

    Type designer (b. 1911, Hanau, d. 1992, München) who designed Hölderlin (a German expressionist typeface) or Hölderlin-Fraktur (1937-1938, Ludwig&Mayer).

    Note: Gerhard Helzel, who revived Hölderlin, mentions the unlikely date 1927. Other revivals include Hoelderlin (2018, Ralph M. Unger). [Google] [More]  ⦿

    Eugene Yukechev

    Eugene Yukechev is a designer, typographer and type designer who drifts between Berlin and Moscow. He was born in Novosibirsk, Russia, in 1980. After obtaining a degree in philology and independent practice in editorial and graphic design, Yukechev moved to Moscow to study type design. He graduated in 2010 from the British Higher School of Design in Moscow (Type and Typography program). Since 2013, he runs a Moscow-based Publishing Schrift and Type Journal online (typejournal.ru) with his colleagues. He created typefaces for magazines and books (Kommersant, Financial Director, Intersection, Barcode). Eugene gives lectures and workshops on type design, lettering and typography. He cooperates with Paratype and Fontshop.

    Designer of the Latin/Cyrillic text family Kafka (2010) while he was a student at the British Higher School of Art and Design in Moscow. Kafka (Sans, Serif) was intended for intellectual magazines.

    In 2016, he designed the 12-style text typeface FF Casus for Latin and Cyrillic. When used large, details such as its cut ball terminals and occasionally bracketed serifs make the type friendly and memorable.

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

    Euler-VM
    [Walter Schmidt]

    Math font package managed by Walter Schmidt. The well-known Euler math fonts (designed by H. Zapf) are suitable for math typesetting in conjunction with a variety of text fonts which do not provide math character sets of their own. Euler-VM is a set of _virtual_ math fonts based on Euler and CM. [Google] [More]  ⦿

    Eurodance
    [Jean Leblanc]

    Eurodance is a Berlin-based design & art direction studio founded by Jean Leblanc and Tom Singier in 2015. Their typefaces include J Fonda (2016, a nicely flared pair of typefaces), S Johansson (2016), L Brooks (2016, handcrafted) and N Kinski (2016, handcrafted). Home o=page of Jean Leblanc. [Google] [More]  ⦿

    European Concrete family
    [Walter Schmidt]

    ECC: metafont family developed by Walter Schmidt from Erlangen. European Concrete is an implementation of Donald Knuth's Concrete fonts, providing T1 text fonts and TS1 text companion fonts. [Google] [More]  ⦿

    Eva Aschoff

    Book artist and calligrapher, b. 1900, Göttingen, d. 1969 Freiburg. She studied calligraphy with F.H.E. Schneidler at the Kunstakademie in Stuttgart. [Google] [More]  ⦿

    Eva Stöcker

    During her design studies in Berlin in 2014, Eva Stöcker created a typeface with Japanese black ink, a cola pen and a pipette. [Google] [More]  ⦿

    Eva Walter

    German type designer, b. 1964. With Ole Schäfer, she designed the display typeface FF Dotty in 1997.

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

    Eva Werner

    Eva Werner (Trier, Germany) designed Christel Slab Serif in 2013. [Google] [More]  ⦿

    Eva Zimmermann

    German designer of the thin all caps sans typeface Nomad (2017). [Google] [More]  ⦿

    Ewald Strassmann
    [TS Design Media Agentur]

    [More]  ⦿

    Exxodia

    German designer of the organic font Cabal (2007). See also here. [Google] [More]  ⦿

    Eyesaw (was: Fontomas.com, or Signalgrau)
    [Dirk Uhlenbrock]

    Dirk Uhlenbrock's (b. Essen, 1964) studied communication design at BUGH Wuppertal. His typographic contributions were presented under various labels such as Signalgrau, Fontomas.com, Eyesaw, or TypeType.

    His fonts: Buddies (funny dingbat font), Scrabble (1999), Pizzo (pixel font, 2000), Accient (2000), EURASIAOblique, Freak (1998), SpaceAge, Fivejive (2000), Missu (2001), T-Series (a family by Stephen Payne (UK, 2000) for Territory), XXX (1998, sexy silhouettes), Y2k (2000), Basm (family by Miguel Basm Visser, 2000), Corner-bi and Corner-mono (both by Ole Fischer for Fischer Jr Design), Persona, Creatures (dingbats by Dirk Uhlenbrock, 1998), Thaipe, Thaiga, (squaregrid (Jay Marley, 2001), Bath (Heiko Hoos, 2001), Honey (Dirk Uhlenbrock, 2001), Pinx (Dirk Uhlenbrock, 2001), Tuna Salad (Dirk Uhlenbrock, 2001), Evo (2002), EvoThin (2002), Gen3000 (2002), Gen3000Thin (2002), HanneloreOutline (2001), Hannelore (2001), MassBlack (2002), MassOutline (2002), Mass (2002), MassStriped (2002), MassThin (2002), Microbe (2002), PellegriniItalic (2002), Pellegrini (2002), PileOutline (2002), Pile (2002), Rickshaw (2002, Indic letter simulation), Swisz (2002), SwiszThin (2002), TurbonItalic (2002), Turbon (2002), Apollo9, Apollo9Italic, Bite, Blob, BlobThin, Bubble, BubbleWild, Crack, Creatures, Dennis, Dioptrin, Dna, Electrance, Frakt, Launchpad, ORAV, Paul5, Paul6, PlakatOne, PlakatTwo, Push, Rubbermaid, RubbermaidSingle, Ticker, Tubeone, Tubetwo, Tvdinner, TvdinnerFull, Ufo, UfoItalic, Yodle.

    At Fountain, he designed Robotron and Super and Girl (2003, a Bauhaus experiment).

    Kombi was created in 2003.

    The Fontomas CD published in 2005 (40 dollars for 75 fonts) is reviewed by Yves Peters. On it, we find older fonts as well as newer ones by Dirk himself: Ove, Gen1000 (DNA style), Hannelore, Mass, Micro B, Pellegrini (script), Pile, Swisz, Turbon, Rickshow (Indic simulation).

    At 14. tage der typographie in 2013, he spoke on Grafik gegen Rechts.

    Dafont link. Old URL. Another old URL. Alternate URL. FontShop link. Klingspor link. Fontspace link. Fountain Type link. [Google] [MyFonts] [More]  ⦿

    F. A. Brockhaus

    Printer and publisher in Leipzig, Germany. In 1836, it acquired Walbaum's type foundry. Friedrich Ballhorn worked there at some point. Friedrich Schoch published his Schochische Cursiv there in 1844. Cover page of their specimen book on Walbaum (Antiqua, Kursiv and Fraktur). [Google] [MyFonts] [More]  ⦿

    F. Hahn

    Creator of the display typefaces Eidechse Lg-Nr. 18675 (1921) and Salamander Lg-Nr. 18682 (1921) at J.G. Shelter&Giesecke. [Google] [More]  ⦿

    F. P. Glaß

    Designer at Genzsch&Heyse, who made Glaß Antiqua (1912). [Google] [More]  ⦿

    F. Schweimanns

    Independent type designer who created typefaces for D. Stempel when he lived in Hannover, Germany. His typefaces, all published by D. Stempel AG, include

    • Biedermeier Reklame (1906).
    • Diana (1909) and Diana halbfett (1910).
    • Frankfurt Serie I and Frankfurt Serie II (1905). Blackletter types.
    • Graziella, Graziella fett and Graziella schmalfett (1905).
    • Korso (1913). Cursive style.
    • Künstlerschrift (1902) and Künstlerschrift halbfett (1901). Art nouveau.
    • Maria Antoinette (1905).
    • Moderne Reklame (1901). Art nouveau style.
    • Propaganda (1901). Art nouveau style.
    • Wodan schmalfett (1902) and Wodan licht (ca. 1905). Revived by Oliver Weiss in 2020 as WF Dahlia.

    Fr. Ad. Becker and F. Schweimanns coauthored Die moderne Schrift.

    Camera (1936, Intertype) is described by McGrew as a novel cursive letter with light, monotone strokes suitable for use on personal stationery and announcements. The design is based on Korso (1913). Korso was revived in digital form by Coen Hofmann at URW++ in 2016 as Marli. It is a vintage script that feels a bit forced. [Google] [More]  ⦿

    F. Weber & Co

    Publisher of Neues Vollständiges Monogramm Alphabet (1886). [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 Dornhecker
    [La Bolde Vita]

    [MyFonts] [More]  ⦿

    Fabian Fischer

    Ravensburg, Germany-based designer of the vintage poster typeface Bearmountain (2016), the formal calligraphic script typeface Marlow Script (2016), and the handcrafted Lakewood (2016).

    Typefaces from 2017: Colorful Cleo (a hand-stamped color font), Stamped Stanley, Sunderland (monoline script), Old Brighton Typewriter, Declarity (eroded), Change The Channel (grungy), Southwell (monoline script). Creative Market link. Behance link. [Google] [More]  ⦿

    Fabian Fohrer
    [Tightype]

    [More]  ⦿

    Fabian Harb

    Dinamo is a Swiss type foundry established by Johannes Breyer and Fabian Harb after graduation from schools in Zurich, Basel and Amsterdam. Johannes and Fabian are visiting teachers at the Estonian Academy of the Arts, Tallinn and regularly teach at UDK Berlin and University of Applied Sciences, St. Gallen. Their typefaces:

    • Favorit (2014). A basic sans family by Johannes Breyer and Fabian Harb. It was extended to Favorit Hangul by Mingoo Yoon in 2019.
    • Grow (2013). An experimental collaborative font family. Many of the members are multilined and even prismatic.
    • The heavy sans typeface Heureka (2009-2013).
    • Pareto (2016). Western style typefaces.
    • In 2019, Johannes Breyer, Fabian Harb and Erkin Karamemet released Whyte and Whyte Inktrap at Dinamo.
    • ABC Maxi (2020, Dinamo). An experimental hipster-inspired gemetric sans family designed by Dinamo (Johannes Breyer and Fabian Harb) and Andree Paat).
    • In 2020, Fabian Harb and Seb McLauchlan co-designed the extensive grotesque family Marfa at Dinamo. Marfa contains a monospaced subfamily, and comes with two variable fonts.
    • Custom typefaces for Kunsthalle Zurich (CH), Warp Records (UK), Elton John (US), Yale Architecture (US), Manifesta 11 (CH), Harvard Graduate School of Design (US), Universal Music (GER), IBA Thüringen (GER), Festival B:om (KR), Gagosian Gallery (US), Planet Mu/Knives (GER/UK), LayTheme (GER) or the German, Estonian and Cyprus Pavillions at the 55th and 56th Venice Biennale.
    • ABC Social done with the Dinamo team in 2021 as a retail version of a custom typeface designed by Fabian Harb and Tina Gabriel for the Australian periodical The Monthly in 2017. Harb writes: Dinamo's co-founder Fabian Harb himself first penned ABC Social as the custom display font for The Monthly, Australia's left leaning independent periodical covering politics, society, and culture. Over many years and many time zones, our super team has now extended it in all directions and for widespread release: Malte Bentzen worked on the very light styles, Fabiola Mejía on its monospaced family, Wei Huang on the regular and bold styles, Erkin Karamemet on Italics, with Rob Janes completing the mastering and production work.

    Johannes Breyer. Fabian Harb. [Google] [More]  ⦿

    Fabian Horst

    German designer who made Elementarfont (2016). [Google] [More]  ⦿

    Fabian Huber

    Cofounder in 2015, with Fabian Fohrer, of Tightype (Konstanz, Germany). In 2015, Fabian Fohrer and Fabian Huber co-designed the geometric sans typeface Moderat. [Google] [More]  ⦿

    Fabian Kirst

    At the Bauhaus-Universität Weimar, Fabian Kirst (b. 1988) designed the free font Friedrich (2015), a blackletter font inspired by the Thuringian Forest. His typeface Waldschraz (2015) emulates twigs and tree branches. Behance link. Dafont link. [Google] [More]  ⦿

    Fabian Ring

    Fabian Ring (Trier, Germany) designed the slabby modular typefaces Protocol E3 Sans and Protocol E3 Serif (2014). Behance link. [Google] [More]  ⦿

    Fabian Rottke

    German type designer (b. Essen) of the display / grunge typefaces FFAssuri (1994), FF Dirty Fax (1995), FF Franklinstein, FF Ekttor (1995). FontShop link. [Google] [MyFonts] [More]  ⦿

    Fabio Biesel
    [SFB Fonts (or: Studio Fabio Biesel)]

    [More]  ⦿

    Face 2 Face (or: F2F)
    [Alexander Branczyk]

    Born in Frankfurt, Germany in 1959, Alexander Branczyk is the main typographer at F2F (Face 2 Face), which is based in Berlin and Frankfurt. Other participants include Stefan Hausen, Alessio Leonardi, Torsti Maier-Bautor, Thomas Nagel, Haike Dehl and Sybille Schlaich. F2F specializes in what it calls anarchistic typography. Branczyk made F2F CzykagoTrans (1995) and a few other experimental fonts, as well as Bellczyk, CZYKago-Cameo, CZYKago-Quer, OCR-Alexczyk, OCR-Bczyk, SubberlogoMini, TheczykM, MadzineScript (curly vampire typeface), BurnoutChaos, Frontpage, MonakoStoned, Entebbe (a ransom note font), OCRFBeta and OCRHeike. Other designers: Thomas Nagel (ScreenScream, Shakkarakk, ElDeeCons, Madame Butterfly, Pixmix, Shpeetz, TyrellCorp), Heike Nehl (LoveGrid, Starter Kid, Lego Stoned, Twins), Alessio Leonardi (PrototipaMultipla, TagliatelleSugo, Mekanik Amente, Metamorfosi, provinciali, AlRetto, F2F TechLand, F2FAlLineato, F2FMekkasoTomanik, F2FSimbolico (1992, dingbats), Poison Flowers (1992)), Stefan Hauser (F2FBoneR, Haakonsen), Sybille Schlaich (Styletti Medium). Face2Face groups the designers of Moniteurs and xplicit ffm. Bitstream link. Alternate URL. In 2003, these designs by Alexander Branczyk appeared in the Linotype Taketype 5 collection: F2FBurnoutChaos LT Std, F2FCzykago LT Std Light, F2FCzykago LT Std Semiserif, F2FCzykago LT Std Trans, F2FEntebbe LT Std, F2FFrontpageFour LT Std, F2FMadZine LT Std Dirt, F2FMadZine LT Std Fear, F2FMadZine LT Std Script, F2FMadZine LT Std Wip (1992), F2FMonakoStoned LT Std, F2FOCRAlexczyk LT Std Regular, F2FOCRAlexczyk LT Std Shake, F2FOCRBczyk LT Std Bold, F2FOCRBczyk LT Std Regular, F2FTechLand LT Std.

    Alexander Branczyk studied visual communication at HfG Offenbach under Friedrich Friedl. From 1988 until 1994, he was project manager at Erik Spiekermann's MetaDesign. Since 1994, Alexander is partner and managing director of xplicit Gesellschaft für visuelle Kommunikation mbH (xplicit.de) based in Frankfurt/Main. Alexander Branczyk is co-publisher of Emotional Digital, and since 2003 a visiting professor for typography at the Bauhaus University Weimar.

    Codesigner of Czykago Rough (2019, with Manuel Viergutz), Brush Poster Grotesk (2017, a fun semi grungy typeface designed for the children's exhibition 1,2,3 Kultummel from Labyrinth Kindermuseum Berlin by xplicit, Berlin (Annette Wüsthoff, Alexander Branczyk and Mascha Wansart) and Manuel Viergutz; loaded with glyphs and decorative extras like arrows, dingbats, emojis, symbols, geometric shapes, catchwords and decorative ligatures), TWIGS 4 kids (2020: designed for a garden exhibition for children by Daniela Costa, Julia Stanossek, Alexander Branczyk and Manuel Viergutz).

    Showcase of Alexander Branczyk's typefaces. [Google] [MyFonts] [More]  ⦿

    Fachhochschule Darmstadt

    At the Fachbereich Gestaltung (Design), Module Kommunikationsdesign, of Fachhochschule Darmstadt, one can take type design courses from people like Dan Reynolds. [Google] [More]  ⦿

    Fachhochschule Hannover

    At the Fachhochschule Hannover, Andreas Maxbauer (a German type specialist, b. 1949) is docent of Corporate Design and Typography. Click on Produkte. [Google] [More]  ⦿

    Fachhochschule Potsdam

    At the Fachbereich Design, Module Kommunikationsdesign, of Fachhochschule Potsdam near Berlin, Lucas de Groot teaches type design. [Google] [More]  ⦿

    Fachliteratur

    Fraktur.de gives information on books on Fraktur writing. [Google] [More]  ⦿

    Factor Design
    [Olaf Stein]

    In 1993, Olaf Stein and Johannes Erler founded their studio Factor Design in Hamburg. Today, Factor Design is a team of designers and project managers working with clients in Germany and throughout the world. Designers in 1993 of the FontFont fonts FFDingbats-ArrowsOne, FFDingbats-ArrowsTwo, FFDingbats-BasicForms, FFDingbats-Number, FFDingbats-SignsOne, FFDingbats-SignsTwo, FFDingbats-SymbolsOne. Its 2009 extension FF Dingbats 2.0 is due to Johannes Erler and Helmut Skibbe. FontShop link for Stein. [Google] [MyFonts] [More]  ⦿

    Faktor-i (or: Designsalon)
    [Dirk Schaechter]

    Free fonts for Mac and PC designed by Dirk Schaechter at Faktor-I (or: Designsalon) in Bonn. The fonts: CouchBoy (2001), Regata (2001, pixel font), Smoke (2001, upright script), Spaceman (2001), Xscale (2001, pixel font). Alternate URL. Yet another URL.

    Footnote: Coles thinks that Spaceman is a stretched version of Handel Gothic. [Google] [More]  ⦿

    Falko Grentrup
    [Transfer Studio]

    [MyFonts] [More]  ⦿

    Falschungserschwerende Schrift

    Karlgeorg Hoefer designed Fälschungserschwerende Schrift (or FE Schrift) in 1978, motivated in this manner: Following a spike in automobile thefts through the early 1970s---many of which involved tampering with stolen tag numbers to elude police detection---the German government commissioned a new license plate typeface. It was December 1977, and Germany was still raw from a recent rash of hijackings, murders and suicides associated with the Red Army Faction.

    Hoefer's typeface can be viewed here and here, in a wonderful article by Benjamin Tiven on Hoefer's FE Schrift, with all its odd asymmetries to render license plate forgeries difficult. After a four year testing period, FE Schrift was rejected, only to be resurrected in 1994 thanks to a directive by the EU to use nationally distinct license tags. [Google] [More]  ⦿

    Fargus Meiser

    German type designer. In 2016, Fargus Meiser and Lukas Bischoff co-designed Paul Grotesk and Paul Soft. In 2018, they added Paul Slab and Paul Slab Soft. In 2021, they released Paul Grotesk Stencil. [Google] [MyFonts] [More]  ⦿

    Fatfonts
    [Uta Hinrichs]

    FatFonts is a graphical technique conceived and developed in 2012 by Miguel Nacenta (a lecturer in human-computer interaction at the School of Computer Science, University of St Andrews, Scotland), Uta Hinrichs (originally from Lübeck in Germany, she is currently a PhD candidate at the University of Calgary in Canada), and Sheelagh Carpendale (a computer science professor at the University of Calgary).

    Numerals in vector fonts developed by the team have a thickness that is proportional to their value. Numerals can also be nested. The (free) fonts were converted to opentype by Richard Wheeler (a PhD student at The Sir William Dunn School of Pathology of Oxford). Uta Hinrichs designed Gracilia, Cubica, and Rotunda. She co-designed Miguta with Miguel Nacenta. Finally, Richard Wheeler himself created the LED typeface 7Segments. [Google] [More]  ⦿

    Fatype
    [Anton Koovit]

    Foundry, est. in 2012 by Anton Koovit and Yassin Baggar in Berlin, and in Neuchatel, Switzerland. Fatype has designed typefaces for GQ France (such as GQ Baton), Derzeit (2012, Fashion Week Berlin Daily: a typeface by Yassin Baggar and Manuel Schibli), Google and Journal B. Their typefaces include U8 (2010, Anton Koovit: named after the ghost stations underground that were closed in the good old days of the GDR), Aleksei (Anton Koovit) and Adam BP (2008, Anton Koovit).

    U8 started out as a Berlin subway system signage project based on found lettering. Some glyphs had to designed from scratch. The result is an early modernist typeface with elements of DIN and Bauhaus. Anton Koovit and Yassin Baggar offer a new take on U8 in their UCity typeface family (2019).

    Typefaces from 2012 include Adam Serif (a book and magazine typeface family).

    In 2013, Anton Koovit and Yassin Baggar co-designed the low x-height typeface family Baton.

    In 2014, he created Aleksei.

    In 2017, he designed the free sans font family Aino (+Bold, +Headline) for use by the Estonian government.

    Behance link. Blog. Klingspor link. Google Plus link. [Google] [MyFonts] [More]  ⦿

    fc fonts for African languages
    [Jörg Knappen]

    Jörg Knappen's fc fonts for African languages. In metafont. The following languages are supported: Akan, Bamileke, Basa (Kru), Bemba, Ciokwe, Dinka, Dholuo (Luo), Efik, Ewe-Fon, Fulani (Fulful), G\~a, Gbaya, Hausa, Igbo, Kanuri, Kikuyu, Kikongo, Kpelle, Krio, Luba, Mandekan (Bambara), Mende, More, Ngala, Nyanja, Oromo, Rundi, Kinya Rwanda, Sango, Serer, Shona, Somali, Songhai, Sotho (two different writing systems), Suaheli, Tiv, Yao, Yoruba, Xhosa and Zulu. Plus Maltese and Sami. Jörg Knappen works at the University of Mainz in Germany. [Google] [More]  ⦿

    FDI Type Foundry
    [Ralf Herrmann]

    FDI stands for fonts dot info, est. 2004 by Ralf Herrmann and partner. This foundry is located in Jena, Germany. The legal entity behind it was the Rossbach & Herrmann GbR in the city of Jena which operated as Seite7 Designagentur. Rossbach & Herrmann GbR ceased in 2015. MyFonts link. The fonts dot info label will be retired in 2017 and replaced by FDI Type Foundry.

    Ralf Herrmann (b. 1976, Pößneck, Germany) studied visual communication at Weimar's Bauhaus University and works as a web, graphic, and type designer. He has made a name for himself in the typography community with his internet typography subcommunity typografie.info. He researched the implications of cognitive map research applied to the design of maps and wayfinding systems. In 1999 he founded a design studio with a partner in the city of Jena. His typography projects included the German online community Typografie.info (2001), the type foundry FDI Type (2004) and the typography magazine TypoJournal (2009). He is the chairman of the Pavillon-Presse, a museum for the printing arts & typography in the city of Weimar. In 2015, he launched Typography guru. In his Letter Library, he archives historic and current type specimens of type foundries from around the world. He also wrote typography books and continues to write and provide content for various online and print magazines (like PAGE, Smashing Magazine, TYPO magazine, étapes, I Love Typography).

    Typefaces published by FDI:

    • Krimhilde (2018). A digital revival, and a separate modern modification, of Albert Auspurg's semi-blackletter typeface Krimhilde first published by Ludwig & Wagner in 1933.
    • Graublau Sans (2008) and Graublau Slab Pro (2012) by Georg Seifert.
    • Wayfinding Sans Pro and Wayfinding Sans Symbols (2012). This useful wayfinding typeface family was co-designed by Ralf Herrmann and Sebastian Nagel.
    • Canape
    • Elfen Fraktur (2015). A revival by Ralf Herrmann of Elfen Fraktur (1919, M. Beck). It contains Elfen Schmuck.
    • Hooptie Script (2011). A retro signage script inspired by Detroit in the 1950s.
    • FDI Tierra Nueva (2010). A medieval map typeface by Sebastian Nagel.
    • Uberschrift (2014). A sharp thin headline typeface by Friedrich Althausen.
    • Logotypia Pro (2004).
    • Iwan Reschniev (2008). By Sebastian Nagel. A Bauhaus style family of severe sans styles.
    • FDI Wiking (2021). A free blackletter font that revives Heinz K7ouml;nig's Wiking (1925, J.D. Trennert & Sohn, Hamburg).

    Ralf Hermann designed several other typefaces outside FDI. These include Agendia (2002), a free experimental Antiqua-Schrift (see also here). Author of

    Speaker at ATypI 2011 in Reykjavik on the topic of the eszet (ß) letter.

    Klingspor link. See also here for more news by Ralf Herrmann in English and German. Here he blogs about web fonts and web type matters. His Flickr stream. Home page of Schriftkontor Ralf Herrmann. Typedia link. Behance link. Showcase of the retail FDI fonts. [Google] [MyFonts] [More]  ⦿

    FE Schrift

    FE Mittelschrift and FE Engschrift are the German typefaces used on automobile license plates. The FE stands for fälschungserschwerend, or hard to forge: for example, it is no longer possible to make a P into an R or a 3 into an 8 with a black marker pen. Developed from 1978-1980 by Karlgeorg Hoefer with the assistance of others such as the University of Giessen. It replaced the old DIN in 1994 and is an absolute monstrosity showing to what extremes governments will go in the name of security. Incredibly, several digital fonts have been made to resemble it, as if anyone would want to use it for anything other than on toilet paper wrappers:

    • FE Mittelschrift and FE Engschrift (1997, Stephan Mueller, Lineto).
    • Kraftfahrzeugkennzeichen (2008), a free font.
    • FE-Font (1997), a free font by an unknown designer.
    • Martin Core (Core.nu) claims his Sauerkrauto (2000) font was based on images of the German license plates.
    • Gutenberg Labo made GL-Nummernschild-Eng and GL-Nummernschild-Mtl to replace FE Engschrift and FE Mittelschrift, respectively.
    [Google] [More]  ⦿

    Fedor Bräutigam

    Fedor Bräutigam (Dortmund, Germany) created a system for generating a mouse icon by combining just four characters of a font. The result is Font Mouse (2015). [Google] [More]  ⦿

    Fedor Hüneke

    German designer of FF Murphy, a grungy family. Based in Duisburg. [Google] [MyFonts] [More]  ⦿

    Felic Leupold

    Wunsiedel, Germany-based designer of the minimalist sans typeface Vitruvius (2017). [Google] [More]  ⦿

    Felicitas Danberg

    Editorial and corporate designer in Dortmund, Germany, who designed the curly upright connected script typeface Felicia in 2012 during a course taken with Natascha Dell. Behance link. [Google] [More]  ⦿

    Felina Lepel

    Berlin, Germany-based designer of the sci-fo font Galaxia (2021). [Google] [More]  ⦿

    Felix Aaron Hülpüsch

    Designer from Berlin who designed an experimental typeface in 2011. In 2012, he created Hülpman (an informal typeface). [Google] [More]  ⦿

    Felix Ahr

    During his studies in Hannover, Germany, Felix Ahr created FA Echelon (2015), an experiment on a new style of inverted serif. [Google] [More]  ⦿

    Felix Bamforth

    Berlin, Germany-based designer of Vaporetta (2020). [Google] [More]  ⦿

    Felix Beckheuer
    [Felix Beckheuer]

    Felix Beckheuer set up his own type foundry in Germany in 2013. His typefaces include the geometric headline typeface Pavo (2013), which was inspired by Lubalin's Avant Garde. [Google] [MyFonts] [More]  ⦿

    Felix Beckheuer
    [Felix Beckheuer]

    [MyFonts] [More]  ⦿

    Felix Bonge

    Felix Bonge (b. Hamburg, Germany, 1982) studied communications design at the Design Department of the Hamburg University of Applied Sciences (HAW) in 2005 under Jovica Veljovic. Since 2012 he teaches type design at the HAW Hamburg and is part of the design studio Allerzeiten. His typefaces:

    • Levato (2011-2012, Linotype). A 5-style low x-height antiqua with calligraphic and didone influences.
    • FF Bauer Grotesk (2014, Fontfont), co-designed by Thomas Ackermann and Felix Bonge. Fontfont writes: FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the Art Deco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, Bauer Grotesk stands out for not being so dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval O is a good example of this approach, as are characteristic shapes like the capital M or the unconventional varying stroke endings on the c and s which give them a less constructed look.
    • Faba (2014). Based on his diploma thesis.
    • Allmono, a monospaced font that forms part of the corporate identity of Allerzeiten.

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

    Felix Braden
    [Floodfonts]

    [MyFonts] [More]  ⦿

    Felix E. Klee

    German creator of the free typeface Xecret (2010, OFL), which contains just one glyph, repeated. [Google] [More]  ⦿

    Felix Fischer

    Illustrator in Wilhelmshavemn, Germany, who created several typographic posters in 2014. [Google] [More]  ⦿

    Felix Hinnemann

    German designer (b. 1988) who made Felix Hand (2009) and Across The Stars (2009, hairline sans). [Google] [More]  ⦿

    Felix Hülpüsch

    Felix Hülpüsch (b. Berlin) created several untitled typefaces in 2013. [Google] [More]  ⦿

    Felix Kett

    German graduate of the MATD program at the University of Reading, class of 2019. Felix's graduation typefaces there was Memirati. He writes: Memirati (in Amharic: to lead) is a typeface family designed to perform well on small-screen devices and in situations where space and readability are most important. It brings together the unique features of the Latin and the Ethiopic script but tries not to equalise them. Instead, it aims for a harmonic side-by-side which is achieved through acknowledging the calligraphic nature of both scripts. [Google] [More]  ⦿

    Felix Kosok

    Designer in Frankfurt am Main, Germany. He created the rounded techno typeface Fachwerk (2012).

    Behance link. [Google] [More]  ⦿

    Felix Schwarze

    Berlin-based designer who founded Knorke with Christian Thiele. Together, they created these typefaces:

    • The free graffiti font The Fresh Prince (2015).
    • The sans typeface family Rummelsdorf (2017) and the similar sans family Rummelsburg (2018: inspired by old metal signs from the GDR).
    [Google] [MyFonts] [More]  ⦿

    Felix Steffen

    Felix Steffen is a German designer who moved in 1991 from Munchen to Warsaw, fascinated by the exotic life and lettering of post-communist Poland. He lives and works in Poland. He designed the Blanke family for use in Polish telephone directories. Felix claims that he got his ideas for that font from some writings in the train station of Kattowitz, from which he first developed the font Krakowa. He is currently working on the digitization/revival of Poltawskiego, a classic Polish text face, and the first typically Polish face, designed in the late 1940s by Polish type designer Adam Jerzy Poltawski (1881-1952). Felix's company in Warsaw is OM-Grafika. Someone reported to me that Felix Steffen is now Felix Tymcik. [Google] [More]  ⦿

    Felix Stumpf

    German designer (b. 1977, Stuttgart) who studied visual communication at the HfG in Pforzheim, class of 2004. He set up Gestaltung Felix Stumpf in Stuttgart in 2008.

    Creator of Rauschen (2009, Volcano Type), a dot matrix family.

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

    Felix von der Weppen

    Art director in Munich, Germany. Behance link. Creator of the runic-style typeface Schizophrenia (2009). [Google] [More]  ⦿

    Ferdinand Schumacher

    Creator of Schumachersche Fraktur (ca. 1860, D. Stempel AG). [Google] [More]  ⦿

    Ferdinand Theinhardt
    [Ferdinand Theinhardt Schriftgiesserei Berlin]

    [MyFonts] [More]  ⦿

    Ferdinand Theinhardt Schriftgiesserei Berlin
    [Ferdinand Theinhardt]

    Berlin-based foundry from the 19th century, whose typefaces included Aldeutsch (aka Psalterium, or as Mainzer Gotisch, 1851) and Monumental (1863: roman caps). Ferdinand Theinhardt (b. Halle, 1820, d. Berlin, 1909) ran it.

    Around 1880, he published four weights of a Royal Grotesk (in 4 styles) for the Prussian Academy of Sciences in Berlin (Königlich-Preußischen Akademie der Wissenschaften zu Berlin; see, e.g., here or here; here is a sample of his 1895 Breite Grotesk). In 1885 he sold his own type foundry---Ferd. Theinhardt Schriftgiesserei Berlin---to Brothers Mosig and Oskar Mommen. In 1908, Berthold AG bought that foundry, and published the Royal fonts under the new name Akzidenz Grotesk. Theinhardt's Royal Grotesk became internationally known as Berthold's Akzidenz Grotesk, which some call the godmother of all modern grotesque typefaces. [Note: Akzidenz Grotesk is often given the 1898 date.]

    Theinhardt was also known as a specialist in cutting hieroglyphs. Author with R. Lepsius of Liste de Hieroglyphischen Typen aus der Schriftgiesserei F. Theinhardt (1875, G. Vogt, Buchdrückerei der Königl. Akademie der Wissenschaften, Berlin). It lists hieroglyphic symbols available from Theinhardt's foundry.

    Royal Grotesk was digitally released by Berthold Types (an American company with no legal connection with the original H. Berthold) in 2009.

    Typedia link from which I quote: Akzidenz (sic) Grotesk was released by Berthold in Berlin in 1898, according to their own literature. It was obviously based on typefaces already offered by other foundries, some of which were later taken over by Berthold. One of the contemporaries of AG was Royal Grotesk from Theinhardt. In Berthold's specimen booklet no. 429, which was most likely released in 1954, Akzidenz Grotesk Mager (light) was still referred to as Royal Grotesk, in brackets. Berthold acquired a typeface in 1908, (when they bought Ferd.Theinhardt) which they released as Akzidenz Grotesk Halbfett (medium). They kept adding weights, some of them from other typefaces, acquired from other foundries. Every foundry had a version of that type of face, more often than not available in a few sizes only. The original series remained quite divers, individual weights showing not much resemblance but in name. It was mainly a marketing and naming success. That only changed when they cut Series 57, and then Series 58, named for the years of release. These had some sizes (but not all) recut under the direction of Günter Gerhard Lange, who was their (freelance) artistic director at the time. GG Lange always claimed that Berthold had taken some AG weights and sizes from Popplbaum in Vienna, and that is supposed to account for the release date of 1896 or 1898. Popplbaum was not bought by Berthold until 1926. Berthold did take different fonts from all the foundries they bought (and obviously also made deal without buying a foundry) and rename them until they got a family together which still showed the original influences, sometimes even from size to size. The deals between foundries (by 1924 Berthold had bought 17 foundries, in Prague, Riga, Stuttgart, Leipzig, Moscow and St. Petersburg) have never been fully researched, and neither has the complete history of Akzidenz Grotesk been written yet.

    Digitizations include AltDeutsch by Gerhard Helzel. The Theinhardt family (2010, Francois Rappo, Optimo) is named after Theinhardt.

    Klingspor link.

    Credit for some images below: Danielle West. [Google] [MyFonts] [More]  ⦿

    Ferdinand Ulrich

    German typographer and type historian normally based in Berlin. He studied visual communication at Berlin University of the Arts and typography at the School of Design, Carnegie Mellon University in Pittsburgh. Since 2015 he is pursuing a PhD at the University of Reading, researching the discourse of type design technologies in the early digital era. With Erik Spiekermann he explores the possibilities of post-digital letterpress printing at p98a.berlin.

    Designer of Hesse Antiqua (2018), a lapidary all caps typeface created for Monotype / FontShop / Linotype to celebrate the 100th birthday of Gudrun Zapf von Hesse. It is based on Gudrun's brass cut type first shown in 1947 on the cover of a specimen book of the Bauersche Giesserei. Speaker at ATypI 2017 Montreal. FontShop link. [Google] [More]  ⦿

    Fex Fünfzwo

    An artist in Gotha, Germany. Creator of display typefaces in 2016 such as Oeras, Space, Rabe and Mocker. [Google] [More]  ⦿

    FF DIN
    [Albert-Jan Pool]

    The story of Albert-Jan Pool's information design type family FF DIN, told by FontShop: i, ii, iii, iv. [Google] [More]  ⦿

    Filb

    German designers of Ruby & Sapphire (2005, pixel face). Dafont link. [Google] [More]  ⦿

    Filippo Nugara

    Berlin-based graphic designer. He created the stencil typeface CCSI SOS Racisme in 2009. Behance link. [Google] [More]  ⦿

    Fiona Oehler

    At Mannheim University Of Applied Sciences (Mannheim, Germany), Fiona Oehler created the display typeface Scrap Metal (2016). Behance link. [Google] [More]  ⦿

    Fixedsys
    [Travis Owens]

    FixedSys was originally commissioned by Microsoft for Windows as a bitmap only font in the FON format. It is the oldest font in Windows, and was the system font in Windows 1.0 and 2.0, where it was simply named "System". For Windows 3.x, the system font was changed to a proportional sans-serif font named System, but Fixedsys remained the default font in Notepad. Fixedsys and Chicago (the default system typeface on the Apple Macintosh between 1984 and 1997) are vaguely similar---the key difference is that Chicago is a proportional typeface while Fixedsys is monospaced.

    Around 1998 Travis Owens took the bitmaps and recreated the font (US characters only) into a TrueTypeFont and put it on the internet. After that, others continued Travis's work and started adding non-US symbols to it so they could use it for their applications (mostly in mIRC and Java coders for their editors). These people include Markus Gebhard, who also created a truetype version and was in charge of the font until version 4. From version 5 on, Lars Naber was in charge. Free download of Fixedsys. Download at Github. Google] [More]  ⦿

    Flavia Jurca

    Saarbrücken, Germany-based food photographer and art director. Creator of the free curly typeface Blulu (2014). Behance link. [Google] [More]  ⦿

    Flavia Zimbardi
    [Zimbardi (was: Zimbardi Calomino)]

    [More]  ⦿

    Flavia Zimbardi

    Flavia Zimbardi is a type designer and visual artist from Rio de Janeiro, based in Berlin. From 2005 to 2013 she worked for some of the leading magazines in Brazil. Flavia is a graduate of the Type@Cooper Extended Program at the Cooper Union, class of 2017. In 2018, she started Zimbardi Calomino together with Caetano Calomino, and in 2020 she co-founded Undercase Type with Phaedra Charles in Brooklyn, NY. Her typefaces:

    • Her graduation project, Lygia. It was awarded by the Type Directors Club and at Tipos Latinos 2018. Released in 2019 by Future Fonts, she writes: Lygia explores the duality of sharp and round forms with stylish cues and historical references from 16th-century masterpieces by Robert Granjon to the geometric approach of W.A. Dwiggins. An homage to Brazilian neo-concrete artist Lygia Clark, originally designed in 2017 as Flavia Zimbardi's degree project for the Type@Cooper extended program in New York. Lygia is a variable font with a weight axis. After Type@Cooper, Flavia settled in Berlin, Germany. In 2021, she released the companion typeface family Lygia Sans.
    • The piano key typeface Joschmi (2018). An Adobe Originals font designed as part of an effort to revive Bauhaus treasures, and named after Joost Schmidt.
    • In 2018, using a speed stroke technique, Caetano Calomino developed the signpainter font ZC Casual together with Flavia. It was re-released at Undercase in 2020.
    • In 2020, Phaedra Charles and Flavia Zimbardi co-designed the free decorative text typeface Fraunces at Undercase Type. Google Fonts link for Fraunces.
    • At Lost Type and Undercase Type, Phaedra Charles, Kelly Thorn, and Flavia Zimbardi published the chunky art nouveau typeface Regina Black (2020).

    Future Fonts link. Older Future Fonts link. Note: MyFonts incorrectly calls her Flavia Zambardi. [Google] [MyFonts] [More]  ⦿

    Floodfonts
    [Felix Braden]

    Floodfonts has freeware fonts by Felix Braden (b. Koblenz, Germany, 1974, an ex-student at the Trier College of Design). In 2000 he founded the free-font site Floodfonts with Peter Hoffmann. After working for five years as an art director for Gaga-Design, Koblenz, he decided to set up his own graphic design studio in Cologne. He now lives in Cologne working as a freelance designer and as a art director for MWK Cologne. In 2016, he set up his own Felix Braden type foundry.

    His free fonts at Floodfonts included Polaris (2011), Floodicons (2003), Hydrophilia (2003. He writes: Hydrophilia family was created in 2003 by Felix Braden as a further development of Moby and comes with two fonts: The gothic typeface (liquid) is a revised version of the pixel font (iced). Hydrophilia liquid got a lot of letterforms with a diagonal axis, which reminded me of the technical fonts used on early liquid crystal displays.), Squid (2002, free), SquidCaps (2002), Ninetwist (2002), Catherine (2002), Moby (2002, a Bauhaus style corporate and headline font for the Cologne based design bureau Glashaus), Babelfish (2002), Blendfontsexperiment (2001), Incpot (1997), Hammerhead (2001: an angular constructivist typeface---free), HammerheadBlack (2001), HammerheadBold (2001), HammerheadMedium (2001), Multikultur (1997, Fraktur font), MultikulturExtraBold (2001), Orchidee (2001), Sadness (2001), Wuestling (1997). His commercial typefaces at Floodfonts include Kontiki (2018: a woodprint emulation typeface family; a grungy version of Clarendon), Capri Pro (2011-2015): an expressive constructed sans serif typeface in the tradition of Kabel and Avant Garde, partly constructivist, and partly hipster.

    Peter Hoffmann designed Alita (2001) and Lacuna (2001).

    Commercial fonts at Fountain: Grimoire (since 2015 at Floodfonts), Sadness (2001).

    In 2004, he cofounded Timetwist with Pia Kolle, where you can download Rabbits (2004, Kolle), Pirates Stoertebecker (2004, Braden at Floodfonts, a ransom note face), Pirates Drake (2004, Braden at Floodfonts), PiratesBlackbeard (2004, Braden at Floodfonts), PiratesBonney (2004, Braden at Floodfonts), Bigfish (2009, a Western billboard face).

    At Ductype, Braden published Timetwisteight (2005, a pixel face).

    At URW++, he published the Supernormale family (part techno, part pixel) in 2006.

    At Volcano, he made the rounded display face Bikini (2010).

    At Fountain, he published the original version of Capri in 2011. After Fountain's demise, it reappeared as Capri Pro at Floodfonts in 2015.

    The Orchidee project started in 1999 led to a fantastic free font. Felix: Orchidee was created as a part of the business stationary of the restaurant Orchidee located in the luxory hotel Quellenhof in Aachen, Germany. After the founding of the restaurant the hotel manager realized that there earlier was a bordello in the city with the same name, so he wanted to change the name. At the time when our agency had to presentate the logotype the name was not appointed so I created the font. The restaurant was specialized on crosscultural european-asian cuisine. Because of that I wanted to mix up some elements of traditional asian typography with european typography. The letters are designed in freehand by the repetition of just a few basic elements. To create the rough outline I used xerox-copier because I wanted to have some chaotic elements to give the font a handmade touch.

    Other free fonts: Coraline (2012), Sonar Script (2013), Rollmops (2013).

    At FontShop, he published FF Scuba (2012), as an offline companion to Verdana. It was one of the winners of the Communication Arts Typography Annual 2013.

    In 2019, he published Pulpo, a ten-style family inspired by Century Schoolbook and Clarendon.

    In 2020, he released Turbine (at Fontwerk: a 14-style neo-grotesque family), and Arpona, an 18-style lapidary flared typeface with slight wedge serifs.

    Typefaces from 2021: Capitana (an 18-style geometric sans with large counters; not as severe as Futura), Arpona Sans (a 20-style humanist sans with rhombic tittles).

    FontShop link. Klingspor link. Fontspace link. Dafont link. Behance link. Fontsquirrel link. Personal page. Another Behance link. Fountain Type link. Home page of Felix Braden. [Google] [MyFonts] [More]  ⦿

    Florence Klein

    German graphic and type designer, b. 1982, Mainz. From 2007 until 2009, she studied at FH Mainz. At Volcano she created Shine (a multiline connected retro face, a cross between a neon face, a paperclip face, and the Chevrolet logo).

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

    Florence (or: Bombastudio)
    [Marta Podkowińska]

    Marta Podkowińska is the Polish designer of a few great type logos such as Bomba (2009). She also made the exquisite candy typeface Roisin (2011). Her studio / foundry called Florence operates in Krakow and Berlin.

    In 2012, she published Lucrezia, an overzealous decorative caps typeface, and Henry (a free retro script all caps family named after Henry Ford).

    Cargo Collective page with interesting posters such as Archer (2011) and Einstein. [Google] [MyFonts] [More]  ⦿

    Florian Adler

    Legibility expert. His research was reported at ATypI 2018 in Antwerp. He writes: During a two-year R&D project, we worked with people affected by the most common eye disorders and with experts from the German Federation of the Blind and Partially Sighted (DBSV) to evaluate typefaces and layouts in terms of legibility and readability. We found that visually impaired people preferred Humanist Sans typefaces i.e., sans serifs which are based on the Old Style/Garalde letterforms. [...] Using the study results and extensive source research, we produced concrete, practical recommendations on typefaces, sizes, spacing, layout, contrasts and surfaces. [Google] [More]  ⦿

    Florian Baier

    German type designer. [Google] [MyFonts] [More]  ⦿

    Florian E. Behrenbeck

    Bochum, Germany-based typographer who created, I think, a typeface called Manifest (2014). [Google] [More]  ⦿

    Florian Fecher
    [Grautesk]

    [MyFonts] [More]  ⦿

    Florian Gärtner

    Aka Flo Gaertner. Born in 1971, he studied visual communication at HFG Pforzheim until 1998 and graduated from the Hochschule für Gestaltung Karlsruhe in 2002 and from the Hochschule für bildende Künste Hamburg in 2006. He lives and works in Karlsruhe, where he designed these fonts in 2008-2009 for Volcano Type: Fone-1, Fone-2, Fone-3 (all grunge typefaces), Tacora (degraded typewriter face), PT Sewed (stitching font), Republic, Fette Pixel (pixel face). Since 2006 is with MAGMA Brand Design in Karlsruhe, and he is art director of Slanted.de.

    Klingspor link. Volcano Type link. Slanted.de link. [Google] [MyFonts] [More]  ⦿

    Florian Hardwig
    [School scripts: Florian Hardwig]

    [More]  ⦿

    Florian Hardwig

    Florian Hardwig (b. near M¨nchen) is a graphic designer based in Berlin, Germany, where he runs a studio together with Malte Kaune, Kaune & Hardwig. Since 2007, he has been teaching Typography at the Brunswick School of Art. Florian can frequently be found on Typophile, where he is one of the moderators of the Type ID Board. Co-editor of Fonts In Use, he collects and takes pictures of peculiar letterforms in print and in the wild. He spoke at ATypI 2007 in Brighton. His "manuscribe" is a research project on international school scripts and the dialects of handwriting. His slides on this project. In 2017, he helped Jan Middendorp start up the Fust & Friends foundry in Berlin.

    Fust & Friends link. Flickr page. Comparison of Bauer Bodoni and Linotype Didot. A piece on school scripts. [Google] [More]  ⦿

    Florian Herold Gaefke

    Art director in Hamburg, who created a traditional early 20-th century German grotesk called Mars Grotesk (2010). [Google] [More]  ⦿

    Florian Klauer
    [Fonts With Love (was: Heimat Design)]

    [MyFonts] [More]  ⦿

    Florian Kleinehollenhorst

    German designer (b. 1982) who studied at the University of Muenster, and who works at the Corporate Communication Institute. He programmed a children's alphabet typeface based on an original design of Otmar Alt in 2010. The vectorization of that font was done by Mi-Ea Son (Atilde Studio für Gestaltung, Welver, Germany). Funktionsfläche (2010) is a hand-printed face. [Google] [More]  ⦿

    Florian Mihr

    Designer born in Duesseldorf, Germany, but living in Los Angeles. Creator of the free fonts King Georg (2012, blackletter), Cinerama (2012), Stadium1946 (2012), Stadium1956 (2012), SoCal (2012, a graffiti face), Tight Writer (2012, old typewriter font).

    Dafont link. [Google] [More]  ⦿

    Florian Oertel

    Graduate of the FH Düsseldorf in 2013. Düsseldorf, Germany-based designer (b. 1988, Soest) of the German expressionist typeface Schonekind (2015). Behance link. [Google] [More]  ⦿

    Florian Paizs
    [Schoener]

    [More]  ⦿

    Florian Philipp Martin Runge

    Designer in London, who was born in Flensburg (Germany) and studied for four years in Aarhus (Denmark).

    He made the contemporary informal typeface Jula (2012).

    Asgaard was created during the one-week typeface design workshop tipoRenesansa in Trenta, Slovenia (February 2012). It is specially designed for street signage. Runge writes: To achieve great legibility the design paid much attention to features such as: large x-height, open counters, tiny serifs, slightly rounded corners, square terminals as well as inktraps. Research leading to asgaard is described in Runge's paper The echo of architecture in Danish type design of the 20. century.

    In 2013, Florian graduated from the MATD program at the University of Reading. His graduation typeface was Nomad.

    In 2016, he published the flared lapidary typeface Sherpa Sans at Rosetta. The naming caused a bit of a stir, not so much because of Oskar Boscovitz's Sherpa Sans (2002), but because of an unpublished font by a competitor. Rosetta took the moral high ground (even though it could have fought this trademark and won) and decided to rename Sherpa Sans Gitan.

    In 2018, Borna Izadpanah, Fiona Ross and Florian Runge co-designed the free Google Font Markazi Text. They write: This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. Four weights are advertized at Google, but only the Regular is available.

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

    Florian Schick
    [SchickFonts]

    [MyFonts] [More]  ⦿

    Florian Wenningkamp

    Berlin-based editorial designer. [Google] [More]  ⦿

    Florian Wittig

    Florian spent the year 2008 in Xi'an, China, where he studied the Chinese language, letterforms and calligraphy. He has been working at Linotype since 2010 as a font engineer, mostly dealing with web fonts.

    Speaker at ATypI 2012 in Hong Kong: Zhou Youguang, the father of Pinyin. The abstract of that talk: Hanyu Pinyin is not just a system to romanize Chinese characters. It is a phonetic transcription of Putonghua, the so called Standard Chinese, and now serves as the most frequently used input method for Chinese characters on computers and mobile devices. Not only has it helped to increase literacy in the People's Republic of China since its introduction in 1958, it is also the reason why every child in China knows the Latin alphabet and it helps foreigners all over the world to pronounce Chinese words and learn the Chinese language. This presentation talks about the life and work of linguist Zhou Yougang, who turned 106 this year [2012], and his most famous creation, Hanyu Pinyin. How does the Pinyin system work? What are its advantages over other transcription methods? And why has it never replaced Chinese characters? [Google] [More]  ⦿

    Florian Zietz
    [Librito.de]

    [MyFonts] [More]  ⦿

    Flox Schoch

    Berlin-based designer of Flox One (2014), a sans typeface developed in Lucas de Groot's course. [Google] [More]  ⦿

    Font Boutique (was: Typografski Font Boutique)
    [Heinrich Lischka]

    The Font Boutique is a commercial foundry started in 2002 by Heinrich Lischka from Köthen, Germany, who was born in 1968 in Groß Strehliz, Poland. An autodidact and freelancer, he taught some courses in 2005 at FH Magdeburg-Stendal.

    Lischka designed these fonts:

    • Commercial, at Font Boutique: Noga (sans serif, 2002). Discussed by the typophiles, Nastepna (2002, unicase sans serif).
    • Commercial, at Volcano Type: the organic family Shuttle, which includes Shuttle 3D, done in 2006.
    • Free fonts: Samba (2002), Neo Retro (2004), Copystruct (1997), Destroy (1997), Groteski (1997), TimesNoRoman (1997), Disco, Dinova. Lischka also runs Typografski.de, a free font place where one can download most of these fonts.
    • Designers Cut (2003).
    • Working on Bossa Nova (2003, sans serif).
    • Exclusive typefaces: Kuert Weill Fest Dessau (2004, display face), Herma Sans (2005, house type for a label manufacturer), Intersport Headline (2007, display typeface for a sports chain).

    Dafont link. Old link. Klingspor link. Fontspace link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Font Catalog Monospaced

    Monospaced fonts displayed and explained (in German). [Google] [More]  ⦿

    Font Environment
    [Samuel Marcius]

    Samuel Marcius (b. 1970, from Boeblingen, Germany) has a web page for his own creations (fonts and dingbats). My own logo---the moose on all my web pages---is from Marcius' WinPets 1---I liked the sense of humour that shines through the drawing, and the spirit of Don't take life too seriously. Direct access.

    The fonts: 10LilGhosts, 20Facesttf, BalkanPeninsulaBraille, Banner, BlackBox, BoxFont, BoxFontNegative, BoxinaBox, Caterpillar, CheVivaBanana, Circleblackwhite, Confetti, CrayonKids1, CrayonKids2, Dominoes, Fantastique Cars (2001), Fingerprints Inside (2011), Grungees 23, Headlong, HomagetoWillEisner, Leonardos Mirrorwriting, Leonardos MirrorwritingBold, LittleBigMan, Maja's Flowers (2001), MissEllen, MoMoney, NaturalSigns, Noah's Ark (2001), NoFear, Planks, PuzzlePieces, PuzzlePiecesOutlined, SamsDingbatsNo1, SamsDingbatsNo2, SamsHandwriting, SisterR, Song ABC (2012), TPFClaudia, TPFClaudiaBold, TPFClaudiaOutlined, TPFGaiety, TPFGaietyOutlined, TPFKrikkelKrakkel, TPFPolkaYourEyesOut, TPFSenselessStrokes, TPFUbiquitous, TPFVacuous, TPFVacuousNegative, TPFYolk, TPFYolkBold, TPFYolkCondensed, TPFYolkCondensedBold, TPFYolkLight, TattooNo1, TattooNo2, Tribal (2011), WinBugs, WinPets1, WinPets2. [Google] [More]  ⦿

    Font Pincushion
    [Albert Schiemann]

    Font Pincushion is Albert Schiemann's Mac font management app. It has font evaulaution and comparison tools. Schiemann is based in rankfurt, Germany. Behance link for Albert Schiemann. [Google] [More]  ⦿

    Font show Salzburger styled

    Interesting way of displaying and categorizing fonts, with over 1500 font images. By Merz Akademie's Patrick Schell and Harald Scholz, in Hamburg and Berlin, respectively. [Google] [More]  ⦿

    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]  ⦿

    Fontage.de

    Jan Jessen's German language pages on the history of type, from its start in 1440, via Linotype (1886), Photocomposition (1949), bitmaps (1965) to vector formats (1975). [Google] [More]  ⦿

    Fontasy (was: Norbomat Fonts)
    [Tilman Schalmey]

    Fontasy.de (German) and Fontasy.org (English are exemplary free font archives brought by Tilman Schalmey from München. Subpage with useful links. Blog. List of designers. Newest additions. [Google] [More]  ⦿

    Fontblog
    [Jürgen Siebert]

    Jürgen Siebert's great font blog (in German). It ceases operations in 2017. [Google] [More]  ⦿

    FontBook

    FAT FontBook is a tiny MacOS font utility. FontBook helps you to keep track of your installed fonts, especially symbol or dingbats fonts. FontBook lets you print reference cards for your most-used fonts. Originally free, by Matthias Kahlert. Lemke Software is continuing its development here (10USD for version 3.4). Reports from my friends are positive. [Google] [More]  ⦿

    Fontcredit
    [Siegfried Rückel]

    Siegfried Rückel (Fontcredit) is the FontFont designer of FF Alega and FF Alega Serif, a technical-look text family (2002), which is wonderfully showcased at his site and discussed by Jon Coltz. Fontcredit was founded by Siegfried Rückel who lives in Berlin and runs the design agency rQuadrat together with Georg(ij) Rijinachvili. He studied design at the University of Applied Sience in Potsdam under Luc(as) de Groot and Lex Drewinski.

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

    FontDrop

    An on-line font verification tool written by Viktor Nuebel and Clemens Nuebel in 2017. [Google] [More]  ⦿

    Fonteck
    [Judith Eckstein]

    Font newspaper, in German, set up by Judith Eckstein (FH Aachen) in 2011. It became inactive in 2014. [Google] [More]  ⦿

    FontExpert
    [Willi Welsch]

    Automatic font identification program by The Quick Brown Fox GmbH foundry run by Willi Welsch out of Koln, Germany. Costs 250DM. [Google] [More]  ⦿

    FontExpert 2.0 (alternate site)
    [Willi Welsch]

    Automatic font identification program by The Quick Brown Fox GmbH foundry run by Willi Welsch out of Koln, Germany. Costs 250DM. [Google] [More]  ⦿

    Fontfarm
    [Natascha Dell]

    Natascha Dell (Fontfarm, Aachen) is a graduate from FH Aachen (Germany) who wrote a thesis in 2004 on the use and abuse of typography on the web.

    Fonts designed at Fontfarm in 2005-2006 by Kai F. Oetzbach and Natascha Dell: Agendatype (+Swash), Goffik-Outline, Goffik-Shadow, KofiPure (in Sans, Serif and SemisKursiv), NakoticaBarrow (techno), Nafi (2005, upright connected script and some dingbats), Caput (2008, a sans family), Jenny (a six-style family that grew out of Jenson Antiqua into a more angular carapace), Parker-Barrow (a sans+slab experiment).

    Typefaces by the same pair in 2011: Gedau Gothic (grotesque family), Ergilo (angular serif family). Newtype is a 36-style superfamily for headlines, information design and short passages.

    . [Google] [More]  ⦿

    Fontfinder
    [Maximilian Bloch]

    Font search engine by Bremen, Germany-based Maximilian Bloch. Behance link. [Google] [More]  ⦿

    FontFont

    Berlin-based FontShop International, started by Erik Spiekermann, Joan Spiekermann, and Neville Brody in 1989/1990, offers its own line of digital fonts under the FontFont label. The FontFont library contains around 2,000 original fonts. Its designers included Just van Rossum, Erik van Blokland, David Berlow, Max Kisman, Tobias Frere-Jones, Fred Smeijers, Martin Majoor, and many others. FontShop has offices in San Francisco as well. In July 2015, FontShop and FontFont were bought by Monotype.

    Designers.

    They are focusing on web fonts today. Their initial web font package included DingbestWeb, DroidsWeb, InfoWeb-Bold, InfoWeb-Italic, InfoWeb-Normal, KosmikWeb, MarketWeb, PixelsDream (by Zuzanna Licko), SheriffWeb-Bold, SheriffWeb-Italian, SheriffWeb-Roman, TrademarkerWeb, TypestarWeb-Black, TypestarWeb-Normal.

    The free fonts page has InterOffice (two dingbat fonts made in 2001 by Andreas Jung, Markus Hanzer, David Berlow, Fedor Hüneke, Erik van Blokland, Robert Snider, chester, Hans Reichel, Nicole Kapitza, Christoph Kalscheuer, Joachim Müller-Lancé, Paul Neville, Barbara Klunder, György Szönyei, Matthias Thiesen, Norbert Reiners, Joancarles Casasín, Gert Wiescher, Fabrizio Schiavi, Mindaugas Strockis, Theo Nonnen, Alan Greene, Donald Beekman, Martin Wunderlich, Critzler, Stefan Kisters, Dung van Meerbeeck, Ole Søndergaard, Nick Shinn, and Mårten Thavenius), FF Dingbest (by Johannes Erler and Olaf Stein), FF Xcreen, and many Euro symbols to go with their standard fonts.

    PDFs of many fonts.

    Catalog of FontFont's typefaces [large web page warning]. [Google] [MyFonts] [More]  ⦿

    FontForum

    FontForum is a part of the well-known German type foundry URW++ that looks for new, modern typefaces. View the FontForum font library. [Google] [MyFonts] [More]  ⦿

    fontgrube

    Young German designers showcase their experimental (Mac) fonts. Included are fonts by Max Fiedler, Matthias Rosenkranz, Markus Volquarts, Jacques Pense, Doris Fürst, Alexander Gialouris, Olaf Claussen, Karsten Steens, Peter Pannes, Anna Gross, Marcel Staudt, Hanno Bennert, Josefin Kaiser, Stefanie Fortmann, Axel Peemöller, Katja Wolf, Anke Klasen, Nicole Simon. Direct downloads. Link died. [Google] [More]  ⦿

    Fontgrube AH
    [Andreas Höfeld]

    At Fontgrube AH, Andreas Höfeld, a protestant pastor from Erbach/Odenwald, designed these typefaces:

    • A Charming Font (with Graham Meade).
    • Adam's Family (based on Addams by John Roshell).
    • Annifont FG (2002) is an improvement of Annie de la Vega's Annifont (1997).
    • Auptimagh.
    • Brinkmann (Fraktur font, 2000).
    • Brubeck (2001).
    • CD Numbers.
    • Civitype (2013, a civilité font).
    • Dragonwick.
    • Fanjofey and Fanjofey Leoda (2002, Tolkien-like fonts that can also be viewed as Arabic simulation typefaces).
    • Gabriele Bad and Gabriele Ribbon (2013). Old typewriter font families that are based on David Rakowski's Harting.
    • Gapstown (2002, to replace Comic Sans, he says).
    • Gismonda (2013, art nouveau).
    • HermanDecanusAH (medieval handwriting based on the kanzleischrift of Dekan Hermann zu Soest, 1269).
    • Hymnus FG (2015, notes of a 5-line staff).
    • Invisible.
    • Jorvik Informal.
    • Lansbury (2013, art nouveau).
    • MojacaloAH (2002) and Mojacalo Relief (2013).
    • PaternosterAH (uncial).
    • SeferAH (2001, Hebrew simulation).
    • Slim Fast (2002-2013).
    • SlotMachine (no longer there, only put here for historical reasons).
    • Traditio (2013, blackletter).
    • Trinigan (2013, art nouveau).
    • He improved Jörgen Gedeon's Vurt and calls it Tusch FG (2002).

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

    Fontkingz
    [Carlo Krüger]

    Fontkingz is a small commercial foundry in Hamburg started in 2002 by Carlo Krueger (b. 1970). Pixel 8 is the first font family. Krueger previously designed type at Apply Design, and at Elsner&Flake, where he made EF Thordis Sans and EF Thordis Mono (1997), both with Günther Flake.

    See also here. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Fontkitchen Type Foundry
    [Nico Hensel]

    Fontkitchen Type Foundry is a German commercial type foundry (est. 2002, located in Heidenheim) with four designers: Daniel Amann, Timo Brauchle, Marc Engenhart and Nico Hensel. Some fonts are free. More than half of their production is in the pixel/flashfont category. Their designs:

    • By Ekkehard Beck: Damgram (2004, dingbats), Urban Dedication (2004, dingbats), Designers Skulls (2005, skull dingbats).
    • By Timo Brauchle and Nico Hensel: Hotplate (2002, Linotype's Taketype 5 collection, a ransom font), The Dig.
    • By Nico Hensel: Red Cheese (2003, a grunge face), Meateater (2002), Psychoclown (2003), Rounded (2003), Vegas (2003, a dot matrix font), Big Mike (2003, futuristic), Noland (2002, pixel face), Hockney (2003, pixel face), Lina (2003, pixel face), F9 (2003, flashfont), Grid (2003, flash font), 2/3 (2003, flash font), Julima (2003, a condensed flash font), FTF Unicum (2004, free), Eiko (2004), Hensi (2003, flash font), Meo (2003, flash font), Creamy (2003, flash font), Emily (2003, flash font), 16Point (2003, flash font), MM (2003, flash font), Snake (2003, flash font), Ego (2003, flash font), BMF (2003, flash font), Inverse (2003, flash font), Annenski (2003, flash font), Freshments (2003, border dingbats for flash), ma (2003, for flash), Wallpaper (2003, border dingbat font), Velasco (2004, a techno face), Esmeralda (2004), Lilly (2004).
    • By Marc Engenhart: Inimal (2004, insect dingbats), Die Licht (2003, a dot matrix font).
    • By Timo Brauchle: Hot Plate, Dig, Acrobuzz (2002, dingbats), Lucha Libre (2003, dingbat font).
    • By Daniel Amann: Cosicon (2003, dingbats), Obivan (2004).
    More about Nico Hensel (b. 1987): He studied information design in Ravensburg. In 2003, he founded Lichtpunkt with Marc Engenhart as well as Fontkitchen. In 2004, he set up the pixel foundry Ductype, where one can find these creations (partially duplicated from those at Fontkitchen): Bmf, 16Point, 2-3, Freshments, Annenski, Creamy, Ego, Emily, F9, Grid, Hensi, Inverse, Julima, Knopf, Lyvox, Meo, MM, Strike, Tool, Western Trade (2005), Dejavu (2005), Lasse (2005), Modus (2005). FontShop link. [Google] [More]  ⦿

    Fontom Type
    [David Waschbüsch]

    Heidelberg, Germany-based type foundry of David Waschbüsch (b. 1988), who studied at the University of Applied Science in Darmstadt, Germany, class of 2011. About his free unicase modular stencil font BS Konstata (2010) he writes: Created for use as stencil for signage it features a set of only 10 different elements out of which you can compose the complete typeface. Therefore it borders between being somewhat grungy, modular and classic. Skyhook Mono is a versatile octagonal family. Future fonts include Bahnhof Zoo, Empty Sky and Fink Black.

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

    Fontone.net

    At this German site, one can download a number of handwriting or hand-printed fonts made in 2009: Sahara, ohm8, Tacker, Lisa Kleinkind (for children), Kajan, Schmuddel, Right Round. Creator of Ruban (rough painted face), and Aircloud (rough brush face).

    Dafont link. The designer is a guy called Jens H. Anoter URL. [Google] [More]  ⦿

    Font-o-Rama
    [Nina Hons]

    Düsseldorf-based German foundry of designer Nina Hons (b. 1974, Germany), formrly Nina David. Nina studied communication design at Art Center College of Design. In 1998 Nina Hons was rewarded a certificate of typographic excellence from the Type Directors Club in New York for her typeface UniF (1997, a unicase typeface published at Fountain). In 2002, she set up Font-O-Rama, her own commercial type foundry.

    Her fonts include Geomee (2003, a noteworthy rounded squarish family), Mein Schatz (2004, a sans family), Casi (2000), DSC (2000, pixel face), Eiei (2001, eggs font for Easter), KomodoreDestroy (2000), KomodoreNormal (2000, horizontally-striped typeface), Pagra (2001), UniF (1997), UniFIce (2001), UniFRama (2002), UniFXmas (2000), Liebling (2005, a serif to go with Mein Schatz), Mein Schatz (2003, sans), Longing (2005, liquid typeface with ornaments added), Herzchen (2006), and Sweet Home (2005, stitching face).

    Fountain link. Home page. Alternate URL. Dafont link. FontShop link. View Nina Hons's typefaces. Klingspor link. Fountain Type link. [Google] [MyFonts] [More]  ⦿

    Fontplore

    The Fontplore application was developed by Christian Hertlein and Marcus Paeschke in summer 2009 under the supervision of Till Nagel and Professor Boris Müller at the Fachhochschule Potsdam. Fontplore is an interactive application designed for searching and exploring font databases.Fontplore helps you to easily find the right typeface for your project in a collection of several thousands of fonts. It lets you browse, preview, compare and print the fonts you are interested in. Another URL. [Google] [More]  ⦿

    Fonts Arena
    [Alina Sava]

    FontsArena is a curated typography website with a focus on web typography and high quality free fonts. It is run by Berlin, Germany-based Aline Sava. Aline herself designed the free font Alphabet Caps Lined (2018, an all-caps font with penmanship lines, designed for primary school and kindergarten education support), and published it at Open Fonts Library. [Google] [More]  ⦿

    Fonts With Love (was: Heimat Design)
    [Florian Klauer]

    Heimat Design in Lage (Bielefeld), Germany, is the design studio and foundry of Florian Klauer, who set up Fonts with Love in 2015.

    . In 2010, Florian made the monoline sans typefaces Florin Sans (2010) and Heimat Grotesk that are characterized by their large x-heights.

    Iconized (2013) contains more than 220 icons like arrows, filetype, media, eCommerce, network and devices, contact, service navigation and social network-icons.

    Klartext Mono (2014) is a monospaced monoline sans with a large x-height and superelliptical curves.

    In 2016, he published the text typeface family Ethos.

    In 2017, he designed a corporate typeface for the German sports channel Sport1.

    Klingspor link. Behance link. Fontspring link. Old Heimat Design link at MyFonts. Florian Klauer's personal page. [Google] [MyFonts] [More]  ⦿

    FontsArena

    Berlin, Germany-based designer of the pixel typeface W95FA (2020), which revives a Microsoft font used in Windows 95. [Google] [More]  ⦿

    Fontschmiede
    [Frank Baranowski]

    Obsolete German foundry, est. 2010 by Michel M and Frank Baranowski (b. Altenmedingen, 1960), and located in Neuenkirchen, where he runs the graphic design studio Cylex. Baranowski studied Graphic Design at the Hochschule fuer Bildende Kuenste in Braunschweig, Germany. His fonts:

    • Alphabutts Initials (2004-2008). Letters to fit into circles.
    • Clayborn (2004). A massive font.
    • Concrete (2004-2010).
    • Destroya (2005-2008).
    • Dodgy Ultra (2009). A blocky font.
    • Elemenz Initials (2004).
    • Funtype (2008-2010). A handcrafted typeface.
    • Journal74 (2012). A retro font family.
    • Kaleido (2004).
    • Karoline (2005). A backslanted script.
    • Line44
    • Monumental (2009).
    • MrsBeasley+ (1995-2010). Psychedelic.
    • Musical (2004).
    • NewTelegraph (2011, +Arrows).
    • Patchwork (2005). A beatnik font family.
    • Phoenikia (1998). Greek emulation.
    • Silverblade (2010). A decorative, perhaps medieval, family.
    • Sputnik (2010). An oriental simulation face.
    • Superia (2006-2010).
    • Tambourine (2004-2010). Art nouveau.
    • Und4.

    Some of Baranowski' fonts are released under the label Transkrypt. Open Font Library link. [Google] [MyFonts] [More]  ⦿

    Fontshop bought by Monotype

    On July 15, 2014, FontShop / FontFont was bought by Monotype. The official story on FontShop's font feed site as reported by Iwo Grabowitsch: Today is a groundbreaking day in FontShop's 25 year history, the most important one since our formation. The US typeface company Monotype just announced that they have acquired FontShop and the FontFont library. The acquisition package includes the head office in Berlin as well as the FontFont typeface library, the US subsidiary in San Francisco (fontshop.com), and the German distributor, FontShop AG. Monotype acquires the FontFonts of founder Erik Spiekermann directly from him, including all usage and publication rights. All of his bestsellers (FF Meta, FF Info (1998), FF Unit, FF Govan (2001)) will remain part of the FontFont library. Spiekermann will assist Monotype as typographical consultant in the future. Further information on the transaction is provided in a detailed press release from Monotype. With the acquisition, in addition to a contemporary typeface library, Monotype gains new customer groups, popular marketing tools and channels as well as a second foothold in the German market, which the group assesses as one of the most vital font markets. Monotype's global reach, financial strength and passion for type, combined with FontShop's complementary typeface expertise, industry relationships and premier typeface collection, is expected to strengthen Monotype's ability to serve global markets and deliver high-quality, branded experiences across every screen, platform or media property says the press release published today. The president and CEO of Monotype, Doug Shaw, summarizes the synergies as follows: "As a company dedicated to type, we're excited about the addition of FontShop, another company with design and type in their DNA. FontShop's strong relationships with typeface designers, acute knowledge of the creative professional community, high-quality IP, strong e-commerce business and highly regarded TYPO events, will add immediate value to our business and help us continue on our mission of being the first place to turn for typefaces, technology and expertise." The positive momentum for the joint business also arose from the FontShop side. Petra Weitz, FontShop's international managing director not only emphasizes new, international marketing channels for the FontFont library, but also exciting special markets for these fonts, for example in devices (OEM licenses) or operating systems. FontShop founder Erik Spiekermann, who noted the newest acquisition of Monotype with interest, believes his own FontFonts and those of his colleagues are in good hands: "As a typeface designer who cares deeply about the industry in which I work, I have watched Monotype not merely survive, but grow and prosper. They have become respected experts in the business and the technology of type. Having my typefaces become part of the Monotype foundry will make sure that they, as well as the other FontFonts, will benefit from Monotype's strengths. The industry-at-large will be stronger once FontShop adds its creative prowess to Monotype's business." For marketing director Ivo Gabrowitsch, who is just getting next.fontshop.com on its feet with around 15 developers and designers---a font store with never-before-seen test functions---the partnership with Monotype arrives just at the right time. "The limited FontShop budget presents a great challenge for our project and its many planned innovations. With Monotype backing us, ongoing development is strengthened significantly. Our customers will profit from this already in the medium-term." Jürgen Siebert, program director of the TYPO conferences takes a similar tone. "We have tried to internationalize TYPO Berlin for three years, but we never got farther than San Francisco and London. Together with Monotype, TYPO growth gets a second wind." The same goes for the outlooks and future projects. What remains? Pretty much everything that is important to us and our friends. Although the corporate brand will be retired, the FontShop e-commerce brand stays FontShop, FontFont stays FontFont, and FontBook App stays FontBook App. The FontFeed will also continue to blast its reports and opinions. We are quite certain that this is also in the interest of all readers---despite the change of ownership.

    References: Typophile reactions. Monotype press release. Another Typophile thread. Aaron McKinney, the artist who drew the Big Fish Eat Little Fish poster inspired by a drawing by Pieter Breugel. [Google] [More]  ⦿

    FontShop Germany

    FontShop Germany offers a handwriting font service for a fee. [Google] [More]  ⦿

    FontShop International (or: FSI)

    Established in 1989 in Berlin by Erik Spiekermann, Joan Spiekermann and Neville Brody. Also offices in San Francisco, Australia, Austria and Norway. It has a formidable collection of fonts, better known as the FontFont collection. It is a major source of new type, and organizes a Conference in Berlin each year, called TYPO Berlin. In 2015, FontShop was sold to Monotype.

    Fontshop team. Designers. Subpages: FontFeed (font news), FontStruct (free modular fontre), FontBook, Font education.

    Catalog of FontFont's typefaces [large web page warning]. [Google] [MyFonts] [More]  ⦿

    Fontwerk
    [Monika Bartels]

    Fontwerk is (was) Monika Bartels's font technology company in Lindenberg, Germany. They specialize in font modification, OpenType programming, font analysis, and digitizations.

    Having started out in FontShop Germany's technical support and corporate font departments, she founded FontWerk in 2005. FontWerk offers a variety of technological services on fonts including OpenType feature programming for non-Latin scripts, Python programming, and font production. She specializes in TrueType hinting.

    In 2018, she jumped ship and was hired by Alphabet Type as a type hinter. Alphabet Type link. [Google] [More]  ⦿

    Fontwerk.com
    [Ivo Gabrowitsch]

    Berlin-based Ivo Gabrowitsch's type blog (in German). Ivo was Marketing Director at FontShop International. He was born in Wippra. He became Marketing Director at Monotype after FontShop was sold to Monotype. Their typefaces, all of which have variable versions:

    • Case (Erik Spiekermann, Anja Meiners, Ralph du Carrois). A sans superfamily.
    • Ika Superfamily (Jörg Hemker).
    • McQueen Superfamily (Loris Olivier, Noheul Lee, Katja Schimmel).
    • NIce (Jan Fromm). A baroque-inspired superfamily consisting of 56 styles.
    • Nikolai (Franziska Weitgruber).
    • Pangea Superfamily and Pangea frikan Superfamily (Christoph Koeberlin).
    • Romaine (Aad van Dommelen).
    • Supermarker (Ulrike Rausch).
    • Turbine (Felix Braden).
    • West (Daniel Perraudin).
    [Google] [More]  ⦿

    Fontworx Page

    German collaborative type project hosted by WYSIWYG Software Design GmbH. [Google] [More]  ⦿

    For Home or Office Use
    [Wolfgang Breuer]

    "For Home or Office Use" is a strange name for a foundry, but that is exactly what it is. The fonts are made by Achim Reichert (Paris) and Wolfgang Breuer (Berlin). Their commercial Mac type 1 fonts include thhe experimental Try family (2Try-Strich, 3Try-Straight, 4Try-kerned, 7Try-Medserif, 8Try-Micro, 12Try-Lego, 131Try-Klingspor,- eo, 161Try-Bitter,- eo, 172Try-Reg, 1722Try-Fliess Fett, 1721Try-Reg Inline, 174Try-Serif, 1742Try-Serif Fett, 18Try-Annette), Abnehmen (free), A-Teile, A-Teile Neue, 0031aAddStrokeWeight-Oblique, 0031eAddStrokeWeight-Oblique, 0062aAddStrokeWeight-Oblique, 0062eAddStrokeWeight-Oblique, 0125aAddStrokeWeight-Oblique, 0125eAddStrokeWeight-Oblique, Almatadema-Eins, -Fier, -Vier, 0031aConvertToPath-Italic, 0031bConvertToPath-Italic, 0062aConvertToPath-Italic, 0062bConvertToPath-Italic, 0125aConvertToPath-Italic, 0125bConvertToPath-Italic, Densite, Ouvert, Knubb, Knubb-20, Birthday-Regular, Birthday-Bold, 0034Paper, 0034Paper-Italic, 0034Paper-Oblique, 0057Paper, 0057Paper-Italic, 0057Paper-Oblique, 0075aPaper, 0075aPaper-Italic, 0075bPaper, 0075cPaper, 0075dPaper-Italic, Free 0034-0075dPaper Font, Paper, 0031aPlotter, 0031bPlotter, 0031aPlotter-Bandzug, 0031bPlotter-Bandzug, 0031aPlotter-Twenty, 0031bPlotter-Twenty, 0062aPlotter, 0062bPlotter, 0062aPlotter-Twenty, 0062bPlotter-Twenty, 0125aPlotter, 0125bPlotter, 0125aPlotter-Twenty, 0125bPlotter-Twenty, 0125aPlotter-Breitband, 05aPlotter, F.T./Brown, F.T. Bold, la bonne heure, -bold, Lini Eins, Lini Drei - eo, Lini-Vier - eo, Love-1, Love-10, NEW FEw, NEW GEw, NEW Klein, sBit34, WIR 2, WIR 3, WIR 4, WIR 6Vi, WIR 7Vi.

    The fonts by Breuer in this list include the A-Teile family, the Birthday family, and the Plotter family.

    There is a free type software program called Abnehmen, as well as a number of experimental stroke-based fonts whose stroke thickness can be adjusted with Adobe InDesign, for example. [Google] [More]  ⦿

    Form Typografie -- Typoloquium

    A group of German type experts run their own password-protected forum/blog. They also organize an an annual meeting. [Google] [More]  ⦿

    Formatpunktotf (or: Format.otf; was: t-1, type-eins)
    [Maximilian Müsgens]

    Formatpunktotf, and before that t-1 (type eins), is Maximilian Müsgens's type foundry, est. 2019. It is part of the design studio Format.tif, which is based in Aachen, Germany. Its fonts were free for students. Typefaces include Bandeins Sans and Bandeins Strange, both designed as variable fonts in 2019. The latter has two axes, width and "strange width". Strangeness somehow relates to Renner's hookish experiments.

    In 2020, Müsgens released the hipster typeface family Garconne Display. [Google] [More]  ⦿

    Formfound
    [Peter Fritzsche]

    Peter is a German designer in Berlin, born in 1981. Peter Fritzsche's company is called Formfound. For a cool 900 Euros, he will make you one style of a font.

    Purchasable fonts: Corpuscare (unicase, monoline, organic), Hitch (unicase), Flora (unicase) and Finesse. At DaFont, one can download his font FormFound.Com, which is a grunged up version of a typeface by Hans Reichel, 1996, but also Corpuscare, Flora, Finesse and Hitch. He also made Sliced Juice (2007, a sketch face) and the beautiful folded paper-look Origami (2008). [Google] [More]  ⦿

    Formlos (was: Folio)
    [David Hubner]

    Formlos is an independent design bureau, brand consultancy and type foundry, founded in 1999 and originally located in Hellmonsoedt/Vienna, Austria. It seems to be in Berlin right now.

    David Hubner (b. 1981, Wels, Austria) is the Austrian designer (based in Hellmonsoedt and Malta) of

    • Ventisei (2008, a unicase futuristic sans). Free download.
    • Formlos Organik (2002), an experimental techno face.
    • Formlos Requii (2003), an artsy concoction.
    • Blockrockin (coming soon).
    • Fertigbauhaus (Volcano Type, free).
    • FormloSerif and FormloSans (2002). FormloSerif is a commercial serif pixel/screen font.
    • 4our (2002, pixel face).
    • BlockRockin.
    • RoundABong.
    • Formlos Handsomeone, a scribbly script.
    • FormlosMenee, a pixel face.
    • Formlos Neonua (2008), an elegant fashionista.
    • Formlos_PlayR (2004), an experimental headline face. Commercial.
    • Formlos Pimp (2004), an experimental ultra fat geometric face.
    • Formlos PxlSans and PxlSerif, pixel typefaces.
    • Flittchen (2013). A blackletter typeface inspired by fishnet stockings.

    Lukas Kerecz created Monocrane (2013) while studying in Berlin.

    Link to his studio Dav Marken Design. Alternate URL (2003), where you can find his custom typography. Still another URL, called Folio (2003), where you can find his custom typography. Another URL, where Ventisei can be downloaded. Dafont link. Behance link. [Google] [More]  ⦿

    Formsport
    [Alex Rütten]

    German designer in Berlin (was: Mönchen-Gladbach) of the text family Ginkgo (2008, Linotype), which won an award at TDC2 2009. Typophile discussion of Ginkgo, a typeface in the spirit of the brushy sturdy Dutch types like Dolly.

    Other typefaces: Suhmo (2009-2010, FontShop: a typewriter / Egyptian typeface family that won an award at TDC2 2011), Frapé (2001, pixel blackletter).

    In 2017, he designed the legible semi-typewriter semi-monospaced wedge serif typeface family Aidos (Ligature Inc).

    Klingspor link. Ligature Inc link. Behance link. [Google] [MyFonts] [More]  ⦿

    Fourooms

    Hamburg-based group which has produced some nice type posters in 2009 (but they have an awful web site). Behance link. [Google] [More]  ⦿

    Fraktur Initialen

    A sample of Federschrift Fraktur Initialen from 1729, city of Altona. [Google] [More]  ⦿

    Fraktur: main dates

    Main dates in the history of Fraktur.

    • Gothic script (gotische Schrift) developed in France in the middle ages during the time of the gothic architecture.
    • Gutenberg's bible in Latin (1455) contains this gothic script.
    • 1470-1530: All Lutherian books in Germany are printed in the (renaissance) Schwabacher style. The first one in this style was by the Augsburg-based printer Johannes Bämler (1472). It blossoms around 1490 in "Schedelschen Weltchronik", printed by Anton Koberger, and in Dürer's "Apokalypse" (1498).
    • 1517: The Schwabacher script developed into the "Fraktur". Dürer uses this Fraktur script.
    • 19th century, early 20th century: all styles of Fraktur are further enhanced, generalized, extended and refined.
    • Until Bormann's "Schrifterlass" decree in 1941, nearly all publications, newspapers and books in Germany are printed in Fraktur. After that date, it became a "forbidden" script in Germany.
    [Google] [More]  ⦿

    Fraktur.de
    [Markwart Lindenthal]

    Wonderful new foundry run by Friedemann, Volker and Markwart Lindenthal, and specializing in redigitizations of Fraktur fonts. Fonts: Gilgengart (Hermann Zapf, 1938), Gutenberg-Bibelschrift, Jaguar, Legende, Mainzer Fraktur (Carl Albert Fahrenwaldt, 1901), Post Fraktur (Herbert Post, 1933-1935), Rhapsodie (Ilse Schüle at Ludwig&Mayer, 1949-1951), Thannhaeuser Fraktur (Mager, magere Zierversalien, Schmalfett and Halbfett) (Herbert Thannhaeuser, 1937-1938), Wallau (Rudolf Koch, 1926-1934), Weber Mainzer, Weiss Rundgotisch (Emil Rudolf Weiß, 1937), Wilhelm Klingspor Schrift (Rudolf Koch, 1926), Zentenar Fraktur (Friedrich Hermann Ernst Schneidler, 1937-1938). There were plans to digitize Werbedeutsch and HermannGotik.

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

    Franca Winter

    During her studies at HS Mainz in Germany, Franca Winter designed the handcrafted outlined typeface Cloudabout (2016). [Google] [More]  ⦿

    François Abboud

    During his studies, Leipzig-based François Abboud created the blocky typeface Cubix (2015). [Google] [More]  ⦿

    Francesco Griffo

    Born and died in Bologna, ca. 1450-1518. Also called Francesco da Bologna. He was a Venetian punchcutter, who worked for Aldus Manutius cutting early italics, music types and romans. Under the surname Griffo, he designed and cut all types for the Aldine Press. The "Aldine" typeface was recreated by Monotype in 1929. In 1990, the Monotype staff digitized 24 weights of Francesco Griffo's Bembo family, which was originally created in 1496---however, read on below regarding the date. The Bitstream version is called Aldine 401. Bembo is a typeface that is not compact, with its wide letters and ample spacings, so its use must be carefully weighed.

    Interesting detail about the end of his life: after the death of Manutius in 1515, Griffo returned to Bologna where he printed some of his own editions until his own death in 1518 or 1519, when it is thought he was hanged for killing his brother-in-law. Kevin Steele explains in 1996: Some sources cite the publication of Cardinal Bembo's De Aetna as 1493 or 1495. And in fact, the design continued to evolve until the 1499 publishing of the spectacular Hypnerotomachia Poliphili. Let's not split hairs. Let's celebrate 500 years of Bembo! In the mid fifteenth century printing quickly spread to Italy from Germany, and by the 1470's Venice had became the center of the printing industry, home to over 100 printing companies. Pioneers such as Erhard Ratdolt and Nicolas Jenson had already begun working on adapting the roman alphabet for metal type by the time Aldus Manutius established his press in 1494, with the intention of publishing all the Greek classics. Aldus Manutius (1450-1515) was a printer, entrepreneur, a great ego, and publisher of over 1200 titles. Among the many contributions of Aldus was the popularization of small, portable books. His expensive beautiful books were far from today's paperbacks, mind you. One of the many great talents working for Aldus was Francesco Griffo, a gifted type designer. Griffo created many innovative type designs that are still admired for their beauty and readability. Their collaboration broke up over a copyright dispute, primarily over the ownership of the cursive type typeface that Griffo developed under the direction of Aldus. Although Aldus even had a papal decree to protect this style of alphabet, it was as difficult then as it is now to protect a typeface design. The alphabet was widely copied, and the style is known as italic, after its country of origin.

    Fontdeck link. Linotype link. FontShop link. Nicholas Fabian on Griffo. Agustina Cabal's poster of Bembo. [Google] [MyFonts] [More]  ⦿

    Francesco Murru

    Münster, Germany-based designer of the hexagonal experimental typeface Serendipity (2014). Behance link. [Google] [More]  ⦿

    Frank Baranowski
    [Fontschmiede]

    [MyFonts] [More]  ⦿

    Frank Baranowski
    [Transkrypt]

    [MyFonts] [More]  ⦿

    Frank Barowiak

    Designer of the Kaffeesatz display family (1994, Linotype): great coffeehouse lettering. Smell the coffeebeans. [Google] [More]  ⦿

    Frank Bruder

    During his computer science studies at the University of Hamburg, Frank Bruder, a supporter of open source code software, designed several typefaces. Creator of the Open Font Library fonts Tomson Talks (2008, comic lettering), Block Stencil (2008), Far Side (2008, sci-fi) and Futhaark hnias (2008, runes), Tomson Talks (2010, hand-printed). Aka Skotan. Dark End is a hand-coded SVG font---check the source code to see what can be done with so little! Devian tart link. [Google] [More]  ⦿

    Frank David
    [Chess Ole!]

    [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Frank Flachs

    Designer at the University of Erlangen, Germany, of the pixel font MK Zodnig Square (2000).

    Dafont link. [Google] [More]  ⦿

    Frank Grießhammer
    [Kiosk Fonts]

    [MyFonts] [More]  ⦿

    Frank Groh

    Designer in München who created the techno typeface Flauchers Finest (2014). [Google] [More]  ⦿

    Frank Heine
    [UORG]

    [MyFonts] [More]  ⦿

    Frank K. Lüdicke

    German type designer Frank K. Lüdicke designed Ramses, letters in the shape of hieroglyphs. He studied with Karlgeorg Hoefer (who would write with anything) and with Kurt Wolff (in Düsseldorf), and later learned Japanese calligraphic art. Ramses is now available from Elsner&Flake. At URW++, he designed the commercial dingbat font FunnyNature (1999) and the handwriting fonts Yoriko (2019: oriental brush emulation), Liaison (2015), FontForum Katie (2008) and Lüdickital (2002).

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

    Frank Kiener

    München-based German designer of Blue Stone and Xeranthemum (2000). Alternate URL. Yet another URL. [Google] [More]  ⦿

    Frank Krugmann

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Frank Lange

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Frank Ramspott

    German designer of the pixel typeface FontForum FR73 Pixel (2004, URW). [Google] [MyFonts] [More]  ⦿

    Frank Rausch

    Interaction designer, software expert and type enthusiast who lives in Berlin. A disciple of Lucas de Groot, he is the creator of Kiwisans and Steglitz Serif (which has the edgy influences of Preissig and Menhart). He published TypeShow, a typeface tester for web sites of foundries. Not the same Frank Rausch who created Caracteres L1, L2 and L4 (2004), free fonts that cover L1, L2 and L4, the French traffic sign alphabets. [Google] [More]  ⦿

    Frank Rausch
    [TypeShow]

    [More]  ⦿

    Frank Wildenberg

    When Monotype Imaging bought Linotype in August 2006, Bruno Steinert resigned his position as Linotype's Managing Director on September 1, 2006, and was immediately succeeded by Frank Wildenberg in that position. Frank ihas a mechanical engineering degree from Technische Universiät Darmstadt, Germany (1986-1992), and studied at the EAE Business School in Barcelona, Spain (1998-200), and joined Linotype in 2005. He is based in Frankfurt. Linkedin link. [Google] [More]  ⦿

    Franz Deixler

    German type designer at the Bauersche Giesserei who made Suggestion (1925). [Google] [More]  ⦿

    Franz Franke

    Vignette designer at the Bauersche Giesserei. His astrological symbols were revived in 2002 by Dieter Steffmann as Tierkreis1, Tierkreis2 and Tierkreis3. Some of his vignettes from 1920 were recreated by Dieter Steffmann as MonatsVignetten1 (2002). [Google] [MyFonts] [More]  ⦿

    Franz Heidl
    [Supergrafik]

    [MyFonts] [More]  ⦿

    Franz Heigemeir

    Painter, sculptor and type designer, b. ca. 1930. Graduate of the Kunstschule Augsburg, Germany. Since 1976, he is an active member of the Woodstock Artists Association and Museum. Based in Rifton, NY, his paintings can be seen in many places, such as Fine Art in Ulster County, New York.

    Creator of typefaces at VGC, such as Heigemeir Bold and Bold Open, Modula (1972) and the art deco typeface Organda (1972). Organda became a Mecanorma face.

    Digital revivals of Organda include Organ Grinder (2019, SoftMaker). [Google] [MyFonts] [More]  ⦿

    Franz Müller-Münster

    German designer of Zirkular Kursiv (1913, Emil Gursch). [Google] [More]  ⦿

    Franz Paul Glass

    Franz Paul Glass (b. 1886, Munich, Germany, d. 1964) studied Industrial Design at the College of Arts and Crafts in Munich. Later, he became well-known for his poster designs. He created Glass Antiqua (1912-1913, Genzsch & Heyse), a typeface with a slight art nouveau influence (+Schraffierte Glass Antiqua). Nick Curtis made a bold digital typeface based on this called Half Full NF (2011). Denis Masharov made his digital font Glass Antiqua (2012) available for free at Google Web Fonts. Not to be outdone, Gert Wiescher added his Glass Light family in 2012 to the collection of revivals and extensions.

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

    Franz Renner

    German printer (d. 1494). [Google] [More]  ⦿

    Franz Riedinger

    Designer at the Benjamin Krebs foundry who made Epoche (1912---well, I think this was by Eduard Lautenbach), Merian Fraktur (1910), Phänomen (1927, a heavy informal script), Ideal Schreibschrift (1927, a condensed formal script; this was later passed to Stempel), Riedingerschrift (1903: for a digital version, see Ridinger Std (2012, Ralph Unger)), Riedinger Mediäval (1929), Rohrfeder Fraktur (1909), Rediviva (1905, a Schwabacher published by Benjamin Krebs; a digital revival by Dieter Steffmann in 2002 is also called Rediviva), Altschwabacher Werkschrift (1918; followed by Altschwabacher mager in 1923 and Altschwabacher schmalfett in 1922; also, Altschwabacher Werkschrift Angangsbuchstaben). Reichardt also credits him with Rediviva (1905; halbfett 1906, schmalfett 1907), Riedinger Kursiv (1929), Riedinger Mediäval halbfett (1929), and Brentano Fraktur schmalfett (1917). [Google] [More]  ⦿

    Franz Thöricht

    Jascha & Franz is the design studio and typefoundry of Hamburg, Germany-based designer Jascha Kretschmann and Berlin-based designer Franz Thöricht, est. 2013. In 2021, they published the playful monolinear sans typeface Regular Bien. [Google] [MyFonts] [More]  ⦿

    Franzi Draws
    [Franzi Paetzold]

    Illustrator and type designer based in Berlin. Designer of the floriated caps typeface Bahor (2019), the arts and crafts typeface Elodie (2018), the free handcrafted font Caroni (2018). In 2021, she extended Caroni to an 18-style commercial family.

    Typefaces from 2022: Moonless (a hand-crafted font duo). Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

    Franzi Paetzold
    [Franzi Draws]

    [MyFonts] [More]  ⦿

    Franzis Verlag GmbH

    German publisher of the Windows XP Profischriften 2003 CD, which since 2004 has been entitled 1.800 Schriften für Windows (20 Euro at Amazon). Ulrich Stiehl studied this company, and offers a list of name analogies with commercial fonts here. This CD contains most fonts of the "Berthold Types" collection and also fonts by Adobe, Monotype, Linotype and other foundries. Stiehl writes that "the Franzis CD includes many fonts not contained in the MegaFont CD" [by Softmaker]. Stiehl's analyis shows that the 1774 font CD contains (i) Classic Fonts (copyright ClassicFontCorporation, USA RWE, typefaces of the former H. Berthold AG), and (ii) Modern Fonts and Display Fonts (copyright Christine Mauerkirchner and Rainer Grunert RWE, typefaces of Adobe, Agfa/Monotype, Linotype, Bitstream, Compugraphic and others). Stiehl says: Franzis Verlag GmbH was formerly a reputable independent technical book publishing house in Munich. It is located today in Poing, and publishes this above fonts CD which has fonts by "PrimaFonts alias ClassicFontCorporation alias Christine Mauerkirchner alias Rainer Grunert". [Google] [More]  ⦿

    Franziska Baruch

    Graphic designer, b. 1901, Hamburg, d. 1989, Jerusalem. She graduated from Staatlichen Kunstgewerbeschule Berlin and emigrated to Palestine in 1933. Designer of the Hebrew typefaces Rambam, Rahel, Staam Hasofer (1936, now at Masterfont), Schocken Baruch (a custom font), and Stam and Stam Mager (1930, H. Berthold AG). See Stam MF and Staam Hasofer MF at Masterfont. With Leo Ary Mayer, she designed Mayer Baruch (published by J.h. Enschedé). At MyFonts, her name is spelled Franceska Baruch.

    Reference: Specimen of Stam, Magere Stam, Rambam and Rahel (Berthold AG). Local download. [Google] [MyFonts] [More]  ⦿

    Franziska Stetter

    Stuttgart-based designer. Student at the Rhode Island School of Design (2011-2013) in the MFA program. Her extensive portfolio includes the typeface Alfred (2012, a headline typeface inspired by the magazine Bomb), Insect Font (2007, experimental) and Never Sleep (2009, an angular font). [Google] [More]  ⦿

    Fraugerlach
    [Verena Gerlach]

    German designer (b. Berlin, 1971) who studied Visual Communication at Kunsthochschule Berlin Weissensee from 1993-1998. Shortly after finishing art school in 1998 and two visits to the UK as an exchange student, she founded her own studio for graphic design, type design and typography. She has lectured on type design and typography at Designakademie Berlin since 2003. In 2005, she started Fraugerlach. At ATypI 2006 in Lisbon, she spoke about type in the streets of Berlin (PDF of Verena's presentation). At ATypI 2010 in Dublin, she spoke about her personal experiences with cultural oppression (censorship) in Algeria in 2009. Speaker at ATypI 2013 in Amsterdam: Ala has a pen - a remixed type workshop in Katowice [a report on a type design workshop held in Poland in 2012].

    Author of Karbid From lettering to type design (2013, coauthored with Fritz Grögel and published by Ypsilon Éditeurs). This book was released on the occasion of the ATypI 2013 conference.

    The PTL fonts in the list below were published at Primetype in 2002. Verena Gerlach created these typefaces:

    • LT Pide Nashi (1997). An Arabic simulation font.
    • EF Aranea (1996). A script face.
    • The FF Karbid family, 1999-2011. Includes FF Karbid Slab (2011) and Ff Karbid Display (2011). FF Karbid Text was published in 2011.
    • She co-designed CstBerlin-West with Ole Schaefer in 2000 at FontFont.
    • FF Citystreet Types East, FF Citystreet Types West.
    • PTL Blinkenlights (2001). Free at Primetype, this pixel font commemorates a happening in Berlin organized by Verena's hacker friends who made a tall building in Berlin into a computer screen in which pixels could be controlled by cell phones).
    • PTL Touja Sans, PTL Touja Slab (2002). These are comic book or dishwasher ad types.
    • PTL Trafo (2002).
    • PTL Tephe (2002).
    • PTL Lore (2002). A stencil family.
    • PTL Bugis (2002).
    • In 2008, she published the 8-style sans family FF Chambers Sans (one free weight).
    • In 2009, she finally completed Vielzweck at Primetype, described by Christoph Koeberlin as a DIN Schrift with personality.
    • In 2017, she published the sans typeface FF Sizmo in which some rounded and foliate letterforms reveal an organic concept.
    • In 2019, she released Kommune at Laic and wrote: Kommune is a display typeface inspired by the vernacular shop- and promotion letterings of Burkina Faso. Originally designed as a stencil typeface for the solo show and accompanying catalogue of Burkina Faso born Architect Francis Kéré (famous for his Laongo Opera Village and communal school buildings) at the Pinakothek der Moderne in Munich, it is now also available in a new version as a normal, non stencil typeface.

    Klingspor link. Linotype link. Fontshop bio.

    View Verena Gerlach's typefaces. [Google] [MyFonts] [More]  ⦿

    Freaky Fonts
    [Christian Künzer]

    Freeware fonts by German type designer Christian Künzer (aka "ck") and/or Thomas Schostok. These include many game fonts. Interruptrequested, Gamegirl, Emulogic, Plasmafusion, Bordersprite, Runstop Restore, Scienide, Adore64, AmigaForever, AmigaForeverPro, AmigaForeverPro2, Arkanoid, ArkanoidSolid, ChuckyMendoza-Drunken, ChuckyMendoza, CosmicAlien, DanceFloorEXit, Devilinside, DynamicRecompilation, Fairlight, Formulatoocomplex.2, Frankieghost, Handwerk (handwriting), Harmonica, LastNinja (oriental simulation), LiquidKidz, LiquidKidzspazeout, PixelTechnology+, PixelTechnology, Plasmafuzion, Razor1911, Razor1911Retro, SyntaxError, SyntaxTerror, TexasFuneral, Triad, TriadXS, 1st Sortie.

    Windows system fonts (.fon format): Atopaz, C, C64, Camels, Defjam, Dynamic, Fairlight, Future, Heretic II, Kung Fu, Shylock, Noname, Qu, Quake II, Star, Trek.

    Free truetype creations: Knighthawks (nice outline font), Taito All Stars (bitmap typefaces), VectorBattle.

    Many fonts here are designed for screen legibility at small point sizes. See also here and here.

    The game fonts by Künzer (with repetitions from above) include Camels /ck!, Half-Life 1, Half-Life 2, Heretic II, Last Ninja, Last Ninja 3, Last Ninja 3 (8x8), Pirates, Quake1, Quake2, SIN, Stealth.

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

    Fred Bordfeld

    German designer of GP.F La Muerte (2005, with Ollie Peters), GP.F Bitur 1.0 (2005, bitmap fraktur font), GP.F Mudam (2005, with Ollie Peters) and Jado (2005, FF DIN modified for Jadolabs GmbH). GP.F Bitur 1.0 is on the CD that comes with Fraktur Mon Amour (Hermann Schmidt Verlag, 2006). MyFonts link. Creator of Deja Rip and Deja Web (2010, with Elena Albertoni; Cyrillic included), a family of eight sans typefaces sold via Anatoletype. [Google] [MyFonts] [More]  ⦿

    Frederic Bartl

    Media designer in Forchheim, Germany. In 2013, he created the condensed poster typeface Golden Rules.

    Behance link. [Google] [More]  ⦿

    Frederik Frede

    Berlin-based designer of the excellent octagonal black display typefaces Geist KNT and Geist RND (2006). Dafont link. Free downloads. Fontica link. [Google] [More]  ⦿

    Frederik Ueberschär

    During his studies at the University of Applied Science Osnabrück in Osnabrück, Germany, Frederik Ueberschär designed the free monospaced octagonal typeface Run Mono Medium (2015). Behance link. [Google] [More]  ⦿

    Free Typography (or: Thom Design)

    Thom Design is located in Böblingen-Dagersheim, Germany. A sub-page (in English) is Free Typography. It offers exclusive downloads by a number of fledgling type designers, and was started ca. 2013. [Google] [More]  ⦿

    freetypography.com
    [Philipp Thom]

    Free font blog and news site maintained by Philipp Thom (Ulm, Germany). It has several free fonts. [Google] [More]  ⦿

    Freie Universitaet Berlin

    At this astrology site, we find three astrological fonts, Alchemy and Astro (2 weights), by Cosmorama Enterprises. [Google] [More]  ⦿

    Fridayfonts
    [Pascal Glissmann]

    Free font site, est. 2009. The fonts being displayed and introduced were developed by students in seminars and workshops offered by Pascal Glissmann at the Academy of Visual Arts Hong Kong and the Academy of Media Arts Cologne. Fonts there from 2009

    • Yee Ting Cherry Chan: BambooConstruction.
    • Cherry and Liu Sze Wai: Cherrybomb.
    • Chan Ying: ChineseRadicals.
    • Yuki Leung Tsz Ning: ConstructionWithShadow.
    • Stephanie Ka Ying Lai: Crozline.
    • Cynthia Chan: Cubism.
    • Susie Law Wai Shan: ImbalanceSur.
    • by unknown: Impression
    • Siu Chi Ming and Eason: LightInk.
    • Siu Wing Lam: MTR.
    • Wong Hoi Ying: MobileCode.
    • Li Yan Yee: Neurons.
    • Liu Wing Yi: OldHongKong.
    • Wan Yee Kam: Potata.
    • Ruth Ng: RuthInk.
    • Aegina Kwan Ting Ho: SealScriptRoman.
    • Toby Cheung: Skin Seal.
    • Lung Yan Yu: Transbars.
    • Wian Wai Yan Lau: Unfold.
    • Sandee Tang: GeoGraphics.
    • Liu Shuj Yee: Blowing.
    • Mabel Pui man Choy: Burning.
    • Tsand Lai Yin: Buttons.
    • Carsten Goertz: Eurothai.
    • Chan Kam Kwan (Fanny): Flame.
    • Wong Kai Zen (Gemmy): hexyClover.
    • Annabellali: Ink.
    • Matina Long Ling Cheung: Matina.
    • Yuki Yi Pui Lee: MushroomFont.
    • Pascal Glissmann, Martina Hoefflin: Parasite.
    • Ting Hiu Nam: Staples.
    • Tinny Liu: Treeskin.
    • Ka Yee (Polly) Fung: Triangular.
    • Ng Siu Yin (Hilary): Triclips.
    • Ahyan: Vibrate.
    • Ka Man (Cindy) Tse: Circulia.
    • Ka Yan (Elaine) Ng: Bubblegum.
    • Lo Betty Wing Man: HongKongPattern.
    • Thomas Hawranke: Dickbine.
    • Ip Ka Wai (Maxwell): Impression.
    • Cheung Yung: Pain.
    • Yuen Man Li: Ink (grunge).

    In 2010, new fonts were added. Here is a partial list:

    In 2013, Glissmann moved to Parsons in New York City, where he continued the tradition of posting the student work. However, there are no more downloads, and links are not clickable. [Google] [More]  ⦿

    Frieda Weissenhorner

    During her studies, Hamburg, Germany-based Frieda Weissenhorner designed the modern stencil typeface Vain (2015-2017). [Google] [More]  ⦿

    Friedel Thomas

    German designer (1895-1956) of Thomas-Schrift (1958, VEB Typoart, a rustic expressionist typeface) and Thomas-Versalien (1958, VEB Typoart). I guess the typefaces were finished by Friedel's angels.

    Ralph M. Unger revived the former as Thomasschrift in 2014, and extended it somewhat for modern use.

    In 2015, URW++ published Thomas Schrift and Thomas Versalien by Coen Hofmann, two further revivals. [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]  ⦿

    Friedrich Bauer

    German type designer (b. Dorste, 1863, d. Schönberg, 1943). In 1882, he becomes the type director at the foundry of Schelter&Giesecke in Leipzig, until 1890, and again from 1896-1898. From 1898 until 1911, he is the head of printing at Genzsch&Heyse, first in München and then in Hamburg. From 1911 until 1924, he taught at the Staatlichen Gewerbeschule Hamburg. At Genzsch&Heyse, he designed Albingia (1906), Bürgerschafts Fraktur (1907; Schnelle claims 1913), Genzsch Antiqua (1906), Genzsch Kursiv (1906), Genzsch Antiqua halbfett (1908), Genzsch Kursiv halbfett (1908), Genzsch Antiqua fett (1910), Genzsch Antiqua schmallfett (1910), Genzsch Fraktur (1931), Genzsch Fraktur halbfett (1932), Heyse Antiqua (1921), Heyse Antiqua halbfett (1924), Heyse Kursiv (1921), Senats Fraktur (1907), Senats Fraktur halbfett (1908), Germanische Antiqua (1911), Germanische Antiqua halbfett (1912), Germanische Kursiv (1911), Hamburger Druckschrift (1904; halbfett and fett in 1908).

    The first appearance of Nordisk Antiqua (or Genzsch-Antiqua) was in 1906 with a single weight under the name of "Nordisk Antiqua". In 1912 a family of seven weights was announced under the name "Genzsch-Antiqua" honoring the foundry in Hamburg where Bauer had been the manager of composing and printing since 1900. As the foundry Genzsch&Heyse had a lot of customers in Scandinavia, their Nordisk Antiqua became widely spread over the north of Europe.

    All his other typefaces appeared at J.D. Trennert&Sohn: Fortuna (1930), Friedrich-Bauer-Grotesk (1933), Friedrich-Bauer-Grot. kräftig (1934), Friedrich-Bauer-Grot. halbfett (1934), Friedrich-Bauer-Grotesk fett (1934), F.-Bauer-Grot. schmalhalbfett (1934), Friedrich-Bauer-Grotesk licht (1934), Trennert Antiqua (1926), Trennert Kursiv (1927), Trennert Antiqua halbfett (1927), Trennert Antiqua fett (1929), Trennert Kursiv fett (1930), Trennert Antiqua schmalhalbfett (1929), Trennert Latein (1932).

    For a digital revival of Friedrich Bauer Grotesk, see FF Bauer Grotesk (2014, Thomas Ackermann and Felix Bonge for Fontfont).

    Digital revival of Senats Fraktur: Senatsfraktur (2020, Raph M. Unger).

    Digital revivals of Genzsch Antiqua:

    • Genzsch Antiqua by Gerhard Helzel. In mager, halbfett and kursiv.
    • Nordische Antiqua (2000) by Gisela Will.
    • Nordik (1992) by Bo Berndal, released by Monotype.
    • LD Genzsch Antiqua (2017-2020) by Michael Wörgötter at Lazydogs Type Foundry.

    Author of Chronik der Schriftgiessereien in Deutschland und den deutschsprachigen Nachbarländen (1928, Offenbach am Main). A PDF file exists that was made and expanded by Hans Reichardt in 2011. [Google] [MyFonts] [More]  ⦿

    Friedrich Forsmann

    In 2002, Friedrich Forssman and Ralf de Jong published Detailtypografie: Nachschlagewerk für alle Fragen zu Schrift und Satz (Verlag Hermann Schmidt). [Google] [More]  ⦿

    Friedrich Groegel
    [Fritz Grögel]

    [More]  ⦿

    Friedrich Heinrichsen

    Type designer and calligrapher (b. Passau, 1901, d. 1980, Traunstein) who made Gotenburg (1935-1937, D. Stempel) [with Zierversalien, 1936]. This was digitized in 2001 by Delbanco as DS-Gotenburg. GotenburgA and GotenburgB were revived by Dieter Steffmann in 2002. Heinrichsen was associated with the Werkstattgemeinschaft Rudolf Koch. Other typefaces: Heinrichsen-Kanzlei (1933, Trennert), a gorgeous tall-ascendered blackletter face [for a free digital descendant, see KanzleiScriptHJZ by Hans J. Zinken]. His calligraphic work was also outstanding, and includes Initialen, a proposal for Lichte Schwabacher (never actually cut), and numerous handwriting and calligraphic keepsakes.

    In 1986, Wolfgang Hendlmeier wrote a brief biography. Picture. [Google] [More]  ⦿

    Friedrich Hermann Ernst Schneidler

    Type designer, teacher, publisher and calligrapher, b. Berlin (1882), d. Gundelfingen (1956). He worked initially with J.G. Schelter&Giesecke in Leipzig and C.E. Weber in Stuttgart. In the 1930s, he published his type designs with Bauer. He studied at the school for applied arts in Düsseldorf under F. H. Ehmcke and Peter Behrens. From 1920 until 1948, he was head of the graphics division of the Akademie der bildenden Künste Stuttgart, where his students included Albert Kapr, Imre Reiner and Lilo Rasch-Naegele. His oeuvre resides now in the Klingspor Museum in Offenbach. He is famous for his Amalthea, Zentenar Fraktur, Schneidler Antiqua, Schneidler Mediaeval and Legende. In general, due to his calligraphic tendencies, his types have great rhythm. In his era, he was at the top of his craft (in my view). A list and samples of his work. His typefaces, by foundry:

    • C.E. Weber: Deutsch Römisch (1923; Berry et al give the date 1926 for this old face; the A has a flat apex; the M has thin slab serif; Q has the tail outside the bowl; in the lower case the round letters are condensed; f is narrow; g has an oval-like bowl and wide tail), Kontrast (1930, an art deco collection which was revived in 15 styles in 2007 by Iza W as Schneider (sic) Kontrast and which saw another revival, RMU Kontrast, by Ralph M. Unger in 2021), Bayreuth (1932: this blackletter font was remade from a scan by Petra Heidorn in 2003 as Bayreuth-Black; for a variation, see Manfred Klein's Bayreuther-BlaXXL (2005); see also the free orphaned typeface Bayreuth), Suevia-Fraktur.
    • J.G. Schelter&Giesecke: Schneidler Schwabacher (1912-1913; revival in 2004 by Petra Heidorn and Manfred Klein), Schneidler Schwabach Initials (digitized by Manfred Klein in 2004 as SchneidlerSchwabachInitials), Buchdeutsch (1923; a blackletter revived in 2021 by Ralph Unger as Werbedeutsch), Buchdeutsch halbfett (1926), Schneidler-Deutsch [a blackletter revived in 2009 by Intellecta Design as Schneidler Halb Fette Deutsch], Schneidler Fraktur (1914-1916), Schneidler Kursiv (1921).
    • Schneidler Latein, released in 1916, the bold version in 1920 and the italics in 1921. This typeface was first revived and extended by Lena Schmidt in 2019 as Schneidler Latein. Lena writes: Schneidler Latein is a sharp and elegant Antiqua based on the ductus of the broad edged pen with a strong character. Running perfectly in paragraph text giving it something quite special and being effortlessly legible at the same time, Schneidler Latein works great in headings as well. Each glyph is a piece of art ready to be used in branding and blowup combining beauty and personality in a kick-ass blend. It is absolutely new to the digital world as it never has been digitized before.
    • Bauersche Giesserei: Ganz Grobe Gotisch (1930): this was revived by Ralph Unger as (FontForum) Ganz Grobe Gotisch (2006, URW), by Dieter Steffmann as Ganz Grobe, by Manfred Klein as TypoasisBoldGothic (2003), by Mars Attacks as Grobe Hand (2012, free), by Paulo W as Schneidler Grobe Gotisch (2008), and by Petra Heidorn as Bayreuth.
    • Bauersche Giesserei: Graphik (aka Herald, 1934).
    • Bauersche Giesserei: Schneidler Old Style (or Bauer Text), 1936.
    • Bauersche Giesserei: Zentenar Fraktur (1937). So called to honor the 100th anniversary of Bauersche, est. 1837: Peter Wiegel (CAT Zentenar Fraktur, 2014), Delbanco (DS Zentenar Fraktur), Ralph M. Unger (Zentenar Fraktur mager, halbfett, 2010), Softmaker (2016) and Dieter Steffmann each have digital versions. See also Z690 Blackletter on the SoftMaker MegaFont XXL CD, 2002. Followed by Zeichen Zentenar Fraktur (1937; see also the 2007 digitization of the caps by AR Types entitled Zentenar Initialen).
    • Bauersche Giesserei: Zentenar Buchschrift (1937-1938). Digital version by Delbanco.
    • Bauersche Giesserei: Schneidler Mediaeval (1936). See URW Schneidler Mediaeval (2011).
    • Bauersche Giesserei: Schmalfette Gotisch. Revived as SchmalfetteGotisch in 2004 by Petra Heidorn and Manfred Klein, and extended by Manfred Klein to SchmaleGotischMK, also in 2004.
    • Bauersche Giesserei: Schneidler Initials (1937, a Trajan face). See the 2004 revival by Petra Heidorn as Schneidler Initialen, and Shango (1993, Castle Type), and Shango Gothic (2007, Castle Type), the free font Au Bauer Text Initials (1990, Auras Design), OPTI Bauer Text Initials (Castcraft), and the 1994 revival by GroupType as Schneidler Initials. Schneidler Initials is in fact originally known as Schneidler-Mediaeval mit Initialen.
    • Schneidler Amalthea (1936). See A770 Roman on the SoftMaker MegaFont XXL CD (2002), OPTI Schneidler Swash by Castcraft, Stempel Schneidler by Bitstream, Amalthea SH by Scangraphic, Amalthea SB by Scangraphic, and URW Schneidler Amalthea (2011, URW).
    • Bauersche Giesserei: Legende (1937). A faux Arabic script font digitized at Profonts/URW++ by Ralph M. Unger in 2002, by Brendel (as Legend) in 1990, by SoftMaker (as Legende Script) in 2012, By SoftMaker as L690 Script, and by Ari Rafaeli in 2006. Elsner and Flake published the script font Graphis (1934, revival by Jürgen Brinckmann).
    • Bauersche Giesserei: Schneidler (1936). It was published in digital form by Bitstream, Adobe, and Elsner&Flake.

    For Schneidler, the best source is the book by Max Caflisch, Albert Kapr, Antonia Weiss, and Hans Peter Willberg entitled F.H. Ernst Schneidler Schriftentwerfer Lehrer Kalligraph SchumacherGebler, München, 2002.

    FontShop link. Klingspor link.

    View F.H. Ernst Schneidler's typefaces. [Google] [MyFonts] [More]  ⦿

    Friedrich Hermann Wobst

    Designer (b. 1905, Rochlitz) who studied at the Dresdener Kunstakademie, the Kunstgewerbeschule in Offenbach and at the Vereinigten Staatschulen für freie und angewandte Kunst, Berlin. In 1946, he moved to Stuttgart. At D. Stempel he designed the typeface Globus Kursiv (1932), a fat italic with script-like features. His fat Schwabacher typeface Roland Fraktur (1933, D. Stempel) remained unpublished. It was revived in 2015 by Coen Hofmann also as Globus Cursive (2015, URW++). [Google] [More]  ⦿

    Friedrich Karl Sallwey

    Type designer (b. Langen, Germany, 1918, d. 2005) who studied at Kunstgewerbeschule in Offenbach from 1937 until 1939 and in 1941 and 1942. Later he worked at the Bauersche Gießerei as Heinrich Jost's assistant. From 1951 onwards he was a freelance graphic artist in Frankfurt am Main. Sallwey designed fonts at Klingspor such as Information Breitfett (1958). At D. Stempel, he designed Present (1974-1989, now available from SoftMaker as P820 Script, from Varityper as Tracey Script, from Corel as President, and from Adobe and Linotype as Present or Present Roman). He also made (1979) and Roundy (1992-1993). These are all script typefaces with some calligraphic influences.

    Klingspor shows various unplublished typefaces by Sallwey.

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

    Friedrich Ludwig Metzger

    Friedrich Ludwig Metzger had worked briefly for the type foundry of Karl Tauchnitz in Leipzig. From 1848 until 1862, he was the leader of a church mission in Agra, India. In 1863, he set up a type foundry in Leipzig and bought the type foundry of Tauchnitz in 1865. In 1868, Robert Wittig was associated with Metzger, and the company became known as Metzger & Wittig. But that same year, all the matrices and type material was taken over by W. Drugulin, to be joined with the Niersschen Schriftgiesserei (est. 1829). [Google] [More]  ⦿

    Friedrich Mischke

    German creator (b. 1986) of the hand-printed typeface Photocad (2013). This is a commercial hook. Fontspace link. [Google] [More]  ⦿

    Friedrich Nies
    [Friedrich Nies]

    Leipzig-based typefounder who started W. Drugulin in Leipzig in 1829. Aka Niesschen Schriftgiesserei. Drugulin later evolved into the Museum für Druckkunst. [Google] [MyFonts] [More]  ⦿

    Friedrich Nies
    [Friedrich Nies]

    [MyFonts] [More]  ⦿

    Friedrich Peter

    Aka Fred Peter. We find the name Friedrich Peter at Monotype and most other foundries. Designer, visual artist and calligrapher (b. 1933, Dresden, Germany) who moved to West Berlin in 1950, where he studied lettering design, painting, graphics, typography and calligraphy at the Academy of Visual Arts. He emigrated to Canada in 1957 with his wife, and started teaching in 1958 at the Vancouver School of Art, which later became the Emily Carr Institute of Art and Design, and this until 1998. He has many designs for postage stamps, coins and medals in Canada between 1980 and 1998. He is an all-round artist who is also famous for his contributions to calligraphy. His typefaces:

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

    Friedrich Poppl

    German scribe and calligrapher (b. Soborten, Czechoslovakia, 1923, d. Wiesbaden, 1982), and designer of several text families, such as Poppl-Fraktur (1986), Poppl-Antiqua, Poppl-College (1981), Poppl-Exquisit (1970), Poppl-Nero (1982, his last face), Poppl-Laudatio (1982; see the clones OPTI Peach (Castcraft) and Poem Lavish (Softmaker)), Poppl-Pontifex (1974), and Poppl-Residenz (1977, classic calligraphy). These typefaces can be bought at Berthold.

    Revivals: His neo-gothic typeface Saladin was later digitized and expanded by Patrick Griffin as Lionheart (2006, Canada Type). Hip Hop NF (2007) is a bouncy retro typeface based on Friedrich Poppl's Dynamische Antiqua (1960, Stempel). Elfort (2009, Iza W, Intellecta Design) is a calligraphic revival of work by Poppl. Poppl Stretto (1969) was at the basis of a revival by Canada Type called Wonder Brush (2012, Kevin Allan King and Patrick Griffin). Poppl Fraktur was revived and modernized by Ralph Unger as Parler Fraktur in 2018. [Google] [MyFonts] [More]  ⦿

    Friedrich Pustet

    Type foundry in Regensburg, Germany. Its typefaces included Neue Kirchenschrift (ca. 1890, a typeface acquired from Bauer) and Neue Zeitings Schwabacher (ca. 1900). For digital revivals, see Gerhard Helzel's Halbfette Neue Zeitings-Schwabacher. [Google] [More]  ⦿

    Friedrich Schoch

    Designer of Schochische Cursiv (1844, F. A. Brockhaus, Leipzig). Schoch was also a foundry in Augsburg. [Google] [More]  ⦿

    Friedrich Soennecken

    Friedrich Soennecken (b. 1848, Iserlohn-Dröschede, Sauerland; d. 1919, Bonn) was an entrepreneur and inventor. He was the founder of Soennecken, a German office supplier. In 1875 he founded F. Soennecken Verlag, a commercial enterprise in Remscheid, Westphalia. His main invention is the round writing style of calligraphy and the pen nib associated with it.

    In 1878, Soennecken developed a method for creating glyphs, based on metal elements that are arcs or straight lines. The center lines of the glyphs are aligned with a grid. This was introduced in the German educational system in 1913. He wrote didactic texts on his construction method and on penmanship for the classroom. For example, he authored Methodical Text Book to Round Writing, A. Eltzbacher & Co., 1879. [Google] [More]  ⦿

    Friedrich Vieweg & Sohn

    Braunschweig-based foundry. [Google] [More]  ⦿

    Friedrich Wilhelm Bauer

    Typefounder, b. 1834, Frankfurt am Main, d. 1923, Stuttgart. Designer of Bauersche Fraktur (1905, Bauersche Giesserei) and Gutenberg-Gotisch (1880, Bauersche Giesserei, with Gottfried Wilhelm Theodor Friebel). Bernhard Schnelle gives the date 1912 for Bauersche Fraktur schmalfett and eng halbfett, and 1919 for Bauersche Fraktur as a whole. Enge halbfette Bauersche Fraktur was revived in 2013 by Christoph Schwedhelm. [Google] [More]  ⦿

    Friedrich Wilhelm Kienzle

    Stuttgart-based foundry. [Google] [More]  ⦿

    Friedrich Wilhelm Kleukens

    German type designer, 1878 (Achim)-1956 (Nürtingen). Studied in Berlin. Founder in 1900, with F.H. Ehmcke and Georg Belwe, of the Steglitzer Werkstatt, which he left in 1903. He taught at the Leipzig Academy of Graphic Design and Book Arts from 1903 until 1906. Thereafter he taught in Darmstadt and worked at private presses. From 1924 until 1931, he was advisor at D. Stempel AG, where he made, e.g., Gotische Antiqua (1914), Helga (1912, with round wide lower-case letters), Helga Antiqua (1913), Ingeborg Antiqua (1910), Omega (1926: art deco), Kleukens Scriptura (1926), Ratio Latein (1923), and Kleukens Fraktur (1910-1911) [sample scans: sample text, Zierbuchstaben, alphabet]. Still later, he made Trennert Fraktur (1931) at J.D.Trennert&Sohn. He also made Gutenberg-Fraktur.

    Many of his typefaces were revived. Kleukens Antiqua (Bauersche Giesserei, 1910) was revived by Nick Curtis in 2007 as Kleukens Antiqua NF and by Christine Gertsch at KABK in 2012 as Kleukens Antiqua. Kleukens Scriptura was digitally revived as Kleukens Kursiv NF (2010, Nick Curtis). The Scangraphic collection has his Trieste (1910). Petra Heidorn and her group created a revival of Kleukens Fraktur. Canada Type (Kevin Allan King and Patrick Griffith) published Ratio Modern (2011), a spectacular revival of Kleukens' 1923 didone face. Omega was revived by Ralph M. Unger in 2020 as RMU Omega. [Google] [MyFonts] [More]  ⦿

    Fritz Deutschendorf

    German type designer, b. 1914, Stettin, d. 1993. He studied lithography at the Kunstgewerbeschule Stettin, and worked as a freelancer since 1945. He designed some unpublished largely experimental typefaces. [Google] [More]  ⦿

    Fritz Eberhardt

    Bookbinder, calligrapher and type designer, 1917-1997. He studied calligraphy with Rudo Spemann and Hermann Zapf. His fonts include Markus and Ingrid, which is used for the logo of The Bombay Company. [Google] [More]  ⦿

    Fritz Funke

    Author of Schrift mit Zirkel und Richtscheit (Leipzig, 1955). [Google] [More]  ⦿

    Fritz Genzmer

    Author of Das Buch des Setzers (1948), an overview of the hand composition typefaces available by German type foundries at the end of World War II:

    • From Frankfurt: Bauersche Giesserei, Ludwig&Mayer, D. Stempel.
    • From Berlin: H. Berthold, Norddeutsche Schriftgiesserei.
    • From Hamburg: Genzsch&Heyse.
    • From Offenbach: Gebr. Klingspor.
    • From Leipzig: J.G. Schelter&Giesecke, Ludwig Wagner.
    • From Dresden: Brüder Butter.
    • From Altona: J.D. Trennert und Sohn.
    • From Stuttgart: C.E. Weber.
    [Google] [More]  ⦿

    Fritz Grögel
    [Friedrich Groegel]

    Fritz Grögel (b. Wassertrüdingen, Germany, 1974) studied graphic design and typography at the University of Applied Sciences in Potsdam, Germany. In his graduation work French Délice, he explored the history of French letterpainting. After several years of work as a corporate designer, he attended the TypeMedia master course of KABK The Hague where he researched the German letterpainting tradition. Together with Elena Albertoni, he founded the studio LetterinBerlin in 2011. The following year he conducted extensive research at Berlin's Kunstbibliothek on the history of German lettering which is the subject of his talk at ATypI 2013 in Amsterdam. That talk is based on the content of the book Karbid From lettering to type design (2013) by Verena Gerlach and Fritz Grögel published by Ypsilon Éditeurs and released on the occasion of the Amsterdam conference.

    His project for the Masters in type design program at KABK in 2010 led to the signage family Hinterland (2010), and to Builderdyke (2010), a revival project with Paul van der Laan: a digital reinterpretation of Johann Michael Fleischmann's Mediaan Romein.

    Other typefaces by him include Glupsisch (2010, is a round piano key typeface created with the help of Typecooker), Fritzskript (a flowing connected script that was done at the Ecole supérieure Estienne, Paris), and Estelita (a calligraphic hand that was inspired by the titles of a French art deco silent movie by Marcel L'Herbier called L'Inhumaine).

    Flickr page. Old URL for Fritz Grögel. [Google] [More]  ⦿

    Fritz Helmuth Ehmcke

    Born in 1878 in Hohensalza, Ehmcke died in 1965 in Widdersberg. Graphic artist, book and type designer, and professor. From 1893 until 1897, he studied lithography in Berlin, and from 1899-1901 he studied at the Kunstgewerbemuseums Berlin. With Georg Belwe and Friedrich W. Kleukens, he founded the Steglitzer Werkstatt in 1900. He taught from 1903 at the Kunstgewerbeschule Düsseldorf, and from 1913-1938 at the Kunstgewerbeschule München . He ran the Rupprecht Presse in Munich from 1913-1934. Since 1941, he worked for the Bund für Deutsche Schrift, which is partially concerned with blackletter type. Finally, from 1946-1948, he was professor at the Hochschule der bildenden Künste München. He designed these typefaces:

    • Ehmcke Flinsch (1908, Bauersche Giesserei).
    • Ehmcke Antiqua (1908-1909, Flinsch). A beautiful Belle Epoque font. Linotype sells the digital version as Carlton, after acquiring ITC and Letraset which had digitized Carlton in 1983, based on a Stephenson Blake typeface from the 1910s. It appears that Ehmcke Antiqua predates that Stephenson Blake face. For another revival, see Antiqua Roman (2015, Yuanchen Jiang).
    • Ehmcke Kursiv (1910, Flinsch).
    • Ehmcke Fraktur (1910, Offizin W. Drugulin and 1912, at D. Stempel). The halbfett is from 1917. Revived by Dieter Steffmann as Ehmcke-FrakturInitialen (2002).
    • Ehmcke Rustika (1914, Stempel).
    • Ehmcke Schwabacher (1914, D. Stempel; some mention the dates 1916 and 1920; see also Ehmcke Schwabacher Zierbuchstaben). The halbfett is from 1915. The Delbanco revival is called DS-Ehmcke Schwabacher. Revived by Dieter Steffmann as Ehmcke-Schwabacher Initialen (2002).
    • Ehmcke Mediaeval (1922, Stempel). The kursiv is from 1923 and the halbfett from 1924.
    • Ehmcke Latein (1925, Ludwig&Mayer).
    • Ehmcke Brotschrift (1927, Ruprecht Presse).
    • Ehmcke Elzevier (1927, L. Wagner).

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

    Fritz Kossack

    Type designer, b. 1927, radebeul. In 1969, he became a teacher at Hochschule für Bildende Künste Dresden in former East Germany. In 1985, he designed Zyklop at the East German state foundry VEB Typoart. [Google] [More]  ⦿

    Fritz Max Steltzer

    Died in 1940. Steltzer designed Monotype Script Bold. Some publications list him as F.H. Steltzer. Monotype Script was revived in 2000 by Nick Curtis as Team Spirit. [Google] [More]  ⦿

    Fritz Müller

    Blackletter type designer: Armin-Gotisch (1933, Schriftguss). [Google] [More]  ⦿

    Fritz Pott

    German letterer and autodidact, b. 1924. He developed some of his own types for printing. [Google] [More]  ⦿

    Fritz Renzo Heinze
    [Digital Type Company (or: DTC)]

    [MyFonts] [More]  ⦿

    Fritz Richter

    Designer (b. Leipzig, 1945) at Typoart of Biga (1985), a shaded 3d headline face. Klingspor mentions the date 1989. In any case, a digital version is available from Elsner & Flake. He studied at the Hochschule für Grafik und Buchkunst Leipzig from 1974 until 1979.

    In 2016, Ralph M. Unger created the circus font Circensis, and writes that the font was influenced by Richter's work. [Google] [More]  ⦿

    Froedi

    German designer of the sans serif typeface Banja (2004). [Google] [More]  ⦿

    Frutiger, Myriad, Slimbach

    Bill Troop explains the Myriad/Frutiger controversy.

    The present design patent system is practically useless as the examiner seems to take the case as presented, regardless of merit. But had we a system such as the German one that found Segoe was virtually identical to Frutiger, then Myriad would probably also be considered identical to Frutiger. No less an authority than Frutiger himself considered it so.

    Adobe had what seemed like a good idea: Myriad was supposed to be a completely characterless sans serif - that's why two designers, Robert Slimbach and Carol Twombly, were assigned to it. The reasoning was that the two designers would cancel out each others' egos.

    Very good reasoning, but it didn't take sufficient account either of Robert's ego or his vampyrism. As the project moved on, Carol had less and less input on the design and, as she has remarked, the design grew more and more to look like Frutiger. (Amusingly enough Frutiger and even Segoe are cited in the most recent patent applications for Myriad.)

    It's an astonishing thing but for years very few people, other than Frutiger, noticed that Myriad was so close to Frutiger that it had to have been traced over it. You couldn't come that close without tracing. Frutiger complained vehemently, and was rewarded by the famous seven-page letter from Fred Brady of Adobe, explaining all the various ways in which Myriad was not a copy of Frutiger.

    Who to believe? Brady or Frutiger? Well, of all the non-entities in 20th century type history, Fred Brady is one of the non-est. And of all the masters of 20th century type, Adrian Frutiger is one of the greatest. That's a clue.

    In justice to Twombly, it is clear that she was not a willing participant. Carol is not a bad person, unless you think it is bad to choose to remain silent when something bad is unfolding.

    The same thing happened, a few years later with Cronos, a knockoff of Volker Kuester's Today Sans Serif. I know that Fred knew about this in advance, but precisely when? I'll never forget the phone call when I suggested to Fred that Adobe should take on Today Sans Serif. Hmmmm, he said. 'Scangraphic? Let me have a look at their specimen book. (Rustle of pages.) Today Sans Serif? Very nice. Well Bill, if you like Today Sans Serif, you're gonna love Robert's new Cronos.'

    I have subsequently wondered: was that the moment when he, who I think was technically Robert's manager, discovered that Today and Cronos were one and the same? Or was it a put-on for my benefit.

    One thing I'm surer of. When, some time later, I was talking to Carol and pointed out the near identity of Today and Cronos, the way she said, 'Not again!' seemed spontaneous. Carol did not know, until that moment, what had happened.

    So there we are. No company has been more active in seeking copyright protection than Adobe. But Adobe's record is so tarnished that I find myself unable to take much interest in font copyright.

    Was there another way for Adobe? There was, and they could have taken it, had the font group been possessed of sufficient mettle.

    There is the Font Bureau model. Font Bureau has produced numberless superb knock-offs. Each one is impeccably researched and executed, and each one is impeccably sourced.

    Font Bureau never stoops to assert that its knockoffs are original, much less worthy of patent. But it makes a superb case, which happens to be largely true, that its knockoffs are substantial improvements, technically, aesthetically, and functionally.

    I have been thinking about Font Bureau's model for years, and the more I think about it, the better I think it is. Type cannot and should not be over-protected. The key, as in all else, is honesty. [Google] [More]  ⦿

    Fuehrmann Software Service GmbH

    Designers of SZ in 1995. [Google] [More]  ⦿

    Fuenfwerken Design AG
    [Daniel Schops]

    German company. In 2008, Fuenfwerken Design won the pitch for a design concept for the new information centre. Fuenfwerken Design was picked to design Technische Universität Darmstadt's recently completed reception building. Daniel Schops created a pixel font family for this project, entitled TU DotMatrix (2009, FontStruct). Free download.

    At MyFonts, one can purchase a set of Christmas dingbat fonts called Xmas (2005, Linotype). [Google] [MyFonts] [More]  ⦿

    Funs Kurstjens

    Cologne, Germany-based designer of the vintage typeface Tannery (2013). Home page at Sugar For All. [Google] [More]  ⦿

    Furiosum
    [Christian Gwiozda]

    Furiosum is Christian Gwiozda's foundry, est. 2010. Christian lives and studies communication design in Trier. Germany. In 2010, he made the slab serif typeface Larque. Structorator (2010) is a free app in which multiline text is generated modularly.

    In w2014, he designed the open humanist sans typeface Civolis.

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

    FUSE '95

    Site for the successful FUSE '95 meeting organized by FontShop from November 17-19, 1995, in Berlin. Max Kisman's cartoons. [Google] [More]  ⦿

    Fust & Friends
    [Jan Middendorp]

    Fust & Friends was started in late 2015 by Jan Middendorp (the main motor behind this project), Minjoo Ham, Andreas Seidel, Allan Daastrup, Dan Reynolds, Florian Hardwig, Beatrice Davies and Ed Noel: We're a group of text, typography and lettering lovers with a warm interest in good-looking language. Most of us are based in Berlin, where we participate in type-related activities and work on publications, videos, events and fonts. The group is international: the first and second batches of typefaces have been, and are being, designed and produced by professionals from Germany, the Netherlands, South Korea, Italy, Denmark, Austria, Britain, and Brazil.

    • The expressionist typeface Alarm (2017, by Andreas Seidel), which is based on an old design of Heinz König also called Alarm (1928, at Trennert).
    • Presto (2017, by Andreas Seidel), a revival of a script by Helmut Matheis (1970).
    • Teddy (2017, by Minjoo Ham). A layerable typeface that started out as a digital version of Ernst Bentele's Freely Drawn Italic alphabet (1953). It comes with an interesting set called Teddy Catchwords.
    • Teddings (2017, by Beatrice Davies). These dingbats, specially designed to accompany Teddy, were fontified by Andreas Seidel and Minjoo Ham.
    [Google] [MyFonts] [More]  ⦿

    Fust and Friends

    German type foundry, est. 2016. [Google] [MyFonts] [More]  ⦿

    Futura: The Typeface

    In 2016, Petra Eisele, Annette Ludwig and Isabel Naegele published Futura: Die Schrift (in German). The English version Futura: The Typeface (Laurence King) followed in 2017. This book includes essays by Steven Heller, Erik Spiekermann, Christopher Burke and others, and was edited by Petra Eisele (Professor of Design History and Design Theory at the University of Mainz), Annette Ludwig (Director of the Gutenberg Museum) and Isabel Naegele (Professor of Typography at the University of Mainz).

    The publisher's blurb: Celebrating its 90th anniversary this year, the story of Futura is a fascinating one. Charting its Bauhaus origins to its use as the first font on the moon in 1969, this book tells the story of how the typeface went from representing radicalism in design to dependability. It is durable and timeless, and is worthy of being rediscovered and celebrated. [Google] [More]  ⦿

    F-Wort.net

    Dirk Uhlenbrock's type pages, an on-line magazine with essays in German. [Google] [More]  ⦿

    G. B. Gmelin'sche Schriftgießerei

    Stuttgart-based foundry active ca. 1830. Some time after 1840, it moved to Magdeburg. One of its apprentices was Christian Emil Weber. [Google] [More]  ⦿

    G. Deniz Yücel

    Creator of the calligraphic typeface Dies Irae (2013).

    Behance link. [Google] [More]  ⦿

    g31

    Design studio in Düsseldorf, Germany. In 2014, together with Andreas Steinbrecher, they designed a curly monoline typeface for the Aquazoo Löbbecke Museum Branding. [Google] [More]  ⦿

    Gabriel deVue
    [Gabrielarts.de]

    [More]  ⦿

    Gabriel Richter
    [Nice to Type]

    [MyFonts] [More]  ⦿

    Gabriel Weiss

    German designer of the fat finger font Gabriel Weiss Friends (2019). [Google] [More]  ⦿

    Gabrielarts.de
    [Gabriel deVue]

    German creator of the hand-printed outline typeface Barbera Twisted (2012), which has three styles including one featuring a shaded 3d effect.

    Dafont link. [Google] [More]  ⦿

    Gabriele Laubinger

    German artist (b. 1962, Wanne-Eickel) and type designer who won an award in the Linotype International Type design Contest in 2000 for the blackletter-inspired caps font Linotype Sangue (1996). Font sample.

    Home page. Fontshop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Gabriele Lindemann

    German designer at URW++ of the wonderfully futuristic font Argonautica (2002), which she herself calls Die Hieroglyphen des Trillenniums. [Google] [MyFonts] [More]  ⦿

    Gadso Weiland

    Designer (b. 1869) of Toscana Schriften and Toscana Schmuck (1908, Klinkhardt). [Google] [More]  ⦿

    GagaFonts (or: Gaga Design)
    [Jens Gehlhaar]

    Jens Gehlhaar is a filmmmaker and type designer. He has directed commercials for Nissan, Apple, Emirates Airlines and Microsoft. As a creative director, Gehlhaar has worked on a broad range of projects for Coca-Cola, MTV, EPSN, Volkswagen and more. His foundry, Gaga Design (or GagaFonts) is/was based in Bad Ems, Germany. Gehlhaar also hangs his pyjamas in California.

    At GagaFonts he released the JensHand family (1995), Amoebia and AmoebiaRain (1993, organic family), Cornwall (1993, sans), Blindfish (1992), Capricorn (1994, free at Die Gestalten), Copycat (1994), GagaSingles (Amati, Lettuce and Somnolence, 1993), RemGothic, MoveYourHead, SophiesDream, Westpark and Gagamond (1993). All are available through DsgnHaus and Apply Design. Many aree also available via Radar Design at Faces.

    In 2019, FontFont released Gehlhaar's FF Neuwelt in 33 styles. He writes: FF Neuwelt is open, inviting, highly legible, and strikingly handsome. Combining the straightforward clarity of a geometric sans with a welcoming warmth, FF Neuwelt's eight display and text weights, vast range of alternates and extended character set, make for a family with few limitations. [Google] [MyFonts] [More]  ⦿

    Ganesha Balunsat

    Freelance designer in Berlin who graduated from the California College of the Arts in San Francisco. Creator of the didone typeface Evoque (2014). In 2012, she created Nightclub Wayfinding Icons.

    Behance link. [Google] [More]  ⦿

    Gebr. Arndt

    Foundry, est. by brothers Karl and Paul Arndt in Berlin in 1874. Karl already had experience in a foundry. Paul died in 1894, aged just 49. In 1917, Karl sold the company to Otto Thefeld (b. 1868) who had been the company's manager since 1903. In 1921, the eldest son, Heinrich Thefeld, became partner in the company.

    One of their house types was Courante Gotisch. Gerhard Helzel has digitizations of Courante Gotisch---one based on Bauer, and another one based on the Cottasche Bibliothek der Weltliteratur (ca. 1850). [Google] [More]  ⦿

    Gebr. Klingspor: Schriftkartei

    In 1950, Gebr. Klingspor published a nice small booklet simply called Schriftkartei. The images below are from that book. [Google] [More]  ⦿

    Gebrüder Gädicke

    Weimar-based printer who published Schriftproben aus der neuen Buchdruckerei der Gebrüder Gädicke (1799, Weimar, Germany). Local download. [Google] [More]  ⦿

    Geiger Artwork
    [Jürgen Geiger]

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

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

    Geldsetzer

    German language type glossary. [Google] [More]  ⦿

    genealogy.net

    Links to old German handwriting fonts and literature. [Google] [More]  ⦿

    Genotyp
    [Michael Schmitz]

    Michael Schmitz at the Universität der Künste Berlin developed a tool, genotyp, that allows one to blend and marry various types, the way Font Chameleon used to do. Discussion at TypeForum. [Google] [More]  ⦿

    Genzsch&Heyse

    Hamburg-based foundry ifounded by Emil Julius Genzsch (1856-1906). It was taken over by Linotype in 1963. Their library included typefaces by these designers:

    • F. Bauer: Fortuna (1930), Genzsch Antiqua (1906), Genzsch Fraktur (1931), Heyse Antiqua (1921), Senats Fraktur (1907).
    • K. Klauß: Arkona (1935), Horizontale (1942).
    • Heinz Beck: Brahms Gotisch (1937).
    • Carl Otto Czeschka: Czeschka Antiqua (1914), Olympia (1929).
    • A. Auspurg: Hans Sachs Gotisch (1911), Domina (1929), Souverän (1913).
    • O. Hupp: Heraldisch (1910), Neudeutsch (1900), Numismatisch (1900).
    • J. Kirn: Oleander (1938).
    • H. König: Suberpia (1913).
    • Adolf Heimberg: Urdeutsch (1924).
    • Helmut Matheis: Verona (1958).
    • E. Mollowitz: Anemone (1955).
    • E. Ege: Basalt (1926), Ege-Schrift (1921).
    • W. Rebhuhn: Fox (1953), Hobby (1955).
    • H. Schmidt: Gigant (1926), Monument.
    • F. P. Glaß: Glaß Antiqua (1912).
    • Eickhoff: Lithograph (1903).
    • H. Möhring: Phalanx (1931).
    • C. Adam: Rex (1924).
    • H. Pauser: Semper Antiqua (1940).
    • Eugène Grasset: Römisch Grasset (1913), Grasset Antiqua (1900).
    • Albert Anklam: Mönchs-Gotisch (or: Mediaeval-Gotisch) in 1877 (Schnelle says 1881); Neue Schwabacher (normal and halbfett) in 1876.
    • J. Göbler: Ballerina (1959, script face).
    In addition we find house typefaces such as Adagio (1939, script face), Blockschrift (1897; revived by Nick Curtis in 2015 as Bothas Ruhm NF and by Moritz Zimmer in 2016 as Die Blockschrift), Leibniz-Fraktur (1912; digital versions exist by Klaus Burkhardt, Petra Heidorn (free), Softmaker (Leibniz Fraktur Pro, 2016), and Ralph M. Unger), Nero Kursiv (1913), Alster (1926), Elzevir-Antiqua and Kursiv and Elzevir-Versalien (1925), Rex Versalien (1925), Richard Wagner Fraktur (ca. 1920), Glass Antiqua (1912, Franz Paul Glass: remade in 2011 by Nick Curtis as Half Full NF), Halbfette Hansa Fraktur (1912), Hansa Fraktur (ca. 1915), Hansa Gotisch (digital version by Gerhard Helzel), Plantin Antiqua and Kursiv (1913), Ondosa Ornamente (1912), Preziosa Ornamente (1912), Psalterium (1907, blackletter), Serpentin Ornamente (1912), Hamburger Druckschrift (1909), Nordische Antiqua and Cursiv (1907), Renaissance Ornamente (1901), Römische Antiqua (1899), Sparta (1939), Hauptproben (1910), Negrita, Neugotisch, Neue Pittoresk, Ornamente, Pionier, Renaissance Initialen, Römische Initialen, Römische Kursiv, Venetianische Schreibschrift.

    Flickr page on Genzsch and Heyse. Proben von Schriften (1902). View the digital legacy of Genzch & Heyse. [Google] [MyFonts] [More]  ⦿

    Georg August Eduard Schiller

    Imperial punchcutter at the Reichsdruckerei Berlin, engraver and medalist, b. 1858, Stuttgart, d. 1937, Ravensburg. Type designer at C.F. Rühl (Berthold), where he made these blackletter typefaces: Neuwerk-Type (1908), Rühlsche Fraktur (1909), Rü-Neudeutsch (1899), Elementar-Deutsch (1911), Diadem (1912). At Rühl in Leipzig, he also made the script typeface Esther (1913) and the flared sans typeface Caesar Schrift (1913). [The latter was digitally revived in 2011 by Ralph M. Unger as Caesar Pro (2011).]

    At Ludwig & Mayer, he designed the informal blackletter typeface Lyrisch (1907). Lyrisch was revived in 2014 by Ralph M. Unger as Lyrica.

    At Akademie für das Buchgewerbe in Leipzig, he made Akademie-Fraktur (1912). Around 1900, he designed the Jugendstil genre font Germania (Reichsdruckerei), and the blackletter font Borussia (Reichsdruckerei).

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

    Georg B. Allmacher
    [Rudolf Koch]

    [More]  ⦿

    Georg Barlösius

    Type designer (b. 1864, Magdeburg, d. 1908, Berlin) who studied at Kunstgewerbeschule Berlin and Akademie in München, and worked in Berlin. He designed the blackletter typefaces Barlösius-Schrift (1906, Bauersche Giesserei; +Fett, 1907), Barlösius-Gotisch (1907, Bauerische Giesserei), Fette Barlösius-Gotisch (1907, Bauerische Giesserei), and Barlösius-Buchschrift (1907, Bauerische Giesserei), as well as Barlösius Initialen, Barlösius Einfassungen and Barlösius Vignetten.

    Digital versions of some of these fonts by Peter Wiegel (Barloesius-Schrift, 2015), Manfred Klein (Barlosius Edged, 2007) and Klaus Burkhardt (Barlösius, 1999). [Google] [More]  ⦿

    Georg Belwe

    Belwe is best known for his Belwe text family (1907, a somewhat unsuccessful art nouveau font). Based in Berlin, Georg Belwe lived from 1878 (b. Berlin) until 1954 (d. Ronneburg), and was for a long type head of the typography department at the Leipzig Academy for Art. After studies in Berlin, he set up the Steglitzer Werkstatt in 1900 with F.H. Ehmcke and F.W. Kleukens. He taught at the Kunstgewerbschule in Berlin.

    His typefaces: Belwe Antiqua (1913), Wieland (1926, a handwriting typeface done at J.G. Schelter&Giesecke), Schönschrift Mozart (1927), Belwe (1907, a somewhat unsuccessful art nouveau font that saw several additions in the period up to 1914 such as Belwe Kursiv (1914)).

    He designed the blackletter font Belwe Gotisch in 1912 at J.G. Schelter&Giesecke.

    Digitizations of his work include Nick Curtis's 2009 typeface Bellwether Antique NF and in the Scangraphic collection, Belwe SB and Belwe SH. Dieter Steffmann designed Belwe Gotisch and Belwe Vignetten in 2002. [Google] [MyFonts] [More]  ⦿

    Georg Germroth

    Graphic designer and painter who created the blackletter typeface Germroth-Deutsch (1935, Ludwig&Mayer). [Google] [More]  ⦿

    Georg Giesecke

    Georg Giesecke, of Schelter&Giesecke in Leipzig, patented many of their typefaces in the USA. A partial list (with PDFs of the patents): Akantrea (1883), Angel Caps (1888), Border Series 73 (1887), Boxed Alphabet (1881), Celtic Caps (1883), Gothic Initials (1883), Initials (1889), Italian renaissance 1883), Kartuschen Einfassung Serie 72 (1887), Lombardic (1885), Ornaments (1878), Script (1887), Shieldface A (1881), Shieldface Combination Pieces (1881), Silhouette Border Series 63 (1884), Zierschrift 1400 (1889).

    Ralph Unger says that his RMU Pergola was inspired by one of Georg Giesecke's designs. [Google] [More]  ⦿

    Georg Graf von Westphalen

    Köln, Germany-based comic book artist and illustrator who designed the comic book typefaces Georg Comic, Georg Gel Pen, and Georg Storybook in 2017. These fonts are inspired by the hand lettering style of Bill Watterson, Charles M. Schulz and Franco-Belgian comic artists. Creative Market link. [Google] [More]  ⦿

    Georg J. Schubert

    Dresden-based designer of the rounded monoline monospace display typeface Gnux (2012). [Google] [More]  ⦿

    Georg John

    German designer at Linotype of Linotype Cutter Schere Com (1997, white on black informal lettering; with Georg Kugler in 2007), Linotype Tagesstempel (1999, with Georg Kugler) and Johnstemp Pro (2008, grunge). In 2014, he made John LED7 (2014), a dot matrix typeface for Latin, Greek and Cyrillic. In 2016, he designed the mechanical / octagonal typeface John Tape and the scribbly script font Johnend.

    In 2017, he published John Tapextra (tape or duct tape font).

    Are Georg John and Georg Kugler one and the same?

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

    Georg Kraus
    [Preußisches Bleisatz-Magazin]

    [More]  ⦿

    Georg Kugler

    Designer of the white on black fonts Linotype Kutter (1997) and Linotype Schere (1997, with Georg John), and of Linotype Tagesstempel (1999, with Georg John). FontShop link. Are Georg John and Georg Kugler one and the same? [Google] [MyFonts] [More]  ⦿

    Georg Kuhn

    Designer of the black display typeface Las Vegas (Linotype/Stempel, 1981). [Google] [More]  ⦿

    Georg Popp

    Munich-based designer of Sindbad, a dingbat font of ornaments found in Oman. He also designed the dingbat font Linotype Circles (2002), Linotype Squares (2002), Linotype Triangles (2002), and Linotype American Indian (2002).

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

    Georg Salden
    [TypeManufactur (was: GST Georg Salden Typedesign)]

    [More]  ⦿

    Georg Salter
    [George Salter]

    [More]  ⦿

    Georg Scheurer

    German penman who published Gründliche Unterricht der edlen Schreib-Kunst in Verlegung Georg Scheurers Kunst-Händlers in Nürnberg. [undated]. [Google] [More]  ⦿

    Georg Seifert
    [Schriftgestaltung]

    [MyFonts] [More]  ⦿

    Georg Seifert
    [Glyphs]

    [More]  ⦿

    Georg Trump

    A giant of German type design, b. Brettheim, 1896, d. München, 1985. Active with Berthold in Berlin from 1930-1935, and with C.E. Weber in Stuttgart from 1937 onwards. From 1934 until 1953, he succeeded Paul Renner as the Director of the Meisterschule für Deutschlands Buchdrucker in München. In 1982 he was awarded the TDC Medal. Ph. Luidl and G.G. Lange published "Hommage für Georg Trump" in 1981. Linotype link. FontShop link. His production:

    • At C.E. Weber: Mauritius (1967: his last typeface; revived in 2013 by Canada Type as Mauritius), Amati (1951, a narrow didone typeface with short ascenders and descenders; see Amati Pro (2010, Ralph M. Unger) and Amati AR (2011, Ari Rafaeli)), Codex (1954-1955; a calligraphic face; digital version by Linotype; see also Bitstream's Calligraphic 421), Delphin I (1951 at Weber), Delphin II (1955, at Weber), Forum I (1948, a 3d chiseled face: a digital version from 2007 by ARS Type is called Forum I-AR), Forum II (1952, also digitized by AR Types), Jaguar (1964-1965, a fun script with a wild African look, revived in 2004 at Canada Type as Tiger Script and again in 2010 as Trump Script), Palomba (1954-1955, an angular calligraphic script; revived by Ari Rafaeli in 2011 as Palomba AR and by Canada Type in 2004 as Ali Baba), Signum (1955, revided by Patrick Griffin at Canada Type in 2005 as Trump Gothic West; revived by Ari Rafaeli in 2011 as Signum AR, and again by Patrick Griffin in 2013 as Trump Gothic Pro and Trump Soft Pro), Time Script (+Light, +Medium, +Bold) aka Tioga Script (1956; digital versions by Linotype and SoftMaker), Trump Mediaeval (1954-1960; the Bitstream version is called Kuenstler 480; in 2010, Vladimir Yefimov and Isabella Chaeva cyrillicized the Bitstream family under the same Kuenstler 480 name at ParaType). See also Trump Mediaeval Office.
    • At Berthold: City (1930-1937: a great slab serif, ideal for athletic lettering, 1930; the mager appeared in 1937). This typeface was marketed at Berthold as City BQ and City BE. The Bitstream version seems to be called Square Slabserif 711. Other digital versions: Centrum (SoftMaker), Commerce, Cyklop (Scangraphic), Cyclop (Scangraphic). At Berthold, he also did the blackletter typeface Trump Deutsch (1935-1936). Digital versions of the latter include Trump Deutsch (2011, Ralph M. Unger), Fette Trump Deutsch (2002, by Dieter Steffmann) and Trump Deutsch by Klaus Burkhardt.
    • At Wagner: Schadow Antiqua (1937, a slab serif). Schadow includes mager (1937), halbfett (1938), kursiv (1942), Werk (1942), schmalfett (1945) and fett (1952). It is almost a copy of Jakob Erbar's Candida (1936). Digital revivals include one at Bitstream, also called Humanist Slabserif 707. See also S671 Slab (SoftMaker), Schadow Antique (URW) and Sheridan (SoftMaker). The most recent effort based on Scahdow is David Jonathan Ross's Gimlet (2016, 112 styles).

      He also designed Forum I (1948), Forum II (1952), Amati (1952), Signum (1955).

    • Stempel took over many German foundries. It shows these Trump fonts: Trump Mediaeval (1954-1962), Time Script (1956-1957), Trump Gravur (1960, revived in 1995 by Alan Jay Prescott as New Trump Gravur, 2006 by Ari Rafaeli, in 2007 by ARTypes as Gravur AR, and in 2011 by Ralph M. Unger as Jobs Gravure), Jaguar (1965, a script), Mauritius (1967).

    Klingspor link.

    View the typefaces made by Georg Trump. [Google] [MyFonts] [More]  ⦿

    Georg Verweyen

    German author of the DictSym type 1 font (2004), which contains a number of symbols used in dictionaries. Walter Schmidt wrotes an accompanying macro package for LATEX. [Google] [More]  ⦿

    Georg Wilhelm Köber

    Typefounder in Jena, Germany. He published specimens of a blackletter and an Antiqua typeface in 1763. [Google] [More]  ⦿

    Georg Wilkens

    Born in 1921, Georg was a co-student of G.G. Lange in high school. He worked as packaging designer. This led him to develop several packaging typefaces, which were then produced by G.G. Lange at Berthold.

    Designer of the fat script typeface Manessa (1971, Berthold) and the tri-lined Tri-Star (1976, Berthold). [Google] [More]  ⦿

    George E. Thompsen

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    George Grosz

    German painter and illustrator of the Berlin Dada and New Objectivity eras. He emigrated to the United States in 1933. This stamp commemorates his life, 1893-1959. Trewin Copplestone writes: A deeply disillusioned man, he saw humanity as essentially bestial and the city of Berlin as a sink of depravity and deprivation, its streets crowded with unprincipled profiteers, prostitutes, war-crippled dregs and a variety of perverts. A communist, his feeling of social outrage stimulated him to produce the most biting drawings and paintings. Images: Made in Germany (1920), Beauty Thee Will Praise (1919). [Google] [More]  ⦿

    George Salter
    [Georg Salter]

    Georg Salter was a German graphic designer and illustrator, b. Bremen, 1897. After studies at Kunstgewerbeschule Berlin-Charlottenburg, he worked in Berlin as a book designer. In 1934, he emigrated to the United States and changed his first name to George. He became famous for his book jackets. Designer of the ribbon type Flex at Lettergieterij Amsterdam in 1937. He lived mainly in New York, where he died in 1967. Reference: Juergen Holstein: Georg Salter Bucheinbände und Schutzumschläge aus Berliner Zeit 1922--1934, (Berlin 2003).

    In 2021, Lucas Sharp created Salter Italic, which was inspired by the book jacket calligraphy of Georg Salter for The Transposed Heads (Thomas Mann, Alfred A. Knopf), published in 1941.

    Biography of George Salter by Sara Kratzok and Devyani Parameshwar. [Google] [More]  ⦿

    Gerard Unger

    Dutch type designer, born in Arnhem, The Netherlands, in 1942, d. 2018. He studied at the Gerrit Rietveld Academy in Amsterdam, and taught at the Rhode Island School of Design, the University of Reading, and at the Gerrit Rietveld Academy in Amsterdam. From 1974 on, he designed type, starting his career at Hell in Kiel in 1986. Until the end of his career, he taught at Reading and Rietveld. Unger designed stamps, coins, magazines, newspapers, books, logo's, corporate identities, annual reports and many other objects. But he was best known for his typefaces:

    • Markeur (1972), not available as digital type. Unger's first typeface, designed for Enschedé's Pantotype system.
    • M.O.L. (1974), not available as digital type. M.O.L. is the type used in the Amsterdam subway.
    • Demos (1975-1976, Linotype). Unger said once that this was his first face, and that he made it at Hell in Kiel in 1974 (but I am confused then as to the date of Markeur then).
    • Demos (new version 2001), available from Visualogik. In 2015, Gerard published Demos Next (done together with Monotype's Linda Hintz and dan Reynolds) at Linotype.
    • Praxis (1976, Linotype). Revived in 2017 as Praxis Next, also at Linotype. Linotype writes that the design is by Gerard Unger, Linda Hintz and the Monotype Design Studio.
    • Hollander (1983, Linotype).
    • Flora (1984). There is also ITC Flora (1980-1984). Named after Unger's daughter, this is an upright sans italic.
    • Swift (1985). This sturdy transitional typeface is his most popular design. It is used by many Dutch and Scandinavian newspapers, and got Unger the Gravisie-prijs in 1988. In 2009, Linotype published Neue Swift (a 1995 design by Unger), i.e., Swift with old style figures thrown in. See also Swift 2.0 (1995).
    • Amerigo (1986), available from Bitstream. This was originally designed for 300dpi laserprinters. It is a tapered almost lapidary typeface family. In the Bitstream collection, Amerigo is called Flareserif 831.
    • Oranda (1987), available from Bitstream. This is a slab serif originally drawn for the European hardware manufacturer Océ in 1968.
    • Cyrano (1989).
    • Argo (1991), available from Dutch Type Library.
    • Delftse Poort (1991), a stencil typeface not available as digital type.
    • Decoder (1992), available from Font Shop. This was a font from the FUSE 2 collection.
    • Gulliver (1993). This typeface was used by USA Today and the Stuttgarter Zeitung. Can be bought from URW++ from 2009 onwards.
    • OCW Swift (1995-1997, for Ministerie van OC en W, Zoetermeer - NL, by Visualogik Technology&Design).
    • ANWB fonts (1997), available from Visualogik.
    • Capitolium (1998). Capitolium was designed in 1998 at the request of the Agenzia romana per la preparatione del Giubileo for the Jubilee of the Roman Catholic Church in 2000. It was not used though for the millennium celebrations. In 2002, Capitolium was picked as the serif font for the material of ATypI in Rome. It was accompanied in that advertising by Unger's sans serif font Vesta (2001), loosely based on the lettering at the Vesta temple in Tivoli. He developed Capitolium futher to make Capitolium News and Capitolium News 2 (2011, Type Together), so that the adapted glyphs would be more legible (large x-height) and fit better on a page (more glyphs per line). The modern typeface Capitolium News 2 was published by Type Together in 2011.
    • Paradox (1999), available from Dutch Type Library. This is a Didone font done in 1999, for which he won a Bukvaraz award in 2002.
    • Coranto (2000). In 2011, Coranto2 was published at TypeTogether: Coranto 2 is originally based on Unger's typeface Paradox, and arose from a desire to transfer the elegance and refinement of that type to newsprint.
    • Vesta (2001). The sans serif Vesta (designed as a possible candidate sans serif for the Rome 2000 project) won an award at Bukvaraz 2001. It is available now as Big Vesta (2003).
    • Linotype Library is the licenser of the German government's new corporate design typefaces Neue Demos (Antiqua, 2004) and Neue Praxis (sans-serif, 2004) by Unger. The typefaces are to be used for all official correspondence, brochures and advertisements.
    • Allianz (2005) is a corporate type system with sans and serif typefaces developed with the firm of Claus Koch of Düsseldorf. The typefaces were designed in collaboration with Veronika Burian, London, and were produced as fonts by Visualogik, 's-Hertogenbosch.
    • Alverata (2013). A lapidary flared typeface with a huge x-height influenced by roman ("romanesque") lettering from the XIth and XIIth centuries. Alverata consists of three different fonts: Alverata, Alverata Irregular and Alverata Informal. For the development of the Greek letterforms, Unger collaborated with Gerry Leonidas (University of Reading) and Irene Vlachou (Athens). He cooperated with Tom Grace for the Cyrillic letterforms. Alverata was published by Type Together in 2014 and 2015. It appears to have Vesta's skeleton and dimensions. Alverata won the type design prize at Tokyo Type Directors Club 2016. PDF file.
    • Sanserata (2016, Type Together). The blurb: Sanserata is an articulated sans that mirrors Alverata's creativity and concept. Its bright and unflappable nature make it perfect for positive and casual brands, and its accentuated terminals improve legibility in text, especially on screens where light emission tends to round off the endings of glyphs.

    Gerard Unger lived in Chicago and Bussum, The Netherlands. Besides the awards mentioned in the list above, he received global prizes for his typography, such as the H.N. Werkman Prize (1984), the Maurits Enschedé-Prize (1991), the 2009 SOTA Typography Award and the TDC Medal (2017).

    Author of Terwijl Je Leest (Amsterdam, 1997) and Theory of Type Design (2018).

    Books about Gerard Unger include Gerard Unger Life in Letters (2021, by Christopher Burke, De Buitenkant).

    Interview by John L. Walters. At ATypI 2004 in Prague, he spoke about type for dailies, and also on Neue Demos and Neue Praxis. At ATypI 2008 in St. Petersburg, he spoke about letterforms in inscriptions from the 10th, 11th and 12th centuries. FontShop link. Klingspor link.

    View Gerard Unger's typefaces. [Google] [MyFonts] [More]  ⦿

    Gerd Arntz

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

    • About Arntz himself, the persona: Born in a German family of traders and manufacturers, Gerd Arntz was a socially inspired and politically committed artist. In Düsseldorf, where he lived since his nineteenth, he joined a movement which wanted to turn Germany into a soviet- or council republic, a radically socialist state form based on direct popular democracy. As a revolutionary artist, Arntz was connected to the Cologne based progressive artists group (Gruppe progressiver Künstler Köln) and depicted the life of workers and the class struggle in abstracted figures on woodcuts. Published in leftist magazines, his work was noticed by Otto Neurath, a social scientist and founder of the Museum of Society and Economy (Gesellschafts- und Wirtschaftsmuseum) in Vienna, Austria. Neurath had developed a method to communicate complex information on society, economy and politics in simple images. For his Vienna method of visual statistics, he needed a designer who could make elementary signs, pictograms that could summarize a subject at a glance. Arntz's clear-cut style suited Neurath's goals perfectly, and so he invited the young artists to come to Vienna in 1928, and work on further developing his method, later known as ISOTYPE, International System Of TYpographic Picture Education. During his career, Arntz designed around 4000 different pictograms and abstracted illustrations for this system. At the same time, he was working with Neurath and his collaborators on designing exhibitions and publications for the Vienna museum. In this time, the 1930s, the city was under socialist government and an internationally acclaimed center of social housing and workers' emancipation. Neurath's visual statistics were adamantly meant as being an instrument of this emancipation, and Arntz' own socialist background fitted this context seamlessly. Produced under Arntz's creative guidance, a collection of 100 visual statistics, Gesellschaft und Wirtschaft, was published in 1930. The success of this collection lead among other things to an invitation to come to the young Soviet Union and set up an institute for visual statistics, Isostat, in Moscow. Neurath and Arntz regularly traveled to Moscow in the 1930s, until in 1934 the socialist government of Vienna fell. After the Nazi take over, both emigrated with their families to the Netherlands, where they continued working on Isotype in The Hague. When the second world war broke out, Neurath fled to England. Arntz stayed in The Hague, where he worked for the Dutch Foundation of Statistics. Arntz' artistic legacy is administered by the Municipal Museum of The Hague, and a generous selection of his work from this collection is now available on-line for the first time.
    • About his gutsy political activism: In his early twenties, the young German artist Gerd Arntz said goodbye to his bourgeois background and committed himself to the struggle of the underprivileged workers. During an artistic career spanning 50 years, he has continually criticized social inequality, exploitation and war in clear-cut prints - activism with artistic means. In Düsseldorf, Arntz attended an art academy in the early 1920s to become a drawing teacher. There, he frequented revolutionary circles, rebel minds who wanted to turn Weimar Germany into a soviet republic, styled after early communist Russia. He also came into contact with the new movements in the arts at the time, such as expressionism and constructivism. For activist artists like Arntz, the wood-cut was the chosen medium, because of its primitive aspect and its clearblack-and-white contrast. In the 1930s, Arntz switched to linoleum-cuts. With his comrades, the Cologne artists Franz Seiwert and Heinrich Hoerle, he read Marxist and anarchist literature and developed his own style of portraying society as segregated in classes, struggling within the technological milieu of the modern city. His prints were exhibited, sold to sympathetic art lovers, and published in magazines of the activist left in Germany and abroad. When Arntz was asked by Otto Neurath to join his team at he Vienna Museum of Society and Economy, and develop Isotype, he took it as an opportunity to expand the reach of his political beliefs into the realm of actively informing the proletariat, albeit as a graphic designer. At he same time, this steady job provided him the means to continue his own artistic work, completely independent of the art market or political affiliations. His prints criticizing the capitalist system did, for instance, not prevent him from critically looking at the downside of the Soviet Union in other prints. After he emigrated to the Netherlands, in 1934, Arntz published a series of prints warning against the danger of Nazism. His concise and biting depiction of the build-up of the Third Reich, published in a Dutch communist magazine in 1936, was removed from an exhibition in Amsterdam after complaints by the German embassy that it insulted a friendly head of state. Arntz continued cutting his social and political critique into linoleum until he was seventy years old.
    • About Isotype: The International System Of TYpographic Picture Education was developed by the Viennese social scientist and philosopher Otto Neurath (1882-1945) as a method for visual statistics. Gerd Arntz was the designer tasked with making Isotype's pictograms and visual signs. Eventually, Arntz designed around 4000 such signs, which symbolized keydata from industry, demographics, politics and economy. Otto Neurath saw that the proletariat, which until then had been virtually illiterate, were emancipating, stimulated by socialism. For their advancement, they needed knowledge of the world around them. This knowledge should not be shrined in opaque scientific language, but directly illustrated in straightforward images and a clear structure, also for people who could not, or hardly, read. Another outspoken goal of this method of visual statistics was to overcome barriers of language and culture, and to be universally understood. The pictograms designed by Arntz were systematically employed, in combination with stylized maps and diagrams. Neurath and Arntz made extensive collections of visual statistics in this manner, and their system became a world-wide emulated example of what we now term: infographics.
    Ed Annink and Max Bruinsma edited the book Gerd Arntz Graphic Designer (2010, Rotterdam). [Google] [More]  ⦿

    Gerd Casper

    Gerd Casper (Kassel, Germany) created Fragmented Font (2015), a typeface experiment in which glyphs are broken into several pieces. Behance link. [Google] [More]  ⦿

    Gerd Leufert

    Graphic and abstract artist, b. Memel, Germany, 1914, d. Caracas, Venezuela, 1998. His oeuvre includes one typeface, Clip (1970-1974), a paperclip type. [Google] [More]  ⦿

    Gerd Sebastian Jakob

    Designer, with Joerg Ewald Meissner at Koma Amok, of BB Afrodite EF (1995, grunge), Autograph Script (handwriting), Autograph Sketch (dingbats), BB BornFree EF (1995, grunge), BB Craze EF (1995), BB Jane White, BB Jame EF (1995), BB LittleJoe EF (1995), Materia Pro (2010-2011, an octagonal typeface family), EF Biba Babe, EF It, EF Literally, EF Little Joe, and Caligari Pro (2011: a German expressionist typeface inspired by the silent film The Cabinet of Dr. Caligari (1920)). His early fonts are of the destructive type, and are all published by Elsner & Flake.

    At Linotype, they published Linotype Dharma (1997, a gorgeous display font), Linotype Tiger (1997, a jungle font), Linotype Puritas (2002, high-legged letters and ornaments done as part of the TakeType 4 pack) and Linotype CaseStudyNo1 (2002, part of the TakeType 4 pack).

    FontShop link. Klingspor link. View Gerd Jakob's typefaces. Linotype link. [Google] [MyFonts] [More]  ⦿

    Gerd Sebastian Jakob
    [Koma Amok]

    [MyFonts] [More]  ⦿

    Gerd Wippich

    Freelance graphic designer (b. Bremen, Germany) who made the simple hand-printed typefaces FF Oxmox, FF Tramline (what is this?), and FF Layout in 1996 at FontFont / FontShop. Klingspor link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Gerda Delbanco
    [Delbanco-Frakturschriften]

    [More]  ⦿

    Gerhard Helzel

    Diplom Engineer and painter from Hamburg who designed or digitized over 210 Fraktur fonts. He is heavily involved in the Bund für Deutsche Schrift und Sprache. Helzel is the designer at Delbanco-Frakturschriften of DS-DtWerkschrift (1997), DS-Fruehling (1996), DS-MaximilianGotisch (1994), DS-MaximilianTitel (1994), DS-Post-Fraktur (1997). He has hand-digitized over 200 Fraktur fonts, including

    • BreitkopfInitialen (2000). Breitkopf Fraktur was made in the 18th century.
    • ElementSchmalfett (1998). Element is a modern Textura by Max Bittrof (1933, Bauersche Giesserei).
    • Fichte Fraktur, after M. Tiemann, 1934.
    • GotenburgA and GotenburgB (1998-2000). Gotenburg was originally designed by Friedrich Heinrichsen (1935-37, Stempel AG).
    • HamburgerDruckschriftFett (1996). Hamburger Druckschrift is due to Friedrich Bauer (1904, Genzsch&Heyse). According to "Blackletter: Type and National Identity", Hamburger Druckschrift "is an accomplished entry in this category of hybrid typefaces made before the 1st World War. They work within the black-letter tradition while borrowing lighter weight, softer curves and more open proportions from roman. Bauer maintained the structure of broken script, but subdued any flourishes. The width of his letters are generally wider than in traditional frakturs and, as in Jugendstil hybrids, some lowercase letterforms are modernized." It has been used as headliner for "Hamburger Nachrichten" which was stopped by the Nazis in 1939. Today's "Hamburger Abendblatt", the daily Hamburg Times, is still using it as headliner.
    • Humboldt Fraktur (2000, gross and klein). Humboldt Fraktur was made originally by Hiero Rhode (1938, Stempel AG).
    • KochFrakturSchmaleHalbfette (2000). This font is due to Rudolf Koch (1910-1921, Gebr. Klingspor), and was originally named Deutsche Schrift. Digitized in 1998.
    • Mainzer Fraktur. After an original in 1901 by Carl Albert Fahrenwaldt.
    • Mars Fraktur (1995, free family).
    • RatdoltRotunda (1998). Named after Erhard Ratdolt (1443-1528), typesetter. Designed by Wolfgang Hendlmeier in 1989. Available at Delbanco. Tannenber (after E. Meyer, 1934).
    • Weber Fraktur.
    • WieynckGotischLicht (2001). A font by by Heinrich Wieynck (1926, Schriftguss Dresden), inspired by William Morris' work.

    Helzel also offers a free "Frakturconverter" program for Windows which transforms Antiqua fonts into Fraktur fonts.

    List of his fonts as of 2009: (Anker-)Schul-Fraktur, Accidenz-Gotisch, Akzidenz-Gotisch, Aldine, Albion-Gotisch, Alt-Fraktur, Alt-Gotisch (Bradley), Alt-Deutsch (after Ferdinand Theinhardt, 1851), Alte Münchner Fraktur (after a 1850 typeface by Gustav Lorenz), Alte deutsche Schreibschrift, Alte Schwabacher, Amts-Fraktur (after Heinrich Wilhelm Hoffmeister), Andreae Fraktur, Andreas-Schrift, Angelsächsisch, Angelsächsisch, Verzierte, Antike Gotisch, Aramäische Quadratschrift, Astra, Bastard, Bernhard-Fraktur, Bismarck-Gotisch, Breite deutsche Anzeigenschrift, Breite Kanzlei, Breitkopf-Fraktur, Britannia (Alt-Gotisch), Büxenstein-Antiqua, Büxenstein-Fraktur (after a house style at D. Stempel, 1912), Canzlei, Caxton, Caxton-Type, Claudius, Courante Gotisch, Danziger Fraktur (after A. W. Kafemann), Derby, Deutsche Reichsschrift (after a 1910 typeface by Wilhelm Woellmer), Deutsche Schrägschrift, Deutsche Schreibschrift (Bismarck-Zeit and Goethe-Zeit: school fonts), Deutsche Schrift, Deutsche Werkschrift, Deutsche Zierschrift, Deutsch-Gotisch, Deutschland, Dresdner Amts-Fraktur, Eckmann-Schrift, Einfache Kanzlei, Elegant, Element, Enge Gotisch (2008, after an 1880 font by Bauersche Giesserei), Enge moderne Kanzlei, Enge König-Type, Enge Kanzlei, Englische Antiqua, Faust-Fraktur, Fette Gotisch, Fette Schwabacher, Fichte-Fraktur, Fractur, Französische Antiqua, Frühling-Fraktur (1997, after Koch's original from 1917), Garamond-Antiqua, Genzsch-Antiqua, Germanen-Fraktur (this is the same as Stempel's Normannia from 1905), Germanisch, Goethe-Fraktur (after Wilheml Woelmmer), Gotenburg, Graeca, Gronau-Gotisch (after Heinrich Ehlert, 1850), Gursch-Fraktur, Gutenberg-Fraktur, Gutenberg-Bibelschrift, Gutenberg-Gotisch, Haenel-Antiqua, Halbfette Aldine, Halbfette Kanzlei, Halbfette Normalfraktur, Halbfette Schwabacher-Flinsch, Halbfette Wallau, Hamburger Druckschrift, Hamburger Fraktur, Hamburger Schwabacher, Hammonia-Gotisch, Hansa-Fraktur, Hansa-Gotisch (after a Genzsch & Heyse original), Hebräisch, Hellenistische Antiqua "Graeca", Hölderlin (after Eugen Weiss, 1937), Holländische Gotisch, Hoyer-Fraktur, Humboldt-Fraktur, Hupp-Fraktur, Ideal-Fraktur, Jean-Paul-Fraktur, Jubiläumsfraktur, Kaiser-Gotisch, Kanzlei, Karl-May-Fehsenfeld-Fraktur, (after a 1870 font used in the Karl-May books) Karl-May-Radebeul (after a 1890 font used in the Karl-May books), Kirchengotisch, Moderne, Kleist-Fraktur, Kleukens-Fraktur, Koch-Antiqua, Koch-Fraktur, König-Fraktur G14, König-Type, Kühne-Gotisch, Kühne-Schrift, Kurante Gotisch, Kurmark, Lichte National, Liebing-Type, Liturgisch (after Otto Hupp, 1906), Logos, Ludlow-Wartburg-Fraktur (after Ludlow, ca. 1920), Magere Wallau, Mainzer Fraktur, Manuskript-Gotisch, Mars-Fraktur, Maximilian-Gotisch, Mediaeval-Gotisch, Leipziger Altfraktur (after a 1912 typeface by Carl Kloberg), Midoline (after Jean Midolle's typeface from 1840 at Julius Klinkhardt), Moderne Kanzlei, Moderne Kirchen-Gotisch (based on an original from ca. 1880), Mönchs-Gotisch, Morris-Gotisch (Uncial-Gotisch, Unzial-Gotisch, after Emil Gursch), Münster-Gotisch, Neu-Gotisch klein, Neudeutsch(-Hupp), Neue (moderne) Fraktur, Neue Schwabacher, Nordisch-Antiqua, Normal-Fraktur (1999, after the font by Gustav Schelter, 1835), Normannia-Fraktur, Nürnberg, Offenbach, Post-Fraktur, Psalter-Gotisch, Ratdolt-Rotunda, Reklame-Fraktur halbfett, Renaissance-Fraktur, Renaissance-Kanzlei, Renata (after a Schwabacher of the Bauersche Giesserei, 1914), Richard-Wagner-Fraktur, Romeo Fraktur (2009, after a Stempel font from 1910), Rundgotisch, Russisch-Römisch, Salzmann-Fraktur, Schmale Accidenz-Gotisch, Schmale Haas-Gotisch, Schmale halbfette Fraktur, Schmale halbfette Gotisch, Schneidler-Schwabacher, Schraffierte Gotisch "Stella", Schreibschrift, Schul-Fraktur, Schwabacher, Schwabacher Mager Gross (after Albert Anklam, 1876), Sonderdruck-Antiqua (2008, after a 1913 typeface by Deberny and Peignot), Stahl (2007, after a 1937 typeface by Hans Kühne), Stahl Kursiv (2009, after Hans Kühne), Stella, Stempel-Fraktur, Straßburg (a blackletter based on fter H type by H. Berthold, 1926), Tannenberg, Thannhaeuser-Fraktur, Tiemann-Fraktur, Tiemann-Gotisch, Tiemann-Mediaeval, Unger-Fraktur, Verzierte Angelsächsisch, Verzierte Musirte Gotisch, Victoria-Gotisch (Viktoria-Gotisch), Wallau, Wartburg-Fraktur, Weber-Fraktur, Weiß-Fraktur, Werkschrift Germanisch, Wieynck-Gotisch, Wilhelm-Klingspor-Gotisch, Wohe-Kursive (after Wolgang Hendlmeier, 1988), Wohe Textura (2009, after Wolfgang Hendlmeier), Zeitungs-Fraktur, Zeitungs-Schwabacher (halbfette Neue Zeitungs-Schwabacher, to be more precise---based on a 1900 typeface by Pustet), Zentenar-Buchschrift.

    Catalog from 1996. Article in 1995 by him on Normal Fraktur. Another catalog, in pieces: I, II, III, IV, V, VI, VII, VIII. Antiqua catalog.

    Three free blackletter fonts. [Google] [More]  ⦿

    Gerhard L. Großmann

    Regensburg, Germany-based designer (b. 1983) of the free fonts Handserif (2008) and PixAntiqua (2008). He studied at Fachhochschule Ansbach.

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

    Gerhard Marggraff

    Type designer, graphic designer and painter, b. 1892, Dubrow. He lived in Berlin. He created the blackletter typeface Marggraff-Deutsch (1939, Schriftguss: leicht, halbfett, fett) and the script typeface Marggraff Kursiv (1928, followed by Marggraff Kursiv Zarte in 1929; at Schriftguss), and Marggraff Light Italic (1929, Schriftguss--the upstrokes in the g, r, m, n are thin and separate from the downstrokes). Some of his work. Marggraff Bold Script was digitized (and modified) by Dan X. Solo as Margie (Solotype). Solotype mentions the Dresden Foundry, not Schriftguss as the source of the latter face. Sometimes his first name is written Gerhardt. [Google] [More]  ⦿

    Gerhard Schumacher

    Designer from Köln, Germany, who based his big Unicode and MUFI-compliant font Paleographica (2006) on the garalde style. No downloads yet, but some information is here. [Google] [More]  ⦿

    Gerlach & Schenk
    [Martin Gerlach]

    Martin Gerlach is the author of Allegorien und Embleme (1882, Leipzig) and Das Gwerbe Monogramm (1881). At Gerlach & Schenk, he published Gerlach & Schenk Brochure (1888). [Google] [More]  ⦿

    German 1920s semi-Nazi font page

    Samples of fonts that may never have been digitized: Phalanx (Genzsch and Heyse, 1928), Mundus Light and Bold (Stempel, 1928), Arpke Antiqua (Schriftguss, 1928), Zabel Roman (Woellmer, 1928-1930), Omega (Stempel, 1926). [Google] [More]  ⦿

    German Appeal
    [Roberto Mannella]

    German design studio located in Hennef. In 2013, they created the corporate sans typeface RE Type for Rhein Energie.

    One of the designers is Roberto Mannella. Roberto created the schizophrenic Linotype Sicula (1999) and of Bobotta Icons (2003, Linotype), which won an award at the Linotype International Type Design Contest 2003.

    Behance link. Linotype link. FontShop link. Bowfin Printworks link. [Google] [MyFonts] [More]  ⦿

    German Bregin

    German designer of the free techno font Chip City (1997). Only, there are no downloads. Aka Zillion Hours. Flickr page. [Google] [More]  ⦿

    German Cartographic Design

    German studio that published the extensive Kursivschrift family (Linotype), Roemisch Com (Linotype) and Kursivschrift Stehend (2010, Linotype, a mannered upright italic in five styles).

    See also here. Typedia link. [Google] [MyFonts] [More]  ⦿

    German Donaldist Society (D.O.N.A.L.D.)
    [Thomas Pryds Lauritsen]

    The free Carl Barks Script (1998), an all caps bold comic book font that covers Greek as well, was originally made by the German Donaldist Society. In 1998, it was extended by Thomas Pryds Lauritsen of the Danish Donaldist Society. [Google] [More]  ⦿

    German Fonts and Old Handwritten Styles

    Links to old German handwriting fonts and literature. [Google] [More]  ⦿

    German Icons
    [Ralf Schmitzer]

    German designer of icons. In 2017, he created the world's largest icon font (his own words in italic). Called GI, or German Icons, it features over 1500 icons and addresses 35 themes. Creative Market link. [Google] [More]  ⦿

    German numberplates font

    FE Mittelschrift is the German car plate font designed between 1978 and 1980 by Karlgeorg Hoefer (1914-2000) together with the University of Giessen (Dept. of Physiology and Cybernetic Psychology). FE is the abbreviation of the German word fälschungserschwerend (difficult to forge). Characters were designed individually so that a C could not be made into an O and so forth. The typeface was first used on cars in 1994. Article by Susanne Schaller, with comments by a number of people. Martin Core claims his Sauerkrauto (2000) font was based on images of the license plates. Spiekermann dislikes the typeface because the letters have no relationship to each other: he calls it a complete forgery. [Google] [More]  ⦿

    German Type Foundry

    German type cooperative established in 2006 in Ladenburg. Designers associated with it include Andreas Seidel, Ingo Preuss and Michi Bundscherer. Behance link. Some fonts:

    • Hellmuth Tschörtner (1911-1979) designed the garalde typeface Tschörtner-Antiqua in 1955. This family became very popular as a workhorse in the DDR, and was digitized in three optical weights as GTF Toshna Std (2008, German Type Foundry) by Andreas Seidel.
    • Prillwitz (2005, Ingo Preuss): a new interpretation of the beautiful and extensive 1790 original didone by Johann Carl Ludwig Prillwitz. Other versions published before the GTF family include Prillwitz Antiqua by Albert Kapr and Werner Schulze (1971-1987). This is a newsprint type. Prillwitz Pro was published in 2015.
    • Phoenica (1998, Ingo Preuss) and Phoenica Condensed: a humanist grotesk family meant as a coroporate type.
    • Secca (2009, Andreas Seidel) is a simple sans family rooted in early German grotesque type designs.
    [Google] [More]  ⦿

    German-American Corner

    Fraktur font archive by Davitt Publications. [Google] [More]  ⦿

    Gernot Hassenpflug
    [Hwkatakana]

    [More]  ⦿

    Gerrit van Aaken
    [Praegnanz.de]

    [More]  ⦿

    Gert Wettschureck

    Frankfurt-based designer of some children's fonts and dingbats: LoKinderDingsbums-Links, LoKinderDingsbums-Rechts, LoKinderSchrift-Dunkel, LoKinderSchrift-Hell (fat round poster typefaces), all dated 1994.

    Dafont link, where we find the name Simon. [Google] [More]  ⦿

    Gert Wiescher
    [Autographis]

    [MyFonts] [More]  ⦿

    Gert Wiescher
    [Wiescher Design]

    [MyFonts] [More]  ⦿

    Gert Wunderlich

    German graphic designer, typographer, type designer, and teacher, b. 1933 in Leipzig, d. 2023 in Leipzig. From 1953 until 1958 he studied at the Hochschule für Grafik und Buchkunst in Leipzig. He designed books for the Fortschritt printing workshop in Erfurt and worked with various publishers. In 1966, he joined he Hochschule für Graphik und Buchkunst in Leipzig, first as research assistant, and moving up to the rank of professor in 1979.

    He designed the 7-weight standard sans serif family Maxima (1964-1984, Typoart), as well as Antiqua 58 (1958). His Maxima was extended by Ralph M. Unger as Avus Pro (2012). For a complete overhaul and extension into a 25-weight digital typeface family, see Maxima Now Pro (2015, Elsner & Flake Studios). The Elsner & Flake re-design happened in close cooperation with Wunderlich.

    Lector FSL (2017) is a text typeface family by Reymund Schröder published at Forgotten Shapes. Reymund writes: Lector FSL (originally named Lector Gewoehnlich and Lector Kursiv) is the digital rework of an original type design by Gert Wunderlich, drawn between 1963-1990. Lector was designed for, but never released by former Typoart (GDR). Published in cooperation with and permission of Gert Wunderlich.

    Logo for HGB (1991). Linotype link. FontShop link. Obituary by Stiftung Plakat Ost. [Google] [MyFonts] [More]  ⦿

    Gesa Meyer

    German designer in 2009 of the experimental unicase fonts with an Armenian feel, Monumental and Textura (which has nothing to do with the Textura style). [Google] [More]  ⦿

    Geschichte der Typografie

    Brief history of type. In German. [Google] [More]  ⦿

    Gesine Todt

    Gesine Todt is a Berlin-based graphic and typeface designer. She studied type design under Lucas De Groot at FH Potsdam from 2004 until 2006, where she created the sans typeface Gabelle. At HTW Berlin University she studied graphic design and graduated in 2007.

    In 2009 she graduated with an MA in Typeface Design from the University of Reading. Since then she works as a freelancer and enjoys the view from her studio in Berlin Kreuzberg. Her graduation project at Reading involved the sans typeface You Are Here. This typeface was made for wayfinding, and was compared in her thesis with famous wayfinding typefaces such as FF Info Display, FF DIN, Folio, Frutiger, ITC Johnston, Simple, Univers, Vectora, OfficinaSans, and Interstate.

    In 2011, she put her typefaces up for free download at Google Web Font Directory: Amaranth (an upright italic; see also Open Font Library), Bigshot One (a showy didone display face), Snippet (2011), Leckerli One (2011: a fat signage typeface).

    Fontspace link. Klingspor link. Fontsquirrel link. Google Plus link. [Google] [More]  ⦿

    Gestalten

    German foundry, part of Gestalten Designstudio and Die Gestalten Verlag (dgv) in Berlin, a company self-described as follows In 1990, industrial design students Markus Hollmann-Loges, Andreas Peyerl and Robert Klanten began to curate and organise prototype design shows commissioned by the worlds biggest consumer fair in Frankfurt in between attending their lectures and writing their dissertations. Very much aware of the limitations of their field of study, they soon moved to Berlin, where they quickly met key people involved in the local Techno and cultural scenes. With the advent of desktop publishing, they formed a loosely organized graphic design agency called Die Gestalten and started designing flyers and posters for clients such as the groundbreaking club Tresor and the annual Loveparade. Its typefaces, by designer:

    • Bowling Club: Victor.
    • Boris Dworschak: Basic, Exakt (stencil), Ikiru Sans (organic).
    • Stefan Gandl: DS Yakuti (experimental).
    • Alexander Puell: dtype (fuzzy typewriter), Online Gothic.
    • Frank Rocholl: Nuri (sans family).
    • Alexander Wise: Mini (hip display sans), Hiploe, Winter (modernistic two-line display face).
    • Marc Schilkowski: Traffic Wide.
    • Soffi Beier: Pemba (connected 50s script), Engel (sans family).
    • Fulguro: Adhesive (octagonal script).
    • Pau Misser: Agrafia (LED simulation), Bustia (futuristic), Escacs, Fastig, Hodierna, Natja, Oliosa, trifasic (futuristic), Quelcome.
    • Clarissa Tossin: Arvore (experimental).
    • Nik Thönen: Regular Cargo (stencil;; the Bold version is free), Blender (sans), Regular (sans).
    • André Nossek: Sassy (2006).
    • Martin Aleith: Boxen, Haudegen (octagonal style), Halunken (rpounded octagonal), Feixen, Braten Fat, Logasmen.
    • Michael Luther: Forza (was: Pilot).
    • Alexander Meyer: Lacrima (typewriter face).
    • Donald Beekman: Beatbox, Breeze.
    • Mika Mischler: Brother (stencil), T-Star Mono Round (monospace).
    • Birte Ludwig: Yogasaan (Indic simulation).
    • Pact: BR Jaeger (gothic).
    • Dimitri Lavrow: Hard Case Striped, Hannover Milennial (sans).
    • Erik Worsoe Eriksen: Friends (sans), Kit Fat.
    • Critzla: Flomaster (with JayOne), Starlet (fifties script), Franz Jaeger (ultra fat).
    • Jutojo: Inbetween (experimental).
    • Alexander Tibus: Wirefox (experimental).
    • Timo Gässner: 123 Naiv (2006).
    • Mutabor: Lingua Digitalis Icon Set (2012).

    Free fonts include Regular Cargo Bold by Nik Thoenen, RussianBread, DrEye and Doener Kebap Strong by Lund Sundson, as well as HardCase-Striped by Dimitri Lavrow. New releases. [Google] [More]  ⦿

    Getgrid Studio

    Köln, Germany-based designer of a modular typeface in 2016. [Google] [More]  ⦿

    Ghostscript fonts

    The Ghostscript fonts were made by URW++ and include CenturySchL-Bold, CenturySchL-BoldItal, CenturySchL-Ital, CenturySchL-Roma, Dingbats (I'll be darned if this isn't Zapf Dingbats), NimbusMonL-Bold, NimbusMonL-BoldObli, NimbusMonL-Regu, NimbusMonL-ReguObli, NimbusRomNo9L-Medi, NimbusRomNo9L-MediItal, NimbusRomNo9L-Regu, NimbusRomNo9L-ReguItal, NimbusSanL-Bold, NimbusSanL-BoldCond, NimbusSanL-BoldCondItal, NimbusSanL-BoldItal, NimbusSanL-Regu, NimbusSanL-ReguCond, NimbusSanL-ReguCondItal, NimbusSanL-ReguItal, StandardSymL, URWBookmanL-DemiBold, URWBookmanL-DemiBoldItal, URWBookmanL-Ligh, URWBookmanL-LighItal, URWChanceryL-MediItal, URWGothicL-Book, URWGothicL-BookObli, URWGothicL-Demi, URWGothicL-DemiObli, URWPalladioL-Bold, URWPalladioL-BoldItal, URWPalladioL-Ital, URWPalladioL-Roma. [Google] [More]  ⦿

    Giacomo Vergnano
    [Give Design]

    [More]  ⦿

    Gian Wick

    German creator of the artistic ultra-fat typeface Lettres Carrées (2009) and of Mono (2009) and SupperzapperI (2010). Gian Wick architecture, a site in Switzerland. Klingspor link. [Google] [More]  ⦿

    Giana Gäng

    Mannheim, Germany-based designer of the chalky all caps typeface Black Cap (2018). [Google] [More]  ⦿

    Giang Nguyen
    [Gydient]

    [More]  ⦿

    Giesserei Carl Kloberg
    [Carl Kloberg]

    Leipzig-based foundry of Carl (or Karl) Kloberg which was taken over by Berthold in 1922.

    One of their house typefaces was Verzierte Schwabacher (1891) (Schwabacher Handtooled), which was revived in 2005 by Petra Heidorn as Schwabach Deko, with further fine-tuning still in 2005 by James Arboghast and Petra Heidorn in Verzierte Schwabacher. Related typefaces are Hermann-Gotisch by Herbert Thannhaeuser, 1934 and Peter Schlemihl, also known as Lichte Tiemann-Fraktur by Walter Tiemann, 1918-1921. Both were digitized by Dieter Steffmann.

    House typefaces also include Leipziger Altfraktur (1912, mentioned by some as a Berthold face; revived by Gerhard Helzel), Bavaria-Buchschrift (ca. 1900), Bavaria-Brotschrift (ca. 1900), and Gotisch Enge (1882, Berthold).

    In 1909, they published a 63-page specimen book, Spezial-Musterbuch für Buchdruckereien über moderne Schriften, Einfassungen, Messinglinien, Ornamente und Vignetten. [Google] [More]  ⦿

    Gil R.

    German designer of the monolinear bold sans typeface Curves (2019). [Google] [More]  ⦿

    Gill Sans DRK

    Eric Gill would turn in his grave if he saw the monstrosity Monotype sold to the German Red Cross (DRK: Deutsches Rotes Kreuz) for their branding: Gill Sans DRK (1996). And why did the DRK give the job to the British anyway? [Google] [More]  ⦿

    Gina Biel

    Gina Biel (Trier, Germany) designed the organic script font Amoebe (2012) and the retro script typeface Madison (2013) that was inspired by the city of San Francisco. [Google] [More]  ⦿

    Giovanni Mardersteig

    German type designer (b. Weimar, 1892, d. Verona, 1977). He started out in Kurt Wolff's München-based press in 1919, founded the Officina Bodoni, which moved first to Montagnola and then in 1926 to Verona. In 1968, he won the Gutenberg Prize. Here is the laudatio of Rudolf Hagelstang for the first Gutenberg prize winner (in German): Die Jünger Gutenbergs sind eine internationale Gesellschaft. Wenn wir heute einen ihrer Meister ehren, so blicken wir dabei weder auf die Stadt noch auf Länderfahnen, sondern fühlen uns mit dem Preisträger Giovanni Mardersteig als Bürger jenes Landes, das das Vaterland der Vaterländer ist: die Kunst. He became a perfectionist and printed exquisite books of the highest typographical standards. Hagelstang said that Mardersteig came as close to the ideal as possible. People referred to him as the prince among printers, the "Fürst der Drucker" or "Principe dei stampatori". His typefaces:

    • Dante (1947-1952, Officina Bodoni; 1957-1959, Monotype). The first digital release of Dante was in 1993. It was cut from 1947 until 1954 by Charles Malin for the private press of Officina Bodoni in Verona. This is a marvelously balanced serif family based in part on Luca Pacioli's renaissance face. It also has a Dante Titling style. Adobe says this about the family: Giovanni Mardersteig started work on Dante after the Second World War, when printing at the Officina Bodoni returned to full production. He drew on his experience of using Monotype Bembo and Centaur to design a new book typeface with an italic which worked harmoniously with the roman. Originally hand-cut by Charles Malin, it was adapted for mechanical composition by Monotype in 1957. The new digital version has been redrawn, by Monotype's Ron Carpenter, free from any restrictions imposed by hot metal technology. It was issued in 1993 in a range of three weights with a set of titling capitals, and is now available from Adobe. Dante is a beautiful book typeface which can also be used to good effect in magazines and periodicals. Monotype issued Dante Etext in 2013.
    • Fontana (1961, Monotype): designed for the Glasgow publisher Collins in 1936 (for the Collins dictionary), and based on a type cut by Alexander Wilson of the Glasgow Letter Foundry about 1770. It is an old style numbered typeface with some relationship to Baskerville.
    • Griffo (1928-1930, Officina Bodoni): designed for use in Mardersteig's own private press. Related to Dante, but more flowing.
    • Zeno (1937, Officina Bodoni). Based on early Italian romans; the punches were cut by Charles Malin.
    Books on the Officina Bodoni include Giovanni Mardersteig: stampatore, editore, umanista (Valdonega, 1989). The Officina Bodoni: an account of the work of a hand press, 1923-1977 (Valdonega, 1980; a translation of "Die Officina Bodoni: das Werk einer Handpresse, 1923-1977" by Maximilian-Gesellschaft (1979)).

    In 1967, Monotype published The Work of Giovanni Mardersteig with 'Monotype' Faces (London). This text was set in Monotype Dante and printed by Stamperia Valdonega Verona. It contains an insert with an advance specimen of the Monotype Dante Series no. 592, designed by Hans Mardersteig. [Google] [MyFonts] [More]  ⦿

    Giovanni Ostaus

    German publisher of La Vera Perfettione del Disegno di varie sorte di ricami (Venezia, 1561), an embroidery guide typical of the Renaissance "lace books". Ostaus's alphabets look like modern digital pixel fonts, drawn on a very fine grid. Read here about more lace pattern books from the 16th century. [Google] [More]  ⦿

    Gisela Will

    German type and graphic designer, b. 1962. She studied graphic design in Hamburg, and started her type career at Elsner&Flake, where she digitized, kerned, and completed many Latin, Hebrew and Greek typefaces, as well as EF Beasty, EF Fontinform (newspaper type), EF Future World, EF Knockout, EF Mayday, and EF Rumour. She helped develop the NIVEA logo face, she revived the Radiant family, and she published the BeastyBodies face. She designed BB Rumour (1994) and three other fonts at Linotype. Her early work often involves grunge/grunge-type designs. Her Knockout font (grunge) at Elsner and Flake (1974) predates Jonathan Hoefler's Knockout family (1999) by 25 years, so why is Hoefler not in trouble for the choice of this name?

    Currently, she is working on Nordische Antiqua, a robust text typeface that is a revival of the 10 weight Genzsch Antiqua family from 1907-1912 created by Genzsch&Heyse's then president, Friedrich Bauer. As she showed at ATypI in Copenhagen in 2001, this typeface is readable even at 5 or 6 points. It has last been used in 1962, so this should be a welcome revival. She created the logotype typeface MedienKontor. Speaker at ATypI 2006 in Lisbon. Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Giuseppe Salerno
    [Resistenza]

    [MyFonts] [More]  ⦿

    Giuseppe Vitucci

    Giusueppe Vitucci graduated from the Hochschule Niederrhein, Krefeld in communication design, class of 2010. He lives in Berlin. Creator of the octagonal typeface Danke Kurt (2010, Volcano). Klingspor link. Volcano link. [Google] [MyFonts] [More]  ⦿

    Giusi Vaccanio

    At FH Potsdam, Germany, Giusi Vaccanio (Berlin) created the circle-based sans typeface Curly (2015). [Google] [More]  ⦿

    Give Design
    [Giacomo Vergnano]

    Give Design (Berlin) is Giacomo Vergnano. He created the free geometric typeface Kocoon Light (2012), an experimental font created with the open source framework Nodebox. Randomic (2012) was also designed with Nodebox. [Google] [More]  ⦿

    Glashaus Design
    [Peter Hoffmann]

    Designer (b. Koblenz, Germany, 1974) of Alita (2001) at Floodfonts, a typeface "somewhere between renaissance and transitional Antiqua". Cofounder in 2000 of Glashaus Design Lab in Köln, Germany. Alita was also released by Fountain. Free fonts at Glashaus: Lacuna (2001, sans serif), Echolot (dings). Very interesting graphics on his web page for linking to subpages.

    FontShop link. Klingspor link. Dafont link. Kernest link. Fountain Type link. Peter Hoffman [Google] [More]  ⦿

    Glashaus Design Lab

    A design studio in Köln, Germany, founded in 2000 by Felix Braden, Claus Hoffmann and Peter Hoffmann. They do corporate design and corporate type. The latter includes typefaces for the magazine Flood and the film Bloodbound. Free fonts include Lacuna (sans), Echolot (Peter Hoffmann's ding font), Alita (commercial serif typeface available from Fountain), and Catherine. [Google] [More]  ⦿

    Glossar für Typografie und Layout

    German glossary/lexicon for typography and layout, edited by Renate Bradatsch (in German). [Google] [More]  ⦿

    Glyphicon
    [Christian Richter]

    Christian Richter (Glyphicons, Garbsen, Germany) created the following typefaces: Melanchthon (1999, +Italic), Lichtenberg Condensed (1999, +Italic), Rudolf Koch (2003, this is a revival of Koch Fraktur), Kraftfeld (1999, +Italic: lapidary, +Extra Bold, +Condensed Bold), Luxotel (1999), Yvonne Discaps (2013, art deco), Störtebeker (2003), Unisymbols (2009, dingbats).

    Of these typefaces, these are free: Lichtenberg Condensed (1999, +Italic), Rudolf Koch (2003), Unisymbols (2009).

    Klingspor link. [Google] [More]  ⦿

    Glyphs
    [Georg Seifert]

    Flexible font editor by Berlin-based Georg Seifert, announced at ATypI 2009 in Mexico City.

    See also the Glyphsapp.com blog. Typophile link for comparing Glyphs and FontLab. [Google] [More]  ⦿

    GMS

    GMS is a (formerly free) German finger alphabet font (for sign language). [Google] [More]  ⦿

    GOEMO
    [Goetz Morgenschweis]

    Another parasite has entered and left the font world. GOEMO is Goetz Morgenschweis's site in Karlsruhe, Germany. He had his own "creations". Yvonne and Yvonne Script are just Freebooter (Meade) and Scriptina (Apostrophe), with the copyright removed and replaced. So, we have to assume by extrapolation that all his 51 "fonts" were made in the same way. The downloads stopped working recently (luckily!). The "fonts" are gone, only to be replaced by more pop-ups. [Google] [More]  ⦿

    Goetz Morgenschweis
    [Type Goemo]

    [More]  ⦿

    Goetz Morgenschweis
    [GOEMO]

    [More]  ⦿

    Goicha

    German designer of the sans typefaces Novae (2019), Camelot (2019), Sublime (2019), Montblanc (2019), Richkid (2019) and Black Label (2019), the monoline sans typeface Black Label (2019), the free squarish slab serif typefaces Giveny (2019), Diamond (2019), Legacy (2019) and Goicha (2019), the Peignotian sans typeface Sophia (2019), the octagonal typeface Roseamp (2019), and the headline sans typeface Sorfina (2017).

    Typefaces from 2020: Kunamy (a 4-style sans), Standout (a headline typeface), Hellony.

    Typefaces from 2022: Ambrosia, Audree, Bulgaret, Classica, Diamond, Evolve, Fabulot, Gregorian, Harieta, Jankari, Mercury, Octavia, Phoenix, Rainbow, WhiteLabel. [Google] [More]  ⦿

    Gollner & Schwetschke

    The Gollnersche Schriftgiesserei was active in Halle a.d.S., Germany in the 18th century. It was probably founded by Johann Georg Gollner, who lived in Jena in 1740. Taübel writes in Orthotypographischen Handbuch (1785) describes a Schreibschrift auf Textkegel by Gollner. For the book printer Joachim Heinrich Campe in Braunschweig, Gollner designed the so-called Campe-Fraktur, a simplified blackletter typeface. It was only used once, in a small poetry publication, der Einsiedler von Warkworth (Braunschweig 1790). Ernst Crous published Die Campe-Fraktur Der Einsiedler von Warkworth in 1925 in Berlin with more detals about Campe-Fraktur.

    In 1828, Karl Gustav Schwetschke (b. 1805, d. 1881) bought the Gollnersche Schriftgiesserei, to link it to his own print shop, Gebauer-Schwetschke Buchdruckerei, est. 1733). In 1833, Ferdinand Theinhardt started an apprenticeship with Schwetschke. In 1835, stereotying was introduced, and a specimen book, Heft einer Schriftprobe in Quart was published. The foundry continued until 1854. [Google] [More]  ⦿

    Goran Tesanovic

    Hamburg-based creator of the hand-printed typeface families ThereYuGo (sic) (2012, +Dingbats) and Bitclap (2013). [Google] [More]  ⦿

    Gosub
    [Simon Cubasch]

    Free pixel fonts by Simon Cubasch (Gosub Communications) in Berlin: 2ATTACK!-crazy, Geos, Mailrunmatrix, Myiu2attracted, Myiustable, Orphan, Serious, Slickbitty, Texas99.

    Dafont link. [Google] [More]  ⦿

    Gottfried Pott

    Calligrapher, born in 1939. He studied graphic design at the Werkkunstschule in Wiesbaden under F. Poppl. Since 1988, he is professor of calligraphy at the University for Applied Science and Art at Hildesheim/Holzminden, Germany. Bio. Well-known for the highly decorative bastarda typeface Duc de Berry (1991, Adobe, and later also at Linotype), for Karolina (1990, Linotype, in the style of the Carolingian Minuskel), for Arioso (1990, Linotype) and for Ruling Script (1992, Linotype, a calligraphic script). The Duc de Berry font was aped in Casual Tudor Script (SSi), Agincourt (Swfte) and Talleyrand (Scriptorium). In 2010, he made the sketchy brush face Potpourri (Linotype).

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

    Gottfried Wilhelm Theodor Friebel

    Designer of Gutenberg-Gotisch (1880, Bauer & Co), together with F. W. Bauer. [Google] [More]  ⦿

    Granshan 2014

    Non-Latin typeface conference held in München, Germany, on July 19 and 20, 2014. Speakers included Timothy Donaldson (Falmouth University, Falmouth, UK), Edik Ghabuzyan (Department of National Book Chamber, Yerevan, AM), Prof. Lars Harmsen (Melville Brand Design, Karlsruhe, D), Akira Kobayashi (Monotype, Bad Homburg, D), Boris Kochan (KOCHAN & PARTNER, München, D), Santi Lawrachawee (Practical Design Studio, Bangkok, TH), Gerry Leonidas (University of Reading, UK, Reading, UK), Bruno Maag (Dalton Maag Ltd, London, UK), Ben Mitchell (Type designer, Southeast Asian scripts, Brighton, UK), Vaibhav Singh (University of Reading, UK, Reading, UK), Rupali Steinmeyer (FUENFWERKEN DESIGN, Berlin, D), Prof. Adi Stern (Bezalel Academy of Arts and Design, Jerusalem, IL). [Google] [More]  ⦿

    Grautesk
    [Florian Fecher]

    Florian Fecher is a German type and graphic designer living between Germany and France. He first studied at FH Würzburg. At ESAD in Amiens, France, he created the classical grotesk typeface family Redaktion (2019) for his graduation project. This typeface was renamed Lektorat and released in 2020 at Type Together in 21 display styles and six text styles.

    Github link. Type Together link. [Google] [MyFonts] [More]  ⦿

    Gravitart
    [Oghuzan Ocalan]

    Oghuzan Ocalan (Gravitart Branding and Design) is a Turkish graphic designer who lives in Hanau, Germany. Cofounder of the Turkish Typographic Society in 2010.

    He created the futuristic experimental typeface Upstract (2009), the ultra-fat counterless Tombul (2010), and the organic pair of typefaces Badona (2009).

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

    Greenpoint
    [Markus Triska]

    Markus Triska's logo of "Der Gruene Punkt" ("The Green Point"), made in metafont in 2001. [Google] [More]  ⦿

    Gregor Adams

    German designer (b. 1981) of the techno font PBIO (2014). Dafont link. [Google] [More]  ⦿

    Gregor H
    [Hans Klein]

    Hans Klein (aka Gregor H, or RaBiTeC) is based in Germany. In 2017, he designed the wide techno typeface Rage using FontStruct. [Google] [More]  ⦿

    Gregor Kaplan

    Gregor Kaplan (Seattle, WA) has been a software engineer at Adobe since 2000. His work has focused on text, text layout applications and fonts, in addition to work on testing, validation and web services. Gregor was the first Adobe employee to join Typekit four weeks after their acquisition. His work on Dynamic Augmentation and the subsetting system has been the basis for all Typekit served fonts for since 2013.

    Speaker at ATypI 2016 in Warsaw on Supporting East Asian Web fonts with Dynamic Augmentation. He writes: In 2015 Typekit launched support for East Asian Web fonts using a technology called Dynamic Augmentation (DA). DA allows Typekit to generate font subsets then add in additional font content without data loss or the need to redownload a fully formed subset when content changes via user actions such as form fields, comment areas, or navigates to a new page as well as automated processes such as RSS feeds. This talk proposes to investigate the nature of text generally, how computers store and render it, and how those things relate to fonts. We use fonts everyday. We see them everywhere. But what is a font? How are they built? How can the structure of the data be manipulated to produce a losses, efficient mechanism to add content on the fly and eliminate performance impacts. [Google] [More]  ⦿

    Gregor Verhufen
    [Jamyang Software]

    [More]  ⦿

    Gregorio Design
    [Humberto Gregorio]

    Humberto Gregorio (b. 1981, Duesseldorf) is a German designer who heads Grewgorio Design. He created the free informal slab serif family Sohoma (2010) and the brush typeface Postaz (2013).

    Dafont link. Personal web page. Klingspor link. [Google] [More]  ⦿

    Gregory Maecker

    Graphic designer in Hanover, Germany. Creator of some typefaces such as Ankle (2013), Apollo (2013), Hard Edge (2013, modular and octagonal), and Eclipse (2013, circle-based typeface). [Google] [More]  ⦿

    Greiner Grafik
    [Norman Greiner]

    German type designer based in Stuttgart who created Tri-Font in 2016. Behance link. [Google] [MyFonts] [More]  ⦿

    Grit Schwalbe

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Grotesk 8. Tage der Typografie

    The "8. Tage der Typografie" were held from 15-18 June 2006 at the Institut für Bildung, Medien und Kunst in Lage-Hörste, Germany. The theme was Grotesk. See also here. Main speakers: Indra Kupferschmid, Simone Wolf (born in Germany, lives in Italy), Stefan Claudius, Susanna Stammbach, Alessio Leonardi. [Google] [More]  ⦿

    grotesk cc
    [Tobias Rechsteiner]

    Grotesk cc is Tobias Rechsteiner, Reto Moser, and Simon Renfer in Bern, Switzerland. The former two designed GT Haptik (2009), which is a grotesk typeface in which the letters are optimized to be read blindfolded and by touching them. GT Haptik was published at Grilli Type.

    Tobias rechsteiner is a graphic designer/type designer working freelance. Together with Daniel Eytan Schneider he co-founded prolog.work, a small digital agency based in Basel. In 2009 he graduated from the Bern University of Arts and worked for three years part-time at the University and part-time under the name grotesk.cc together with Reto Moser.

    In 2012 he moved to Zurich to join Eclat a branding/communication agency for three years. In 2015, he started to work freelance again, and is now living part-time in Berlin where he is also doing a Master of Business Administration in Management and Innovation.

    In 2018, he published the heavily ink-trapped GT Zirkon at Grilli Type. It was influenced by old American gothics such as Lining Gothic.

    Interview by Ligature.ch. Personal home page. [Google] [More]  ⦿

    Grundsatz.de

    German outfit involved in illustration and type design. [Google] [More]  ⦿

    Grundschule Kreativ

    Original fonts at this German site: Druckschrift Bayern (sans), and these school fonts for writing between lines (also known in German as Lateinische Ausgangsschrift), all copyright Joot-Soft: Schreibschrift 1./2. Klasse, Schreibschrift 3. Klasse, Schreibschrift (or: BREY Schreibschrift). These were designed by Lothar J. Brey from Landshut (Germany). [Google] [More]  ⦿

    Gruppo Due

    Gruppo Due (Berlin, London, Karlsruhe and Bern) is a type design platform and foundry offering retail typefaces, alongside bespoke designs resulting from a close collaboration with our commissioners. Gruppo Due was founded in 2019 by Moritz Appich, Massimiliano Audretsch, Jonas Grünwald and Bruno Jacoby. They designed bespoke typefaces for University of Arts and Design, Karlsruhe (Germany), Cafe Bar Mokka, Thun (Switzerland), Frankfurt University of Music and Performing Arts (Germany), and Mustafa Emin Büyükcoksun (Germany and Turkey). The details on the corporate fonts:

    • As part of a complete visual identity for Atelier Lohmann they drew G2 Lohmann, a technical low-contrast monospace typeface.
    • G2 HfMdK: A bespoke typeface for the redesigned visual identity of Frankfurt University of Music and Performing Arts, Frankfurt am Main.
    • G2 Gitmek: created for an experimental documentary by Mustafa Emin Büyükcoksun, to be used for subtitles and promotional material.
    • G2 Airdancer (2018): drawn to fit the extravagant proportions of an air dancer, greeting new and returning students in a school's building.

    Retail typefaces:

    • G2 Kosmos. A monolinear rounded sans by Moritz Appich and Bruno Jacoby. They write: G2 Kosmos is a modernistic monoline typeface. Its simple shapes follow a geometric grid, but don't hesitate to break free to form better flowing and smoother letters. The grid is the same one artist and designer Wolfgang Schmidt used for his Lebenszeichen. This system of signs was developed to measure the entire cosmos of his emotions and experiences. The typeface's first incarnation was drawn as part of the 2019 diploma project by Maxim Weirich surrounding the Lebenszeichen.
    • G2 TGR. A workhorse sans family by Massimiliano Audretsch.
    • G2 Ciao. An informal typeface by Massimiliano Audretsch. He writes: The letter shapes of G2 Ciao are derived from an historical sketch by the American typographer, book and puppet designer William Addison Dwiggins. The sketch labeled Modelled letter No1, shows the original four letters t, a, i, and e. They consist of individual elements, precisely drawn outlines, connectedonly by hairlines. No repetitive pattern is recognizable. Each letter follows a self-contained principle.
    • G2 Erika (Regular, Mono). By Moritz Appich.
    [Google] [More]  ⦿

    Gruso

    Gruso Schriftenmappe: Eine Auswahl schöner Gebrauchsschriften für Maler, Graphiker, Schaufensterdekorateure und verwandte Berufe. Heft 3 and Heft 4 (1952) are booklets with tens of alphabets. They were scanned in by Michael Stoll. I cleaned up a subset of the scans, reorganized the set, and commented on them. [Google] [More]  ⦿

    Grzegorz Jaszczyk

    Berlin-based graphic designer who created the free typeface Agosto Display (2021). [Google] [More]  ⦿

    Gudrun Zapf von Hesse

    German calligrapher and type designer (b. 1918, Schwerin/Mecklenburg, Germany, d. 2019), who grew up in Potsdam. While studying bookbinding in Weimar, she took up lettering in 1934 and studied calligraphy with Johannes Boehland at the Berlin School of Graphic Arts in 1941. She lived in Frankfurt since 1946 and established her own bookbinding studio. Gudrun taught lettering at the Städel Art School from 1946 until 1954. She started working for Stempel in 1948, and married Hermann Zapf in 1951.

    Author of Gudrun Zapf von Hesse: Bindings, Handwritten Books, Typefaces, Examples of Lettering and Drawings.

    Creator of Diotima Antiqua (1948-1952, D. Stempel), Ariadne Initials (1951-1954), Smaragd (1953-1954, D. Stempel), Shakespeare Roman and (1968, for Hallmark), Carmina (1986-1987, Bitstream), Nofret (1984, Berthold), Christiana (1991, Berthold), Alcuin (1991: a calligraphic text typeface done for URW), Colombine Script (1991, URW), and Diotima Classic (2008: a cooperation with Akira Kobayashi (Linotype) that revives Diotima).

    In 1991, she received the Frederic W. Goudy Award of the Rochester Institute of Technology, Rochester. Klingspor link. FontShop link. Linotype link. [Google] [MyFonts] [More]  ⦿

    Guido Bittner

    German designer of the VS Expectation (or simply, Expectation) family of brush script typefaces (2003, Linotype), which won an award at the Linotype International Type Design Contest 2003. Guido runs a design studio in Wiesbaden.

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

    Guido Holz

    Illustrator and graphic designer (b. 1973) in Germany, who graduated from FH Duesseldorf and whose studio is called Sloper Design. In 2012, he created the black rounded typeface Repro, the outline typeface Kurvenreicher, and the brush typeface Brush Hour.

    Dafont link. [Google] [More]  ⦿

    Guido Schneider
    [Brass Fonts]

    [MyFonts] [More]  ⦿

    Guillamon

    Berlin-based graphic designer. He/she created Eimer (2013, a hand-printer poster face) and Shit Lettering (2013, shit-shaped glyphs co-designed with patricia martin). [Google] [More]  ⦿

    Guillemets.de
    [Nick Blume]

    Nick Blume's German language web log about design and type. [Google] [More]  ⦿

    Gunnar Klack

    Author of Neubau Akademie Study of a Grotesque Typeface in its Historical and Sociocultural Context (2020). This is a translation of Neubau Akademie, Historische und soziokulturelle Kontextualisierung einer Groteskschrift (2016). [Google] [More]  ⦿

    Gunnar Link
    [Skogtype]

    [MyFonts] [More]  ⦿

    Gunnar Vilhjalmsson
    [Universal Thirst]

    [MyFonts] [More]  ⦿

    Gunter Schwarzmaier

    German [T-26] designer of Cologne (a 7-weight techno font family), Tempelhof (2003, a sans family), Domestos98 (a large family), Domestos Sans (2000), DomestosSerif (1999), Romero (2002, a 5-weight techno font family), Linotype Leggodt (1997, based on the forms of the first fonts intended for multimedia, such as the OCR of Adrian Frutiger), and Plastizid97.

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

    Gustav Behre

    Author of Farbe und Form in der Reklamegestaltung, München, 1936. [Google] [More]  ⦿

    Gustav Eichenauer

    Punchcutter, b. 1891 Offenbach, d. 1982, Offenbach. He cut C.H. Kleukens' typeface Burte-Fraktur in 1928 for the Mainzer Presse. [Google] [More]  ⦿

    Gustav Jaeger

    Designer (b. 1925) who studied at Werkkunstschule Offenbach and worked at Bauersche Giesserei. All his fonts were published at Berthold with the exceptions explicitly mentioned:

    • Aja (1981): a calligraphic font
    • Becket LL (1980, Linotype).
    • Bellevue (1986): a ball terminal script
    • Catull (1982, Berthold): a modern typeface. Google logo was made by Ruth Kedar based on a slight modification of Catull.
    • Chasseur (1988).
    • Cornet (1989).
    • Cosmos (1982).
    • Jaeger Daily News (1976), or just Daily News BQ. Some sources mention the date 1982. The font has been used in Italy Daily, a supplement of the International Herald Tribune. See D650 Roman on the SoftMaker MegaFont XXL CD, 2002). A small design flaw: the capital O hovers above the baseline instead of dipping below it.
    • Delta (1983).
    • Donatus (1986).
    • Epikur (1986).
    • Jaeger-Antiqua (1984).
    • Jersey (1985).
    • Jumbo (1973). Not a Berthold font, I think.
    • Komet (1976, Berthold AG).
    • Mark Twain (1973): an art nouveau / psychedelic typeface created in reaction to VGC Eightball, and digitized in 2006 as Huckleberry by Canada Type. Not a Berthold font.
    • Osiris (1984: see O830 Roman on Softmaker's XXL CD (2002).
    • Pinocchio (1973, Berthold). A psychedelic typeface in the style of Alfred Roller and Wes Wilson. Revivals: P732 Deco (SoftMaker), Pinocchio (2012, SoftMaker), Pinocchio (Dieter Steffmann), OPTI Pulaski (Castcraft), Pinwheel (FontBank, 1990-1993) and Pinocchio (TypeShop, 1994).
    • Prado (1990) and Prado Swash (1990).
    • Sacher (1973, Berthold).
    • Semin Antiqua (1976, Berthold).
    • Seneca (1977). See S691 Roman on the SoftMaker MegaFont XXL CD, 2002.
    Apparently, the former (now bankrupt) Berthold bankruptcy lawcourt administrator transferred in 1993 all Jaeger design rights from Berthold back to Gustav Jaeger. Thus, the "new" Berthold versions, sold by Linotype since 2008, are all rip-offs sold without Jaeger's consent. FontShop link. Klingspor PDF file. Linotype link. Pic. [Google] [MyFonts] [More]  ⦿

    Gustav Kirsten

    Dresden-based foundry. [Google] [More]  ⦿

    Gustav Lorenz
    [Lorenz]

    [More]  ⦿

    Gustav Schelter

    German designer of Fraktur Doppelmittel around 1800. This typeface was digitally revived by Gerhard Helzel. His Normal-Fraktur (1835) was revived by Helzel in 1999. DS Normal Fraktur is a revival by Delbanco. [Google] [More]  ⦿

    Gustave F. Schroeder

    Punchcutter, b. 1861 (Berlin), who made many typefaces. He worked at the Central Type Foundry and then ATF in the late 1800s, and was living in St. Louis, MO, in 1891 and in Mill Valley, CA in 1892. The Inland Printer announced in 1895 that Schroeder had joined the Pacific States Type Foundry in San Francisco. His typefaces straddle the Victorian, arts and crafts and art nouveau eras.

    His typefaces include:

    • Victorian style typefaces at Central Type foundry, done early in his career: Apollo (1888), Atlanta (1885, based on a design of Andreas V. Haight), Harper (1882, curly), Hogarth (1883), Jeffderson (1890), Jupiter (1888), Lafayette (1885), Morning Glory (1884), Scribner (1883), Victoria (1886, with Nicholas J. Werner), Victoria Italic (1891), Washington (1886). Apollo was revived by Nick Curtis in 2014 as Gloriosus NF.
    • At Marder, Luse and Co: French Old Style Extended.
    • At Pacific States: Aldus Italic (before 1891), Sierra (before 1897).
    • Arts and crafts typefaces at Central Type Foundry: Eccentric (1881, available in digital form at Monotype (Agfa), Solotype, Jeff Levine (2020: called Oddly Nouveau JNL), and Adobe. There is also a free version, Eccentrical, from an unknown designer.
    • Art nouveau typefaces done at Central Type Foundry: Art Gothic (1885), Multiform No. 1 through No. 4 (1892).
    • Othello (1886, Central Type Foundry). A black condensed rounded typeface that became very successful thanks to its revival (copy?) by Morris Fuller Benton. Digital versions include Bathysphere (2013, by Seymour Caprice) and Nick Curtis's Iago NF (2011).
    • Geometric Condensed (1882, Central Type Foundry, with W.W. Jackson). Revived in 2014 under the same name by Robert Donona.
    • For Barnhart Bros and Spindler: Era (1891) and Era Condensed No. 5 (1891). These typefaces were done with Nicholas J. Werner. Pastel was originally called Era.
    • For ATF: Empire Initials (ca. 1898), McCullagh No. 2 (1897, a remarkable art deco typeface twenty years ahead of its time). Patent application for McCullagh.
    • Geometric (+Italic, Condensed, Antique). Done in 1881 at Central Type Foundry. The Condensed and Antique are from 1883. For a digital version, see HWT Geometric (2013) by Hamilton Wood Type / James Grieshaber.
    • DeVinne (1890-1896, Central Type Foundry). This design was sold to Stephenson Blake. Digital versions available at Bitstream and Wooden Type Fonts. Bitstream writes about its version: This revival of the Bruce Foundry's No. 11 is typical of the nineteenth century types derived from the work of Didot and Bodoni; the typeface remains popular with lawyers and government printers. In fact, Theodore Low De Vinne opposed this kind of design as hard to print and read; he had Century designed to replace it.
    • Other typefaces at Central Type Foundry: Cushing Old Style (1890), Erebus (1889), Hades (1889), Johnston Gothic (1892, with Nicholas J. Werner), Laclede (1897), Novelty Script (ca. 1891), Old Style Bold (1886), Old Style Script (1887), Quaint Roman (1890 or 1895), Royal Script (1887), Typewriter (1884), University (1889). Mac McGrew on Royal Script: Royal Script originated with the Central Type Foundry branch of ATF in St. Louis in 1893. It is much like the later Typo Script, but wider. In spite of that similarity, it appeared in ATF specimen books as late as 1968. In the 24- and 30-point sizes there are normal and small versions of lowercase, caps being the same. Early specimens designated these large and small sizes as No.1 and No.2 respectively, later specimens as No. 551 and No. 552. Hansen's Newton Script is the same design.
    • The angled serif font family Romana (1892). Digital versions by Linotype, Elsner & Flake (called EF Romana) and Bitstream. Bitstream puts this didone design in the proper context: The French interest in the revival of suitably edited Oldstyle romans as an alternative to a world of Modern typefaces started in 1846 when Louis Perrin cut the Lyons capitals. About 1860, as Phemister was cutting the Miller & Richard Old Style in Edinburgh, Theophile Beaudoire turned the idea of the Lyons capitals into a complete Oldstyle typeface, with similar overwhelming success; it was generally known as Elzevir in France and Roemisch, Romanisch, Romaans or Romana in Germany, Holland and Switzerland. In 1892, Gustav Schroeder, at the Central Division of ATF, expanded the series, adding a boldface under the name DeVinne. It was promptly copied, initially in Europe by Ludwig & Mayer, and spread rapidly throughout the US and Europe, becoming the best known member of the series. ATF made popular an ornamental form under the name De Vinne Ornamental.
    • Patent applications: unnamed face for BBS (1891), another unnamed face (1893), an unnamed art nouveau face and another unnamed serif face (1893, for VJA Rey).

    FontShop link. Google patent link.

    Typefaces by him at MyFonts. [Google] [MyFonts] [More]  ⦿

    Gutenberg Labo

    Japanese font foundry committed to making open license fonts based on old prints. It is run by Judicare and Eunice. Fontspace link. The fonts:

    • GL SnowBentley (2018). Snow crystals after photographs by Wilson A. Bentley.
    • GL Morris (2017-2018). After William Morris's blackletter typeface Troy Type (1891-1892).
    • GL-MahjongTile (2009). In 2018, they added a color SVG style web font called GL-MahjongTile-Clr.
    • GL-Grimoire-MajKey and GL-Grimoire-MinKey (2007-2009). The former is from the medieval grimoire "The Greater Key of Solomon" (font for the Sacred Pentacles). The latter is from the medieval grimoire "GOETIA The Lesser Key of Solomon" (font for the medieval grimoire "GOETIA The Lesser Key of Solomon").
    • GL-Runen (2007-2009): Elder Futhark runes.
    • GL-Nummernschild-Mtl and GL-Nummernschild-Eng (2009): German license plates typeface (FE-Mittelschrift, FE-Engschrift). The original goes back to Karlgeorg Hoefer.
    • GL-DancingMen (2007-2009): Cipher from "The Adventure of the Dancing Men", The Return of Sherlock Holmes by Arthur Conan Doyle. See also GL Dancing Men Org (2017-2018).
    • GL-Suetterlin (2008): German formal blackletter-inspired handwriting taught in schools for some time. Renamed GL German Cursive in 2018.
    • GL-Antique (+GL-AntiquePlus) (2002-2017): Japanese antique style font containing kanji, hiragana and katakana. These fonts are quite complete and contain hundreds of dingbats, arrows, and symbols.
    • The GL-Tsukiji family (2008-2009): hiragana and katakana fonts from the Meiji era type foundry Tokyo Tsukiji Kappan. Open Font Library link.
    • GL Otomanopee (2006-2007 and 2017-2018). Hiragana and katakana.
    Sourceforge link. [Google] [More]  ⦿

    Günter Gerhard Lange

    Known to his peers as GGL. German type designer, born in Frankfurt-an-der-Oder in 1921, d. 2008. He fought in World War II and lost his leg in a battle in France. Starting in 1941, Lange studied as apprentice of Georg Belwe at the Academy of Graphic and Book Arts in Leipzig. After graduation in 1945, until 1949, he was assistant of Professor Walter Tiemann, while also practicing painting and graphic design independently. In 1949, he continued his studies with Professors Hans Ullmann and Paul Strecker at the Hochschule für Bildende Künste in West Berlin. From 1950 onwards, he worked at Berthold AG in Berlin, where he designed his first type, Arena in 1951. In 1955, he became Reader in Typography at the Meisterschule für Graphik, Druck und Werbung in West Berlin. One of his many students was Manfred Klein. He also was Advisor in Visual Communications and Reader at the U5 Academy of Graphic Design and Art Direction Munich, and Instructor at the School of Applied Art in Vienna. H. Berthold AG's artistic director from 1961 to 1990, Lange was responsible for the creation and meticulous production of many of Berthold's typefaces. According to Dieter Hofrichter, his motto was 8 point is the moment of truth (when proofing typefaces). In 1989 he received the Frederic W. Goudy Award from the Rochester Institute of Technology (RIT). Recipient of the year 2000 TDC medal. After ten years of retirement from his position as Berthold AG's artistic director, Lange resumed his design activities in 2000 at Bertholdtypes (now Berthold Direct Inc) in Chicago. Bio at ATypI.

    Lange's own designs include his revivals of many classical typefaces. Here is a list, all Berthold typefaces:

    Yvonne Schwemer-Scheddin writes a day after his death: Dear type friends, yesterday morning, the 2nd of December 2008, Günter Gerhard Lange died, 87 years old. We lost an upright, steadfast fighter for quality in type design. Not only Berthold's artistic director, but a friend and objective adviser to many who needed personal help or an evaluation in type design. GGL was Berthold. For Berthold GGL "enhanced" many type designs of other well known type designers. His valued critizism was a great help, because it came from a positively tuned man. GGL transferred the lead heritage and its classical type typefaces into photocomposition and into the digital format on a high aesthetic and historically authentic level - as for instance Garamond or Van Dijk. Akzidenz-Grotesk is not thinkable without GGL. Bodoni Old Face one of the best contemporary text typefaces. With his sans serif Imago you can be different and yet classical. And the Americans should be pleased with the revival of Deepdene, which he also turned into a well working textface with a distinct character. But perhaps most important of all, he relentlessly encouraged the young, teaching and talking up to almost the end. Thus opening fences, eyes and hearts to art, architecture, literature and for the values of studies and love for the correct details without which the whole would not function. He was a rare communicator, because he lived his convictions and values. He became an example, a light of orientation. We lost a passionate type lover and expert---an authentic man. An era has come irreversible to its end.

    Credit for some images below: Danielle West. [Google] [MyFonts] [More]  ⦿

    Günter Jäntsch

    Designer of the clownesque semi-psychedelic font Pierrot (1973). It was published in digital form by Linotype. [Google] [More]  ⦿

    Günther Flake

    German type designer (b. 1951, Hamburg) who co-founded Elsner&Flake in 1986 with Veronika Elsner. There, he designed many typefaces, including EF Renova (2006, a boutique sans; see also Renova Pro, 2016), EF Beasty (1993, with Gisela Will), Bluset EF (2000-2010, a monoline sans family), EF Casanova Script (2006-2007, Petra Beisse; the Pro version in 2015 also had input from Jessica Franke), EF Cash Monospaced (1994), EF Double Pac, EF TV Nord (an 18-style grotesque that is based on the corporate typeface NDR Sans which was developed by Elsner+Flake for the Norddeutsche Rundfunk (www.ndr.de) between 1999 and 2001; characterized by a large x-height, it was influenced by Trade Gothic; a redesign was done in 2014), Eurostile Mono, Glaser Stencil, EF KiddingKid, EF Petras Script, EF StealPlate (1994), EF Thordis Mono, EF TwinPick, Versa Old Style EF.

    At Apply Design in 1999, he co-designed a nice series of stencil fonts with Sigrid Claessens: WaltonStencil-BlackRough, WaltonStencil-WhiteRough, LaPinaStencil, Lasertac Stencil, Reedon Stencil, RoundedStencil, SerpentineStencil, StencilAntiqua, TeaChestStencil, WesternStencil, AdveraStencil, ArstonStencil, BankStencil-Medium, BankStencil-MediumRough, CaslonFinaStencil-Black, CaslonFinaStencil-BlackRough, ChicoStencil-Rough, ChicoStencil, FerroStencil, GeometricStencil, GlaserStencil, Futura Headline, Futura Index, Futura Text.

    In 2010 he created a digital family based on Morris Fuller Benton's Bank Gothic, called Bank Sans EF.

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

    Günther Zainer

    First printer in Augsburg, where he worked from 1468 until his death in 1478. Samples of his work: Halbgotische Druckschrift (1469), a decorative initial from 1477.

    Shane Brandes made a pair of digital typefaces called Zainer (2012). [Google] [More]  ⦿

    Gydient
    [Giang Nguyen]

    Gydient (Giang Nguyen) is a multidisciplinary designer based in Vietnam and Germany, who studied in Hanoi (2015-2017). In 2017, she co-founded Fustic Studio. In 2019, she started a Bachelor of Arts at Hamburg Department of Design (HAW). Her typefaces:

    • Viaoda Libre (2020) or Viaoda Antiqua. A free font by Giang Nguyen, type-engineeered by Vietanh D. Nguyen. Covering Latin (including Vietnamese) and Cyrillic. Free at Google Fonts. She writes: Inspired by Vietnamese cultural symbolism, Viaoda Antiqua is a mix of both the old and the new, appearing with traditional elegance and modern professionalism at the same time.
    • Agent Orange (2019, by Gydient and Nhi Bui). She writes: Over 150,000 kids struggle to lead a normal life due to biological deformities caused by Agent Orange---the deadly herbicide used by the US during the Vietnam War. The voice of a deformed legacy. Monotype gives these victims a voic of hope with the Agent Orang typeface. Use of this typeface raises awareness about their plight andn generates donations. To create the Agent Orange typeface, we analyzed the anatomy of Amarillo USAF, the font on the American AirForce planes that sprayed Agent Orange on Vietnam, and distorted the proportion of it.
    [Google] [More]  ⦿

    H. Baumgart

    Designer at Haas of Quirinale (1970). [Google] [More]  ⦿

    H. Berthold AG

    H. Berthold Systeme AG was founded in 1858 in Berlin by Hermann Berthold. Also known as H. Berthold Messinglinienfabrik und Schriftgiesserei, the type foundry was the largest in the world by 1918, with offices in Stuttgart, St. Petersburg, Leipzig, Riga, Budapest and Vienna. It grew by acquisitions of many other foundries, see., e.g., here. A partial list:

    • 1897 Bauer&Co, Stuttgart, 100%, Germany
    • 1898-1900 Branch St. Petersburg, 100%, Russia
    • 1901 Georg Ross&Co. St. Petersburg + new Branch in Moscow, 100% Russia
    • 1905 J. H. Rust&Co. Vienna, 100%, Austria
    • 1907 A. Haase, Prague, 100%
    • 1908 Ferdinand Theinhardt GmbH Berlin, 100%, Germany
    • 1912 St. Petersbrug Branch of Flinsch (later Bauer), 100%, Russia
    • 1917 Emil Gursch Berlin, 100%, Germany
    • 1918 Gottfried Böttger, Leipzig, 100%, Germany
    • 1918 A. Kahle, Weimar, 100%, Germany
    • 1920 Julius Klinkhardt, Leipzig, 100%, Germany
    • 1922 C. Kloberg, Leipzig, 100%, Germany
    • 1926 Poppelbaum, Vienna, 50% - 50% to D. Stempel A.G., Austria
    • 1926 First Hungarian Type Foundry, Budapest, 50% - 50% D. Stempel A.G, Hungary
    • 1929 Genzsch&Heyse, Hamburg 33% - 33% Bauersische Gießerei (Bauer) - 33% D. Stempel A.G., Germany

    Typesetting MPEG4 movie, ca. 1935.

    To complement its typesetting equipment business activities, Berthold developed the Berthold Exklusiv Collection, a collection of typefaces created solely for Berthold by distinguished designers. Günter Gerhard Lange began his association with Berthold in 1952, and was artistic director from 1961-1990. In March 1991, Adobe Systems and H. Berthold AG announced that Adobe was to produce PostScript versions of numerous Berthold Exklusiv ("BE") typefaces - these typefaces were later to be known as Adobe Berthold BE fonts. Until 1999, Adobe marketed its versions of 365 Berthold Exklusivs under agreements with H. Berthold AG, and later Berthold Types Limited. H. Berthold AG also produced its own digital versions of their entire library using the Ikarus system - some of these fonts are later to be known as Berthold BQ. In 1993 the company reported insolvency. A follow-up company, H. Berthold Systeme GmbH was formed, but it finally was dissolved in 1995. Shortly before dissolution, the Berlin-based H. Berthold company signed license agreements with and transferred certain rights and trademarks to a Chicago-based US company that later took the name Berthold Types Limited, now called Berthold Direct Inc. This company now offers digital versions of the "Exklusiv" Berthold typefaces.

    Some of its history is explained in this letter.

    Old blackletter typefaces from the metal era: Ballade (ca. 1927, Paul Renner), Berthold-Fraktur (1909), Bismarck-Fraktur (1860), Breda-Gotisch (1928, house font), Englische Schreibschrift (1972, version One, version Two; for digital versions elsewhere, see English 157 by Bitstream, or Elegant Script by SoftMaker), Deutschland (ca. 1934), Hansa Kursiv (ca. 1895: art nouveau style, the light version of Regina Kursiv), Schraffierte Gotisch (before 1900; aka Stella), Mainzer Fraktur (1901, Carl Albert Fahrenwaldt for Bauer and Berthold), Morris-Gotisch (before 1905, for Bauer and Berthold), Post Fraktur (1935, Herbert Post), Prinzeß Kupferstichschrift (1905, digitized by Ralph M. Unger as Prinzess Gravur in 2010), Regina Cursiv (ca. 1895: revivals include Carlsbad (2018, Ralph M. Unger), Regina Cursiv (2007, HiH), Toffee Script (2010, Tomi Haaparanta)), Sebaldus-Gotisch (1926: revival by Ralph M. Unger in 2019 as Sebaldus; see also the earlier revivals by Ingo Preuss and Dieter Steffmann, both called Sebaldus), Straßburg (1926, a blackletter face; the digital version by Delbanco is called DS Strassburg; see also Strasburg by Gerhard Helzel), Trump-Deutsch (1936, Georg Trump). House typefaces include Isolde (1912, script face), Augustea Kursiv (1906) and Augustea Fett.

    Hebrew fonts in their collection include Meruba, Stam, Mirjam and Frank Ruehl.

    Some of the Berthold collection can nowe be bought through Monotype Imaging and Linotype. [Google] [MyFonts] [More]  ⦿

    H. Berthold AG: Hebrew Catalog

    H. Berthold's Hebrew catalog from 1924: I, II, III. [Google] [More]  ⦿

    H. Lande

    German designer of the script typeface Hardgraft (2016) and several large sets of icons, such as Linicons, Srin, Rounded Social Icons, Litos, Simplicons, Homicons, Mini Simplicons, and Aircons. Creative Market link. [Google] [More]  ⦿

    H2D2
    [Markus Remscheid]

    Graphic and web design company in Frankfurt. Fonts to their credit: LT Mhai Thaipe (1997, Thai simulation script by Markus Remscheid, Linotype), LT Russisch Brot (1997, Linotype, a grunge typeface by Helmut Ness and Markus Remscheid), H2D2 Flame (OCR-A face, commercial), H2D2 Pochi (commercial headline face), H2D2 Lefthand (2006, children's handwriting, free). Special designs include a stencil font based on the license plates in Tobago, Alevita (based on Helvetica), H2D2TEXT-8PT (pixel face), Bizz Screen 10pt (pixel face), Audioplast (for a music label by that name), Norma (a futuristic typeface for V2). Offices in Frankfurt and San Francisco. I suspect that the type designer is Markus Remscheid. Dafont link. [Google] [MyFonts] [More]  ⦿

    H.A. Simon

    German type designer of fonts like the signage typeface Market (1996), and the graffiti typeface FF Marker (1994, co-designed with Thomas Marecki).

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

    Haas'sche Schriftgiesserei

    German/Swiss foundry established in 1790 (however, see timeline below) and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. Linotype takes over Haas in 1989. Their collection includes:

    • Kompakte Grotesk (1893)
    • Steinschrift (1834). See also here.
    • Enge Grotesk (ca. 1870)
    • Commercial-Grotesk Halbfett (1940)
    • Altgrotesk halbfett (1880)
    • Haas gotisch schmal. This typeface was digitally revived by Gerhard Helzel.
    • Bodoni-Kursiv, Bodoni-Antiqua (Bodoni, 1780). The 1924 cuts of Bodoni formed the basis of Berthold Bodoni, which can now be had under that name in digital form.
    • Ideal-Antiqua (ca. 1880)
    • Caslon Antiqua and Caslon Kursiv (William Caslon, London, 1720)
    • Alt-Fraktur and Fette Alt-Fraktur (ca. 1840)
    • Fette Gotisch (ca. 1860)
    • Halbfette Normande (1850) and Normande fett (by Thorne, London, 1810)
    • Nürnberger Schwabacher (originally, ca. 1600, published in 1930)
    • E.A. Neukomm: Bravo (1945), Chevalier (1946). Digital forms of Chevalier can be found at Agfa and LetterPerfect. Elsner&Flake's Escorial is another digital form of it. And so is PrimaFont's Chauvinist.
    • A. Auspurg: Castor (1924), Pollux (1925).
    • Hermann Eidenbenz: Graphique (1941), Clarendon (1953). Clarendon became a Linotype face.
    • Adrian Frutiger: Ondine (1954), a calligraphic font done at Deberny et Peignot before it was taken over by Haas.
    • Walter J. Diethelm: Diethelm Antiqua (1945-1950).
    • M. Miedinger: Helvetica (1957), Horizontal (1964), Pro Arte (1954). Helvetica became Linotype's big prize face.
    • Eugen+M. Lenz: Profil (1943-1947). In the digital era, Profil became Decorated 035 at Bitstream.
    • P. Wezel: Constellation (1970).
    • H. Baumgart: Quirinale (1970).
    • Richard Gerbig: Riccardo (1941, a script face).
    • Edmund Thiele: Superba (1934), Normale Grotesk (1942), Troubadour Lichte (1931, script). Troubadour survives digitally as Rechtman Script (Intecsas). Superba was digitally revived by Red Rooster as Superba Pro (1992 and 2017).
    • Anzeigen Grotesk (1943, Haas / Linotype) is a heavy condensed sans in the style of Impact. Modern digital versions include Anzeigen Grotesk (2009) by URW and Anzeigen Grotesk (2006) by Linotype.
    • Estienne is a condensed roman with small pointed serifs that revives a nineteenth century design. Not to be confused with the old face Linotype estienne.
    In Chronik der Haas'schen Schriftgiesserei (2002), Hans Reichardt describes this timeline:
    • 1654: Johann Jakob Genath (1582-1654) runs a print shop and foundry in Basel.
    • 1708: His son Johann Rudolf Genath (1638-1708) leaves the foundry to his second son Johann Rudolf Genath II.
    • 1737: Johann Rudolf Genath II has no children and makes Johann Wilhelm Haas (1698-1764) his official heir. Haas had come from Nürnberg to Basel in 1718 to work with Genath.
    • 1745: Haas takes over, and dies in 1764. His son Wilhelm Haas Münch (1741-1800) then takes over.
    • 1772: Wilhelm invents a hand press, and in 1776 develops a system for printing maps.
    • 1790: Publication of Epreuves des caracteres d'usage ordinaire dans l'imprimerie. Local download.
    • 1800: Wilhelm is succeeded by his son, Wilhelm Haas Decker (1766-1838).
    • 1830: Wilhelm Haas Decker leaves the business to his son Georg Wilhelm Haas (1792-1853) and to Karl Eduard Haas (1801-1853).
    • 1852: Two employees, Jakob Haas and G. Münch take over. But in 1857, they sell the company to Otto Stuckert (1824-1874) who lived in Lörrach.
    • 1866-1895: The Basler Handelsbank was the main investor in the business, and sells it in 1895 to Fernand Vicarino.
    • 1904: Max Krayer becomes owner.
    • 1921: A new plant is built in Münchenstein.
    • 1924: Work on a new cut of Bodoni has started. Later, Stempel and Berthold would use this type, and it became well-known as Berthold Bodoni.
    • 1927: The company becomes an AG (Aktiengesellschaft) and strikes business cooperation deals with D. Stempel AG and H. Berthold AG.
    • 1940-1941: Caslon Antiqua and Kursiv (1940) and Riccardo (1941) are created.
    • 1941: Ideal Roman is cast. Berry, Johnson and Jaspert write: This Haas revival is a condensed semi-bold nineteenth-century design, which is almost a Fat Face. There is the usual long spur to the G, curled tail to the R, and long serifs in the E, F and T. Ascenders and descenders in the lower case are very short. Cf. Contact. The present design is cast from 1941 matrices, and the identical type is cast by Stempel, who call it Jeannette. The type is quite different from Amsterdam and Intertype Ideal.
    • 1944: Eduard Hoffmann becomes Director when Max Krayer dies.
    • 1945-1958: In the Post World War II boom, these typefaces were created: Bravo (1945), Graphique (1945), Chevalier (1946), Profil (1947), Clarendon kräftig and fett (1953), Pro Arte (1954), Neue Haas-Grotesk halbfett (1957), Neue Haas-Grotesk mager (1958).
    • 1968: Alfred Hoffmann succeeds Eduard Hoffmann.
    • 1972-1982: An expansion period follows. The company takes over Deberny&Peignot (Paris) in 1972, Fonderie Olive (Marseille) in 1978, and Grafisk Compagni (Copenhagen) in 1982.
    • 1989: Linotype takes over Haas and dissolves the company. Linotype itself keeps the name and the rights to the typefaces, and gives the foundry to Walter Fruttiger, who continues that part of the business as Fruttiger AG.
    • 1990: Società Nebiolo (Turin) is taken over.

    View the Haas typeface library. See also here. [Google] [MyFonts] [More]  ⦿

    Habitat7

    German site with some pixel fonts. But I can't find them in the mess. [Google] [More]  ⦿

    Haiko Günther

    Born in 1980 in Saarbrücken, and a recent graduate at HBK Saar. Working as a designer for the town of Saarbrücken. Somehow associated with Kiosk Type in Berlin, where she created these typefaces: Drückerei (2008, grunge), Rex Mundi (2008), Ghana Signpainters Divine Healer (2008), Wüste Fraktale (2008, a pixel blackletter), Ghana Signpainters Safari (2008), Ghana Signpainters Cocktail (2008, comic book and ad style), Black Frituur (2008, blackletter), Steelcut (2008, slab serif based on Woodcut). [Google] [More]  ⦿

    HamNoSys

    Marc Schulder and Thomas Hanke (University of Hamburg) developed HamNoSys in 2021 (but the copyright notice mentions 1983-2006). The Hamburg Notation System, HamNoSys for short, is a system for the phonetic transcription of signed languages. [Google] [More]  ⦿

    Han The Thanh
    [vnr]

    [More]  ⦿

    HandFont

    Handwritten font service run by FontShop. They say the quality is better than that of Fontifier but (1) the price is 249 US dollars (versus 10), and (2) you have to wait up to 4 weeks (versus a few minutes). Fontcapture and other competing services are even free. This page has an example of a font by Lita Mikrut Franco called Ventana de Dia (2009). [Google] [More]  ⦿

    HandFONT

    From BBS Bürosysteme (Thomas Strack) in Budenheim, Germany, a commercial handwriting font service. They also have a logo font and sign font service. Could not find the prices. [Google] [More]  ⦿

    Handschrift Digitalisierung

    FontShop Germany makes a font from your handwriting for 350DM. [Google] [More]  ⦿

    Hanna Koelbl

    Würzburg, Germany-based designer of Sona Serif (2016). Behance link. [Google] [More]  ⦿

    Hanna Rasper

    For a typography class in Berlin, Hanna Rasper created the wonderful typeface Flying Rat (2016) out of the shapes of pigeon droppings. [Google] [More]  ⦿

    Hanna Talkanitsa

    Berlin-based designer of a sans typeface in 2016. [Google] [More]  ⦿

    Hannah Jennewein

    Hannah Jennewein (Showtype, located in Dortmund, Germany) made the following free frunge fonts in 2009: Albumin, Blackout, Deja-vu, Fundus, Gorilla, International, Klabauker, Kobalt, Masseltoff, Steak, Times-To-Go, Workout, Zinnober. [Google] [More]  ⦿

    Hannah Rabenstein

    Graphic designer in Nuremberg, Germany, who created Acid Jazz (2012).

    Home page. [Google] [More]  ⦿

    Hannes Beer

    Graphic designer and illustrator in Stuttgart, Germany. Creator of the free vintage poster typeface Motorista (2016) and the sans typeface Balmat (2014), a retro / art deco sans poster typeface with small x-height. [Google] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Hannes von Döhren
    [HVD Fonts]

    [MyFonts] [More]  ⦿

    Hanno Bennert

    Designer from Düsseldorf, who made Seriph (at fontgrube) and Tram or Tramway (2004, a sans). In 2014, the humanist sans family Tram was published at Village, but quickly renamed Proof. Bennert: The design of Proof has its origins in many tram rides in Düsseldorf, Germany, and is directly influenced by the powerful, industrial charm of these vehicles. Many of the early sketches were drawn on these rides. (For the first several years of its life, the typeface was called Tram; alas, our friend and colleague Henrik Kubel at A2-Type had already published his CPH Tram, and we did not wish to create any confusion in the marketplace between these two vastly different designs.).

    The Subtil logotype was developed for the corporate design of DSW21/public services of Dortmund. The font style is derived from their logo, a stylised uppercase D. The conglomerate DSW21 consists of twelve individual enterprises, such as Dortmund Airport, the harbour and the city's public transport. In 2007 Subtil was awarded the Certificate of Excellence in Type Design by the Type Directors Club, and in 2009 it was awarded the Certificate of Excellence by the International Society Of Typographic Designers. This rounded sans was designed together with Alexander Gialouris and Victor Malsy.

    Other typefaces include BKH (corporate), NKO 1957, and Bruna Grotesk.

    In 2010, he added Rota (a squarish sans: since 2010, Rekord is the corporate typeface of the Rotterdam Philharmonic), and Cafe Rekord (done with Lisa Eppinger, this is a squarish logotype).

    Rheinlogik is a horizontally striped logotype for the software company Rheinlogik. MI Grotesk was custom-designed for Museum Insel Berlin.

    Cargo Collective link. [Google] [More]  ⦿

    Hannover Type and Lettering

    Flickr group on vernacular and signage type in hannover. [Google] [More]  ⦿

    Hanns Thaddäus Hoyer

    Type designer, b. 1886 Kempen, d. 1960 Berlin. He studied in Krefeld, Zürich, Düsseldorf and at the Akademie für Graphische Künste und Buchgewerbe in Leipzig.

    He created the script typeface Hoyer Schönschrift (1939, Stempel) and the blackletter typeface Hoyer-Fraktur (1935, Bauersche Giesserei).

    Digital revivals: Hoyer Fraktur by Gerhard Helzel, and Hoyer Script (2017, Ralph M. Unger). [Google] [More]  ⦿

    Hans Adolf Halbey

    Author of Karl Klingspor Leben und Werk, Offenbach, 1991. [Google] [More]  ⦿

    Hans Bacher

    German animation artist who lives in Southern California where he works for Disney Feature Animation. He is a member of the Academy of Motion Picture Arts and Sciences. His typefaces were mostly made at Agfa-Monotype:

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

    Hans Bohn

    German type designer, b. Oberlahnstein, 1891, d. Frankfurt am Main, 1980. He worked mostly for Ludwig&Mayer. Creator of these typefaces:

    Klingspor link. FontShop link. View Hans Bohn's typefaces. [Google] [MyFonts] [More]  ⦿

    Hans Brehmer
    [Henry Brehmer]

    Type designer, b. 1840 Magdeburg, Germany. He went to the USA in 1865 to work at James Conner&Sons, and then moved on to other foundries, all in New York. He was for some time located in Stapleton, NY> Aka Henry Brehmer. His typefaces:

    • At Conner: Sideographic (Shaded 1872, Ornate 1879).
    • At Bruce Type Foundry (between 1876 and 1885): Ornamented Black No. 543, Ornamented No. 1053, Ornamented No. 1057, Ornamented No. 1067, Ornamented No. 1076, Ornamented No. 1078, Ornamented No. 1079, Ornamented No. 1080, Ornamented No. 1081, Ornamented No. 1082, Ornamented No. 1084, Ornamented No. 1085, Ornamented No. 1086, Ornamented No. 1091, Ornamented No. 1540, Ornamented No. 1553, Ornamented No. 1557, Ornamented No. 1559, Ornamented No. 1560, Ornamented No. 1562, Priscilla, Sarah, Shaded 1067, Shaded 1076, Shaded 1079, Shaded 1553.
    • At Dickinson Type Foundry, he designed Renaissant (ca. 1879). That typeface was digitally revived by Paul Smith in 2012 as Ressonant.
    • At Lindsay Type Foundry (1888-1890): Alma, Caroline, Crayonette (revived by David Jonathan Ross in 2017 as Crayonette; Crayonette is based on Hermann Ihlenburg's Crayon, 1886), Elizabeth, Frances, Gretchen, Irene, Julie (1868, a decorative Western / Victorian typeface called Eclair by Dan X. Solo; revived in 2010 by Toto as K22 Eclair), Katherine, Marguerite, Maria, Martha, Mathilde.
    Patent office link. [Google] [More]  ⦿

    Hans Christiansen

    German artist, b. 1866, Flensburg, d. 1945, Wiesbaden. One of the Jugendstil leaders. From 1881 until 1885, he taught in Flensburg, and took up teaching in Hamberg after that. From 1896 until 1899, he studied in Paris at the Academie Julian Malerei. He worked at the Darmstädter Künstlerkolonie until 1902. After that, he was mainly a painter and type designer. His typefaces include Christiansenschrift (1909, D. Stempel AG).

    Margret Zimmermann-Degen published Hans Christiansen Leben und Werk eines Jugendstilk&7uml;nstlers, Königstein, 1985. [Google] [More]  ⦿

    Hans Heimbeck

    Designer at Schelter&Giesecke, who made Junior (1936, a script typeface). This script was revived in 2016 by Peter Wiegel as Junior CAT. [Google] [More]  ⦿

    Hans Helmut Matheis

    German type designer (b. 1917, Speyer). MyFonts page. His typefaces, mostly, but not exclusvely, done at Ludwig&Mayer:

    • The calligraphic, yet flowing Charme, originally from Ludwig&Mayer, 1957-1958. Digital versions by Adobe and Linotype. Softmaker's version is C721 Script.
    • Slogan (1959), a connected script also done at Ludwig&Mayer. It is the bold version of Charme, but quite different from Nebiolo's Slogan. It is heavier, more coloured, and fully connected. Elvira Slysh created the Latin/Cyrillic extension Corrida (1989, Paratype). Digital versions by Elsner&Flake, Linotype, Softmaker (as Soledad and S760 Script), Corel (as Shogun), and URW (2003, by Ralph Unger, called Unger Script there).
    • Primadonna (1956, a formal script, Ludwig&Mayer). The revival and expansion by Rebecca Alaccari of Canada Type is called Silk Script (2006).
    • Matheis Mobil (1960, informal script, Ludwig&Mayer). Mobil was revived in 2005 at Canada Type as Rhino.
    • Compliment (1965, a confident vertical script, Ludwig&Mayer). Johann Petersen's Kompliment (2003) is based on Compliment. And so is Ralph Unger's Compliment (2004, Profonts).
    • Verona (1958-1959, script face, Genzsch&Heyse). Nearly upright script. Not to be confused with Verona from ATF and Stephenson Blake.
    • Contact (1963, flowing script/brush) was digitized by Rebecca Alaccari at Canada Type in 2004 as Bruschetta. It was also revived by Ralph M. Unger in 2010 as Contact Pro.
    • In 2010, at he age of 93, he designed Judo ND, a calligraphic typeface. Judo ND was digitized by Neufville's design staff.
    FontShop link. Linotype link. Klingspor link.

    View Helmut Matheis's typefaces. [Google] [MyFonts] [More]  ⦿

    Hans Holbein The Younger

    Painter and drawer born in Augsburg in 1497, who died in 1543. He is most famous for his woodcut alphabet produced in Basel between 1522 and 1526 entitled The Dance of Death. At the Psymon site, we can find several initial cap alphabets of his in GIF format: these include The Alphabet Of Children (1527-1532) and The Dance Of Death (or: Danse Macabre) of Hans Holbein the Younger (circa 1523).

    Digital versions abound:

    Site dedicated to The Dance of Death. [Google] [More]  ⦿

    Hans J. Zinken

    Köln-based designer whose web page has several pages related to calligraphy and Rechtschreibreform as well as calligraphy and handwriting education in schools. His (free) typefaces:

    • Deutsche Kurrent (2014). A historic German school script.
    • Marktkirche.
    • SchwungFraktur (2011). A Schwabacher.
    • Fraktur 1900.
    • AltDeutschHJZ (2002-2006). This is based on the types made for the prayer book of Maximilian I, by Johannes Schönsperger in 1514, and later adapted in metal type by Genzsch ca. 1890.
    • KanzleiScriptHJZ. After Heinrichsen Kanzlei (1933, Trennert) by Friedrich Heinrichsen.
    • The calligraphic handwriting font Hans Hand (1994-1996), HansHand2 (1996-2007).
    • Juergen Script (1998-1999), a heavy fountain pen script. See also Juergen2 (2011).
    • CiviliteHJZ (1997). This was first called civi4 (1996). Based on Lettres de Civilité.
    • GutenbergHJZ. This was Fraktur Gutenberg B42 (2000).

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

    Hans Karl Gustav Möhring

    Born in Halle, 1894, died in Ludwigsburg, 1958. Painter and commercial artist who was educated at the Leipzig Academy for Graphic Arts from 1912 to 1914 and from 1919 to 1920. Afterwards, he worked independently in Leipzig and Berlin. After the Second World War, he was active in Naumburg.

    • At Genzsch&Heyse, he created Phalanx (1931; Jaspert says 1928), a monotone roman with thickened terminals.
    • At C. E. Weber, he made the formal medium-weight script Gabriele (1938; both Hastings and Jaspert says this was done in 1947, so I am not sure), the script typeface Gladiator, and the Peignot-style sans serif capital font Florida (1931; cast by Wilhelm Woellmer in 1931 (as Jaspert claims) or 1932 (claim by Reichardt); it was cast in 1938 by C.E. Weber as well). It is unclear where Gladiator started as it is also reported by Schriftguss and by Typoart. Gabriele was digitally revived by Ralph M. Unger in 2017 as Gaby Pro. Ingmar Bergman often used Florida in his films, and that is why Rick Banks revived Florida as F37 Bergman in 2017.
    • At D. Stempel, he made Elan (1928). Jaspert gives the date 1937. Frank Griesshammer, who did a digital revival of called Stempel Elan in 2009 (published by Linotype), claims it was done in 1936. In any case, Elan is an ugly heavy informal script.
    • Still at D. Stempel, he made Elegant Grotesk (1928-1929), an art deco geometric sans typeface family of three weights and one inline that predates Futura by a few months. Elegant Grotesk is identical to Guildford Sans (Stephenson Blake: they changed the name). There is a digitization and major extension of Elegant Grotesk to four styles by Jo de Baerdemaker, called Elegant Contemporary (2009), and to twelve styles by Steve Jackaman and Ashley Muir, Guildford Sans (2011). The bilined typeface Elegante Lichte (1928) was revived by Nick Curtis as Relampago NF (2011). Another interpretation saw the light in 2015, (Schoener). Mathieu Cortat's revival was called Battling (2013). In the 1930s, Fonderies Centrales P. Dutreix published Universelles, which was a renamed version of Elegant Grotesk.

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

    Hans Klein
    [Gregor H]

    [More]  ⦿

    Hans Peter Willberg

    Co-author with Friedrich Forssman of "Erste Hilfe in Typographie. - Ratgeber für den Umgang mit Schrift," Mainz: Hermann Schmidt, 1999. He wrote 15 books in all, including, e.g., Wegweiser Schrift, "Schriften erkennen" (with Monika Müller, Ravensburg, 1981), "Buchkunst im Wandel" (Frankfurt, 1984), "Lesetypografie" (with Friedrich Forssman, Mainz, 1997), and was an influential figure in the German printing scene. Willberg died on 30 May 2003 in Eppstein near Frankfurt. Obituary by Erich Alb. [Google] [More]  ⦿

    Hans Reichardt

    Type historian in the Frankfurt area who is associated with the Klingspor Museum in Offenbach, Germany. He has diligently compiled information on most German typefaces ever made. In 2008, Spatium Magazin has just released a DVD containing a collection of 3,000 images scanned from the pages of many 20th century German type foundry catalogs. The news announcements and forum discussions are positive. Four DVDs in all are planned. Included are scans of type specimen cards, brochures, and catalogs from various foundries, such as Bauer, Klingspor, Ludwig & Mayer, Stempel, C. E. Weber, Berthold, Genzsch & Heyse, Joh. Wagner, Flinsch and Schelter & Gieseke. In addition, books like Seemann's Handbuch der Schriftarten, Abraham Horodisch's Die Schrift im schönen Buch unserer Zeit, and Emil Wetzig's Ausgewählte Druckschriften in Alphabeten are scanned as well. Table of contents. All images on the DVD are at 150 dpi resolution.

    Author of Bleisatzschriften des 20. Jahrhunderts aus Deutschland (2008, Offenbach) and Bleisatzschriften des 20. Jahrhunderts International (2009, Offenbach), both in DVD format. [Google] [More]  ⦿

    Hans Reichardt
    [Klingspor Museum Offenbach]

    [More]  ⦿

    Hans Reichel

    Born in Hagen, NRW, Germany, in 1949, Hans Reichel died in 2011 in his studio in Wuppertal. Musician and type designer.

    As explained by Ulrich Stiehl, Reichel made the sans serif Barmen for H. Berthold AG in München in 1983. The company renamed it Barmeno in 1990, but went bankrupt in 1993. Berthold Types Ltd snook in under the pretense of being the successor of H. Berthold AG, and trademarked the name Barmeno in the USA. It published Barmeno Pro in 2006. So, Reichel went to FSI and published FF New Barmen (1 and 2) there in 1999. Berthold Types Ltd objected to the name, and forced FSI to change it. Thus, FF New Barmen became FF Sari.

    Reichel also made the successful FF Dax sans serif family (1995-1997), which as byproducts included FF Daxline (2005) and FF Dax Compact (2004).

    Typefaces by Reichel that are less in the limelight include FF Routes (2001, dingbats) and FF Schmalhans.

    Old home page. Klingspor link. FontShop link.

    His typefaces showcased. [Google] [MyFonts] [More]  ⦿

    Hans Rudi Erdt

    Hans Rudi Erdt (b. 1883, Benediktbeuern, d. 1918, Berlin) was a German graphic designer, lithographer and commercial artist known for his contributions to the Sachplakat movement created by Lucian Bernhard. His work at the prestigious Hollerbaum und Schmidt art printing company along with Edmund Edel, Hans Lindenstadt, Julius Klinger, Julius Gipkens, Paul Scheurich and Karl Schulpig make him one of the most important representatives of German poster art between 1906 and 1918. Erdt has also been recognized for his innovative use of typography in posters. [Google] [More]  ⦿

    Hans Rudolf Bosshard

    Born in 1929 in Balm/Lotstetten, Germany. He studied typefounding in Schaffhausen from 1944-1948, and worked as typesetter in printing shops in Zürich and Stockholm from 1951-1959. From 1959 until 1994, he taught typographic design in various schools, and from 1993-1998, he was a free-lance book designer associated with Niggli. Author of "Der typografische Raster The Typographic Grid" (Zürich, 2000), and "Typografie Schrift Lesbarkeit" (Verlag Niggli AG, Switzerland, 1996). The latter (highly recommended) book surveys legibility issues in type choices, and closes with a classification of post-1945 typefaces. [Google] [More]  ⦿

    Hans Schemm

    German propose of the Volksschrift for use in schools in Bavaria in 1933. [Google] [More]  ⦿

    Hans Schmidt

    German graphic artist, b. 1923, Leipzig. From 1951 until 1963, Schmidt was typographer at Eggebrecht-Presse in Mainz and taught typography at Landeskunstschule Mainz. From 1963 until 1983, he was professor of typography at Hochschule für Gestaltung, Offenbach. Since 1984, he is a freelance designer in Badenhard/Hunsrück. [Google] [More]  ⦿

    Hans Schreiber

    German designer, b. 1894, Hanau am Main. He studied in Offenbach with Rudolf Koch. He taught design, typography and book arts at the Barmer Kunstgewerbeschule from 1925 until 1960. His type designs include the unpublished Antiqua (1922 and 1940), and the D. Stempel typeface Reklame Grotesk (1921). [Google] [More]  ⦿

    Hans Schumacher

    German designer (b. 1963, Koblenz) who grew up in Berlin. He created a clean and legible sans family, Scylla (2004, URW++). In 2014, he designed the industrial or techno typefaces Slope Sans and Slope Slab at URW++.

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

    Hans Schwab

    Niedersachsen, Germany-based creator of the iFontMaker fonts HansWip (2011), Hans Typewriter (2011), HansNext2 (2011), HansWriter (2011, hand-printed typewriter face), KorresCond (2011, condensed hand-printed face), HansBlogFont (2011, fat outlined), HansOutFont (2010, outlined and hand-printed), Hansserif (2010) and HandCrossFont (2010, outlined). [Google] [More]  ⦿

    Hans Sebald Beham

    German printmaker who drew this alphabetic ribbon vignette in 1564. [Google] [More]  ⦿

    Hans Vollenweider

    German type designer (1888-1954). Designer of Rotunda (1948, Johannes Presse; with Walter Schneider; based on the 15th century type Rotunda). [Google] [More]  ⦿

    Hans Wagner

    Type designer, b. 1894, München, d. 1977, Altenburg. His typefaces include Altenburger Gotisch (1928, a Fraktur font, Ludwig&Mayer), Welt (1931, Ludwig&Mayer, a slab serif family), Largo licht (1937 or 1939, Ludwig&Mayer; but Berthold gives the date 1950) and Wolfram (1930, Ludwig&Mayer, a heavy upright italic). Welt is called Landi by Nebiolo (they added Landi Linear and Landi Echo designed by A. Butti, 1939-1943), Ramses by Fonderie Française and Atlas by Lettergieterij Amsterdam. Digitizations of Largo exist at Scangraphic, at Castcraft (as OPTI Lagoon) and at URW++ (2001).

    Klingspor link. [Google] [More]  ⦿

    Hansen2

    Design studio in Hamburg, Germany. In 2016, they created the sans typeface Minara. [Google] [More]  ⦿

    Hansjörg Stulle

    Born in 1938, Stulle, who is German, trained as a typographer under Walter Zerbe in Bern. Since 1985 he is a lecturer at the Academy in Stuttgart. [Google] [More]  ⦿

    Hans-Jürgen Ellenberger

    German designer (b. 1950) of some Linotype fonts. Among his creations, which are mostly handwriting or rough fonts:

    Linotype link.

    Showcase of Ellenberger's fonts. [Google] [MyFonts] [More]  ⦿

    Hans-Jürgen Wolf

    Born in Berlin in 1938, Hans-Jürgen Wolf studied graphic arts and painting with Richard Blank at the Design Institute of Berlin. As a graphic artist, he joined the studio of Schering AG in Berlin. Author of Geschichte der Typographie (Historia, 1999) and Geschichte der graphischen Verfahren (Historia, 1990), a detailed work on the history of typesetting and printing machine companies.

    Designer of Wolf Antiqua (1966, VGC). This typeface is available as Justine (NovelFonts) and OPTI Julie (Castcraft). [Google] [More]  ⦿

    Hans-Otto Keunecke

    German type historian. As example of his work was published in die Deutsche Schrift in 1988: Geschichte der Schwacher (history of Schwabacher). [Google] [More]  ⦿

    Hans-Peter Greinke

    Graphic designer in Berlin, b. 1936, Deutsch Wette. He designed typefaces in the 1980s at the East German type foundry Typoart. These include Typoart Baskerville (1982), Typoart Egyptienne (1989) and Typoart Walbaum (1984). These typefaces can be purchased from Elser & Flake. [Google] [More]  ⦿

    Hanspeter Niederstrasser

    Designer in 1997 of Def Leppard. [Google] [More]  ⦿

    Hanzer Liccini
    [Elias Hanzer]

    Elias Hanzer is the Berlin, Germany-based designer of the sans typefaces EH Eins A (2018?), EH Normal (2017) and Eh Gut (2015). He also created typefaces Phase Phase. Together with book designer Lucas Liccini he founded Hanzer Liccini in 2018 in Berlin, which released these typefaces:

    • Arizona Oldstyle. In 2020, Elias Hanzer released the Arizona superfamily at Dinamo in 2020 and 2021. This includes sans, text, mix, flare and serif subfamilies and contains variable forms as well.
    • Colant (2020). Based on Columbia Antiqua, a Scotch/Modern-style serif typeface, featuring distinct angular details and produced by the Bauersche Giesserei (Frankfurt am Main) on the occasion of the 1893 World Exposition in Chicago.
    • Fake.
    • Matex (2019). A 7-style geometric sans inspired by both schoolbook/textbook grotesques and Bauhaus, including Herbert Bayer's mid-1920's lowercase Universal.
    • Moment.
    • Orbital.
    • Primago.
    • Timezone (2021). A transitional typeface close to Times Roman. The G has a protruding chin.
    • Vincent (2019). An experimental script by Elias Hanzer and Lucas Liccini. The letter forms are inspired by a script font designed by naval scientist Dr. Allen Vincent Hershey. The Hershey fonts were a collection of early vector fonts released in Hershey's report Calligraphy for Computers (1967).

    Liccini is also involved in Studio Manuel Raeder. [Google] [More]  ⦿

    Harald Brödel

    Type designer associated with VEB Typoart in the phototypesetting era. His creations at Typoart include Fleischmann (a serif based on Fleischmann's historical face. An original cursive by Harald Brödel was added to the Typoart collection), Molli (a comic book face), Nidor (a slab serif), and Hogarth Script (a formal copperplate script).

    Digital versions of Hogarth Script include Gillray Pro (2015, Ralp M. Unger), OPTI Historic Script (by Castcraft), Hogarth Script EF, Hogarth Script URW, Hobson (Softmaker), Hogarth Script (2005, a Cyrillic extension by Alexandra Gophmann), and Hogarth Script (Linotype). MyFonts link. [Google] [MyFonts] [More]  ⦿

    Harald Geisler

    German type designer, b. 1980, Frankfurt. He runs a design studio in Frankfurt.

    His typefaces from 2010: Ciseaux Matisse (a counterless hand-printed all-caps typeface which is based on paper cut-outs), Zebramatic (a striped caps face), Sevigny (an experimental face based on threads), Speech Bubbles, and the fun poster typeface Whimsical Musical.

    Fonts made in 2011 include Cute Letters (curly, hand-printed Valentine's Day pair of typefaces: Hearted and Heartless), Prince Charming, Princess Charming (doodly Valentine's Day face), Conversation Hearts (alphading face), Capital Love (an alphading typeface with hearts), and Unchain My Heart (Valentine's Day alphading typeface).

    In 2012, he created the calligraphic connected script typeface Conspired Lovers and the seven-font set Light Hearted (which was inspired by a recording of Jean Baudrillard entitled Die Macht der Verführung (2006).

    His largest type project in 2013 was Sigmund Freud Typeface, which was developed with the help of PDF file. That font was published in 2017 as Albert Einstein.

    Still in 2017, he published Electric Cable (together with Julieta Ulanovsky) and had a Kickstarter project called Martin Luther.

    In 2018, he teamed up with Sumbo Pinheiro to develop the fun typeface Excited Alphabets, which is based on Sumbo's illustrations.

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

    Harald Harders
    [hfbright]

    [More]  ⦿

    Harald Oehlerking

    Designed Aspera in 1996 at Apply Design. [Google] [More]  ⦿

    Harald Suess
    [Harald Suess: Deutsche Schreibschriften für den Satz]

    [More]  ⦿

    Harald Suess: Deutsche Schreibschriften für den Satz
    [Harald Suess]

    An essay by Harald Suess written in 1994. He surveys the German school scripts from 1765 until 1993. [Google] [More]  ⦿

    Harris & Famers

    Frankfurt-based foundry. [Google] [More]  ⦿

    Harry Kessler

    Or Harry Graf von Kessler, or Harry Count Kessler, b. 1868, Paris, d. 1937, Lyon. Quoting MyFonts: Wealthy Paris-born, English-educated son of a German-Swiss father and an Irish mother, a diplomat and patron of the arts, Count Harry Kessler established his private press, the Cranach Presse, in Weimar in 1913. In 1904 he came to London to seek the advice of Emery Walker on the design of books for Insel Verlag, the innovative Leipzig publishing house. While there he was introduced to Eric Gill and Edward Johnston, both of whom he commissioned to draw title pages for Insel Verlag. Kessler later asked Walker to produce a type for the Cranach Presse. Just as Walker had done with types whose design he had supervised for other major private presses---Kelmscott, Doves and Ashendene---he chose Edward Prince to cut the punches. Unfortunately for all concerned, and despite help from Johnston, Prince had serious problems cutting the italic, seemingly unable to interpret the designs of Tagliente. The punches were finished only after Prince's death and barely used. Kessler's interests in fine printing were interrupted by World War I and his posting to Poland as ambassador. He left Germany for France in 1933, with the rise of the Nazis. Cranach published classic works by Shakespeare, Virgil, and Petronius, and such contemporary authors as Rilke, van de Velde and Hauptmann. Kessler's life story provides us with a valuable insight into the Weimar period of German history.

    In 1904, during his work in Weimar, Harry Kessler began to publish a group of bibliophilic books containing artistic compositions that combine original typography and illustrations. In the beginning he cooperated with the German Insel Verlag. He commissioned an alphabet designed for his book's covers. That bespoke typeface was revived by Alaric Garnier in 2019 as Kessler (Production Type). [Google] [More]  ⦿

    Harry M. Troeger
    [Harrys Design (was: Harry's Font Page)]

    [More]  ⦿

    Harrys Design (was: Harry's Font Page)
    [Harry M. Troeger]

    Harry Troeger (or Harald Tröger, Harrys Design, b. 1963, Germany) is the creator of many typefaces. He was originally from Marktredwitz, Germany, but moved to Cascade Locks, OR, where he still lives.

    Harald Tröger's own designs include Jack the Hipper, Dr. Schiwago (grunge), Alex (hand-printed), Prinz Regular, Mariposa, Kehl New (a custom font for a German company), Harry (hand-printed), Pastohombre (dymo label font), Thumb, Blubb and New Captain Nemo. Generally handwriting or grunge type.

    Old URL with some typefaces. Dafont link.

    Catalog 1. Catalog 2. [Google] [More]  ⦿

    Hartmut Schaarschmidt
    [SD Fonts]

    [MyFonts] [More]  ⦿

    Harvey Hunt
    [Berthold Direct Corp]

    [MyFonts] [More]  ⦿

    Harvey Hunt
    [Berthold Types Limited]

    [More]  ⦿

    Hassan Haider

    Hassan Haider (b. 1980, Diepholz, Germany) sudied graphic design at FH Bielefeld. from Bielefeld, Germany, created the geometric typefaces Neo Serif (free), and Skate or Die (2009) and the grungy stencil typeface Soundpieces (2009). Nice accompanying poster too.

    Klingspor link. Bureau Hassan Haider link. [Google] [More]  ⦿

    Hatsamatsu (or: Design Code Lab)
    [Martin Wecke]

    Berlin, Germany-based designer of the free grotesque monospaced typeface Lab Mono (2020). [Google] [More]  ⦿

    Hauke Petersen

    Aka Sveinsson. Designer from Germany (b. 1982) who created the free constructivist typeface Journey P53 (2012), which is based on the title card of the Video Game "Journey" for PlayStation 3. [Google] [More]  ⦿

    Haus am Meer

    German studio of Wolfram Saathoff and Steffen Kratz, based in Hamburg. They designed the piano key stencil typeface Mjölk and the Pacman font Tölva in 2016. Behance link. [Google] [More]  ⦿

    Hausgießerei der Sternschen Buchdruckerei

    Lüneburg-based foundry. [Google] [More]  ⦿

    Hausschrift-Liste

    German list of the house fonts of many companies. [Google] [More]  ⦿

    Hausschrift-Liste Unternehmen-zu-Schrift

    Ralf Hermann's list of house fonts used by German companies. [Google] [More]  ⦿

    HAW Hamburg

    The Hochschule für Angewandte Wissenschaften Hamburg (was: Fachhochschule Hamburg) offers some typography courses in the Faculty of Design, Media and Information. Jovica Veljovic and Heike Grebin are the main type design professors. [Google] [More]  ⦿

    Hee Jun Kim
    [Adaylife]

    [MyFonts] [More]  ⦿

    Heike Häser
    [typemotion]

    [More]  ⦿

    Heike Nehl

    German Face2Face designer who made mainly grunge typefaces in the late 1990s such as F2F LoveGrid, Starter Kid, Lego Stoned, F2F Twins, F2F Monako Stoned (1995, a halftone texture face, almost op art). [I wonder if Lego stoned was renamed to Monako Stoned for legal reasons...] LoveGrid and Twins are now also Linotype fonts. In 2003, F2FLovegridCaps LT Std and F2FTwins LT Std appeared as part of the Linotype Taketype 5 collection.

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

    Heiko Hoos
    [HGO]

    [MyFonts] [More]  ⦿

    Heiko Kübler

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Heiko Windisch

    German illustrator. She created some hand-drawn typefaces, such as Baron Samedi (2008) and Bauspavertrag (2008). I do not know if this has been fontified. [Google] [More]  ⦿

    Heimat Berlin

    Studio in Berlin that created the typeface Voice of the Wall in 2019, based on graffiti of the Berlin wall that was torn down 30 years earlier. The project is supported by Die kulturellen Erben in Berlin under the guidance of Victoria Tschirch. [Google] [More]  ⦿

    Heinrich Ehlert

    German typographer who designed type at the Wilhelm Gronaus Schriftgießerei in Berlin in the mid 1800s. Typefaces at that foundry by him include Gronau Gotisch (1850, blackletter). A digital revival by Gerhard Helzel is called Gronau Gotisch. [Google] [More]  ⦿

    Heinrich Flinsch
    [Schriftgiesserei Flinsch]

    [More]  ⦿

    Heinrich H. Lindemeier

    German type designer affiliated with URW++. In 2003, he created Media Sol (a script face) and Moderatio (an informal bold face). [Google] [MyFonts] [More]  ⦿

    Heinrich (Heinz) Keune

    Heinz Keune (possibly Keune von Waldheim) was born in 1881 in Hannover, and died in 1946 in Berlin. He was a signpainter in Hannover and Leipzig and, from 1903 onwards, a freelance graphic designer in Weimar and Berlin. From 1908 until 1910, he studied in Leipzig under H. Steiner-Prag and H. Delitsch before returning to Hannover in 1911. In 1915 he became a professor at the Königlichen Kunstschule in Berlin. From 1918 until 1920, he taught at the Akademische Hochschule für bildende Künste at Berlin Charlottenburg. From 1920 on, he taught at the Kunstgewerbe und Handwerkerschule in Berlin-Ost.

    All his typefaces were designed at Schelter&Giesecke, between 1900 and 1909. He created Rosenzierat Serien 534 und 535 (1905), Mimosenzierat (1909), Edda (1900, late art nouveau style), Wallenstein (1904, art nouveau), Lichte Wallenstein (1904), Wittelsbach (1903, German expressionist face), Habsburg (1903, German expressionist face), Maria Theresia (1903), Ovid (1903, art nouveau), Rousseau (1905, a travel poster script face), and Wettin (1902, art nouveau).

    Digital revivals: Most revivals are by Oliver Weiss of WaldenFont:

    • WF Border Ver Sacrum: Based on borders by Heinz Keune for Schelter & Giesecke, 1901 (or earlier).
    • WF Habsburg: After an original by Heinz Keune from 1903 for Schelter & Giesecke.
    • WF Maria Theresia: After Maria-Theresia-Versalien (1903, Heinz Keune for Schelter & Giesecke).
    • WF Ovid: After an original by Heinz Keune from 1903 for Schelter & Giesecke.
    • WF Wallenstein: Based on an original by Heinz Keune (1904), who intended it as a heavy weight companion of Habsburg and Wittelsbach,
    • WF Wittelsbach: After an original by Heinz Keune from 1903 for Schelter & Giesecke.

    Edda has many revivals, including one by Ralph M. Unger (Edda Pro, 2008), and one by Michael Parson (Huggy, 2017). [Google] [More]  ⦿

    Heinrich Hoffmeister

    Heinrich Hoffmeister is a German foundry established in 1898 by Heinrich Wilhelm Hoffmeister (b. 1857 Lennep, d. 1921 Langen) and was based in Leipzig. Acquired by D. Stempel in 1918. Hoffmeister's typefaces:

    • Amts Antiqua (1909-1922). Now known as Madison (1965, Stempel) or Century 725 (Matthew Carter, Bitstream) or Madison Antiqua (Ralph M. Unger, Linotype). See Madeira and Magazine on the SoftMaker MegaFont XXL CD (2002). See also Madius (URW), Geneva (SF), Madame (Scangraphic). Stempel's Madison Kursiv (1965) revives Amts Kursiv (1911). The Amts Kursiv halbfett and fett weights are given the date 1931 by Bernhard Schnelle.
    • Reform-Fraktur (1903).
    • Ekkehard-Fraktur (1917, at Stempel in 1918). This was earlier called Treubund-Fraktur. There also exists a Halbfette Ekkehard-Fraktur).
    • Einheits-Fraktur (1914).
    • Continental (1901).
    • Reform-Antiqua (1905).
    • Sensation (1909, Stempel). The Fette was done in 1913 and the Schmalfett in 1914. Sensation is known as Elegante at Baltimore Type Foundry. For a digital revival of the Schmalfett, see Concordia (2020, Ralph M. Unger). Sensation is characterized by a distracting foot on the r and exaggerated inward curves--quite an ugly duckling.
    • Teutonia (ca. 1900).
    • Säculum (1907, Stempel).
    • Stempel-Fraktur (1916, Stempel). Digitized by Gerhard Helzel in 2006.
    • Amts-Fraktur (1906-1911, Stempel). Revival by Gerhard Helzel, Chiron (2014, as TbC Schmalfette Amtsfraktur), and Christoph Schwedhelm (2013, as Schmalfette Amts-Fraktur).
    Karl Rupprecht did Buchgotisch in 1908. Clemens and Buschmann made Neuzeit-Fraktur (1909).

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

    Heinrich Johannes Maehler

    German type and graphic designer, b. 1895, Offenbach, d. 1979, Tann / Rhön. He worked for Gebr. Klingspor until 1934. Designer of the extra bold connected upright scriptish display typeface Salut (1931, Klingspor), which was revived in 1980 by Alan Meeks as Einhorn SH (in the Scangraphic collection). This is called Einhorn by Linotype and ITC Einhorn by ITC. Neither Scangraphic, nor Linotype nor ITC credit Maehler for the original design. A 2000 revival by Nick Curtis is called Unicorn. A 2007 revival and extension by Iza W at Intellecta Design is called Agua.

    His name is misspelled Machler on the Monotype and Fontshop sites. FontShop link. Klingspor link. [Google] [More]  ⦿

    Heinrich Jost

    German type designer (b. Magdeburg, 1889-d. Frankfurt, 1948). He was art director at the Bauersche type foundry in Frankfurt am Main for most of his life, and led that company from 1922-1948. Brief CV. His typefaces:

    • Aeterna (or Jost Mediaeval, 1927, Ludwig&Mayer). Berry, Johnson and Jaspert write: Mediaeval in German is used with much the same meaning as our Venetian. The type is of rich colour, has small serifs and short descenders. The capitals vary in width, E, F and L being narrow, corresponding with some well-known Roman inscriptions, e.g., those of the Trajan column. There are two M's and N's, one having no top serifs. U has the lower-case design and W no middle serif. e has the Venetian form, the g an odd rectangular ear. The dot on the i is diamond-shaped. The italic has capitals consistent with the roman; the inclination is very slight and in the lower case some letters are upright. It is rather like a Goudy italic. There is also an italic and a bold. Aeterna, as the type is now called, is a slightly revised version. Intertype (Berlin) made a metal version early on. Digital revivals include Aesop on the SoftMaker MegaFont XXL CD (2002).
    • Fraktur (1925).
    • Atrax (1926, shaded bold roman capitals, Bauersche Giesserei).
    • Bauer Bodoni (1926, at Bauersche Giesserei, with Lois Hoell), a font about which many people rave. In 1977 Aaron Burns declared that Bauer Bodoni is probably the most beautiful Bodoni ever designed. Images: Poster by Charles Brooks.
    • Beton (1930, Bauersche Giesserei), a slab serif with a characteristic y-foot serif extending to the right). McGrew's comments on Beton: A square-serif typeface designed by Heinrich Jost for Bauer Type foundry in Germany, copied by Intertype in 1934-36. Beton Wide was added by Intertype in 1937 to fit two-letter matrices with the Extra Bold. Like the other members, it features several unusual design details, but several alternate characters and a set of redesigned figures are furnished to more nearly approximate American square-serif designs. Unlike other such typefaces, serifs are bracketed on strokes which would be thin in contrasting romans. Bauer also made Beton Light, Medium Condensed, Bold Condensed, and Open versions, some of which have been copied here by secondary suppliers. Beton Open has sometimes though incorrectly been called Stymie Open. Many foundries have digital versions of Beton: Linotype, Berthold (Beton BQ), Elsner and Flake (Beton EF), and Scangraphic (Beton SB, Beton SH). The Esfera NF family (2010, Nick Curtis) is a playful digital extension that uses ball terminals, and has a regular y. Bevan (Vernon Adams, 2011) is a free Google Web Font.
    • Alfrodita (FT Nacional, 1946), shaded capitals with very small serifs and formed by four parallel lines.

    View digital versions of Beton. View Heinrich Jost's typefaces. [Google] [MyFonts] [More]  ⦿

    Heinrich Laudahn

    Laudahn ran a graphic design studio in Berlin. Designer of Laudahn-Kanzlei (1912, Bauersche Giesserei). [Google] [More]  ⦿

    Heinrich Lischka
    [Font Boutique (was: Typografski Font Boutique)]

    [MyFonts] [More]  ⦿

    Heinrich Lischka
    [typografski.de]

    [More]  ⦿

    Heinrich Paravicini

    Mutabor Design in Germany is where Jens Uwe Meyer and Heinrich Paravicini publish their work. They are the winners of an award at the TDC2 Type Directors Club's Type Design Competition 2002, with Globetrotter, a fine hand-printed font. [Google] [More]  ⦿

    Heinrich Pauser

    Designer at Genzsch&Heyse (b. 1899), who made Semper Antiqua (1940). At D. Stempel, he designed the heavy script typeface Petra (1954). [Google] [More]  ⦿

    Heinrich Vogeler

    Heinrich Vogeler (b. 1872, Bremen, Germany) was an art nouveau era artist, designer, illustrator and teacher, known for his paintings and for his illustrations of fairy tales. He also did some work for the art nouveau magazine Pan. From 1894 on, he lived for some time in the artist colony at Worpswede, Germany. In 1908 he and his brother Franz founded the Worpsweder Werkst&aauml;tte, which produced household objects. He studied at the Kunstakademie Düsseldorf from 1890-1895. With sympathies for the working class, after the Great War, he became a pacifist and joined the Communist Party of Germany (KPD). The romanticism of his early art nouveau work gave way to proletarian content. In 1931, Vogeler and his second wife, Sonja Marchlewska, emigrated to Russia. Ironically, he was deported in 1941 to Kazakhstan by Soviet authorities, and died there in 1942.

    Jugendstil Initials (2007, HiH, Malcolm Wooden) is a commercial digital revival of Jugendstil Initialen (1905, Rudhardsche). Compare with Vogeler Caps (2002, Petra Heidorn, CybaPee Creations) and Vogeler Initialen (2002, Dieter Steffmann), both free revivals of a similar style face.

    Other typefaces by him include Vogeler Zierat (1904, Rudhardsche Giesserei), Kalender Bilder (1910, Klingspor).

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

    Heinrich Wallau

    German printer, b. 1852, Mainz, d. 1925, Zwingelberg. Author of Aesthetik der Druckschrift, which served as a motivation and example for Rudolf Koch, when Koch designed his Wallau blackletter family starting in 1924. This project lasted until 1936, with the rotunda or Rundgotisch typefaces magere Wallau (1931-1933), fette Wallau (1933-1934), Schmale Wallau (1933-1934), and halbfette Wallau (1933-1936). There were also various Versalien (Antiqua-Versalien, Fraktur-Versalien and Schmuck-Versalien) along the way. [The link leads to a short bio by Wolfgang Hendlmeier, written in 1987.]

    Digital versions of Wallau include RMU Wallau (2019, Ralph M. Unger), Wallau No1 Pro, Wallau No2 Pro by SoftMaker, Alter Littera's Wallau (2012), Wallau (1996, by Delbanco; called Wal at PrimaFont), Wallau (by Gerhard Helzel), DS Wallau (Dieter Steffmann), Wallaby (SoftMaker), and the 2002 series WallauDeutsch-Bold, WallauRundgotisch-Heavy, WallauRundgotischOsF-Heavy, WallauUnzial-Bold and WallauZierBold (2002) by Dieter Steffmann. [Google] [More]  ⦿

    Heinrich Wieynck

    German type designer (b. Barmen, 1874, d. Saarow, 1931) principally associated with the Bauersche Giesserei. In 1914 he became a Professor at the Akademie für Kunstgewerbe in Dresden. Before that he lived mainly in Berlin. He designed

    Biography by Harald Süß (Die deutsche Schrift, 2002). Picture. Klingspor link. Digital versions of Phyllis. [Google] [MyFonts] [More]  ⦿

    Heinz Beck

    German type designer. His typefaces:

    • Brahms-Gotisch (1937, Genzsch&Heyse) and Brahms-Gotisch Werkschrift (1937, Genzsch&Heyse). This blackletter was digitally remastered by Manfred Klein and Petra Heidorn in 2005 under the same name.
    • Nordland (1935, blackletter at Trennert&Sohn and Genzsch&Heyse). Nordland was revived by Petra Heidorn in 2005.
    • Möwe (1929, Genzsch&Heyse). This blackboard bold typeface was revived in 2017 by Coen Hofmann as Moewe.
    [Google] [More]  ⦿

    Heinz Hantschke

    Author of Meisterliche Typographie (Saarbrücken, 1952). [Google] [More]  ⦿

    Heinz J. Kriele
    [Wilhelm Dreusicke and Co]

    [More]  ⦿

    Heinz König

    German type designer (b. Lüneburg, 1856, d. Lüneburg, 1937). After years in Braunschweig and Stuttgart, Heinz had contact with Genzsch&Heyse in Hamburg in 1881 and with Otto Hupp in 1887. After that, he returned to his home town to take over the printing business of his father. Brief bio by Harald Süß in 1999.

    List of his fonts compiled by Harald Süß.

    [Google] [More]  ⦿

    Heinz Schumann

    Heinz Schumann (b. Chemnitz, 1934, d. Chemintz, 2020) studied under German type designers Albert Kapr and Herbert Thannhaeuser at the University of Graphics and Book Design in Leipzig.

    He drew the calligraphic brush typeface Stentor (1964, Typoart), a Mistral competitor. In this style, many still prefer Ron Zwingelberg's Rage Italic. Rosalia (2004, Ingo Preuss) is based on Stentor. Digital versions by Ralph M. Unger (2013, Tyton Pro), Scangraphic (as Stentor SB), Softmaker (called Sterling), Elsner&Flake and URW.

    One of his unpublished typefaces from the early 1960s was revived in 2017 by Patrick Griffin and Richard Kegler at P22 as P22 Schumann Pro.

    FontShop link. Obituary by Ingo Preuss. [Google] [MyFonts] [More]  ⦿

    Heinz-Peter Gronau

    German type designer in Berlin. [Google] [More]  ⦿

    Helene Uhl

    Helene Uhl is a graphic designer in Frankfurt, Germany. She created the free typewriter typeface Linowrite (2013), which is based on American Typewriter.

    Dafont link. Aka Lennard Glitter. [Google] [More]  ⦿

    Helga Jörgenson

    German designer of ITC Dinitials Positive and ITC Dinitials Negative (1995, animal alphadings), ITC Golden Type (1989, with Sigrid Engelmann and Andrew Newton, a revival of a font of British designer William Morris), and a series of ITC Lubalin Graph weights (1992).

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

    Helge Barske
    [Barske.com]

    [More]  ⦿

    Helge Hein

    Born in Sachsen in 1957, Hein grew up in Baden-Würtenberg. He is mostly involved in graphic and design and digital media. Designer at URW of pixel fonts, dingbats, and logo fonts, such as HeinTX_1 through HeinTX_5 (2000, available at MyFonts). Other typefaces: Hein Resans (dot matrix face, 2002), Hein Resans Point, Hein Recueil, Hein Kni Set, Hein ET (Egyptienne, Sans, and Antiqua), Hein Go TX, Hein Knight Set, Hein Perltx, Hein Royal Et (2004), Hein Band A (Domain, InPhone, Phone), Hein OctoGo, Hein OctoGo Serif (2005), Hein OctON Sans and Serif (2005), Hein Oktav, Hein Recueil (+ Round, Round Symbol, Symbol). Most of these are display typefaces. Klingspor link. [Google] [More]  ⦿

    Helios Software GmbH

    German company that sells PDF Handshake. This page explains the "Berthold Types Ltd. vs. European Mikrograf Corp" suit in 2000: "Plaintiff Berthold Types Limited filed a five-count complaint against defendants European Mikrograf Corp., Helios Software Gmbh, and Helmut Tschemernjak alleging counterfeiting (Count I), trademark infringement (Count II), false designation of origin and unfair competition (Count III), deceptive trade and business practices (Count IV), and unjust enrichment (Count V). [...] Plaintiff alleges that defendants market and sell font software as part of a software package called PDF Handshake, which includes font software for over 340 typefaces identified by the Berthhold trademarks, without permission or authorization. [...] Defendants Helios Software ("Helios") and Helmut Tschemernjak have filed a motion to dismiss plaintiff's complaint as to them for lack of personal jurisdiction. For the following reasons, defendants Helios and Tschemernjak's motion to dismiss is granted." [Google] [More]  ⦿

    Hell GmbH
    [Rudolf Hell]

    Foundry started by Dr. Ing. Rudolf Hell in 1947 in Kiel, Germany. The business started off repairing Hellschreiber machines, but went on to produce the Klischograph, Hell's invention---an electronically controlled printing block engraver. In 1964 he invented the Digiset, the first digital typesetter. His Digi-Grotesk S (1968) is said to be the first digital typeface. Gerard Unger worked there until the mid eighties. In the late 1970s Hell became a subsidiary of Siemens. It merged with Linotype in 1990 to become Linotype-Hell. Its main designers were Gerard Unger (Demos, 1975; Hollander, 1983; Praxis, 1977; Swift, 1985) and H. Zapf (Edison, 1978; Marconi, 1976).

    MyFonts sells Vario Com (by Hermann Zapf for Hell, but now a Linotype face), and Sierra Com by Kris Holmes, also first done for Hell but now owned by Linotype. About Sierra Com, they write: Sierra is an antiqua with a high x-height and generous, open counters. Many curves of the letters are almost right angles, which was particularly suited to the Digiset machines.

    Linotype now has digital versions of Digi Grotesk and Digi Antiqua in its library. DigiGrotesk N was influenced by Neuzeit Grotesk, while DigiGrotesk S was a more general sans in the style of Akzidenz Grotesk, Univers and Futura. Digi Antiqua (1968) goes back to the 1820s in England.

    Hell created Holsatia (Latin for Holstein, as in Schleswig-Holstein), a Helvetica clone.

    Rudolf Hell was born in Eggmühl, Germany in 1901 and died in Kiel in 2002.

    MyFonts also shows Hell Design Studio. [Google] [MyFonts] [More]  ⦿

    Helldunkel
    [Boris Moser]

    Boris Moser from Aachen, Germany, runs the Helldunkel web site. He designed the free fonts Camouflarsch (2005), Schaak (2005), Paulchen (2005), Die Perlon (2005), Atron (2005, futuristic), Grupe A, Gruppe F, Gruppe L, Gruppe S, Alternative (2005), Motherfunker (2005), Hd-Deamus (2005), Antihand (2005) and Heimchen (2005). Boris graduated in 2001 from SAE College in the multimedia production program. He works as a freelance graphic designer. Creator of the 3d outline typeface Motherfunker (2012).

    Home page. Dafont link. Klingspor link. Fontspace link. [Google] [More]  ⦿

    Hellmut G. Bomm
    [HGB]

    [MyFonts] [More]  ⦿

    Hellmuth Tschörtner

    Designer (b. 1911, See bei Niesky (Sachsen), d. 1979, Leipzig) at Typoart in 1955-1959 of the garalde typeface Tschörtner-Antiqua. This family became very popular as a workhorse in the DDR. This was digitized in three optical weights as GTF Toshna (2007-2008, German Type Foundry) by Andreas Seidel (see also here). Tschörtner was a book and graphic designer, who worked as a graphic artist for the Feutsche Theater in Reichenberg, Czechia (1932-1938) and at the graphic design agency G. Rebner&Co. in Leipzig (1938). He joined the military in 1940. After the war, he made book covers and typographic greeting cards. Thanks to Horst Erich Wolter he started work in 1955 on Tschörtner-Antiqua. After that, he worked for publishers such as Insel, Kippenberg, List, Neumann and Edition. In 1973, the city of Leipzig gave him the Gutenberg Prize. MyFonts link. Biography. [Google] [MyFonts] [More]  ⦿

    HelloMe
    [Till Wiedeck]

    HelloMe is Till Wiedeck's Berlin-based studio. They created the following typefaces in 2011: HM Extra (the visual identity for HipHop musician Exzem is based around the custom alchemic typeface HM Extra), HM JuneGrotesk, HM Tilm (monoline, created with Timm Häneke). HM Walnut (2008) is a modular geometric experimental typeface. HM Club (2009) is an art deco typeface created as part of Videoclub's visual identity. HM Mary (2008) is almost in the piano key typeface genre. HM Melt (2008) is a very original logotype stencil typeface.

    In 2014, they made the bespoke typeface Blom & Blom. In 2015, they published the children's block typeface Tiny. [Google] [More]  ⦿

    Helmar Fischer

    German designer (b. 1960) of the pixelish typeface Angulo Black (2017). [Google] [More]  ⦿

    Helmar Fischer
    [Typoecke]

    [More]  ⦿

    Helmut Ness

    Graphic and type designer Helmut Ness was born 1972 in Frankfurt, Germany and lives and works in Berlin. He co-founded Fuenfwerken, which is based in Wiesbaden and Berlin. He and his team worked on several information design projects for the Munich Transport Authority including metro and tram maps, and timetables.

    Designer of Linotype Russisch Brot (1997, with Markus Remscheid).

    In 1988, Werner Schneider made "Euro Type" for the German Federal Transportation Ministry in order to optimize the legibility of and standardize transportation typefaces. In 2002, Helmut Ness cooperated with him and produced the 22-weight and 14-dingbat family Linotype Vialog, which is now used in the subway of Munich and on some products of Pfizer. Since 2006, it is also the corporate font of RENFE, the Spanish train authority. The dingbats (which have many arrows) are called Vialog Signs.

    Creator of the iFontMaker font TouchHel (2010, hand-printed).

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

    Helmut Schmid

    German type designer, b. 1942, Austria, d. 2018, Japan. He started out apprenticing as a typesetter. In the 1960s, he studied in the Basel School of Design in Switzerland under the direction of Emil Ruder, Kurt Hauert and Robert Buchler. Schmid went on to West Berlin and then Stockholm (where he created covers for journal Grafisk Revy). Schmid traveled extensively and worked in Canada, Germany, Sweden, and Japan, before relocating to his permanent home in Osaka in 1977. This was where he developed his iconic design aesthetic that blends European and Japanese elements. One of his most notable works was the brand identity for Japanese sports drink Pocari Sweat, which is still in use in East Asia, Southeast Asia, and the Middle East today.

    Schmid wrote several essays about typography for global design magazines including Baseline, Idea, and Typografische Monatsblätter. His books include Typography Today, Helmut Schmid: Design is Attitude and Japanische Typographie und Schweizer Typographie, published in Comedia, edition 03-1, 2003. [Google] [More]  ⦿

    Hendrik Möller

    Berlin-based designer of the Latin/Cyrillic low contrast informal sans Luba (2009, Linotype), which was his graduation project.

    Home page. Linotype link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Henning Brehm
    [Design Tourist]

    [MyFonts] [More]  ⦿

    Henning Hartmut Skibbe
    [ErlerSkibbeTönsmann (and: Character Type)]

    [MyFonts] [More]  ⦿

    Henning Humml

    Photographer and typographer in Berlin. Clearly taken with anything that reeks of Bauhaus, he created the Bauhaus style typeface BaucoHH in 2009. [Google] [More]  ⦿

    Henning Krause

    Henning Krause (Usingen, Germany) joined Monotype as manager of CP Font Production in Bad Homburg, Germany. Before that, Krause designed the FF Magda Clean family (FontFont) and FF Zwo (with Joerg Hemker). Various sources have FF Magda Clean (+Mono) designed by Cornel Windlin (of Lineto) in 1995 and others by Windlin jointly with Critzler and Henning Krause. FF Zwo (2002) is by Henning Krause and Joerg Hemker. For corporations, he digitized typefaces, designed new ones, and modified existing ones for special purposes. He founded Formgebung in Berlin-Mitte in 1993. His digitizations/modifications include the Dr. Oetker Headline face, the Commerzbank sans family, ITS Gothic, and Ikea-Medium. Original types include AMS Headline and the Chio Font System, both designed from existing logotypes. His fonts Trivia-Regular (2006) and Trivia-Pict (2006), both published with Fontshop, could at one point be downloaded from DaFont [link died]. Monotype link. [Google] [MyFonts] [More]  ⦿

    Henning Wagenbreth

    Contemporary poster artist and illustrator trained in the East German lettering and signpainting tradition, b. 1962. He studied at the Kunsthochschule Weißensee in Berlin from 1982-87 and has since worked as a freelance graphic designer. Designer of postage stamps. Professor of visual communication at the Berliner Hochschule der Künste. He painted the letters on which FF Prater (2000, Steffen Sauerteig) is based. Discussion of FF Prater Sans (2000), FF Prater Script, FF Prater Serif, and FF Prater Block. FontShop link. Klingspor link. [Google] [More]  ⦿

    Henri Friedlaender

    Born in Fulnek, Sudetenland, in 1904, he died in Jerusalem in 1996, after having spent most of his life as head of the Hadassah College in Jerusalem. He designed Hadassah Hebräisch (1958). Winner of the Gutenberg Prize in 1971. Henri Friedlaender designed Aviv, Hadar, and Shalom for IBM. Discussion of the Haddasah type by William C. Fontaine.

    William C. Fontaine writes in the Dartmouth College Library: In 1931 Henri Friedlaender was the foreman of the typesetting division of the Offizin Haag-Drugulin, an eminent Leipzig publisher that specialized in the printing of books in semitic languages. That year the Schocken Publishing Company placed a request for a twentieth-century, modern Hebrew typeface; it was a query that would captivate Friedlaender for the rest of his life. At the time, he was still a young man of twenty-seven, but another twenty-seven years would pass before his work would come to fruition with the creation of the Hebrew Hadassah typeface. The lack of a modern Hebrew type was acutely felt by the publishing industry in the early twentieth century. All of the existing typefaces were fatally flawed and barely legible. In addition, they had a medieval appearance that was wholly inappropriate for most printing jobs. In order to appreciate the magnitude of this problem, imagine having to read the New York Times in a gothic font because no other typefaces were available. Henri Friedlaender was the first to admit he was ill-prepared for this formidable challenge, but his knowledge of calligraphy and printing, as well as his aesthetic vision, gave him the tools to succeed where others had failed. As with any pioneering effort, the landscape was characterized by the complete absence of any guideposts. He had no idea what the final design would look like; indeed, he did not even know whether or not it would have serifs. His only guides would be his own aesthetic sensibilities and philosophy of typography. He knew the type would have to be simple, modern, and elegant, yet transparent to the reader. Without the quality of transparency, any type design would fail, no matter how good it might be otherwise. In the end, the type would attract too much attention to itself and defeat its efforts to communicate the author's text to the reader. To begin his work, Friedlaender made a survey of the existing Hebrew fonts. While everyone knew the existing Hebrew types were unsatisfactory, no one had made a thorough study to find out what made them so. The main problem, according to Friedlaender's research, was that the Hebrew alphabet never made an adequate transition from manuscript letter to typeface as had Roman letters. The Hebrew typefaces were more or less copies of the manuscript letters, incorporating all of their deficiencies and exhibiting few of their virtues. Some designers tried to apply the principles of Roman typography to Hebrew in an effort to avoid the extensive work that would be required to make this transition. These attempts failed miserably. The principles of Roman typography, known as Didot-Bodoni, emphasized horizontal lines with bold, dark, strokes and minimized vertical lines with hairline strokes. When this technique was used to produce Hebrew type, the result was barely tolerable. Obviously, Friedlaender's new design could not emerge from improving on any of the existing fonts. He would have to design a new typeface from scratch, from the fundamental basic forms of the Hebrew alphabet. Only then would he be able to create a type that would be a true typeface, and not merely a copy of the written letter. It was clear that he would have to conduct a thorough study of Hebrew writing in an attempt to discover its basic, fundamental forms; but a historical catalog of Hebrew letters did not exist, so Friedlaender began the daunting task of compiling his own. He photographed examples of different styles wherever he could find them: from tombstones, manuscripts, books, and anything that contained Hebrew letters from different periods and in different styles. It was here that his training in calligraphy in Leipzig during the 1920s came to the fore. Hermann Delitzsch, one of Friedlaender's teachers, was an expert in the scribal methods of copying old manuscripts. He had taught Friedlaender how to dissect a manuscript letter and determine what kind of writing implement was used as well as the angle needed to produce the various components of each letter. Friedlaender used these techniques to analyze the letters and isolate their most fundamental basic forms. From his study he saw the emergence of two major styles of Hebrew lettering: the Ashkenazi, which is the heritage of the Jews of Europe, and the Sephardi, which is of the Orient and Mediterranean. Written with a wide-nibbed reed, the Sephardi letters had strong horizontal and vertical lines that minimized the contrast among the lines in each letter. However, as the Sephardi style developed, a thinner reed was used to introduce more contrast within the letters. Ironically, the script became less legible. A number of letters could be easily confused. In addition, Friedlaender felt that some of the letters were too dark, especially the aleph. It was this late Sephardi script after which most early typefaces were modeled, and the defects of this script were subsequently inherited by these typefaces. The Ashkenazi style, however, employed a quill instead of a reed, which permitted much more contrast because of its ability to make heavy lines as well as very thin lines. This enabled the scribes to introduce new basic forms that helped distinguish some letters from others. However, this style was very ornate and was by its very nature gothic in appearance. Friedlaender began to see the direction his new type would take when he examined his scroll of Esther, which was copied by a scribe in the late eighteenth century. He could recognize the strengths of the Ashkenazi form as well as the improvements that the scribe made to minimize its weaknesses. In addition, the scribe did not slavishly follow the ornate tendencies of the Ashkenazi style. The result was a script that capitalized on the basic forms in both the Sephardic and Ashkenazic styles and lacked the usual gothic appearance. While Delitzsch's technique for analyzing letters was invaluable, it was his training under Rudolf Koch that he drew upon for designing the new typeface. Friedlaender's first full-time job was in the late 1920s as a typesetter in Ofenbach at the Klingspor workshop, and it was there that he came in to contact with Koch. In the evenings he attended Koch's calligraphy workshop. Although Koch was a gifted artist, Friedlaender noted that what was most important was his contact with the man. For here was an artist whose life embodied the spirituality and beauty that were evident in his work. It was a quality that many remarked on, and it struck a sympathetic chord with Henri Friedlaender, a student of Jewish mysticism and the wisdom of the East. Another source that would influence Friedlaender's project was Hugh J. Schonfield's The New Hebrew Typography, which was sent to him by the typographer Stanley Morison. After reading this book Friedlaender realized that he had to expand his goal from creating a single Hebrew typeface to a family of type: normal, bold, and cursive styles as well as punctuation and numerals. He also faced the question of designing the type for typesetting machines, which would require that each letter be the same width whether it was in normal, bold, or cursive form. As the situation in Germany worsened, it became clear to Friedlaender that he would have to leave. By 1932 the Nazi party had become the largest one in the Reichstag and was growing in power. So, in that year, he left the country where he had spent twenty-two of his twenty-eight years and went to the Netherlands to work as the art director at the Mouton publishing house in The Hague. There he became involved in designing book jackets and doing freelance work for other publishers. In 1936 he began his career as an educator, teaching typography and lettering in Amsterdam. All the while he continued his work on his Hebrew typeface, trying to capture the basic forms in his drawings. By 1941 he completed the first draft. In May of that same year, the Netherlands was invaded by Germany, and Friedlaender knew he would soon have to go underground. In the beginning of 1942, he packed up his drawings and photographs and buried them in his back yard in the hope that both he and his work would survive the war. While he was in hiding, he kept his professional and spiritual life alive through his calligraphy, producing excerpts from Biblical texts as well as wisdom from Hassidic and Eastern sages. The Netherlands was liberated in 1945 and although much of his work was destroyed, the drawings and photographs of his letters survived. Once again, he was able to support himself by doing freelance book-design work. He now began the task of looking for a type foundry that would work with him on casting the type. A number of obstacles stood in the way, the least of which was that the foundries already had more work than they could handle. In addition, no one at the foundries was in a position to evaluate the quality of Friedlaender's design. For all they knew, it would be a complete failure. But with the intercession of G.W. Ovink, a noted Dutch typographer, Friedlaender was able to convince the Lettergieterij Amsterdam to take a chance on his Hebrew type in 1949. A year later, Friedlaender took up the role of teacher by moving to Israel to become the head of the Hadassah Apprentice School of Printing in Jerusalem. There he began training the new generation of Israeli printers and graphic artists. Meanwhile, he continued his work with the Lettergieterij Amsterdam on the new typeface. When the first trial casting was made in 1950, it revealed a number of defects in the type. The normal and bold typefaces were entirely too dark. In addition, they were too stiff and rigid. Here Friedlaender's extensive study of Hebrew characters paid off again. He realized that Hebrew letters, unlike Roman letters, do not consist of any completely straight lines. The only solution was to redraw all the letters using a ruler and a french curve, a time-consuming and arduous process. The problems with the cursive typeface were so extensive that it had to be completely redesigned, and as a result, it was shelved. When the photographic copies of the new drawings came back in 12- and 24-point size, it was clear that more changes needed to be made. The type had a constricted feeling, and it was only after he cut apart the letters into separate pieces that he saw the solution to the problem. A number of letters appeared narrower than they actually were, and by shifting parts of some of the letters (the he, het, and taw), he changed the cramped feeling the type had on the page. Friedlaender described it as a striking confirmation of one of the fundamentals of the 'secret doctrine' of writing -- and mutatis mutandis of all art and all life: the non-written forms, the remaining white space, both between the letters and inside of them, is more significant than the written forms themselves. (Lao-Tze's eleventh Saying already deals with this.) After this breakthrough, a number of other minor corrections were made, and in 1958, the work on the text and boldface type was completed. Named after the Hadassah Apprentice School of Printing, the typeface became very popular both inside Israel and out. Perhaps the reason for this is Henri Friedlaender's guiding principle for type design. The typographer, if he is successful, will remain anonymous to the reader. The type should be pleasant and be a means of artistic expression, but only on a subliminal level; the typographer should remain in the background, focusing the reader's attention on the text. Friedlander's success at following this principle is evident from the many contemporary Hebrew texts using his type. He did, however, receive recognition for his contribution to typography and book design, when in 1971 he was presented the Gutenberg Prize, the highest honor for typographers. The Hadassah Hebrew type came to Dartmouth in an indirect way, a journey which began, in a sense, even before Henri Friedlaender undertook its creation. In 1926 Joseph Blumenthal established the Spiral Press in New York City. His aim was to enjoy himself in the pursuit of his livelihood, which meant producing fine books to the highest typographic standards. He made several trips to Europe, including one in 1928 that took him to Rudolf Koch's workshop in Offenbach. When he met this master printer and typographer, he expected to be granted only a short interview. But instead he was given an extensive tour of the workshop and spent a better part of the day with Koch, discussing graphic arts. His connections to the European world of printing benefited him throughout his professional life. And they paid off handsomely when, in the late 1950s, he was asked by the Limited Editions Club to produce a fine bilingual edition of the section of the Talmud known as Pirke Avot, or 'The Wisdom of the Fathers.' Dissatisfied with the available Hebrew fonts, which he thought 'looked like Kosher delicatessen signs,' he searched for a suitable type. Through his contacts he was able to discover Friedlaender's Hadassah design and obtain an advance casting from Amsterdam. The Spiral Press, which for forty-five years had lived up to its purpose, was closed in 1971 by Joseph Blumenthal. A few years later, Mr. Lathem purchased the remaining printing equipment, including this Hadassah Hebrew type, from Mr. Blumenthal. He presented this equipment to the College when, together with Mr. Lansburgh and Mr. Stinehour, he helped bring about the re-establishment of the Graphic Arts Workshop.

    Author of Toward a modern Hebrew, Printing & Graphic Arts 7:43-56, 1959, of Modern Hebrew lettering, Ariel: A Quarterly Review of the Arts and Sciences in Israel, 4:6-15, 1962, of Modern Hebrew type typefaces, Typographica, 16:4-9, 1967, and of The making of Hadassah Hebrew, pp. 67-84, in: The development of the square letter by Moshe Spitzer. In his writings, Friedlaender severely criticizes the Hebrew typefaces Chayim and Aharoni. Hadassah, he writes, was influenced by three typefaces from H. Berthold AG (Meruba, Frank Ruehl, Stam), a typeface designed by Marcus Behmer commissioned by the Soncino Gesellschaft der Freunde des Juedischen Buches society, which used it to print the Pentateuch in the Officina Serpentis printing press in Berlin in the 1930s, and letters drawn by Berthold Wolpe. [Google] [MyFonts] [More]  ⦿

    Henrik Petersen

    Frankfurt-based designer and illustrator who created Modular Stencil Font in 2017. Behance link. [Google] [More]  ⦿

    Henrike Bansemer

    German designer of the Peignotian typeface Plus (2010, 26plus-zeichen). Free download. [Google] [More]  ⦿

    Henry Brehmer
    [Hans Brehmer]

    [More]  ⦿

    Henry Hajdu

    Creator with Anja Pollor of Pixtur (2005), a pixel version of Fette Haenel Fraktur. This font can be found on the CD that comes with Fraktur Mon Amour (Hermann Schmidt Verlag, 2006). [Google] [More]  ⦿

    Henry Reinhard Moeller

    Type designer at Schriftguss AG. These include a number of fine art deco fonts such as Regatta (1935, horizontally cut), and Trio A, B and C (1936, like Broadway; Trio B is a shaded version, and Trio C is a multiline version). He also designed the titling typefaces Faro (1938, inline), Golf (1935, an elegant inline fat caps typeface at Schriftguss), and Ramona (1939, shadow face). Finally, he created the all-caps typefaces Maximum A and B (1939) and the upright slightly threatening text typefaces Patria (1938, typical of so-called German art deco) and Patria Halbfett (1938).

    Revivals of Moeller's work include Ketman Display (2015, Chris Bowers), which emulates Patria, and Golf (2017, Coen Hofmann for URW FontForum). [Google] [MyFonts] [More]  ⦿

    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]  ⦿

    Herbert Carl Traue

    Designer (b. 1936, Bayreuth) at Elsner&Flake of the dingbats font EF Figures One (1998), and of the circled letter fonts (as in the "at" sign) EF CrashMail, EF GaraMail (1999), and EF RoundMail.

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

    Herbert Dassel

    Designer at Berthold, who made Jiu-Jitsu (1936) and Knock-out (1936). [Google] [More]  ⦿

    Herbert Lemme

    Designer (b. 1933, Bismark) associated with VEB Typoart. At that East German foundry, he created the blackletter revivals Alte Schwabacher and Luthersche Fraktur (with Volker Küster; digitized in 1989). [Google] [More]  ⦿

    Herbert Lindinger

    Herbert Lindinger (b. 1933, Wels, Austria) was an industrial and graphic designer at the Ulm School of Design in Ulm, Germany. In operation from 1953 to 1968, this school was very influential in design education. He is known for designing several trains and trams, such as the TW 6000 in Germany. The logo of the University of Hannover was designed by him. Since 1971, he was professor and director at the Institute of Industrial Design at the Leibniz University Hannover.

    Lindinger designed the monospaced typefaces Sirio (12 pitch) and Ulm (10 pitch) for Olivetti's typewriters. For a digital revival of Sirio, we refer to Josh Young's Sirio (2014). Additional link. [Google] [More]  ⦿

    Herbert Maring

    German designer, b. 1923 Heilbronn. Creator of the gothic bastarda typeface Clairvaux (Linotype, 1990-1991, Adobe and Monotype). Typedia: Designed by Herbert Maring and released by Linotype in 1990, Clairvaux is based on early Gothic typefaces used by the White Monks. It has the same simplicity of the old Cistercian order but yet is closer than any other bastarda to the forms of the Caroline minuscule, thus making it more legible than most. Linotype page. FontShop link. Typedia link. [Google] [MyFonts] [More]  ⦿

    Herbert Post

    German type designer, printer, type teacher and type designer (b. Mannheim, 1903, d. Bayersoien, 1978). Ex-student of Rudolf Koch. He taught at the Werkstätten der Stadt Halle and at the Werkkunstschule Offenbach. From 1956 on, he was Director at the Academy for graphic design in Munich. Designer of Post Mediaeval (1944, Berthold, 1951), Altschrift, Post Fraktur (1933-1937, Berthold; + Halbfett, + Post Fraktur Zierversalien, 1933-1937; for a digital version, see DS Post Fraktur by Delbanco, Post Fraktur by Gerhard Helzel, or Post Fraktur and Postillon by Ralph M. Unger (2014)), Post Antiqua (1932-1940, Berthold; also called Post Roman; for digital revivals, see Corel's Prose Antique and Softmaker's P790 Roman), Post-Kursiv (1943, Berthold), Post-Schmuck (1949, Berthold), Dynamik (1952), eight fonts for Photo Lettering in 1954 (among which Frei bewegte Antiqua, Schmalfette Grotesk, Feder-Kursiv, Eckige Kursiv and die Schwung-Kursiv), and Post Marcato (1961-1962, an art deco bold sans, Berthold).

    Scans of a logo/poster for the Deutsche Bundespost, a poster for the Deutsche Bundesbahn (1952) and a poster for a theater performance in Halle in 1932. In 1999, Harald Süß wrote a brief biography. Picture, dated 1940.

    Klingspor link.

    View Herbert Post's typefaces. [Google] [MyFonts] [More]  ⦿

    Herbert Schulz

    German author of Courier-Scaled, a font available via CTAN. [Google] [More]  ⦿

    Herbert Thannhäuser

    Designer born in 1898 in Berlin, who died in 1963 in Kleinmachnow. He worked in various Berlin graphics bureaus. He was artistic consultant at Max Krause and for many printing shops. From 1933 until 1940, he was artistic consultant at Schelter&Giesecke in Leipzig. From 1951 on, he was artistic director at VEB Typoart in Leipzig. Bio at BfdS. Bio at Linotype. Bio at Klingspor. MyFonts link. A brief biography by Gertrud Thannhaeuser in Die deutsche Schrift, volume 1095, 1992: A, B, C, D.

    His typefaces:

    • At D. Stempel AG: Adastra (1928), Schwung Adastra (1931). Adastra was revived in 1995 by Douglas Olena / Keystrokes and by Neil Summerour in 2011 as Rhythm.
    • At Typoart: Kurier (1939, a brush typeface digitized by Canada Type's Rebecca Alaccari as Puma (2004) and by Peter Wiegel in 2015 as CAT Kurier), Typoart Didot Antiqua, Kursive and Halbfett (1958), Erler Versalien (1953, Typoart: digital versions include Erler Titling (2015, Ralph M. Unger), Missale Incana (2004, Andreas Seidel) and Erler Versalien (2006, Ari Rafaeli)), Typoart Garamond (see Garamond No. 4 by URW) and Garamond No. 5 by Elsner&Flake) and Typoart Garamond Kursiv (1955), Lotto (1955, brush script, revived as Lotto in 2009 by Hans Van Maanen, Canada Type), Liberta Antiqua (1957; revived by Ralph M. Unger as Trybuna in 2013, and by Elsner & Flake as Liberta TA in 2017), Kursive, Antiqua Halbfett and Antiqua extrafett (1956), Liberta Antiqua schmalhalbfett (1959), Liberta Antiqua schmalfett (1960), Magna, Magna Kursiv and Magna Halbfett (1968; see Magna EF by Elsner&Flake, dated 1962 by them), Meister Antiqua (1952, digitized and extended by Ralph M. Unger in 2011 as Meister Antiqua; images: i, ii, iii), Meister Kursiv (1952), Meister Antiqua halbfett (1952), Technotyp schmalhalbfett (1960).
    • At Schriftguss: Gravira (1935; a stylish multilinear typeface revived as Gravira in 2021 by Ralph M. Unger), Großdeutsch (1935), Hermann Gotisch (1934; revived in 2002 by Dieter Steffmann and in 2015 by Ralph M. Unger as Staufer Gotisch), Kornett (1939), Parcival Antiqua (1930, or is it 1926?; revived in 2016 by Ralph M. Unger as Parcival Antiqua), Parcival Kursiv (1930), Parcival Antiqua fett (1932), Technotyp and Technotyp halbfett (1948), Technotyp Kursiv, Technotyp fett and Technotyp extrafett (1949), Technotyp schmalfett (1951), Thannhaeuser Fraktur and Thannhaeuser Fraktur halbfett (1927-1939, Schelter&Giesecke; Delbanco has a digital version called DS Thannhaeuser Fraktur; Thannhaeuser Fraktur (2013, Ralph M.Unger) is a redesign of Typoart's Thannhaeuser Fraktur)), Thannhaeuser Fraktur schmallfett (1939) and Werbedeutsch (1933). The Lindenthal brothers revived Thannhaeuser Fraktur (Mager, magere Zierversalien, Schmalfett and Halbfett). Delbanco revived these ca. 2001. See also Werbedeutsch by Dieter Steffmann (2002).
    • At Schriftguss AG: Thannhaeuser Schrift (1929), Thannhaeuser Schrift Kursiv (1933), Thannhaeuser Schrift halbfett (1934). The slab serif family Technotyp was revived in its entirety by Coen Hofmann at URW++ in 2011 under the same name.
    • Other typefaces: Buick schmalfett. This was digitally revived by Nick Curtis in 2014 as Strassenmeister NF.
    FontShop link. Klingspor link.

    View Herbert Thannhaeuser's typefaces. [Google] [MyFonts] [More]  ⦿

    Hermann Bek-Gran

    Type designer, b. 1869, Mainz, d. 1909, Nürnberg: Hermann Bek-Gran-Schrift (1905-1906, blackletter typeface at D. Stempel). [Google] [More]  ⦿

    Hermann Berthold

    Typographer and entrepreneur, b. Berlin 1831, d. Berlin, 1904. In 1858, he founded his "Institute for Galvano Technology" in Berlin. He discovered a method of producing circular lines from brass instead of lead or zinc. The soldering normally necessary could be dispensed with. The lines were elastic and highly durable, and produced fine results. Most of German's letterpress printers and many printers abroad placed their orders with Berthold. In 1864, he set up H. Berthold Schriftgießerei und Messinglinienfabrik in Berlin. The company specialized initially in new technical processes for printing, such as galvano-type, as described above. Hermann Berthold headed the foundry until 1888. Around 1900, Haus Berthold was one of the largest foundries in the world.

    MyFonts link.

    Portrait by Arthur William Presser regarding the Akzidenz Grotesk typeface pioneered by Berthold's company. [Google] [MyFonts] [More]  ⦿

    Hermann Delitsch

    Typography professor in Leipzig, b. Leipzig, 1869, d. Leipzig, 1937. He taught at Leipzig's Akademie für Graphische Künste und Buchgewerbe. One of his students was Jan Tschichold (in 1919). His typefaces:

    • Delitsch Antiqua (1911, J. Klinkhardt). This is Antiguo Manuscrito at the Richard Gans Foundry. The latter was digitized by Paulo W (Intellecta Design) as Gans Antigua Manuscrito (2006). Other typefaces based on Delitsch Antiqua were created by Manfred Klein (Delitsch Initialen, 2004) and Petra Heidorn (Delitsch Antiqua, 2004). Both could be found here (dead link).
    • Kanzlei Fraktur, or Delitsch Kanzlei (1913, J. Klinkhardt).
    • Ramses Antiqua (1912, J. Klinkhardt). This Antiqua typeface was revived in 2012 by Chiron as TbC Ramses-Antiqua.

    Author of Schribschriftnormen (1928, K.W. Hiersemann), Delitzsch-Antiqua: eine künstlerische Schriftgarnitur mit Initialen und Schmuck für zeitgemässe Buchausstattung (1915). Klingspor link. [Google] [MyFonts] [More]  ⦿

    Hermann Eidenbenz

    Swiss type designer (b. Cannanore, India, 1902, d. Basel, 1993). He was associated with the Haas type foundry, where he made Clarendon Roman (1952-1953, together with Edouard Hoffmann, after the 1845 English classic Clarendon; see also Clarendon BNo. 1 Stencil, 1965, URW), LA 39 Alphabet, and the shaded outline all caps typeface Graphique (1946).

    Eidenbenz designed numerous posters, logos, and Swiss and German bank notes. From 1932 until 1953, he and his brother Reinhold and Willy ran a graphics studio in Basel. From 1955 until 1967, he was art director at the Reemtsma company in Hamburg.

    Digital revivals:

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

    Hermann Esser

    Author of Draughtsman's Alphabets (1877).

    Apostrophe made the font Nero based on Hermann Esser's 1878 Rustic Capitals. Exclusive at the (now defunct) Fontsanon site. He explains: Specimens of the mid-to-late 1800s Herman Esser types were collector's items for the longest time. Between 1910 and 1925, Esser specimens was a craze of almost the same magnitude that comic books were in the 1980s. George Abrahms, a book and old typography collector from New York City, made a fortune from auctioning off his Esser collection. All of Esser's art vanished for a bit more than a decade after World War II came to a stop, and the majority of it never saw the light again. Much of it was burnt among Nazi propaganda material (the 1800s artist's name was the same as that of the Nazi secretary of state during the 1940s, so all of the Esser art found in Germany after WWII was mistakenly attributed to the Nazi Esser as opposed to the true originator of almost half a century prior to the war -- much like most of the watercolour paintings made by an artist named Adolf Hitler were mistakenly burned because they were thought to have been the work of the Nazi leader). In the late 1950s, there was a revival of typogpraphy specimen publications, caused by some, according to certain circles, inexplicable demand for "more than the standards defined by Jannon, Bodoni, Goudy, Gill, and their heritage" (Influence of Symbolism, by Frank P. Marshall, p. 186). The wave that started in 1957 with the re-publication of a few George Bickham sample calligraphy books continues to this present day. Specimen books are quite popular among typography and calligraphy enthusiasts, as well as more expensive than most other genres of publication relation to design in general. The only Herman Esser type that can be seen in any of the specimen books published during the past 55 years is called Rustic, and it consists of the capital alphabet made out of burned trees. One can speculate about how Rustic escaped the Nazi propaganda burnings, and how an originating date was attributed to it, but aside from a few theories out there, no "official" answer was reached. Rustic is still as starkly mysterious now as it may have been in 1878. Nero is an attempt at reviving Rustic and completing Esser's work. Esser's 25 capitals (he never did a J for Rustic) was turned into a typeface of more than 200 characters. Due to postscript limitations about the number of points in each glyph, only a true type version was produced.

    David Nalle revived Esser's Belphebe (1998, Scriptorium). [Google] [More]  ⦿

    Hermann Hoffmann

    German type designer, b. 1856, Hildesheim, d. 1926, Berlin. He settled in the 1890s in Berlin and founded Maschinenfabrik Heidenheim & Hoffmann. In 1895 he became head of H Berthold AG in Berlin. His designs:

    • Bloc (Berthold, 1908). Digitization and Cyrillization by Tafir Safayev, 1997 as Bloc (Paratype). See also Bloc Berthold at BertholdTypes, and FB Hermes (1995, Matthew Butterick at Font Bureau). FB Hermes was extended by Butterick in 2010. Bloc was similar to Hermes at Schriftguss and Woellmer. Bitstream's Gothic 821 (1990) is based on Bloc. The Softmaker version is called Boulder. Grauna (2018, Gabriel Figueiredo at Typeoca) revives Bloc Heavy, but has smoother outlines.
    • Herold Reklameschrift (1901, Berthold (Berlin)). An art nouveau advertising typeface developed until 1907 with schmal, fett and Kontur substyles. Digitizations of this:
    • Kaufhaus-Fraktur (1906, Berthold).

    Books: Das Haus Berthold 1858-1921 (1921, Berlin) and Der Schriftgiesser (1927, Leipzig).

    FontShop page. Klingspor link. FontShop link.

    Oddity: The names Heinz Hoffmann and Hermann Hoffmann are used by two subcommunities. MyFonts, Font Bureau, etc. use Heinz, while Erik Spiekermann, Klingspor, and the German media use Hermann. [Google] [MyFonts] [More]  ⦿

    Hermann Ihlenburg

    German-American type designer (b. 1843, Berlin) who apprenticed at the Trowitzsch & Son type foundry in Berlin, and then worked as a punchcutter in Dresden and at the G. Haase & Sons foundry in Prague. After positions at the Flinsch foundry in Frankfurt, the Battenburg foundry in Paris, and the Fonderie Haas in Basel, Ihlenburg moved to the United States in 1866 to work for the L. Johnson & Company foundry in Philadelphia, which became MacKellar, Smiths & Jordan some time later. Specializing in ornamental (Victorian) fonts and borders, he designed over eighty typefaces for that Mackellar and a few more for American Type Founders after it purchased MacKellar, Smiths & Jordan in 1901. Ihlenburg became an American citizen in 1874, and died in Philadelphia in 1905. He will be remembered as the prototypical Victorian type designer.

    His typefaces at MacKellar:

    • American (1876), Angular Text (1884, a Victorian blackletter at MacKellar, Smiths & Jordan; digitally interpreted by Toto in his free font K22 Angular Text (2012) and by Alan Jay Prescott as Angolan Text (2017)), Arboret (1884), Arboret No. 2 (1885), Archaic (1888), Artistic (1886), Attic (1879). Artistic was revived by Alan Jay Prescott in 2017 as Beltane Roman. He wrote: 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.
    • Bijou (1883: digital copies include Bangle (1990-1991, FontBank), Riccio Display Script by Southern Software (1994, SSi, SSK), Grebe (1994, by an anonymous designer) and Mexacali by Swfte), Black Ornamented (1873), Broadgauge Ornate (1868: a spurred Western typeface at MacKellar Smiths & Jordan; revived by Michael Hagemann), Byzantine (1868).
    • Centennial Script (1874, a spectacular high-contrast script digitized in 2007 by Canada Type and in 2011 as a free font called Mortem Stylus by Stylus, and by Intellecta Design as Centennial Script), Chaucer (1883), Childs (1892, revived by R. Beatty, and by Ingo Preuss as Daring), Circular Black (1883), Columbian (1891), Columbus (1890: for metal recuts, see Victor Hugo by Nebiolo and Columbia (1909) by Urania); for digital revivals, see Cristoforo by Thomas Phinney, 2012, Cristoforo (2012) by SoftMaker, F37 Drago (2021, Rick Banks) and Colombo by Ingo Preuss), Columbus No.2, Columbus Outline (1892), Copperplate (1877), Crayon (1886), Culdee (1885).
    • Dado (1882), Drapery Border (1876), Dynamo (1891).
    • Elliptical Border (1878), Eureka Text (1870, blackletter), Eureka Shaded (1870).
    • Ferdinand (1892, now at Dover), Filigree (1878), Fillet (1890), Flourish Ornaments (1884).
    • Glyptic, Glyptic No. 2 and Glyptic Shaded (1878), Gothic Ornate (?), Greenback (1871), Grolier (1887), Gutenberg (1888).
    • Houghton (ca. 1880). Same as Edison. Revived by Jim Spiece as Edison Swirl SG.
    • Illuminated and Illuminated No. 2 (1876), Isabella (1892, a bastarda face; digital version at Agfa, Adobe, and Linotype, 2001), Italic Copperplate (1878).
    • Japanesque and Japanesque No. 2 (1877, oriental simulation typefaces), Johnson (1892).
    • Lady Text (1884, blackletter), Lippincott (before 1895).
    • MediaevalText and Mediaeval Text Ornate (1870, blackletter), Minaret (1868), Minster (1878), Mortised and Mortised No. 2 (1884).
    • Newfangle (1892, revived in 2015 by Nick Curtis as Newfangle NF), Nymphic (1889 [Ruffa says 1884], revived by Barmee in Secesja Pro (2013), and by Paul D. Hunt (2004), who published it as Kilkenny (2005, P22)).
    • Obelisk (1881), Oxonian (1881). Digital revival of Obelisk in 2014 by Robert Donona.
    • Pencraft (1885; digital revival in 2013 by Robert Donona), Pencraft No.2, Phidian (1870, redone by Dan X. Solo), Philadelphian (1867; digital revival by Michael Hagemann as Philadelphian in 2020), Pynson (1887).
    • Quenn Bess Script (1882).
    • Radiant (1876), Radiant Antique (1876: a money font), Radiated (1871), Relievo (1878), Relievo No. 2 (1879), Rimpled (1895), Ringlet (1882, the prototypical Victorian typeface; Dan X. Solo and George Williams made different digital versions in 1998 which are both also called Ringlet), Romanesque (1874).
    • Sansom Script (1888), School Text (1876), Spiral (1890, revived by R. Beatty), Stipple (1890), Stylus and Stylus No. 2 (1883).
    • Tendril (1878), Tilted (1886), Treasury (1874), Treasury Open (1875).
    • Unique (1874), Unique No. 2 (1875).
    • Zinco (1891, revived by Jim Spiece in 2002 as Zinc Italian SG).

    At ATF: Taylor Gothic (1894), Schoeffer Old Style (1897: revived and extended by Alfonso Garcia in 2020 as Spirits), Roundhand Series (1902), Post Oldstyle Roman No. 2 (1901---possibly made by E.J. Kitson and/or Guernsey Moore), Post Oldstyle Italic (1901), Ihlenburg Series (1900?), Bradley Series (1895-1897, now at Dover), American Italic (1902). Ludlow offers a digital version of Hannibal.

    Comments on some typefaces by Mac McGrew:

    • American Italic is a heavy, novel design by Herman Ihlenburg introduced by ATF in 1902, as a companion to Columbus, which had been designed for ATF's MacKellar Smiths&Jordan branch in 1892. The italic survived its roman mate, being shown by itself in 1906, but was gone by 1912. It is essentially a nineteenth-century design.
    • Bradley (or Bradley Text) was designed by Herman Ihlenburg-some sources credit it to Joseph W. Phinney--from lettering by Will H. Bradley for the Christmas cover of an Inland Printer magazine. It was produced by ATF in 1895, with Italic, Extended, and Outline versions appearing about three years later. It is a very heavy form of black-letter, based on ancient manuscripts, but with novel forms of many letters. Bradley and Bradley Outline, which were cut to register for two-color work, have the peculiarity of lower alignment for the caps than for the lowercase and figures, as may be seen in the specimens; Italic and Extended align normally. The same typeface with the addition of German characters (some of which are shown in the specimen of Bradley Extended) was sold as Ihlenburg, regular and Extended. Similar types, based on the same source and issued about the same time, were St. John by Inland Type Foundry, and Abbey Text by A. D. Farmer&Son. They were not as enduring as Bradley, which was resurrected for a while in 1954 by ATF. Also compare Washington Text.
    • Round Hand was designed for ATF about 1900, and has been ascribed to Herman Ihlenburg. It has the appearance of handwriting with a broad pen, but letters are not quite connected.
    • Schoeffer Old Style [No.2] was designed by Herman Ihlenburg for ATF in 1897. It is typical of a number of typefaces of the day-a plainly lettered roman with small, blunt serifs. Some references list Schoeffer Condensed, cut in 1902; this is probably the typeface shown a little later as Adver Condensed (q.v.). On Linotype, Schaeffer Oldstyle was called Elzevir No.2.

    In 2021, Noah Bryant set out to revive many of Ihlenburg's Victorian typefaces.

    Ihlenburg at the Rochester Institute of Technology's Cary Graphic Arts Collection. [Google] [MyFonts] [More]  ⦿

    Hermann Krauss

    One of the two partners in Schoener (Augsburg, Germany), a studio founded 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.

    Behance link. Home page. Buy the fonts at The Designers Foundry. [Google] [More]  ⦿

    Hermann Schardt

    Type designer (b. Essen, 1912, d. Essen, 1984) who created fonts at Klingspor such as Folkwang (1949), about which Berry, Johnson and Jaspert write: A somewhat exotic roman in which lower case like upright italic The serifs the ends the arms and are the under side only The J has an unusual design.

    Schardt studied at the Essener Kunstgewerbeschule and taught at that institute from 1935 onwards. In 1948 he became director of the Folkwang Werkkunstschule.

    Folkwang was digitally revived by P22 as P22 Folkwang Pro (2017; Patrick Griffin). An earlier digital revival is OPTI Frome (Castcraft). [Google] [More]  ⦿

    Hermann Zapf

    Prolific master calligrapher and type designer, born in Nuremberg in 1918. Most of his life, he lived in Darmstadt, where he died in 2015. He is best known for Palatino, Optima, Melior, Zapf Dingbats, Zapfino, and ITC Zapf Chancery. He created alphabets for metal types, photocomposition and digital systems.

    He studied typography from 1938 until 1941 in Paul Koch's workshop in Frankfurt. From 1946 until 1956, he was type director at D. Stempel AG type foundry, Frankfurt. In 1951 he married Gudrun von Hesse. From 1956 until 1973, he was consultant for Mergenthaler Linotype Company, Brooklyn and Frankfurt. From 1977 until 1987, he was vice president of Design Processing, Inc., New York (which he founded with his friends Aaron Burns and Herb Lubalin), and professor of Typographic Computer Programs, Rochester Institute of Technology, Rochester, New York. Students at RIT included Kris Holmes and Charles Bigelow, who together created the Lucida type family. Other prominent students include calligrapher/font designer Julian Waters and book designer Jerry Kelly. From 1987 until 1991, he was chairman of Zapf, Burns&Company, New York. He retired in Darmstadt, Germany, but consulted on many font projects until a few years before his death. In the 1990s, Zapf developed the hz program for kerning and typesetting. It was acquired by Adobe who used ideas from it in InDesign.

    Awards:

    • 1969 Frederic W. Goudy Award, Rochester Institute of Technology, Rochester, New York.
    • 1973 Gutenberg Prize, City of Mainz.
    • 1975 Gold Medal, Museo Bodoniano, Parma.
    • 1985 Honorary Royal Designer for Industry, Royal Society of Arts, London.
    • 1987 Robert Hunter Middleton Award, Chicago.
    • 1994 Euro Design Award, Oostende.
    • 1996 Wadim Lazursky Award, Academy of Graphic Arts, Moscow.
    • 1999 Type Directors Club award for Zapfino (1998), New York.
    • 2010 Bundesverdienstkreuz 1. Klasse.

    Some publications by Hermann Zapf:

  • Feder und Stichel (1949, Trajanus Presse, Frankfurt)
  • About Alphabets (1960)
  • Manuale Typographicum (1954 and 1968). Only 1000 copies were printed of the original.
  • Typographic Variations (1964), or Typografische Variationen (1963, Stempel), of which only 500 copies were printed.
  • Orbis Typographicus (1980)
  • Hermann Zapf and His Design Philosophy (Chicago, 1987)
  • ABC-XYZapf (London, 1989)
  • Poetry through Typography (New York, 1993)
  • August Rosenberger (Rochester, NY, 1996).
  • Alphabet Stories (RIT Cary Graphic Arts Press, Rochester, 2008). Review by Hans Hagen and Taco Hoekwater.
  • My collaboration with Don Knuth and my font design work [just an article], TUGboat 22:1/2 (2001), 26-30. Local download.

    List of his typefaces:

    • Alahram Arabisch.
    • Arno (Hallmark).
    • Aldus Buchschrift (Linotype, 1954): Italic, Roman. Digital version by Adobe.
    • Alkor Notebook.
    • Attika Greek.
    • Artemis Greek.
    • Aurelia (1985, Hell).
    • AT&T Garamond.
    • Book (ITC New York). Samples: Book Demi, Book Demi Italic, Book Heavy, Book Heavy Italic, Book Medium Italic. The Zapf Book, Chancery and International fonts are under the name Zabriskie on the SoftMaker MegaFont XXL CD, 2002.
    • Brush Borders.
    • Comenius Antiqua (1976, Berthold; see C792 Roman on the SoftMaker MegaFont XXL CD, 2002).
    • Crown Roman and Crown Italic (Hallmark).
    • Chancery (officially called ITC Zapf Chancery): Bold, Demi, Italic, Light, Liht Italic, Mediu Italic, Roman.
    • Civilité (Duensing). Mac McGrew on the Zapf Civilité: Zapf Civilite is perhaps the latest typeface to be cut as metal type, having been announced in January 1985, although the designer, Hermann Zapf, had made sketches for such a typeface as early as 1940, with further sketches in 1971. But matrices were not cut until 1983 and 1984. The cutting was done by Paul Hayden Duensing in Kalamazoo, Michigan. The first Civilité typeface was cut by Robert Granjon in 1557, based on a popular French handwriting style of the time. Other interpretations have been made from time to time, notably the Civilité (q.v.) designed by Morris Benton in 1922 for ATF. The new Zapf design has the same general character but with a more informal and contemporary feeling. A smooth flow between weights of strokes replaces the stark contrast of thick-and-thin in older interpretations. There are several ligatures, and alternate versions of a number of characters, including several terminals. Only the 24-point Didot size is cut or planned.
    • Charlemagne (Hallmark).
    • Digiset Vario (1982, Hell): a signage face.
    • Edison (Hell), Edison Cyrillic. Scans: Bold Condensed, Book, Semibold Italic, Semibold, Book Italic.
    • Euler (American Mathematical Society). Zapf was also consultant for Don Knuth on his Computer Modern fonts. In 1983, Zapf, Knuth and graduate students in Knuth's and Charles Bigelow's Digital Typography program at Stanford University including students Dan Mills, Carol Twombly, David Siegel, and Knuth's computer science Ph.D. students Scott Kim and John Hobby, completed the calligraphic typeface family AMS Euler for the American Mathematical Society (+Fraktur, Math Symbols, +script). Taco Hoekwater, Hans Hagen, and Khaled Hosny set out to create an OpenType MATH-enabled font Neo-Euler (2009-2010), by combining the existing Euler math fonts with new glyphs from Hermann Zapf (designed in the period 2005-2008). The result is here. The Euler digital font production was eventually finished by Siegel as his M.S. thesis project in 1985.
    • Firenze (Hallmark).
    • Festliche Ziffern (transl: party numbers).
    • Frederika Greek.
    • Gilgengart Fraktur (1938, D. Stempel). Some put the dates as 1940-1949. It was released by Stempel in 1952. Revivals include RMU Gilgengart (2020, Ralph M. Unger), and Gilgengart by Gerhard Henzel.
    • Heraklit Greek (1954). A digital revival was first done by George Matthiopoulos, GFS Heraklit. Later improvements followed by Antonis Tsolomitis and finally in 2020 by Daniel Benjamin Miller.
    • Hunt Roman (1961-1962, Pittsburgh). A display typeface exclusively designed for the Hunt Botanical Library (Hunt Institute for Botanical Documentation since 1971), situated on campus of Carnegie Mellon University in Pittsburgh, to accompany their text typeface Spectrum. Review by Ferdinand Ulrich.
    • International (ITC, 1977). Samples: Demi, Demi Italic, Heavy, Heavy Italic, Light, Light Italic, Medium, Medium Italic.
    • Janson (Linotype).
    • Jeannette Script (Hallmark).
    • Kompakt (1954, D. Stempel).
    • Kalenderzeichen (transl: calendar symbols).
    • Kuenstler Linien (transl: artistic lines).
    • Linotype Mergenthaler.
    • Melior (1952, D. Stempel; see Melmac on the SoftMaker MegaFont XXL CD, 2002). Samples: Bold, Bold Italic, Italic, Roman.
    • Michelangelo (1950, D. Stempel, a roman caps face; a digital version exists at Berthold and at The Font Company).
    • Marconi (1975-1976, Hell; now also available at Elsner&Flake and Linotype; according to Gerard Unger, this was the first digital type ever designed---the original 1973 design was intended for Hell's Digiset system; Marconi is a highly readable text face).
    • Medici Script (1971).
    • Musica (Musiknoten, transl: music symbols; C.E. Roder, Leipzig).
    • Magnus Sans-serif (Linotype, 1960).
    • Missouri (Hallmark).
    • Novalis.
    • Noris Script (1976; a digital version exists at Linotype).
    • Optima (1955-1958, D. Stempel--Optima was originally called Neu Antiqua), Optima Greek, Optima Nova (2002, with Akira Kobayashi at Linotype, a new version of Optima that includes 40 weights, half of them italic). Samples: Poster by Latice Washington, Optima, Demibold Italic, Black, Bold, Bold Italic, Demibold, Extra Black, Italic, Medium, Medium Italic, Regular, Italic. Digital clones: Zapf Humanist 601 by Bitstream, O801 Flare on the SoftMaker MegaFont XXL CD (2002), Opus by Softmaker, Columbia Serial by Softmaker, Mg Open Cosmetica, Ottawa by Corel, October by Scangraphic, CG Omega by Agfa compugraphic, Chelmsford by URW, Classico by URW and Optus by URW.
    • Orion (1974).
    • Palatino (1948, D. Stempel; the original font can still be found as Palazzo on Softmaker's XXL CD, 2002), Palatino Nova (2005, Linotype), Palatino Sans (2006, Linotype, with Akira Kobayashi), Palatino Greek, Palatino Cyrillic. Palatino was designed in conjunction with August Rosenberger, In 2013, Linotype released Palatino eText which has a larger x-height and wider spacing. Palatino samples: black, black italic, bold, bold italic, italic, medium, roman, light, light italic. Poster by M. Tuna Kahya (2012). Poster by Elena Shkarupa. Poster by Wayne YMH (2012). Zapf was particularly upset about the Palatino clone, Monotype Book Antiqua. Consequently, in 1993, Zapf resigned from ATypI over what he viewed as its hypocritical attitude toward unauthorized copying by prominent ATypI members.
    • Phidias Greek.
    • Primavera Schmuck.
    • Pan Nigerian.
    • Quartz (Zerox Corporation Rochester, NY).
    • Renaissance Antiqua (1985, Scangraphic). Samples: Regular, Bold, Book, Light Italic, Swashed Book Italic, Swash Italic.
    • Saphir (1953, D. Stempel, see now at Linotype).
    • Sistina (1951, D. Stempel).
    • Scriptura, Stratford (Hallmark).
    • Sequoya (for the Cherokee Indians), ca. 1970. This was cut by Walter Hamady and is a Walbaum derivative.
    • Linotype Trajanus Cyrillic (1957).
    • Textura (Hallmark).
    • URW Grotesk (1985, 59 styles), URW Antiqua, URW Palladio (1990).
    • Hallmark Uncial (Hallmark).
    • Virtuosa Script (1952, D. Stempel). Zapf's first script face. Revived in 2009 as Virtuosa Classic in cooperation with Akira Kobayashi.
    • Venture Script (Linotype, 1966; FontShop says 1969).
    • Winchester (Hallmark).
    • World Book Modern.
    • ITC Zapf Dingbats [see this poster by Jessica Rauch], Zapf Essentials (2002, 372 characters in six fonts: Communication, Arrows (One and Two), Markers, Ornaments, Office, based on drawings of Zapf in 1977 for Zapf Dingbats).
    • Zapfino (Linotype, 1998, winner of the 1999 Type Directors Club award), released on the occasion of his 80th birthday. This is a set of digital calligraphic fonts. Zapfino Four, Zapfino Three, Zapfino Two, Zapfino One, ligatures, Zapfino Ornaments (with plenty of fists). Poster by Nayla Masood (2013).

    Books and references about him include:

    Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady, with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, at his 60th birthday party. Pictures of his 80th birthday party at Linotype [dead link].

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

  • Hermann Zehnpfundt

    German type designer at Emil Gursch in Berlin. His creations include

    • Alt-Motive (H. Berthold AG).
    • Grandezza I and Grandezza II (1904, Emil Gursch). Blackletter.
    • Industria (1910, Emil Gursch). These weights appeared in subsequent years: Halbfett (1910), Zephyr (1913, aka Ronsard), Zart (1913), Fett (1913), Gravur (1920), Schwer (1922). Schwer and Gravur were published by H. Berthold AG. Industria is a celebrated grotesk designed for ads. It was revived in 2015 by Mattox Shuler as Termina. See also Ronsard Crystal in 2009 by Steve Jackaman and Ashley Muir, or OPTI Ronsard Crystal by Castcraft.
    • Journal Kursiv (1913) and Antiqua (1912) at Emil Gursch. See also Zirkular Kursiv.
    • Kavalier (1910, Emil Gursch). Inline caps.
    • Probat Ornamente (1909, Emil Gursch).
    [Google] [More]  ⦿

    Herr Hemker
    [Jörg Hemker]

    Jörg Hemker is a graduate of the Fachhochschule Dortmund, Germany. He worked as type designer and designer at Hesse Designstudios, and was art director at Claus Koch Corporate Communications. He lives and works in Hamburg, where he is mainly involved in corporate identity and corporate type (such as for Bosch Blaupunkt, Harry, dm, Metabo, Jette Joop, Deutsche Telekom, ARD, rbb, Rheinische Post, Fresenius SE, Mainova, Mercedes-Benz, Allianz, Commerzbank, State Government of North Rhine-Westphalia, Würth, Alperi and, REW). In 2005, he set up Herr Hemker. His typefaces:

    • FF Zwo (2002) and FF Zwo Correspondence (2002). Designed with Henning Krause.
    • FF Sero (2011). A humanist sans family.
    • The nearly monolinear sans typeface FF Nort (2017). In 2020, he added FF Nort Headline.
    • Ika and Ika Compact (2020, at Fontwerk).
    • He is working on Grotesk, a sans family proposed by Bauersche Giesserei in 1953, and Ikarus, a sans in the renaissance antiqua style.

    FontShop link.

    View Jörg Hemker's typefaces. Fontwerk link. [Google] [MyFonts] [More]  ⦿

    Hesse Design

    German company in Erkrath, which created two experimental typefaces, Virus (1991) and Pahlwood (1992, destructionist). Run by Christine Hesse (b. 1957, Innsbruck--since 1988 Managing Director/owner of Hesse Design. Since 1993 Lecturer in design management at the Düsseldorf FH) and Klaus Hesse (b. 1954, Elberfeld---since 1988, designer and joint owner of Hesse Design. Chair of communication design in Dortmund and Essen, 1993-1999. Currently chair of applied art at the University for Art and Design in Offenbach/Main). [Google] [More]  ⦿

    hfbright
    [Harald Harders]

    In 2002, Harald Harders used mftrace to turn Walter Schmidt's cmbright from Metafont into PostScript. The font names and the file names begin with 'hf' for 'harders font'. This has been done for not getting mixed up with the commercial cmbright fonts by MicroPress. "hfbright" are the type 1 versions of the OT1-encoded and maths parts of the Computer Modern Bright fonts. The list: HFBR10, HFBR17, HFBR8, HFBR9, HFBRAS10, HFBRAS8, HFBRAS9, HFBRBS10, HFBRBS8, HFBRBS9, HFBRBX10, HFBRMB10, HFBRMI10, HFBRMI8, HFBRMI9, HFBRSL10, HFBRSL17, HFBRSL8, HFBRSL9, HFBRSY10, HFBRSY8, HFBRSY9, HFSLTL10, HFTL10. [Google] [More]  ⦿

    HGB
    [Hellmut G. Bomm]

    HGB is Helmut G. Bomm's design studio. Bomm was born in 1948 in Backnang, Baden-Württemberg. Stuttgart-based type designer who publishes his type designs with Linotype and URW++.

    Catalog of some of his typefaces:

    Exposition of his work in 2004 (site includes a bio). Linotype link. FontShop link. Klingspor link. View Hellmut Bomm's typefaces. [Google] [MyFonts] [More]  ⦿

    HGO
    [Heiko Hoos]

    Heiko Hoos (b. Neustadt, 1974), who founded HGO in Karlsruhe, Germany, in 2009, is a graphic and type designer.

    He created Lyps (2009, organic family), Bath (2001, kitchen tile pixel family at Fontomas), Charifa Serif (2002, a beautiful Egyptian family published by T-26) and Charifa Sans (2006).

    At Union Fonts, he designed Swingo, Barbapapa, Minuit, Rigolette, Normograt, Phucy (2003, big family), Ixtan, and 150% (pixel font). Since 2005, he is the co-owner of dworschak&hoos in Karlsruhe. At HGO, he published (or republished) 150 (2009, 16-style pixel family), Charifa Sans (2006), Ixtan (2009), Labolg (2009, techno), New (2004, futuristic), Lyps (2009) and Phucy (2009, organic techno).

    Klingspor link.

    View Heiko Hoos Roe's typefaces. [Google] [MyFonts] [More]  ⦿

    Hightype

    Berlin-based foundry that produces 3d typefaces in .fbx, .3ds and .obj formats that can be imported in 3D-Software like Cinema4D, SketchUp, 3Ds Max, Maya, Blender, and many other applications. Their typeface HT Standard (2019) is based on Monument Grotesk by Dinamo. [Google] [More]  ⦿

    Hild Design
    [Andreas Hild]

    Andreas Hild (Hild Design, located in Linden, Germany) is the designer of the astrological symbol fonts AstrotypeN LT Std and AstrotypeP LT Std (2002) in the Linotype Taketype 5 collection. FontShop link. [Google] [MyFonts] [More]  ⦿

    Hildegard Henning

    German type designer at Julius Klinkhardt, ca. 1912. She designed Belladonna-Kartenschrift (1912, Julius Klinkhardt). Klingspor link. [Google] [More]  ⦿

    Hildegard Korger

    Calligrapher (b. 1935, Reichenberg, d. 2018) and professor of calligraphy and writing at HGB Leipzig (Hochschule für Grafik und Buchkunst Leipzig) since 1968. Her typefaces:

    Author of Handbook of Type and Lettering (1992, Design Press, or Lund Humphries), a translation of The Sixth Edition of Schrift und Schreiben (Fachbuchverlag GmbH Leipzig, 1971), which has been lauded as the best books ever on type and typography. [Google] [MyFonts] [More]  ⦿

    Hilti

    A corporate URW studio sans family published in 2009. The 6-font family sells for over 5000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More]  ⦿

    History of blackletter fonts

    Birgit Stehno tells the story of black letter fonts. (1) Textura (written typeface developed in France in the 13th c.). (2) Rotunda, a "soothed" form of Textura, important in Southern Europe in the 15th c. (3) Humanistic Minuscule, written in Italy in the 15th century, and developing into the Antiqua typeface (4) At the end of the 1th century, Bastarda appears (more ornaments and curved strokes): the first printed books use Textura, Rotunda and Bastarda (5) Schwabacher appears around 1481, used in Martin Luther's bible; the umlauts are minuscule e's; until the 19th c. most books in Bavaria are in Schwabacher (5) The German emperor Maximilian (1493-1519) directed that a new typeface based on traditional 'German' fonts had to be created; thus, the Fraktur was designed by the calligrapher Leonhard Wagner; this type was adopted by the Renaissance artist Albrecht Dürer and by the reformation movement, and soon became popular all over Europe. [Google] [More]  ⦿

    Hi-Type
    [Thorsten Schraut]

    German designer Thorsten Schraut designed several original pixel fonts at HI-TYPE. These include HI-Airport, HI-Login, HI-Webt. Cyrillic version of HTAirport.

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

    Hochschule der Bildenden Künste Saar

    At the Hochschule der Bildenden Künste Saar one can take courses in type design in the Studiengang Kommunikationsdesign. The permanent teacher is Indra Kupferschmid, and visiting faculty have included Frank Grießhammer, Paul van der Laan, and Dan Reynolds. [Google] [More]  ⦿

    Hochschule für Grafik und Buchkunst Leipzig (or: HGB Leipzig)

    At the Hochschule für Grafik und Buchkunst in Leipzig, Fred Smeijers heads the type design program.

    The school grew out of the Institut für Buchgestaltung founded by Albert Kapr (died 1995) in the fifties. One of its present day typographic professors is Günter Karl Bose (born 1951 in Debstedt). [Google] [More]  ⦿

    Hoftype
    [Dieter Hofrichter]

    Dieter Hofrichter (b. Mannheim, Germany), established Hoftype in 2010 in München. He attended the Rödel Art School where studied typography and calligraphy under Herbert Post, and applied and decorative arts under Charles Crodel. Later he studied graphic design at the Academy of Fine Arts in Nürnberg under Professor Karl Hans Walter. After his studies, Hofrichter worked for several years as a graphic designer. In 1980, he started designing typefaces for himself in his own studio. He approached G.G. Lange of the Berthold foundry in 1988, and started work in 1989 as a type developer and assistant to Lange at Berthold without realizing that Berthold's owner, Hunt, had studied under Idi Amin Dada. Hofrichter has worked closely with Lange to develop new typeface designs and improve classic designs. In 2010, he set up his own foundry, Hoftype.

    There are certain designers whose style attracts me---almost any type designed by them agrees with my taste. I just know that they are perfectly seasoned and delightfully oiled. Dieter Hofrichter's work falls in that category. I also like classical music, but not all classical music. Beethoven is just about right. Hofrichter's type work is classical, trustworthy and very balanced.

    Klingspor link. Fontsquirrel link. Dieter Hofrichter's typefaces:

    • In 1990, Berthold published Hofrichter's Vergil as a Berthold Exklusiv.
    • In 2000, Berthold released a joint effort of Lange and Hofrichter, a Scotch type named Whittingham.
    • In 2001, he released the newly enhanced Akzidenz-Grotesk (Berthold).
    • Futura Serie BQ (2000, Berthold). This is a new version of the well-known geometric sans serif typeface design by Paul Renner and the Bauer type foundry.
    • Bodoni New Face (Berthold).
    • Gerstner Next (2007, Berthold). This typeface is based on Karl Gerstner's Gerstner Original BQ of 1987.
    • His first commercial typeface at Hoftype is the Impara Sans family in ten styles (2010). Images:i, ii, iii, iv.
    • The medium-contrast slightly flared sans family Epoca (2010, Hoftype), and the 12-style sister family Epoca Classic (2012).
    • The text family Argos (2011, Hoftype).
    • Erato (2011, Hoftype) is a beautiful garalde family.
    • Cala (2011, Hoftype) is a modernized renaissance/garalde family.
    • Corda (2011, Hoftype) is a scriptish serif family.
    • Cassia (2011, Hoftype) is a subdued Egyptian family.
    • Sonus (2011, Hoftype) is a humanist sans family.
    • Sina (2012), which is sure to win awards, is an elegant, pleasant and readable type family characterized by relatively tall ascenders and imperceptible flaring. Sina Nova (2012) is a slimmer version.
    • Foro (2012) is a 16-style slab serif family. A softer rounder version is called Foro Rounded (2013). In 2014, Foro Sans was added---it too comes in 16 monoline styles.
    • Ashbury (2012) is a text family that has elements of Caslon and Baskerville.
    • Sixta (2012) is an eight-style sans family.
    • Hofrichter writes about the roundish serif text family Civita (2012): Civita is a new "Modern Type" with a high stroke contrast, distinct formal features, and a strong personality. It has a fluid ductus but nonetheless a solid structure.
    • Carat (2012). In 2015, the nearly identical typeface Mangan was published---I am befuddled.... Mangan Nova (2015) is the semi-condensed version of Mangan.
    • Capita (2013). A rounded slab serif designed for warmness and easy reading.
    • Quant (2013) is a very elegant contrasted text family, possibly more appropriate for display than for long texts. Quant Text (2013) is the optimized 8-style text version of the Quant family. It comes with a slightly greater width, stronger hairlines and stronger serifs which stabilizes it for small text.
    • Qubo (2013) is a 14-style sans family with contrast in the joins.
    • Equip (2013) is a versatle geometric sans that comes with 16 styles. See also Equip Slab (2013), Equip Condensed (2013) and Equip Extended (2013).
    • Pesaro (2014) was inspired by early prints from Venice like Jensen and Manutius. It is a warm legible text family with Hofrichter-style flaring in strategic places. This beautiful typeface is not be confused with a 2001 typeface by Joachim Müller-Lancé that is also called Pesaro.
    • Campan (2014). A semilinear typeface with hook-serifs and tall x-height.
    • Orgon (2014) jumps right to the head of the pack In the rounded organic sans world. This neutral, uncomplicated and unpretentious sans wows, especially in the heavier weights. It is accompanied by Orgon Slab (2014). In 2020, he added the elliptical square-cut Orgon Plan.
    • Cargan (2014). Advertized as a gentle versatile slab serif typeface family.
    • Carnas (2015) is a rounded elliptical sans family with simple forms and huge counters.
    • Danton (2015). A sturdy typeface family for maazines in Hofrichter's patented Gehry style---no ninety degree angles, avoid monoline, ban symmetry.
    • Halifax. A new interpretation of classic English Sans types such as Gill and Johnston in 16 styles.
    • Calanda (2015). A sturdy slab serif family in 16 styles.
    • Carnac (2015). A sharp version of the minimalist monoline sans typeface family Carnas that features crisper edges.
    • Marbach (2016). An angular serifed text typeface that combines classical and modern elements.
    • Taxon (2016). A 12-style contemporary sans related to Optima and Imago.
    • Carrara (2016). A humanist text typeface family chjaracterized with blunted but poiunty serifs.
    • The Economist (2016). A custom type.
    • Croma Sans (2017). A 16-style workhorse / advertising sans.
    • Urania (2017). In the style of the early sans serif typefaces, in particular Ferdinand Theinhardt's types.
    • Cardillac (2018). A didone.
    • Shandon Slab (2018).
    • Candide (2018). A neoclassical typeface for use in magazines and newspapers, characterized by pointy terminals. Followed in 2019 by Candide Condensed.
    • Tangent (2019).
    • Askan (2019). An 18-style text typeface. Followed by Askan Slim (2019).
    • Trada Sans (2020). A sans family in the neighborhood of Univers and Helvetica. Followed by Trada Serif (2020).
    • Empira (2020). a 20-style transitional typeface family with sharp, almost pointy, edges.
    • Capricho (2021). A transitional text family with slight flaring and tall ascenders and descenders.
    • Galvani (2021). An 18-style geometric sans.
    • Contane (2021) and Contane Text (2021: 20 styles). A sharp-edged headline or display serif. Followed in 2022 by Contane Condensed and Contane Text Cnd.
    • Madigan (2022). An 18-style text typeface with some didone features.

    Interview by Dan Reynolds for MyFonts.

    View Dieter Hofrichter's typefaces. [Google] [MyFonts] [More]  ⦿

    Holger Huber

    Konstanz, Germany-based graphic designer. He created the grotesk typeface Masque (2011). [Google] [More]  ⦿

    Holger Jacobs
    [Mind Design]

    [More]  ⦿

    Holger Königsdörfer

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

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

    Holger Peter Sandhofe
    [Bund für Liturgie und Gregorianik]

    [More]  ⦿

    Holger Schmitz

    Student at the University of Wuppertal who made the experimental typeface Organ (2004). [Google] [More]  ⦿

    Holger Stück

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Holger Ziemann
    [Erzaehlzeichen]

    [MyFonts] [More]  ⦿

    Holominds

    German design mag. [Google] [More]  ⦿

    Holzhausen

    Designer at D. Stempel of Holzhausen Antiqua (1916). [Google] [More]  ⦿

    Holztypenfabrik Sachs

    German wood type foundry from the 19th century. Its typefaces Dumbria (1885) and Christina (1885) were digitally revived by Raymund Schroeder as Haiti and Huber, respectively. [Google] [More]  ⦿

    Hooptie Script

    Font project, est. 2009 by three German designers, Ralf Herrmann, Franziska Jähnke, and Dörte Wächter, who spent five months in Detroit and explored the impressive remains of the automobile industry. They left Detroit with chrome emblems from abandoned cars, hundreds of pictures and the wish to share their unbelievable experiences with the world. The intent is to write a book, and to publish some fonts under the name Hooptie Script (connected upright fifties fonts, it seems). Hooptie Script was finally published in 2011. [Google] [More]  ⦿

    Horst Heiderhoff on Linotype's Janson Text

    Janson Text was originally created by Miklós Kis in the 17th century. It was updated by Linotype under the supervision of Hermann Zapf in the 1950s. Professor Horst Heiderhoff made eight weights of Janson Text in 1985 for Linotype.

    Linotype writes about Linotype Janson Text: A faithful recreation of one of the great seventeenth century Dutch typefaces cut by the protestant Transylvanian Nicolas Kis. The matrices survive at Stempel. Their value was recognized by Chauncey Griffith at Mergenthaler Linotype, who used Kis's 14 point to undertake the revival for composing machines while following a Voskens italic better suited to the Linotype than the Kis italics. George Ostrochulski adapted the typeface for photocomposition at Mergenthaler, returning to the original italics. [Google] [More]  ⦿

    Horst Janssen

    German printmaker, draftsman, and lithographer, whose prints are exaggerated, semi-surrealistic, and breathtakingly beautiful. He was born in Hamburg in 1929 and died in Oldenburg in 1995. His prints had a characteristic uneven hand-printed lettering that led Erica Jung and Ricardo Marcin to design the multi-featured opentype typeface Horst (2010). In 2012, this was followed by Nova Horst. [Google] [More]  ⦿

    Horst Klein

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Hort
    [Eike König]

    Hort is Eike König (Berlin / Kreuzberg). Creators of experimental geometric typefaces. These include the free font Bergen (2014, Citype). [Google] [More]  ⦿

    Hoycke

    Hoycke, or Hoyx, is an illustrator and graphic designer in Hamburg, Germany. Designer of the spurred Victorian typeface Reunion (2014). [Google] [More]  ⦿

    H.P. Becker

    German codesigner, with Lars Cellini at New Cat Orange, of NCO Potatoe, a prototypical potato carving font. [Google] [MyFonts] [More]  ⦿

    Hubert and Fischer
    [Sebastian Fischer]

    Founded by Philipp Hubert (based in New York) and Sebastian Fischer (based in Stuttgart), Hubert & Fischer is a design studio with offices in New York and Stuttgart, Germany with a global client base. The studio specializes in creating editorial design, type design, visual identity, print, application, websites and e-commerce design from concept to production.

    Google Creative Lab approached them to design a typeface for the branding of the Rubik's Cube Exhibition "Beyond Rubik's Cube" the Liberty Science Center, Jersey City. They designed a slightly rounded heavyweight font (Rubik, 2015, Rubik One, 2014, and Rubik One Mono, 2014) in which the letters fit perfectly in a single cubelet of the Rubik's Cube. The font was expanded to include Cyrillic and Hebrew characters for the exhibition. Free downloads at Google Web Fonts (see also here), Github and Open Font Library. Rubik One was created by Elvire Volk Leonovitch under the art direction of Hubert and Fischer. Bickerton (2014) is a rhombic typeface.

    Other commissioned typefaces: Dumpling Grotesk (based on a hand-painted sign of a Chinese restaurant in New York and characterized by a two-legged m), Bickerton (based on the work of artist Ashley Bickerton), Akzidenz Grotesk Mono, Unterwirt Regular, Cold Comfort (2010, a sharp-edged typeface for the exhibition catalogue Cold Comfort of artist Rudolf Reiber), Stripe (by Sebastian Fischer: A signage system typeface developed for the high school Quinta das Flores in Coimbra, Portugal), EDP (by Sebastian Fischer: a thick geometric sans for Latin, Chinese, Hindi and Cyrillic), Oberkofler (a pixel script for the publication Blut im Schuh for artist Gabriela Oberkofler), Tiptop (a sans designed as headline for the publication Jugend Forscht), Morus (a hipster typeface family), Swollen.

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

    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.

    View Hubert Jocham's typefaces. Another view.

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

    Hubert Wedel

    Düsseldorf, Germany-based designer of the straight-edged monoline industrial typeface Obacht (2010). [Google] [More]  ⦿

    Hubertus Carl Frey

    Graphic designer, aka Hace or Hace Frey, who was born in 1929 in Breslau, and who died in 2003 in Stuttgart. He studied at the Freie Kunstschule Stuttgart, and became a freelancer. At Ludwig & Mayer, he created Charleston in 1967, a revival and reworking of a 1904 art nouveau typeface called Radium. [Google] [More]  ⦿

    Hugi Hugel

    Karlsruhe-based painter and artist. Designer of GF Hugi Literal (1997-1998, broken letters) and GF Hugi Pictorial (nifty Daliesque dingbat drawings) at Garagefonts. Klingspor link. [Google] [More]  ⦿

    Hugo Gebhardt

    German typewriter company. Sample of the blackletter alphabet of one of their typewriters in 1934. [Google] [More]  ⦿

    Hugo Goeldner
    [Codeluxe]

    [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), Kaviva (2007, art deco: a free headline font, inspired by the cover-type of the eighties fashion magazine VIVA), Font03. [Google] [More]  ⦿

    Hugo Steiner-Prag

    Illustrator and book designer (b. 1880, Prague, d. 1945, New York). He became German in 1907. From 1907 until 1933, he was professor of graphics at the Staatlichen Akademie fü Graphische Künste und Buchgewerbe in Leipzig. He fled Germany in 1933 and after a long voyage, ended up in the USA, where he died. Blackletter typefaces designed by him include Steiner-Prag-Schrift (1912, Genzsch&Heyse), Batarde (Bauersche Giesserei, 1916). Designer of Akzidenz und Kalender Schmuck (1912, C.F. Rühl, Leipzig). Some of his work is archived at the Department of Rare Books and Special Collections of the Princeton University Library. [Google] [More]  ⦿

    Humberto Gregorio
    [Gregorio Design]

    [More]  ⦿

    HVD Fonts
    [Hannes von Döhren]

    Hannes von Döhren (b. 1979, Berlin) is a Berlin-based designer (b. 1979). His foundry is HVD Fonts. He started out with free handwriting and grunge fonts such as HVD Comic Serif Pro (2009, an alternative to Comic Sans, according to HVD), The Subway Types (2009, a graffiti family: Shik (New York), Deon (Paris) and Etan (Berlin) came together to show the typical tag styles of their respective metropolitan areas. The fonts were digitized, spaced, kerned and programmed by Hannes von Döhren).

    Later he went commercial, first at T-26, and then under his own label, HVD Fonts. His typefaces: Shelton (2008, T-26), HVD Peace (2008, an army stencil font), HVD Comic Serif (2007, a serifed spoof on Comic Sans), HVD Rowdy (2007), HVDSpencils-Block (2007, stencil), HVDSpencils (2007, stencil), HVD Steinzeit (2005), HVD Edding 780, HVD Rawcut (2005), HVD Age 11 (2006), HVD Shelton (2008, T-26: wood type grunge), HVD Bodedo (2009, potato-Bodoni lettering), Quench Pro (2008, Linotype), HVD Peace (2008), and HVD Poster (2006, grunge).

    Typefaces made in 2009: Grandma (great hand-printed style---move over, Comic Sans), Christmas Dingbats, ITC Chino (a soft-edged signage and sans family, done with Livius Dietzel), Klint (sans family, +Rounded), Brevia (a soft sans in seven styles), Cowboyslang (a Western slab serif family), Embryo (superblack), Embryo Open, and Opal, a classy old style text family with tall ascenders. Bumper (2009) is an ultra-black sans family in a style related to Impact.

    Typefaces from 2010: FF Basic Gothic (a grotesk family done with Livius Dietzel), Reklame Script, Shelton (grunge), Blow Up is a fat balloon font. His masterpiece of 2010 and perhaps of his career thus far is the Brandon Grotesque family that relives the 20s and 30s. [A year after I wrote the previous sentence, Brandon Grotesque won an award at TDC2 2011, and all during 2011, it was the most sold typeface at MyFonts. It was followed in 2018 by Brandon Grotesque Condensed.] Livory (2010, with Livius Dietzel) is a rounded serif type family of four fonts influenced by the French Renaissance Antiquas from the 16th century.

    Production in 2011: Brix Slab (2011, with Livius Dietzel), Brix Slab Condensed (2011, with Livius Dietzel:(24 styles in all), Pluto (16-style semi-scriptish sans family, +Italics), Cheap Pine (a wood type caps family), Supria Sans (free web font family; +Black). Together with Supria Sans Condensed, this 36-style family is a basic sans workhorse. It won an award at TDC2 2011.

    Typefaces from 2012: Shelton Slab (eroded wood type or dirty letterpress look), Diamonds (geometric caps only family), Pluto Sans, Love Potion No. 10.

    Typefaces from 2013: Embryo Tiny, Niveau Serif (an engravers / copperplate style typeface), Niveau Grotesk, Mikado (signage family for games, food and advertising with a lot of genetic material from Brandon Grotesque: Mikado Bold Demo is free), Brandon Text (similar to, but with a higher x-height and more rounded corners than Brandon Grotesque, it is more appropriate for long texts and small print), FF Mark (together with Christoph Koeberlin and the FontFont team: this font is marketed as Ze new Germanetric sans; one weight is free).

    Typefaces from 2014: Brix Sans (2014, created using precisely engineered glyphs for corporate or information design; with Livius Dietzel), Brandon Printed (a caps-only letterpress version of Brandon Grotesque).

    Typefaces from 2015: Brandon Grotesque Office (screen-optimized; specially designed for Microsoft Office applications, it has 4 styles), Brandon Text Office (also made for Microsoft Office applications), Goodlife (a hand-lettered collection, consisting of Brush, Sans, Script, and Serif styles), Americane Condensed and Americane (based on American wood types).

    In 2016, Christian Koeberlin designed Fabrikat, which had creative input of Hannes von Döhren. This simple geometric sans serif family is based on the DIN style used in the 20th century by German engineers. It has a plain and precise appearance, and is a textbook example of a compass-and-ruler typeface. The monospaced almost-typewriter version Fabrikat Mono followed in 2017.

    Typefaces from 2018: Giulia (a creamy cutesy baby shampoo font family).

    Typefaces from 2020: Brandon Text Condensed (in 12 styles), Bouba Round (a round sans family for small devices and wayfinding), Fabrikat Normal.

    Typefaces from 2021: Palast (Text, Display, Poster; with Bernd Volmer).

    Abstract Fonts link. Another URL. Font Squirrel link. I Love Typography link. Fontsy link. View Hannes von Döhren's typefaces. [Google] [MyFonts] [More]  ⦿

    Hwkatakana
    [Gernot Hassenpflug]

    Gernot Hassenpflug provides half-width katakana Type 1 fonts in SJIS encoding are provided to integrate with the Wadalab fonts for use with, for example, the CJK package. The origin of the font is the Wadalab gothic font katakana glyphs, which have been modified to make up the JIS X 0201 set of half-width katakana characters using Fontforge. The Wadalab fonts need to be available for this package to work. The original Wadalab fonts were designed by Tetsuro Tanaka. [Google] [More]  ⦿

    Hyber Type
    [Pascal Huber]

    Graduate of Hochschule Trier (Germany), class of 2019. During his Masters studies at Hochschule Trier, Germany, Pascal Huber designed the variable font family Ludwig (2020), a typeface inspired by Ludwig Sütterlin's script and American gothic fonts. This typeface was released in 2020 as Ludwig Sans. [Google] [MyFonts] [More]  ⦿

    Hybi Types
    [Peter Hübner]

    Peter Hübner (b. 1961, Germany) was educated as typesetter in pre-digital times. Creator of Hybi 4 Script (1999, handwriting). His Hybi5 font family (2015) is a cross between antiqua, grotesque and brush script. See also Hybi5 Finescript (2019). The didone family Hybi10 Metal (2019) has spiky alternates for use by heavy metal bands and tattoo parlours in the backstreets of Hamburg.

    Typefaces from 2020: Hybi11 Amigo (a ten-style organic sans), Hybi4 Script Neo.

    Typefaces from 2021: Hybi12 Arome (a hybrid of brush and sans). [Google] [MyFonts] [More]  ⦿

    Hyo-Song Becker

    During his studies in Pforzheim, Germany, Hyo-Song Becker created the blackletter typeface Fraktaeder (2013). [Google] [More]  ⦿

    Hypertype

    Hypertype is type design studio specializing in Latin and Hangul scripts. Founded by Minjoo Ham and Mark Frömberg in 2020, it is located in Berlin.

    Typefaces from 2020 include Neutronic and Neutronic Hangul, which are proportional descendants of Mark Frömberg's earlier monospaced typeface, Gintronic.

    Typefaces from 2021: Hahmlet (free at Google Fonts).

    Future Fonts link. [Google] [More]  ⦿

    I Am God
    [Robin Coenen]

    I Am God (Titz, Germany) was set up by Robin Coenen and André van Rueth in 2017. Their typefaces: MGD Rotter, MGD Ikonoklast (designed as a homage to Rammellzee's manifest Ikonoklast Panzerism: Ionic Treatise Gothic Futurism (1979)), MGD TM11 (a typeface based on instructional letters that were shown in Technical Manual: Instructions for Learning International Morse Characters (1943) by the US War Department, in order to teach US military students the transcription of morse signals into Latin characters), MGD Orion, MGD Virilio. [Google] [More]  ⦿

    I Can Letter
    [Sumho Pinheiro]

    I Can Letter is the foundry of Sumbo Pinheiro, who is a calligrapher and hand-lettering artist based in Hamburg, Germany. In 2021, he designed the playful calligraphic font Brokkie. [Google] [MyFonts] [More]  ⦿

    iA Writer
    [Oliver Reichenstein]

    The iA Writer Fonts are free fonts that are part of the (commercial) iA Writer software package. They were made by Oliver Reichenstein in 2017 and include iA Writer Duospace, a modification of Mike Abbink's IBM Plex font. The name Duospace refers to the small change from monospaced type. Wide letters like w and m take 150% of their standard space, while all other letters are monospaced. Dedicated discussion.

    Other fonts include iA Writer Mono, iA Writer Duo and iA Writer Quattro.

    iA creates digital products and runs small design studios in Tokyo, Berlin, and Zurich that serve clients around the globe. Home page. [Google] [More]  ⦿

    Ice Cream For Free
    [Oliver Wiegner]

    ICE CREAM FOR FREE is a Berlin-based design studio founded in 2005 by Oliver Wiegner. The main focus is on print. Home page. Creator of the Frequenza font (2009, octagonal). [Google] [More]  ⦿

    Identity Letters
    [Moritz Kleinsorge]

    Moritz Kleinsorge (Düsseldorf, Germany) studied at Rhine-Waal University. He attended the Expert Class Type Design in Antwerp and completed his Master in Communication Design at Peter Behrens School of Art in Düsseldorf. After graduating, he was mentored by Pilar Cano from LetterJuice via the Alphabettes mentorship program while developing his first retail font, Bw James (2017, Branding With Type), a 14-style sans typeface family that introduces many elements from handwriting and features subdued ball terminals.

    In 2018, he designed the geometric typeface Flink, the Peignotian typeface Bw Vivant (with Alberto Romanos), the fresh grotesque typeface Klainy, and the humanistic "upright italic" sans typeface Campuni.

    Typefaces from 2019: Faible (a soft and friendly sans), Kisba (a wedge serif workhorse).

    Typefaces from 2020: Compiler (a 32-font family that consists of 16 sans styles and 16 proportionally spaced typewriter or programming styles), Leifa (a flared serif in 16 styles), Glance Slab (an almost stencil style), Allrounder, Allrounder Antiqua (Granjon inspired) and Allrounder Monument (inspired by ancient inscriptions on columns, monuments and buildings in Rome), Allrounder Grotesk (from a hairline Air weight up to a strong Black).

    Typefaces from 2021: Baghira (an 8-style text family with sharp teeth by Christian Gruber and Moritz Kleinsorge), Kisba Nova (a wedge serif), Werksatz (a 20-style family inspired by early grotesque typefaces such as Akzidenz Grotesk and Venus, this evergreen grotesque ages like fine wine), Werkdruck (a Scotch roman), Glance Sans (14 styles; a sans that tries to decide if it wants to be a stencil font).

    I Love Typography link. [Google] [MyFonts] [More]  ⦿

    Igor Dekhtiarenko

    Dusseldorf, Germany-based creator of the corporate type family Karmigor Sans (2012) for Wekita. This was accompanied by the grunge version, Karmigor Trash. Besides this contribution to type design, he also did some great illustrations, including the hilarious Das ABC den Sex, an erotic alphabet unlike any other. [Google] [More]  ⦿

    Igor Dekhtiarenko

    Illustrator and designer in Düsseldorf, Germany, b. Ukraine. Katja Renko and Igor Dekhtiarenko co-designed the following stunning typefaces:

    • The ultra-fat poster typeface Contrast (2018) for Latin and Cyrillic.
    • Solomka Sans (2018). They write: Solomka is a playful sans serif typeface with a huge range of special ligatures and different uppercase letters. It comes with a classic and rounded version as well as beautiful illustrations and patterns. The combination between condensed lowercase and wide uppercase letters is modern and playful at the same time.
    [Google] [More]  ⦿

    Igor Petrovic
    [Beautiful New Fonts]

    [More]  ⦿

    Igor Petrovic

    Graphic designer from Belgrade, Serbia, who now works at Rainy Dot in Berlin. He created these typefaces:

    • The free rounded layered vector format typeface Zujal (2013).
    • The rounded monoline sans typeface Postcard (2015).
    • Popsky (2015). A wonderful popart font described as constructivism wearing sunglasses. Published as a color font at Fontself.
    • Prota Basic (2015), Prota Standard (2016) and Prota Pro (2018). A rounded sans inspired by Scandinavian industrial design.
    • At Typeclinic 12th International Type Design Workshop in 2016, he designed the rounded sans typeface Soberlin.
    • Mempix (2017). A great multicolor font made with Fontself. Its design is influenced by the Memphis Group.
    • Lesbos Pen (2018) and Lesbos Multicolor (2018). This seems to be identical to his Olcino (2018). Perhaps Jack Roger who made a font called Lesbos in 2015, asked him to rename it.
    • Zoran (2019). A sophisticated sans serif.
    • Naslof (2019). An SVG-format display style font.
    • Lezerno (2021). A relaxed rounded sans.
    [Google] [More]  ⦿

    Ilaria Manna

    Berlin-based creator of the display typefaces Ping Pong (2013) and Reform (2013). [Google] [More]  ⦿

    Ilka Kwiatkowski

    German type designer of the headline font Linotype Schachtelhalm (1997). [Google] [MyFonts] [More]  ⦿

    Illunatic
    [Christian Schaarschmidt]

    Type foundry, est. 2008 by Christian Schaarschmidt in Bonn, Germany. She designed Piccata (2016) and Lando (2016, a handcrafted typeface).

    Typefaces from 2017: Slantinel (an angular monoline sans).

    Typefaces from 2018: Timbra Sans (free). Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

    Ilse Schüle

    German type designer, b. 1903 Vaihingen as Ilse Brentel, d. 1997 in Schwäbisch-Hall. She studied at Kunstgewerbeschule Stuttgart. Ilse created the bastarda font Rhapsodie in 1949-1951 for Ludwig und Mayer. This font can now be bought from Fraktur.de. Ralph Unger designed his Rhapsody (2006) based on Rhapsodie. XmasTerpiece (Cybapee, 2001) is a free font based on Rhapsodie.

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

    Ilya Malyanov

    Berlin-based creator of the straight-edged typeface Kokain (2013). Behance link. [Google] [More]  ⦿

    Ina Kleemann

    Hamburg, Germany-based designer who interned in Portland, OR. Her typefaces include Happy Holidays font (2014), useful for Christmas cards. She also created Fall Vacation Icon Set (2014) and Squibs (2015, a sans typeface with sufficient quirkiness to make it attractive for children's books). [Google] [More]  ⦿

    Indolipi
    [Elmar Kniprath]

    Indolipi is a multipurpose tool box for indologists and linguists that contains Open Type fonts for most Indian scripts, a Latin font for "instant" transliteration of Indic scripts, and a Unicode based Latin font for writing of scientific texts in a western language containing all transliteration signs used by indologists as well as all presently valid IPA signs. All fonts were made from 2004 until 2006 by Elmar Kniprath (Asien-Afrika institut, University of Hamburg, Germany): e-Bengali OT (for Assamese and Bengali), e-Grantamil (for Grantha Sanskrit, Tamil and Manipravala), e-Grantha OT (for Sanskrit), e-Gujarati OT, e-Kannada OT, e-Malayalam OT (for modern Malayalam), e-Malayalam OTC (for Malayalam with classical orthography), e-Nagari OT (for Sanskrit and Nepali), e-Nagari OTH (for Hindi), e-Nagari OTM (for Marathi), e-Nagari OTR (for Rajasthani), e-Panjabi OT (for Gurmukhi script), e-Sinhala OT, e-Tamil OT (for modern Tamil), e-Tamil OTC (for Tamil with classical orthography), e-Telugu OT, e-Latin Indic (for "instant" Latin transliteration of Indic Unicode texts), e-PhonTranslit UNI (for writing indological texts in a language based on Latin script, also containig all valid IPA signs and a lot of arrows, mathematical and logical signs). Download page. [Google] [More]  ⦿

    Indra Kupferschmid

    German type personality (b. 1973, Fulda) who studied visual communication at the Bauhaus University in Weimar. She is involved in type at the Museum für Druckkunst Leipzig and in the DIN committee for type classification. Founder of Kupferschrift, a type expertise firm based in Weimar and Düsseldorf. Alternate URL. She is a professor of Kommunikationsdesign und Typografie and head of the department FB Design at the HBK (Hochschule der Bildenden Künste) Saar. She researches the classification of typefaces, the history of grotesks and legibility.

    She is co-author of Helvetica Forever (Lars Müller Publishers) and Buchstaben kommen selten allein, a typographic reference book.

    Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. At the latter meeting she introduces Type Record, a data base on typefaces run by her and Nick Sherman. Speaker at ATypI 2016 in Warsaw. Speaker at ATypI 2017 Montreal. [Google] [More]  ⦿

    Inessa Babkovich

    During her studies in Trier, Germany, Inessa Babkovich designed the stencil typeface Frosh (2017). [Google] [More]  ⦿

    Infinitype

    German company that sells 9999 fonts on a CD for 229 USD. In 2017, Infinitype 4 has 7444 fonts for 299 USD. One can download 20 fonts for free, as a teaser. The company is run by Martin Kotulla, owner of Softmaker, who also made the MegaFont CD. Many (most?) fonts are licensed from URW and come with a performance guarantee. Font catalog. Most fonts cover all European languages. Font catalog. Direct download of that catalog. Font name equivalences. The list: Aargau, Abott Old Style, Accent, Accolade, Adelon (lapidary), AdLib, Advertisers Gothic, Aldebaran, Alfredo, Allstar, Alternate Gothic, Alte Schwabacher, American Text, Ancona, Ancona Condensed, Ancona Extended, Ancona Narrow, Antigone, Antigone Compact, Antigone Nord, Antigone Condensed, Antiqua, Artistic, Avignon, Avignon Condensed, Avignon PS, Ballad Script, Ballantines (a broad-nib script), Balloon, Barbedor, Barbedor Osf, Baskerville, Baskerville Nova, Baskerville Old Face, Bay Script, Belfast Serial (a remake of Forsberg's Berling), Belfort, Bellboy, Benjamin [based on ITC Benguiat; identical to Softmaker's B693 Roman], Benjamin Condensed, Benjamin Gothic [free here; this comic book style typeface is based on ITC Benguiat Sans (1979-1980) and is similar to B691 Sans from Softmaker)], Benson, Bergamo, Bergamo Osf, Bernhard Condensed, Bernhard Fashion, Bestseller, Bilbao, Birmingham, Bluff, Boa Script, Bodoni, Bodoni Display, Bodoni No. 2, Bodoni Recut, Bodoni Recut Condensed, Bodoni Standard, Bonita, Book PS, Boston, Boulder, Bravo, Bristol, Broadway, Broadway Engraved, Brush Script, Bryce, Calgary, Calgary Osf, Cambridge, Cambridge Serial, Canossa, Canyon, Carlisle, Casablanca, Casad, Caslon, Caslon Antique, Caslon Osf, Caslon Elegant, Casual, Cathedral Open, Centrum, Century Old Style, Century Expanded, Century PS, Century Schoolbook, Chandler, Chantilly, Chantilly Condensed, Chantilly Extra Condensed, Chantilly Display, Chantilly Serial, Chatelaine, Cheltenham, Cheltenham Condensed, Cheltenham Old Style, Cheltenham Extra Condensed, Cimarron, Clarendon, Clarendon Serial, Clearface, Clearface Serial, Cleargothic, ClearGothic Serial, Colonel, Comix, Commercial Script, Compressed, Computer, Concept, Concept Condensed, Congress, Cooper Black, Copperplate Gothic, Copperplate Condensed, Cornered, Courier PS, Curacao, Curzon, Deco B691, Deco Black, Deco C720, Deco C790, Deco F761, Delano, Delaware, Denver, Derringer, Diamante, Digital, Durango, Disciple, Egyptian Wide, Egyptienne Standard, Elegant Script (revival of the 1972 Berthold formal calligraphic typeface Englische Schreibschrift), Elmore, Ennis, Entebbe, Estelle, Ewok, Expressa, Falcon, Farnham, Fette Engschrift, Fette Mittelschrift, Flagstaff, Flipper, Florence Script, Fraktur, Franklin Gothic, Franklin Gothic Condensed, Franklin Gothic Condensed Osf, Franklin Original, Frascati, Fremont, Front Page, Fuego, Function, Function Condensed, Function Display, Function Script, Gainsborough, Gandalf, SoftMaker Garamond, SoftMaker Garamond Condensed, SoftMaker Garamond No. 7, Garamond Elegant [based on Letraset Garamond], Garamond Nova, Garamond Nova Condensed, Garamond Original, Garamond Standard, German Garamond"> [based on TypoArt Garamond], Giulio, Glasgow Serial [based on Georg Salden's Polo, 1972-1976], Glendale Stencil, Gotisch, Goudita, Goudy Catalogue, Goudy Handtooled, Goudy Old Style, Goudy Heavyface, Granada, Grenoble, Grotesk, Handmade Script, Harlem Nights, Helium, Henderson, Hobo, Hoboken, Hobson, Honeymoon, Horsham, Hudson, Huntington, Iceberg, Illinois, Imperial Standard, Inverserif, Isonorm, Istria, Italian Garamond [based on Simoncini Garamond], Japanette, Jessica, Joseph Brush, Jugendstil, Kaleidoscope, Karin, Kingston, Koblenz, Kremlin Script, Leamington, Letter Gothic, Lingwood, Litera, Livorno, Lyon, Macao, Madeira, Malaga, Marriage, Marseille, Marseille Serial, Maurice, Medoc, Melbourne, Melville, Mercedes, Metaphor, Mexico, Micro, MicroSquare, MicroStencil, Moab, Mobil Graphics, Montreal, Napoli, Neutral Grotesk, Nevada, Newcastle, Nicolas [after Lanstpn's Nicolas Cochin], OCR-A, OCR-B, Oklahoma, Old Blackletter, OnStage, Opus, Organ Grinder, Orkney, Ornitons, Osborne, Otis, Palazzo, Palladio, Palmer, Pamplona, Park Avenue, Pasadena, Pedro, Pelota, Peoria, Persistent, Persistent Condensed, Persistent Osf, Philadelphia, Pizzicato [based on Letraset's Plaza], Plakette, Pollock, Prescott, Prestige, Quadrat, Raleigh, Roman PS, Salmon, Sans, Sans Condensed, Sans Diagonal, Sans Extended, Sans Outline, Sans PS, Sans PS Condensed, Savoy, Savoy Osf, Saxony, Scott, Seagull, Sebastian [based on ITC Serif Gothic], Sigvar [based on ATF's Baker Signet], Soledad, Square Serif, Stafford" [based on Rockwell MT], Stafford Serial, Sterling, Stratford, Stymie, Sunset [a version of ITC Souvenir], Sunset Serial, Sydney Serial, Tabasco, Tampa, Tampico, Tioga Script, Toledo [based on Trooper VGC], Typewriter, Typewriter Osf, Typewriter Condensed, Unic, VAG Rounded, Velo, Veracruz, Verona, Violin Script, Winona, Worcester. [Google] [More]  ⦿

    Inga Horstmann

    Hamburg, Germany-based designer of the minimalist sans typeface Watergate (2017). [Google] [More]  ⦿

    Inga Luft

    German co-designer, with Manuel Viergutz, of Klein Rough Gemein (2020), a font family that includes an icon set and several styles that emulate old German rubber stamps. [Google] [MyFonts] [More]  ⦿

    Inga Plönnigs

    Berlin-based German type and graphic designer who studied at University of Art in Braunschweig and TypeMedia / KABK in Den Haag, class of 2016. Before that, she interned at FontFont / FontShop.

    Her graduation typeface at KABK was the modern grotesque Magnet. It features Text, Headline and Poster subfamilies, and is characterized by a perky-attentive-dog ear on the g.

    In 2017, she released the free 10-style text typeface Rowan at Fontshare.

    At Future Fonts, she published Messer (2018, updates in 2019 and 2021). Messer started out as a revival of Weiss Antiqua which was originally designed by Emil Rudolf Weiß in 1928.

    In 2020, she released the condensed movie credit typeface family Picket at Indian Type Foundry. Picket features a huge x-height.

    In 2020, Eben Sorkin, Pria Ravichandran, Inga Ploennigs and Dan Reynolds co-designed the sans family Karow at URW.

    Still in 2020, she published the sans typeface family Zetkin at Future Fonts. Its slightly flared stroke endings remind us of Venus (1907, Bauersche Giesserei).

    Plein (2021, Fontshare). A free 10-style humanist sans. [Google] [MyFonts] [More]  ⦿

    Ingmar Koglin

    Ingmar grew up in Greifswald, Germany, and studied communication design in Kreuzberg, Germany, from 2009 until 2012. Berlin, Germany-based designer of the free foliate typeface Warm (2012). Behance link. [Google] [More]  ⦿

    Ingmar Spiller

    German designer of the experimental typefaces Funke and Runic in 2010. Another URL. [Google] [More]  ⦿

    Ingo Jürgens

    Ingo Jürgens is a graphic designer who works in Stuttgart, Germany (b. 1972). His studio Südgrafik specializes in corporate and editorial design. Creator of Kathmandu (2007, Volcano Type). Klingspor link. [Google] [MyFonts] [More]  ⦿

    Ingo Krepinsky
    [Typonauten]

    [MyFonts] [More]  ⦿

    Ingo Preuss
    [preussTYPE]

    [MyFonts] [More]  ⦿

    Ingo Zimmermann
    [Ingofonts]

    [MyFonts] [More]  ⦿

    Ingofonts
    [Ingo Zimmermann]

    Ingofonts is a foundry in Augsburg started by Ingo Zimmermann (b. 1967) in 1994. It offers Fraktur fonts, handwriting fonts, sans serif fonts, Antiqua fonts and some pixel fonts. Full fonts go for 50 USD a piece and up. Some fonts are free. Many fonts are adaptations or revivals of historically important fonts. Ingo also practices calligraphy, and in particular, calligraphy for wine labels. The list:

    • Absolut Pro (2008) is a classy sans family that comes in Regular, Licht, Thin and Schmuck.
    • Amhara (2009): An experimental font inspired by the Ethiopic writing system.
    • Analogue (2010).
    • Anatole France (1997-2021). An art deco font in the style of Plakat Schrift by the munich-based printer Georg D. W. Callwey.
    • August Sans (2013).
    • Auxerre. A wedge-serifed text typeface. Ingo writes: Auxerre is a precursor of Etienne, which later became popular as an advertising script of the 19th century.
    • Banknote 1948 (2010).
    • Behrens Schrift (2008) is based on Behrens' famous 1902 Jugendstil typeface for Rudhard'sche Giesserei. Behrensschrift iF Plus (+Schmuck) followed in 2021.
    • Biró Script is a handwriting font (2007-2012, +Biro Script Plus, 2020) named after the inventor of the ballpoint pen, Laszlo Joszef Biro, 1899-1985.
    • Boule Plus (2020). A fat round circle-based bubblegum font family in Gras, Contour and Brilliant styles.
    • CharpentierBaroqueIF, CharpentierClassicItaliqueIF, CharpentierClassicistiqueIF, Charpentier Renaissance Pro (1996 and Pro version from 2020; modeled on Roman Capitalis). Charpentier Classicistique Pro (2020; earlier called Classicist) is an absolutely charming didone display typeface family with an award quality Black. In 2014, he added Charpentier Sans Pro for Latin, Greek and Cyrillic with the Pro version following in 2020.
    • Chiq Pro. After Apple's Chicago.
    • Conté Script (2014). A phenomenal effort towards the creation of a typeface that emulates real handwriting. It even has three-letter ligatures to achieve the desired reality. Based on Ingo's own hand, it also achieves a crayon effect. See also Conte Script Plus (2020).
    • Countries of Europe (2008). Outlines of countries. Free download.
    • DeBorstel Brush Pro (2009): brush face.
    • De Display (2010). A gridded type system.
    • De Fonte (1995): a grungy blurred overexposed Helvetica. See also De Fonte Plus (2020).
    • Déformé: a grungy Clarendon.
    • Deko-Blakk, Deko-Yello (art deco typefaces from 2007).
    • DeKunst (1995, deconstructivist). DeKunst Initialen (2007) is Bauhaus-inspired.
    • DePixel (1999: based on Apple's Geneva and Chicago; and Illegible DePixel).
    • Deutsche Schrift Callwey (1998). A free Sütterlin script that is based on a script sample from around 1920/30 by Karl Schäffer. DeutscheSchriftCallwey (1998): a free handwriting typeface in the style of the 1800s that was later taught in German schools under the generic name of "Sütterlin type".
    • Rudolf Diesel Rudolf (2008-2009): Based on the handwriting of the inventor of the Diesel motor, Rudolf Kristian Karl Diesel (1858-1913).
    • Die Überschrift (1998): headline sans.
    • EconoSans Pro (2020). A 28-style sans that is meant to save space by squishing the letters together.
    • Faber Eins, Faber Zwei (1996, legible sans family), Faber Drei, Faber Gotic (2002, +Text, +Gothic, +Gotic Capitals; a Textura based on Gutenberg's blackletter from 1450), Faber Fraktur (1994), Faber Sans Pro (2011). This comes with a great all caps Deko style.
    • Façacde Pro (2007). An art nouveau brush typeface found in a 1900 booklet by Karl Otto Maier (a publisher in Ravensburg) entitled Schriften-Sammlung für Techniker Verkleinerte Schriften der wichtigsten Alphabete. Cyrillic version.
    • Fixogum (1998, scratchy handwriting).
    • Fundstueck (2021). A simplified squarish typeface.
    • Graz2006 (1994, a sans family for the 2006 OlumTypographerpic Games in Graz; later renamed by Linotype to Olympia).
    • Guhly (2011). An organic family.
    • Gutenberg (1995, a textura).
    • Handschrift (2007). Expressionist and rough.
    • Hedwig Pro (2021). A tall condensed sans; 12 styles.
    • Hero (angular handwriting).
    • Josef (2000), Josefov (2003, slab serif for Josef), JosefPro (2006, a free sans family), Josefa Rounded Pro (2020: a rounded sans family).
    • Klex Plus (1997): a calligraphic or watercolor brush font.
    • Koch Schrift (1998-2021). A Schwabacher used by the Deutsche Reichsbahn and first developed by Rudolf Koch in 1909, first known as Neudeutsch and later as Koch Schrift. An earlier version of Zimmermann's Koch Schrift was called Schwabacher Deutsche Reichsbahn.
    • Lech Sans (2020). A humanist sans family.
    • LeDrôle Lettering Pro (2020).
    • LettreCivilitdeGranjon (1997, a reworking of S. Moye's font by that name).
    • Maier's No. 8 (2002) and Maier's Neue No. 8 based on forms found in work of Karl O. Maier from before 1914, which already has the geometrical simplicity characteristic of the Weimar period. Maiers No. 21 (2006) and Maiers Nr 21 Pro (2021) are based on a script found in the magazine Schriften-Sammlung für Techniker: Verkleinerte Schriften der wichtigsten Alphabete (Karl O. Maier, Otto Maier Publishing House, Ravensburg, ca. 1910)---a hand-crafted font for technicians. Finally, Maiers Nr. 42 Pro (2020) is a brush-painted art nouveau typeface based a pamphlet of script samples from around 1900 that was issued by Otto Maier's publishing house in Ravensburg, Germany.
    • Marleen Script (2011, with over 400 ligatures).
    • Menschenalphabet (1997), based on Peter Flötner's alphabet from 1534.
    • Novello Pro (2009): The serifed counterpart of his Absolut Pro family.
    • OlympiaBuchIF, OlympiaFettIF, OlympiaHalbfettIF, OlympiaLeichtIF, OlympiaSemiSansBuchIF
    • Palmona Plus (2008). A German expressionist blackletter after Karl Schaeffer (1939). Palmona Plus was published in 2020.
    • Saeculum (1996, cursive connected handwriting).
    • Rudolf Diesel (2008-2009): Based on the handwriting of the inventor of the Diesel motor.
    • Toby Font (2006(. A 3d doodle font for children.
    • Wendelin Pro (1996). A grotesque family. The Pro was released in 2020.
    • Whole Europe (2008, outlines of countries), now called Countries Of Europe. Pick it up, togeter with many suppoirt files for TeX by Herbert Voss, at CTAN.
    Dafont link. Fontsy link. Klingspor link. Dafont link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

    Ingrid Garcia

    Ingrid Garcia (Kontur Networx, Germany) created the tape font Typo3InspiredV2 (2013). This is a commercial hook. Fontspace link. [Google] [More]  ⦿

    Ingrid Liche

    German freelancer who made FF Liant (1995, a Menhart-style Czech face) and Clair (1995) at FontFont. FontShop link. FontShop writes about FF Liant: In 1976 Ingrid Liche began designing Liant Medium for the packaging of the natural cosmetic company Weleda AG in Germany. Since then this typeface has defined the corporate identity of Weleda worldwide and because of this company's prestige, the look to the entire natural cosmetic and biologically oriented industry. Because of a split of opinions in the international company in 1994, the mother company in Switzerland decided to introduce a new house face; thereby giving up the brand name recognition that had been established over twenty years... Because of the turn in events and since Liche still owned the rights to Liant, she decided to distribute the typeface exclusively over FontShop International. She re-digitized the font, adding several ligatures and expanding the typeface to a three weight family. The most noticable characteristic of the font is its lively lines, the forms for which are taken from nature. Within the individual characters there is an exchange of sinking and rising points, which are connected by taut curves. [Google] [MyFonts] [More]  ⦿

    Inka Menne

    Designer (b. 1972, East Frisia) of several CE versions of FontFont fonts. She designed the sans serif fonts FF Dax CE (2001) and FF Dax Turkish (2001), after initial designs of Hans Reichel. Second prize at the 3rd International Digital Type Design Contest by Linotype Library for Linotype Grassy (1999). Linotype link. She became Inka Strotmann. [Google] [MyFonts] [More]  ⦿

    Inka Strotmann

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

    Inna Levcenko

    Creator of Taschkent Font (2013). Inna lives in Dortmund, Germany. [Google] [More]  ⦿

    Institut fuer Indische Philologie und Kunstgeschichte
    [Dirk W. Loenne]

    The ISB Times Standard&ISB Times Vistar TrueType Fonts were made by Dirk W. Loenne and Juergen Neuss at the Institut fuer Indische Philologie und Kunstgeschichte der FU-Berlin in the summer of 2000. These fonts for transliteration of Indic languages are based on Times New Roman. [Google] [More]  ⦿

    Institute of Indology and Tamil Studies

    As part of the University of Cologne (Germany), the IITS (Institute of Indology and Tamil Studies) published its own truetype font, IITS, which is used for the transliteration of Sanskrit, Pali, Prakrit, Hindi, Marathi, Bengali, Urdu and Dravidian Languages. Other Indian and Tamil fonts can be downloaded too. These include Adhawin-Tamil (K. Srinivasan, 1995), BengaliAssamese Vijay (Vijay K. Patel, 1995), Gayathri (Ethno Multimedia, 1993), Gujarati (Vijay K. Patel, 1996), Janaranjani (EthnoMultimedia, 1993), Kannada Vijay (Vijay K. Patel, 1995), Mantra (Shrikrishna Patil, 1994), Malyalam Vijay (Vijay K. Patel, 1995), Nepali Vijay (Vijay K. Patel, 1994), Progoty (Chetona Software Cafe, 1997), Palladam (T. Govindaraj, 1989-1990), PunjabiSans (Atech, 1991), RK Sanskrit, Tamil Vijay (Vijay K. Patel, 1995), Telugu Vijay (beware: need to type 5 to 7 keys to get one character). [Google] [More]  ⦿

    Intecsas
    [Klaus Herrmann]

    Foundry run by Klaus Herrmann from Düsseldorf, whose fonts are distributed by Precision Type and FontHaus. Fonts include basically all of David Rakowski's old shareware fonts. Through Intecsas, David Rakowski has finally gone commercial. The fonts are often redrawn, and have complete international character sets. The library contains 500 fonts, of which about 90 are based on David's old shareware fonts. Among the newer fonts, DwigginsFortyEight (1999).

    Mark Johansson explains the history of Rakowski's fonts.

    Atomic Type distributes their fonts as well.

    Partial font list: Aaaaaaaargh Caps, Aarcover, Adineski, Adine Kernberg Script, Adriana Davidovsky, Air Supply, Alvin Caps, Aminal Initials, Anderson Script, Anne Stone, Avery Jean, Beffle, Bela Drips, Belgian Casual, Bellagio, Benjamin, Bizarro, Blasius, Braille Font, Brandenburger, Brookfield, Brooks Initials, Buffalo Bill, Cardboard Cutout, Carrick, Chalice, Charlotte Tile, Chinese Menu, Christensen Caps, Command Ment, Constructivist, Corsage, Crackling Fire, Crane Initials, Davys Blocks, Davys Dingbats, Davys Key Caps, Davys Big Key Caps, Davys Other Dingbats, Davys Ribbons, DeBellis, Deco Twenty Two, Dewhurst, Dieter Caps, Dilara Caps, Dinderman, Dorothy Initials, Dragonwick, Drawing Pad, Dubiel, Dupuy, Eileen Caps, Elizabeth Ann, Elzevier, Eraser Dust, Even More Face Cuts, Face Cuts, Fetch Scotty, Flicker, Forest, Frisch Script, Garton, Gessele Script, Gouda Old Style, Grab Bag, Gravestone Rubbing, Green Caps, Griffin Dingbats, Ground Hog, Harting (an old typewriter font), Headhunter, Holtzschue, Horror Show, Horst Caps, Hunan Garden, Ian Bent, Jacobs, Jeff Nichols, Joanna Lee, Judy Finckel, Kastner Casual, KidStuff, Kinigstein Caps, Kioko, Konanur Caps, Korf Caps, Koshgarian Light, Kramer, Lee Caps, Legal Vandal, Lemiesz, Lilith, Logger, Lower East Side, Lucy Script, MalakaLaka-LakaLakaLaka, Man About Town, Mary Monroe, McGarey Fractured, More Face Cuts, Multiform, Munchner Initials, Nauert, Nitemare Caps, No More Face Cuts, Octagon, Paris Metro, Party Down, Pavelle, Phonetic, Pixie Font, Pointage, Polo Semiscript, Randolph, Rechtman Script, Relief, Reynolds Caps, Rhodes Roman, Rounded Relief, Rudelsberg Regular, Rumble, Saint Albans, Scratchy Pen, Showboat, Sjlausmann, Sprecher Initials, Starburst, Still More Face Cuts, Sturbridge Twisted, Taiga, Tejaratchi Caps, Thompson Pond, Toletto, Travis Brush, Trench, Trevor Light, Tucker, Tundra, Upper West Side, Varah Caps, Victoria Casual, Wedgie, Wein Initials, Wharmby, What A Relief, Will Harris, Yasmine, Zaleski, Zallman Caps.

    At Will-Harris House, we find these fonts by David Rakowski: Cardboard Cutout, Dwiggins 48 (ornamental caps first designed by Dwiggins), Fetch Scotty, Gibbons (a great geometric Bauhaus-style font), Gravestone Rubbing, Greene&Greene (architectral lettering), Davy's Art Nouveau Initials, Gravestone Rubbing, Harting, Handscrifte, Lillith, Lillith Initials, Pointage, Rabbit ears, Rasta Rattin Frattin, Tenderleaf Caps, Tendril, Toletto (toilet paper alphadings), Will-Harris, and Zaleski. [Google] [More]  ⦿

    Intelligent Design (was: Intelligent Foundry)
    [Kostas Bartsokas]

    Kostas Barstokas is a designer and illustrator in Thessaloniki, Greece, and in Leeds, UK. He set up Intelligent Foundry and later Intelligent Design in Leeds. He graduated from the MATD program in Type Design at the University of Reading in 2016. He worked as a senior typeface designer at URW in Hamburg and offered consultation in Greek script design for other foundries too. In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited.

    In 2011, he used FontStruct to make the counterless typeface UglyKost.

    In 2012, he created Kafalan Serif, a square-serifed typeface, and the accompanying Kafalan Sans, which are both available from Ten Dollar Fonts.

    Typefaces from 2013: Zona Black (a Latin-Greek geometric sans-serif black display typeface that was inspired by posters from the late 1920s), Zona Black Slab.

    In 2014, still in the same style, we find Zona Pro in weights from Hairline to Black. Ridewell (2014) is a wood type inspired 1800-glyph typeface with many opentype features including foremost interlocking pairs of characters. It comes with Ridewell Print, which emulates the degradation of letterpress.

    In 2015, he designed the geometric sans typeface family Averta and Averta Standard. Averta CY won an award at Granshan 2017 in the Cyrillic category.

    He writes about his University of Reading graduation typeface, Eqil (2016): Eqil is a multiscript type family for extensive texts. It is conceived as a typographic system wise enough to respond to complex publishing challenges. It consists of a range of styles and its quiet personality transforms and gets louder as the intended sizes increase. Eqil identifies as an elegant contemporary take on transitional types. It does not intend to be a showstopper, instead it aspires to be the lever that silently elevates the content. The combination of straights and curves creates a dynamic yet fluid character and the relatively low contrast gives it a slightly dark and warm texture on the page. The four scripts, Latin, Arabic, Cyrillic, and Greek, were designed to work harmoniously together without compromising each scripts historical and individual characteristics. Eqil won an award at Granshan 2016 in the Latin / Cyrillic category.

    His super-fat free typeface Oi (2017) is described as a Clarendonesque on steroids. Commercial version of Oi!. Oi won an award at TDC Typeface Design 2018. In 2021, it became a free Google font. Github link.

    His big project in 2019 is the free 4-axis (weight, slant, flair, volume) variable font Commissioner. Google Fonts link. He writes: Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. The family consists of three voices. The default style is a grotesque with straight stems. As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs and the joints become more idiosyncratic. The volume axis transforms the glyphic serifs to wedge-like ones. It supports Latin, Greek and Cyrillic. For an extension, see Heraclito (2020).

    Co-designer of Peridot Latin (2022: a 121-strong sans superfamily by Kostas Bartsokas and Pria Ravichandran) and Peridot PE (2022: a 121-style sans superfamily by Kostas Bartsokas and Pria Ravichandran designed for branding, display, corporate use, editorial and advertising; it covers Latin, Greek and Cyrillic).

    Buy at Ten Dollar Fonts, Hellofont, Creative Market, or MyFonts.

    Behance link. The Designers Foundry link. Github link. [Google] [MyFonts] [More]  ⦿

    Interfont

    German type foundry, est. 2016 by André Leonhardt and Dennis Michaelis. They created the monoline typewriter typeface family Monoela (2015). [Google] [MyFonts] [More]  ⦿

    Invers

    German design and typography magazine. Edited by Freiburg's Jürgen Funcke, Günter Honkomp and Karsten Risseeuw. [Google] [More]  ⦿

    Irena Jurisic

    Irena Jurisic was born on March, 22 1992 in Bosnia and Herzegovina. She graduated from the Academy of Fine Arts in Siroki Brijeg in 2015 with a Masters of Arts in Graphics and Printmaking. Now based in Cologne, Germany, she created the deco typeface Sirena (2016). Behance link. [Google] [More]  ⦿

    Irina Bencheci

    During her studies, Augsburg, Germany-based Irina Bencheci created the transitional wedge serif typeface Bena (2015). Bena was a project at ESAD.cr. [Google] [More]  ⦿

    Iris Luckhaus

    Based in Wuppertal, Germany, Iris Luckhaus created several alphabets (perhaps not fonts) in 2014: Fingeralphabet, Flaggenalphabet, MorseCode and Braille. Behance link. [Google] [More]  ⦿

    Isa Gross

    Isa Gross studied graphic design at Kölner Design Akademie in Cologne. She finished her studies in London at Middlesex University. Creator of the rounded high-contrast display typeface Wilma (2011). [Google] [More]  ⦿

    Isabel Fischer

    Wiesbaden, Germany-based designer of the interesting and successfully executed sci-fi typeface Anakyn (2016). Behance link. [Google] [More]  ⦿

    Isabel Motz

    Isabel Motz is a student at HfG Karlsruhe. She is also part of the non-profit Typefoundry NoFoundry which publishes typefaces from students. Isabel Motz at Velvetyne.

    In 2019, she designed the free blob-shaped font Kaeru Kaeru (at Velvetyne). [Google] [More]  ⦿

    Isabel Naegele

    Professor of Typography at the University of Mainz, Germany. Coauthor of Neue Schriften / New typefaces (2014, Niggli), which contains a type exhibition held in 2013 at the Gutenberg Museum in Mainz, Germany. It also has interviews with 25 type designers. In 2016, Petra Eisele, Annette Ludwig and Isabel Naegele published Futura: Die Schrift (in German). The English version Futura: The Typeface (Laurence King) followed in 2017. [Google] [More]  ⦿

    Isabel Seiffert

    German graphic designer and illustrator in Stuttgart (b. 1986) who made an alphabet patterned after floor plans, called Bauplan (2008). She also made the curly typewriter-based font Anek (2009). [Google] [More]  ⦿

    Isabell Laxa

    German designer of the leafy all-caps typeface Linotype Supatropic (1997). [Google] [MyFonts] [More]  ⦿

    Isabelle Norouz

    German designer of the typewriter typeface Dear Diary (2017). [Google] [More]  ⦿

    Itamar Lerner

    Itamar Lerner is an Israeli-born graphic designer. He first started working as a designer at 2002. During the next three years he was emplyed in several design studios around Tel Aviv. He has been living in Berlin and Hamburg after that. Currently he studies Visual Communication at the Academy of Fine Arts (Hochschule für bildende Künste) in Hamburg, and works in his spare time as a freelance designer. His typefaces include Spuistraat, Ostkreuz, Avidanium (Hebrew), and Hebrew Wax. [Google] [More]  ⦿

    Ivana Maric
    [Le Punkt Noir]

    [MyFonts] [More]  ⦿

    Ivana Mauzer

    Ivana Mauzer (Mausee Design, Germany) created the thin script typeface Apple Tree and the brush font Blueberry Cookie in 2017. Creative Market link. [Google] [More]  ⦿

    Ivo Gabrowitsch
    [Fontwerk.com]

    [More]  ⦿

    J. Ch. Zanker

    Nürnberg-based foundry. Types carried by them include Alte Schwabacher and Fleischmann-Antiqua. [Google] [More]  ⦿

    J. E. Weisert

    [More]  ⦿

    J. G. Francke Nachfolger
    [Albert Wilhelm Kafemann]

    The type foundry J. G. Francke in Berlin was purchased in 1872 by Albert Wilhelm Kafemann and moved to Danzig and renamed Firma J. G. Francke Nachfolger. In 1872, Kafemann also bought the type foundry Christoph Richter which was based in Köln. On October 1, 1875, Franz Otto Claus---an employee at J. G. Schelter & Giesecke in Leipzig---became a partner in Kafemann's foundry. In 1882, Franz Otto Claus continued the foundry by himself still as J. G. Francke Nachfolger. This foundry produced Danziger Fraktur in 1886. This typeface was designed by eye doctor Dr. Schneller in Danzig and produced (and owned) by Kafemann. In 1895, Otto Claus, the son of Franz Otto, became a partner. The latter died in 1905. Otto Claus himself sold the foundry in 1908 to John Seyfert in Danzig. Seyfert in turn sold the company in 1912 to the company Otto Tech in Berlin. That company was partly absorbed by H. Berthold AG and partly by Emil Gursch in 1917.

    Footnote: Danziger Fraktur was digitally revived by Gerhard Helzel. [Google] [More]  ⦿

    J. John Söhne

    Hamburg-Altona-based foundry. [Google] [More]  ⦿

    J. Keith Moore

    German typographer (b. Würzberg) who studied in Colorado before moving to Minneapolis where he works and plays. He designed the ITC Vinyl family (1995).

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

    J. Mach Wust

    Switzerland-based designer of these fonts:

    • The free font Unicook (2010, OFL; possibly renamed UnifrakturCook). He writes: Unicook is based on Peter Wiegel's OFL font Koch Fraktur which is in turn based on Rudolf Koch's Fette Deutsche Schrift (1908-1910). Unlike Wiegel's font, this font is Unicode-compliant.
    • Unifraktur Maguntia (2010). This is based on Peter Wiegel's free font Berthold Mainzer Fraktur which is in turn based on a 1901 typeface by Carl Albert Fahrenwaldt. Latest update of Unifraktur in 2017.
    • Entiumgay (2010) is based on J. Victor Gaultney's Gentium font. It uses Apple Advanced Typography for scrumbling normal text into Pig Latin. It features various dialects of Pig Latin, including Bernese Meadow English (Mattenänglisch).
    • Wust is involved in the Free Tengwar Project: The Free Tengwar Font Project aims at developing a family of general purpose fonts that cover J. R. R. Tolkien's tengwar script and that are compatible with the Unicode standard. [...] Johan Winge's Tengwar Telcontar font already existed previous to this project. Indeed, it has been an important inspiration, aiming at Unicode compatibility in a tengwar font. Johan's joining in has been a giant leap for the Free Tengwar Font Project.
    [Google] [More]  ⦿

    J. Schnekenburger
    [Schnekattack]

    [More]  ⦿

    Jack Webster Dunstan

    Graphic design student at the University of Brighton, UK, who created Berliner (2012), an upper case sans typeface inspired by the Berlin subway. [Google] [More]  ⦿

    Jacki Gipp

    Trier, Germany-based designer of the animated techno typeface Lunik (2018). [Google] [More]  ⦿

    Jacob Elsinger

    Designer in Trier, Germany. Creator of a great party poster, Niko Party (2011). Home page. [Google] [More]  ⦿

    Jacopo Severitano
    [Ziamimi]

    [More]  ⦿

    Jacqueline Iniengo

    During her studies in Hildesheim, Germany, Jacqueline Iniengo created the geometric typeface SciFi (2015). [Google] [More]  ⦿

    Jacqueline Juliet Conteh

    Berlin-based designer of the curly script typeface Peppy Motion (2013). It was created during her graphic design studies. [Google] [More]  ⦿

    Jacqueline Stöber
    [TheGirl]

    [More]  ⦿

    Jacques Sabon

    Jakob or Jacques Sabon (b. Lyon, 1535, d. Frankfurt am Main, ca. 1580-1590) was a typefounder who worked at the Egenolff Foundry in Frankfurt in 1555, and briefly at the Plantin Foundry in Antwerp in 1563. After Garamond's death, Plantin and Sabon both shared in his heritage. Sabon's widow married Konrad Berner in Frankfurt.

    Jan Tschichold named his garalde typeface after him in 1964. Jan Tschichold's Sabon is named after Jakob Sabon. Jan Tschichold also penned the book Leben und Bedeutung des Schriftschneiders Jakob Sabon (1967, Frankfurt am Main).

    Linotype writes about Tschichold's Sabon: In the early 1960s, the German masterprinters' association requested that a new typeface be designed and produced in identical form on both Linotype and Monotype machines so that text and technical composition would match. Walter Cunz at Stempel responded by commissioning Jan Tschichold to design the most faithful version of Claude Garamond's serene and classical roman yet to be cut. The boldface and particularly the italic are limited by the twin requirements of Linotype and Monotype hot metal machines. Bitstream's Cursive is a return to the form of one of Garamond's late italics, recently identified. Punches and matrices for the romans survive at the Plantin-Moretus Museum. [Google] [MyFonts] [More]  ⦿

    Jae-Joon Han

    Jae-Joon Han studied visual design at Hongik University College of Arts, and learned Hangeul design from Dr. Byung-Woo Kong, a pioneer of Hangul mechanisation. From the late 1980s to the mid-1990s, Jae-Joon Han designed Hangeul fonts, such as Konghan and Han. He published these theses: Design Philosophy and Principle of Hangeul and The Sustainable value of Hangeul. Currently (in 2015), he is a director of the King Sejong Commemoration Project and chairman of the Korean Society of Typography, as well as a professor at Seoul Women's University Department of Visual Design. [Google] [More]  ⦿

    Jakob Erbar

    Born in Düsseldorf in 1878, died in Köln, 1935. A teacher at the Köner Werkschule, he designed these typefaces:

    • Candida (Ludwig&Mayer, 1936). Erbar drew the Candida typeface for the Ludwig & Mayer foundry shortly before his death in 1935. The typeface was released posthumously in 1936. An italic designed by Walter Höhnisch was published the following year and a reworked version was produced in 1945. Bold weights followed in 1951. Both Candida and the italic are mediocre modern typefaces. Digital revivals: Candida EF (Elsner+Flake), Candida (URW), Candida (Adobe), Candida (Tilde), Candida SB (Scangraphic Digital Type Collection), Candida SH (Scangraphic Digital Type Collection), Candida (Linotype), Candida (Bitstream) and Candida (2021, Michelle Devlin). See this Candida Antiqua booklet by Ludwig & Mayer, ca. 1960.
    • Erbar-Fraktur (1936, Ludwig&Mayer). The Fett was published in 1938.
    • Erbar Grotesk (1926-1930, Ludwig&Mayer). The Kräftig and halbfett weights are especially attractive, and contributed to the popularity. Some publications mention the time range 1922-1930. Linotype (London) published two weights of Linotype Erbar, and Mergenthaler Linotype four weights of Erbar Condensed. Digital interpretations: Erbar (Linotype), URW Erbar (2009, URW), Erbar AT (Linotype), dT Jakob (Eduilson Wessler Coan and Gustavo Soares at dooType), Journal Sans (designed at the Polygraphmash type design bureau in 1940-56 (project headed by Anatoly Shchukin) based on Erbar-Grotesk; digital revival in 1994 by Olexa Volochay at ParaType; in 2014 designer Olexiy Volochay made some corrections in original digital data and extended character set; The family was re-released by ParaType in 2014), URW Erbar Neo Mini (2010), Neu5Land (2018, a free font by Uwe Borchert).
    • Erbar Initialen (Ludwig & Mayer). Dieter Steffmann revived it as the free font Erbar Initialen. See also Eller Initials (2012, SoftMaker) and Kudos Kaps Five NF (2006, Nick Curtis).
    • Erbar-Kanzlei (1913, Ludwig & Mayer).
    • Erbar Mediaeval (1913-1914, for Ludwig and Mayer). Erbar Mediaeval Lichtfett (1922) is an inline typeface. Erbar Mediaeval inspired Nick Curtis's Jacopo Mediaeval NF (2012, Nicks Fonts).
    • Erbar Unziale and Unziale Halbfett (Ludwig & Mayer).
    • Feder-Grotesk (Ludwig&Mayer, 1908, an early sans). Later weights came about between 1909 and 1925. Feder Grotesk inspired Olexa Volochay's free web font Federo (2011). Dick Pape's free version is called Initialen Feder Grotesk (2010).
    • Grotesk lichtfett (Ludwig & Mayer). An inline typeface designed before 1923.
    • Koloss (Ludwig&Mayer, 1923). The art deco typeface Koloss was digitized by many---check for example Koloss SB (Scangraphic), Koloss EF (Elsner+Flake) and Sonrisa (2011, CastleType).
    • Lautsprecher (1931, a script typeface at Ludwig&Mayer).
    • Lucina (1926, Ludwig&Mayer).
    • Lumina (1928, Ludwig&Mayer).
    • Lux (1929, Ludwig&Mayer). An inline art deco typeface. Revived in 2021 by Ralph Unger as RMU Luchs.
    • Phosphor (1922-1930, Ludwig&Mayer, a very famous inline typeface. Digital revivals: Phosphate Pro (2010, Steve Jackaman (ITF) and Ashley Muir at Red Rooster Collection), Zamenhof (2011, CastleType), Letterpress Phosphor (2009, Marcus sterz at FaceType), Phosphor (Monotype).

    Linotype page. Typedia link. FontShop link. Klingspor link.

    Catalog of some of his digitized typefaces: they include Canyon (SoftMaker), Humanist Slabserif 671 (Bitstream) and a custom typeface by Reymund Schroeder and Andrej Loll. Various digital versions of Candida. Jakob Erbar typeface showcase. [Google] [MyFonts] [More]  ⦿

    Jakob Kanior

    Berlin-based designer (b. 1974, Bydgoszcz, Poland) of the great avant garde font Droelma (or: Skylounge, 2000), and the dingbat font Seppuku, both free at Typotek. Jakob calls hiimself "Droelma, da King". [Google] [More]  ⦿

    Jakob Maser

    German type designer, b. 1973, who studied in Münster. He made the modular squarish display face Domstadt (2010, Volcano). He runs Neue Gestalten since 2009 together with Frank Dittgen and Christian Beushausen.

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

    Jakob Riedle

    Jakob Riedle is the German designer of the pixel typeface Tiny Unicode (2012). Aka duffs Device. [Google] [More]  ⦿

    Jakob Runge
    [Typemefonts (was: 26plus zeichen)]

    [MyFonts] [More]  ⦿

    Jakob Straub

    Swiss [T-26] designer of Broken Screen (2004, blackletter pixel face), Diphtong (2003), Blockletter (2009, arched letters), Tivoli (2006, sans family in four styles), Hive (2000, dot matrix face), Ruota (2003, two wheel dingbat fonts), Yr-72 (2000), Jakone (2000, a fantastic techno headline face), DPI (2001, dot matrix font). Home page. MyFonts claims that he was born in Berlin in 1975.

    Klingspor link.

    View the typefaces of Jakob Straub. [Google] [MyFonts] [More]  ⦿

    Jakub Stanski

    German designer of the German expressionist blackletter-derived typeface Redifraktur (2020). [Google] [More]  ⦿

    James E. Murphy

    Berlin-based designer of Fuzztura Mono (2017). Behance link. [Google] [More]  ⦿

    James L. Hubbell

    Cologne, Germany-based designer of Reaktor (2018). [Google] [More]  ⦿

    Jamie Otelsberg

    Jamie Otelsberg is a visual designer originally from Los Angeles, CA, and living in Essen, Germany. She is currently working for a Bay Area-based design firm and volunteering at a human-computer interaction lab in Kerala, India. She currently works at OH No Type Co. in Oakland, California. Graduate of TypeWest, class of 2021. Her graduation typeface, Theka, is a casual Latin display type family that was originally inspired by hand-painted municipal signs and ads seen everywhere in rural South India, especially on roadside walls. As most of the signs are in Malayalam, Theka was an experiment to see how a type recipe derived from Malayalam lettering could apply to a Latin type design.

    At Type Cooper 2020, Jamie designed Ruhling, wich is loosely inspired by Elizabeth Friedländer's almost fat face Elizabeth. [Google] [More]  ⦿

    Jamyang Software
    [Gregor Verhufen]

    Gregor Verhufen (Jamyang Software, Germany) created the Tibetan fonts Dzongkha and Dbu can (1997). His Gelong Rinchen (1997) is a Joyig (Bhutanese cursive) style font based on calligraphy by Gelong Rinchen. His Pem Tshewang (1997) is based on calligraphy by Lopon Pema Tsewant, and was created for the National Library of Bhutan. Commercial Tibetan fonts: DBU-MED and MGYOGS-YIG (Bhutan). [Google] [More]  ⦿

    Jan Angermüller
    [Ellbound Studio]

    [More]  ⦿

    Jan Aulbach

    Graphic designer from Darmstadt, Germany, who studied at KABK in Den Haag. He created Neuberger Grotesk and Ladywell in 2012. [Google] [More]  ⦿

    Jan Charvat
    [Renegade Fonts]

    [MyFonts] [More]  ⦿

    Jan Erlinghagen

    Berlin-based graphic designer. He created the display typefaces Fana Bold (2012, Volcano Type) and Fana Didone (2012, Volcano Type). His thesis entitled Menschenbild und Piktogramm (2012) explores the use of gender symbols in pictograms.

    Behance link. [Google] [More]  ⦿

    Jan Fromm

    Jan Fromm (b. 1976, Berlin) is a freelance graphic designer who has studied graphic design at the University of Applied Science in Potsdam. He works in the fields of illustration, web, corporate and type design for several firms in Berlin. Since 2004 he has worked for Luc(as) de Groot at FontFabrik.

    He created the legible and very simple sans family Camingo (2006: 7 weights, 56 styles in all; read comments), Camingo Dos (2008, 28 styles, elliptic roundings), CamingoDos Condensed and SemiCondensed (each with a further 28 styles), Camingo Dos Office (2011), Camingo Code (2013, a free family for programming), Camingo Mono (2013) and Camingo Slab (2017).

    Rooney (2010) is a warm rounded serif family. Rooney Sans (2012) is a rounded humanist sans.

    In 2015, he published the 16-style sturdy subtly stressed sans family Komet (and Komet Pro).

    In 2019, he released Capito at Future Fonts: Capito originates from experimenting with different angles of the broad nib pen, in order to find the right form for a sturdy and readable serif typeface. As a result, Capito has a slightly reversed contrast that emphasizes the horizontal flow, while preserving the character and readability of classical serif letters.

    In 2022, Jan Fromm released the versatile (variable) type system Nice at Fontwerk. Nice transports the baroque aesthetic to 2022, and includes four optical sizes and 56 styles in total. Proof&Co writes that Nice is a real masterclass in serif design.

    FontHaus link. . Behance link. Future Fonts link.

    View Jan Fromm's typefaces. [Google] [MyFonts] [More]  ⦿

    Jan Gerner
    [Yanone]

    [MyFonts] [More]  ⦿

    Jan Grastorf

    Aka Jango Tango, Jan Grastorf is located in Hamburg, Germany. Designer of the free oriental simulation typeface Yakuzo (2014), free alchemic or hipster style typeface Clubber Light (2014).

    In 2016, he published the free typeface Circlone (designed in 2013). [Google] [More]  ⦿

    Jan Hendrik Scholte

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

    • Gustav Mori: Christian Egenolff, der erste ständige Buchdrucker in Frankfurt a/M
    • Christian Münden: Von den ersten Franckfurter Bruchdruckern
    • Gustav Mori: Geschichte und Entwicklung des Schriftgiesserei-Gewerbes in Frankfurt a/M
    • Charles Enschedé: Die Druckerei der Elsevier und ihre Bezichung zu der Lutherschen Schriftgiesserei
    This book is mainly about the development and history of blackletter types. Open Library link. [Google] [More]  ⦿

    Jan Hendrik Weber

    Hendrik Weber or Jan Hendrik Weber. Graduate of the University of Applied Sciences in Potsdam (in graphic design) and Hochschule für Grafik und Buchkunst in Leipzig (in type design).

    He designed commercial typefaces published at Our Type. Later he joined Monotype to advise clients on bespoke type and develop new markets in branding. In 2016, he became type director at Monotype Germany. After that, he joined Fred Smeijers' Type By. His typefaces:

    • The Lirico family at (2008, Ourtype, and later Type By). This text family is slightly organic, flirts with hairline connectors, and is characterized by triangular serifs. Lirico won an award at TDC2 2009.
    • Edward and Edward Plus (2008, Ourtype, and later Type By): Edward is named in honour of Edward Johnston, calligrapher, teacher, and author of Writing & Illuminating, & Lettering (1906). [...] The inspiration behind Edward will be immediately recognizable: the 'blockletter' Johnston designed for the London Underground in 1916, for use in their signs and posters.
    • The free typeface Northstream Wind (2016, Monotype).
    • Weber's custom design for Bentley Motors nailed him the Red Dot Award in 2014.
    • The crisp branding sans typeface family Unitext (2018, Monotype).
    • He was part of a team at Monotype that developed Helvetica Now in 2019 at Monotype, together with Charles Nix and others. Monotype writes: Every single glyph of Helvetica has been redrawn and redesigned for this expansive new edition which preserves the typeface's Swiss mantra of clarity, simplicity and neutrality, while updating it for the demands of contemporary design and branding. Helvetica Now comprises 48 fonts, consisting of three distinct optical sizes: Micro, Text and Display. In 2021, he took part in the development of Helvetica Now Variable (Monotype). Helvetica Now Variable was designed by Max Miedinger, Charles Nix, Monotype Studio, Friedrich Althausen, Malou Verlomme, Jan Hendrik Weber and Emilios Theofanous and published by Monotype. Monotype writes: Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. It contains 144 static styles.
    • Corporate typefaces developed as part of the team at brand agency KMS TEAM in Munich: Bentley Motors (this received a Red Dot award in 2014), Canyon Bikes.

    His thesis Kursiv has been published by Niggli Verlag in 2010. In 2020, Niggli published his English language book Italic.

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

    Jan Henkel

    Mannheim, Germany-based designer of the free runic display typeface Aquilone (2016) and the free rustic display typeface Wanderlust (2018). Behance link. [Google] [More]  ⦿

    Jan Herkens

    Aachen, Germany-based designer of the free rounded monoline sans typeface family Komponente (2016), designed in several styles that can be layered for cool techno looks. [Google] [More]  ⦿

    Jan Hoberg

    Minden, Germany-based designer of Escrita Hand (2020). [Google] [More]  ⦿

    Jan Imken Lichtsetzerei

    Oldenburg-based printer / typefounder. Catalog from 1989. [Google] [More]  ⦿

    Jan Jedding

    Bremen-based German type designer of the hand-printed typefaces FF Friday, FF Saturday, FF Sunday (1998). FontShop link. [Google] [MyFonts] [More]  ⦿

    Jan Kiesswetter

    German designer who created the experimental display typeface Liquid Lines (2008) for Neo2 magazine. [Google] [More]  ⦿

    Jan Koller
    [XTrem-Fontz]

    [MyFonts] [More]  ⦿

    Jan König

    Art director in Leipzig (and before that, Bremen), Germany, who created the blackletter typeface Eigil in 2013. Behance link. [Google] [More]  ⦿

    Jan Middendorp
    [Fust & Friends]

    [MyFonts] [More]  ⦿

    Jan Nauendorf

    Jan Nauendorf (Buero Hyperaktiv, Kempen, Germany) created the monoline geometric typeface Ameisenbergschule (2011). [Google] [More]  ⦿

    Jan Nuzzo

    Berlin-based designer of the free EPS format Victorian caps typeface Kurt (2016). Behance link. [Google] [More]  ⦿

    Jan Ro

    Kiel, Germany-based designer of the handcrafted typeface JNRST (2017). [Google] [More]  ⦿

    Jan Scheunert

    Berlin-based photographer and visual artist. Designer of the free EPS format decorative caps typeface Kurt (2016). Behance link. [Google] [More]  ⦿

    Jan Schröder

    German designer in 2009 of the hand-printed typefaces Addifont and Jannofont. Both were made with Fontcapture. [Google] [More]  ⦿

    Jan Sindler

    While living in Karlovy Vary, Czechia, Jan Sindler designed Rodak (2014, a rounded sans typeface) and Maturia (2014, an ink-trapped school project typeface family that was influenced by Rathousky's Metron).

    Recently, he joined Lucasfonts in Berlin. At Futurefonts, he published Rotor (2019), a monospaced typeface with an axis for rotating glyphs on the X axis, as if in three-dimensional space.

    Graduate of the TypeMedia program at the Royal Academy of Art (KABK) in Den Haag, The Netherlands, class of 2020. His graduation typeface there was Gabion, a text and display family.

    Between 2018 and 2020, he developed the script typeface Afrikola.

    Typefaces from 2021: Rotor (experimental; static and variable).

    Future Fonts link. [Google] [More]  ⦿

    Jan Skrzypek

    Minden, Germany-based designer of the monospaced sans typeface Simplicity (2015) and the pointy terminal sans Finca NY (2015). [Google] [More]  ⦿

    Jan Tredop

    Berlin-based graphic designer and illustrator, who made fonts such as Stretchcut, Crenel, Swing and Gothi (a nice squarish outline face), probably ca. 2010. [Google] [More]  ⦿

    Jan Tschichold

    Born in Leipzig (1902), died in Locarno, Switzerland (1974). Influential German type designer whose typefaces include these:

    • Sabon (1964-1967, for Stempel). The most famous digital version of Sabon is Linotype's Sabon Next. See also Sabon eText Pro (2013, Linotype) and Salieri (2020, a free font by Daniel Benjamin Miller).
    • Transit and Transito (1931). Transito has been remade by Nick Curtis in 2009 as Waddem Choo NF, and by Paulo Heitlinger in 2008 as Transito.
    • Zeus (1931). Pleks Zeus (2008) is a revival of Zeus by Hans Munk.
    • Saskia (1931, Schelter&Giesecke). Revived by Ralph M. Unger in 2016 as Saskia Pro.
    • Uher Standard Grotesque.
    • Between 1926 and 1929, he designed a "universal alphabet" to help with non-phonetic spellings in the German language. For example, he devised new characters to replace "ch" and "sch". Long vowels were indicated by a macron below them. The alphabet was presented in one typeface, which was sans-serif and without capital letters. Leicht und schnell konstruierbare Schrift (1930) is a Bauhaus-style geometric revived in 2008 by Sebastian Nagel as Iwan Reschniev. See also Architype Tschichold by The Foundry.
    Links about him: Textism site. Nicolas Fabian's page on him. Links to his work. Bio at Linotype. Wikipedia site. Publications include:
    • Die neue Typographie (Berlin, 1928). Quote from this book: Type production has gone mad, with its senseless outpouring of new types. Only in degenerate times can personality (opposed to the nameless masses) become the aim of human development,
    • Typographische Gestaltung (Basel 1935).
    • Geschichte der Schrift in Bildern (Basel 1941).
    • Schriftkunde, Schreibübungen und Skizzieren (Basel 1942, Berlin 1952).
    • Schatzkammern der Schreibkunst (Basel 1946).
    • Meisterbuch der Schrift (Ravensburg 1953).
    • Erfreuliche Drucksachen durch gute Typographie (Ravensburg 1960).
    • Willkürfreie Maßverhältnisse der Buchseite und des Satzspiegels (Basel 1962).
    • Ausgewählte Aufsätze über Fragen der Gestalt des Buches und der Typography (Basel 1975).
    • Jan Tschichold, Leben und Werk (Dresden 1977).
    • Jan Tschichold. Schriften 1925-1974 (Berlin 1991).
    • Recommended is this short essay entitled Consistent Correlation Between Book Page and Type Area.
    • The book jan Tschichold. Vormveranderingen van het &-teken. In een hedendaagse context (Amsterdam, De Buitenkant, 1993) has contributions by Petr van Blokland, Peter Borgman, Bram de Does, Dick Dooijes, Paul Groenendaal, Martin Majoor, Karina Meister, Gerrit Noordzij, Helmut Salden and Gerard Unger.
    [Google] [MyFonts] [More]  ⦿

    Jan Vincent Dufke

    Hamburg, Germany-based designer of the display typefaces Nullzwei (2015) and Nulldrei (2015). [Google] [More]  ⦿

    Jan Weidemüller
    [Ultra Kühl]

    [More]  ⦿

    Jana Faust

    Type designer at Mitelpunkt Zhongdian. She published the stencil typeface Schablone (1995, Elsner and Flake). Klingspor link. [Google] [More]  ⦿

    Jana Ficht

    For a school project at the Rhein-Waal University of Applied Sciences in Dortmund, Germany, Jana Ficht designed Origami (2016), a typeface and pictograms created for a wayfinding system at her university. [Google] [More]  ⦿

    Jana Hoffmann

    During her studies at Hochschule Trier in Germany, Jana Hoffmann designed the bold script typeface Sueka Bold that takes elements of the rotunda. After graduating from Trier n 2020, she started masters studies at Fachhochschule Nordwestschweiz FHNW in Basel, Switzerland. [Google] [More]  ⦿

    Jana Matthaeus

    German photographer, regisseur and designer. Creator of these typefaces:

    • The free hand-drawn typeface family Paper Plane (2013).
    • The handcrafted Paper Banner (2013).
    • Sandwich Paper (2013). A sketched typeface family.
    • The free font Paper Daisy (2016).
    • The calligraphic typeface Paper Bow (2016).

    Aka Maja Mint. [Google] [More]  ⦿

    Jan-Hendrik Wirth

    In 2014, Jan-Hendrik Wirth (Markenfilm GmbH & Co. KG, Hamburg, Germany) created the sturdy typeface Quincy Grotesque. Behance link. [Google] [More]  ⦿

    Jan-Henrik Arnold
    [JHA]

    [MyFonts] [More]  ⦿

    Janick Neundorf

    Janick Neundorf (Aprgate Design, Stuttgart, Germany) created the mechanical octagonal sans typeface Fixed Font (2013).

    Behance link. [Google] [More]  ⦿

    Janik Claßen

    Designer in Hannover, Germany, who created Booksnboys (2013), a rounded monoline sans typeface. [Google] [More]  ⦿

    Janik Sandbothe

    During his studies at the University of Muenster, Germany, Janik Sandbothe designed Brutalist Grotesque (2016). In 2019, he published Euphoria. In 2020, Christian Altmann and Janik Sandbothe co-designed Altmann Grotesk, a 5-style almost monolinear sans that was initially planned as an internal studio typeface for Ateljé Altmann. [Google] [MyFonts] [More]  ⦿

    Janina Antonio

    Munich, Germany-based designer of the great typographic poster Robo Business Europe (2015). [Google] [More]  ⦿

    Jani'sche Schriftgießerei

    München-based foundry. [Google] [More]  ⦿

    Janko Jovanovic

    Berlin-based designer of the free monoline sans typeface Simpel (2018) and the geometric sans typeface Werkzeug (2018). [Google] [More]  ⦿

    Janos Raddatz

    German designer of the free monster alphabet font Monstros (2017). Home page. [Google] [More]  ⦿

    Jaquelin Lehmann

    Ferman designer of CHIC.go (1996, Elsner&Flake). She also designed Doc Sneider (which is available from Elsner & Flake; co-designer Martin Kitz). [Google] [MyFonts] [More]  ⦿

    Jaro Springer

    Jaro Springer (1856-1915) of the International Chalcographical Society authored the specimen book Gothic Alphabets (1897, printed by the Reichsdruckerei, Berlin), which was also published the same year in German as Gothische Alphabete. This book showcases three ancient anthropomorphic alphabets: a pen-drawn figurine alphabet from ca. 1400 consisting of cowled figures and fabulous beasts and dragons; a figurine alphabet from 1464 engraved on wood in the Netherlands by Master of the Banderoles; and an architectonic alphabet engraved on copper. [Google] [More]  ⦿

    Jascha & Franz

    Jascha & Franz is the design studio and typefoundry of Hamburg, Germany-based designer Jascha Kretschmann and Berlin-based designer Franz Thöricht, est. 2013. In 2021, they published the playful monolinear sans typeface Regular Bien. [Google] [MyFonts] [More]  ⦿

    Jascha Kretschmann

    Jascha & Franz is the design studio and typefoundry of Hamburg, Germany-based designer Jascha Kretschmann and Berlin-based designer Franz Thöricht, est. 2013. In 2021, they published the playful monolinear sans typeface Regular Bien. [Google] [MyFonts] [More]  ⦿

    Jasmin Kruse

    Kleve, Germany-based designer of the modular squarish typeface Dot Font (2017). [Google] [More]  ⦿

    Jason Mannix
    [Polygraph]

    [MyFonts] [More]  ⦿

    Jasper Habicht

    Between 2005 and 2012, Jasper Habicht (Accipiter Media, Germany) created the free typefaces Roaat Regular (for Khmer), Al Saqr (for Arabic), Maya Modern, Pixelfont, Ukussa (for Sinhala), Kayah Li (for Karen), Deutsche Kurrent (deutsche Schreibschrift), Blissymbolics, PixelFraktur, Vexillogic Symbols, Braille, Airport (a segmented font), and Karakorum (for Mongolian) in 2012.

    Behance link.

    Jasper was born in 1986 in Duisburg, Germany, and is affiliated with the University of Köln, where he specializes in Modern Chinese Studies. [Google] [More]  ⦿

    Jay Rutherford
    [Typoart GmbH (or: VEB Typoart)]

    [MyFonts] [More]  ⦿

    Jay Rutherford

    Jay Rutherford (b. Sarnia, Canada, 1950) studied graphic design in Kingston and Halifax. He opened his own design studio in the early 1980s in Nova Scotia and taught at the Nova Scotia College of Art and Design. In 1992, he worked at Meta Design in Berlin on FF Meta and FF Transit. In 1993, he became Professor of Visual Communications at the Bauhaus University Weimar in Germany until 2003. In 2004, he taught at the Faculty of Design and Art of the Free University of Bolzano, Italy, but returned to Weimar after that.

    In 1988, Jay Rutherford digitized Egmont Inline (after Sjoerd Hendrik de Roos's 1933 font), but did not publish it. He designed an OEM for his university called Unisyn, which is based on Syntax (with changes to the a, e and g in the italic versions, and a few other minor modifications).

    His projects include DDIA (Digital Design Image Archive: DDIA is putting high-quality, keyword-searchable images on a secure website for teachers and researchers in design), about which he spoke at ATypI 2006 in Lisbon (PDF of Jay's presentation). Speaker at ATypI 2017 Montreal. [Google] [More]  ⦿

    Jérôme Knebusch
    [Poem Editions (or: Atelier Jerome Knebusch)]

    [MyFonts] [More]  ⦿

    Jean Böhm

    Konstanz (and before that, Frankfurt), Germany-based designer of JB Berlin (2015), an experimental typeface that is based on Berlin's map. In 2018, he designed the sans typeface family Regina, which includes Regina Mono. [Google] [More]  ⦿

    Jean Leblanc
    [Eurodance]

    [More]  ⦿

    Jeanette Renard

    German type designer who lives in Essen and who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Jeanne Lohff

    Illustrator in Hamburg, Germany, who designed the modular octagonal typeface Klappspiel in 2018 for an alphabet book for children. [Google] [More]  ⦿

    Jendrik Drazetic

    Graphic and media designer in Berlin who created Rovinja Display (2016). Behance link. [Google] [More]  ⦿

    Jennifer Langton

    Graduate of Media University Stuttgart. Stuttgart, Germany-based designer of the antiqua typeface Annota (2018), which was first conceived as a university project. [Google] [More]  ⦿

    Jennifer Lietz

    During her studies in Hamburg Germany, Jennifer Lietz designed Tape Font (2015). [Google] [More]  ⦿

    Jennifer Neustrass

    Graphic designer in Aachen, Germany, who created the blackletter typeface Framusel (2015). [Google] [More]  ⦿

    Jenny du Carrois

    Designer of the free children's script typeface family Krikikrak (2013, +Dingbats). Krikikrak is an experimental typeface, which mirrors early writing attempts of children. The earliest sketch of Krikikrak was realised via iPad and iFontMaker. Meanwhile Krikikrak has four different shapes of each letter, figures (including Krikikrak Dingbats) and many more glyphs. It was published in 2016 by bBox Type. [Google] [More]  ⦿

    Jens Gehlhaar
    [GagaFonts (or: Gaga Design)]

    [MyFonts] [More]  ⦿

    Jens Kutilek

    Jens Kutilek studied Communication Design in Braunschweig. After graduating he founded the web design agency Netzallee. He works at the font technology department at the Berlin office of FSI (FontShop International) since 2007. Jens Kutilek had a small typology page proving that Arial is not Helvetica, Courier is not Courier New, and Times-Roman is not Times-New Roman. That page disappeared. His typefaces:

    • Azuro (2011). Designed by Georg Seifert and fine-tuned by Jens Kutilek, and published by FontShop.
    • Bulette Bold (2008). A fat octagonal / mechanical design.
    • The free font Comic Jens (2007-2009), a free alternative to Comic Sans: see here. See also the update Comic Jens UI (2014).
    • Conta: A coding font. Monospaced and proportional variants, italics.
    • The sturdy 6-style typeface family FF Hertz (2015) that was influenced by German cartographic alphabets.
    • FF Uberhand. An 11 style marker pen font family---casual and informal---that could serve as a replacement and improvement of Comic Sans.
    • Grotesk 812: A condensed grotesque typeface.
    • Helvers (2011). A blend of Univers and Helvetica.
    • Homecomputer (2019). Two-axis variable interpretations of monospaced pixel fonts for the Commodore 64 and Amiga home computer systems from the 1980s, with adjustable effects to simulate artifacts of old CRT displays. Github link for the open source fonts. Particular fonts include Workbench and Sixtyfour.
    • Malerblock: A signpainter's typeface.
    • Mergenthaler Antiqua (2012). A digitization of a forgotten typeface by Hermann Zapf.
    • Pathos: A monumental sans-serif with classical proportions.
    • Selectric Century: A digitization of the Century typeface from IBM's Selectric Composer.
    • Soccer Sans: A constructivist sans with extra low legibility. Ideal for soccer kits.
    • Stecker: A typeface made of round elements.
    • Sudo (2009-2013). A programming font family developed from Experimental 710.
    • Topography: A version of the classic German cartography typeface.

    Github page with many of his unfnished typefaces. Github page with free programming and system fonts such as Arimo, Clear, Cousine, Droid, Fira, Material Icons, Noto, Open, Roboto, Source, Special Elite, Tinos, and WinJS Symbols. [Google] [MyFonts] [More]  ⦿

    Jens Marquardt

    Bonn, Germany-based designer of the old typewriter font JMLetter (1998), which was created on the basis of Letter Gothic. Lucky Star 512 provides a download site. [Google] [More]  ⦿

    Jens Nink

    German designer. Behance link to Skillforum. He created Typo Logo (2012) for the band Team Stereo. [Google] [More]  ⦿

    Jens Nink

    German graphic designer in Berlin, b. 1982. Creator of Rock Modus (2009), a counterless face, SF360RT (2009, outline face), and the testosterone-laden bold squarish typefaces SFWADIMGIANT-Heavy, SFWADIMGIANT-ITALIC, SFWADIMGIANT-LINES, SFWADIMGIANT-OUTLINE, all made in 2009. Home page of Skill Forum. [Google] [More]  ⦿

    Jens Uwe Meyer
    [Mutabor Design]

    [MyFonts] [More]  ⦿

    Jens Weigel
    [Screentypo.org]

    [MyFonts] [More]  ⦿

    Jessica Epstein

    Photographer in Hamburg, Germany. For Jovica Veljoviic's class, she designed the plump typeface Balloon (2016). [Google] [More]  ⦿

    Jessica Hoppe

    In house type designer at Elsner&Flake in Hamburg who designed the grungy letterpress emulation typeface EF Carpe Diem (1996) and the hand-drawn dingbat typeface EF Communication Modern (1997).

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

    J.F. Ruff

    Typefounder in Frankfurt who set up the Ruff type foundry there in 1854. It never became important. Noteworthy is that in October 1854, J. Chr. Bauer sued him, and the case was decided in favor of Ruff. [Google] [More]  ⦿

    J.G. Schelter&Giesecke
    [Johann Schelter]

    Leipzig-based foundry started in 1819 by punchcutter Johann Schelter and typefounder Christian Friedrich Giesecke (1793-1850). It evolved in 1946 into Typoart in Dresden, the official East German government's press. Its early history is told in Schelter & Giesecke 75 Jahre (1894, Leipzig).

    The descendants of Giesecke were also involved, because we find patents filed in the USA by Georg F. Giesecke for typefaces such as Italian Renaissance (1883, blackletter), an ornamental caps typeface (1889), a boxed alphabet (1881), a Celtic caps typeface (1883), Gothic Initials (1883), Zierschrift 1328 (1889), Zierschrift 1400 (1889), Akantrea (1883, borders and ornaments), an early border typeface (1878), Silhouette Border Series 63 (1884), a Lombardic typeface (1885), some script typefaces (1887, 1892), Kartuschen Einfassung serie 72 (1887, ornaments), an ornamental caps typeface with angels (1888), Shieldface A (1881, caps), Shieldface Combinationpieces (1881, ornamental) and Toskanische Egyptienne Initialen (1889; revival by Dieter Steffmann in 2003).

    Typefaces include the script typefaces Hispania Script (1890, a pirate map face), Koralle (1915), Flamme (1933, brush-like script), Fanal (1933, angular blackletterish script face), Sakia (1931, by Jan Tschichold), Shakespeare Mediäval (1930), Koralle (1929; Georg Kraus mentions the date 1915, as does Nick Curtis, who based his Koralle NF (2012) and Koralle Rounded NF (2014) on this typeface; see also the recent revival Koralle RMU (2018, Ralph M. Unger)), Belwe (1929, by Georg Belwe), Gnom (1928), breite Gnom (1928), Perkeo (1928), Tauperle (1928), Kolibri (1928), Wieland (1927, Georg Belwe), Belwe Antiqua (1927, Belwe), Alt Latein (1924, modified modern), Dolmen (1923, Max Salzmann), Titan and breite Titan (1915), Watteau-Schrift and Watteau Schmuck (1913: aka Kartenschrift Watteau; a non-connected script; ornaments by artists Erich Gruner, Professor Flinzer and Louis Oppenheim), Die Zierde (1913, ornaments by F.H. Ernst Schneidler), Salzmann Antiqua (1913, Max Salzmann), Monos (1912), Salzmann Fraktur and Kräftige Salzmann Fraktur (1911, Max Salzmann), Salzmannschrift and halbfette and schmale Salzmannschrift (1910, Max Salzmann), Roland Grotesk and Roland Kursiv (1910), Rundgotisch (1909; others say 1902-1903), Mimosenzierat (1909, Heinz Keune), Meierschrift (1904-1908, C.F. Meier), Walgunde mit Zieraten (1908, Eduard Lautenbach), Schmale Anker Romanisch (1908, a German romanesque), Leipziger Lateinschrift (1908), Liane (1908), Schmale fette Schelterantiqua (1908), Kalender Vignetten (1907, Max Salzmann), Initialen zur Rousseau (1907), Fee (1907, handwriting), Fata Morgana (1907, handwriting), Schmale fette Edelgotisch und Zierat (1907), Schmale Medieäval (1840: revived in 2020 by Ralph M. Unger as Schmale Mediaeval), Akropolis Ornamente (1907), Patriz Huber Ornamente (1906, Patriz Huber), Reklameschrift Radium (1904-1906), Schelter Kursiv (1906), Schelter Antiqua (1906---and its extensions in 1907, Leipziger Lateinschrift and Tauchnitz-Antiqua; revived in 2020 by Oliver Weiss as Schelter Antiqua WF), Fafner (1905, + Schraffierte; revived by Oliver Weiss in 2020 as WF Fafner), Biedermeierzierat (1905), Rosenzierat Serien 534 und 535 (1905, Heinz Keune), Accidenz-Zierat (1902), Edelgotisch (1901, Albert Knab), Belwe Antiqua (Georg Belwe), Belwe Kursiv (Georg Belwe), Schul-Fraktur (1886, + Fette, 1890, + Schmale fette, 1918; digitization by Delbanco as DS-Schulfraktur in 2001), Gutenberg-Gotisch (1885; the original by F.W. Bauer and Th. Friebel dates from 1880; Halbfette Gutenberg-Gotisch was done in 1890), Borghese (1904, art nouveau: revived in 2015 by Ralph M. Unger as Borghese), Münster-Gotisch (1896; revived in 2009 by Paulo W as Münster Gotische; Gerhard Helzel also did a revival), Jugend-Fraktur (ca. 1900), Breite Kanzlei (1835; other publications mention 1890...), Halbfette Kanzlei (1860), Baldur (1895; for a digital revival, see Alan Jay Prescott's New Baldur APT, 1996, and Dieter Steffmann's Baldur from 2000), Moderne enge halbfette Fraktur (1886), Schmale Steinschrift (1898, Grotesk), Schlanke Grotesk (1886, Grotesk), Breite Grotesk (1886, a typeface that influenced the Bauhaus movement and that become the forefather of Helvetica; revived by Nick Curtis as Schelter Grotesk NF in 2010, and by Arve Båtevik as Sagen Grotesk in 2015), Breite Halbfette Grotesk and Breite magere Grotesk. Ornaments found in their 1902 catalog formed the inspiration for the digital family Allerlei Zierat (2008, Intellecta Design).

    Comments by Paul Hunt in 2005 on Schelter Antiqua (1906): Schelter & Giesecke had launched Schelter-Antiqua as their own original in-house design with very elaborate and beautiful specimens, an essay on its features, and a warning that they had protected it under German law (gesetzlich geschützt). It was intended as a very serious contender in the legibility stakes and the Schelter & Giesecke specimen contains a fascinating 4-page article on it. There is much emphasis on the care put into avoiding over-fine hairlines and achieving good spacing. Benton's 1914 ATF typeface Souvenir is a cuddly soft version of Schelter Antiqua. Ed Benguiat (Photo-Lettering) did a faithful phototypesetting revival of Benton's typeface in his Souvenir Graphic (1967) and Souvernir Balloon, and that typeface in turn evolved (and was expanded) into the digital typeface ITC Souvenir.

    Books: Probensammlung Schelter&Giesecke, Zweite Folge (1894), Probensammlung (1888), Type specimen book of Schelter & Giesecke (1899), Schriften und Zierat (1909), Type specimen book of Schelter & Giesecke (1912), Type specimen book of Schelter & Giesecke (ca. 1932).

    Scans of some typefaces: Altromanisch Kursiv, Cancellaresca, Dante, Edda (art nouveau), Edelgotisch-Initialen, Edelgotisch (art nouveau), Galathea, Hispania, Iris, Müstergotisch, Petrarka (1900, an art nouveau typeface revived in 2012 by Nick Curtis as Petrushka NF), Rundgotisch, Sylphide, (see Hispania Script, 2008, Tom Wallace), Thalia (art nouveau), Tintoretto (for digital versions, see Dieter Steffmann (2000) or Ralph M. Unger, 2009), Washington, Altromanische Antiqua, Halbfette Altromanisch Versalien, Romanische Antiqua, Romanische Kursive No 20, Schmale Halbfette Romanisch, Schmale Muenster Gotisch, Sylphide, Sylphide.

    View some digital typefaces that are derived from the Schelter & Giesecke library.

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

    J.H. Kaemmerer

    Art nouveau type designer, who created these designs ca. 1915: a, b, c, d. [Google] [More]  ⦿

    JHA
    [Jan-Henrik Arnold]

    Jan-Henrik Arnold (JHA, Berlin, Germany), b. 1980, studied first in Konstanz and then in Berlin at the University of Applied Sciences in Potsdam where he was taught by Luc(as) de Groot. He works mainly as a type designer. His typefaces from 2013: JHA Zucker (a fat didone stencil), JHA Libre (elliptical sans, +Pro), JHA Yeni Zaman (geometric sans with roots in the 1930s).

    In 2014, he published Bodoni Ritalic, a backslanted Bodoni Italic.

    In 2015, Arnold created the transitional typeface family JHA Times Now and the chiseled typeface Tetraktys (inspired by Friz Quadrata).

    In 2016, he released the text typeface Praeneste.

    Typefaces from 2017: JHA My Happy 70s. [Google] [MyFonts] [More]  ⦿

    Jil Reinig

    During her studies in Hamburg, Germany, Jil Reining designed the soft techno typeface Jil Sans (2018). [Google] [More]  ⦿

    Jinwook Yun

    Berlin-based designer of the squarish typeface Yunmichelin (2016). [Google] [More]  ⦿

    J.J. Augustin

    Author of Schriftproben: Orientalischer Typen wie auch Phonetische Akzente (1933, Glückstadt and Hamburg). [Google] [More]  ⦿

    Jo Jacobs

    German creator in Seevetal of JoFont 001 (2011, iFontMaker) and JoFont002 Light (2011, iFontMaker), two hand-printed typefaces. Web site. [Google] [More]  ⦿

    Joachim Ernst

    Typefounder in Jena, Germany, who designed an Antiqua in 1698. His type foundry was inherited by his son Johann Adolf Ernst, but no known specimens exist by the latter. [Google] [More]  ⦿

    Joachim Frank
    [Waldorf Fonts]

    [MyFonts] [More]  ⦿

    Joachim Julius Siercke

    Post-war German type designer (b. 1914) with the Bauersche Giesserei, who made fonts such as the connected script typeface Privat (1966) and Cantate (1958), one of the boldest fonts in the formal copperplate tradition, according to R.S. Hutchings. Cantate has lots of color variations, almost like a script version of Didot. Privat was revived in 2005 by Canada Type as Quiller. [Google] [More]  ⦿

    Joachim Müller-Lancé
    [kame Design (was: kametype)]

    [MyFonts] [More]  ⦿

    Joachim Romann

    Type designer (b. 1916, Dantzig, d. 1996, Kronberg). He studied lithography from 1933-1937 in Dantzig, and typography in Offenbach until 1944. After that he was associated loosely with Gebr. Klingspor, and was a freelance graphic designer from 1948 onwards.

    Romann designed fonts at Klingspor. Chief among these is Constance or Constanze (1954, a light script). Several digital revivals exist such as Stanzie JF at Veer, Constanze Pro (2012, Ralph M. Unger)), and Constanze Initialen (calligraphic; digitally revived as Constanze Initials (2010, Claude Pelletier) and as VIP (2008, Canada Type)). Other typefaces at Klingspor include Doppelmittel halbfette Constanze, Doppelmittel fette Constanze, Queen (1954, outline and decorated renaissance penmanship initials typeface revived as Jaggard (2007) by Paulo W at Intellecta Design), Variante (1951, formal script without lower case). Various typefaces remained unpublished such as Constanze fett, Constanze halbfett (1956) and Kronberg (blackletter). At the Ernst Engel Presse, he created a Schwabacher in 1940 and an Antiqua in 1941. Alternate image from Klingspor.

    Revivals of his work also include Jaggard (2007), a renaissance penmanship initials typeface developed by Paulo W at Intellecta Design.

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

    Joachim Schmitz

    Student at the University of Wuppertal who made the experimental typeface Such Mich (2004). He also made the beautiful dingbat typeface Kristallin (2004). [Google] [More]  ⦿

    Joan Spiekermann

    Managing Director, FSI Fonts und Software GmbH in Berlin. Interview in 2009, in which she explains the growth of FontShop / FontFont since the early days in 1989, helped by Petra Weitz, Alex Branczyk and the Dutch twins. [Google] [More]  ⦿

    Joaquín (jko) Contreras
    [Contrafonts (or: Frutitype; was: Sindicato de la Imagen, or: Cooperativa de Fundicion Tipografica)]

    [MyFonts] [More]  ⦿

    Jochen Evertz
    [Braille DIN]

    [More]  ⦿

    Jochen Haertel

    Jochen Haertel, working for Schömann, Büro für Gestaltung, made this series of custom fonts from 1995 until 1997 for Malteser: Malteser-GaramondFett, Malteser-GaramondFettKursiv, Malteser-GaramondKursiv, Malteser-GaramondStandard, Malteser-Syntax. [Google] [More]  ⦿

    Jochen Hasinger
    [Typeimage]

    [MyFonts] [More]  ⦿

    Jochen Isensee

    Jochen Isensee (aka Jooki, b. 1979) is the Braunschweig, Germany-based creator at FontStruct of the free techno fonts Imagine Slim Extra (2019), Imagine Earth (2009) and Imagine Font (2009) and Imagine Font 2 (2011, octagonal).

    In 2011, he went commercial at MyFonts. [Google] [MyFonts] [More]  ⦿

    Jochen Schuss
    [Typic Schuss]

    [MyFonts] [More]  ⦿

    Joel Bertram

    Graduate of University Of Applied Sciences Mannheim. Mannheim, Germany-based designer of Berthaus Grotesque (2017), a geometric typeface that fuses Futura, Bauhaus and Avant Garde. [Google] [More]  ⦿

    Joel Rieger

    Dortmund, Germany-based designer of the connect-the=dots typeface Messed Up (2015). Behance link. [Google] [More]  ⦿

    Joerg Ewald Meissner

    Designer at Elsner&Flake of the "BB Afrodite typefaces" in 1995: EF Biba Babe, EF BornFree (hardcore grunge), EF Craze, EF It, EF Jame, EF Literally, EF Little Joe. His fonts are of the destructive type. All fonts co-designed with Gerd Sebastian Jakob. Other fonts with Jakob at Linotype: Linotype Dharma (1997, a gorgeous display font), Linotype Tiger (1997, a jungle font), Puritas (2002, ornaments done as part of the TakeType 4 pack) and CaseStudyNo1 (2002, part of the TakeType 4 pack). As Koma Amok, Gerd Sebastian Jakob and Jörg Ewald Meißner, both located in Stuttgart, designed not only the funky E&F typeface Afrodite, but also Materia Pro (2010-2011, an octagonal typeface family), Optiscript EF (2006, a script family), the futuristic typeface Solaris EF (Elsner&Flake, 2000), Autograph Script EF (1998, a handwriting font family), and Caligari Pro (2011: a German expressionist typeface inspired by the silent film The Cabinet of Dr. Caligari (1920)).

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

    Joern Oelsner

    Jörn Oelsner (b. 1981, Flensburg, Germany) is a German type and graphic designer based first in Antwerp, Belgium, and later in Vegby, Sweden, and Ulricehamn, Sweden. He graduated at the Design Factory International in Hamburg, Germany. While studying he worked for URW++, Hamburg. After graduation he worked in several graphic design studios in Europe. His own design studio is OE Design. He mainly develops corporate typefaces, and now lives in Ulricehamn / Gothenburg, Sweden.

    Some of his projects are the corporate typeface of Sport 2000 (in cooperation with URW++, Hamburg), the corporate typeface of the Andorra Telecom SOM and the corporate typeface of the National Television and Radio Spain RTVE (both in cooperation with Summa, Barcelona).

    His type designs at URW++ include Ruca (2010, blackletter), Neustadt (2010, URW++: a legible elliptical monoline sans family, which was originally designed as a corporate font for Sport 2000), Stina (2012, a stitch font done for profonts), Ribera (2012, a contemporary sans) and Bloket Pro (2013: a piano key typeface).

    In 2014, he created the layered typeface family Graphique Pro Next (Profonts), which is a revival and extension of the famous Graphique Pro designed in 1945 by Hermann Eidenbenz.

    His main contribution in 2015 is the 20-style URW Geometric typeface family, which is modeled after the German geometric typefaces from the 1920s. In 2016, he added URW Geometric Condensed and URW Geometric Extended to that family.

    Typefaces from 2018: URW Dock (a contemporary geometric type family inspired by the square sans typefaces of the 60s, and in particular Eurostile), URW Dock Condensed. In 2020, 20 Extended styles were added to URW Dock.

    Typefaces from 2020: Cerco (a 12-style warm rounded geometric sans).

    Typefaces from 2021: Cromlin (a stylish sans typeface at FontPeople). [Google] [MyFonts] [More]  ⦿

    Johan Kroeger

    German type expert who wrote a short survey paper in 1985 entitled Deutsche Schrägschriften. In it, he deals with cursive typefaces made between 1900 and 1935 in Germany. [Google] [More]  ⦿

    Johann Bämler

    German printer and type developer, who ca. 1472 created the type style called Alte Schwabacher in Augsburg. [Google] [More]  ⦿

    Johann Christian Bauer

    German punchcutter and typefounder, b. 1802 Hanau, d. 1867, who founded Bauersche Giesserei (Bauer) in 1837 in Frankfurt. Designer of Roman (Bauersche Giesserei, 1850), Fette Fraktur (1850, Bauersche Giesserei) and Verdi (1851, a shaded slab serif titling face). He was influential and successful. In 1839 he went to Scotland and worked as a punchcutter for the Edinburgh branch of the Wilson Foundry. He returned in 1847, running his company under the name Englische Schriftschneiderei und Gravieranstalt. Upon his death, his brother Konrad and son Alexander continued his business.

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

    Johann Christoph Stossel

    German penman who published Kunst-richtige so wohl Deutsche als Lateinische Sachsiche Vorschriften bestehend in allerhand Current--Cantzelen--fractur--Verfal--Romanischen Quadrat-Buchstaben und Zugwerk so insgemein in Ueutschland in sonderheit aber in oberwehnten Sachsischen Landen am gebrauchlichsten, etc. Franckfurth und Leipzigk bey Johann Christoph Stosseln (1702). [Google] [More]  ⦿

    Johann Daniel Trennert
    [Johann Daniel Trennert&Sohn]

    [More]  ⦿

    Johann Daniel Trennert&Sohn
    [Johann Daniel Trennert]

    Type foundry located in Altona, Germany. Typefaces issued by this extinct foundry include

    • Alarm (1928, Heinz König)
    • Chronika (1936, Walter Jakobs)
    • Fortuna (1930, Friedrich Bauer)
    • Friedrich-Bauer-Grotesk (before 1936, Friedrich Bauer). In addition to a basic art deco sans face, there were three other versions, halbfette, fette, and an in-line version, lichte. Also cast by Genzsch & Heyse, AG. For a digital revival, see FF Bauer Grotesk (2014, Thomas Ackermann and Felix Bonge for Fontfont).
    • Hansa Fraktur (digitally revived by Gerhard Helzel; the original metal type was also at Genzsch&Heyse, Hamburg, ca. 1915, and at Schtiftguss AG)
    • Potsdam (1934, Robert Golpon)
    • Rheingold (1936, Erich Mollowitz), in magerer and fetter weights. Later copied by Weber as Forelle and by Stephenson Blake as Mercury.
    • Trennert (1926-27, Friedrich Bauer). Includes a regular, an italic (with swash capitals), a semi-bold, a bold, and a bold condensed. To be more precise, we have Trennert Antiqua (1926, Friedrich Bauer), Trennert Kursiv (1927, Friedrich Bauer), Trennert Antiqua halbfett (1927, Friedrich Bauer), Trennert Antiqua fett (1929, Friedrich Bauer), Trennert Kursiv fett (1930, Friedrich Bauer), Trennert Antiqua schmalhalbfett (1929, Friedrich Bauer), Trennert Latein (1932, Friedrich Bauer).
    • Trennert Fraktur (1931, Friedrich Wilhelm Kleukens)
    • Trocadero Kursiv (1927, Albert Christoph Auspurg)
    • Wiking (1925, Heinz König)
    [Google] [More]  ⦿

    Johann David Lorenz

    München-based foundry. [Google] [More]  ⦿

    Johann Friedrich Unger

    German type designer, b. 1750, Berlin, d. 1804, Berlin. He had a press in Berlin, which he founded in 1780. His foundry started in 1791. His typefaces:

    • Unger-Fraktur (1793-1794). Revived by the following foundries: D. Stempel (1919), Julius Klinkhardt (Berthold) (1907), Otto Weisert (1927), Norddeutsche Schriftgiesserei, Schiftguss (1928), Delbanco (as DS-Unger-Fraktur), SoftMaker (2002: see J790 Blackletter on the SoftMaker MegaFont XXL CD), Berthold (as Unger Fraktur BQ), and Ralph M. Unger (Unger Fraktur (2010); includes fett and mager).
    • The metal font Kabinett-Fraktur (1938-1939, Johannes Wagner) is identical to Unger Fraktur. Peter Wiegel did a digital revival in 2015 called Kabinett Fraktur. Dieter Steffmann also revived Kabinett Fraktur.

    He became a professor of woodcutting at the Akademie der Künste in 1800. Brief bio by Harald rösler, 1999.

    Unger's publications: Etwas über den Buchhandel, Buchdruckerey und den Druck außerhalb Landes (1787), Etwas über die Holz- und Formschneidekunst, und ihren Nutzen für den Buchdrucker (1788), Einige Gedanken über das Censur-Edikt vom 29. December 1788 (1789), Vorschlag, wie Landkarten auf eine sehr wohlfeile Art können gemeinnütziger gemacht werden (1791), Probe einer neuen Art deutscher Lettern (1793), Die neue Cecilia. Letzte Blätter von Karl Philipp Moritz. Zweite Probe neu veränderter deutscher Druckschrift (1794).

    Heinrich Heeger wrote in 1973 about the story of Unger Fraktur and Kabinett Fraktur. Konrad F. Bauer penned Zur Geschichte der Unger-Fraktur (1929, Bauersche Giesserei).

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

    Johann Fust

    Goldsmith, lawyer, and financial backer of Gutenberg, b. ca. 1400, Mainz, Germany, d. Paris, ca. 1466. Around 1450 Fust lent Gutenberg 800 guilders to optimize his printing process. In 1452 Gutenberg requested the same amount again to complete the work. In 1455, when still no books had been produced, Fust sued Gutenberg for 2,026 guilders (the amount owed, plus interest). Gutenberg lost in court, and had to hand over his equipment. Fust then hired Gutenberg's apprentice, Peter Schoeffer, and as Fust & Schoeffer, the pair published several fine books, including the famous 42-line Bible in 1456 and Psalter in 1457. They were the first to make printing a successful business.

    Wikipedia reports this theory: Schoeffer ended up marrying Fust's only daughter, Christina. This presents a whole new theory that suggests Schoeffer and Fust were closer than many may think and Schoeffer was sent to work with Gutenberg by Fust in an effort to claim insider knowledge about the printing press before Fust and Schoeffer would leave Gutenberg high and dry. There are facts there to say that Fust and Schoeffer had this planned all along, even before the loans were handed over to Gutenberg. This theory states Gutenberg was, in fact, doomed from the start, never to have a chance at the 42-Line Bible to be advertised as his own work. He seems to have fallen victim to a partnership that did not come about as a spur of the moment decision thanks to a court case, but instead as a well thought out ruse in order to claim fame, money, and power.

    Wikipedia also discusses the witchcraft story, which may or may not be true: It was once believed that Johann Fust was working for the devil. After several of Gutenberg's bibles were sold to King Louis XI of France, it was decided that Fust was performing witchcraft. This idea came about for a few reasons, including the fact that some of the type was printed in red ink, mistaken for blood. It was also discovered that all of the letters in these bibles, presented to the King and his courtiers as hand-copied manuscripts, were oddly identical. Fust had sold 50 bibles in Paris and the people there could not fathom the making and selling of so many bibles so quickly, because printing had not come to the forefront yet in France. Parisians figured that the devil had something to do with the making of these copies, and Fust was thrown into jail on charges of black magic.

    Digital version: Fust&Schoeffer-Durandus-GoticoAntiqua118G (2016-2019, Alexis Faudot and Rafael Ribas, ANRT, France). Faudot and Ribas write Durandus's 118G Gotico-Antiqua was first used in Mainz by Peter Schoeffer and Johann Fust for Guillaume Durand's Rationale Divinorum Officorum in 1459. The book displays two sizes, the smaller 92G for the main text and the bigger and more contrasted 118G used only for the colophon and later for the famous 48-line Bible in 1462. It was used until the end of the 15th century. [Google] [MyFonts] [More]  ⦿

    Johann Gottfried Böttger

    Leipzig-based typographer who had a foundry and print shop in the late 19th century, which was located in Paunsdorf, just outside Leipzig. House typefaces include Vaterländischer Zierat (1915) and Zeitungs-Fraktur No. 8. It was entirely absorbed by H. Berthold AG in 1918. [Google] [More]  ⦿

    Johann Gottfried Pöetzsch

    Johann Gottfried Pöetzsch was a typefounder from Stötteritz near Leipzig. In 1753 he became manager of the Berling type foundry in Copenhagen. In 1755, Pöetzsch takes over the printing privileges in Denmark (from Hesse). Until his death in 1783, Pöetzsch successfully operates his type foundry. His market includes all Scandinavian countries. Elisabeth Krey, his widow then takes over the foundry, which eventually was sold to Sebastian Popp, and finally to J.P. Lindh (Stockholm) in 1814. Pöetzsch used mainly imported German matrices. Samples of the typefaces: Mittel Gammal Schwabach, Cicero Gammal Schwabach, Calender Zeigen auf Rheinlaender Kegel. [Google] [More]  ⦿

    Johann Gottlieb Immanuel Breitkopf

    Printer, type designer and type cutter in Leipzig (b. 1719, Leipzig, d. 1794, Leipzig), who created over 400 different alphabets. Also known as Johann Gottlob Immanuel Breitkopf. Author of Ueber die Geschichte der erfindung der Buchdruckerkunst (Leipzig, 1779). Local download.

    Proben der Schriften in der Breitkopfischen Schriftgießerey zu Leipzig (1787, Leipzig) shows Breitkopf's specimens. Local download.

    Breitkopf designed Breitkopf Fraktur ca. 1760. Walden Font sells a version of this typeface, which was used for most of the 19th century. Dieter Steffmann's version is free. Helzel's version is sold by Fraktur.de. Breitkopf's simplified fraktur of the 1790s was revived in 1914 as Jean-Paul-Schrift, and was revived again around 2000 by Gerhard Helzel in digital form as Jean-Paul Fraktur. See also Breitkopf Fraktur Pro (2016, SoftMaker), URW Breitkopf Fraktur D by Ralph Unger, Jean Paul Fraktur (2021, Ralph Unger), and DS-Breitkopf-Fraktur (2001, Delbanco).

    Breitkopf is perhaps best known for his original music characters. Metal versions of Breitkopf Fraktur are at Stempel (1912), Klinkhardt (1912), Berthold (1919) and C.F. Rühl (1912). Ben Archer writes: Breitkopf Fraktur was the preferred Fraktur of the German Baroque period. With wider proportions and a lower x-height than its predecessors, this graceful gothic type was modelled on the Neudörffer-Andreä Fraktur that had been used by Albrecht Durer in several of his works. Samples: A, B, C.

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

    Johann Heinrich Berge

    Stuttgart-based foundry. [Google] [More]  ⦿

    Johann Heinrich Rust

    Offenbach-based foundry. Elsewhere I read that it was based in Austria, and taken over in 1905 by H. Berthold AG. [Google] [More]  ⦿

    Johann Heinrich Schoensperger

    Johnann or Johannes or Hans Schoensperger or Johann Schönsperger der Älte, was an early printer in Augsburg. Born ca. 1455, d. before 1521. He started his print shop in 1481 and dominated German printing in Augsburg until 1500. For Kaiser Maximilian I, he printed the beautiful Theuerdank (1517) and the blackletter Gebetbuch für den St.-Georgs-Orden. For both these books, he designed his own type. Sample page from 1517. Sample page of Gart der Gesundheit (1487).

    A font named after him, FF Schoensperger, was made by Manfred Klein as part of his package, which also includes FF Carolus Magnus, FF JohannesG, and FF Koberger. SchoenspergerCaps (2004), Hans Fraktur (2003) and Hans Schoensperger Randomish (2004) can be had for free at Manfred Klein's site. Other revivals include Theuerdank Fraktur (2000) by Dieter Steffmann ans Theuerdank Fraktur Pro by Softmaker (2016).

    Schoensperger's typeface for the prayer book of Maximilian I in 1514 served as example for an 1890 metal typeface at Genzsch and for the digital font Altdeutsch (2002-2006) by Hans J. Zinken.

    See also Schoensperger Der Altere (2017, Shane Brandes). [Google] [More]  ⦿

    Johann Jacob Losenawer

    Author of Vorschrift Deutsch-Lateinisch und Franczösischer Schriften Geschrieben (Stuttgart, 1719, later edition in 1739). It has several calligraphic alphabets, and many elaborate initial caps: Sample, another sample, ample, and one more, and still more, and a final one for the road. [Google] [More]  ⦿

    Johann Karl Ludwig Prillwitz

    German type designer and typefounder (b. Braunschweig, 1759, d. 1810, Jena). His foundry was located in Jena. In 1790, he published a 14-style antiqua and kursiv with weights from Nonpareille up to Grobe Sabon called Proben neuerr Didotscher Lettern. In 1798, he published a specimen book entitled Didotschen 1797 Lettern that showed 33 Fraktur typefaces, 8 Schwabachers, 9 Greek typefaces, and 36 styles/weights of a didone family. His son Johann Heinrich Christian (b. 1789), also a typefounder, died a month before his father in 1810.

    A refererence text is Die erste Probe Didotscher Lettern aus der Schriftgiesserei J. C. L. Prillwitz zu Jena (Ernst Crous, 1926, Berlin).

    Digital revivals: GFS Goschen (2009, George D. Matthiopoulos: a Greek typeface named for the German publisher Georg Joachim Göschen, who, at the turn of the 19th century, saw to the creation of a new cursive type for use in an edition of the New Testament in Greek. The typeface was cut by Johann Prillwitz, and was influenced by the Greek types of Bodoni), Ingo Preuss (who says that Prillwitz's didone is from 1790, well before the first Walbaum) made a digital didone typeface called Prillwitz in 2005. This family is separately optimized for display, news print and books in styles called Prillwitz Display, Display NP and Prillwitz Book. Prillwitz Pro (Ingo Preuss) was published in 2015. Albert Kapr and Werner Schulze had earlier created Prillwitz Antiqua, Kursiv and halbfett at Typoart in 1970 and 1987. There is also a typeface family Prillwitz EF (2009, Elsner & Flake).

    A reference text is Die erste Probe Didotscher Lettern aus der Schriftgiesserei J. C. L. Prillwitz zu Jena (Ernst Crous, 1926, Berlin). See also Die Jenaer Schriftgiesser seit dem Jahr 1557 (H. Koch, 1956, Mainz).

    Ingo Preuss explains the importance of Prillwitz in typography: Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. [...] All German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after.

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

    Johann Kaspar Müller

    German type cutter credited with Kleine Mittel Antiqua (before 1739). He was born in aschesleben in 1675 and died in 1717. He worked in Leipzig as a punchcutter and typefounder. In 1702, he acquired Johann Georg's printing works and type foundry. In 1702, he married Marie Sophie Hermann, who in 1719 married Bernhard Christoph Breitkopf, a famous typefounder in Leipzig. Several of his fonts can be found in Norstedt's collection in Stockholm. [Google] [More]  ⦿

    Johann Merken

    Creator of Liber Artificiosus Alphabeti Maioris (ca. 1782). His designs were engraved by Heinrich Coentgen. I quote: The first and only edition (published in two parts) of this rarely complete calligraphy book included fifty six engraved plates. Besides the elaborate alphabets there are example writing styles, portraits, silhouettes (Lavater purloined one of the plates - not shown - for his 'Physiognomy'), monograms, calendars, fantasy geometrical and architectural figures, emblems, genealogical tables and ornamental letters. Scans: I, II, Scans: III, IV, Scans: V, VI. [Google] [More]  ⦿

    Johann Michael Fleischmann

    Or Fleischman, with one "n". A German punchcutter (b. Nuremberg, 1701, d. Amsterdam, 1768) who lived in Amsterdam, and practiced his art at Enschedé in Haarlem, from 1743-1768. Enschedé's 1768 specimen book, Proef van Letteren shows most of his typefaces, starting as early as 1734. All his surviving punches and matrices are now in the possession of the Enschedés. His work influenced even Bodoni. His foremost typeface is the 8-point roman from 1739. That typeface has seen many metal versions, and even more digitizations. Among the metal re-cuts, one was due to Georg Belwe. There is a Fleischmann typeface at L. Wagner (1927), and a version at Typoart. Berry, Johnson and Jaspert write: His roman types are rather condensed and of a large x-height. His design is approaching the modern; the stress in some letters is vertical and the serifs are nearer the horizontal. In the upper case the long arms of the E and the squareness of the M are to be noted. In the lower case the g is conspicuous with bulbous ear and rounded link The italic rather less steeply inclined than the old face italics but still somewhat irregular The figures are still old face. Among the digitizations, we have:

    • At the Dutch Type Library, DTL Fleischmann (1992, Erhard Kaiser).
    • Fleischmann BT Pro (2002, Charles Gibbons). Heralded by the typophiles as outperforming the DTL Fleischmann.
    • While studying at KABK in 2012, Hrvoje Zivcic did a revival of Fleischmann's 8-point roman from 1739 entitled Slagerij.
    • A liberal revival called Gilly was developed by Porter Gillespie in 2015 at Type@Paris.

    Fleischmann created blackletter typefaces such as Holländische Gotisch (1739-1760, digitally revived by Gerhard Helzel; Manfred Klein and Petra Heidorn made the free revival also called Holland-Gotisch, in 2005 and mention that their source was "Nederduits"; see the Fleischmann Flamande), Mediaan Duyts (1744) and Fleischmann Gotisch (ca. 1750, digitally revived by Ingo Preuss in 2004 as Fleischmann Gotisch PT, by SoftMaker in 2016 as Fleischmann Gotisch Pro, and by Alter Littera in 2012 as Nederduits).

    Fleischmann was also renowned for his work on music typography. He worked for the publisher Johann Gottlob Immanuel Breitkopf, who was interested in improving the typography of musical notation. Fleischmann created a complex music notation font that proved unsuccessful in the marketplace, but was subsequently used to create many designs including the decorative edging on the first Dutch banknote called the roodborstje (robin). [Google] [MyFonts] [More]  ⦿

    Johann Michael Schmidt

    Type designer, b. ca. 1700 Frankfurt am Main, d. ca. 1750 Berlin. Punchcutter who learned the craft in the Lutherschen Schriftgiesserei in Frankfurt, and who wiorked in Den Haag and Berlin. In 1729, he was called to Berlin to start a royal foundry. Around 1750, he created Hollänische Mediäval Antiqua and Hollänische Mediäval Kursiv.

    Klingspor link. [Google] [More]  ⦿

    Johann Neudörffer

    German writing master, 1497-1563, aka Johann Neudörffer The Elder, who founded his writing school in Nürnberg, and printed his first plates ca. 1519. His first publication was Fundament in 1519. These prints eventually became the foundation for a new kind of writing education throughout Europe. His writing manual and teachings helped further the development of blackletter. Author of Anweijsung einer gemeiner hanndschrift. Durch Johann Neudoerffer, Burger vnd Rechenmeister zu Nurmberg geordnet und gemacht (Nürnberg, 1538). Some of his methods are still alive in contemporary type design.

    Oliver Linke, an expert on Neudörffer, and Christine Sauer published Zierlich schreiben Der Schreibmeister Johann Neudörffer der Ältere und seine Nachfolger in Nürnberg (2007, Beiträge zur Geschichte und Kultur der Stadt Nürnberg 25, Typographische Gesellschaft München / Stadtbibliothek Nürnberg).

    Several blackletter type families are named after him, such as Helmutt G. Bomm's Neudoerffer Fraktur (2009, Linotype), Manfred Klein's Neudoerffer (2003; the note in the font says that these codex-style initials are the unaltered original Neudoerffer Initialen from 1660, but this information could be in error) and Neudoerffer Scribble Quality (2003), and Klaus-Peter Schäffel's 1519 Neudoerffer Fraktur (2012). [Google] [More]  ⦿

    Johann Peter Artopaeus

    German punchcutter active in the first two decades of the 18th century. He supplied matrices to B.C. Breitkopf in Leipzig, ca. 1717. Before that, he had worked as a punchcutter for Johann Heinrich Stubenvoll of Frankfurt. Examples: Doppel Mittel Antiqua (ca. 1700), Grobe Missal Antiqua (before 1716), Kleine Missal Antiqua (before 1716). [Google] [More]  ⦿

    Johann Schelter
    [J.G. Schelter&Giesecke]

    [MyFonts] [More]  ⦿

    Johann Snell

    Sweden's first printer, who cut his own punches and cast his own types. He printed "Missale Upsaliense vetus" in Stockholm in 1483. He was also the first printer in Denmark, where he printed Breviarium Ottoniense and De obsidione et bello Rhodiano in 1482 in Odense. His main main office was in Lubeck, Germany. [Google] [More]  ⦿

    Johann Theodor de Bry

    Belgian-German copper engraver (b. Liège, 1561, d. 1623), who worked most of his life in Frankfurt am Main. His vast oeuvre includes a human figure alphabet [see also here], which appeared in his book Alphabeta et characteres, iam inde a creato mundo ad nos- tra usq. tempora; apud omnes omnino nationes usurpati; ex variis autoribus accurate depromptj. artificiose et eleganter in aere efficti et recens foras dati (1596), and shows many influences of similar alphabets of Peter Flötner in Germany. The alphabet plates in the book include representations of Chaldaean, Syriac, Hebrew, Coptic, Arabic, Samaritan, Greek, Illyrian, Croatian, Armenian, and Roman, among others, many of these in several different varieties, as well as national varieties of lettering styles (German, Flemish, French, etc).

    In 1595, he published a thick Alphabetbuch, in which we find elaborately ornamented caps. [Google] [More]  ⦿

    Johann Vincenz Cissarz

    German painter, illustrator, designer, teacher, architect, and type designer born in 1873 in Danzig. He studied painting at the Hochschule für Bildende Künste, Dresden, from 1891 to 1896. He was involved in poster design, handlettering and illustration, and made seminal contributions in his typographic work on the catalogs for the 1904-1905 exhibitions of the Darmstadt Artist Colony and his posters and advertisements for Bad Nauheim in 1904. In 1906, Cissarz became head of book design at the teaching and experimental workshop of the Verein Würtembergischer Kunstfreunde in Stuttgart, later becoming a professor until 1920. From 1916 on, he taught painting at the Kunstgewerbeschule (Arts and Crafts Academy) in Frankfurt am Main. He died in 1942 in Frankfurt am Main.

    His (only?) typeface is Cissarz-Latein (1912, Ludwig & Mayer Foundry) [calligraphy in image by Josef Weinheber]. His poster lettering for the Darmstadt Artists Colony in 1904 was at the basis of Darmstadt Arts NF, a font designed in 2007 by Nick Curtis. Csiszarz Latein NF (2008, Nick Curtis) recaptures his typeface in digital form. ValleyGrrrlNF (Nick Curtis) is based on Cissarz's poster lettering in Erste Hoehenluft Radfahr-Bahn (1897).

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

    Johann Volkmer

    Berlin-based designer of the 3d- carpentry alphabet Mann von Wald ABC (2014). Behance link. [Google] [More]  ⦿

    Johann Zainer

    Johann Zainer (d. ca. 1523) was the second printe in Ulm, Germany. He is known, e.g., for printing the first German edition of Giovanni Boccaccio's De claris mulieribus. He used a gotico-antiqua typeface ca. 1477 for the printing of Jacques de Voragine's Legenda aurea and used it unti 1485. A revival of that typeface was undertaken in 2017 by Alexis Faudot and Rafael Ribas at a type design workshop at Hochschule Aachen and Stadtbibliothek Aachen. They called it Zainer Gotico-Antiqua 96G. In addition, Faudot and Ribas revived a richly decorated gothic initials typeface used by Zainer for the Spiritual Interpretations of the Life of Jesus Christ around 1478 (and used until 1480). They named that typeface Zainer Initials 45mm.

    Github link where one can download the digital revivals. [Google] [More]  ⦿

    Johanna Feth

    Mannheim, Germany-based designer of Scherenschnitt (2016, a decorative caps alphabet) and Lepidoptera (2016, an experimental alphabet). [Google] [More]  ⦿

    Johanna Müller

    Designer in Trier, Germany, who created the octagonally cut Unicom typeface in 2013. [Google] [More]  ⦿

    Johannes Anker

    Born in 1873 in Berlin, Johannes Anker died in 1950 in Hannover. He was a painter, a sculptor and a graphic designer and studied at Kunstgewerbeschule in Berlin, and at Akademie der Künste in Berlin. His typefaces include an Anker Ornament Series (1905) and a Plakette Ornament series (1913), bothe for H. Berthold AG. [Google] [More]  ⦿

    Johannes Anton Hiero Rhode

    German type designer, b. 1903 Nordhausen/Sachsen, d. 1954 Berlin. He made these typefaces:

    • Humboldt Fraktur (1938, D. Stempel). Digitized by Gerhard Helzel, Delbanco (2001, as DS Humboldt Fraktur), and Dieter Steffmann (2002, as Humboldt Fraktur and Humboldt Fraktur Zier). It was named after the German researcher Alexander von Humboldt (1769-1859).
    • The concave-stroked Hiero Rhode Roman (J. Wagner, 1945). The italic version of that typeface is due to Karl Hans Walter in 1958 at Johannes Wagner. Berry, Johnson and Jaspert write: Calligraphic This type, mainly intended as a book face, and designed by Hiero Rhode, is characterised by concave strokes, which give it a slightly Chinese appearance. The variation in the thickness of strokes is especially apparent in the Bold; serifs are only lightly indicated. E and F have arms which extend over the vertical stroke. The g has a very large bowl and a short tail 96 (open in the light version of the type).
    • Hiero Rhode Antiqua. This was revived in 2006 by Ari Rafaeli.

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

    Johannes Bergerhausen

    Johannes Bergerhausen (b. 1965, Bonn, Germany), studied Visual Communication at the University of Applied Sciences in Düsseldorf. From 1993 to 2000, he lived and worked in Paris. First he collaborated with the Founders of Grapus, Gérard Paris-Clavel and Pierre Bernard, then he founded his own office. He returned to Germany in 2000, where he is Professor of Typography at the University of Applied Sciences in Mainz (since 2002). In 2003, together with Paris-Clavel, he published the font "LeBuro" at ACME Fonts, London. At ATypI 2004 in Prague, he spoke about Decoding Unicode. He describes his Unicode character collection project at Typotechnica 2005.

    In 2012, he was awarded with the Designpreis in Gold of the Federal Republic of Germany. He is currently working on a digital cuneiform font.

    Author, with Siri Poarangan, of decodeunicode: Die Schriftzeichen der Welt (2011, Verlag Hermann Schmidt Mainz). This text shows all 109.242 typographic symbols in the Unicode standard at the time of its publication. Speaker at ATypI 2018 in Antwerp, during which (jointly with Morgane Pierson) he published a silkscreen poster with 292 glyphs, representing all 292 known writing systems of the world, together with their names, regions, and timeframes. [Google] [More]  ⦿

    Johannes Birkenbach
    [ABC Design]

    [MyFonts] [More]  ⦿

    Johannes Boehland

    Painter and graphic designer, b. Berlin, 1903, d. Berlin, 1964. He ataught at several schools in Berlin and Wiesbaden. He created the script typeface Balzac in 1951 at D. Stempel AG. Balzac shows the hand of a painter in each glyph. Books and articles about Johannes Boehland include

    • Heinz Bartkowiak: Johannes Boehland. Eine Würdigung des Schriftschreibers und Graphikers (1971, Berlin).
    • Fritz Genzmer: Aus dem Schaffen zeitgenössischer Schriftkünstler Johannes Boehland, in: Archiv für Druck und Papier, Heft 2, 1956, pp. 119-148.
    • Fritz Hellwag: Johannes Boehland. Eine Monographie (Monographien künstlerischer Schrift, 4. Band, Berlin-Leipzig, 1938).
    There are many modern revivals of this typeface:
    • A good modern execution is B650-Deco-Regular from SoftMaker (original date unclear). This is the one I recommend. Softmaker later renamed it Balzac (1996).
    • FontBank's Balthazar (ca. 1990). FontBank no longer exists and never gave credit to Boehland.
    • FontSite's Boehland (2012). Same story---no credit given. Can be bought at FontSpring.
    • Werewolf (1999). A free font by Deke Martin.
    [Google] [MyFonts] [More]  ⦿

    Johannes Breyer
    [Dinamo]

    [More]  ⦿

    Johannes Brökel

    Magdeburg, Germany-based designer (b. 1993, Magdeburg) of a minimalist rounded sans typeface in 2015. [Google] [More]  ⦿

    Johannes Erler

    Johannes Erler was born in 1965 in Hamburg. While studying graphic design in Kiel, he worked with Lo Breier in Hamburg and on joint projects with Neville Brody. In 1992 he graduated in communication design from the Muthesius Academy, School of Applied Arts in Kiel. His thesis was about a typeface with information and warning symbols for packaging. FontShop liked the concept and published it as FF Care Pack in 1992. He created the octagonal family FF Pullman in 1997.

    FontShop's Jürgen Siebert soon suggested that a modern alternative to Zapf Dingbats would be needed. Though Hermann Zapf's symbol font was pre-installed on nearly every computer, it was too incomplete, inconsistent, and out of date, according to Siebert. The result was FF Dingbats, co-designed with Olaf Stein and launched in 1993, just as Johannes Erler and Olaf Stein launched Factor Design. The fonts have become a fixture in communication design worldwide. In 2007, the extensive update FF Dingbats 2.0 by Johannes Erler and Helmut Skibbe was published. This was followed in 2014 by FF Dingbats 2.0 UI and FF Dingbats 2.0 Inverted UI. FFDingbests (with Olaf Stein) is a free sampler of FF Dingbats. Erler Dingbats (2011) is free.

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

    Johannes Giesecke

    One truetype font here (bottom of page, click on Schriftart, the German word for font): Joe. This font has Latin, East-European, Cyrillic, Greek, Hebrew and Arabic characters, and sure looks like a renamed Monotype Times to me. [Google] [More]  ⦿

    Johannes Gutenberg

    The pater familias of printing, 1394-1468, whose real name was Johannes Gensfleisch zur Laden. He spent most of his life in Mainz, where he was also born and where he died.

    Generally regarded as the inventor of printing in Mainz, Germany, in the 1440s. It is likely his actual invention was limited to the brass moulds and matrices to produce lead type accurately in large quantities. Some say that Laurens Koster in Haarlem probably made moveable type somewhat earlier. Gutenberg brought together many existing technologies in the form of the screw press, wood-engraving, and punchcutting already used in many aspects of metal-working. His goal was to emulate the writing of contemporary scribes. In 1449 he borrowed 800 guilders from a lawyer, Johann Fust, but had to borrow the same sum again in 1452 to continue with his preparations, whereupon Fust became a business partner. Gutenberg's main work, the 42-line Bible (the number of lines per page) was completed around 1455. At this point Fust was still owed money, and it seems that he bankrupted Gutenberg by foreclosing on the debt. He took over the business, removed Gutenberg, but kept on the foreman Peter Schoeffer as his partner. Together they went on to produce several fine works, and Mainz became known throughout Europe as the origin of printing.

    Bitstream write-up. Gutenberg homepage. Image. His Bible Textura (1452-1455). Wood print of Gutenberg by Karl Mahr. Engraved portrait by A. Thevet (1584). [Google] [MyFonts] [More]  ⦿

    Johannes (Hans) John

    Punchcutter in Hamburg (1864-1938), who cut typefaces such as Doric Italic (1892, purchased by Stephenson Blake). In a case of transatlantic theft, the Hansen Foundry copied Doric Italic in its Gothic Italic, and added an inline version in 1909, called Boston Italic. [Google] [More]  ⦿

    Johannes Hoffmann
    [Johannes Hoffmann]

    Düsseldorf, Germany-based creator of Vivala Media Icons (2013) and Vivala Unicase (2012).

    In 2014, he made the monoline superelliptical sans family Monia and Signatia, which is inspired by Polish children's books. In 2014, he finished Vivala Line, Vivala Slab, and Vivala Coffee House Icons.

    In 2015, he added Vivala Black, a mammoth weight type, Vivala G Slab, and Vivala Sans Round.

    In 2016, he published the rounded sans typeface Edigna, the programming font Vivala Code and the soft-edged Vivala Milk.

    Typefaces from 2017: Macella (the proportional version of the monospaced Vivala Code).

    Typefaces from 2019: Vivala BL (blackletter).

    Typefaces from 2020: Vivala Pix.

    Typefaces from 2022: Vivala Re (an inline version). [Google] [MyFonts] [More]  ⦿

    Johannes Hoffmann
    [Johannes Hoffmann]

    [MyFonts] [More]  ⦿

    Johannes Hucht

    Type designer at Avoid Red Arrows in Germany. His typefaces there, ca. 2018, include Retour. [Google] [More]  ⦿

    Johannes König
    [Melville Brand Design]

    [MyFonts] [More]  ⦿

    Johannes Küster
    [Typoma]

    [More]  ⦿

    Johannes Mentelin

    Johannes Mentelin (or: Hans Mentelin, Hein Mentelin, Johann Mentelin, Johann Mentlin, Johann Mentelein, Jean Mentel, Jean Mentels, Iohannes Mentelius) was a printer and librarian. He was born in Schlettstadt (Selestat) ca. 1410 and died in Strasbourg in 1478. He lived in Strasbourg from 440 onwrds and started a print shop there in 1458. He printed one of the first bibles (now known as Mentelin's bible), only five years after Gutenberg.

    His types used in that bible inspired some metal typefaces centuries later. Mac McGrew writes: Satanick, issued by ATF in 1896, was called "the invention of John F. Cumming of Worcester, Massachusetts." It has also been credited to Joseph W. Phinney of ATF; probably Cumming cut it from Phinney's drawings. However, it was a close copy, though perhaps a little heavier, of the Troy and Chaucer types of William Morris. De Vinne called it "a crude amalgamation of Roman with Blackletter, which is said to have been modeled by Morris upon the style made by Mentel of Strasburg in or near the year 1470." See Morris Romanized Black. [Google] [More]  ⦿

    Johannes Plass

    German artist. Designer of Linotype Atomatic (1997), Linotype Animalia (1997: animal-themed glyphs) and Linotype Auferstehung (1997).

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

    Johannes Presse

    German foundry. Designers of typefaces such as Rotunda (1948; by Walter Schneider and Hans Vollenweider, based on the 15th century type Rotunda). [Google] [More]  ⦿

    Johannes Reinhart

    German FontStructor who made the ornamental typeface Design B in 2012. [Google] [More]  ⦿

    Johannes Schnatmann

    Berlin-based designer of the squarish typeface Cito Mono (2017). [Google] [More]  ⦿

    Johannes Schulz

    Teacher at the Landeskunstschule Hamburg am Lerchenfeld. Designer of the squarish blackletter typeface Johannes-Type (1933, Genzsch&Heyse). In 2015, Shoko Mugikura and Tim Ahrens revived Johannes Type as JAF Johannes. [Google] [MyFonts] [More]  ⦿

    Johannes Schweitzer

    Johann (or Johannes) Schweitzer is a post-war German type designer with Ludwig&Mayer, born in 1927 in Frankfurt am Main. He created the antiqua typeface Dominante (Ludwig&Mayer, 1959; Simoncini, 1962). It was digitized by several foundries including Softmaker (D790 Roman on the SoftMaker MegaFont XXL CD, 2002) and URW (the Dominante Pro family by Ralph M. Unger, 2007). Klingspor link. [Google] [MyFonts] [More]  ⦿

    Johannes Siemensmeyer

    German creator of the rabbit-eared angular typeface family Suberp (2014, +Black, +Light) and the techno typeface Smeyer (2014). In 2015, he created the decorative caps typeface Helveticalien. Flickr page. Dafont link. [Google] [More]  ⦿

    Johannes Steil
    [Stabenfonts]

    [MyFonts] [More]  ⦿

    Johannes Wagner

    Johannes Wagner was born in 1888 and died in Ingolstadt in 1965. The oldest son of Ludwig Wagner, he started out in his father's foundry in Leipzig. In 1921, he founded the Norddeutsche Schriftgießerei in Berlin, together with his brother Ludwig and his brother-in-law Willy Jahr. That business moves to Ingolstadt in 1949. In 1956, he moves the Ludwig Wagner company to West Berlin. He dies in 1965. The company was taken over by Arnold Dröse in 1972. Present-day ownership of the Johannes Wagner designs is claimed by Manfred Dröse, Lettern-Service Ingolstadt, Postfach 101027, Ingolstadt, 85010 Germany. In the late 1980s, they recut many famous typefaces, such as Andreas Schrift (1988, after the original by Hans Kühne, 1942).

    Type designs of Johannes Wagner: Aurora-Grotesk (1912: Hans van Maanen digitized and expanded Aurora Grotesk and called it Annonce (2006, Canada Type)), Steinschrift (1912), Fette Antiqua (1913), Druckhaus-Antiqua (1919), Romana (1930, a display roman with lots of weight, short ascenders and descenders, old typeface serifs, generally looked at as a German adaptation of De Vinne. Linotype carries 6 weights. See "Rookie" on the SoftMaker MegaFont XXL CD, 2002), Gong (1950, a script face) and Neue Aurora Grotesk (1964). The Johannes Wagner Schriftgiesserei published Druckhaus Kursiv (1919), Elvira Kursiv Fett (1926), Jowa Schreibschrift (1967, revived by Ralph M. Unger at Profonts as Iova Nova in 2007), Neue Fraktur (1927) and Neue Fraktur Extra Fett (1927), both revived in 2003 by Petra Heidorn, as well as Schadow (1938, Georg Trump) and Impuls (1945, Paul Zimmermann). In the grotesk category, they published Edel Grotesque (also known as Lessing, Reichgrotesk, and Wotan Bold Condensed) in 1914. The Edel Grotesque Bold Condensed was digitally revived in 2010 at Canada Type (by Patrick Griffin and Kevin Allan King) as Wagner Grotesk. Wotan was revived in 2021 by Ralph Unger as Royal Grotesque and in 2022 as RMU Royal Sans.

    Kristall Now Pro (2019, Elsner & Flake) is a text family that revives Kristall Grotesk Buchschrift by Johannes Wagner GmbH, 1937.

    URW++ sells Blizzard standard (D), Fette Fraktur standard (D), Fette Fraktur Initials standard (D), Fette Fraktur OnlyShadow standard (D), and Fette Gotisch standard (D).

    Linotype link. Digital typefaces based on old Wagner designs. [Google] [MyFonts] [More]  ⦿

    John Heinrigs

    Penman who wrote Examples Written by John Heinrigs, Fourth Book Containing Sets of Round Text in 1812. He was based in Creveld in Germany's Ruhr region. [Google] [More]  ⦿

    John Morgan

    John Morgan founded John Morgan Studio in 2000. He is Professor of Design, Typography and Book Arts at the Kunstakademie Düsseldorf. With Adrian Vasquez, John Morgan set up the type foundry Abyme in 2017. At Abyme, he published these typefaces:

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

    Jojomoto Studio
    [Marcel Vockrodt]

    Design studio in Berlin. In 2018, they published the free handcrafted sans typeface Jomohand. [Google] [More]  ⦿

    Jonas Becker

    For his thesis project in Hamburg, Jonas Becker developed a (virtual) corporate typeface, Magellan (2015), for wayfinding and identity in the port of Hamburg. This typeface is magnificent. [Google] [More]  ⦿

    Jonas Bender

    Waldbrunn, Germany-based student-designer of the hand0crafted all caps typeface Rustic (2017). [Google] [More]  ⦿

    Jonas Bonas
    [Der Jonas]

    [More]  ⦿

    Jonas Gonell

    Designer at Germany's Apply Design of fonts such as FuzzyFont (1998). [Google] [More]  ⦿

    Jonas Mai

    Osnabrück, Germany-based designer of Ahoi (2018), a wavy font inspired by the international morse code. This font was finished during his studies at the University of Applied Science Osnabrück. [Google] [More]  ⦿

    Jonas Pelzer

    Jonas Pelzer holds a Bachelor's degree in Communication Design from Düsseldorf University of Applied Sciences. He currently works as a designer in Berlin. Creator of the octagonal typeface Scope (2020), a variable, monolinear typeface designed to enable typographic interactions. [Google] [More]  ⦿

    Jonas Schatz

    German 3D modeler from Owerpfalz, b. 1991, who made an exquisite and very tilted handwriting font, Just Nate (2009). [Google] [More]  ⦿

    Jonas Wagner

    German graphic designer who created Door Sign (2011), a poster of a door sign with intersting typographic details. [Google] [More]  ⦿

    Jonathan Bauer

    During his graphic design studies in Cardiff, Jonathan Bauer designed the art deco marquee typeface Vegas Vault (2012). [Google] [More]  ⦿

    Jonathan Rodríguez
    [Pixel Canibal]

    [More]  ⦿

    Jonathan Zimmer

    Berlin, Germany-based designer of the rounded monoline sans typeface Afreux (2014), which is built on the principle of the uninterrupted stroke. Behance link. [Google] [More]  ⦿

    Joost Schmidt

    German typographer and painter, b. Wunsdorf (1893), d. Nüremberg (1948). He studied at Bauhaus from 1919-1925, and started working with type in 1923. From 1925 until 1932, he was a professor at Bauhaus. After the war, he became professor at the Hochschule für bildende Künste in Berlin. He created some typical Bauhaus alphabets.

    Digitizations:

    • Uhertype (2008, Paulo Heitlinger) is a revival of his lettering.
    • Jose Manuel Uros) is a monoline geometric / organic family with an odd Futura Black style piano key Stencil thrown in. He writes that the inspiration came from the Bauhaus Dessau im Gewerbemuseum Basel exhibition poster, designed in 1929 by Franz Ehrlich after a sketch by Joost Schmidt, and hence the name Joost.
    • Neubau (2009, Ramiz Guseynov) is a condensed geometric display family with sans and slab serif subfamilies, which took inspiration from Joost Schmidt's lowercase letters developed from 1925 until 1928 at Bauhaus Dessau. Neubau Grotesque (2010) is an elementary minimalist sans face. Neubau Serif is a slabby version---this entire family was inspired by Bauhaus proponent Joost Schmidt, 1925-1928.
    • The piano key typeface Joschmi (2018, Flavia Zimbardi). An Adobe Originals font designed as part of an effort to revive Bauhaus treasures, and named after Joost Schmidt.

    Paulo Heitlinger's page on Schmidt. Wikipedia. FontShop link. [Google] [MyFonts] [More]  ⦿

    Joschko Hammermann

    A graduate of FH Potzdam, Germany, Joschko Hammermann (now in München) created the squarish sans typeface Joham (2010, 26plus). In 2014, he created the avant garde sans typeface Joham Journal. Behance link. [Google] [More]  ⦿

    Jose Gonzalez
    [Jota Jota]

    [More]  ⦿

    José Azevedo

    Illustrator and graphic designer from Vitoria, Brazil, who is now located in Bremen, Germany. On his Behance page, we can find many great typographic posters.

    In 2014, he created a scratchy multiline typeface called Scratching Font. [Google] [More]  ⦿

    José Ernesto Rodriguez

    Potsdam, Berlin-based graphic designer. He created Handschrift (2011) by using nothing but his hands and a photocopy machine. Behance link. [Google] [More]  ⦿

    Josef Albers

    German-born designer (b. Bottrop, 1888, d. New Haven, CT, 1976) associated with the Bauhaus School that made artistic ripples from 1919-1933. He joined the faculty of Weimar Bauhaus in 1922 as a stained glass maker, and became professor there from 1925 until Bauhaus closed in 1933 under Nazi pressure. He emigrated immediately to the United States where he became head of a new art school, Black Mountain College, in North Carolina. In 1950, he left North Carolina to become head of the Department of Design at Yale University until his retirement in 1958. Albers is best remembered for his work as an abstract painter and theorist. The Josef Albers papers and documents (from 1929 until 1970) were donated by the artist to the Smithsonian Institution's Archives of American Art in 1969 and 1970. His typefaces:

    • Display (1923).
    • Schablonenschrift (1923-1926). This is one of a series of stencil typefaces Albers designed while teaching at the Dessau Bauhaus.
    • Futura Black (1926, a great stencil face---Paul Renner and the Bauer design office made it into a typeface in 1929, and included it in the Futura series, even though Futura is quite different in concept).
    • Kombinationsschrift auf Glas (1928-1931; combine a few elements). This was revived as P22 Albers by Richard Kegler from 1995 until 2004. See also here. Kombinationsschrift is inherently modular, the principle at the basis of FontStruct and other font creation tools. On my pages, I sometimes call the blatantly modular typefaces in the style of Kombinationsschrift piano key fonts.

    Digital descendants of Albers's work include ThM Architype Albers (2013, Thijs Mertens), Architype Albers (Freda Sack and David Quay of The Foundry, 1997), P22 Albers (P22), Futura Black (Bitstream), Alber New (2010, Chris Dickinson at Moretype), Concreta (Tony de Marco and Niko Fernandez, 2011, at Just in Type), Modernist Stencil (Keith Bates, 2009, at K-Type), Sessions (John Skelton, 2009, at Afrojet), Idiom (Mike Jarboe, 2010, at Reserves), Gridiot (2003-2011, Peter Bain), Plaster (Eben Sorkin, 2011), Slink (Gene Buban, 2009), Albers (Crissov, 2009), Albers Numerals (2015, Tomek Zastawny), Duo (Omer Chafai), Rigid (Marta Cerda Alimbau, 2010), Albers Moiré (Nick Shea), Little Tittle (Michael Blair, 2012), Tp Floral (Two Points, 2006), Decade (Robert Holmkvist, 2015), Bauhaus Typography Experiment (Jonathan Kevin William Holburn, 2014), and Modular Alphabet (Isa Lloret, 2015).

    References: Regarding the Economy of Typeface (an article explaining Albers' vision for typography), Josef Albers: Interaction of Color (1975, New Haven: Yale University Press), François Bucher: Josef Albers: Despite Straight Lines: An Analysis of His Graphic Constructions (1977, Cambridge, MA: MIT Press), Brenda Danilowitz and Fred Horowitz: Josef Albers: to Open Eyes: The Bauhaus, Black Mountain College, and Yale (2006, Phaidon Press), Eva Diaz: The Ethics of Perception: Josef Albers in the United States (2008, Volume XC Number 2 of The Art Bulletin), Nicholas Fox Weber and Fred Licht: Josef Albers: A Retrospective (1988, New York: Guggenheim Museum Publications), Nicholas Fox Weber, Fred Licht and Brenda Danilowitz: Josef Albers: Glass, Color, and Light (1994, New York: Guggenheim Museum Publications), The Josef & Anni Albers Foundation. [Google] [MyFonts] [More]  ⦿

    Josef Heim

    Author of the art nouveau era book Moderne Schriften / herausgegeben und verlegt von Josef Heim (Vienna and Leipzig, 1900). Local download. One of the alphabets in this book was digitally revived by Paulo W as Josef Wein Moderne Blackletter (2021). [Google] [More]  ⦿

    Josef Kleber

    German software specialist who is providing TeX support for free fonts from Softmaker, such as Stone Handwriting (June 2009) and Henderson (July 2009). Alternate URL. [Google] [More]  ⦿

    Josefin Kaiser

    Young designer at fontgrube who made Seethrough. [Google] [More]  ⦿

    Joseph Friedrich Gustav Binder

    After studies in Berlin, Binder (b. 1898, Lindenberg, d. 1991) taught at the National Art School in Saarbrücken. From 1924 on, he worked as an independent commercial artist. Designer at D. Stempel of Binder Style (1959). This squarish elbow-room only typeface appeared on the movie poster for Silence of the Lambs. It was revived by these type designers:

    • Nick Curtis: Bindlestiff NF (2011).
    • Castcraft: OPTI-Binder-Style.
    • Uwe Borchert: the free font BStyle (2013).
    • Jim Lyles and Brian Bonislawsky (Grype): Binder (2020).
    [Google] [MyFonts] [More]  ⦿

    Joseph Friedrich Leopold

    Designer of Lichte Antiqua (1696), Augsburg. [Google] [More]  ⦿

    Joseph Kaspar Sattler

    Lettering artist, painter and illustrator, b. 1867 Schrobenhausen, d. 1931 München. He studied in München and became professor in Strasbourg. His art nouveau illustrations appeared, e.g., in Simplicissimus.

    The typeface Sattler AS by Andreas Seidel (2003) at AS Type captures some of Sattler's finest initials, made in 1897 for the monumental book project Die Nibelunge (1900) for the Reichsdruckerei Berlin. The corresponding art nouveau script typeface by Sattler is called Nibelungen-Schrift (1897).

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

    Joseph Maria Olbrich

    Joseph Maria Olbrich (b. 1867, Troppau, Austria, which today is Opava in the Czech Republic; d. Düsseldorf, Germany, 1908, from leukemia) was an Austrian architect, and co-founder of the Vienna Secession artistic group, which was formed in 1897 by a number of Austrian painters, sculptors, and architects who had resigned from the Association of Austrian Artists, including Gustav Klimt, Koloman Moser, Josef Hoffmann, Joseph Maria Olbrich himself, Max Kurzweil, Otto Wagner, and others. His architectural works, especially his exhibition buildings for the Vienna and Darmstadt Secessions, have had a strong influence on the development of the Art Nouveau Style. Like most architects of that period, he drew several alphabets, such as these Modern German capitals.

    Nick Curtis designed Olbrich display NF based on a 1907 typeface by Joseph Maria Olbrich. [Google] [More]  ⦿

    Josh Krämer

    German typophile based in Heidelberg. Board member of Bund für die deutsche Sprache. His typefaces include:

    • Donnersberg (2013). Donnersberg is a gothic block-letter typeface designed for easy handwriting. It is based on forms of the gothic cursive and of other blackletter styles. Its simple letter forms are suitable for both broad-nib and pointed-nib writing. Started in 2008, it was finished in 2013.
    • Gorton. Josh writes: Gorton is a revival of the default typeface for the Gorton engraving machines. That typeface and typefaces derived from it have been used for a wide range of products, from aircraft instruments to computer keyboards. URW offers a digital font named Gordon that seems to be based on the Gorton typeface but it is quite different, has no lowercase letters and its quality is poor.
    • Grid15 (2015). A programming font.
    • Lenzing (2015). A Fraktur and a gothic cursive, created in cooperation with Peter Gericke.
    • Britannica (2018).
    [Google] [More]  ⦿

    Josh Martinez Garcia

    Wuppertal, Germany-based designer of the polygonal, or triangulated, Polyfont (2017). [Google] [More]  ⦿

    Jost Gippert
    [TITUS Unicode Greek]

    [More]  ⦿

    Jota Jota
    [Jose Gonzalez]

    Mexican designer located in Osnabrück, Germany. In 2021, he designed the free strong all caps stencil typeface Genau. [Google] [More]  ⦿

    Jörg Hemker
    [Herr Hemker]

    [MyFonts] [More]  ⦿

    Jörg Herz

    German type designer (b. 1965) who was originally a painter and sculptor. He graduated in visual communication from Hochschule Pforzheim in 1996. Creator of the dingbat fonts Linotype Afrika One and Two (1999), Linotype Monday Devils (1999, funny stick people), and Linotype Short Story (1997). Still at Linotype, he made Linotype Textra (with Jochen Schuss---a take on FF Meta), Dassitzt (constructivist, based on his diploma work at Pforzheim) and Dassitzt Pictos in 2003. In 2008, he created the angry all caps display typefaces Arsen and Arsen Ink (Volcano), Daydream (Volcano), and Logorinth (Volcano). With Andy Jörder and Alois Ganslmeier, he created the ultra-fat constructivist family Coma (Coma, Volcano). Bastion (2011) is along the same lines.

    MyFonts link. Volcano Type link. Linotype link. FontShop link. Volcano Type link. Klingspor link.

    View Joerg Herz's typefaces. [Google] [MyFonts] [More]  ⦿

    Jörg Knappen

    Prolific German metatype designer, who works at the University of Mainz in Germany. He is responsible for the massive European Computer Modern fonts (EC fonts), and the fc fonts for African languages (metafont only). He also designed a Bashkirian metafont. [Google] [More]  ⦿

    Jörg Knappen
    [fc fonts for African languages]

    [More]  ⦿

    Jörg Schein

    Brunswick, Germany-based designer of the squarish display typeface Oblision (2017). [Google] [More]  ⦿

    Jörg Schmitt

    Designer (b. 1985, Marburg) at 26-plus Zeichen in Germany, who is based in Köln. He graduated from the University of Applied Sciences in Trier in 2010.

    In 2010, he designed Telegraph Sans and Telegraph Serif and Hellschreiber (2011, Sans and Serif), the latter at Die Gestalten. The name Hellschreiber originates from an old Siemens telegraph system (or Hell-Schreiber, named after Dr. Rudolf Hell). Both fonts have the look of typewriter type and were inspired by Courier.

    In 2012, Joerg started the Joerg Schmitt Foundry. His first typeface there is the pleasing rounded monospaced typewriter style sans family Ingrid Mono (from Hairline to Bold).

    Fansy (2013) is a prismatic typeface. In 2014, he created the (curly) ironwork typeface Snappy.

    In 2017, he published the very readable soft sans typeface Oblivian Grotesque and the sharp-edged Oblivian Text, which is characterized by a kneeling italic f.

    Klingspor link. Behance link. 36plus Zeichen link. [Google] [MyFonts] [More]  ⦿

    Jörn Lehnhoff

    German designer of the handwriting font Linotype Ego (1999). He uses both names Jörn Rings and Jörn Lehnhoff. [Google] [MyFonts] [More]  ⦿

    Jovica Veljovic

    Great calligrapher and type designer, born in Suvi Do, Yugoslavia, in 1954. He obtained his master's degree in calligraphy and lettering at the Academy of Applied Arts in Belgrade. In 1985, he received the Charles Peignot Award from the Typographique Internationale for excellence in calligraphy and type design. He taught typography at Belgrade University of Arts until 1992. Since 1992, he is based in hamburg, Germany, where he teaches type design and calligraphy at the Fachhochschule Hamburg. His typefaces:

    • Ex Ponto (1994-1995) is his first masterpiece. This rhythmic script typeface is based on Veljovic's handwriting.
    • He designed the very readable text typefaces ITC Veljovic (1984) and ITC Esprit (1985; followed in 2010 by ITC New Esprit), as well as the Times-like ITC Gamma (1986). In 2015, ITC followed up with ITC New Veljovic Pro.
    • Silentium (2000, at Adobe). This is based on 10th century Carolingian scripts.
    • Sava Pro (2003). These are roman-style caps and small caps, with ornaments, Greek and Cyrillic. Named after a popular man, the archbishop of Serbia, who lived around 1300, and partially named after the main river in former Yugoslavia. Winner of an award at TDC2 2004.
    • Libelle (2009, at Linotype). A joyful calligraphic script.
    • Agmena (2012, at Linotype). A gorgeous antiqua that won an award at TDC 2013.
    • Veljovic Script (2009, Linotype). A handwriting typeface for Latin and Cyrillic.

      The German weekly news journal Die Zeit commissioned him to prepare an extended digitized version of Tiemann's Antiqua in 1999. He also designed two typefaces, an Antique and a Grotesque together with several variants, for the leading Serbian daily Politika in 2006.

    • Morandi (2018). A 48-style humanist sans typeface family published by Monotype.

    At ATypI 2004 in Prague, he spoke about typefaces for Latin and Cyrillic.

    Linotype link. FontShop link.

    View Jovica Veljovic's typefaces. [Google] [MyFonts] [More]  ⦿

    jpFonts

    German type foundry and type engineering company founded in Hamburg in 2021 by Peter Rosenfeld, Volker Schnebel and Juergen Willrodt, after their former employer, URW, was absorbed by Monotype. Their typefaces:

    • Bartosh (2021, Volker Schnebel). An organic sans.
    • DIN Vario (2021, Volker Schnebel). A 3-axis variable version of DIN.
    • Vernacular Clarendon, Vernacular Serif, and Vernacular Sans (2021, H.-J. Hunziker and Volker Schnebel).
    • Hanyi. A full collection of Chinese fonts: HY Bai Qi Jian, HY Bai Qing Jian, HY Cai Die Jian, HY Cai Yun Jian, HY Chang Mei Hei Jian, HY Chang Yi Jian, HY Chen Pin Jian, HY Da Li Shu Jian, HY Dai Yu Jian, HY Deng Xian, HY Die Yu Jian, HY Du Du Jian, HY Fang Die Jian, HY Fang Li Jian, HY Fang Song, HY Gan Lan Jian, HY Ha Ha Jian, HY Hai Yun Jian, HY Hei, HY Hei Mi Jian, HY Hei Qi Jian, HY Hu Po Jian, HY Hua Die Jian, HY Huo Chai Jian, HY Jia Shu Jian, HY Kai Ti, HY Li Hei Jian, HY Ling Bo Jian, HY Ling Xin Jian, HY Luo Bo Jian, HY Man Bu Jian, HY Mi Mi Jian, HY Nan Gong Jian, HY Qing Yun Jian, HY Shen Gong Jian, HY Shou Jin Shu Jian, HY Shu Hun Jian, HY Shu Tong Jian, HY Shuang Xian Jian, HY Shui Bo Jian, HY Shui Di Jian, HY Song, HY Tai Ji Jian, HY Wa Wa Zhuan Jian, HY Wei Bei Jian, HY Xiao Li Shu Jian, HY Xing Kai, HY Xing Shi Jian, HY Xiu Ying Jian, HY Xue Feng Jian, HY Xue Jun Jian, HY Ya Ya Jian, HY Yan Ling Jian, HY Yuan, HY Yuan Die Jian, HY Zhong Li Shu Jian, HY Zhu Jie Jian, HY Zong Yi Jian.
    • Tensen Type. A full collection of Chinese fonts from the Beijing-based company, Tensen Type: TX Cao Shu, TX ChaoHei, TX ChaoYuan, TX FanKai, TX GangBi, TX Hei, TX Hei VF, TX JianDu, TX JinZhuanHei, TX KaTong, TX LingHei, TX MaiHei, TX MingKe, TX Qian, TX RuiHei, TX ShiTou, TX Shu Song, TX SongTi VF, TX TieKai, TX XianBo, TX XingKai, TX YingLi, TX YouEr, TX Yuan, TX ZhiHei, TX ZhiLi.
    [Google] [More]  ⦿

    Juan del Flores

    Alias of Judas Blum (Germany). Creator of Comic Jans (2010). [Google] [More]  ⦿

    Jude Abdulhadi

    During her studies in Würzburg, Germany, Jude Abdulhadi created an experimental Arabic typeface (2015). [Google] [More]  ⦿

    Judith Eckstein

    During her studies, Judith Eckstein (Duesseldorf, Germany) created the tall Peignotian typeface Updown (2013), and the thin octagonal typeface Versalien (2011). In 2011, she set up the font newspaper Fonteck. [Google] [More]  ⦿

    Judith Eckstein
    [Fonteck]

    [More]  ⦿

    Judith Jöhren
    [Yokkmokk]

    [MyFonts] [More]  ⦿

    Judith Schalansky

    Ex-student from the Fachhochschule Potsdam and the Freie Universität Berlin, b. 1980. Author of Fraktur Mon Amour (Hermann Schmidt Verlag, 2006, and Princeton Architectural Press, 2008), in which blackletter is discussed and shown at length. Interview. List of Fraktur fonts on the CD. Fraktur Mon Amour won several awards, such as the 2007 Award for Typographic Excellence of the Type Directors Club of New York, and a silver medal from the Art Directors Club Deutschland, also in 2007. [Google] [More]  ⦿

    Juergen und Ich (or: JUI types)

    The German team Juergen und Ich (or: JUI types) created the geometric sans typefaces JUI Geovad V Bold and Normal (2004), Suprastar (2003) and Shinjuku (2003). They are located in Köln. [Google] [More]  ⦿

    Julia Bausenhardt

    Type designer from Hamburg, Germany, who is based in Goslar.

    In 2010, she made Kafka, a font based on the handwriting of Franz Kafka.

    Edvard (2012) is based on the handwriting of Norwegian painter Edvard Munch. In 2014, she designed the hand-printed poster typeface Walpurga. In 2015, she designed the expressive poster typeface Bassanova and the connected script typeface Luba Luft.

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

    Julia Begher

    Munich, Germany-based designer of Vienna Classica (2014, a stencil didone) and Noham (2014, a playful redesign of Gotham). [Google] [More]  ⦿

    Julia Boden

    Dresden, Germany-based designer of the decorative caps typeface Stitch by Stitch (2015). Behance link. [Google] [More]  ⦿

    Julia Brogle

    Köln, Germany-based designer of several Hebrew calligraphic pieces in 2016. Behance link. [Google] [More]  ⦿

    Julia Diebold

    German designer of the fat finger font Winter Land (2021). [Google] [More]  ⦿

    Julia Friese

    Born in 1979 in Leipzig, Germany, Julia Friese studied at the National College of Art and Design, Dublin, at the Faculdad de Bellas Artes, Bilbao, and at the Hochschule für Graphik und Buchkunst, Leipzig. Designer of the fat poster typeface Scissorgirl (2007-2010, Type-O-Tones, with Clare Keogh).

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

    Julia Hanft

    German designer of the friendly monospaced typewriter-styled typeface Louisa (2020). The 4-style font family is designed for coding and tabular layout in particular, and for communication design in general. [Google] [MyFonts] [More]  ⦿

    Julia Klee

    München-based designer of the monoline sans typeface Fibula (2016). [Google] [More]  ⦿

    Julia Klenk

    Communications designer in Wuerzburg, Germany, who graduated in 2010 from FH Würzburg. She created the free typeface Real Origami (2009, 26plus). [Google] [More]  ⦿

    Julia Mahler

    Design student in Berlin. Home page. Creator of the art deco typeface Klynt (2011). [Google] [More]  ⦿

    Julia Oberndörfer

    During her studies at University of Applied Sciences Potsdam, Germany, Julia Oberndörfer created the anthroposophic typeface Holleri (2014). [Google] [More]  ⦿

    Julia Petretta (Kaestle)

    German designer who obtained an MA in typeface design from The University of Reading (2009), based on her typeface Creon. Before Reading, she studied at Hochschule Mannheim, and ran a design company there called MfG, for Mit freundlicher Gestaltung. Her Creon typeface contains Latin and Arabic alphabets, and was developed with hints of Greek.

    Free Google Web Fonts include Kenia (2010, a stencil display font with hints of blackletter), Keania One (2012: a gentler heavy stencil face), Text Me One (2012: an organic sans face), and Kreon (2011, slab serif). Other free typefaces include Lily Script One (2012: a retro signage script, free at Google Web Fonts).

    Old URL. Klingspor link. Google link. Fontspace link. [Google] [More]  ⦿

    Julia Raschke

    Konstanz, Germany-based designer of Split Font (2018). [Google] [More]  ⦿

    Julia Rausch

    Now Julia Kahl. Designer (b. 1983, Aschaffenburg, Bavaria) who studied communication design at Hochschule Darmstadt from 2004 until 2007, and interned in 2007-2008 at Magma Brand Design in Karlsruhe. Creator in 2008 at the German foundry Volcano of Nymphe, a monoline typeface based on the form and character of an art nouveau illustration from 1907. Still at Volcano, she made Sports (a biline / semi-stencil face) and Ready Steady Go (2009, with Boris Kahl and Lars Harmsen).

    Alternate URL. Klingspor link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Julia Rebentisch

    Art director in Berlin, who created the high contrast art deco typeface Vittoria (2014). Behance link. [Google] [More]  ⦿

    Julia Schneider

    Trier, Germany-based designer of Sniderline (2019). [Google] [More]  ⦿

    Julia Soldatke

    Hamburg-based designer of the hairline sans typeface Juis Delight (2013) and of the geometric sans typeface Concrete (2013). [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]  ⦿

    Julian Lodders

    German creator of LoddyFont (2007, handwriting). [Google] [More]  ⦿

    Julian S

    German web designer (b. 1992) who resides in Bremen. Creator of Bitfont01 (2008). [Google] [More]  ⦿

    Juliane Adomat

    German designer of the paperclip typeface Drahtika (2017). [Google] [More]  ⦿

    Juliane Weidel

    During her studies at Buckinghamshire New University (UK), Juliane Weidel (Hamburg, Germany) created the Asian-themed font Yoga Type (2014). [Google] [More]  ⦿

    Julien Fincker

    Julien Fincker is a French designer in Stuttgart, Germany, where he is art director at Sieber & Wolf. In 2018, he designed the great art deco typeface Bourget.

    In 2019, he published the soft geometric sans typeface Finador and the accompanying Finador Slab.

    In 2020, he published the 20-style text typeface Spitzkant and Spitzkant Variable, which are characterized by pointed sharp serifs and considerable contrast.

    Typefaces from 2021: Garino (a 20-style hipster sans, complete with coathanger lower case f), Ardena (a 20-style grotesk with vertical terminals), Ardena Variable. [Google] [MyFonts] [More]  ⦿

    Julius Diez

    Vignette designer at the Bauersche Giesserei between 1910 and 1912. His astrological symbols were revived in 2002 by Dieter Steffmann as Tierkreis5. [Google] [MyFonts] [More]  ⦿

    Julius Edmund R. Nitsche

    Designer, illustrator, painter and interior design architect, b. 1882, Breslau, Germany, d. 1965, München. He worked for the Jugend magazine in München.

    Creator of Buchschmuck (1905), Akzidenz Zierat (1905), Unger Fraktur (1910, Klinkhardt; Wetzig says 1907), Waltraute (1916, a blackletter typeface done at Klinkhardt and at Berthold, Berlin) and Neudeutsche Ornamente (1911, Klinkhardt).

    Among digital revivals, we note the ornamental caps typeface Unger Fraktur Zierbuchstaben by Dieter Steffmann (2002). [Google] [More]  ⦿

    Julius E.F. Gipkens

    German industrial graphic designer, b. Emmerich, Hannover, 1883, d. New York, 1968. A disciple of poster artist Lucian Bernhard, he started his career in Berlin, and settled later in New York after he emigrated there in the 1930s.

    Typefaces by him at the Bauersche Giesserei include Femina (1913) and Majestic (1914). At the Wilhelm Woellmers Schriftgiesserei, Berlin, he designed Admiral and Admiral Halbfett in 1906.

    Revivals of Majestic include Chistoso (2019, Chuck Mountain). [Google] [More]  ⦿

    Julius Herriet Sr

    Born in 1818 in Braunschweig, Germany. He emigrated to the United States where he worked as a type designer for various foundries in New York. His work includes these typefaces:

    • Bruce Type Foundry: Black (Extended, Extra Condensed, Slope, Italian), Circular Italic, German Text 580, Harrington, Italian Antique, Italian Black Ornamented (1872), Ornamented No. 1025, Bruce's Ornamented no. 1048 (faux Chinese), Ornamented No. 1060 (1878), Ornamented No. 1515 (1867), Ornamented No. 1522 (1871), Ornamented No. 1526 (1871), Ornamented No. 1528 (1873), Ornamented No. 1532 (1875), Ornamented No. 1533 (1873), Ornamented No. 1542 (1876), Ornamented No. 1543 (1876), Ornamented No. 1545 (1876), Ornamented No. 1549 (1868), Ornamented No. 1551 (1878), Ray Shaded Black, Rustic 1048, Soutache (1873, a Tuscan typeface revived by Font Mesa as Main Street), St. Clair (1875), Stephen Ornate (1877).
    • Conner Type Foundry: Cosmopolitan, Curved Antique, Latin Ornate (+Shaded), Mayflower, Nero, Octagon (1885, +Shaded, 1883), Old Style Title, Ornamented Text (+Shaded), Pilgrim, Roman Shaded, Text (+Italic).
    • Johnson Type Foundry: Gothic Tuscan, Modern Text (+Open), National (1856), Recherche.

    In 2021, Alejandro Paul paid homage to Julius Herriet's Old Style Ornamented in his Plethora, an 18-style family and two variable fonts by adding various frills, ligatures, weights, exaggerating the design in true Victorian spirit. [Google] [MyFonts] [More]  ⦿

    Julius Kirn

    Born in 1909 in Stuttgart, Germany. In 1938, Julius Kirn designed these typefaces:

    • Oleander (at Genzsch&Heyse). This was was digitally revived and expanded as Rostrum (2005, Rebecca Alaccari, Canada Type).
    • Bison (1935-1938, C. E. Weber). This brush script typeface was also released at Johannes Wagner. Bison's digital revivals: B731-Deco-Regular (SoftMaker), Blizzard Standard (URW), Fontbank Sprite, Bitstream Brush 738, WSI Handybrush, Berthold Bison, RMU Bison (2020, Ralph M. Unger), Softmaker Bluff and Bluff No2 (2012-2019, Softmaker).
    [Google] [MyFonts] [More]  ⦿

    Julius Klinkhardt
    [Julius Klinkhardt Schriftgiesserei]

    [More]  ⦿

    Julius Klinkhardt Schriftgiesserei
    [Julius Klinkhardt]

    Julius Klinkhardt designed typefaces such as the blackletter font Neue Schwabacher (1922, Berthold). He ran the Julius Klinkhardt Schriftgiesserei in Leipzig in the late 19th century, after having acquired the type foundry of Gustav Schelter in 1871. It was taken over by Berthold in 1920. Their typefaces include Flora Ornamente (1906), Lithographia (1895), Secessions Schriften (1906), Baldur (1903, art nouveau; for a digital revival, see Alan Presott's New Baldur APT, 1996, and Dieter Steffmann's Baldur from 2000), Britania-Gotisch (1900, also known as Altgotish, and as Kloster Gotisch, and as Mammut Gotisch), Breitkopf Fraktur (just like versions of this typeface at C.F. Rühl (1912)), Helios Reklameschrift (revived by Ralph M. Unger in 2017 Affiche), Stempel (1912) and Berthold (1919)), Rosen Zierat (ca. 1910), Negro (1908), Elvira (1908), Cornelia Einfassung (1908), Hubertus Schmuck (1909), Filigran Ornamente (1910), Doris Ornamente (1917), Stigma Ornamente (1911), Bastard gross (a Kanzlei typeface with mager and fett versions), Werkschrift Germanisch (ca. 1880), Tango-Cursiv (1914), and Bismarck-Gotisch gross, all digitally revived by Gerhard Helzel. His TipTop (ca. 1900) was digitized under the same name by Petra Heidorn (2004). Tip Top Pro (2008, URW++) is a commercial revival of the same typeface by Ralph M. Unger.

    On EBay, they were selling the specimen book: See here. Their main specimen books are Gesamt-Probe der Schriftgiesserei Julius Klinkhardt in Leipzig und Wien (1885, 690 pages) and Oktav-Probe II (1890, 452 pages). See the cover of an earlier specimen book.

    Some type designers:

    • Richard Grimm-Sachsenberg: Grimm-Antiqua und Schmuck (1914), Neue römische Antiqua (1907), Saxonia (1907), magere römische Antiqua (1912).
    • Heinz König: Rundine (1913).
    • Hermann Delitsch: Ramses (1912, an Antiqua face), Delitsch-Kanzlei (1903), Delitsch Antiqua (1911).
    • Julius Nitsche: Unger Fraktur (1910; Wetzig says 1907), Neudeutsche Ornamente (1911), Buchschmuck (1905), Akzidenz-Zierat (1905).
    • Remarkable typefaces: Schmale Runde Grotesk (1885, a forerunner of DIN?).
    • Gadso Weiland: Toscana Schriften und Schmuck (1908).

    Examples from their catalog from 1890: Fette Universal, Garnitur XII and XIII, Garnitur XIV, Kurrentschrift, Verzierte Merkur Kanzlei, and Neue Cursiv Zierschrift, Antika and Italia Grotesk Versalien, drawing of a boudoir, Enge Egyptienne, Fette Cursiv, Fraktur, Halbfette Fraktur, Holz Schriften (wood type), more wood type, drawing of horses, Moderne Fette Fraktur, monograms, Neue Fette Fraktur and Victoria Gotisch, Neue Fette Fraktur, Neue Schmale Fette Egyptienne, Romanische Gotisch, Rundschrift Polytypen, Schmale Antiqua, Schmale Fraktur, Schmale Halbfette Grotesk, Schwabacher, Silhouette Initialen, Stickmuster Typen, vignetten, more vignetten, Zierschriften, more Zierschriften, Zweifarben-Schriften. [Google] [More]  ⦿

    Julius Rodenberg

    Author of In der Schmiede der Schrift Karl Klingspor und sein Werk (1940, Buchmeister Verlag, Berlin), a German book set in blackletter. It tells a bit of Karl Klingspor's story through his involvement at the Rudhardsche Giesserei in Offenbach a.M. (1892-1905) (with sections on Heinz König, Otto Eckmann and Peter Behrens), his startup of Gebr. Klingspor in 1906 (with sections on Otto Hupp, Rudolf Koch and Walter Tiemann). He also penned Die Deutsche Schriftgiesserei (Verlag der Gutenberg-Gesellschaft, Mainz, 1927), which describes the foundries in Germany at the time. [Google] [More]  ⦿

    Julius Schmohl

    In 1891, Julius Schmohl and Ernst Lauschke designed an art nouveau and a Victorian face for BBS. Schmohl was born in Germany, but lived in Chicago for most of his life. In 1895, he and Max Rosenow published an upright script with BBS. This ronde typeface was originally known as Oliphant and renamed Advertisers Upright Script in 1925. In 2014, Spiece Graphics created a digital version of it, Milroy Upright SG. [Google] [MyFonts] [More]  ⦿

    Julius Wiescher
    [Authentic]

    [MyFonts] [More]  ⦿

    Julliversum
    [Angela Neubauer]

    Angela Neubauer (aka Julliversum) is a German freelance graphic designer, b. Bergisch Gladbach, 1985.

    Angela created the free hand-printed typefaces Delicious Curls and Julliscriptum (+Reloaded) in 2012.

    Dafont link. [Google] [More]  ⦿

    Just Another Foundry (or: JAF34)
    [Tim Ahrens]

    Just Another Foundry (or: JAF34) was established in 2005 by Tim Ahrens (b. 1976, Heidelberg, Germany). He studied architecture at the University of Kasrlsruhe and type design at the University of Reading (2007). He now lives in Oxford, where he works as a type designer and architect. His typefaces:

    • JAF Bernini Sans (2012). A winner at TDC 2013. A corporate humanist sans family consisting of tens of styles, from compressed to narrow and regular, and partitioned into a serious JAF Bernino Sans and a more playful JAF Bernina Sans. The ample choices, especially in degrees of compression, makes this a prime candidate for the 2012 Oscars.
    • JAF Mashine (Just Another Foundry (2005). An octagonal / mechanical family.
    • JAF Lapture (2004, Just Another Foundry), A redesign of Albert Kapr's (angular, calligraphic) Leipziger Antiqua of 1971.
    • His MA project in Reading saw the development of Herb (2007), a hookish display face. Herb was extended in 2010 into a full family, which is still genetically linked to blackletters.
    • Facit (2005, a sans family).
    • Zalamander (2006). An angular comic book family.
    • With Brian Jaramillo, he designed JAF Peacock from 2007-2010. It was inspired by the Flair typefaces of the 1970s and contains 1200 glyphs and alternates.
    • JAF Domus Titling (2011). Designed with Shoko Mugikura, this is a rounded typeface with classical Roman proportions.
    • In 2015, Shoko Mugikura and Tim Ahrens revived the squarish blackletter Johannes Type (Johannes Schulz at Genzsch & Heyse, 1933) as JAF Johannes.
    • The sans serif family Linotype Aroma (1999), followed by Linotype Aroma No. 2 (2007).

    At ATypI 2008 in St. Petersburg, he spoke about Font Remix Tools and on Optical Sizes. In 2010, he started a web font service. In 2011, I found his name listed as an employee of the web font service Typekit.

    Author of Size-specific Adjustments to Type Designs: An Investigation of the Principles Guiding the Design of Optical Sizes (2008, Mark Batty Publisher). Technical image from that book.

    Abstract Fonts link. MyFonts page. FontShop link. Linotype page. Home page. Creative Market link. Klingspor link. View Tim Ahrens's typefaces. [Google] [MyFonts] [More]  ⦿

    Justine Hahn

    Hamburg, Germany-based designer of the display typeface Mari (2020) at HAV Hamburg. [Google] [More]  ⦿

    Justus Erich Walbaum

    Born in 1768 in Steinlah (Braunschweig), Walbaum died in Weimar in 1839 [Jay Rutherford puts his death in 1838]. This German punchcutter and typefounder introduced the modern (i.e., didone) lettershapes. In 1796, he acquires printer Ernst Wilhem Kircher's type foundry in Goslar, and moves it to Weimar in 1803. He runs the foundry until 1836, at which point he sold it to F. A. Brockhaus in Leipzig. In 1918, H. Berthold AG in Berlin gains possession of art of the Walbaum foundry and some of its matrices. Walbaum produced Walbaum Fraktur (1800) but is best known for his didone masterpiece, the Walbaum (1804), aka Walbaum Antiqua and kursiv. Klingspor pins the date at 1800. The early modern metal versions include Walbaum 374 (1933 and 1934, Monotype), and the later ones Walbaum 674 (1957, Monotype) and the Typoart version. Versions and revivlas from the digital age:

    • Walbaum LT (Linotype). This family has 34 weights.
    • Walbaum SB and Walbaum SH (Scangraphic).
    • G.G. Lange's Berthold Walbaum Book is based on the 16 point size of Walbaum's 1804 typeface and has great contrast in stroke weight [see Walbaum Display on the SoftMaker MegaFont XXL CD, 2002]. Berthold released Berthold Walbaum Book in 1975. It is well-suited for body copy, particularly for formal documents that need a contemporary flair, as well as for headlines.
    • Khunrath's revival called Justus (2008, Open Font Library) has six styles and is free.
    • Walbaum Text (2002) by Frantisek Storm. Storm also released Walbaum 10 Pro (2010) and Walbaum 2010 Pro (2010), which are extensive (and gorgeous!) didone families, the latter obtained from the former by optical thinning. Storm quips: I only hope that mister Justus Erich won't pull me by the ear when we'll meet on the other side. Advertised as a poster sans family, he also offers Walbaum Grotesk Pro (2011).
    • Walbaum Antiqua Pro (2013, Ralph M. Unger).
    • In 2018, Monotype's Carl Crossgrove, Charles Nix, Juan Villanueva and Lynne Yun co-designed Walbaum, a reimagined superfamily with 69 total fonts, in five optical sizes. Monotype writes: Walbaum was meticulously crafted by Monotype's Carl Crossgrove, Charles Nix, and Juan Villanueva to bring Justus Erich Walbaum's high contrast didone style masterpiece to the 21st century. Walbaum has over 600 glyphs with OpenType typographic features like small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures. Also included in the family are three decorative and ornament fonts.

    Walbaum Fraktur (ca. 1800, Berthold) is called W650 Blackletter and Walbaum Fraktur on the SoftMaker MegaFont XXL CD (2002) and DS-Walbaum Fraktur by Delbanco. Softmaker later realeased Walbaum Fraktur No. 2 Pro and Walbaum Zierfraktur Pro. URW also has a version, Walbaum Fraktur, and Linotype's is also called Walbaum Fraktur. See also Scangraphic's Walbaum Fraktur SH and Walbaum Fraktur SB, Dieter Steffmann's Walbaum Fraktur (2002), and Elsner and Flake's EF Walbaum Fraktur.

    In 2010, Mallory Wiegers published a couple of insightful posters on Walbaum's modern typefaces.

    Linotype link.

    MyFonts listing of digitizations of his work. Kernest link. [Google] [MyFonts] [More]  ⦿

    Jutojo

    Berlin-based design studio, which made the 3d paperclip font Inbetween (2009, Die Gestalten). Jutojo was founded in 1998 by Julie Gayard, Toby Cornish and Johannes Braun. They are affiliated with Die Gestalten. [Google] [More]  ⦿

    Jürgen Adolph

    Jürgen Adolph studied Communication Design with Werner Schneider at the Fachhochschule Stuttgart, and started his career in 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks such as Adidas, BMW, Germanwings and Merz. He has been honored as a member of the Art Directors Club (ADC) with more than 100 award. He participated in the Linotype International Type design Contest in 2000. In 2018, he published these well-balanced and integrated typeface families at Elsner & Flake: Vianova Slab Pro, Vianova Serif Pro, Vianova Sans Pro. [Google] [MyFonts] [More]  ⦿

    Jürgen Brinckmann

    German graphic designer (b. Aachen, 1960). His designs at FontFont include FF Ophelia Regular (1993, blackletter), FF Madonna Regular (1993, Celtic), FF Lukrezia Regular (1993, Celtic), FF RopsenScript (2001) and FF Humanist Regular, all calligraphic and/or old-text creations. EF Artemisia is a great OSF font at Elsner and Flake. Check also EF Carus (2003) and Justus Fraktur. EF Filzerhand and Graphis EF are ordinary hand-printed typefaces. EF Karolinger has a Celtic feel, and EF Medieva even more so. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Jürgen Geiger
    [Geiger Artwork]

    [More]  ⦿

    Jürgen Huber
    [Supertype]

    [More]  ⦿

    Jürgen Huber
    [Type Department]

    [MyFonts] [More]  ⦿

    Jürgen Sanides

    Visual designer and a natural scientist who has taught in various art and design schools in Russia, Germany and the Baltics. At Juliasys he is in charge of font back end and OpenType coding. His typefaces include Colorado (2016), a ribbon type family with several kinds of zebra stripes. It was co-designed with Julia Sysmäläinen. [Google] [MyFonts] [More]  ⦿

    Jürgen Sanides

    German designer. Co-creator with Julia Sysmäläinen of FF Mister K Pro (2008, FontFont; a winner at Paratype K2009). [Google] [More]  ⦿

    Jürgen Siebert
    [Fontblog]

    [More]  ⦿

    Jürgen Siebert

    In 1995, Siebert (b. 1956) designed Ampelmaennchen for FontShop International. Jürgen Siebert is co-editor of the FontBook typeface encyclopaedia, a member of the FontFont Typeboard and, since November 2001, the Chief Marketing Officer of FontShop AG. Bio. [Google] [More]  ⦿

    Jürgen Weltin
    [Typematters.de]

    [MyFonts] [More]  ⦿

    Jürgen Wiegand

    Type designer who worked for H. Berthold AG. Designs include Wiegands Adbold (1974), Wiegands Baroque (1977, +Italic), Wiegands Renaissance (1978) and Wiegands Roundhead (1974). [Google] [More]  ⦿

    Jürgen Willrodt

    Born in Hamburg in 1950, Willrodt worked for some years at the University of Hamburg in theoretical particle physics, and got a Ph.D. in theoretical particle physics in 1976. Willrodt joined URW 1983 as a software developer, where he was introduced to Peter Karow's Ikarus font editor. He has been the main developer of the Ikarus font production system since 1985, developing interpolation, autotracing, and hinting algorithms as well as special algorithms for Kanji separation. He ported Ikarus from DEC to Sun UNIX, and developed Ikarus for URW's Asian customers. On March 1, 1995, after URW ceased to exist, Jürgen co-founded URW++ with Svend Bang, Hans-Jochen Lau and Albert-Jan Pool, a URW spin-off group of design and production experts. Since then he has been managing director at URW++, and is responsible for font production and font tools development (Ikarus, OT Master and DTL FontMaster).

    He designed the calligraphic scripts Concerto Pro (2007) and Sonata Pro (2007) with Peter Rosenfeld at Profonts. At ATypI 2008 in St. Petersburg, he spoke about automating the font production process and editing OpenType fonts. His also spoke at ATypI 2014 in Barcelona. [Google] [MyFonts] [More]  ⦿

    Juxberg-Rust

    Offenbach-based foundry taken over by Stempel in 1897. [Google] [More]  ⦿

    K. Lehmann

    Designer of Lehmann-Fraktur (1919-1920, Schriftguss). [Google] [More]  ⦿

    K. Mellbach

    German designer of the free bouncy poster font Alduur (2019) and the oriental simulation font Chops Uey (2019). [Google] [More]  ⦿

    K. Sommer

    Designer of the (in my opinion, disastrous) art deco font typeface Dynamo (Ludwig&Mayer, 1930; now a Berthold font) with its awkward serifs. Digital versions:

    • Dynamo EF and Dynamo Shadow EF (Elsner & Flake).
    • Durango No. 2 (2012, SoftMaker). An earlier version at SofyMaker was called D891 Deco.
    • Elektromoto NF (2011, Nick Curtis). Nick has superb taste, but why he chose to revive Dynamo remains an enigma.
    • Campora (2019). A distant relative by Salvador Rodriguez inspired by Dynamo.

    Sommer also created Vulcan (1929). Linotype link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Kabel
    [Rudolf Koch]

    Kabel was designed by Rudolf Koch in 1927. Many of its commercial versions are shown in this link. [Google] [More]  ⦿

    Kai Bernau
    [Atelier Carvalho Bernau]

    [More]  ⦿

    Kai Bernau
    [Letterlabor]

    [More]  ⦿

    Kai Brunning

    Kai Brunning works at clandrei in Germany and designed some fonts at fontomas.com, such as ATPInteractive (1998). [Google] [More]  ⦿

    Kai Büschl

    Born in 1971, Kai Büschl studied graphic design at the University of Applied Science Augsburg, Germany from 1993-1998. One of the three cofounders of Lazydogs Type foundry in Augsburg, Germany. In 2005 Kai was appointed visiting professor at the HBK Saar (University of Fine Arts Saarbrwücken).

    In 2017, he developed the didone typeface family LD Moderne Antiqua (and LD Moderne Antiqua fat) with three optical sizes for each style. LD Moderne Antiqua Fat finds its model in fat modern style typefaces of the seventies. In 2018, it was followed by the Clarendon style LD Moderne Slab. Proof & Co write: LD Moderne Slab is a tidy and classic take on the Clarendon style, with its more square proportions, Its proud and definitive features, and its well heeled serifs. It's clean, it's neat, it's rather nicely put together---in other words, it's a serious study in subtlety. If you set a line of it in open white space, stand back and let the letters breathe, it suddenly takes on a prestigious and stately vibe, and that's a result of the million tiny little things going on in its design that you wouldn't otherwise note but are working hard to express a modern refinement. I like LD Moderne Slab because its an unexpectedly elevated and quiet offering in a field of louder personalities. [Google] [More]  ⦿

    Kai F. Oetzbach
    [Typo Knowledge Base (tkb)]

    [More]  ⦿

    Kai Gehrke

    Hamburg-based designer (b. 1993) of the free modular typeface Flexus (2017). [Google] [More]  ⦿

    Kai Merker

    German co-founder with Stefan Huebsch of Typocalypse Types in 2009. [Google] [MyFonts] [More]  ⦿

    Kai Vermehr

    Born in 1964 in Frankfurt-am-Main. German Berlin-based Fontfont designer of E-boy, PEECOL (robot dingbats, together with Steffen Sauerteig, 1998), SubVario-SubMono (1998), an in my opinion less successful sans serif family. A test version of FF PEECOL can be downloaded here. He also made the free FF font FF Xcreen. With the "eBoys" Steffen Sauerteig and Svend Smital, he created more bitmap fonts, FF Typestar (1999), FF Screenstar, and FF Scriptstar (2003).

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

    Kaiser Type
    [Bertram Kaiser]

    Munich, Germany-based designer of the classical antiqua typeface Equipe (2015)---think lively Didot. He also made a series of calligraphic alphabets in his Schriftfamilie project (2015).

    In 2019, he released the calligrpahic blackletter font Kaiser Fraktur, which was inspired by original manuscripts of Johann Neudörffer and Leonhard Wagner.

    In 2021, he published Pontina (a 6-style ball terminal didone) and the chancery script Humanista , which features a choice of calligraphic swash caps or Zapf-like italic caps (in the Pro version only).

    Typefaces from 2022: Triole 21 (a rotunda). [Google] [MyFonts] [More]  ⦿

    Kalligraphie
    [Susanne Ulmke]

    German calligraphy jump site, maintained by Susanne Ulmke. There is also a great list of initial caps. We find 4 hieroglyphic fonts (GlyphBasic1 through 4) from the Centre for Computer-aided Egyptological Research, Utrecht University, The Netherlands, 1995. [Google] [More]  ⦿

    kame Design (was: kametype)
    [Joachim Müller-Lancé]

    Joachim Müller-Lancé is a German designer (born St. Wendel, Saar, 1961), who was trained in Basel and at the Cooper Union in New York. He had his own studio in Barcelona, where he taught information design at Elisava School. He was lead information designer for Barclays Global Investors in San Francisco for 3 years. Currently, he lives in Umkirch near Freiburg and/or San Francisco. Timeline of his achievements:

    • 1993. His Lancé type family (FF Lancé) won him the coveted Morisawa award in 1993.
    • His typefaces Flood (brush), Ouch and Shuriken Boy are available from Adobe.
    • He designed the kanji/Latin typeface Shirokuro, which won two awards at the 1999 Morisawa Awards.
    • 1996. He created an outline face.
    • 1997. He established kametype in 1997. Emodigi site.
    • 2001. In 2001, he started up Typebox with Mike Kohnke. His fonts there include Monodular (2003), Tiny Tim and TX Cortina (1997, an LED style face). At Bukvaraz 2001, he won awards for Nichiyou Daiku, Shuriken, Pesaro and Shirokuro.
    • 2002. He co-designed the dingbat font TXSignal Signifort (Typebox) with eight others.
    • 2006. At AND in 2006, he created the hand signal dingbat font H-AND-S together with Jean-Benoît Lévy, Diana Alisandra Stoen, Sylvestre Lucia and Mike Kohnke.
    • 2011. In 2011, he published Uppercut Angle (Delve Fonts), which was originally developed for the Krav Maga training center of San Francisco. Also at Delve, he (re-)published the futuristic family Cortina in that year. With Ernesto Gonzalez Serros, he co-designed Chato.
    • 2012. With Erik Adigard of MAD Design in Sausalito, he created the rounded octagonal monospace typeface family Oktal Mono (Delve Fonts).
    • 2015. Owlphabet (a decorative caps font).
    • 2015. Fleisch Wolf & Wurst: a fun German expressionist blackletter typeface.
    • 2015. Stenciletta (Delve Fonts).

    Linotype link. FontShop link. Klingspor link. Creative market link.

    View Joachim Müller-Lanceé's typefaces. [Google] [MyFonts] [More]  ⦿

    Kapitza
    [Nicole Kapitza]

    Kapitza is run by the Oberndorf, Germany-born Kapitza sisters, Nicole and Petra. They relocated to London to study graphic design at Camberwell College of the Arts. They established Kapitza in 2003 in London, where they create imaginative dingbat fonts.

    Their typefaces: Loop (2012, interlocking circles), Wave (2012), Dash (2012), Pod (2012), Tape (2012), Orbit (2011, circular scribbles), Dainty (2011), We Love Mature Autumn Leaves (2011), We Love Nature Blooms (2010, +Outline), Furry (2010, silhouettes of cats and dogs), We Love Nature Leaves (2010), We Love Nature Bouquet Flowers (2011), We Love Nature Summer Flowers (2011), Roto (2011, kaleidoscopic ornaments), Paris (2010, Paris-themed dingbats T-26), New York (2010, T-26), Dalston (2010: a silhouette font), FF Elementary (1995), Moonscape (1995, T-26, grunge font), East End (2005, silhouette fonts consisting of Brick Lane, Liverpool Street and Victoria Park), Blossomy (2005, T-26, flower dingbats), Posy (2009, a flower font inspired by the plant Sison Amomum or Stone Parsley), and LunarOrbiter (1998, T-26, text font), the animal dingbat fonts Furry (2006) and Feathery (2006), Hearts (2007), Pop (2007), Pop Flowers (2007), Architekt (2007), Brick Lane (2005), Victoria Park (2005), Liverpool Street (2005), Painter (2007, a brush face), We Love Nature (2009, flowers), We Love Nature Stems (2010, +Two), We Love Nature Forest (2010), Snow (2009, snow crystals), Manhattan (2009, silhouettes), Cyberkids, Cybergirls and Cyberboys (2007, silhouette typefaces), Ice Flowers (2009), Geometric (2008, 101 fonts with patterns).

    Nicole also makes high quality vector graphics such as this beautiful set of snow crystals. Other vector illustrations include leaves, flowers, a herbarium, blooms, stems, heads of people and pop flowers.

    Myfonts link. FontShop link. Interview by MyFonts in 2010. Klingspor link.

    Interview in 2010. [Google] [MyFonts] [More]  ⦿

    Kara Zichittella
    [Zeitype]

    [More]  ⦿

    Karin Huschka

    German designer of Linotype Authentic (1999, sans, serif, stencil), Chineze Dragon (2002, Linotype, a dingbat font) and Picture Yourself (2003, Linotype, with Peter Huschka), which won an award at the Linotype International Type Design Contest 2003. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Karl Adam Vollmer

    Type designer, b. 1901, Rheindürkheim. He created the blackletter typeface Ulenspiegel (1939, Bauersche Giesserei). [Google] [More]  ⦿

    Karl Christoph Traugott Tauchnitz
    [Karl Tauchnitz]

    [More]  ⦿

    Karl Hans Walter

    Born in 1911 in Schwäbisch Gmünd. Professor in Nürnberg, who designed Hiero Rhode Kursiv in 1958 at Johannes Wagner. [Google] [More]  ⦿

    Karl Hermann Schaefer

    German type designer, b. Diortmund, 1892, d. Bethel, 1947. He studied at the Kunstgewerbeschule in Dortmund. From the 1930s onwards, he ran the print shop Bald&Krüger in Hagen. Schaefer designed these typefaces:

    • The five-line shaded art deco typeface Fatima (1933, Schriftguss). A later copy at FT Française was called Atlas (1933). This was digitized by Harold Lohner in 2001 first as Farouk, but then renamed Atlas. In 2016, Manuel Lage extended Fatima to Alicia LGF. Vladimir Nikolic designed the free typeface Schaeffer in 2017 based on Fatima.
    • Versalien or Schaefer Versalien (Schriftguss, 1927). A lineale titling font on a shaded background. Chiron did a revival called TbC Schaefer-Versalien (2012). Nick Curtis created a commercial version called Capital Ideas 2 NF.
    • Capitol (Schriftguss, 1931). A lineale with an extra vertical stroke on the left of each glyph, typical of the art deco era. For a revival, see Capitol Pro (2012, Ralph M. Unger).
    • Cito Versalien (1930, Schriftguss).
    • Orchidea (1937, Schriftguss). A script face.
    • Blickfang Schmuck (1927, Schriftguss). Ornaments and dingbats.
    • Kombi (1930, Ludwig & Mayer).
    [Google] [More]  ⦿

    Karl Klauß

    German type designer, b. 1888, Maichingen, d. 1956, Stuttgart. He was trained as a designer in a graphic arts institution in Stuttgart, then became the house graphic artist and artistic director of Verlagsanstalt Tyrolia from 1915 to 1916 and from 1919 to 1925. Designer of these typefaces at Genzsch&Heyse>:

    • The script typeface Adagio (Genzsch&Heyse 1935, Bauersche Giesserei, 1953).
    • Arkona (1935, Berthold; +fett). See Argentine on the SoftMaker MegaFont XXL CD, 2002, or Ark by Primafont.
    • Horizontale (1942).
    • Klauß-Kursiv (1956-1958). A fifties diner script. Revival as P22 Klauss Kursiv (2018, Parick Griffin for P22).

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

    Karl Klimsch

    Type designer, born in 1867 according to some sources [this must be wrong!]. He created Flinsch-Germanisch (1876, Flinsch), a blackletter face. In 1877, he created some decorative typefaces at Klinkhardt, called Zierschriften. One of his ornamental typefaces from 1869 was revived by Paul Lloyd as the free fonts Saraband Lettering and Saraband Initials (2002). In 1878, he published Zierschriften von Karl Klimsch Band I. Dover republished two books by this author: 2,100 Victorian Monograms (1994), and Florid Victorian Ornament (1977). [Google] [More]  ⦿

    Karl Klingspor
    [Klingspor (or: Gebrüder Klingspor)]

    [MyFonts] [More]  ⦿

    Karl Kranke

    Designer at Schriftguss of the multiple-lined display font Diploma (1935), the arched typeface Ondina (1935) and the textured multilined art deco caps typeface Supremo Versalien (1932). [Google] [More]  ⦿

    Karl Krauß

    German designer at profonts of Adagio Pro (2006), a connected calligraphic copperplate script. [Google] [More]  ⦿

    Karl Lürtzing

    Designer of Modernes Alphabet (1900) for the German periodical Deutsche Kunst und Dekoration. [Google] [More]  ⦿

    Karl Matthies

    Sometimes written Carl Matthies, b. 1878, d. 1914, Berlin. Schrägschrift type designer: Matthies Kursiv (1912, D. Stempel). [Google] [More]  ⦿

    Karl Michel

    Berlin-based designer (b. 1885, Leipzig) of Schraffierte Antiqua (1919, Klingspor) and Shaded Roman (1919, Klingspor). [Google] [More]  ⦿

    Karl Mohrmann

    German professor whose designs for the Lutheran songbook of the Hannoverschen Landeskirche led to Mohrmann-Schrift, produced in 1910 by Flinsch. [Google] [More]  ⦿

    Karl Pausch

    German type designer, d. 1984. He created Kap Antiqua (1970s, VGC). For a remote revival, see Patrick Griffin's P22 Barabajagal (2018). [Google] [More]  ⦿

    Karl Rupprecht

    Designer of Buchgotisch (H. Hoffmeister, 1908). We also find Buchgotisch (1908), Buchgotisch Halbfette (1909) and Buchgotisch Fette (1910) at D. Stempel AG. [Google] [More]  ⦿

    Karl Schäffer

    Karl Schäffer's rustic German expressionist lettering from ca. 1939 was captured by Ingo Zimmermann in 2008 in his Palmona (and Palmona Plus) typeface. Ingo writes: The letters present the effect of woodcarving or silhouette cuttings as they are defined exclusively with straight lines and sharp corners. Even in modern times, there is again the demand for hand carved fonts and there is hardly anyone who still wants or can write such a type him or herself. [Google] [More]  ⦿

    Karl Tauchnitz
    [Karl Christoph Traugott Tauchnitz]

    Leipzig-based foundry. Karl Tauchnitz (b. 1761, Grossbardau bei Grimma, Germany) set up a print shop in 1797 and a type foundry in 1800. He had studied in Leipzig. To improve the quality and reduce the costs of book production, he introdiced stereotyping in 1816, and received assistance with typefaces from punchcutter Johann Gottfried Schelter. Karl died in 1836.

    His son Philipp Tauchnitz (b. 1798) continued the business but declined steadily. In 1865, the printing and typefounding company fell in the hands of Friedrich Ludwig Metzger, who had worked for Tauchnitz. Philipp Tauchnitz died in 1884. He left his considerable holdings, over 41 million marks, to the city of Leipzig.

    Reference: Proben aus der Schriftgiesserei von Karl Tauchnitz in Leipzig (1825, Leipzig). [Google] [More]  ⦿

    Karl Vöhringer

    Author of Druckschriften kennenlernen, unterscheiden, anwenden (Verlag Form und Technik, Stuttgart). [Google] [More]  ⦿

    Karl Welker
    [Meine Unterschrift]

    [More]  ⦿

    Karl-Christian Lege

    Köln-based type designer who is working on an optically scaled collection of Palatino typefaces. [Google] [More]  ⦿

    Karl-Friedrich Kai F. Oetzbach

    German type and graphic designer, who lives in Stolberg. His type designs can be found at FontFarm, where he co-designed these fonts with Natascha Dell in 2005-2006: Agendatype (+Swash), Goffik-Outline, Goffik-Shadow, KofiPure (in Sans, Serif and SemisKursiv), NakoticaBarrow (techno), Nafi (2005, upright connected script and some dingbats), Caput (2008, a sans family), Jenny (a six-style family that grew out of Jenson Antiqua into a more angular carapace), Parker-Barrow (a sans+slab experiment).

    Typefaces by the same pair in 2011: Gedau Gothic (grotesque family), Ergilo (angular serif family). Newtype is a 36-style superfamily for headlines, information design and short passages. [Google] [More]  ⦿

    Karlgeorg Hoefer

    German scribe, type designer and unbelievable calligrapher, b. 1914 in Schlesisch-Drehnow, d. 2000 in Offenbach. Following schooling in Schlesien and Hamburg, he served a four-year typesetting apprenticeship from 1930-1934 in Hamburg and later at the Kunstgewerbeschule (School of Arts and Crafts) in Offenbach am Main. From 1939 until 1945 he was in active military service and became a prisoner of the Russians. After that ordeal, he became a calligraphy teacher at the Werkkunstschule in Offenbach, and developed a universal pen with novel writing and drawing techniques for the company Brause. It is at that point that Hoefer started designing types as well. From 1970 to 1979, Hoefer was a lecturer and later professor at the HfG (School of Design) in Offenbach. From 1981 to 1988, Hoefer ran summer calligraphy workshops in the USA (Los Angeles, San Francisco, Boston, New York, Washington, and other cities). In 1982, Karlgeorg Hoefer founded a calligraphy workshop in Offenbach for everyone, with evening courses and summer school, and in 1987, the registered association "Calligraphy Workshop Klingspor, Offenbach, Supporters of International Calligraphy." From 1987 to 1995, he was the chairman of the association while teaching continuing courses and summer school classes with leading foreign calligraphers. Hoefer has written two books about calligraphy: "Das alles mit einer Feder" (Brause, 1953) and "Kalligraphie, gestaltete Handschrift" (Econ, 1986). Numerous articles about Hoefer's work have appeared in calligraphy journals in Holland, France, the USA, and Japan. In 1989, the book "Schriftkunst/Letterart Karlgeorg Hoefer" was published as part of Calligraphy-Editions Herbert Maring (Die Kalligraphie Edition, Hardheim, Germany, 1989). For his activities as a calligrapher, Hoefer received the Order of Merit of the Federal Republic of Germany in 1993. His typefaces:

    • At Klingspor: Salto (1952), Saltino (1953), Saltarello (1954), Monsun (1954). Salto is a famous and often-copied brush script.
    • At D. Stempel: Prima (1957), Zebra (1963-1965, D. Stempel, a script that plays on the simulation of grey and the use of two colors; revived by Colin Kahn in 2007 as P22 Zebra).
    • At Ludwig&Mayer: Permanent (1962-1969, a large Grotesk family developed over many years---this was revived by Daylight in 2010 as Permanent Massiv; URW sells Permanent Headline URW D without even a word about the original designer; Softmaker has Plakette Serial and P700 sans; Castcraft has OPTI Permanent and OPTI Pinacle; Marcus Sterz published Letterpress Headline in 2009), Stereo (1963, an outline poster headline script developed between 1957 and 1968; digitally revived in 1993 as Stereo (Tobias Frere-Jones, Font Bureau)), Elegance (1964, a handwriting script, which was the basis for Sincerely (2005, Canada Type)), Big Band (1974, a fat poster script revived in 2007 by Nick Curtis as Baby Cakes NF (2007)), Big Band Terrazzo (1974, a glaz krak face), Headline (1964, a poster typeface that emanated from Permanent).
    • Programm-Grotesk (1970): Hoefer's first digital typeface, commissioned by JT Hellas for the Greek telephone books It was first used in the digital machine Digiset of Dr. Ing. Hell in Kiel.
    • From 1978 until 1980, Karlgeorg got involved in the development of a German license plate font that could withstand forgery by black marker pens. The typeface, FE Mittelschrift/Engschrift, had also input from other sources.
    • Lateinischen Ausgangsschrift (1974): a school script for the Linotype phototypesetter. This led later to VA Schrift (Berthold and Linotype).
    • At Linotype: Omnia (1990, a unicase typeface with a Celtic uncial feel), San Marco (1990, round gothic / Rundgotisch), Notre Dame (1991-1993, a full blackletter face), Dominatrix (1994), Sho (1992, an Asian brush script), Beneta (1992, a French bastarda inspired by the Littera beneventana, the script of the Benedictine scribes from the 10th to the 12th century).

    Linotype page. FontShop link.

    View Karlgeorg Hoefer's typefaces. [Google] [MyFonts] [More]  ⦿

    Karl-Heinz Domning

    Creator (b. 1938, Lasdehnen, Germany) of typefaces at VGC, such as Domning Antiqua (1966). In the Berthold Types Collection, he has Quadra 57 BQ (1974, a great slab serif), Viola (1973, didone) and Simone BQ (1974, didone).

    Klingspor link.

    View Karl-Heinz Domning's typefaces. [Google] [MyFonts] [More]  ⦿

    Karl-Heinz Lange

    Type designer (b. 1929, Wiesenkirch, d. 2010) at Typoart Dresden (former East Germany).

    Karl-Heinz was enrolled in the Humanistic Gymnasium at Elbing from 1939 to 1945 and changed to the Wernigerode High School after his family had to flee to central Germany. From 1949 to 1951, Karl-Heinz Lange studied at the Werkkunstschule Halle, where one of his teachers was Professor Post. After 1951, he continued his studies at the Hochschule for Grafik und Buchkunst in Leipzig with an emphasis on book design. He received his diploma in 1955 with distinction based on his design of a hot metal typeface. From 1956 to 1961, Karl-Heinz Lange worked as a lecturer for Type and Commercial Graphics at the Hochschule für Angewandte Kunst in Magdeburg. From 1961 to 1963, he taught at the Hochschule für Grafik und Buchkunst in Leipzig, and finally as a freelance commercial designer in Magdeburg. From 1969 to 1976 he was Artistic Director at Henschelverlag, Berlin. From 1976 until 1994 he was Professor of Type and Typography at the Fachschule für Werbung und Gestaltung in Berlin. From 2005 to 2007 he taught at the Fachhochschule Magdeburg/Stendal.

    Karl-Heinz Lange was awarded the second prize at the International Type Design Contest 1971 for a headline typeface, and, in 1984, at the XIth Biannual of Graphic Design in Brno, he won a silver medal for Publica. He created the telephone book typeface Minima and redesigned the Typoart Super Grotesk (Arno Drescher, 1930) as well as the newspaper typeface Magna (originally by Herbert Thannhaeuser). His fonts include:

    • Publika: a sans typeface developed between 1981 and 1983---this must have been one of the last big East German typefaces.... It obtained a silver medal at the Bienale of Graphic Design Brno 1984.
    • Primus (a 1962 workhorse family for the magazines in the DDR), Magna (a DDR magazine text typeface from 1968) and Typoart Super Grotesk. These metal typefaces were adapted for Phototype by Lange.
    • Minima (1984): a narrow sans designed for the DDR's telephone directory. Revived by Ralph M. Unger in 2017 as Tablica.
    • ViabellaT H Pro (2009-2016). From 2006 until 2009, Veronika Elsner and Günther Flake helped Lange with his new signage script typeface Viabella. Earlier, Elsner and Flake published Lange's Rotola (1985/2007). Viabella and Rotola were adjusted and finished after Lange's death by the type designer Björn Gogalla.
    • At the end of his life, Lange had a fruitful cooperation with Primetype. His old typefaces were revived in 2009 with the help of Ole Schäfer as Publicala [PTL Publicala has 60 typefaces], Minimala [PTL Minimala is a family of 96 fonts from Primetype] and Superla [PTL Superla has 64 styles in the geometric/Futura genre]. The first two names refer, of course, to Publika and Minima.
    • Rotula TH Pro (2016, Elsner & Flake). When first developed in 1985 at Typoart, Lange called this circle-themed psychedelic font Boutique. It was further developed by him from 2006 until 2009, and finally published by Elsner & Flake after his death in 2016.
    Obituary (in German) by Ivo Grabowitsch. [Google] [MyFonts] [More]  ⦿

    Karl-Max Kapplusch

    Designer of EF Kapplush, a pixel font. At Scangraphic, it is called Kapplusch SB.

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

    Karolin Schubert

    Karolin Schubert (Koerri Design, Hamburg, Germany) created the sans typeface Hantzsch (2014). Behance link. [Google] [More]  ⦿

    Karow Verlag

    Peter Karow's Hamburg-based type software company. Peter Karow has written extensively on the technical aspects of type design. [Google] [More]  ⦿

    Karsten Lampe

    Berlin-based designer (b. 1984) of the handcrafted typeface Netsrak (2016). Dafont link. [Google] [More]  ⦿

    Karsten Lampe

    Berlin-based designer of the free handcrafted typeface Netsrak (2015). [Google] [More]  ⦿

    Karsten Lücke
    [KLTF (Karsten Lücke Type Faces)]

    [MyFonts] [More]  ⦿

    Karsten Steens

    Young designer at fontgrube who made the connected fifties diner typeface Velocette (1999). Free from Dafont. [Google] [More]  ⦿

    Kateryna Frankenstein

    Reutlingen, Germany-based designer of the hipster typeface Urban (2016). [Google] [More]  ⦿

    Kateryna Topchii

    Graphic designer in Frankfurt am Main, who created the display typeface Archtype in 2017. [Google] [More]  ⦿

    Katharina Jung

    Berlin, Germany-based designer of the angular monoline sans serif typeface Lehmann (2015). Behance link. [Google] [More]  ⦿

    Katharina Köhler
    [Ktell]

    [More]  ⦿

    Katharina Köngeter

    Stuttgart, Germany-based designer of the thin sans typeface Simplicity (2016). [Google] [More]  ⦿

    Katharina Krämer

    During her graphic design studies in Trier, Germany, Katharina Krämer designed the grungy typeface Revivo (2013). [Google] [More]  ⦿

    Katharina Seidl

    Munich, Germany-based graphic and type designer (b. 1986) who studied type design at the University of Reading, class of 2016. For her graduation project, she created the Latin / Cyrillic / Arabic typeface Riwaya. This lively typeface comes in Regular, Informal and Arabic sub-styles, as Katharina explains: iRiwaya is a multi-script typeface family for telling stories. Riwaya Regular and Riwaya Informal create a similar colour on the page and work well together in texts for continuous reading; their clearly distinguishable designs offer different tones for different voices in text without distracting the reader. Riwaya won an award at Granshan 2016.

    In 2017, she joined Lazydogs in München. [Google] [More]  ⦿

    Katherin Roussel

    Kathrin Roussel studied graphic design in Düsseldorf and Hamburg. Together with Stefan Claudius she is running her own studio Sichtvermerk in Essen, Germany. [Google] [MyFonts] [More]  ⦿

    Kathrin Esser

    Kathrin Esser grew up in Germany's Eiffel region, and studied communication design in Aachen. Her first font, Fonster was published in 2013 by Die Gestalten. [Google] [More]  ⦿

    Kathrin Ludwig

    German creator (b. 1981) of Torquator (2005), a roman cracked marble style font. Alternate URL. [Google] [More]  ⦿

    Katja Iva

    Student in Konstanz, Germany, who created the playful didone typeface Womb in 2017. [Google] [More]  ⦿

    Katja Renko

    Ukrainian illustrator and lettering artist in Düsseldorf, Germany. Katja Renko and Igor Dekhtiarenko co-designed the following stunning typefaces:

    • The ultra-fat poster typeface Contrast (2018) for Latin and Cyrillic.
    • Solomka Sans (2018). They write: Solomka is a playful sans serif typeface with a huge range of special ligatures and different uppercase letters. It comes with a classic and rounded version as well as beautiful illustrations and patterns. The combination between condensed lowercase and wide uppercase letters is modern and playful at the same time.
    [Google] [More]  ⦿

    Katja Schimmel

    Type designer (b. 1992) based in Essen (and before that, Berlin), Germany. Graduate of Bauhaus University Weimar, and later the TypeMedia program at KABK, class of 2018. Her graduation typeface, Tweak, was released by Future Fonts in 2018. Tweak comes in two groups of styles, Tweak Text and Tweak Display.

    After graduation, she became a font engineer at Alphabet-Type in Berlin, and wrked briefly with Grilli Type.

    Contributor in 2019 to the variable programming font Recursive Sans+Mono, the brainchild of Stephen Nixon. Github page where we learn that contributors besides Stephen Nixon include Katja Schimmel, Lisa Huang and Rafal Buchner. In 2019, these authors published Recursive as a variable font with five axes: mono, casual, weight, slant and italics. Dedicated page. It will be added to Google Fonts at some point.

    Co-designer with Loris Olivier and Noheul Lee of McQueen Superfamily (2020, at Fontwerk), a 20-style sans family. Fontwerk link. [Google] [More]  ⦿

    Katja Wolf

    Young designer at fontgrube who made a typeface called Picasso, ca. 2000. [Google] [More]  ⦿

    Katrin Hotschicke

    During her studies in Wiesbaden, Germany, Katrin Hotschicke designed the sharp-edged display typeface Blef (2017). [Google] [More]  ⦿

    Katrin Kempf

    Designer in Darmstadt, Germany. Creator of the dotted display typeface Sao Paulo (2012) that experiments with ballooning effects. She is working on a serifed typeface in 2012.

    Behance link. [Google] [More]  ⦿

    Katrin Kremmler

    German artist (b. 1972) who drew a hilarious erotic alphabet for the book Lauras Animositäten&Sexkapaden by Laura Merrit (1994). Some letters are shown in specimen is in "Menschenalphabete" (Joseph Kiermeier-Debre and Fritz Franz Vogel, 2001). [Google] [More]  ⦿

    Katrin Schallmayer

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Katrina Bronsch

    Stuttgart, Germany-based student-designer of the display typeface Krikel (2018). [Google] [More]  ⦿

    Katwin-Schriften
    [Andreas Lehmann]

    The monospaced typewriter fonts Courier-New-fuer-Ansinet-1 through 3 were designed specially for the "Katwin" software package by Andreas Lehmann and Andreas Schnell, who were at the Bibliotheksservice-Zentrum Baden-Wuerttemberg (Service Center for Libraries). [Google] [More]  ⦿

    Kay Hauszler

    Typographer in Berlin, who made the rounded comic book style typeface Alberta (2010). [Google] [More]  ⦿

    Kazuha Canak

    Bridgeport, CT-based graphic designer. For a course at SASD (Shintaro Akatsu School of Design) taught by Gary Munch, Kazuha created Kazlon (2013)---obviously named after Caslon. Kazuha Canak grew up in Neuss, Germany. [Google] [More]  ⦿

    Kelly Media

    Crooked font vendor in Germany who has a few cheap CDs with renamed commercial fonts. Run by Hans Fremuth, who founded Kelly Data GmbH in 1994 (since 1999 Kelly Data AG). Kelly Data AG went bankrupt in 2002. Ulrich Stiehl has evidence that Fremuth is based in München. On the Kelly Media or Kelly Data web sites, one can find cheap font CDs under names such as Profi-Schriften Business Schriften (679 truetype fonts), Firle Fonts, and Profi-TYPO (2000 fonts). Stiehl discovered a connection between Hans Fremuth and Charles Biddle, who set up Bay Animation, an Annapolis, MD, outfit of equal questionable taste. Font names used by both Kelly Data and Bay Animation include Alps (Hevetica), Amaretto (Bitstream Amerigo), Amethyst (Garamond No. 3), Antiqua 101 (Antique Olive), Attila (ITC Avant Garde), Bangla (ITC Benguiat), Bid Roman (Melior), Bliss (Janson), Block (ITC Machine), Centime (Century Old Style), Chelsey (ITC Cheltenham), Chisel (Copperplate Gothic), Clayton (Caxton), Clean (Orator), Congo (Trump Medieval), Cupid (Cooper Black), Schroeder (Schneidler), Tech (Arquitectura), and Vogel (VAG Rounded). Stiehl's PDF file shows without a shadow of a doubt that Biddle copied several fonts, giving examples of Bid Roman (a copy of Zapf Elliptical).

    Owner info: Hetzner Online AG, Stuttgarter Strasse 1, 91710, Gunzenhausen, DE, +49 9831610061, +49 9831610062, info@hetzner.de. [Google] [More]  ⦿

    Kenny Publications

    Fonts for reading some religious works. Included are the truetype fonts AraTransRoman (1994, Link Software, Dortmund, Germany), AraTransRomanItalic, bwgrki (1994, Michael S. Bushell, Greek), bwgrkl, bwgrkn, bwhebb (Hebrew), bwhebl (Hebrew), AbdallaUbaAdamu-regular (1996, The Consortium). [Google] [More]  ⦿

    Keno Wehr
    [Beuron]

    [More]  ⦿

    Kerstin Fritsche

    German designer of Linotype MMistel (1997), an art nouveau / Christmas eve typeface. Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Kevin Moll

    During his studies in Offenbach am Main, Germany, Kevin Moll designed the free circle-themed typeface Rollender Siegfried (2016) and the squarish and stylish typeface family Kastenpeter (2018). In 2019, Kevin Moll and Lena Manger co-designed the spindly Victorian typeface Mystica Extended. [Google] [More]  ⦿

    Kevoe

    German illustrator. Creator of the graffiti font TAGish (2009). [Google] [More]  ⦿

    Khaled M

    Lecturer and graphic designer in Berlin, Germany. In 2015, he designed the rounded all caps poster typeface Der Wedding Font, which was designed using compass and grid. He writes that it is a fun and sexy statement of a new post-hipster aesthetic: it is fashionable without the boring throwback to haute couture. [Google] [More]  ⦿

    Kid Grandios

    Frankfurt-am-Main-based creator of the free sans typeface Bosun (2014). [Google] [More]  ⦿

    Kilotype
    [Sebastian Losch]

    German type designer, who created the informal bouncy sans typeface Jolly in 2011.

    In 2013, Sebastian graduated from the MATD program of the University of Reading. His graduation typeface was Teras, which he describes as follows: Teras (Greek for monster) is a kindheartedly vicious creature. It has a strong affinity for an entire range of typographic encounters, is highly articulate, slightly deformed, fierce and roughly eight feet tall. Due to its Arabic, Greek, Latin and Tamil background, every syllable it utters is a mongrel mouthful of a variety of cultural influences. It is also an exploration into the alternative type family, which in the upright mutates from a serif light weight into a sans serif black and the reversed procedure in the italics. The symbiosis of the four scripts is achieved principally by making the Latin flared, lapidary, open to conversation with its curvier peers.

    Bressay (Dalton Maag), a Scotch roman co-designed in 2015 by Tom Foley, Sebastian Losch, and Spike Spondike (design lead by Stuart Brown), won an award at TDC 2016.

    Aktiv Grotesk, a Dalton Maag typeface, was extended to cover Indic languages by Sebastian Losch and Kalapi Gajjar-Bordawekar. It won an award at Granshan 2016.

    In 2017, Francesca Bolognini and Sebastian Losch co-designed the ribbon calligraphy font Volina at Dalton Maag. Tom Foley and Sebastian Losch published the rounded slab serif typeface family Gelo at Dalton Maag in November 2017.

    He set up his own foundry, Kilotype, in 2018. His fonts there include Frequenz (2018), Oldschool Grotesk (2019, by William Montrose), Queens (2019: a display type sysyem with several widths), and Sequenz (2018). In 2020, he added Queens Air (+Condensed, +Compressed). [Google] [MyFonts] [More]  ⦿

    Kim Angie Cicuttin

    German creator of Blaetter (2012, a dingbat typeface with leaves).

    Dafont link. [Google] [More]  ⦿

    Kim Tuyet Vi

    Berlin-based designer of the Thai-inspired Latin typeface Lhai (2016). [Google] [More]  ⦿

    Kimberly Ge

    Kimberly Ge (Berlin, Germany) created the paper-fold octagonal typeface Love (2013). [Google] [More]  ⦿

    Kimya Gandhi

    Kimya Gandhi from Mumbai, India, holds a Bachelors degree in Communication Design from National Institute of Fashion Technology, Bombay (NIFT). She further went on to pursue specialization in the form of a post-graduate degree in Visual Communication at the Industrial Design Centre (IDC), IIT Bombay. Kimya interned with Linotype GmbH, Germany, in their font design department in 2010. Over the next several years she worked as a freelance designer for numerous type foundries catering to their multi-script requirements. She graduated from the TDi program at the University of Reading in 2012. Since 2015 she is a partner at Mota Italic in Berlin focusing on Indic and Latin designs for retail and custom corporate projects. Kimya teaches typography and type design at design institutes like Symbiosis Institute of Design and NIFT, and is currently designing and researching Indian script typefaces.

    In 2014, Kimya Gandhi and Rob Keller published the free Latin / Devanagari font family Vesper Devanagari Libre. An extension of Rob Keller's Vesper (2006), the Vesper Devanagari character set was completed in 2014. Vesper Devanagari Libre is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading.is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading.

    In 2015, she designed the Devanagari handwriting font Sharad 75, which was subsequently published in 2016 by Mota Italic. She writes: Rugwed Deshpande, of Setu Advertising wanted to commission the design of a typeface based on the handwriting of his father, Mr. Sharad Deshpande who has been a prolific copywriter for 50 years years and has been an intrinsic part of Setu. Rugwed explained how handwriting has been an important aspect of his copy-writing career. Her own handwriting was turned into a font in 2017, Maku.

    In 2019, she released the Devanagari / Gurmukhi / Latin stone-cut variable typeface Chikki at Mota Italic. [Google] [More]  ⦿

    Kiosk Fonts
    [Frank Grießhammer]

    Kiosk Fonts (Berlin) was founded in 2008 by Frank Griesshammer (b. 1983, Nuremberg, Germany), a graduate of HBKsaar in Saarbrücken (2008) and of the Masters program in type design at KABK (2010). His graduation project in Den Haag involved the multi-pen typeface Quixo (2010), which seems to be have just the right flexibility for packaging and ads. Frank lived in Den Haag, but joined Adobe's type department in 2011.

    His alphabets from 2008: Fleischwurst Fett (blackletter), Drückerei (grunge by Haiko Günther), Sommerfest, Rex Mundi (by Haiko Günther), PX Barok (a stitching and needle typeface), Ghana Signpainters Divine Healer (by Haiko Günther), Pappe (randomized cut-out face), Wüste Fraktale (a pixel blackletter by Haiko Günther), A4, Ghana Signpainters Safari (by Haiko Günther), Ghana Signpainters Cocktail (comic book and ad style by Haiko Günther), Format, Black Frituur (blackletter by Haiko Günther), Monaural (geometric), Steelcut (based on Woodcut; by Haiko Günther), Coswig, Roundenau (very rounded).

    In 2009, he did revivals of Memphis (original by Rudolf Wolf, 1929) and Stempel Elan (original by Hans Möhring, 1936). The latter typeface was published by Linotype.

    In 2013, he made HWT Tuscan Extended (Hamilton Wood Type). Hamilton Wood Type explains: It is based on the 1872 William Page & Co. version, while also bearing a very close resemblance to the Morgans & Wilcox Tuscan Extended and No. 2106 from Tubbs Manufacturing Co. It is similar to the Heber Wells Tuscan Extended. All four manufacturers were eventually acquired by Hamilton. The Hamilton designation for this design was simply No. 303. The National Printers' Material Co. of New York also offered a similar Tuscan Extended.

    FontShop published his school project font Quixo as FF Quixo in 2013. Quixo won an award at TDC 2014.

    In 2014, Frank designed the free Source Serif typeface family at Adobe, to accompany Paul Hunt's Source Sans Pro (2012). It is a transitional family influenced by Perre Simon Fournier's styles from 1742. Google Web Fonts download link. CTAN download. He designed the Latin, Greek, and Cyrillic glyphs that are included with Source Han Serif (2017). In 2021, Frank Griesshammer updated Source Serif. This new version of Source Serif supports six weights and five optical sizes, both in static and variable formats. Design changes were made from the original Source Serif Pro.

    At Adobe, he participated in Adobe Handwriting (based on the handwriting of Frank Grießhammer, Ernest March and Tiffany de Sousa Wardle).

    Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam where he spoke on a renewed effort at Adobe with respect to kerning.

    In 2019, Colophon and Frank Griesshammer released DM Serif Display and DM Serif Text at Google Fonts. Based on Adobe Serif Pro (by Frank Griesshammer), it is a high-contrast transitional typeface with only one weight. Github link.

    Klingspor link. Old URL. Old home page. [Google] [MyFonts] [More]  ⦿

    Kix
    [Christoph Windmueller]

    German designer in Recklinghausen, Germany of First Strike (2008, FontStruct) and First Strike Spaced, a grid-overlay of First Strike. Other FontStruct fonts from 2008: Aria Penci Roman (sketched font), Canned Heat (dingbats), Guttermouth (slab serif), Guttermouth Spaced (dashed version), Guttermouth Bold, Bloc Party Outline Shadowed, BabyBaby (toy blocks), Possibly Winged Polepieces, Skylines, Canned Heat, Simplicity, Stadium, Brussels (inspired by the Atomium), Cardboarder (nice 3d face), Crazytown (a Western font, an hommage to Maurice de Bevere, creator of Lucky Luke, 1923-2001), Itallica, Orica*cut, Orica, Pavement, Moduli, Tinka, Tinka Filled, Moduli, Loreylane, FS United One, (gorgeous sketched letters), babybaby, bellevue, bloc-party-outline-shaded, brussels-contourized, elceedee, eurofiction, horrorhouse, plenum, scratch-me-if-you-can, simplicity, skylines, sophia---superlight (hairline), stadium, werkshalle (Ferrari lettering font?), schachmatt (stitching font).

    In 2009, he added Terence Kill (blackletter), Cellophone, Amanerd (texture face), Drenama, Poster Classic, Midnight Diner, Sunburst, Signo, Multiverse (Basic, Striped, Alaska, Couch), Pointless Task, Broadway (dotted outline), Mostly, Terence Kill (blackletter), Pole Position (dot matrix), Antares 37 (Startrek font), Figure Collection Part 1 (dingbats), and College Pornmag.

    In 2010, he made Motown Motel, Olympic Spirit (dot matrix outlined), Cyclobe Pro (octagonal), Gappy, Burtonesque.

    In 2011, he FontStructed the gorgeous typeface Vuvuzela, Dance (dancing men), and Zapotek (elliptical face), Asgardian, Legendary (eleven movie stars).

    In 2012, he created CMND (outline face) and Equinoxe.

    In 2013, Christoph made the crayon font Grungarian and Histamic.

    Typefaces from 2014: FS Dark Shogun, FS Galaxy Epsilon (3d font), FS Tigerwood (striped font), FS Orica Stencil, FS Moduli, FS Underworld (blackletter), FS Pointless Task (dot matrix font), FS Horrorhouse, FS Werkshalle (one of my favorite fonts in this collection), FS Brussels (connect-the-dots typeface inspired by the Atomium), FS Skylines, FS Signo, FGS Orica, FS Plenum, FSAntares37, FS Old Brewhouse, FS Commander.

    Dafont link. [Google] [More]  ⦿

    Klaas Horeis

    Hamburg, Germany-based designer of Anarcho (2018). [Google] [More]  ⦿

    Klan Destin

    Creative director in Berlin, who created experimental typefaces such as Myzantrophe (2014), Comnistika (2014), [Google] [More]  ⦿

    Klaudia Krynicka

    During her studies at Academy of Fine Arts in Warsaw and Universität der Künste in Berlin in 2014, Klaudia Krynicka set up her own type foundry. She graduated in 2015 and is working now in Berlin.

    Klaudia created the stencil poster typeface Crackle (2014). It was inspired by an advertisement in the polish weekly Tygodnik Powszechny from 1938. The 1937 edition inspired Mauer (2014), a proportional blocky geometric poster typeface.

    In 2015, she made the ribbed textured typeface Leafy. In 2016, she designed the brush typeface Prince for the Berlin-based company Outfittery. Behance link. [Google] [MyFonts] [More]  ⦿

    Klaus Bartels

    German type expert, 1948-2005. At the Berlin-based Berthold AG, he was responsible for the digitizing of its library. After its demise in 1993, he worked for its successor, H. Berthold Systeme GmbH, and this company made the collection available since 1997 as The Berthold Type Collection. In 2000, he founded Babylon Schrift Kontor (or BSK) which also had on board Wolfgang Talke, Bernd Pillich, and the type experts René Kerfante and Frank Sax. [Google] [More]  ⦿

    Klaus Burkhardt

    All 25 Fraktur fonts here were digitized by Klaus Burkhardt. After his death, his son Klemens was distributing the fonts. The typefaces: Altenburger Gotisch, Balmung, Fette Bernhard, Behrens-Schrift, Trump Deutsch, Hupp Fraktur (1999), Hans-Sachs-Gotisch, Kleukens, Hartwig (1999), Sinkwitz Gotisch, Sinkwitz Regular, CoellnCurrent, Deutsche Kanzlei, Enge Münchner Fraktur, Grosse Gotisch, Hotterfont, Jean-Paul-Schrift (a revival of a fraktur by Breitkopf of the 1790s, done in 1999), Scherenschnitt (2003), Klaus-Fraktur, Nuernberger, Barlösius (1999), KühneSchrift (2000), Walthari, Lautenbach, Leibniz Fraktur (1912, Genzsch&Heise; revived in 2003 by Petra Heidorn, in 2012 by Ralph M. Unger and in 2016 by Softmaker as Leibniz Fraktur Pro), Lyrisch Fraktur, Eckmann, Deutsche Kursiv, Peter-Jessen-Schrift, Romantisch, Rhapsodie. Other typefaces: Funny Type, Civilité, Fette Ella Kursiv, Ginkgo Schrift, Grossmütter Schreibschrift, Regenmettel, Sütterlin (2000, after the original by Ludwig Sütterlin, 1914; see DS-Sütterlin by Delbanco), Krimhilde, Kalligraf, Boutique. There was a nice sub-page with beer capsules featuring Fraktur lettering. [Google] [More]  ⦿

    Klaus Czytko
    [Atelier im Dachgeschoss]

    [More]  ⦿

    Klaus Düring

    A German page about Sütterlin, the "Deutsche Schreibschrift". It includes a free font by Klaus Düring appropriately called Deutsche Schrift (1996). [Google] [More]  ⦿

    Klaus Herrmann
    [Intecsas]

    [More]  ⦿

    Klaus Lagally
    [ArabTex]

    [More]  ⦿

    Klaus Schwarzfischer

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Klaus Staab

    German creator of the free tall squarish typeface Egyptian Neue (2010), which was based on vector lettering by Jakob Nylund. [Google] [More]  ⦿

    Klaus Sutter

    Designer in 2008 of Iwan Stencil (Linotype), which is a stencil font that updates a 1929 stencil font by Jan Tschichold. The name Iwan refers to the fact that during the 1920's Tschichold went for some time by the name Ivan. [Google] [MyFonts] [More]  ⦿

    Klaus Terbeck

    Using iFontMaker, Klaus Terbeck (or KTFONT) created Dodo (2011, fat finger face). [Google] [More]  ⦿

    Klaus-Dieter Lettau

    German type designer who studies in Bremen. Created FF Voodoo in 1995. Fontshop link. [Google] [MyFonts] [More]  ⦿

    Klaus-Peter Schaeffel
    [KPS Fonts]

    [More]  ⦿

    Klaus-Peter Staudinger

    Graphic designer and typographer, b. Essen, 1956. He studied communication design at the University of Applied Sciences in Hamburg. After working as a freelancer and artist, he became head of the preprint studio Workshop in 1988. In 1994, he set up Types and More, a type publication. In 1996, he co-founded the media agency FarbTon with Jörn Iken, Birgit Hartmann and Albert-Jan Pool. He lectures at the University of Applied Science Anhalt-Dessau. Speaker at ATypI 2006 in Lisbon. His typefaces include the hookish typeface BioSphere. [Google] [More]  ⦿

    Klein Productions
    [Calvin-Noël Klein]

    Calvin-Noël Klein (Klein Productions, Germany) designed a geometric junkyard typeface, Littlemetry, in 2018. [Google] [MyFonts] [More]  ⦿

    Kleinholz Typo
    [Peter Eckartz]

    Peter Eckartz (Kleinholz Typo) is based in Goch, Germany. He makes and sells blocky wooden types, and teaches in Nijmegen, the Netherlands

    His blocky wood typeface was digitized by Manuel Viergutz in 2021 as Kloetzchen. [Google] [More]  ⦿

    Klemm Music

    German music software company located in Friedland. Medieval is a Finale plug-in (200USD). It contains two truetype and type 1 fonts, Neuma und Neuma Symbol. The software can be used to set early music, such as

    • Square Notation (late 12th- early 13th century)
    • Machaut Mass (early 14th- mid 15th century)
    • Mixed Notation (early 15th century)
    • Italian Notation (late 14th century)
    • Franconian Notation (late 13th century) Gregorian Notation (ca. 11th century)
    November is a music font for Finale with 330 symbols (70USD). Coda Finale Seichensaetze has these commercial fonts: Petrucci, Engraver, Jazz (designed by Rich Sigler), Maestro, Maestro Wide, Sonata, Susato, November, KidNotes. [Google] [More]  ⦿

    Klingspor Museum Offenbach
    [Hans Reichardt]

    Opened in 1953, this museum in Offenbach has wonderful collections, and specializes in German typography between 1880 and 1950. The site has biographies on over 100 famous typographers. By Hans Reichardt. [Google] [More]  ⦿

    Klingspor (or: Gebrüder Klingspor)
    [Karl Klingspor]

    German foundry established in 1906 by brothers Karl Klingspor (1868-1950) and Wilhelm Klingspor (1871-1925) in Offenbach am Main. About half of its catalog consists of blackletter types (as listed in 2000 by Harald Süß), and many of its typefaces were designed by German über-designer Rudolf Koch. History (in German, PDF), resummarized here:

    • 1892: Carl Klingspor (1839-1903), the father, buys the Rudhardsche Gießerei in Offenbach am Main in 1892, which was originally founded in 1842 by Johann Peter Nees, Phillip Rudhard and Johann Michael Huck.
    • 1899: Heinz König designs Walthari (a light Fraktur font).
    • 1900: Otto Eckmann designs the Fraktur font Eckmann Schrift, and Kurt Wanschura (from Leipzig) designs the Fraktur font Offenbacher Schwabacher. Reform appears!
    • 1901: Peter Behrens publishes Behrensschrift (art nouveau style). Offenbacher Fraktur appears too.
    • 1902: Behrens Schrift by Peter Behrens. Fette Eckmann Schrift und Ziermaterial by Peter Behrens. Vignetten by Emil Doepler d.J., and Schmuck für Bücher und Akzidenzen by Robert Engels, München.
    • 1903: Reform Kursiv.
    • 1904: Karl and Wilhelm Klingspor become the sole owners of the Rudhardsche Gießerei. As a private typeface, they decide on Munthe Schrift by Norwegian Gerhard Munthe.
    • 1905: Heinz König designs König Antiqua. Breitkopf Fraktur is published, based on the original design of Joh. Gottl. Immanuel Breitkopf (1719-1794). Also new is Auszeichnungsschriften für Fraktur, as well as Die Leidensstationen by Robert Engels.
    • 1906: The form is renamed Gebr. Klingspor. Otto Hupp makes Liturgisch (another Fraktur font). Jugendschrift is published.
    • 1907: Peter Behrens publishes Behrens-Kursiv.
    • 1908: Peter Behrens publishes Behrens Antiqua. Otto Hupp makes Neue Anzeigen Schriften. Halbfette Reform is published.
    • 1909: Otto Hupp makes Hupp Antiqua (a Basque "A" in here!), Hupp Unziale. Walter Tiemann designs Tiemann Mediäval.
    • 1910: Rudolf Koch designs Fette Deutsche Schrift (Fraktur) and Fette Kochschrift (are these not the same?). Hupp Fraktur appears. The company publishes Kalender Bilder by Heinrich Vogeler.
    • 1911: Tiemann makes Halbfette Tiemann Mediäval.
    • 1912: Tiemann makes Tiemann Mediäval. Kursiv and Tiemann-Kursiv. Koch makes Halbfette Deutsche Schrift and Deutsche Schrägschrift.
    • 1913: Peter Behrens publishes Behrens Mediäval. Koch makes Schmale deutsche Schrift.
    • 1914: Rudolf Koch publishes Frühling, Maximilian Gotisch, Maximilian-Antiqua and Maximilian. Walter Tiemann makes Peter Schlemihl and Tiemann Fraktur.
    • 1915: Klingspor acquires F. W. Aßmann and Wilhelm Gronau in Berlin.
    • 1917: Albert Windisch makes Windisch Kursiv.
    • 1919: Karl Michel designs Schraffierte Antiqua. Some cooperation is established with D. Stempel AG, which acquires some shares.
    • 1920: Tierbilder-Probe is published.
    • 1921: Rudolf Koch publishes Deutsche Zierschrift (Fraktur) and Magere deutsche Schrift. Walter Tiemann makes Narziß. The company publishes Elfenschmucjk, as well as Schräge Schwabacher. Leo Wackerle makes Kalender Bilder.
    • 1922: Rudolf Koch designs Koch Antiqua and Koch Antiqua Kursiv. Otto Hupp publishes Deutsche Schrägschrift. Ernst Engel designs Mörike Fraktur, a private typeface just created for the Ernst Engel Presse.
    • 1923: Rudolf Koch designs Koch Antiqua Kursiv and Neuland. Walter Tiemann designs Tiemann Antiqua.
    • 1924: Koch designs Grosse Koch Antiqua, and Tiemann makes Tiemann Gotisch.
    • 1925: Wilhelm Klingspor dies. Rudolf Koch designs Wilhelm-Klingspor-Schrift (Fraktur), and Victor Hammer creates an uncial font, Hammerschrift.
    • 1926: Tiemann makes Tiemann Antiqua Kursiv and Koch publishes Klingsporschrift.
    • 1927: Rudolf Koch designs Kabel.
    • 1928: Rudolf Koch designs Neuland Licht. Walter Tiemann makes Kleist Fraktur.
    • 1929: Rudolf Koch creates Zeppelin.
    • 1930: Rudolf Koch designs Wallau (rotunda) and Jessen-Schrift (Fraktur).
    • 1931: Heinrich Maehler makes Salut.
    • 1932: Rudolf Koch designs Holla.
    • 1934: Walter Tiemann makes Fichte Fraktur.
    • 1935: Rudolf Koch creates Koch Kurrent.
    • 1937: Rudolf Koch publishes Claudius.
    • 1940: Rudo Spemann's Gavotte appears.
    • 1944: A bombardment destroys a lot of material and drawings.
    • 1950: Karl Klingspor dies. Walter Tiemann makes Offizin. According to Chronik und Stammfolge der Familie Klingspor (1989, Reinhard Klingspor and Gerhard Moisel), Karl Klingspor died on January 1, 1951, but everywhere on the web we find 1950.
    • 1951: Karl Hermann Klingspor (1903-1986), son of Wilhelm, takes over the company.
    • 1952: Karlgeorg Hoefer makes Salto.
    • 1953: Karlgeorg Hoefer publishes Saltino. Victor Hammer makes Hammer Unziale. The Klingspor Museum in Offenbach is created.
    • 1954: Hans Kühne designs Andreas Schrift (Fraktur) and Kühne Schrift (Fraktur). Joachim Romann makes Constanze (a formal script) and Queen. Alfred Finsterer designs Duo Licht and Duo Dunkel.
    • 1955: Karlgeorg Hoefer makes Monsun.
    • 1956: D. Stempel AG buys the remaining shares of Klingspor, and incorporates many of its types in its own catalog.
    That library included typefaces by these designers:
    • H. Kühne: Andreas Schrift (1954, carried by Delbanco and Gerhard Helzel), Kühne Antiqua (1954), Kühne Schrift (1954), Stahl (1933-1939).
    • P. Behrens: Behrens Antiqua (1907), Behrensschrift (offered by Intecsas as Sprecher Gothic), Behrens Initialen (called Sprecher Initials at Intecsas).
    • Rudolf Koch: Claudius (carried by Delbanco), Deutsche Schrift (1910), Frühling (1917, carried by Delbanco), Deutsche Zierschrift (1921, offered by Delbanco and Gerhard Helzel), Holla (1932), Jessen-Schrift (1924-1929, carried by Delbanco), Kabel (1927, at Linotype now; called Geometric 231 at Bitstream, and Kalten at PrimaFont, and Koch Original at LetterPerfect), Koch Antiqua (1922, published by Linotype now; available from Alphabets Inc as AI Koch Antiqua MM; called Eva Antiqua SG at Spiece Graphics), Zeppelin (1929, available from Agfa now), Koch Kurrent (1935, offered by Delbanco), Koch Fraktur (offered by Delbanco, Gerhard Helzel, and Christian Richter), Marathon (1938), Maximilian (1917, available at Castle Systems, and carried by Delbanco), Maximilian-Gotisch (carried by Gerhard Helzel and by Walden Font), Neuland (1923, available from Linotype; available from Alphabets Inc as AI Koch Neuland, and at Bitstream as Informal 011, and at PrimaFont as Newfish, and at Keystrokes as Neuland inline), Prisma (1928; a multiline typeface revived in 2003 by Dieter Steffmann, and extended in the large family LL Prismaset at Lineto), Wallau (1926-1934, carried by Delbanco, and called Wal at PrimaFont), Wilhelm Klingspor-Schrift (1925, carried by Delbanco and Linotype; Wilhelm Klingspor-Gotisch is called Wilson at PrimaFont).
    • J. Romann: Constanze (1954), Queen (1954, called Ferrante by Intecsas).
    • Walter Tiemann: Daphnis (1929), Fichte Fraktur (1934-1939, carried by Delbanco and Gerhard Helzel), Kleist Fraktur (1928, revived by Dieter Steffmann in 2002, and carried by Delbanco), Narziss (1921, available from Font Bureau and Spiece Graphics as Narcissus), Offizin (1952), Peter Schlemihl (revived by Walden Font, and by Dieter Steffmann in 2002), Tiemann Mediäval (carried by Gerhard Helzel), Tiemann Antiqua (1923, now at Linotype).
    • A. Finsterer: Duo licht/Duo dunkel (1954).
    • O. Eckmann: Eckmann Schrift (1900, called Freeform 710 at Bitstream, and called Eckmann at Elsner&Flake, ScanGraphic, Linotype, URW++, Gerhard Helzel and Delbanco), Eckmann Initialen (called Jan Bent at Intecsas).
    • Kurt Wanschura: Offenbacher Schwabacher (1900, Offered at Delbanco).
    • H. König: Falstaff (1906).
    • H. Schardt: Folkwang (1949).
    • R. Spemann: Gavotte (1940, available from Linotype).
    • V. Hammer: Hammerschrift (1923, available as Martel at Scriptorium), Hammer Unziale (1953). [Linotype has it as Neue Hammer Unziale. Agfa carries Uncial, which is really Neue Hammer Unziale. The Electric Typographer calls it Electric Uncial. Elsner&Flake have a version called American Uncial.]
    • O. H. W. Hadank: Ornata (1943).
    • H. Bohn: Orplid (1929).
    • O. Hupp: Liturgisch (1906, carried by Gerhard Helzel), Hupp Antiqua (1909).
    • F.K. Sallwey: Information breitfett (1958).
    • A. Kumlien: Kumlien Antiqua.
    • R. Bauer: Magnet (1906).
    • K. Hoefer: Monsun (1955), Salto (1952, now at Linotype), Saltino (1953, carried by TypeRevivals), Saltarello (1954).
    • H. Maehler: Salut (1931, version available from Agfa).

    An unclassified condensed elongated Victorian fat face, Slimback-style, is Figura. No date known.

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

    KLTF (Karsten Lücke Type Faces)
    [Karsten Lücke]

    KLTF stands for Karsten Lücke Type Faces. It was established in 2005 in Datteln, Germany. Karsten is the talented German designer of the medieval text family Litteratra, which won an award at the TDC2 2001 competition (Type Directors Club). Karsten is from Datteln and studied communications design in Essen, finishing there in 2002. He worked at Steidl Publishers in Goettingen from 2004 to 2005. In 2005, he joined the type coop Village.

    Other designs by Karsten include KLTF Tiptoe (2005, a bold and black headline family), and KLTF Grotext (2007, an elliptical family in 7 styles).

    Co-designer with John Hudson, Alice Savoie and Paul Hanslow of Brill (2011), Brill Greek (2021), Brill Cyrillic (2021) and Brill Latin (2021). This classic text typeface family was a winner at the TDC 2013 competition. Client: Koninklijke Brill NV, Leiden, The Netherlands.

    Great OpenType link and discussion page. [Google] [MyFonts] [More]  ⦿

    Knorke (or: Team Knorke)

    Design studio in Berlin. Creators of the free graffiti font The Fresh Prince (2015), the sans typeface family Rummelsdorf (2017), and the similar sans family Rummelsburg (2018: inspired by old metal signs from the GDR).

    Knorke consists of Felix Schwarze and Christian Thiele. [Google] [MyFonts] [More]  ⦿

    Koch Neuland
    [Rudolf Koch]

    A listing and comparison of various digital implementations of Koch's German expresionist Neuland typeface from 1923. Rudolf Koch chiseled an all caps typeface directly from metal and called it Neuland (Gebr. Klingspor). This experimental typeface has been copied and revived over and over again. It was even used as the typeface for Jurassic Park. A non-exhaustive list includes

    • Neuland and Neuland Star (Linotype). Linotype owns the trademark to Neuland. This typeface is possibly identical to Adobe's Neuland Std.
    • Othello MT (Pierpont at Monotype, 1928-1929). The digital version is by Carl Crossgrove and Steve Matteson.
    • URW Neuland.
    • Albertus MT (Berthold Wolpe at Monotype, 1932).
    • Informal 011 Roman and Black (Bitstream).
    • Newfish (PrimaFonts).
    • ITC Outback (based on Bob Alonso's interpretation at Photo-Lettering).
    • FFD Neuland (Doug Olena, Keystrokes, 1995).
    • Culpepper (George Ryan, Galapagos): a family with lower cases added and glyphs freely interpreted.
    • Newfoundland (Corel).
    • N691 Deco (Softmaker).
    • AINeuland (Lester Dore at Alphabets Inc).
    • Tribeca (David Rakowski), an outline version, as in the Jurassic Park movie font. Others in this category include BD Jurassic Black (Streetwise Software), Jurassic (Computer Support Corporation, 1996), Jurassic (COSMI, 1993), Jurassic (WSI, 1993), JurassicNormal (Elfring, 1993), JurassicPark (Sierra On-Line, Inc), Jurassic (Allen R. Walden), Tambor-Inline (Casteletype), FFD Neuland Inline (Keystrokes).
    • Tambor (Light, Black, Inline and Adornado) (Jason Castle, Castletype).
    • Rudolf (Jason Castle, Castletype).
    • BrideOfTheMonster (Harold Lohner, 1998).
    • Newland Black (Andrey Mel'man).
    • P22 Koch Nueland (sic) (Richard Kegler, P22, 2000).
    • Jungle Fever NF (Nick Curtis) and Blandford Woodland NF (2005, Nick Curtis).
    • On Kochs Roots (Manfred Klein, 2002): a lower case and hair-serifed extension.
    • KochNeu-ExtraBlack (Manfred Klein, 2003). Now called New Country.
    • Neuerland (2010, Ian Lynam).
    • OPTI Neuland (by Castcraft).
    • (Metal typefaces by Baltimore Type). Mac McGrew: Neuland and Neuland lnline were originally handcut by Rudolf Koch for Klingspor foundry in Germany, about 1923. Being handcut, each size differed somewhat from others, and the lnline differed from the regular. The copies cast by Baltimore Type were recut by pantagraph from one size of the regular. and thus are uniform from one size to another. The white inline was added to this same recutting, and is slightly wider than in the German version.

    Shown are some of the versions of Koch's Neuland. Indeed, there is no true "original", because each of Koch's type sizes comes with its own peculiarities (recall that each was cut directly in metal). The Linotype version, which is supposed to be the digital counterpart of the "original", is a bit too "clean". The Softmaker face, N691 Deco, is probably closer to Koch's original cuts, as most of Softmaker's historical typefaces aspire to be true revivals. However, only AI Neuland and FFD Neuland have the pointy M's that we find in the "Encyclopedia of Typefaces" of Jasper, Berry and Johnson, so go figure. The P22 typeface and Klein's typeface have K's with horizontal right upper arms and U's that hang together similarly, so they are in a category by themselves and one may well have inspired the other.

    View and compare some digital versions and extensions of Koch Neuland. [Google] [More]  ⦿

    KODEKS
    [Sebastian Kempgen]

    KODEKS is the German slavistics server run by Professor Sebastian Kempgen from the University of Bamberg. Kempgen's fonts include

    • Eckige Glagolica and Runde Glagolica, both for Glagolitic.
    • The mediaeval Cyrillic face Preslav.
    • Kliment (2005). For old church slavonic, covering all of these: Altkirchenslawisch, Altrussisch, Altbulgarisch, Altserbisch, Old Russian, Old Bulgarian, OCS, Old Serbian). It can be downloaded here and here.
    • Kiril, RomanCyrillicStd (2003) and CampusRomanStd (2008) are free fonts designed for slavic language specialists. The latter two fonts are quite complete and unicode-compliant since 2007. RomanCyrillic Std has more than 4,400 characters as of 2020, and supports Unicode 12 (2019) and 13 (2020). It covers monotonic and polytonic Greek, Cyrillic with all historic variants, Soviet additions to the Cyrillic Alphabet (Kazakh, etc.), IPA phonetic characters and much more.
    • The BukyVede font (2008), which is used by the journal "Polata knigopisnaja" (Mario Capaldo and William R. Veder, eds.), published by William R. Veder&Michael Bakker, Slavisch Seminarium, Amsterdam. It is based on CyrillicaOhrid and GlagolicaBulgarian (with additions from Rumen Lazov), and adapted to Unicode 5.1, and enhanced by William R. Veder, Chicago. Final touches, additional characters and font generation by Sebastian Kempgen.
    • Method Std is the Unicode 5.1 version of the Method font series originally created by the author, Sebastian Kempgen, in the 1980's. The blueprint for this font is the classic printing type devised by slavists and used in learned editions of Old Church Slavonic texts.
    • Via MacCampus, which he seems to run, he published Breitkopf Fraktur (2008, with Sascha Selke) and Trubetzkoy (2005, a serif typeface for phonetics).

    FontShop link. [Google] [More]  ⦿

    Kolja Geldmacher

    In 2000, Kolja Geldmacher made the futuristic typefaces Gum and Mek'Leth (a Klingon font). [Google] [More]  ⦿

    koltast

    German creator of the pixel typeface Kolquat Funky Bitm (2014). Dafont link. [Google] [More]  ⦿

    Koma Amok
    [Gerd Sebastian Jakob]

    Koma Amok was founded in 1992 by Gerd Sebastian Jakob and Jörg Ewald Meißner, both located in Stuttgart, Germany. They are involved in art direction, book design, catalogue design, concept, consultation, custom lettering, drawing, editorial design, exhibition design, font design, icons, identity, illustration, infographics, logos, text, typography and web design. Their typefaces are published through Elsner & Flake. These include the funky Afrodite, Optiscript EF (2006, a script family), the futuristic typeface Solaris (2000), Autograph Script (1998, a handwriting font family) and Caligari Pro (2011: a German expressionist typeface inspired by the silent film The Cabinet of Dr. Caligari (1920)). [Google] [MyFonts] [More]  ⦿

    Konrad Friedrich Bauer

    German punchcutter and typefounder, b. Hamburg, 1903, d. Schönberg, 1970, who ran the Bauersche Giesserei for a while [he started work there in 1928 and became art director in 1948]. From 1947 onwards he taught book and type design at the University of Mainz. He designed the following Bauer typefaces with Walter Baum: Alpha (1954), Beta (1954), the sans serif family Folio (1957-1965), Caravelle (1957, the Fonderie Typographique Française name for Folio), Imprimatur (1952-1955: a narrow roman, also called Horizon; for a digital revival, see I772 Roman (by SoftMaker) or Gmuender Antiqua Pro (2015) by Ralph M. Unger), Impressum (1963, a wide text face), Verdi (1957), Volta (1956; +Mager).

    View various digital versions of Folio.

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

    Konrad Jochheim

    German type designer who created the blackletter typeface Jochheim Deutsch (1933-1935, Wilhelm Woellmer). [Google] [More]  ⦿

    Konrad Sweynheym

    German printer (b. Mainz, d. 1477, Rome), who left Mainz with Arnold Pannartz to establish Italy's first printing press, in the monastery of St. Scholastica at Subiaco. There, they published three books, Cicero's De Oratore, the Opera of Lactantius, and St. Augustine's De Civitate Dei. In 1467, they set up a press in the De Massimi palace in Rome, from where they published 50 more books. Sweynheym is also spelled Sweynheim in some publications.

    Nicholas Fabian on Pannartz. Catholic Encyclopedia. Literature: Burger: The Printers and Publishers of the XV Century (London, 1902); Fumagalli: Dictionnaire géogrique d'Italie pour servir à l'histoire de l'imprimerie dans ce pays (Florence, 1905); Löffler: Sweinheim und Pannartz in Zeitschrift für Bücherfreunde, IX (Bielefeld, 1905), and Die ersten deutschen Drucker in Italien in Historisch-politische Blätter, CXLIII (Munich, 1909).

    Revivals of their typefaces, blends between humanist and blackletter, include:

    • The Subiaco font done by Ashendene Press in 1902. The Subiaco type is now owned by Cambridge University Press. Its punches were cut by E.P. Prince.
    • Nephi Mediaeval (1983). A metal type by Jim Rimmer for private use. McGrew gives the date 1986. Rimmer writes: It was inspired by the Subiaco type of the Ashendene Press and by its inspiration, the type of Sweynheym and Pannartz. My design breaks away from those types slightly in form and is softer in general feeling. In time I will cut other sizes.
    • Linotype Conrad (1999, Akira Kobayashi). Not a revival at all, but rather an interpretation and modernization.
    • The scanfont 1467 Pannartz Latin by Gilles Le Corré in 2009.
    • Pannartz Book (2009, Tomi Haaparanta, Suomi).
    • SweynheymPannartz (2010, Shane Brandes).
    • Benedictine (Anthony Elder, 2014-2015). In the Type@Cooper Extended Program in 2014-2015, Brooklyn, NY-based Anthony Elder designed Benedictine, which is inspired by the first printed books in Italy by Konrad Sweynheym and Arnold Pannartz in the XVth century. Behance link.
    • A couple of free fonts by Alexis Faudot and Rafael Ribas that were developed during a 2018 workshop at Biblioteca Statale del Monumento Nazionale di Santa Scolastica, Subiaco. The first one, Sweynheim & Pannartz Subiaco 120R, is a proto-roman first used in Subiaco by Konrad Sweynheim and Arnold Pannartz for an edition of Donatus in 1465 (no longer preserved) and used until 1467 in four editions in total. The second one, Sweynheim & Pannartz 115R, is a proto-roman first used in Rome by Konrad Sweynheim & Arnold Pannartz for Cicero's Epistolae ad familiares in 1467 and used until 1476.
    [Google] [MyFonts] [More]  ⦿

    Konstantin Datz

    Animator and photographer in Potsdam, Germany. Creator of the funny Hairyfont (2010). He also made an experimental dotted font in 2010. He proposed---tongue-in-cheek, I guess---a 42-style generalization of Comic Sans into three subfamilies, Comic Sans, Comic Serif and Comic Condensed. [Google] [More]  ⦿

    Konstantin Klatt

    German FontStructor who made the white-on-black-grid face Pacto (2010), Telamon (2010, +Bold), the thin condensed typeface Sycamore (2011), Sansybar Wide (2011), and the octagonal family Telamon (2010). Klatt runs Konstantin Klatt Mediendesign in Berlin, and makes fonts as kla2t.

    FontStructions from 2012: Aldis Stencil LC (FontStruct), Bauhaeusle (based on Herbert Bayer's Universal). [Google] [More]  ⦿

    Korinthus web page

    Korinthus Normal&Italic, designed after the late 18th - early 19th century Leipzig editions by Goeschen, WinGreek and Son of WinGreek compatible, Windows TrueType. Affiliated to Skylla - interesting German magazine on language (the site of the Euro Collection). TYPE 1 version available via email from the author. Contact Mindaugas Strockis in Lithuania. [Google] [More]  ⦿

    Kostas Bartsokas
    [Intelligent Design (was: Intelligent Foundry)]

    [MyFonts] [More]  ⦿

    kostnixx

    Links (in German). [Google] [More]  ⦿

    KPS Fonts
    [Klaus-Peter Schaeffel]

    Swiss calligrapher in Basel who made and sells various medieval and historically important script fonts. Dedicated page. These included the paleographic (PAL) series and the KPS series. He lives in Ühlingen--Birkendorf, Germany. His fonts are uniformly of high quality and are usefl for illustrating historical alphabets.

    His early commercial collection: KPS Anglaise (calligraphic script), KPS Antiqua (+Kapitälchen), KPS Capitalis (classic Trajan caps), KPS Cicero, KPS Epona (calligraphic), KPS Fein (hand-printed), KPS Hand (calligraphic), KPS Horaz (calligraphic), KPS Iris (calligraphic), KPS Petit (calligraphic), KPS Plinius, KPS Spitzfelder, KPS Vitruv (calligraphy), PAL Bastarda, PAL Cancellaresca, PAL Carolina, PAL Gotisch, PAL Humanistica, PAL Lombarden, PAL Quadrata, PAL Rotunda, PAL Rustica, PAL Textura, PAL Uncialis, PAL Uncialis Roemisch, Weissranken Initialen, Ranken Initialen (Celtic capitals).

    Since September 2013, all of his fonts are free. They were renamed and have conveniently the date of original creation in the font name. The fonts dated in the 1990s and 2000s are new typefaces or creative revivals by Klaus-Peter. The list of revivals: 0100DeBellisMacedonicis [Pre-uncial letters from the fragment "de bellis macedonicis", ca. 1st century], 0300Petros [Greek hand from the oldest surviving copies of St. Peter's epistles, dated 3th / 4th century], 0362Vitalis [Roman Minuscule Cursive from the so called Vitalis letter, written before 362 on papyrus (Strasburg)], 0480VergiliusRomanus [Capitalis Rustica from the Vergilius Romanus written in Rome, ca. 480], 0500VergiliusSangallensis [Capitalis Quadrata from the Vergil fragments in Stiftsbibliothek St.Gallen], 0512Dioskurides [Greek Uncials from the Vienna Dioskurides (about 512)], 0746Beda [from Beda Venerabilis: Historia ecclesiastica gentis Anglorum, Northumbria, dated 746], 0800Kells [Half Uncials from the Book of Kells], 0800Remedius [So called "Lombardic-Raetic Minuscule" from Codex 348 of the Stiftsbibliothek St. Gallen], 0800 Theophanes [Greek Hand after a 9th century Theophanes manuscript], 0850CarolinaTours [Carolingian Minuscule], 0850Carolinaundulata [Carolingian Minuscule from the Scriptorium of Tours], 0864Folchart [St. Gall Carolingian from the Folachart Psalter], 1012Otto [Late Carolingian Minuscule from the Perikopes of Heinrich II, written at the Reichenau, donated to the dome of Bamberg in 1012], 1258FridericusII [Gothic Rotunda from the falcon book of Emperor Friedrich II, Southern Italy 1258-1266], 1400Wenzel [Bohemian Textura from Vienna], 1450Sebastos [Humanistic Greek hand from Homer, Ilias, Vatican Library], 1455GutenbergB42 [Gothic Textura types from the 42 line Gutenberg Bible], 1458GutenbergB36 [Gothic Textura types from the 36 line Gutenberg Bible], 1470Jenson [an antiqua by Nicolas Jenson], 1475HumanisticaCursiva [Humanistic Cursive of the kind Bartolomeo Sanvito of Padua wrote, after Cod. Pal. Lat. 1508], 1480Humanistica [Humanistic Book Hand from Valerius Maximus: Facta et dicta memorabilia, ca. 1480-1485. The calligraphy is attributed to Antonio Sinibaldi from Florence and the titling capitals to Bartolomeo Sanvito from Padua], 1483Koberger [Incunabula type from the Koberger Bible, printed in Nuremberg in 1483], 1485Grueninger [Incunabula type from the Grueninger Bible, printed in Strasburg in 148], 1493SchedelRotunda [Incunabula type from the Latin edition of Hartmann Schedel's World Chronicles, printed by Koberger at Nuremberg in 1493], 1501Manutius [First printed Italic Antiqua by Aldus Manutius (Venice 1501)], 1513Gebetbuch [Fraktur from Emperor Maximilian's Prayer Book, printed in Augsburg in 1513], 1517Gilgengart [Fraktur type from Emperor Maximilian's 1517 private print "Gilgengart"], 1517Teuerdank [Fraktur type from Emperor Maximilian's "Teuerdank", printed at Augsburg in 1517], 1519NeudoerfferFraktur [Fraktur alphabet from a woodblock model in Johann Neudoerffer the Elder's Calligraphy book "Fundament", Nuremberg 1519], 1739Bickham [Copperplate or running hand after models from "The Universal Penman" by George Bickham, printed in London 1743], 1741Bickham [Bickham's round hand from Universal Penman], 1782Thurneysen [Baroque Antiqua Type of J. Jacques Thourneysen fils, Basel 1782].

    Original versions by Schaeffel, with date of design in the font name: 1999Anglaise1, 1999Anglaise2, 1999Cancellaresca, 1999Carolina (Carolingian minuscule), 1999Livius, 1999LiviusBold, 1999LiviusItalic, 1999LiviusSmC, 1999LiviusTitel, 1999Ovidius, 1999Stylus, 1999Textualis, 2000Bastarda, 2000Cicero, 2000Humanistica, 2000Plinius, 2000PliniusItalic, 2000Seneca-Italic, 2000Seneca, 2000TextualisFormata, 2000Uncialis, 2001RotundaFormata, 2002Cato, 2002Horatius, 2002Vitruvius, 2003Epona, 2003Lombarden, 2004CapitalisQuadrata, 2004CapitalisRustica, 2004Iris, 2004UncialisQuadrata, 2004UncialisRomana, 2008-Noeuds-1 [for making Celtic knots], 2008-Noeuds-2, 2008-Noeuds-3, 2009Xenophon, 2010Filigrane, 2010Gouttes, 2010Labyrinthe [squarish], 2010Pointu [a calligraphic blackletter], 2010Vergilius [a great calligraphic face].

    Old URL. [Google] [More]  ⦿

    Kraftfahrzeugkennzeichen
    [Bart Stax]

    Bart Stax is the designer of Kraftfahrzeugkennzeichen (2008), a free font that looks exactly like the lettering used on German car license plates. I can't understand how Germans can live with this monstrosity---I know that it was designed for maximal differentiation, but there are limits to functional design! Another German license plate font, by an unknown designer, is FE-Font (1997, see also here), which is closer to the original FE license plate design (FE stands for F&aml;lschungs-Erschwerend, translated as "hard to forge"). [Google] [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]  ⦿

    Kristall Grotesk

    A typeface cut by Wagner & Schmidt, Leipzig, in 1936-1937 meant for headlines. This Bauhaus-influenced design was owned by Stiftung Werkstattmuseum für Druckkunst, Leipzig. For a digital revival, one could use Kristall H MfD Pro (2019, Elsner & Flake). Kristall Now Pro (2019, Elsner & Flake) is a text family that revives Kristall Grotesk Buchschrift by Johannes Wagner GmbH, 1937. [Google] [More]  ⦿

    Kristin Klasinski

    German graphic designer based in Trier. Behance link.

    She created the left-leaning script typeface Gschaftlhuberin (2012) and the hand-printed typeface Deborah (2012). [Google] [More]  ⦿

    Kristina Jaeger

    Aka Kristina Litwinowa, b. 1990, Ostagan, Kazakhstan. She emigrated in 1998 to Germany. Graphic design student in Nuremberg, Germany. She created the simple hand-printed typeface Kiiwniwa (2011). Behance link. [Google] [More]  ⦿

    Kristina Kari

    Kristina Kari (or simply Kryztyna), b. 1988, is a German photographer and illustrator. Behance link.

    As a student at HTW Berlin, she created a watercolor alphabet called Waterresistant (2012). [Google] [More]  ⦿

    Kristina Klinkmüller

    Designer (b. 1983, Dresden) at Volcano of Geomi (2009, a very geometric face), Aneira Dingbats (2010) and Aneira (2010, octagonal face). From 2004 until 2010, she studied at FH Mainz.

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

    Kristina Pruß

    German designer of the sixties candy wrapper package typeface Chuck (2009, Avoid Red Arrows). [Google] [More]  ⦿

    Kristina Schiller

    Hannover, Germany-based designer of the handcrafted typeface Lush (2017). [Google] [More]  ⦿

    Ktell
    [Katharina Köhler]

    Katharina Köhler is a graphic and type designer in Leipzig, Germany. After her education at the HGB (Academy of Visual Arts Leipzig), she received her Master in Art Direction and Type Design at ECAL Lausanne in 2011 with her typeface project Rosart, which is based on the specimen Jacques-François Rosart from 176. Later, she designed the geometric sans typeface faily Lelo (Lomo) and Wiz. Since October 2015 she is artistic associate at Burg Giebichenstein University of Arts Halle. She cofounded Camelot Typefaces in 2017. [Google] [More]  ⦿

    Kuhl Frenzel GmbH

    Studio in Osnabrück, Germany. In 2016, they designed some wayfinding icons for the library of the University of Marburg, the Deutsches Museum München, and TU Chemnitz. Behance link. [Google] [More]  ⦿

    Kurrent Kupferstich Script

    Kurrent Kupferstich is a beautiful handwriting style in common use in Germany before 1941. Walden Font has a version for 25USD. [Google] [More]  ⦿

    Kurt Liebing

    German type designer who made mostly blackletter typefaces: Liebing-Fraktur (1912, Gottfried Böttger, Berthold, Poppelbaum). He also made Liebing-Type (1909, H. Berthold, G. Böttger; aka Elite Gotisch; digitally revived as Liebing Type by Gerhard Helzel, and as TbC Liebing Type by Chiron (2014)) and Lichte Liebing-Type (1916, H. Berthold, G. Böttger), both blackletter designs.

    Typefaces done at Wagner & Schmidt: Eleonore (AG für Schriftguss), Elite Gotisch, Froben Gotisch (Haas), Liebing Gotisch (Schriftguss; revived in 2016 by Peter Wiegel as CAT Liebing Gotisch). In many cases, several typefoundries sold the same type but possibly under different names. [Google] [More]  ⦿

    Kurt Schwitters

    German artist and writer associated with the Dada movement in Hanover, 1887-1948. Unclear which fonts he designed. But he had many original book designs, book covers, and posters. Cover of Merz (1925). [Google] [MyFonts] [More]  ⦿

    Kurt Wanschura

    Leipzig-based designer of Offenbacher Schwabacher (1900, Rudhardsche Gießerei). This bastarda was digitally revived by Peter Wiegel in 2014 and Delbanco in 1996 under the same name, Offenbacher Schwabacher. Klingspor link. [Google] [More]  ⦿

    Kurt Weidemann

    Born in Eichmedien, Masuren, East Prussia in 1922, Kurt Weidemann died on arch 31, 2011. He studied at the State Academy for Fine Arts in Stuttgart, 1953-1955. From 1965 until 1985, he was professor at the Staatliche Akademie der Bildenden Künste in Stuttgart. From 1987 onwards, corporate identity consultant to Daimler-Benz. Weidemann also helped with the identities of companies such as Porsche, Zeiss, and Deutsche Bahn. From 1991 onwards, he taught at the Hochschule für Gestaltung at the Zentrum für Kunst- und Medientechnologie in Karlsruhe. Author of Wo der Buchstabe das Wort führt Ansichten über Schrift und Typographie (Stuttgart, 2000). He lived in Stuttgart, and enjoyed a reputation as an outspoken and lively speaker.

    FontShop link. Video by Die Gestalten. Picture. Another image. Smiling. At home during the Die Gestalten interview. Painting of him.

    He had great ideas about type and book design. For example, he always started designing the most frequently used letters, in this order: enirstadu, and claimed that the other letters are much less important. His typefaces:

    • Biblica (1979). Commissioned by the German Bible Society.
    • The extensive Corporate A (serif), E (slab) and S (sans) series (1985-1990), available from URW (since 1998), MyFonts, and Berthold. The Corporate series was exclusively designed for DaimlerChrysler as a corporate font. URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe. Corporate ME for the Middle East was released by URW in 2012.
    • ITC Weidemann (1983, a digital version of Weidemann's Biblica face.

    Klingspor link.

    Kurt Weidemann's typefaces. [Google] [MyFonts] [More]  ⦿

    KurzProject in Type Design
    [Martina Flor]

    The type designs in Martina Flor's class at Fachbereich Design Dessau's Department of Design (in Dessau, Germany) are showcased here. They are free to download. Most fonts were created using Glyphs. A list of free creations:

    • AlmondLight-Regular (2014). By Mandy Haueisen.
    • Atvice-Bold (2014). By Philipp Rösler.
    • Awesome Type (2012). By Anna Rössler.
    • Blackmama (2014). A piano key typeface by Egon.
    • BurlingtonAntiqua-Regular (2014). By Maximilian Fuchs and Martin Heinemann.
    • Couch (2012). By Lukas Marx.
    • Countess (2012). An art deco typeface by Katja Segal and Carla Neumeister.
    • Dangerfont (2012). A stencil font by Andreas Dymke.
    • Frisko (2012). By Justus Streit.
    • Gentle (2012). A piano key typeface by Charlott.
    • Goldstrich-Regular (2014). By Ekaterina Feil, and Henriette Funke.
    • Harry (2012). A hipster font by Lisa Schmidt.
    • IceLYC (2012). By Yang Qian.
    • Kandinsky-Heavy (2012). By Wladimir Omelyanchuk.
    • Knatz (2014). An organic sans by Thomas Kores and Claudia Vollmer.
    • Lisbell (2014). By Maria Musiol and Florian Patal.
    • Luo (2012). An oriental simulation typeface by Luo Liyun.
    • Monarc Serif (2014). A metal band font by Benjamin Broschinski.
    • Marianne (2012).By Julia Hofmann.
    • Mathilde-Regular, MathildeThin-Regular, Mathildebold-Regular (2012). By Erik Baumann.
    • MinnaDrop (2014). A ball terminal-laden didone by Vanessa Bisky and Romy Fey.
    • Nelia (2012). By Aileen Wilke.
    • NewFont-Regular.
    • Oktober-display-Regular, Oktober-text-bold-Regular (2012). A didone typeface by Johannes Hirsekorn.
    • SafetyMedium (2012). A modular typeface by Christoph Thürsarn.
    • SlantCharlott (2014). By Clara Fendel and Saskia Seiler.
    • Slim (2012). By Chen Ran.
    • Starcrafter (2014). A video game font by Carl Müller and Franz-Julius Pelz.
    • Strukt (2014). An art deco typeface by an unknown student.
    • Triangle (2012). By Xie Tian.
    • XF Baby (2012). By Robert Schlaak.

    Non-downloadable fonts from 2013: Kong (Gustavo Neiva and Christian Sandig), Nougat (Julia Heilck, Marcel Weimann and Sandra Salm), Sparrow (by Linda Kuehne), Nanu (Margarethe Quaas and Michelle Günther), Heartbreaker (by Anne Rösch and Katharina Zschiesche), Wasted (by Jakob Wolf), Open (by Anja Hiebsch and Markus Angelmahr), Madame (by Laura Spang and Sophie Hawaleschka), Pingo (an origami typeface by Nina Rüb and Franziska Timm). [Google] [More]  ⦿

    KWR

    Free math symbol fonts StarMath (1994, Star Division GmbH), StarBats, Mintext. And a free logo font for the company, KWRneu (1999). For StarMath, see also here. [Google] [More]  ⦿

    Kyiv Type Foundry
    [Yevgeniy Anfalov]

    Born in Kyiv, Ukraine, in 1986, Yevgeniy Anfalov moved to Germany in 2003. He studied Visual Communication at Hannover University of Applied Sciences and Arts, and he launched his own design practice in 2010, two years before graduation. From 2015 to 2017, he completed the MA Art Direction at ECAL/University of Art and Design Lausanne, with a major in Type Design. He obtained an award of excellence for his graduation book project on the history of electronic music, ROTARY. Geschichte des Studios für elektronische Musik WDR Köln 1951-1981. Yevgeniy is working primarily in the fields of editorial design, visual identities, bespoke typefaces and online projects.

    Founder of Kyiv Type Foundry, which aims to offer new perspectives on the Russian and Ukrainian heritage of type design.

    His typefaces:

    • LL Heymland (2018-2020, Lineto). An all caps flared typeface for Latin and Cyrillic that was influenced by a pen drawing of Koch's Koch Antiqua found in Solomon Telingater's estate.
    • The cyrillization of Stephan Müller's Chernobyl, a graphic stencil font designed in the late 1990s.
    • The custom typeface Malba Sans (2017) for Museo de Arte Latinoamericano de Buenos Aires (MALBA). He explains: Malba Sans is a corporate font of the museum, whose capital letters were drawn in-house (Aldus De Losa) and served the titling purposes. We were asked by the museum's graphic design team to analyse and update the capital letters, draw the lowercase letters, based upon the improved model and extend the character sets to cover more languages. The new version, named Malba Sans is characterised by a stronger vertical accent and more consistency due the reshape of all the letter forms. A new tighter spacing contributed to the better titling function. Malba Sans was fully kerned and is going to be implemented in the museum's upcoming identity in 2018. The font was exclusively drawn for the internal use and is not available for licensing.

    Lineto link. [Google] [More]  ⦿

    L. Nettlehorst

    Author of Schrift Muss Passen (1959), a paper meant to inform the business and advertising publishing company Essen about the importance of proper font choices. [Google] [More]  ⦿

    La Bolde Vita
    [Fabian Dornhecker]

    Fabian studied communication design in Wiesbaden, Germany. Leipzig, Germany-based creator of the modern clean sans typeface Tans (2018). In 2019, he set up La Bolde Vita, where one can buy these retail typefaces:

    • Airo (2019), Airo Mono, and Airo Text (2021). An experimental hipster typeface, characteristic of the 2015-2020 period.
    • Residenz Grotesk (2019). A 30-style sans workhorse.
    • Samzara (2019). A great experimental typeface. Fabian writes: The final letters are based on a classic Slab Serif design, translating overall shapes and thick bracketed serifs into a digital Antiqua language. Unlike most other serif typefaces, Samzara's endings have the same line thickness as the thin lines of the letters, creating new and sometimes akward letter shapes.
    • Unzyale (2019). An experimental uncial.
    • BHV (2020). An experimental Sans and Serif set of hipster-gone-mad typefaces.
    • Kanton Gothic (2020). A grotesque typeface family influenced by the style of Morris Fuller Benton.
    [Google] [MyFonts] [More]  ⦿

    La Formica

    Volker Heim is a graphic designer from Kempten, Germany. Creator of the sans typeface Formica (2004), designed for small point sizes. [Google] [More]  ⦿

    La Letteria Berlin
    [Elena Albertoni]

    Elena Albertoni's site dedicated to lettering, signpainting, calligraphy and type design. Twitter link. [Google] [More]  ⦿

    Laksone

    German creator of the graffiti tag typeface LaksOner (2011). [Google] [More]  ⦿

    Lara Alexandra Glück

    Born and educated in Los Angeles, Lara moved to Europe to study at the Hochschule für Gestaltung in Offenbach. At typeoff.de, she created the experimental typeface Argos (2004). [Google] [More]  ⦿

    Lara Kothe

    Hamburg, Germany-based designer of the 3d decorative caps typeface Memphistype (2015). Behance link. [Google] [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]  ⦿

    Larissa Subotic

    In 2015, Larissa Subotic created Subotic Script, which is based on her own handwriting. [Google] [More]  ⦿

    Lars Cellini
    [New Cat Orange (or: NCO)]

    [MyFonts] [More]  ⦿

    Lars Harmsen
    [Volcano Type (MAGMA)]

    [MyFonts] [More]  ⦿

    Lasse Fister

    Lasse Fister (Nuremberg and before that, Berlin) is a graphic designer. He embarked on a great project in 2010 called Graphicore Font Building. Starting from a bitmap (BMF format) font, via a free Python program written by him, one can generate OpenType fonts. The free program, graphicoreBMFB has many parameters/options/settings, that allow one to generate very many children of the BMF font. He showcases this by making his free superfamily GraphicoreBitmapFont. All is free and open source.

    Speaker at ATypI 2016 in Warsaw on Introducing Metapolator. Metapolator is a web-based parametric font editor developed by Simon Egli, Lasse Fister, Reuben Thomas and Ben Martin.

    Lasse Fister also developed the Libre Barcode collection of fonts that includes, at Google Fonts, Libre barcode EAN 13 Text, Libre Barcode 39, Libre Barcode 39 Text, Libre Barcode 39 Extended, Libre Barcode 39 Extended Text, Libre Barcode 128, and Libre Barcode 128 Text.

    Lasse is the lead developer of Metapolator, ufoJS and Atem. At the moment (2018) he is freelancing as a font-engineer on Arabic libre font projects for Google-Fonts.

    Github link. [Google] [More]  ⦿

    Laszlo Feja

    Chemnitz, Germany-based designer of the free slab serif typeface Fela (2016). [Google] [More]  ⦿

    Lateinische Ausgangsschrift

    A German school font in use since 1953. The metafont la package simulates it.

    A slightly simplified form used in Hannover since 1973 is Vereinfachte Ausgangsschrift. [Google] [More]  ⦿

    Laura Dreßler
    [Schauschau]

    [More]  ⦿

    Laura Knoops

    Laura Knoops is a French-Belgian designer based in Berlin, Paris and Lille. She created the display typeface I Shot The Courier (2014). Behance link. [Google] [More]  ⦿

    Laura Molkenstroth

    Hannover, Germany-based designer of the blackletter typeface Gargole (2016). [Google] [More]  ⦿

    Laura Schild

    As a student at FH Dortmund, Dortmund, Germany-based Laura Schild created Windmill (2015), a geometric typeface based on the shapes of Mallorcan windmills. [Google] [More]  ⦿

    Laura Ullmann

    For a study project in 2017, Trier, Germany-based Laura Ullmann designed the thin display typeface Twine. [Google] [More]  ⦿

    Laure Boer

    Co-director, with Sebastian Bissinger, of BANK, a French/German design agency based in Berlin. It marketed its fonts through T-26, starting in 2009, but later switched to Colophon. Laure Boer and Sebastian Bissinger published their all caps license plate font Guida at Colophon Type Foundry. Guida is based on an Italian license plate used for some time between 1980 and 1990.

    Laure Boer was professor in the Masters program at ESAAT Roubaix, France, from 2010 until 2020. [Google] [More]  ⦿

    Laurence Waldron

    Hamburg, Germany-based designer of the display typeface MonMur (2020) at HAV Hamburg. [Google] [More]  ⦿

    Laurenz Brunner
    [Studio Brunner]

    [More]  ⦿

    Lauri Toikka

    Graphic designer and illustrator who completed a Masters in type design at KABK in 2011. Originally from Helsinki, Lauri studied at the Lahti Institute of Design where she graduated in the spring of 2010.

    After TypeMedia, Lauri Toikka and Florian Schick set up the design studio and type foundry Schick Toikka in Berlin.

    Typefaces:

    • Colette (2011, designed at KABK) is a transitional type family with text and display cuts. It plays with the contrast of spiky terminals and round curves.
    • Noe Display (2013, Schick Toikka). Characterized by high contrast and sharp triangular serifs.
    [Google] [More]  ⦿

    Lazydogs: Bitte Setzen

    Author of Bitte setzen! The Typefaces Of The Letterpress Printshop Fliegenkopf (2013). The blurb: The Fliegenprobe---probably one of the last letterpress specimens---was released in a limited edition, consisting of two volumes and an accompanying box with large format prints. The project was started under the motto "bitte setzen!" in summer 2008 at Munich Designschool in collaboration with the letterpress printshop Fliegenkopf. The ambitious goal was to create a specimen of the approximately 170 different typefaces of the workshop. [Google] [More]  ⦿

    Lazydogs Type foundry
    [Oliver Linke]

    Lazydogs Type foundry is a German foundry located in München (and before that, Augsburg), est. 2005, by Oliver Linke, Robert Strauch and Kai Büschl. Strauch left in 2014. They do custom and retail type work. Oliver Linke (b. 1971, Odenwald, Germany) studied graphic design at the University of Applied Sciences Augsburg, Germany and the University of Missouri, Kansas City (19931-1998). He continued his studies in art history, art education and philosophy (2000-2005) at the University of Augsburg. He teaches type design and typography at the Designschule München (and before that, at the Blocherer Schule) and Augsburg. By 2017, Lazydogs was run by just two of its founders, Oliver Linke and Kai Büschl.

    Lazydogs published some commercial typefaces, such as Fabiol (2005, a garalde by Robert Strauch), a winner at the TDC 2005 type competition. Oliver Linke created the Lazydogs Finn family (2006, a gorgeous delicate sans).

    At ATypI 2007 in Brighton, he spoke about Masterpieces of Johann Neudörffer the Elder (1497-1563). In 2007, Oliver Linke and Christine Sauer published Zierlich schreiben Der Schreibmeister Johann Neudörffer der Ältere und seine Nachfolger in Nürnberg (Beiträge zur Geschichte und Kultur der Stadt Nürnberg 25, Typographische Gesellschaft München / Stadtbibliothek Nürnberg).

    Other typefaces: Pandera (2008, Robert Strauch), Vela (2010, a text typeface), North (2008, Trine Rask), Alena (2012-2017, Roland Stieger).

    Typefaces from 2013: Streets of London (a complete lapidary font family out of a capital alphabet designed by the British stone cutter and type designer David Kindersley (1915-1995), a former apprentice of Eric Gill).

    Typefaces from 2018: the didone families LD Moderne Antiqua (+Fat) and LD Moderne Slab by Kai Büschl.

    Typefaces from 2019: LD Grotesk (Regular, Condensed, Wide), LD Fabiol Pro.

    Typefaces from 2020: LD Elsnac (a roman typeface family), LD Genzsch Antiqua (by Michael Wörgötter: a revival of Genzsch Antiqua (or Nordische Antiqua)).

    Typefaces from 2021: LinkeHand Pro. [Google] [MyFonts] [More]  ⦿

    Le Punkt Noir
    [Ivana Maric]

    Kehl, Germany-based designer of the script typefaces Apple Tree (2017), Blueberry Cookie (2017) and Monstera Deliciosa (2017). In 2019, she published the gracious semi-connected script typeface Nagamaki. [Google] [MyFonts] [More]  ⦿

    Lea Ahlers

    Berlin-based designer of the handcrafted typeface Lefi (2016). Behance link. [Google] [More]  ⦿

    Lea Filipo

    Berlin, Germany-based designer of the free display typeface Alix (2019). [Google] [More]  ⦿

    Lea Stigge

    At Hochschule Hannover, Lea Stigge designed the mini-serifed typeface Lea Serif (2016). [Google] [More]  ⦿

    Leander Lenz

    Darmstadt, Germany-based graphic designer who used FontStruct in 2009 to create Afrobeat (+II, a piano key family), Afroblack (piano key typeface), Samoa, Serpentine, Freestyle, Criss Cross (2008), Apollo, Samoa (+Ultabold), Underground> (inspired by Pincoya Black), Freestyle, Shadow (fat rounded), Explorer, Beatboy Rounded, Contemporary (kitchen tile face), Fiesta (2009, ultra-fat octagonal), Battista (2009, an organic font with Bodoni influences), Boldy (2009), Breezy (2009, octagonal, ultra-fat), Jin-Jin (playful), Odyssey (art deco ultra-black), Disco Queen (2009), Sketch (slab serif), Mister O (+Bold), Clockwise, My Name Is Font, Beatboy Square, Mister O (dot matrix), No Room For Squares, Accident (Grotesque, Arabesque (a gridded version)), Tony Montana (+Divided), Turning Point, VincentVega (+Outline, +Bold), Beatboy (pixel family), Circles Horizon, Papua (ultra fat), Papua Square (kitchen tile), Winky Light, Winky, Circles, Nu Edge Regular, Cosmos, Toasty, Around The Block, Wave (kitchen tile), Nu Edge, OneMore Time (stencil), Techno Mouse (white on black pixel face), Techno Dog.

    Behance link. [Google] [More]  ⦿

    Lecter Johnson
    [Betterfear.us (or: XXII Fonts, Or Doubletwo Studios)]

    [MyFonts] [More]  ⦿

    Leftover Lasagne
    [Alex Volmer]

    Leftover Lasagne is a graphic design studio and font foundry owned by Alex Volmer, who is based in Herten, Germany. Most of his typefaces are handcrafted. In 2016, he designed Rotwobot LL, State of Love and Toast LL, and Moppetops LL.

    In 2017, he designed Forwardback LL. [Google] [MyFonts] [More]  ⦿

    Leif Niemczik

    During his studies at HSRM in Wiesbaden, Germany, Leif Niemczik designed the handwriting font Oh Script (2014). Github link. [Google] [More]  ⦿

    Leif Rohwedder

    Creator of the commisioned family FranklinAntiquaAubi (1998, for the AutoBild mag), which has Book, Bold, Medium and Italic in it. I am not sure if this was to replace the HelveticaAubi family from Linotype the mag had been using. [Google] [More]  ⦿

    Leipziger Typotage

    The (seventeenth) Leipziger Typotage 2011 took place on May 28, 2011 at the Museum für Druckkunst Leipzig. Speakers included Alexander Branczyk, Will Hill, Lars Harmsen, Julia Kahl, and Christian Gutschi. [Google] [More]  ⦿

    Leipziger Typotage 2013

    The (nineteenth) Leipziger Typotage 2013 took place on April 23, 2013 at the Museum für Druckkunst Leipzig. Speakers included Tim Ahrens, David Fichtmüller, Friedrich Forssman, Maurice Göldner, Christoph Knoth, Stephan Müller, Henning Skibbe and Roman Wilhelm. [Google] [More]  ⦿

    Leipziger Typotage 2014

    The (twentieth) Leipziger Typotage 2014 took place on May 20, 2014 at the Museum für Druckkunst Leipzig. Speakers included Prof. Ruedi Baur, Prof. Johannes Bergerhausen, Ralph du Carrois, Dr. Nadine Chahine, Ivo Gabrowitsch, Prof. Luc(as) de Groot, Akiem Helmling, Boris Kochan, Prof. Andrea Tinnes, and Adam Twardoch. [Google] [More]  ⦿

    Lena Hesse

    Aka Manolea. German designer of the poster typeface ML Monstrolino (2014). Dafont link. [Google] [More]  ⦿

    Lena Manger
    [Collide 24]

    [More]  ⦿

    Lena Oster-Daum

    Frankfurt, Germany-based designer of the watercolor alphabet called Modular (2019). [Google] [More]  ⦿

    Lena Schmidt
    [Spirit&Bones]

    [MyFonts] [More]  ⦿

    Lena Stichternath

    Graphic designer in Hannover, Germany. The typeface Magdalena was developed during a course at the University of Applied Sciences and Arts Hannover taught by Florian Schick. In 2018, the typeface was used for the Elefant tea brand corporate identity. [Google] [More]  ⦿

    Lena Zembrowskij

    Hamburg, Germany-based designer of the free Doodle Typewriter Font (2014). Behance link. [Google] [More]  ⦿

    Lennard Boekstegers

    Berlin-based designer of the octagonal typeface Grafika (2013). [Google] [More]  ⦿

    Lennart Breede

    During his studies in Hamburg, Germany, Lennart Breede designed the shaded outlined sans caps typeface Striped (2013). [Google] [More]  ⦿

    Lennart Otte

    Interaction designer in Osnabrück, Germany. In 2018, he published the free blackletter typeface family Moderna Fractura (2018), adding free except for racists. Attaboy, Lennart! [Google] [More]  ⦿

    Lennart Pascal Tarris
    [Pascal Tarris]

    [MyFonts] [More]  ⦿

    Lenore Poth

    German designer (b. 1959, Frankfurt am Main). She studied at Hochschule für Gestaltung in Offenbach. Since 1989, she has worked as a freelance illustrator, designer, and cartoonist. Together with Sine Bergmann, she created the handwriting typeface Giacometti Letter (2008, Linotype).

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

    Leo Koppelkamm

    Leo Koppelkamm is a Berlin-based graphic designer/illustrator/programmer who created Blu (2012) and Bruno (2012, a layered ribbon font) during his studies at the Berlin University of Arts, UdK, under the guidance of Lucas De Groot. Blu and Bruno are identical, as Leo explains: Unfortunately Adobe trademarked my grandfathers name, so MyFonts took the font down. I'll now have to come up with another name. It's still available to buy at leo-koppelkamm.de/bruno. [Google] [MyFonts] [More]  ⦿

    Leo Wackerle

    Designer at Klingspor of Kalender Bilder (1921). [Google] [More]  ⦿

    Leon Lukas Plum

    German creator of Pencilcase (2009, early handwriting), Gecko (2011, very cleanly hand-printed). Download site. Creator of the iFontMaker font I Shot the Serif (2010, a hand-printed face).

    Dafont link. [Google] [More]  ⦿

    Leon Rolle

    During his graphic design studies in Munich, Germany, leon Rolle designed Kin Ocube (2017), a typeface that mixes Avenir and Bauhaus. [Google] [More]  ⦿

    Leonhard Katschner
    [Brave Type (was: Brave Lion Fonts)]

    [MyFonts] [More]  ⦿

    Leonie Schäffer

    During her studies at the Muenster School of Design, under Jakob Runge, Leonie Schäffer created the sans typeface Monogami (2018), a display type that is based on Apercu and GT Sectra. [Google] [More]  ⦿

    Leonie Steiner

    Bonn, Germany-based designer of the pencil-themed typeface Pastella (2016), the hand-drawn typeface Leonie (2014) and of the decorative blackboard bold typeface Sun (2014) and the classic shaded caps typeface Indianer (2014). [Google] [More]  ⦿

    Leopold Feichtinger

    Creator of this blackletter lettering sample in 1947. [Google] [More]  ⦿

    Leoward Cabangbang

    Also called Leeroi Stock, and The Metronomad. Berlin-based creator of Palawenyo-Bold, Palawenyo, Palawenyo-Inline (2008, scribbly handwriting), Plantae-Dings (2008, plant dingbats), birds (2007, bird dingbats), metronome (2007, pixelish font). Home page. [Google] [More]  ⦿

    Les 83 machines

    Munich, Germany-based designers of the tweetware font Kino 40 (2014), which models the handcrafted style in old movies. Behance link. [Google] [More]  ⦿

    Letter Edit
    [Björn Gogalla]

    Berlin-based type foundry, est. 2012 by Björn Gogalla. Typefaces published in 2014 include the fat didone typeface family Barkley Poster and Barkley Block (2014), and the ornamental typeface Moskau Pattern (2013), as well as the geometric sans Moskau Grotesk (2013).

    Gogalla writes: The design of the typeface Moskau Grotesk is based on the signage created for the Café Moskau in Berlin by the graphic artist Klaus Wittkugel in the beginning of the 1960s. The Café Moskau, across from the Kino International on Karl-Marx-Allee in Berlin Mitte was one of the prestige edifices of the former DDR (German Democratic Republic). [...] The lettering display on the roof was created by the graphic artist Klaus Wittkugel (1910-1985). He was Professor at the School for Applied Arts in Berlin, created many posters, book covers and postage stamps, and was responsible for the signage of the Kino International as well as for the complete graphic treatment for the Palace of the Republik. Moskau Grotesk comes with a great hairline weight, ExtraLight.

    In 2014, he designed Flaco. [Google] [MyFonts] [More]  ⦿

    Letterlabor
    [Kai Bernau]

    Kai Bernau (Letterlabor) is a German type designer (b. 1978) who studied graphic design at the University of Applied Sciences Schwäbisch Gmünd. He created "The neutral typeface" (2005), a sans family, as his thesis project at the KABK in Den Haag. The typeface was born as a mathematical average of ten sans typefaces: AG Buch, Neue Helvetica, Univers, Grotesque, Franklin Gothic, Frutiger, Trade Gothic, Documenta Sans, The Sans and Syntax. He graduated there in 2006 with a masters degree. Together with his wife Susana Carvalho, they formed Atelier Carvalho Bernau, a practice that designs printed matter (mainly books), bespoke and retail typefaces, and identity programs. At Commercial Type, he published Lyon Text and Lyon Display in 2009, described by Commercial Type as follows: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. The Atelier also has other typefaces on its site, all done between 2007 and 2010, such as Neutraface Slab (for House Industries), Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type: a revival of Dick Dooijes's Mercator), Neutral (an outgrowth of Kai's thesis work), PDU (a French stencil revival project), and some custom typefaces such as Proprio.

  • Neutral (2005-2009). The Neutral typeface was Kai's graduation project from the KABK undergrad course. It is what one could call a basic sans. It first appeared as Neutral BP in the now defunct B&P Foundry. In 2014, Typotheque published Neutral. Kai writes: Neutral was inspired by typefaces that seem ageless, remaining fresh and relevant even decades after they were designed. It was constructed based on a set of parameters derived by measuring and averaging a number of popular 20th-century Sans Serif fonts. Custom typefaces include Munich Re (2008-2009, for the Munich Re Reinsurance group. MunichRe Sans takes roots in the grotesque types of the 1950s (among others, Dick Dooijes' Mercator for the Lettergieterij Amsterdam)) and Harvard Museum Neutral (2008).

    Write-up at Fontshop. Critique by Experimenta. [Google] [More]  ⦿

  • Letterlabor

    German/English site in which Frank Blokland gives us a lecture on letter shapes. [Google] [More]  ⦿

    Lettersoup
    [Botio Nikoltchev]

    Also written Botjo Nikoltchev, b. 1978, Sofia, Bulgaria. Botio studied graphic and type design in Potsdam. He is living and working as a freelance designer in Berlin. He studied communication design at the University of Applied Science Potsdam and took type design classes with Luc(as) de Groot. After his studies Botio worked with Ole Schäfer (Primetype) on the Cyrillic characters of PTL Manual, PTL Manual Mono and PTL Notes. Since 2010 he has been collaborating with Ralph du Carrois and Erik Spiekermann as type designer and art director at Carrois Type Design, focusing on Cyrillic, Greek and Arabic language extensions and CI projects. In 2014, he set up the commercial type foundry Lettersoup.

    Creator of the free font Ropa Sans (2012, Google Web Fonts, +Arabic, +Ropa Soft, 2014). The typeface is in DIN's circle of friends.

    Sofadi One is a scriptish font that is free at Google Web Fonts.

    Share Tech Mono (2012, Google Web Fonts) is a monospaced sans face. Share Tech (2012, Google Web Fonts) is its proportional version. Both are derived from Share (2012, Google Web Fonts). He helped with the Greek and Cyrillic portions of FF Meta Serif.

    Corporate fonts by Botio include MMH Netrange Cyrillic + Greek + Arabic, Cisco, Meta Science and Exploratorium Sans. He designed the icons for Museo de Art de Ponce.

    In 2014, Botio designed the humanist sans typeface family PTL Manohara (Primetype) for Latin and Cyrillic.

    In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova. Later in 2016, he published the nearly geometric sans family Quasimoda, which covers a full range of weights, from Hairline to Heavy.

    Typefaces from 2017: Attractive (a free sans, done with Ani Petrova), Ropa Mix Pro.

    Typefaces from 2019: Rouse Sans (by Botio Nikoltchev and Ani Petrova: based on Sofia Sans).

    Typefaces from 2021: Apparat (an 88-style geometric sans family that was given a humanistic treatment).

    FontShop link. I Love Typography link. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

    Lew Bridcoe

    Lew Bridcoe (manslaughterer) (b. 1985, New Brandenburg, Germany) designed the pretty 8x10 pixel font Salad Let (2003). No downloads yet. [Google] [More]  ⦿

    Lexiter GmbH

    Pick up a free font with Euro symbols, called "Euro by Lexiter" (1998). [Google] [More]  ⦿

    lgtm
    [Tim Kowalewski]

    lgtm is the foundry of Tim Kowalwski, A freelance art director in Berlin. He designed the blocky outline typeface EasyPeasyLemonSqueezy (2010). [Google] [MyFonts] [More]  ⦿

    Liam Hine

    Liam Hine was born in Wegberg, Germany, in 1989. He lives in Leeds, where he is a graphic designer. He created the experimental typefaces Belt Up Lad (2011), Blame Tools (2011), Takes The Biscuit (2011). Behance link. [Google] [More]  ⦿

    Librito.de
    [Florian Zietz]

    Florian Zietz (b. Salzgitter-Bad, Germany, 1967) studied graphic design at Fachhochschule Hildesheim and participated in the German art and design school's exchange program with the University of Wisconsin-Stout. Since completing his studies in 1994, he has been working as a freelance graphic designer and illustrator for a variety of clients. Creator of the dingbats typeface FF Headz (2005), which won an award at TDC2 2006. Librito is the web outfit of Agnes von Beöczy and Florian Zietz, who are located in Hamburg, Germany. They are involved in graphic and type design, calligraphy and illustration. Besides FF Headz (dingbats), they created Just Seven (2010, a child's hand), Cutz (informal script that is way better than Comic Sans), Segmenta (2008, modular, octagonal, slightly stencilish; based on grids similar to those used in train station and airport signage), Stars (2009, dingbats), and Zansibar (a great type project concerned wit the reconstruction of an old map alphabet). Viktor (2011) is based on wood type.

    In 2012, he published the Sketchimpact family (a sketched version of Impact) and the roughened antiqua typeface Argento.

    Typefaces from 2014: Ahoy (based on cruise line posters), Neometrix (3d, layered, outlined and hand-drawn).

    Typefaces from 2015: Fatone (a high contrast semi-didone caps family, with wood type ancestry).

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

    Liebefonts
    [Ulrike (Wilhelm) Rausch]

    German commercial foundry, est. 2009 by Ulrike Rausch (formerly Ulrike Wilhelm), a Berlin-based illustrator and graphic designer, who graduated in communication design from Potsdam University of Applied Science. MyFonts sells Liebe Ornaments (2010), Liebe Doni (2011, a hand-printed didone), LiebeKitty (2010, cat dings), LiebeMenu (2010, restaurant dingbats), LiebeFish (2009, fish dingbats), LiebeChristmas (2009, dings), LiebeCook (2009, dings), LiebeTweet (2010, birdies), LiebeEaster (2010), LiebeMenuLettering (2010), Liebe Erika (2010), Liebe Klara (2012, cursive), Liebe Ruth (2013: an organic typewriter type family), Liebe Doris (2014, a brush face) and Liebe Robots (2009, robot dingbats), Liebe Lotte (2015), Liebe Lotte Swell (2015), LiebeGerda (2016), Supermarker (2020, at Fontwerk: a marker font with randomized glyphs to minimize repetitions), Liebe Heide (2020: handwriting emulation).

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

    Liebermann Kiepe Reddemann

    Hamburg-based studio, est. 2014 by David Liebermann and Maximilian Kiepe. Jana Reddemann joined in 2019. They released two free fonts:

    • Times New Arial (Elias Hanzer, 2019). A variable font which interpolates between Times and Arial. It has two axes: Times/Arial and Left/Right slant. Inspection of the font file indicates that the Arial master's outlines are copied directly from the Microsoft system font.
    • Cursor or Cursor Apple (2020). This is an OpenType color SVG font which is designed to look like the Mac OS cursor set.
    [Google] [More]  ⦿

    Lienhard Holie

    German type designer, renowned for the artistic merit of his roman letters. [Google] [More]  ⦿

    Liffey Type
    [Chanel Mülhaupt]

    Konstanz, Germany-based designer of the bilined typeface Komorebi (2019). [Google] [MyFonts] [More]  ⦿

    Ligature Inc

    Ligature Inc (est. 2017) is the type foundry of Alex Rütten (Berlin) and Felix Braden (Köln), who both studied at Trier University of Applied Sciences. After graduating they worked as editorial and interface designers and art directors. Both designed several typefaces for foundries such as FontShop International, Linotype and URW+.

    Typefaces from 2017: Tuna (dedicated site: a legible text typeface family by Braden and Rütten), Aidos (a semi-typewriter wedge serif typeface by Rütten). [Google] [MyFonts] [More]  ⦿

    Lilli Wagner

    Trier, Germany-based designer of a deconstructed Hevetica typeface (2015). [Google] [More]  ⦿

    Lin Yü-Bingnan
    [Yü Bing-nan]

    In 1956, as a young graduate of the Lu Xun Academy of Fine Arts, calligrapher and type designer Yu Bingnan (also Lin Yü-Bingnan or Yü Bing-nan) was sent to East Germany to work on a Latin typeface. There, he studied at the Hochschule für Grafik und Buchkunst in Leipzig (Academy of Fine Arts Leipzig, thereafter HGB), one of the best and oldest art institutes in the world at that time. One of his teachers there was Albert Kapr. From early 1959, Yu Bingnan started conceiving a Latin typeface. He improvized a unique writing instrument---a bamboo pen that was chopped off from a traditional ink brush commonly used in Chinese calligraphy. Yu named his Latin typeface Freundschafts-Antiqua, a symbol of solidarity and friendship between China and Germany. Yu Bingnan graduated in 1962. That same year, Freundschafts-Antiqua was published by Typoart. These typefaces can be found in Jaspert's book and in Hildegard Korger's Handbook of Type and Lettering. It is a very readable old style serif, with many calligraphic elements, and original curvy characteristics. As the first Latin typeface ever created by a Chinese designer, Freundschafts-Antiqua has won the Gutenberg Prize (the first Asian winner), the Best Contemporary Typeface award, the German Minister of Culture Award, the Tokyo Type Director's Club Award and many other awards. Yu Bingnan became professor at the Academy of Fine Arts of Tsinghua University.

    A first digital revival was done in 2010 by AR Types, which writes about Freundschafts-Antiqua AR: Freundschafts-Antiqua AR is based on a 20th-century German type design. Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960. It was cast in 1964 by VEB Typoart, Dresden, in 9-pt and 28-pt (Didot). The design combines the best German traditions with the Chinese bamboo pen. It is a unique, wholly modern, yet quiet and dignified typeface which is well suited for text-setting in many sizes.

    In 2017, Roman Wilhelm and 3type, a Shanghai-based type foundry, released a six-style extension called Freundschafts Antiqua Neue. 3type has also fashioned a sans-serif member of the Freundschafts-Antiqua Neue family. [Google] [MyFonts] [More]  ⦿

    Linda Hintz

    Linda (Copenhagen, Denmark) studied at HfG Schwäbisch Gmünd (2007). A course with Luc[as] de Groot led her to KABK in Den Haag where she obtained a Masters degree in type and media in 2011, and designed the typefaces Ernest, Ernie and Ernesto. She writes: Ernest is a transitional text cut for continuous reading, modest and quite quiet in appearance. His little fellow Ernie is made for small sizes in captions with simplyfied letterforms. In contrast Ernesto works as an image in displaysizes, being a caps only cut with playful alternatives to give a splendid impression.

    She is based in Copenhagen (since 2014) and works as an independent type designer. In 2017, Linda Hintz and the Monotype Design Team revived Gerard Unger's Praxis (1976) as Praxis Next.

    In 2015, Gerard Unger, Linda Hintz and Dan Reynolds published Demos Next (2014) at Linotype.

    In 2018, Linda Hintz and Toshi Omagari published the large geometric sans typeface family Neue Plak that revives and extends Paul Renner's Plak (1928).

    In 2022, she published the plumpish Pouf (It can inflate and deflate, looks like it's breathing when animated and makes most people smile). FontShop link. Future Fonts link. [Google] [MyFonts] [More]  ⦿

    Linda Nuebling

    Graphic designer in München who created the cursive typeface My Italic Paris (2014). Behance link. [Google] [More]  ⦿

    Linh Phi

    Hamburg, Germany-based designer of the multiline paperclip style typeface Lumi (2016). [Google] [More]  ⦿

    Linksbuendig.de

    German site with type links. [Google] [More]  ⦿

    Linotype Compatil

    A 16-font pack from Linotype consisting of Compatil Fact, Compatil Letter, Compatil Text, and Compatil Exquisit. This package was developed from 1999-2001 by Olaf Leu, Silja Bilz and Reinhard Haus at Linotype specifically, as the name suggests, for use in reporting computations, tables, and in information design in general. View the Compatil typefaces. [Google] [More]  ⦿

    Linotype Font Technology Forum 2001

    This conference was held in May 2001 at the Print Media Academy, Heidelberg, Germany [Google] [More]  ⦿

    Linotype Library GmbH

    Large type German foundry Linotype controlling over 4000 fonts. The company was located in Bad Homburg since 1998. It was acquired by Monotype Imaging in 2006, after more than a decade under the helm of Bruno Steinert. On January 29, 2024, Monotype sent this message: As part of a consolidation of its online offerings, the Monotype Group has decided to discontinue the operation of Monotype GmbH's online store LinoType, effective 28.03.2024, and to transfer/novate this business unit in its entirety to MyFonts Inc. of 600 Unicorn Park Drive, Woburn, MA 01801---also a company of the Monotype Group. And that is the end of Linotype.

    Linotype wrote about itself in 2008: Linotype GmbH, based in Bad Homburg, Germany and a wholly owned subsidiary of Monotype Imaging Inc., looks back onto a history of more than 120 years. Building on its strong heritage, Linotype develops state-of-the-art font technology and offers more than 9,000 original typefaces, covering the whole typographic spectrum from antique to modern, from east to west, and from classical to experimental. All typefaces (in PostScript(tm) and TrueType(tm) format as well as more than 7,000 fonts in OpenType(tm)) are now also available for instant download at www.linotype.com. In addition to supplying digital fonts, Linotype also offers comprehensive and individual consultation and support services for font applications in worldwide (corporate) communication. It publishes frivolous/experimental font collections under the name Taketype (1 through 4 now), and regularly publishes reworked classic and original text type families such as Compatil, Vialog, Satero, Linotype Sabon, Linotype Frutiger, Linotype Optima, and Linotype Univers. Its designers. A time line:

    • 1886: Ottmar Mergenthaler invented the Linotype machine.
    • 1890: Mergenthaler establishes the Mergenthaler Linotype Company in Brooklyn, USA.
    • 1895: The D. Stempel foundry was born.
    • 1915: D. Stempel takes over the type foundry Roos&Junge, Offenbach (established in 1886).
    • 1917: D. Stempel acquires a majority share of the type foundry Klingspor Bros., Offenbach.
    • 1918: D. Stempel takes over the type foundry Heinrich Hoffmeister, Leipzig (established in 1898).
    • 1919: D. Stempel acquires the type division of W. Drugulin, Leipzig (established in 1800) and a share of the type foundry Brötz&Glock, Frankfurt (established in 1892).
    • 1927: D. Stempel acquires a shareholding in the Haas'sche type foundry in Basel/Münchenstein (established in 1790).
    • 1933: D. Stempel acquires a shareholding in the type foundry Benjamin Krebs (Successors), Frankfurt (established in 1816).
    • 1956: D. Stempel AG acquires full ownership of the type foundry Klingspor Bros., Offenbach (established in 1906).
    • 1963: Linotype takes over the type foundry Genzsch + Heyse, Hamburg (established 1833).
    • 1970: Stempel takes over part of the type collection of C.E. Weber (Stuttgart, est. 1927).
    • 1972: The Haas'sche type foundry in Basel/Münchenstein takes over the type foundry Deberny&Peignot, Paris.
    • 1978: The Haas'sche type foundry takes over Fonderie Olive, Marseille (established in 1836).
    • 1985: Linotype takes over of the type division of D. Stempel AG.
    • 1989: Linotype takes over the Haas'sche type foundry (established in 1790).
    • 1990: Linotype AG merges with Hell GmbH to become Linotype-Hell AG.
    • 2006: Acquired by Monotype Imaging.
    • 2024: On January 29, 2024, Monotype sent this message: As part of a consolidation of its online offerings, the Monotype Group has decided to discontinue the operation of Monotype GmbH's online store LinoType, effective 28.03.2024, and to transfer/novate this business unit in its entirety to MyFonts Inc. of 600 Unicorn Park Drive, Woburn, MA 01801---also a company of the Monotype Group. And that is the end of Linotype.

    MyFonts link for Linotype Design Studio.

    Catalog of the typefaces in Linotype's library [large web page].

    View Linotype's library of typefaces in alphabetical order. [Google] [MyFonts] [More]  ⦿

    Linotype versus website owner

    Bruno Steinert (Linotype) sent a very nice woman web-site owner in Germany this message: "Durch Ihre unrechtmäßige, weltweite Weitergabe unseres geistigen Eigentums entsteht uns ein massiver wirtschaftlicher Schaden mindestens im sechsstelligen DM-Bereich. Da wir uns nicht vorstellen können, daß Sie sich unseren Schadensersatzansprüchen sowie weiteren juristischen Maßnahmen aussetzen wollen und wir zunächst davon ausgehen, daß Sie Ihre Website in Unkenntnis des rechtlichen Umfeldes betreiben, ersuchen wir Sie hiermit höflichst, diese Site unverzüglich zu schließen und erst dann wieder in Betrieb zu nehmen, wenn Sie zweifelsfrei sichergestellt haben, daß die angebotenen Daten nicht die Rechte Dritter verletzen." Threats of six-figure lawsuits for apparently offering one possible Linotype clone on an archive? Most people would buckle under this, but I find such emails dangerous, and everyone on the web should stand up and revolt against this sort of heavy-handed inquisition by Linotype's manager. [Google] [More]  ⦿

    Linotype vs Media Markt GmbH

    This press release from September 2003 states: "Linotype Library gained an important victory at the Frankfurt am Main District Court in the argument regarding the distribution of digital typeface copies by Media Markt GmbH. The Third Civil Division confirmed in all points the view of the international typeface supplier, which wanted to stop the illegal circulation of replicated protected typefaces by the electronics giant. The ruling, which became final on August 22, 2003, strengthens the protection of intellectual property for typographic characters, which are protected by the design patent law and the German "Schriftzeichengesetz"*. On April 22 of this year, Linotype issued a written warning to Media Markt stores in Frankfurt concerning the infringement of rights according to the design patent law and the German "Schriftzeichengesetz"*. Within this warning, the Media Markt chain was called upon to stop the circulation of a typeface CD containing two identical copies of the Linotype fonts Basilia Haas Roman and Basilia Haas Italic. Media Markt thereupon went before the court to appeal Linotype's asserted injunction. In the recent judgement, the court concurred with the arguments of Linotype Library GmbH and dismissed the case by Media Markt as unfounded. [...] [Bruno Steinert] pointed out a declared goal for his company: "customers must be able to more easily, quickly, securely and comfortably buy a typeface than they can - illegally - copy it." Remarks: Media Markt GmbH is a German electronics giant. Also, interesting to note that none of the company goals contain words like art, culture, artist, beauty or creativity. [Google] [More]  ⦿

    Lippmann & Döhme

    Authors in 1884-1997 of Druckschriften des 15. bis 18. Jahrh., in getreuen Nachbildungen (Berlin, Reichsdruckerei). This book contains 100 full-page facsimiles in loose sheets. [Google] [More]  ⦿

    Liquitype

    Liquitype (Germany) made the experimental font Maerchen, the Cinema de Paris alphabet, as well as the free font CP Mono (2009), which was inspired by British carplates. Since the license of CP Mono says, You are free to copy, distribute, display, and perform the work and to make derivative works, under the following conditions: Attribution. You must give the original author credit, I am making a copy of the font family available here: CP Mono download. Kernest link. Abstract Fonts link. Font Squirrel link. [Google] [More]  ⦿

    Lis Bokt

    Swedish-German Lis Bokt started Tysk Tysk in 2002. She made these free handwriting fonts in 2003: AdreaJolynNormal, Ajani, Artilleria, FlscherNormal, GwaHoThin, Huvudroll, Kikare, Kunstherz, KyldiskNormal, LiesandaScriptMedium, Mndalein, Schosszeit1, Solskriven, StridslystenMedium. In 2004, she added Kulterin Maskpan and Gfaalit. From 2005: more handwriting typefaces such as Miss Lolly, Skrivande, Schneller and Stryka. From 2006: Regellos. Dafont link. [Google] [More]  ⦿

    Lisa Beranek

    German designer of the stencil typeface Richy (2017). [Google] [More]  ⦿

    Lisa Dittgen

    For a school project in Trier, Germany, Lisa Dittgen designed an Italian typeface (2016). [Google] [More]  ⦿

    Lisa Fischbach

    Lisa Fischbach (Kiel, Germany) studied at the Muthesius Academy of Fine Arts and Design in Kiel. She graduated from the MATD program at the University of Reading in 2014. Her graduation typeface there was called Kaius. Kaius has a complex typographic structure. Designed for small print, it features a large x-height. Kaius covers Latin, Gujarati, Greek, Cyrillic and IPA. In 2020, she released Kaius Pro in 16 styles 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.

    In 2017, she joined Jakob Runge once again for Cera Round Pro, an absolutely wonderful geometric rounded sans typeface family for Latin, Greek and Cyrillic. Jakob Runge, with the help of Lisa Fischbach, designed Harrison Serif Pro (a slab serif) in 2017 at Typemates. Harrison serif won an award at TDC Typeface Design 2018.

    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. [Google] [MyFonts] [More]  ⦿

    Lisa Hilbertz

    Graduate of HS Niederrhein (University of Krefeld, Germany), class of 2015, who has permanently moved to the UK, where she is based in Ipswich. In 2015, she created the hipster typeface Amargo. [Google] [More]  ⦿

    Lisa Müller

    One of the designers at the Dortmund, Germany-based type foundry Yokkmokk, b. 1987, Gelsenkirchen. With Judith Jöhren, she co-designed Monostep in 2014. Monostep is a monospaced typewriter typeface that includes Geometrics (with many arrows) and Washing Icons. Yokkmokk link. [Google] [MyFonts] [More]  ⦿

    Lisa Najewitz

    Wismar, Germany-based designer of the beautiful didone fashion mag typeface Giorgio (2015), which was part of a school project supervised by Andreas Froloff. All her pther work is equally outstanding---winess the calligraphic blackletter lettering piece called Affenzirkus (2015). [Google] [More]  ⦿

    Lisa Schumacher

    During her studies in Trier, Germany, Lisa Schumacher designed the squarish typeface Mart (2016). [Google] [More]  ⦿

    Lisa Sochiera

    During her studies in Darmstadt, Germany, in 2016, Lisa Sochiera experimented with letters. [Google] [More]  ⦿

    Lisa Timpe

    German-born graduate of the MATD program at the University of Reading, class of 2013. For her graduation program, she created the soft and flowing typeface family Mellow.

    She writes: Mellow is a playful serif type family supporting Latin and Gujarati. It has a characteristic quirkiness and texture. With dynamic curves and strokes mellow shows nice fluidity especially in its italic. Mellow likes being used in long texts as well as for display purposes and feels most comfortable in a cultural environment. Publications should not be too conventional or serious because mellow wouldn't like it a lot.

    In 2019, she was part of a team that extended Matthew Carter's Devanagari from 1977 into Linotype Devanagari. [Google] [MyFonts] [More]  ⦿

    Lisa von Paczkowski

    In house type designer at Elsner&Flake in Hamburg, where she made EF Tierili (1995, a frivolous font).

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

    Lise Naujack

    German designer of the multiline chip wire typeface Platine (2008, Avoid Red Arrows). [Google] [More]  ⦿

    Lissy Bonness

    Born in Germany, Lissy Bonness moved to the UK in 2007 to study design. at the University of Northampton, where she graduated in 2012. Behance link.

    She used sound signal time plots in her experimental typeface Sonic Typography II (2012). [Google] [More]  ⦿

    Lit Design Studio
    [Tom Hossfeld]

    German studio specializing in brand identity design with a focus on logo, type and information design. It was founded by Livius Dietzel and Tom Hossfeld. Typefaces:

    • Lit Sans (2018-2019), an attractive geometric typeface straight from the Bauhaus school attic. Lit Sans Medium is free.
    • Graphit (2019). This seems to be identical to Lit Sans. Curated by HVD Fonts, it showed up at MyFonts in January 2019.
    [Google] [MyFonts] [More]  ⦿

    Literaturliste Typographie

    German page on type books. [Google] [More]  ⦿

    Little Asshole
    [Agnese Pagliano]

    Berlin-based designer of the mostly free fonts Little Cut (2010), Little Retro (2011), Little Hand (2011, hand-printed), Little Wave (2011), Little Space (2011, octagonal), Little Line (2011), Little Techno (2011: fat and counterless), Little Brush (2011), Little Flower (2011, floriated), Little Future (2011), and the techno typefaces LA Type 01 (2011), LA Type 02 (2011), LA Type 03 (2011), LA Type 04 and LA Type 05 (2011) and LA Type 06 (2011).

    In 2016, she published the display font series Future, Little Retro (free), Little Flower (free), Cut, Mellow, Blurred and Retro.

    Handmade Font link. Klingspor link. Behance link. [Google] [More]  ⦿

    Livius Dietzel

    Berlin-based type designer. Co-creator with Hannes von Döhren of ITC Chino, ITC Chino Display (2009), a soft-edged bold signage and sans family, FF Basic Gothic (2010, a grotesk family), Brix Slab (2011), Brix Slab Condensed, Brix Sans (2014, created using precisely engineered glyphs for corporate or information design), and Livory (2010, a rounded serif type family of four fonts influenced by the French Renaissance Antiquas from the 16th century).

    In 2018, he co-founded Lit Design Studio with Tom Hossfeld. Together, at their new studio, they designed these typefaces:

    • Lit Sans (2018-2019), an attractive geometric typeface straight from the Bauhaus school attic. Lit Sans Medium is free.
    • Graphit (2019). This seems to be identical to Lit Sans. Curated by HVD Fonts, it showed up at MyFonts in January 2019.
    [Google] [MyFonts] [More]  ⦿

    Local Desk Design Studio

    German designer of these display typefaces in 2021: Coss, (a stylish all caps sans) Eggward, Gerda, Karl (a minimalist sans), Margie, Olga Sans, Quinces (all caps), Rosaly (roman). [Google] [More]  ⦿

    Logitogo GmbH

    Barcode outfit in Munich, Germany. Designers of the free barcode font Code-39-Logitogo (2008). Dafont link. Another URL. [Google] [More]  ⦿

    Loïc Sander
    [Akalollip]

    [More]  ⦿

    Loreley Design
    [Boris Schrage]

    Loreley Design is Boris Schrage's graphic design studio in Münster, Germany. In 2022, he released Wusel (a doodle font) and Roamer (a sans emulating weathered wood or paint on concrete). [Google] [MyFonts] [More]  ⦿

    Lorenz
    [Gustav Lorenz]

    A German type foundry, est. 1834 in München by Johann David Lorenz. He designed a two-style typeface for the Codex zu Upsala. In Meyer's Gutenbergs-Album from 1840, it is called Mösogotisch. It served, in fact, as a prototype for Peter Behrens's Behrens Antiqua in 1902. In 1848, the foundry was led by Gustav Lorenz, a punchcutter, who specialized in Altdeutsche Kirchenschriften and blackletter scripts. Lorenz published a specimen book in 1855. In 1872, the foundry was sold to Josef Thoma.

    Gerhard Helzel's Alte Münchner Fraktur is modeled after a typeface by Gustav Lorenz from 1850. [Google] [More]  ⦿

    Lorenz Fidel Huchthausen

    Lorenz Fidel Huchthausen (aka Tylo at FontStruct) is a young graphic designer and artist from Berlin. At FontStruct, he created the 2d and 3d outline typefaces Solidblock, Solidblock 3D, Smoveblock and ZigNZag in 2010. Further typefaces made in 2010 include FS Stein (counterless), FS Jaze (angular face), Nareaves (modular kitchen tile face), FS Above Ferrofluid (texture face), Riss (white on black stone chisel face), Blockage, Blockswosh, AB CD, Handot (dotted), Zirc (circular), FS Zig n Zag, FS Blaze (counterless, geometric), Rabina Stripe (rounded slab), Swulsh (psychedelic), FS Zeta B (futuristic industrial face), FS Lehev, FS One Brick Pixel Font, FS Cushi, FS Karo (texture face), FS Raunpe, Elmant, FS Jasemone, FS Mortalers (texture face), FS Papier 3D, and Pseudobraille (dot matrix face).

    FontStructions from 2011: FS Fluze, FS Hommage a Frodo (3d face), FS Pixel Portrait (ultra-fat), FS Rinali (wavy), FS Gritta (a great stacked 3d face). [Google] [More]  ⦿

    Lorenz Reinhard Spitzenpfeil

    Blackletter type designer at Ludwig&Mayer, b. 1874 Michelau, d. 1945 (by suicide), who lived most of his life in Kulmbach, and is often called the forgotten designer. His typefaces:

    • Welt-Fraktur (Magere and Halbfette) (1908-1910). Also called Spitzenpfeil Fraktur.
    • Werk-Fraktur (1918; the mager is from 1913). Revived by Gerhard Helzel.
    • Kulmbacher Fraktur. Unpublished.
    • Kulmbacher Schwabacher (1935).
    • Fränkisch Spitze Buchkursive (or just Fränkisch) (1906, Genzsch & Heyse; Seemann and Wetzig both mention 1910). Revived by Dieter Steffmann in 2002.
    • Spitzenpfeil Splendid (Ludwig&Mayer).

    His life story was told in 1983 by Hermann Stettner and others in the magazine of the Bund für die deutsche Schrift, volume 69: Page 1, Page 2, Page 3, Page 4, Page 5, Page 6, Page 7, Page 8, Page 9. See alo Kurt Muhlhausser's article Lorenz Reinhard Spitzenpfeil. Ein Lebensbild des oberfränkischen Künstlers und Forschers (in: Geschichte am Obermain, Bd. 17, 1989-1990).

    Author of Die Behandlung der Schrift in Kunst und Gewerbe. Eine Einführung in die Schriftbildung, Schrifttechnik und Schriftanwendung (Nürnberg, 1911), Die Grundformen neuzeitlicher Druckschriften (Leipzig, 1912) and Der Schriftkünstler. Anleitung zur Kunstschrift (Hannover/Wien, 1912). [Google] [More]  ⦿

    Lory Uhrich

    Köln-based designer of Serif Pixel Font (2015). [Google] [More]  ⦿

    Lossius & Seyfarth

    German type foundry based in Erfurt. J. Heinr. Chr. Lossius published Probedruck der deutschen und latteinischen Schriften in 1807. In 1837, they published specimens of a condensed Fraktur typeface. In 1838, typefounder and type cutter Joh. Gottfried Seyfarth parted ways and moved to Weimar. [Google] [More]  ⦿

    Lothar Hoffmann

    German-born letterer (b. Penzig, 1936) who lives in Michigan. Font Bureau writes: Richard Lipton designed the Hoffmann family from letters drawn and then cut out of paper as free-standing forms by contemporary Michigan lettering artist Lothar Hoffmann. Lipton follows creative development of contemporary lettering forms closely, searching for ideas that will yield type series. He digitized Hoffmann with Font Bureau in 1993, preparing four full weights, each supported by an expert set, plus a titling face. MyFonts also credits him with Goudy Handtooled at Bitstream, but I do not know the extent of his contribution to that digitization.

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

    Lothar Südkamp
    [Type Hype]

    [More]  ⦿

    Loudar
    [Alexander Fritsch]

    German designer (b. 1999) of the free polygonal typeface QX Basic (2019). Home age. [Google] [More]  ⦿

    Louiça Musebrink

    Marburg, Germany-based designer of the school project font Asia Oval (2016). [Google] [More]  ⦿

    Louis Currie

    Berlin-based photographer, aka Apolios. He created the cool geometric (arcs and lines only) type family Aragon (2010). [Google] [More]  ⦿

    Louis Höll

    Punchcutter, 1860-1935. He created Bremer Presse Bibeltype (1926, Bremer Presse). Also in 1926, Heinrich Jost, leader of the Bauersche Schriftgiesserei and Louis Hoell made a beautiful version of Bodoni, now known as Bauer Bodoni (published, e.g., by Adobe; in 1977 Aaron Burns declared that Bauer Bodoni is probably the most beautiful Bodoni ever designed). He also cut all typefaces for P. Behrens, F.H. Ehmcke and E.R.Weiss with the Klingspor and Bauer/Flinsch foundries.

    Mac McGrew: Emerson and Emerson Italic---a completely different style, unrelated to the one above---were designed by Joseph Blumenthal, New York printer and book designer. The original version was hand-cut by Louis Hoell in Germany, and the typeface was cast by the Bauer Foundry in 1930. It was called Spiral for the press at which this distinguished typographer produced many notable books, and was renamed Emerson when the Monotype Corporation of London recut it in 1935. It is a modernized oldstyle letter, adapted for photogravure reproduction, but retaining a reasonably light face, fairly condensed. Wikipedia on Emerson: The typeface's first appearance was in a special, private-press edition of Ralph Waldo Emerson's essay Nature, and so the Monotype version became known as Emerson. Emerson can be recognised for its distinctive foot serifs on the lowercase a, d and u, and its wide capitals (especially the M). The typeface shares characteristics with the classic renaissance types, and its soft, blunt appearance was designed to suit photogravure reproduction.

    For a digital revival of Spiral / Emerson, see Spiral (2014) by AR Types / Ari Rafaeli. [Google] [MyFonts] [More]  ⦿

    Louis Oppenheim

    Type and graphic designer and painter who was born in 1879 in Coburg and died in 1936 in Berlin. After studies in London (1899-1906), he worked as a freelance designer in Berlin from 1910 onwards.

    Creator of Fanfare (1927, Berthold; now available at URW), an extra bold hookish lineale. He also made Lo-Type (1913, which was revived in 1980 by Erik Spiekermann for Berthold). [Bernhard Bold Condensed (1912, Lucian Bernhard) is very similar.]

    Fanfare Recu was revived by Rod McDonald in 1993 as Stylus. Canada Type then worked some more on it and published Louis (2012, Kevin King and Patrick Griffin). See also Louis at the Canada Type site. Other revivals include F650 Deco (Softmaker), OPTI Fantastik (Castcraft), and Ohio Bold (2012, Gert Wiescher).

    In 1928-1929, he designed the condensed titling typeface Flamingo. Flamingo Licht is an inline version. Flamingo was carefully revived as a free font by Mario Arturo in 2015.

    Images: Lo in woodtype (1912), Lo Kursiv (1912).

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

    Louisa Fruengel

    German designer of an outline font in 2016. [Google] [More]  ⦿

    Louisa-Helen Fröhlich

    German graduate of the MATD program at the University of Reading, class of 2013. Her graduation typeface was the readable muscular typeface Klabauter. Klabauter covers Latin and Greek and has a strong personality. The Latin half has converged to the Greek half and vice versa through osmosis. Klabauter Display is plainly daring. According to Louisa-Helen, the typeface family was created for use in magazines.

    She also holds a diploma in Communication Design from the University of Applied Sciences Mainz, Germany, and is currently based in nearby Wiesbaden where she works as a type and graphic designer.

    Creator of the vivid italic-only display typeface family Lisbeth (2017, TypeTogether). Type Together link. [Google] [MyFonts] [More]  ⦿

    Louise Kempkes

    Graphic designer and art director in Berlin, Germany. She created the antiqua text typeface Milosz (2015) as a tribute to the Polish writer and poet Czeslaw Milosz. Behance link. [Google] [More]  ⦿

    Luca Koroll

    Friedrichshafen, Lake Konstanz, Germany-based designer of the flared hand-drawn typeface Antikka (2014). Behance link. [Google] [More]  ⦿

    Luca Pianu

    Graphic designer in Munich, Germany. He has a BSc from Stuttgart Media University, class of 2011, and a BA from University of Applied Sciences Munich, class of 2013. Creator of Shaken Coffee (2013), a grungy typeface. Dafont link. [Google] [More]  ⦿

    Luc(as) de Groot
    [TheTypes digital type foundry]

    [MyFonts] [More]  ⦿

    Lucas de Groot
    [LucasFonts (and: FontFabrik)]

    [MyFonts] [More]  ⦿

    Lucas Dino Nolte

    Or Dino Nolte. Based in Aachen, Germany. In 2015 he published Liaison Grotesque and wrote: Liaison Grotesque is a neutral yet quirky-friendly neo-grotesque typeface currently available in one weight. It is based on the Grotesque initially drawn for the rebranding of Hochschulradio Aachen.

    Typefaces from 2017: Appeltje (sans). Behance link. [Google] [More]  ⦿

    Lucas Kaliszan

    German designer in Düsseldorf. Creator of LeMo (2011), a squarish stencil typeface named after Ludwig Mies van der Rohe, the famous architect of the Bauhaus movement. [Google] [More]  ⦿

    Lucas Köhler

    German graphic designer based in Osnabrück. Creator of the monoline display sans typeface Skyline (2015). Behance link. [Google] [More]  ⦿

    Lucas Kuster

    Braunschweig, Germany-based designer of the rune simulation typeface Newhork (2014). Behance link. [Google] [More]  ⦿

    LucasFonts (and: FontFabrik)
    [Lucas de Groot]

    Luc(as) de Groot (b. 1962, Noordwijkerhout, The Netherlands) studied at the Royal Academy of Fine Arts in Den Haag and worked from 1989-1993 as a freelancer at the design bureau Premsela Voonk. From 1993 until 1997, he was with Meta Design in Berlin as typographic director in charge of many corporate design projects. In 1997, he set up FontFabrik and in 2000 LucasFonts in Berlin. He creates retail and custom fonts, and made his reputation with his humongous font family Thesis. Originally, he published most of his retail fonts with FontFont, but his "FF" fonts were withdrawn from FontFont in 1999, and renamed with LF instead of FF, where LF stands for LucasFonts. His most popular typefaces include Thesis (the superfamily that includes TheSans, TheSerif, TheMix and The Antiqua), Calibri (a default font at Microsoft), Sun, Taz and Corpid. He is also well-nown for his Anisotropic Topology-Dependent Interpolation theory which roughly states that a 50% interpolation is not the optical middle between two weights. He teaches type design at the University of Applied Sciences in Potsdam, Germany. His typefaces:

    • Agrofont (1997, for the Dutch Ministry of Agriculture, Environment and Fisheries) and Agro Sans, developed in collaboration with the Dutch design bureau Studio Dumbar.
    • BellSouth Basis, Serif and Bold, developed with Dutchman Roger van den Bergh.
    • BolletjeWol (1997, Fontshop).
    • Calibri. Done for Microsoft, Calibri is the default typeface in MS Word. Calibri received a TypeArt 05 award and won an award at the TDC2 2005 type competition. For a yet-to-be-revealed reason, Google decided to support a metric-compatible free clone of Calibri for its Chrome OS system, Lukasz Dziedzic's Carlito (2014). Calibri became the standard font for all Microsoft 365 apps, but will be replaced some time in 2021 by one of five candidates, Bierstadt (by Steve Matteson), Grandview (by Aaron Bell), Seaford (by Tobias Frere-Jones, Nina Stössinger, and Fred Shallcrass), Skeena (by John Hudson and Paul Hanslow) or Tenorite (by Erin McLaughlin and Wei Huang).
    • Consolas. Done for Microsoft, this typeface was intended as a successor for Courier.
    • Corpid III (2002-2007). A sans family with support for Cyrillic, Greek and Turkish.
    • Floris (a ball terminal text typeface in 18 styles, Floris was developed on a four-dimensional grid of several axes or parameters: weight, width, x-height and ascender/descender height).
    • Fohla Serif (2001). Designed for a Brazilian newspaper in Sao Paulo. This collection includes a multiple master font, FohlaMM.
    • FF Jesus Loves You all, now LF Jesus Loves You all.
    • Koning (2017), co-designed by Luc(as) de Groot, Martina Flor, Jan Fromm, Phillipp Neumeyer and Daria Petrova. Koning won an award at TDC Typeface Design 2018. The first retail release of this flared typeface family came in 2019: Koning Display (a 20 style sans with Peignotian traits and occasionally, flared terminals).
    • LucPicto (dingbats for private use at FontFabrik). Not available to the world.
    • LeMonde (2002, new headline family). An OEM family made for LeMonde in 2001 includes Lucas-Bold, Lucas-BoldItalic, Lucas-ExtraLight, Lucas-ExtraLightItalic, Lucas-Italic, Lucas-Light, Lucas-LightItalic, Lucas-SemiBold, Lucas-SemiBoldItalic, Lucas.
    • MetaPlus (1993, with Erik Spiekermann).
    • MoveMeMM (erotic multiple master font)
    • FF Nebulae, now LF Nebulae.
    • LF Punten: Punten Straight, Punten Extremo and Punten Rondom.
    • Spiegel and Spiegel Sans, originally designed for Der Spiegel. The retail versions are called Spiegel Sans (a 32 style American gothic family) and LF Spiegel Serif.
    • Sun (1997, for Sun Microsystems) later became a retail font, also called Sun, a 28-style humanist compact sans typeface in the genre of industrial era American newspaper headlines.
    • LF Taz (sans family, 2002), Taz III (2003, including a hairline weight) and Taz Text (for "taz", the magazine), sans typefaces designed for use in newspapers. Are these the same fonts as Tazzer and Tazzer Text? Taz has grown as follows: TazText, Taz Condensed (2010), Taz Text Small Caps (2011), Taz Wide (2013-2014), Taz Textended (2013-2014). By 2021, the Taz family contained 128 styles.
    • Thesis (1994-1999) originally known as FF Thesis. This consists of many subfamilies all starting with the prefix The. MyFonts links for the Thesis family: TheAntiqua, TheMix, TheSans, TheSerif. Thesis includes
      • LF TheAntiqua (a 14-style medium contrast oldstyle typeface), LF TheAntiquaSun, Qua Text (a newstext version of TheAntiqua developed in close collaboration with the Berlin newspaper Die Tageszeitun taz), TheAntiquaB (1997; 1999 Type Directors Club award), TheAntiquaE, TheAntiquaSun. TheAntiqua received a TypeArt 05 award.
      • LF TheMix (69 styles: semi-serif), TheMix Mono (48 styles; a monospaced version of TheMix), The Mix Classic, The Mix Basic, The Mix Office. TheMix is part of the Thesis superfamily. It originated as an alphabet for the logotypes of the Dutch Ministry of Transport, Public Works and Water Management drawn by Luc(as) while working at BRS Premsela Vonk in Amsterdam. The alphabet later became the starting point of the entire Thesis system.
      • Thesis Mono.
      • LF TheSans, The Sans Classic, The Sans Basic, The Sans Office, The Sans Condensed, The Sans Mono (48 styles), The Sans Mono Dc, The Sans Mono 11pitch, The Sans Mono Cd Office, The Sans Typewriter (a monospaced and grungy version of TheSans). First published in 1994 as a descendant of Franklin Gothic, The Sans is a modern classic.
      • LF TheSerif (52 styles), The Serif Classic, The Serif Basic, The Serif Office. TheSerif is part of the Thesis superfamily. The Serif's ancestors include Linotype Rotation.
      • The Stencil (2021).
      • SPD 2002 TheSans. An OEM for the SPD party.
      • Grundfos TheSans (2007).Another commissioned font.
    • Transit and Transit Pict (both at FontShop).
    • Volkswagen Headline and Volkswagen Copy (1996), extensions of Futura. Note: the other Volkswagen house font is VW Utopia, a descendant of Utopia.

    DeGroot designed custom fonts for newspapers such as Folha de S.Paulo, Le Monde, Metro, Der Spiegel, taz.die tageszeitung, Freitag and Jungle World. In addition, he created corporate type for international companies such as Sun Microsystems, Bell South, Heineken, Volkswagen and Miele.

    Speaker at many international conferences. At ATypI 2015 in Sao Paulo, he spoke about his Folha Sao Paulo newspaper typeface.

    In 2021, LucasFonts joined Type Network.

    FontShop link. Klingspor link. I Love Typography link. View the typeface library at Lucasfonts. View Lucas de Groot's typefaces. [Google] [MyFonts] [More]  ⦿

    Lucia Cordero

    Madrid and Berlin-based designer of the children's alphabet Garabato (2015). Behance link. [Google] [More]  ⦿

    Lucia Ott

    German designer of the handcrafted blackletter typeface Francesca (2018), which is named after Francesca Woodman. [Google] [More]  ⦿

    Lucia Walter

    Fine Arts graduate from the University of Barcelona, who also studied at Central Saint Martins College of Art&Design in the UK. She presently works as a graphic designer for Adidas in Nürnberg, Germany. For a school project, Lucia revived a 1931 typeface by Carlos Winkow, called Elzeviriano Ibarra (2009-2010). Behance link. [Google] [More]  ⦿

    Lucian Bernhard

    Vienna-born type designer who lived from 1883-1972, and whose real name was Emil Kahn. He died in New York, where he lived most of his life. He studied at the Munich Academy, which became a center of poster design. In 1910 he co-founded the magazine Das Plakat. During WWI he designed posters for the German War effort. In 1920 he was appointed as the first professor of poster design at The Akedemie der Kunst, Berlin. He moved to New York in 1923 and continued his poster work. He also continued his teaching at the Art Students League and at New York University. Short biography of Lucian Bernhard. Biography. MyFonts link. His typefaces:

    • Bernhard and especially Bernhard Modern (1937) are gorgeous high-legged typefaces. Bernhard Modern is used in classy magazines for ads, and adds a touch of style to many documents or presentations.
    • Aigrette (1939).
    • Lucian (1925, Bauersche Giesserei). I have also seen the date 1932. See also the digital version by Tilde, 1990. Lucian is very close in spirit to Bernhard Modern. As far as digital versions go, one can check out the Font Bureau contribution from 1990 by Kelly Ehrgott Milligan and David Berlow called Belucian, which comes in several weights, including Demi and Ultra. There are many other ones as well, such as Bernhard Modern FS (2011, Sean Cavanaugh).
    • Lilith [or Lilli] (1930, Bauersche Giesserei).
    • Bernhard Antiqua (1912, Flinsch). This is the titling typeface on my own web site! For a handcrafted revival in 2016 by Pintassilgo Prints, see Botanique.
    • Bernhard Brush Script (Bauersche Giesserei, 1926).
    • Madonna Ronde (1925: this is the Stephenson Blake name, after it acquired this typeface from Bauersche Giesserei).
    • Bernhard Cursive (Bauersche Giesserei, 1925). Didgeree Doodle NF (2006, Nick Curtis) is a curly cursive originally released as Bernhard Heavy Antique Cursive by the Bauersche Giesserei.
    • Bernhard Fraktur (+Extrafette; +Initialen) (1912, Flinsch; 1922, Bauersche Giesserei). The sublist of typefaces and dates: Bernhard Fraktur schmalfett, Bernhard Fraktur fett, Bernhard Fraktur extrafett (1921), Bernhard Kursiv extrafett (1927), Bernhard Antiqua extrafett (1924), Bernhard Antiqua zart (1925), Bernhard Antiqua Kursiv zart, Bernhard Handschrift (1928), Bernhard Schönschrift (1925), Bernhard Schönschrift kräftig (1928). Extrafette Bernhard Fraktur was revived in 2013 by Christoph Schwedhelm and in 2016 by Ralph M. Unger as Bernhard Blackletter.
    • Bernhard Privat (also called Flinsch-Privat, 1919; Flinsch, Bauersche Giesserei).
    • The Reklameschrift Bernhard Block.
    • Bernhard Schönschrift (1925; see EF Bernhard Schonschrift). A free interpretation is Reliant (2010, Iza W and Dmitrij Greshnev).
    • Bernhard Fashion (1929). This has been digitized by many, including SoftMaker (as Bernhard Fashion, in 2010), Peter Wiegel (as the free font family Bernardo Moda (2014)), by Infinitype, and by Bitstream (as Bernhard Fashion BT in 1990). It has been extended and played with, like for example, in Nick Curtis's Quoi Chou NF (2006) and in Peter Wiegel's Bernardo Moda Contrast (2014). Poster by Merle Perle.
    • Bernhard Gothic (1929, ATF; see Bernhard Gothic SG by Spiece Graphics, Bernhard Gothic Medium (2017, Jordan Davies), or Samosata NF by Nick Curtis in 2009). Mac McGrew writes: Bernhard Gothic was one of the first contemporary American sans-serifs, designed in 1929-30 by Lucian Bernhard for ATF to counter the importation of the new European designs such as Futura and Kabel. It features long ascenders and a number of unusual design details, which perhaps prevented it from achieving the popularity of other such typefaces. Capitals are low-waisted, with the crossbars or arms of E, F, and H being below center. M is widely splayed in some weights. Lowercase a is roman in design, and the cross-stroke of t is wide and below the mean line. All but the Title versions have a number of alternate characters, later discontinued. The comma, semicolon and apostrophe, usually comparable, have three different forms. Bernhard Gothic was made only by ATF, but some weights could be simulated with special characters of Monotype Sans-Serif and Ludlow Tempo. The Title versions, several sizes of caps on each body in the manner of Copperplate Gothics, were added in 1936, and copied by Intertype as Greeting Gothic. Around 1938 Bernhard Gothic Medium Condensed was added.
    • Bernhard Tango (1933, ATF). Bernhard Tango was imitated by Corel (Ballroom Tango), SSi (Petticoat), Greenstreet (Felicita) and Agfa (Carmine Tango).
    • He also did a Magnetype font series that has been left untouched. Jonahfonts is the first to start reviving this series. In 2010, Bernhard's Community Low and Community Condensed started their digital life as Harpsichord (Jonah Fonts).
    • According to Font Bureau, Bernhard also did an art deco display sans series in the 1930s, which David Berlow and Jonathan Corum at Font Bureau revived as Eagle from 1989-1994.
    • Lucian lettered a concert program in the 1920, which was used by Jim Spiece in 2002 to create the elegant rounded sans display typeface Concerto Rounded.
    • Lucian Bernhard's award-winning poster, Priester (1906), had angular lettering. Jonahfonts did LB Priester in 2009 based on it. In 2018, Ivan Moreno published anotherr extension, Presta.
    • In the Bitstream collection, we find Bernhard Bold, with unknown origins. However, I have this rare 2002 public statement by John Warnock, Adobe's founder, in reaction to a question by M. Johansson (What happened to the Lo-Type font in Adobe Font Folio? It was included with Font Folio 8 but it's not in Font Folio 9. In Font Folio 9 there's Bernhard Bold Condensed, which is a reasonable replacement. I'm just wondering if anyone knows why Lo-Type was dropped; I prefer it myself.): Cuz LoType is a Berthold Type font and Adobe and Berthold had a lovers quarrel. A ton of Bertie's in FF8, no Bertie typefaces at all on FF9. Bye-bye Bertie. Love, J. Warnock.
    • Lucian's small two-tiered logo with the letters BERN HARD led John Nahmias to extend it to Bernhard Signature (2019).

    Posters by Bernhard: An advertising exhibition in 1929 (with Fritz Rosen), Manoli Cigarettes (1912).

    Linotype link. FontShop link. Klingspor link.

    View Lucian Bernhard's typefaces. Showcasing the digital legacy of Lucian Bernhard. [Google] [MyFonts] [More]  ⦿

    Lucian Zabel

    Designer (b. 1893, Kolberg, d. 1936, Berlin) of Zabel Roman (Woellmer, 1928-1930), a stocky roman typeface with stubby serifs and slight variations in the vertical stroke widths, Zabel Antiqua and Kursiv (1928), and Fette Zabel Antiqua. [Google] [More]  ⦿

    Lucrecia Gomez

    Graphic design student in Rosario, Argentina. Creator of the squarish multiline typeface Precotype (2011). [Google] [More]  ⦿

    Ludwig Goller

    Engineer at Siemens who developed the raster specifications for DIN 1451 in 1926-1927. Among the tens of DIN implementations, let us cite a free one at Open Font Library, uDIN 1451 Mittelschrift (2016, Peter Wiegel), which is based on Peter Wiegel's Alte DIN 1451 (2009), with a slightly modified letter t. See also Alte DIN 1451 Mittelschrift on Github and here. [Google] [More]  ⦿

    Ludwig Junge

    Erlangen-based foundry. [Google] [More]  ⦿

    Ludwig Petzendorfer

    Born in 1851, Ludwig Petzendorfer published these books at the Stuttgart house of Julius Hoffmann.

    [Google] [More]  ⦿

    Ludwig Sütterlin

    Berlin-based graphic designer (b. 1865, Lahr, d. 1917, Berlin) who in 1915-1917 invented the Sütterlin Schreibschrift, which was used to teach children handwriting. Various Sütterlin fonts can now be found on the web. It was introduced in the German schools starting between 1924 and 1934, and was used until 1941-1950, depending upon the region, when standard handwriting was taught. Scans: German writing style, Latin writing style, picture from 1914, the alphabet, another view, a practice book from a Berlin school, 1919, his own handwriting, how to hold the pen.

    References: Marcus Hahn's course at the University of Saarland covers the Sütterlin Schrift. See also the 1983 essay by Wolfgang Hendlmeier: A, B, C, D, E. Anselm S. Bär wrote a brief biography in 1999. Harald Süß penned Deutsche Schreibschrift Lesen und Schrieben lernen, (Augsburg, Augustus Verlag, 1992). See also Hans Jensen's text, Die Schrift in Vergangenheit und Gegenwart, (Hamburg, 1935).

    Digital fonts for Sütterlin:

    Author of Neuer Leitfaden für den Schreibunterricht (Albrecht-D&7uml;rer-Haus, Berlin, 1926). [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]

    [MyFonts] [More]  ⦿

    Ludwig von Hohlwein

    Designer (b. 1874, Wiesbaden, d. 1949, Berchtesgaden) at the Benjamin Krebs foundry who made Hohlweinschrift (1907). He worked mostly in München. Hohlwein was a poster artist ("Plakatmeister"). His posters inspired Nick Curtis to create several digital fonts. Alles trinkt Teutonenbrau (a beer poster from 1926) led to WurstwagenNF. Engelhorns Romanbibliothek (ca. 1912) yielded Chalk and Cheese NF (2004). Riquet Pralinen (1920) was used to develop Picayune Intelligence BT Roman. Richard Lipton created Bremen Black (1992, Font Bureau) after the lettering on a 1922 poster by von Hohlwein.

    Arnie Presiado (Inkfonts) designed Bierstedt (2017) and Porterhouse (2017) based ion Hohlwein's lettering. FontShop link.

    Posters: Casanova Cigaretten, Frühling in Wiesbaden (ca. 1925), Grönland Eiskrem (ca. 1925), Herkules Beer (1920s), Kraft Omnibusse (ca. 1925), Mercedes (ca. 1925), Riquetta (ca. 1910), Sudana Schokolade (ca. 1910), das kleine Huebchen, Marco Polo Tea (1920), Zeiss. Pic. [Google] [More]  ⦿

    Ludwig Wagner Schriftgiesserei

    Leipzig, Germany-based foundry with designers such as

    • Alfons Schneider: Franken Deutsch (1934, blackletter), and Pergamon Antiqua (1937).
    • Albert Auspurg: Triumph (1930).
    • Wilhelm Krause: Professor-Krause-Fraktur (1930).
    • Arno Drescher: Arabella (1936), Arabella Favorit (1939), Fundamental Grotesk (1938-1939), Manutius Antiqua (1935), Manutius Kursiv (1935).
    • Georg Belwe: Fleischmann Antiqua (1927), Fleischmann Kursiv (1927), Schönschrift Mozart (1927).
    Other fonts produced include Acropolis (1940), Titanic (1926: a rabbit ear display typeface for ads; see also Hercules), Ella-Kursiv (1923), Original-Breitkopf-Fraktur mit Initialen (1921), Kupferstich Antiqua (1921), Zierschrift Excellenta (1920), Ella-Kursiv-Schrift (1920), Edel Grotesk (1920), Universal-Antiqua (1914). In 1960, the foundry was acquired by VEB Typoart. [Google] [More]  ⦿

    Ludwig&Mayer

    Big German foundry active in the first half of the 20th century. It was absorbed by Neufville in 1984, which will make its typefaces available in digital form. Type designers and typefaces:

    • House typefaces: Allemannia Fraktur (1908, or: Alemannia Fraktur; a digital revival in 2018 by Mew Varissara Ophaswongse), Allright (1936), Altenburger Gotisch (1928), Aristokrat Zierbuchstaben (1911: digital revival by Dieter Steffmann in 2002), Bastard Mediaeval, Beatrice (1931), Chic, Cochin (1922), Commerciale, Die Mode (1914-1915), Diplomat (1964, see the digital version Diploma by Hans van Maanen, 2009), Excelsior (1914, script face), Firmin Didot (1929), Hallo (1956), Kombinette (1932), Kupferplatte (1950), Largo (1939), Magnet (1951), Manolo (art nouveau: revival in 2019 by Ralph Unger as RMU Manolo), Nelson (1902, art nouveau), Wren, Samson Script, Luminous, Behrens. Kudos Kaps NF (2006, Nick Curtis) is a set of five nice ornamental caps and associated alphabet and border sets, including a Lombardic set, and an engraved set--they are based on typefaces from the Ludwig&Mayer library.
    • Albert Christoph Auspurg: Rasse (1924), Mona Lisa (1930), Brigitte (1935), Krimhilde (1934)
    • Hans Bohn: Allegro (1936-1937)
    • Jakob Erbar: Erbar-Grotesk (1922-1930), Lucina, Lumina, Lux, Phosphor, Koloss (1923), Candida (1936, a mediocre didone family), Feder Grotesk (1910), Fette Feder Grotesk, Erbar
    • Hace Frey: Charleston (1967, Alphonse Mucha-style display face)
    • G. Germroth: Germroth-Deutsch (1935, blackletter)
    • Erhard Grundeis: Achtung (1932)
    • Karlgeorg Hoefer: Stereo (1968), Permanent (1962), Headline (1964), Elegance (1968), Big Band (1974)
    • Walter Höhnisch: Tempo (1930), Werbeschrift Deutsch (1933), National (Fraktur, 1933-1934), Schräge National (1937), Skizze (1935, a script face), Stop (1939), Antiqua die Schlanke (1938-1939), Express (1952), Candida Italic (1937), Slender (1939)
    • Heinrich Jost: Aeterna (or Jost Mediaeval, 1927)
    • Walter Ferdinand Kemper: Colonia (1938-1939, a humanist sans)
    • Wilhelm Krause: Professor-Krause-Fraktur (1930, blackletter)
    • Paul Eduard Lautenbach: Prägefest (1926)
    • Richard Ludwig: Augenheil (1908)
    • Helmut Matheis: Charme (1957-1958, calligraphic), Slogan (1959, connected script), Primadonna (1956, a formal script), Matheis Mobil (1960), Compliment (1965, an angular vertical script)
    • Joshua Reichert: Reichert-Gotisch (1930s).
    • Imre Reiner: Contact (Deberny&Peignot, 1952; Ludwig&Mayer, 1968 (according to Jaspert), and 1963 according to others), Corvinus (ca. 1932), Stradivarius (1945)
    • Lorenz Reinhard Spitzenpfeil: Welt-Fraktur (1910), Werk-Fraktur (1918)
    • Alfred Riedel: Domino (1954: a fat face)
    • Georg Schiller: Lyrisch (1907)
    • Arthur Schulze: Werbekraft (1926)
    • Ilse Schüle: Rhapsodie (1949-1951, bastarda)
    • Johannes Schweitzer: Dominante (1959)
    • Francesco Simoncini: Aster (or Aster Simoncini, 1958), Life (1965), Armstrong (1970), Simoncini Garamond (1961)
    • K. Sommer: Dynamo (1930)
    • Hans Wagner: Altenburger Gotisch (1928, Fraktur font), Welt (1931, slab serif), Wolfram (1930, a heavy upright italic).
    • Eugen Weiss: Hoelderlin (1937-1938, blackletter)
    [Google] [MyFonts] [More]  ⦿

    Luigi Barra

    Nürnberg, Germany-based designer (b. 1990) of the organic sans typeface barca (2020). [Google] [More]  ⦿

    Luis R.H. Rapp

    Luis Richtiger Horst Rapp is the Stuttgart, Germany-based designer of the free display typeface Inter Norse (2020), the free painted typeface Crooked (2020), the free variable squarish techno family Faber (2020), the free font Ikarus (2020), the free variable techno family Obarne X (2020), the free pixel typeface Invader (2020), the free grunge typefaces Brutalism (2020: dry brush style) and Riot (2020), the free tuxedoed typeface Grotesque (2020).

    Typefaces from 2021: Karpaten (a free squarish blcky display type). [Google] [More]  ⦿

    Luis Rutz

    During his studies at HS Mannheim, Germany, Luis Rutz created a text typeface (2014). Behance link. [Google] [More]  ⦿

    Luis Uribe

    Mexican designer in Köln, Germany, who created the tall straight-edged typeface Alberto Hoffmano (2015). Behance link. [Google] [More]  ⦿

    Luisa Scherer

    During her studies in Trier, Germany, Luisa Scherer designed the cursive typeface Kiwi (2016). [Google] [More]  ⦿

    Luise Thoma

    During her studies at FHWS in Würzburg, Germany, Luise Thoma designed the circle-based modular typeface Neonorm (2017) and the industrial sans Laundry Mono (2018). In 2019, from her home in Ravensburg, Germany, she designed 20 typeface as aprt of a project called Archetypes, in which she explores the connection between architecture, and in particular brutalism, and type design. The names of these typefaces: Ad Atlantic, Alagar, Alt Parallax, Arson, Baari, Big Bear Mono, Blanco Tolcka, Compound, Diatribe, Digitalize, Halcyon, Meteor, Odin Modi, Qobalt, Rambutan, Ravage Mono, Shrike, Unakit Mono, Unblock, Xerxes. [Google] [More]  ⦿

    Lukas Bischoff
    [Artill (or Artill Typs)]

    [MyFonts] [More]  ⦿

    Lukas Brandis

    Book printer and typefounder in Lübeck, Germany. He learned typefounding in Peter Schöffer's shop in Mainz. He started printing in 1473 in Merseburg and in 1474 in Lübeck. He finished his 474-page masterpiece, Rudimentum novitiorum in 1475. Besides book printing was Brandis mainly occupied as typefounder for himself and others. He founded the type for Missale Magdeburgense (1480, Bartholomäus Ghotan). Brandis died between 1502 and 1504.

    Digital typefaces based on his work include Lucas Brandis (2011, Shane Brandes). [Google] [More]  ⦿

    Lukas Fütterer

    German designer of the geometric typeface Button (2009, Avoid Red Arrows). [Google] [More]  ⦿

    Lukas Kerecz

    During his studies in Berlin, Lukas Kerecz designed the industrial sans typeface Monocrane (2013, Formlos). His inspiration came from a crane outside of the Aufbauhaus at Moritzplatz in Berlin Kreuzberg.

    Behance link. [Google] [More]  ⦿

    Lukas Klimmek

    Berlin-based designer who created these typefaces:

    • The geometric rounded typeface family Konvex was created by Lukas Klimmek in 2013 at Design Akademie Berlin under the direction of Sebastian Bissinger from Bank Graphic Design Today.
    • Fette Fabel (2013). A great fat blackletter with elements of German expressionism.
    [Google] [More]  ⦿

    Lukas Manuel Altmann

    During his design studies in München, Germany, Lukas Manuel Altmann created the Cross typeface (2014), which is based on the proporetions of a cross. [Google] [More]  ⦿

    Lukas Rosen

    Trier, Germany-based designer of the straight-edged deco typeface Grosso (2013), a student project. [Google] [More]  ⦿

    Lukas Ruoff

    Berlin, Germany-based designer of the sci-fi typefaces Space Bars (2019), Break The Code (2019), Vortex (2019) and Ecko (2019). [Google] [More]  ⦿

    Lukas Schneider
    [Revolver Type Foundry]

    [MyFonts] [More]  ⦿

    Lukas Stahl

    German creator of the very condensed free font Aurea (2013,OFL). OFL link. [Google] [More]  ⦿

    Lukas Ulonska

    Recklinghausen, Germany-based student-designer of these typefaces in 2019: Polymorph (Sans, Serif, Mono: a multi-axis variable font with seven variable design axes ranging from sans, serif, mono and an abstract pattern font to weight, width, contrast and slant.), Opuls (a modular typeface based on architectural elements of the faculty of design of the Fachhochschule Dortmund is located on the Max Ophüls Platz). [Google] [More]  ⦿

    Luke

    This "Luke" in Berlin proposed a pixelish typeface called Squares (2011). [Google] [More]  ⦿

    Luke Prowse
    [NaN]

    [MyFonts] [More]  ⦿

    Lust auf Typographie?

    Michael Nicklas explains typography. In German. [Google] [More]  ⦿

    Luthersche Fraktur
    [Erasmus Luther]

    Luthersche Fraktur was designed by Erasmus Luther in 1708. Among Fraktur fonts, it is legible and fresh. The Luther Fraktur forms a link between the earlier Gebetbuch Fraktur and the later Breitkopf Fraktur types. Versions:

    [Google] [More]  ⦿

    Luthersche Schriftgiesserei
    [Paulus John Christian Egenolff]

    One of the oldest type foundries, founded by Paulus John Christian Egenolff (1502-1555), who was a printer in Strasbourg (1528-1530) and later in Frankfurt, where he was the first book printer. After his death, until 1572, his foundry was headed by family members, Magdalena, Barbara and Maria Egenolff. In 1572, punchcutter Jacob Sabon (d. 1580) took over after marrying Judith Egenolff, Christian's only daughter, in 1571. The widow remarries with Konrad Berner, a typefounder. Upon his death in 1606, the foundry is left to his son Hans Berner who dies in 1626. His daughter Katharina Berner takes over and marries Johann Luther in 1629, son of Friedrich Luther and family of Martin Luther. Out of this marriage was born Johann Erasmus Luther (1642-1683), who marries Anna Katharina Hoffmann. Their son is Johann Nikolaus Luther (1662-1740), a lawyer. His son is a doctor in law, Heinrich Ehrenfried Luther (1700-1770), and the latter's son is also a doctor in law, Johann Nikolaus Luther (1732-1805).

    The foundry was heavily involved at first in Schwabacher typefaces, such as the Egenolffschen Schwabacher (1500s). Among the Schwabacher typefaces, Johan Enschedé's catalogue mentions Garamond Luther (1678), Gross Petit Luther (1718), Mittel Luther (1678), Cicero Luther (1718), Tertia Luther (1678), Gross Mittel Luther (1718), as well as the Fraktur typefaces Petit Luther (1678), Colonel Luther (1718), Luther (1718), Cicero Luther (1678 and 1718), Gross Cicero Luther (1678 and 1718).

    Digitizations include Coelnische Current Fraktur by Dieter Steffmann, Coelnische Current Pro (2016, SoftMaker), and JubiläumsFraktur by Gerhard Helzel. [Google] [More]  ⦿

    Lutz Baar
    [Aidfonts (was: Antropos)]

    [MyFonts] [More]  ⦿

    Lutz Günther

    Designer of the display typeface Linotype Carmen (2002, part of TakeType 4). [Google] [MyFonts] [More]  ⦿

    Lutz Mowinski

    German anime artist. He created the techno typeface Silverhammer (2004). [Google] [More]  ⦿

    Lutz Schweizer

    Lutz Schweizer (b. 1931, near the black forest) lives in Alling, near Munich. On his page, Von ASCII zu Unicode, he discusses many kinds of code pages, and laments the lack of ligatures in Unicode for Fraktur. He also has many links on Fraktur and some historical remarks. [Google] [More]  ⦿

    Luxus

    Berlin-based commercial foundry, est. 2011. Creators of a knitting pattern font family called Mary (2011). Luxus made the informal typeface Luxus in 2012. Manfred was designed in 2012.

    In 2014, Luxus created the hand-printed typeface family Cayenne.

    In 2016, they published Kobold Script and Kobold Serif (a handcrafted set of typefaces). [Google] [MyFonts] [More]  ⦿

    M. Arnold

    Creator of the etched / engraved typeface Kartenschrift Parisienne (1905, C.F. Rühl, H. Berthold AG). [Google] [More]  ⦿

    M. Beck

    Designer of Elfen-Fraktur (1919, Hoffmeister, Leipzig). For a digital revival, see Ralf Herrmann's Elfen Fraktur (2015, +Elfen Schmuck). [Google] [MyFonts] [More]  ⦿

    M. Kahler
    [Pelikan Lehreinfo]

    [More]  ⦿

    M. Schmidt

    Type designer who created Mecanorma Artdeco (or Art Deco MN). Klingspor link. [Google] [MyFonts] [More]  ⦿

    MacCampus
    [Sebastian Kempgen]

    Europe's largest independent foreign language font developer for the Macintosh, which is directed by Sebastian Kempgen from Germany. Fonts include: Western Languages (CoreFont series), Eastern Europe (CE-Font series), Cyrillic (Professional series: RomanCyrillic Pro, Ladoga Pro etc. (text fonts); DEsign fonts: Faktor, Inessa Cyr etc. (headline, handwriting); Olliffe Fonts: Batumi, Schechtel, Russian Open (display type; example: Mashinka); Scientific Cyrillic (includes old orthography, accents, old characters); Old Church Slavonic (Cyrillic and Glagolitic, Square and Round); Non-Slavic Cyrillic: Roman CyrTurk, Ladoga CyrTurk), Greek (Modern Greek and Classical Greek (Agora and Parmenides)), Icelandic&Faeroese (PolarFont series), Irish&Welsh (Gaelic, Celtic in the CeltoFont series), Romanian (DacoFont series), Turkish (TurkoFont series), BalkanFont series (Hungarian, Romanian, Turkish, Azerbaijani, Maltese), Basque (BaskoFont series), Saami (SamoFont series), Georgian, Armenian, Coptic (such as the Pachomius font), Cuneiform, Sabean, SinoFont series for Vietnamese plus more or Chinese (Pinyin) transliteration, phonetic Fonts (Trubetzkoy&Phonetica), Transliteration Fonts. Some of its fonts (like Campus Ten/Twelve and Magister Book) are now sold through Agfa/Monotype.

    Names of some fonts: Breitkopf Fraktur, Campus Sans, CampusRoman Pro, CampusSans Block, Dareios, Faktor, Glagol Pro, Inessa, Konkret, Kronstadt, Marib, Method, Moskva Pro, Parmenides, Retrograd, Tafelkreide, Tatlin, Trubetzkoy. [Google] [More]  ⦿

    Magdalena Cuber

    German designer, b. 1981. From 2003 until 2008, she studied communication at FH Würzburg. In 2008-2009, she designed the multiline typeface D-or-bold at Volcano Type. [Google] [More]  ⦿

    Magdalini Stefanatou

    Greek-German designer in Athens who created the condensed blackletter typeface Dürer in 2017. [Google] [More]  ⦿

    Magnus Högberg
    [Vectorize]

    [More]  ⦿

    Maik Ignaszak

    Hamburg-based free-lance desktop publisher (b. 1968). Co-designed the pixerl font family FF Call with Stefan Kisters and Astrid Scheuerhorst in 2000. [Google] [More]  ⦿

    Maja Schulte-Vogelheim
    [Typii.de]

    [More]  ⦿

    Malte Grajewski

    Brunswick, Germany-based designer of the free industrial typeface Benzol (2019), Snakeshit (2019), Glue Gotik Condensed (2019: free), Odysseus (2019: free), Roborotica (2019: free and futuristic), and Generic Head Italic (2019: sci-fi). [Google] [More]  ⦿

    Malte Haust
    [Bionic Type Engineering (or: Bionic Systems)]

    [MyFonts] [More]  ⦿

    Malte Herok

    Malte Herok studied Communication Design at the HTW Berlin (2010) and wrote a research thesis there on typeface revivalism. Since 2007, Malte is working as a freelance graphic designer in his hometown Berlin. In 2011, he picked up a Masters degree from the type and media program at KABK. Starting from a single skeleton design, he derived didone, slab serif and grotesque styles in his Cassise family (2011, KABK). Images of Cassise Egyptian Black, Cassise Grotesque Black and Cassise Modern Fat face.

    In 2010, he cofounded Type Department with Jürgen Huber. [Google] [More]  ⦿

    Malte Stock

    Trier, Germany-based creator of the square-slabbed typeface Keah (2013). Keah stands for Keine Ahnung. [Google] [More]  ⦿

    Malwin Béla Hürkey
    [Weltfremd]

    [MyFonts] [More]  ⦿

    MAN

    In their Global Type collection, URW++ has MAN (2012), a private corporate typeface family for the MAN company. There is a limited retail version for the volume at 7,500 Euros. It covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew. [Google] [More]  ⦿

    Manfred Barz

    German graphic designer who worked for Stempel AG in the late 1960s. Designer of Quadriga Antiqua (1979, Berthold) [Q650 Roman on the SoftMaker MegaFont XXL CD, 2002]. [Google] [More]  ⦿

    Manfred Gensicke

    Creator of Zierfische (2011, a signage face): Zierfische is based on an exterior sign for a tropical fish store in East Berlin (GDR). The original sign was salvaged and now resides in the Buchstaben Museum in Berlin. The museum commissioned the sign's original designer, Manfred Gensicke, to complete an alphabet based on the sign, which was then digitized by Dirk Heider resulting in the finished font "Zierfische." [Google] [More]  ⦿

    Manfred H. Schüller

    Designer of photo types. Creator of Schüller Regular, Medium and Bold (1986), available from Berthold. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Manfred Klein
    [Manfred Klein Fonteria 2008]

    [MyFonts] [More]  ⦿

    Manfred Klein
    [Manfred Klein's Fonteria]

    [MyFonts] [More]  ⦿

    Manfred Klein
    [TypOasis 2007]

    [MyFonts] [More]  ⦿

    Manfred Klein
    [TypOasis 2006]

    [MyFonts] [More]  ⦿

    Manfred Klein
    [70th Birthday laudatio]

    [MyFonts] [More]  ⦿

    Manfred Klein
    [Manfred Klein: Blackletter, Fraktur, Rotunda]

    [MyFonts] [More]  ⦿

    Manfred Klein: Blackletter, Fraktur, Rotunda
    [Manfred Klein]

    Manfred's fascination with blackletter and its German roots is apparent from the tens of typefaces he designed that are either revivals of historic typefaces or playful and not so playful extensions. Here we go:

    • ArthritishSpringtime
    • BarlosRandom, BarlosRandomRings
    • BarlosiusEdged (2007)
    • Bastarda-K, BastardaButtonsBeta, BastardaMajuskel1300, BastardusSans
    • BauernFraktur (2004, after the 1911 original by Bauersche)
    • BayreuthFraktur, Bayreuther-BlaXXL (2005, a variation of Schneidler's Bayreuth)
    • BigBroken, BigBrokenTwo
    • BigElla
    • Brahms-Gotisch (2005, with Petra Heidorn: a revival of Heinz Beck's 1937 typeface at Genzsch&Heyse)
    • BrokenAlphabetTradition, BrokenBrainsFrax, BrokenCapsJumperB, BrokenHand-Bold, BrokenHand, BrokenHandLight, BrokenRoman-Bold, BrokenSansCaps, BrokenSansCapsJumper, BrokenWoodtypes, BrokentTraditionRound
    • BruchRund
    • BruchschriftMK
    • Burte-Fraktur
    • Burtine (2003: handwritten freestyle version of Burte Fraktur, 1928), Burte-Fraktur, Burtinomatic, Burtinomatic-DemiBold
    • Burtinomatic-DemiBold, Burtinomatic
    • CancellerescA
    • CantaraGotica
    • Cantzley Inverse Caps (2007), CantzleyAD1600 (2005)
    • CaslonishFraxx
    • ClaudiusImperator
    • Clausewitz-Fraktur (2005). Designed in memory of Klaus Burkhardt.
    • CaslonishFraxx
    • ClaudiusImperator
    • CowboyCaxton
    • Cuxhaven Initials Round (2006), CuxhavenFraktur (2006), CuxhavenInitials (2006), CuxhavenTimes (2002). All named in honor of Petra Heidorn, who is from Cuxhaven.
    • DecadentaFrax (2007)
    • DirtyThinkwitz (2003). In honor of his good friend Klaus Burkhardt.
    • DizzyBrokenWritten
    • DolbyFraxCaps (2005)
    • DornspitzGrotesk
    • DoubleBrokenTextura
    • Druckschrift-Initialen
    • DrunkenSailor (2006)
    • DuerersMinuskeln
    • ElectrUnciale (2005)
    • ElephantaBlack (2006)
    • FatFreeFrax
    • FlyingHollander (2005)
    • FracturiaSketched, FracturiaSketchedCaps
    • FraktKonstruct, FraktSketch, FraktSketchFS, FraktalConPablos, FrakturInRings (2007), FrakturInitials07 (2007), FrakturNitials (2006), FrakturaFonteria, FrakturaFonteriaSlim (2006)
    • FrakturCondensedHeadline, FrakturCondensedHeadlineExtra
    • FraxBoxes, FraxBricKs, FraxBrix, FraxHandwritten-RoundCaps, FraxHandwritten, FraxHandwrittenXtrem-Medium, FraxInCage, FraxInCageLeftOblique, FraxInCageRightOblique, FraxInitials, FraxMouseSketches, FraxxSketchQuill
    • FrungturaFS
    • GGothiqueMK
    • GermanFatman (2006)
    • GingkoFraktur (2006)
    • GoldenSwing
    • GotenborgFraktur (2007)
    • GothicLetters (2007)
    • Gotic Caps (2006), GoticaBastard, GotischeMajuskel, GothicMajuscles
    • GotikaButtons (2005, after Imre Reiner's Gotika from 1933)
    • GutenbergsGhostypes, GutenbergsTraces
    • HamletOrNot, HamletTobeornot
    • HansFraktur
    • HansSachsCaps (2007)
    • HansSchoenspergerRandomish
    • HappyFrax (2006)
    • Haunted-Normal, HauntedBricks
    • Heimat
    • Holland Gotisch (with Petra Heidorn; a revival of Nederduits by Johann Michael Fleischmann, ca. 1750)
    • ImresFraktur, ImresFraxCaps (2007)
    • Incunitials
    • IronFraktur
    • JessicaPlus
    • JoeCaxton
    • JohannesBricks, JohannesButtons-02, JohannesGDiamonds, JohannesGLastTraces (2007), JohannesTraces
    • Jugendstil (2006)
    • KaiserRotbartCaps (2007)
    • KL1CiviliteEdges
    • Kl1RheumaticFraktur
    • KleinSchwabach (2005)
    • KleinsBrokenGotik (2006)
    • KlungerCaps (2006)
    • Leibniz-Regular
    • LombardPlattfuss, Lombardic
    • LookBrokenTypes
    • LuFraktorsoBroad
    • LudwigHohlwein (2006)
    • LufrakturBricks (2006)
    • LutherDuemille, LutherMousedrawn-Bold, LutherMousedrawn
    • MKBritishWriting
    • MK Broken Types (2006)
    • MKFraxConstr (2007)
    • MKImresTshirtsA
    • MKalligFrax, MKalligFrax-MediumItalic
    • MKancellerescaCaps (2005)
    • MKantzley (2005), MKanzleiCaps-One (2006)
    • MKapitalisRusticaMedium
    • MKaslonTextura
    • MoKsford, MoKsfordBold, MoKsfordDemiBold, MoKsfordExtraLight, MoKsfordLight
    • MonAmourCaps (2006), MonAmourFraktur-Broken (2006), MonAmourFrakturRegular
    • MonksWriting
    • MorbusParcinsonFraxx
    • MorscheKnochen
    • MountFirtree
    • MousefraKtur
    • Münchner-Fraktur (2005). A revival of Renaissance Fraktur by Heinz König, 1885, Genzsch&Heyse.
    • MyElectronicSchwabach
    • NeuGothic-Bold
    • Neudoerffer, NeudoerfferScribbleQuality. Both codex style typefaces are from 2003. Manfred writes that Neudoerffer is an unaltered version of the original Neudoerffer Initialen from 1660.
    • OKsfordBadFat, OKsfordItalic
    • OldTypographicSymphony-Regular, OldTypographicSymphony-Round
    • PopFraxFrankfurt (2007), PopFraxFrankfurtCondensed (2007)
    • PrinzEugen
    • Potsdam (2005, a revival of a 1934 typeface by Robert Golpon)
    • Prothesis-Black, Prothesis-Caribiqu, Prothesis-Caripix
    • RandomFrax
    • ReadableGothic
    • RememberReinerFS
    • RotundaEspagna
    • Schaftstiefel Kaputt (2003)
    • SchmaleGotischMK, SchmalfetteGotisch
    • SchneidlerSchwabacher, SchneidlerSolitaires, SchneidlerSolitairesRound
    • Schwabach, SchwabachDuemille, SchwabachScribbels, SchwabachScribbelsSecond
    • ScribbledFrakturX-Heavy (2006)
    • SketchedCassiusBroken
    • SmallEdgedFrax (2006)
    • Snoutlike (2003)
    • SpaceWinningFrax (2007)
    • TizonaDance
    • TshirtsForFrax
    • TypoasisBoldGothic (2003)
    • VanDoesburgBrokenFS
    • VeryBrokenFrax
    • WaldarbeiterGotisch
    • WeimarInline
    • WeissGotischRandom
    • Weissgotnitials (2005, based on Weiss's Lichte Initialen, 1935)
    • WittewittMajuscles-Flourish, WittewittMajuscles-FlourishBricks
    • WrittenFrax (2007)

    Download page. Download all these fonts in onze zip file.
    [Google] [MyFonts] [More]  ⦿

    Manfred Klein: Font Hosting

    In July 2017, Typoasis / Moorstation shut down. Run by Petra Heidorn out of Hamburg, Germany, it hosted her own fonts, as well as those of the popular and talented type designer and artist Manfred Klein (Frankfurt, Germany). Manfred, who was an active type designer from the late 1990s until about 2007, created over 3600 fonts in that period. Those fonts are now hosted at my site, thanks to Petra Heidorn. Manfred's oeuvre is too large to consume and analyze in one sitting or even one month.

    This zip file contains all his fonts. For those interested in particular styles, please visit this web page for downloads of individual fonts, or fonts grouped by these themes: 3d, Africa, aliens, animals, architecture, arrows, astrology, birds, calligraphy, cave style, codex, Christmas, dada, decorative caps, didone style, dingbats, display style, Egypt, eyes, fists, Fraktur, handcrafted typefaces, Karla, kids, Laurens, masks, medieval styles, Mexico, monsters, native themes, ornaments, painters, peace, people, pixel fonts, runes, Sans, serif, slab, stencil, stone age, typewriter, uncial, wood and woodcuts. [Google] [More]  ⦿

    Manfred Klein Fonteria 2008
    [Manfred Klein]

    Manfred Klein's releases in 2008: Artfacts, BatzBats, BatzBatsTwo, BirdsInHeaven, BreezedCapsBoldOblique, CrazyBeings, DreiDeeSketches, MouseBits, OldFriends, RastaManOblique, SansBetween, SketchBatsMedium, SketchBatsinvers, SketchBatsInversTwo, TypographicHeadPaintings, VectorPaintigs, ZebralSketched, pHANTabats Regular and Bold, SkurileNonAlphabetiques. [Google] [MyFonts] [More]  ⦿

    Manfred Klein's Fonteria
    [Manfred Klein]

    Frankfurt-based designer (b. 1932, d. 2018) whose creative output is so large that he deserves a separate web page. His URL at Moorstation from 2000-2007. New page on him by Florian Rochler. Font squirrel link. Dafont link. [Google] [MyFonts] [More]  ⦿

    Manfred Kloppert

    German type designer who created the flowing script Challenger Pro in 2010 at Linotype. [Google] [MyFonts] [More]  ⦿

    Manfred Sayer

    Designer of Sayer Script (Berthold, 1984), which is identical to Mecanorma Sayer Script, a retro signage script family. He also designed Mecanorma Sayer, a degenerated typewriter face, Sayer Interview, and Mecanorma Sayer Spiritual, a chiseled display face.

    Klingspor link.

    View Manfred Sayer's typefaces. [Google] [MyFonts] [More]  ⦿

    Manshonyagger

    German designer of G15 (2006, pixel face). [Google] [More]  ⦿

    Manuel Bieh
    [Typeworkshop]

    [More]  ⦿

    Manuel Birnbacher

    Student at Bauhaus University Weimar who created some avant-garde type posters. Behance link. [Google] [More]  ⦿

    Manuel Borst

    Hamburg, Germany-based designer of the humanist display sans typeface Niccolo (2018). [Google] [More]  ⦿

    Manuel Krüger

    München-based designer of the triangular grid-based typeface Triangle (2012), of Lofty Alphabet (2012) and of the modular typeface Alego (2012).

    In 2013, Manuel created Future 8.

    Behance link. [Google] [More]  ⦿

    Manuel Pazeller

    Designer in München, Germany, who created the Futura-inspired all caps sans typeface Vutura (2014). Behance link. [Google] [More]  ⦿

    Manuel Radde

    Manuel Radde (b. 1979, Berlin) is an independent graphic designer based in Vienna since 2007. In 2016, Manuel Radde and Igor Labudovic joined forces for the development of the multiline OCL family of fonts and icons, where OCL stands for Open Commons Linz. These were developed for the city of Linz, and are distributed freely: The use, reproduction, alteration, or adaptation of the digital resources is expressly allowed. [Google] [More]  ⦿

    Manuel Schibli
    [Studio Manuel Schibli]

    [More]  ⦿

    Manuel Viergutz
    [Typographic Design]

    [MyFonts] [More]  ⦿

    Manuel von Gebhardi

    Type designer from Leipzig, Germany who studied Studied Graphic Design at the Burg Giebichenstein University of Art and Design in Halle and one year at the Gerrit Rietveld Academy in Amsterdam. He graduated from the MATD program in Type Design at the University of Reading in 2016. His graduation typeface is Dialogue, a versatile text family consisting of Latin sub-styles called Ruth (serif), Lawson (reverse stress), Tony, Danny (sans), Narrator (neutral), and the Arabic style Labiba. Since 2017, he teaches type design at the German University in Cairo. In 2017, he designed the fashion brand typeface Super Health on commission for the company by that name.

    In 2020, he co-founded the Arabic type design collective Heheh Type in 2020 together with Nour El Shamy and Shahd El Sabbagh. [Google] [More]  ⦿

    Manuela Frahm

    In house type designer at Elsner&Flake in Hamburg. She is credited with Fritz Dittert (1997, with Uwe Melichar and Fritz Dittert). FontShop link. [Google] [More]  ⦿

    Mara Albracht

    Graphic designer in Dortmund, Germany. During her studies at FH Dortmund in 2014, she designed Scandrawn Script. [Google] [More]  ⦿

    Maraike Czieslik

    Cologne-based creator of a rune simulation font called Rune in 2012. In 2013, she made the elegant monoline sans typeface Sushimi. [Google] [More]  ⦿

    Marc André Misman
    [Mieps' Cool Fonts]

    [More]  ⦿

    Marc Büttner

    German designer who runs Shadaim Shirts. He created the ultra-fat techno family SHD TechnoType (2008). [Google] [More]  ⦿

    Marc Engenhart

    German designer at Fontkitchen Type Foundry of Die Licht (2003, a dot matrix font) and the dingbat typeface Inimal (2004, insects). [Google] [More]  ⦿

    Marc Hermann

    German artist and illustrator. Creator of the elegant 18th century chancery typeface Handwriting1800 (2008). Alternate URL. Homepage. [Google] [More]  ⦿

    Marc Lohner

    Köln, Germany-based creator of these typefaces:

    • The free counterless typeface Hard Rock Kids (2013).
    • Quenda (2015). A great 6-style rounded sans family.
    • Pan Pizza (2015). A signage brush script.
    • The fun beatnik typeface MonsterPie (2016).
    • Arlon (2018). A futuristic rounded sans design.
    • Govia Sans. Cartoonish.
    • Vendura (2020). A 16-style sharp-edged and thorny-serifed text typeface family.
    • Caliny (2021). A bouncing letter font.
    [Google] [MyFonts] [More]  ⦿

    Marc Marius Mueller

    Marc Marius Mueller is a German design student in Savannah, GA. In 2011, he used FF Meta as a model for creating ESM3. [Google] [More]  ⦿

    Marc Musenberg

    German type designer who made Raldo (2000, URW++, a corporate sans typeface for the German company IGEPA). He also made Raldo Mediaeval (2000). In 2010, this was extended to ten styles and can be bought as Raldo RE. [Google] [MyFonts] [More]  ⦿

    Marc Schütz
    [Schultzschultz Team]

    [MyFonts] [More]  ⦿

    Marc Wulf

    Designer in Kiel, Germany, who drew a caps typeface called Tribal (2012). [Google] [More]  ⦿

    Marcel Bachran

    Student at the Berliner Technische Kunsthochschule (BTK). He created the display typeface Procedura (2011). [Google] [More]  ⦿

    Marcel Backscheider

    Mainz, Germany-based designer of a squarish font (2018) that was programmed with Nodebox, and a monoline modular typeface called Module (2018). [Google] [More]  ⦿

    Marcel Dziewulski

    During his studies at Hochschule Hannover (Germany), Marcel Dziewulski designed the all caps sans display typeface Knirps (2018). [Google] [More]  ⦿

    Marcel Feiter

    As a student at Fachhochschule Aachen, he developed Fegron, a sans. No downloads. [Google] [More]  ⦿

    Marcel Othman

    German designer of Maya Modern (2016). [Google] [More]  ⦿

    Marcel Rotzinger

    Krefeld, Germany-based designer of the sans typeface Antje (2017). Behance link. [Google] [More]  ⦿

    Marcel Schoenebeck

    Potsdam, Germany-based designer of the strong condensed weathered display font Marson (2022). [Google] [More]  ⦿

    Marcel Vockrodt
    [Jojomoto Studio]

    [More]  ⦿

    Marcel W. Richter

    Student of Friedrich W. Kleukens and Georg Belwe who designed typefaces for Ludwig & Mayer. These include

    [Google] [More]  ⦿

    Marco Bienek

    Berlin-based art director. Designer of Fruboni (2018), a hybrid of Frutiger Extra Black and Bodoni Bold (2018). [Google] [More]  ⦿

    Marco Ciceri

    Media artist at Pfadfinderei in Berlin. In 2016, he designed the ultra-condensed octagonal typeface camelot (016), which was influenced by Excalibur. Behance link. [Google] [More]  ⦿

    Marco Fiedler
    [Vier5]

    [More]  ⦿

    Marco Kouz

    Student at the University of Wuppertal who made the experimental typefaces Tukan 01 and 02 (2004). [Google] [More]  ⦿

    Marco Müller

    John Marco Müller (Hamburg, Germany) Chas studied and/or is studying at RMIT in Melbourne, Australia. He created the organic sans family Melbourne (2009, 26plus-zeichen). [Google] [MyFonts] [More]  ⦿

    Marco Terre

    Marco Terre (b. 1990, Ebersberg, Germany) studies at the University of Applied Sciences in Berlin since 2011. In 2012, during his studies there, he created the free font 400ml [image and download no longer available]. He used a stencil and a pen for the creation of his Schablone typeface in 2012.

    In 2013, he created Audatype, a grungy version of Akzidenz Grotesk.

    Behance link. [Google] [More]  ⦿

    Marco Ugolini

    Italian visual artist based in Amsterdam and Berlin. In 2005 he graduated with a bachelor's degree in visual communication from ISIA (Florence, Italy) and Bauhaus University (Weimar, Germany). He continued his studies at the Sandberg institute of the Rietveld Academy, Amsterdam, where he obtained a Master's degree.

    Creator of the geometric sans typeface Biko (2013), which is named after South African anti-apartheid activist Steve Biko. See also Biko Light (2013). Buy Biko from Monofonts. Obtain a free copy from Dafont.

    In 2014, he designed the masculine sans typeface Coluna Condensed Bold (also free at Dafont, this family includes Rounded, Outlined, and Sketched styles).

    Behance link. [Google] [More]  ⦿

    Marcus Behmer

    Marcus Michael Douglas Behmer (b. 1879, Weimar, Germany, d. 1958, Berlin) began painting at an early age under the direction of his father who was also a painter. He worked primarily as an illustrator and graphic artist. His early work was heavily influenced by the work of Aubrey Beardsley. He achieved his first success in 1903 when he illustrated Oscar Wilde's Salome. He illustrated for the journals Die Insel, Simplicissimus and continued to do book illustrations until his death. He designed Stefan George-Schrift (1904, Otto von Holten), Behmer Antiqua or Behmer Schrift (1920, Otto von Holten), and Soncino Hebräisch (1927, cut by Georg Pfendt, Genzsch & Heyse, it influenced Friedlaender's Hadassah).

    Klingspor link. [Google] [More]  ⦿

    Marcus Schaefer

    Dessau, Germany-based designer. Since 2009 he works for Erik Spiekermann.

    He created RaketenFont (2008, a pixel face) at FontStruct. His other fonts have a construction element, such as those posted on Behance: Pelican Uppercase (3d), Action Types (2010), the LED number typeface Braun Numbers (2010, based on Braun's famous ET 33 calculator) and the starred dot matrix typeface Raketentim (2010). [Google] [More]  ⦿

    Mareen Fischinger

    Design student from Düsseldorf (Germany) who is into photography and fashion. She lives in Viersen. Designer of the handwriting typeface Mareen's Print (2003). URL for downloads. Fontspace link. [Google] [More]  ⦿

    Mareike Windisch

    German designer of the modular hexagonal typeface Coldplate (2011), Splinter (2011, with a hint of art nouveau), I Like (2011---my favorite--a rounded monoline display face and an accompanying bilined typeface), and The Quick (2011). Behance link. Logo. Pic. [Google] [More]  ⦿

    Maren Engelhardt

    German designer of the sans serif font Alpha (URW++, 2001).

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

    Maria Ballé

    Designer at the Bauersche Giesserei of fonts such as Ballé initials, a series of light floral initials. In the meantime, Andreas Seidel made a great digital version of this and called it Alea (2005). Not to be outdone, ARTypes created its own version, Maria-Ballé-Initials (2007). [Google] [MyFonts] [More]  ⦿

    Maria Drewler

    Trier, Germany-based designer of the foliate display typeface Tiffany (2017). [Google] [More]  ⦿

    Maria Hemmleb

    Coauthor, with Artur Dieckhoff, of The Adventure We call Type---Lécriture est une aventure---Schrift ist ein Abenteuer (2008, Hamburg). [Google] [More]  ⦿

    Maria Pankratava

    Based in Germany, Maria Pankratava designed the handcrafted typeface Phoa in 2015. [Google] [More]  ⦿

    Marian Steinbach
    [typolinx]

    [More]  ⦿

    Marian Steinbach

    German designer of DIN Schablonierschrift (1997, stencil). Free, but uppercase only. [Google] [More]  ⦿

    Mariano Morales Leonhardt

    German student-designer of Astrid Antiqua Schrift (2020). [Google] [More]  ⦿

    Marie Becker

    Hannover, Germany-based designer of the display typeface Nynxia Sign (2019). [Google] [More]  ⦿

    Marie Schaffert

    Stuttgart, Germany-based designer of Julia Semi Serif (2019). [Google] [More]  ⦿

    Marie Wagner
    [Vintage Foundry Illustrator]

    [More]  ⦿

    Marie-Christina Latsch

    Marie-Christina Latsch from Muenster, Germany, created a very original typographic poster called Melodramatischer Pop (2010). [Google] [More]  ⦿

    Marie-Lulu Högemann

    During her studies in Hannover, Germany, Marie-Lulu Högemann designed the rounded children's book typeface Molli (2016). [Google] [More]  ⦿

    Mariko Takagi

    From her CV: Having lived and worked as a half-Japanese and half-German in Germany for a long time, the focus of my artworks was to create books about Japanese culture. The intention of writing and designing books about Japanese topics was to make German readers curious about the strange and foreign culture and to give them insights into it. In the last eleven years I have published six books talking about Japanese culture. Since 1998, I ran my own design office with a focus on corporate design, corporate publishing and catalogue design. Since 2002 I was teaching at several Universities in Germany. Moving to Hong Kong and teaching as an assistant professor at the Academy of Visual Arts of Hong Kong Baptist University (HKBU) since 2010 gives me new influences and inspiration for starting research projects focused on Chinese typography. My background of teaching typography as well as graphic design in Germany over eight years gives me the necessary background for starting a research project not only to learn more about my new cultural environment, but also to make the Hong Kong design culture more visible to international audiences.

    At Typography Day 2012 she spoke on Typographic Culture of Hong Kong.

    Speaker at ATypI 2012 in Hong Kong: Typography between Chinese complex characters and Latin letters. Speaker at ATypI 2013 in Amsterdam: Hanzigraphy. In the latter talk, she deals with the problem of the joint use of Latin and Chinese on pages. The research project Hanzi-Graphy: Typographic translation between Latin letters and Chinese characters will be published late in 2013 by a publisher in Hong Kong.

    In 2014, she graduated from the MATF program at the University of Reading. Her graduation typeface was Gion, a serif typeface for multi-lingual typesetting in Latin, Japanese and Chinese. She writes: As a contemporary interpretation of Modern typefaces, Gion synthesises historical stylistic features of Modern typefaces with characteristics and qualities that ­enhance comfortable and continuous reading in longer text.

    Speaker at ATypI 2016 in Warsaw on Tanaka Ikko and the Japanese Modern Typography. A convergence of Western inspiration and Japanese aesthetics. In that presentation, she spoke about Tanaka Ikko (1930-2000), the Japanese grand master of graphic design, and emphasized his encounter with typography. [Google] [More]  ⦿

    Marina Prusov

    Hannover, Germany-based designer of the antique calligraphic typeface Bloody Romeo (2013), which was created for a school project. [Google] [More]  ⦿

    Marine Drouan

    French creator (b. 1983, Nantes) at FontStruct of the dot matrix typeface Schnee (2009) and of Frish (2009, grunge). She also made these typefaces in 2010. Behance link. Home page. Dafont link. She is based in Berlin. [Google] [More]  ⦿

    Marion Schreiber

    Graphic designer in Hamburg, Germany. Creator of Fold Type (2013) and of an untitled circle-based typeface in 2014. [Google] [More]  ⦿

    Marius Kempken

    Kaufbeuren, Germany-based creator of the free geometric art deco sans typeface Moderne Sans (2014). [Google] [More]  ⦿

    Marius Ziemann

    Marius Ziemann (Hamburg, Germany) created Semaphore (2009, alphadings). [Google] [More]  ⦿

    Mark Altman

    German designer of Ruzicka LH Freehand for Linotype Hell in 1993, together with Ann Chaisson. This typeface was based on an original by Rudolph Ruzicka from 1936. FontShop link. [Google] [MyFonts] [More]  ⦿

    Mark Frömberg

    Berlin-based and Berlin-born illustrator and designer whose first degree is from the University of Applied Sciences (Berlin 2012). Graduate of the Type & Media program at KABK in Den Haag in 2014, where his graduation typeface was Shequalin.

    He made the semi-calligraphic script typeface Faistra (2010) renamed Canary (2011, to be published by Die Gestalten), and the rounded informal typeface Calcine (2011, Die Gestalten).

    Pigment (2012) is a chromatic typeface.

    For his graduation project at the KABK in 2014, he created Shequalin, a text typeface for humoristic applications, Mark writes about this quirky but very pleasant and readable typeface: Shequalin is a text typeface designed for sophisticated humoristic literature and all kinds of typographic shenanigans. Be it satirical or dadaistic poetry, escapist or fictive novels, playful Shequalin seamlessly suits works by masters of the comical word. For the reader;s alertness, it rhythmically drops in oddities without distracting from the reading flow. In order to create a more severe and fervent contrast, the roman and italic were designed independently and merged later, creating a dynamic sense of tension and blatancy in Shequalin.

    In 2016, he designed the monospaced programming font family Gintronic at Carrois and bBox Type.

    Typefaces from 2019: Nunki (Future Fonts: a warm almost playful text typeface).

    Co-designer of the free Google Fonts typefaces IBM Plex Sans Thai (2019; by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Ben Mitchell and Mark Frömberg) and IBM Plex Sans Thai Looped (2019; by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Ben Mitchell and Mark Frömberg).

    In 2020, Minjoo Ham and Mark Frömberg set up Hypertype in Berlin, a studio that specializes in Latin and Hangul scripts. They promptly designed Neutronic and Neutronic Hangul, which are proportional descendants of Mark Frömberg's earlier monospaced typeface, Gintronic.

    At Github, Minjoo Ham and Mark Frömberg published the Latin / Hangul typeface family Hahmlet (2020). Hahmlet is inspired by a poster for the Korean Hamlet movie from the 1940s, created by an unknown letterer. Free download at Google Fonts.

    Home page. [Google] [More]  ⦿

    Mark Lukas

    Graduate of the University of Ulm, Germany. Designer at FontStruct in 2009 of the pixel and dot matrix families Dott and Dottround. [Google] [More]  ⦿

    Mark Stanczyk

    Designer of Linotype Typo American (1999), an old typewriter font.

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

    Mark van Leeuwen

    Mark van Leeuwen (or Marco van Luijn), a designer and letterer in Berlin, Germany (and before that, in Milan, Italy), created these typefaces:

    • The hand-drawn slab serif typeface Timber (2014). Timber can be bought here.
    • The soft-edged marker type Woodland (2015). Woodland is here.
    • The rounded national park sans Oregon (2015).
    • The rounded sans typeface Bouquet (2016).
    • Decor Sans (2017).
    • The flared stem font family Magalie (2019), available at Typeverything.
    [Google] [More]  ⦿

    Mark Wiesenbach

    Heidelberg, Germany-based creator of Techno (2014) and Diode (2014). [Google] [More]  ⦿

    Markela Bgiala

    Markela Bgiala, an interior designer in Berlin, created the ornamental typeface Twirkle (2012) and the thin poster headline typeface Hair Line (2012, Latin and Greek).

    In 2013, Markela designed the display sans family Mismark, which comes with a hairline weight.

    In 2014, she created Copy Paste Futura, which can be bought here.

    Behance link. [Google] [More]  ⦿

    Marko Grewe

    Co-founder in 2008 of Avoid Red Arrows in Karlsruhe, Germany. Designer of the matchstick typeface Zuendli (2009, Avoid Red Arrows). Quitt (2008) is an architectural blackboard face. Markos Hand (2008) is his own handwriting. Fital (2008) is experimental. Empties (2008) is a dotted line face. Dirn (2009) is a fat bouncy face.

    Klingspor link. [Google] [More]  ⦿

    Markus Angermeier

    German designer of Permutation 9, 5x5, Asiatiq, Dotto Regular, Leuna Nord, Natty Skinny, Natty Natty, Natty Fatty, OC Rater, Penumbra Black, Tulipa Arabica, Scriboni, and Siegelring. Earlier, he created the pixel font DSP9RMX (2001) with Stefan Gandl at Designer Shock. On the Fontomas CD, we find his dot matrix family Dotto: Dottoacqua (1998), Dottocrema (1998), Dottomokka (1998), Dottozucchero (1998). Home page. [Google] [More]  ⦿

    Markus Bosl

    As a student in Regensburg, Germany, Markus Bosl created the display typeface Urbon (2015). [Google] [More]  ⦿

    Markus Brand

    Düsseldorf-based creator of the sans typeface Bonkers (2005) and the blackletter typeface Black Pearl (2005). No downloads. [Google] [More]  ⦿

    Markus Gebhard

    FixedsysTTF is a fixed width truetype pixel font made by Markus Gebhard in 2001. It was later improved and maintained by Lars Naber, who offers FixedDisplayTTF and FixedsysTTF for free download. [Google] [More]  ⦿

    Markus John
    [New Letters]

    [More]  ⦿

    Markus Kaes

    Designer at Elsner&Flake of the grunge font EF DownUnder.

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

    Markus Koellmann

    Stuttgart, Germany-based designer of the pixel font Pixel Caps (2016). Dafont link. [Google] [More]  ⦿

    Markus Ossenbrunner

    German type designer who created EF Nikoscript (2004) and EF Typoschnee (2003), a snowflake font. [Google] [MyFonts] [More]  ⦿

    Markus Remscheid
    [H2D2]

    [MyFonts] [More]  ⦿

    Markus Remscheid

    German type designer who participated in the Linotype International Type design Contest in 2000. He is associated with Xplicit and Moniteurs in Berlin. He designed the artsy font Kissen in 1997. He also made Linotype Russisch Brot (1997, with Helmut Ness) and Linotype MhaiThaipe (1997), a Thai simulation font. Remscheid is involved in H2D2, a graphic and web design company in Frankfurt, where he created the grunge typeface H2D2-Alevita-Rough (1996).

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

    Markus Sablatnik

    Berlin-based graphic designer. Creator of Unleashed Font (2013). Behance link. [Google] [More]  ⦿

    Markus Schröppel

    German designer, b. 1965. Currently, he teaches typography at the University of Lapland in Rovaniemi, Finland, but maintains a home in Wuppertal, Germany. His typefaces:

    • Claus (2019). A typeface with a shaky outline.
    • The dingbat typefaces LL Sami Signs (2016) and LL Hullu Poro (2016).
    • LL Mystic (2016). A pixel or embroidery typeface.
    • LL DCL (2016) and LL Miral (2019). Dot matrix typefaces.
    • LL Disco (2016).
    • LL Colon (2016).
    • LL Mountain (2015). Mountain scene dingbats.
    • LL Calligraphy (2014).
    • LL Paladin (2014). Medieval calligraphic typeface.
    • LL Liberte (2013). a rough stencil typeface based on railway stencils seen in Arles, France.
    • LL Lisa (2013). A Cyrillic sans.
    • LL Faces (2013).
    • LL Rounded (2012).
    • LL Charlotte
    • LLChina (2009): a grunge stencil face.
    • LLTippa (2009): old typewriter.
    • LL Pochoir (2007, grunge).
    • The dingbats font LL Hulu Poro (verrucktes Renntier) presented at FUSE95.
    • LL Faktotum (1995, grunge). Download here.
    • LL Humboldt (2012). A grungy signposting or poster face.
    • LL Record (2002-2006): music dingbats.
    • LL Medien (2004): extra-wide rounded techno face.
    • Free typefaces: LL Nitro (2002, grunge), LL Mirai (2018), LL Futur (2013), LL Pearl (2013), LL Pixel, LL Pikseli (2009, dotted face, done with Rovaniemen Yliopisto), LL Rubber Grotesque (grunge, letterpress simulation, and/or rubber stamp font originally done in 1997), LL Regular (grunge), LL Cooper (2009, sketched typeface based on Cooper Black) and LL Alarm (roughened stencil face). LL Rubber Grotesque has been used in the Harry Potter films since 2005: see here.
    • The typefaces for the interior of Smart cars (Smart Roadster) and the exterior of the Smart 4-4 and 4-2 (see here).
    • LL Textur (2014, a calligraphically constructed Textura face).
    • LL Xmas (2012, stitching font) and LL Dot (2012, dot matrix face).
    In October 2007, he organized a Type Workshop in Rovaniemi. At that workshop, his students made a number of typefaces: Väinö Klemola, Siru Lämsä, Mika Junna, Merja Lahti, Lena Raeuchle, Kalle-Pekka Alare, Jussi-Pekka Koivisto, Heidi Ettanen, Hanna Piekkola, Hanna Kauppinen, Esa-Pekka Niemi, Elisa Niemelä, Elina Virtanen, Emile Uggla, Antti Huhtala. This was followed by similar workshops in 2008 and 2009. Type glossary.

    Old download link. Abstract Fonts link. [Google] [More]  ⦿

    Markus Schwarz

    Student at the University of Wuppertal who made the experimental typeface r-line (2004). [Google] [More]  ⦿

    Markus Strümpel
    [Designpiraten]

    [MyFonts] [More]  ⦿

    Markus Triska
    [Greenpoint]

    [More]  ⦿

    Markus Volquarts

    Young designer at fontgrube who made Aplasia. [Google] [More]  ⦿

    Markus Wagner

    German designer of these typefaces:

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

    Markus Wäger
    [Markus Wäger Designwerke]

    [More]  ⦿

    Markus Wäger Designwerke
    [Markus Wäger]

    Austrian photographer and digital artist. Markus Wäger designed the following fonts in 1999: MXCascade, MXJemalCaps, MXJemalItalic, MXJemal, MXOnyx (a MICR font?). DWBeispiel A (1998) is a corporate font. He also created the free fonts Deck Type (2006, unicase) and Lindau (2003), a minimalist severe rounded sans family, apparently (to me, at least) based on German car license plates. On his web site, we also find broken links to fonts called Twelve Bricks and Hasenfuss. Designer od DW Dornbirn (2002, pixelish), DW Egger Heavy (2006) and DW Emser Medium (2006).

    See also here. Old URL. Dafont link. Kernest link. [Google] [More]  ⦿

    Markus Wolf

    Markus Wolf (Media Cool World, Germany) designed the free handcrafted typeface Metafors (2016). [Google] [More]  ⦿

    Markwart Lindenthal
    [Fraktur.de]

    [More]  ⦿

    Marlene Arnold

    Marlene Arnold's Masters Thesis entitled Dir Rolle der Typografie im Internet der Dinge (HS Mainz, 2017) covers variable fonts. [Google] [More]  ⦿

    Mars Fraktur

    An in house Fraktur typeface at Mergenthaler Setzmaschinen GmbH, made in 1910. Digitized version by Gerhard Helzel. Romeo-Fraktur (house typeface at Stempel, 1910) became Mars Fraktur when Stempel turned into Linotype. Wittenberger Fraktur (1904, Monotype) is also the same face. [Google] [More]  ⦿

    Marta Podkowińska
    [Florence (or: Bombastudio)]

    [MyFonts] [More]  ⦿

    Marta Waniek
    [Polish Your Art (was: Marta Van Eck Designs)]

    [More]  ⦿

    Martin Aleith
    [PFA Typefaces]

    [More]  ⦿

    Martin Bauermeister

    Designer at Brass Fonts in Cologne of Saw (1997). Cofounder of Brass Fonts in 1996. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Martin Binder

    German type designer who wrote a typographic handbook in 1995 (unpublished). [Google] [MyFonts] [More]  ⦿

    Martin Borst

    Martin Borst (b. 1981, Germany) is a graphic designer who studied in Karlsruhe graduating from Karlsruhe University of Arts and Design in 2011. He is partner in the independent publishing house Hands on Papers and currently lives and works in Berlin.

    Designer of the sans display typeface Hopfen (2008, Avoid Red Arrows). In 2012, he won the Tokyo TDC award for his brush typeface family Mondra.

    Klingspor link. [Google] [More]  ⦿

    Martin Düfert

    Cartoonist and illustrator in Cologne, Germany. He created the slightly flared and quite readable typeface Mergette in 2012. [Google] [More]  ⦿

    Martin Friedl

    German designer who studied at the Stuttgart Academy of Arts. He is developing a series of pictograms to cover all aspects of everyday life. In this spirit, he made the Poppi family (2003-2004, Emigre): Poppi Clocks, Poppi Food, Poppi Household, Poppi Medical, Poppi Office, Poppi Sex'n'crime, Poppi Sports, Poppi Tools. He is at Beluga Design in Stuttgart. See also here.

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

    Martin Gerdes

    German blackletter expert. [Google] [More]  ⦿

    Martin Gerlach
    [Gerlach & Schenk]

    [More]  ⦿

    Martin Gnadt

    Graphic designer in Berlin. After his graduation, he interned with Sagmeister Inc in New York. He currently lectures at Design Akademie Berlin and runs his own studio. Creator of the monospace styled headline typeface Circuit (2013) and the multi-layered typeface family Sumply (2016). Behance link. [Google] [MyFonts] [More]  ⦿

    Martin Guder

    Martin Guder (Paperized, Berlin) was born in 1983 in Nordhausen, Germany. He studied design at TU Dresden and at HTW Berlin, before settling in Berlin. In 2012, Die Gestalten published his blackletter typeface family Lektura. [Google] [More]  ⦿

    Martin Heinemann

    Together, Max Fuchs (Dessau, Germany) and Martin Heinemann (Dessau, Germany) designed Burlington Antiqua (2014) at Hochschule Anhalt. [Google] [More]  ⦿

    Martin Hermersdorf

    German writing expert, 1894-1981. In 1950, Rudolf Koch and he proposed a Deutsche Schreibschrift for the fourth grade of Bavarian schools. [Details of that proposal.] He developed Fibeldruckschrift in 1957. Martin wrote Die Entwicklung der deutschen Schreibschrift in 1960. No metal font was made of his proposals, but Delbanco created a digital version called DS Hermersdorf. Picture from 1950. [Google] [More]  ⦿

    Martin Jacoby-Boy

    Born in Berlin in 1883, died in Buenos Aires in 1963. He was a painter, commercial artist, advertising artist, writer and costume designer. After training to become a skilled woodworker, Jacoby-Boy studied at the Académie des Beaux-Arts in Paris. From 1912 to 1926, he designed Bravour (1912, D. Stempel AG), Verzierte Bravour (1913, D. Stempel AG) and Jacobea (1928, Berthold). Beginning in 1919, he spent a decade working as a Production Designer for several German film companies, including May Films and Fritz Lang's UfA. In 1933, he emigrated to the Netherlands and then to the USA, and finally to Argentina, where he died in 1963.

    In 2009, Nick Curtis designed Bravado NF based on Bravour. In 2013, Sebastain Cabaj designed Olech based on Bravour. Finally, in 2018, we find yet another revival, Bravour Meio Prata, by Douglas Reis. [Google] [MyFonts] [More]  ⦿

    Martin Kitz

    PROTO.type is a German foundry run by Martin Kitz and Ulf LOOKAlike Stein. Fonts include Banana.strip (Martin Kitz, 1996), POTATO.cut (Ulf Stein), MONS.ter (Martin Kitz), CHIC.go (Jacqueline Lehmann), SCREAM.hot (Martin Kitz), PUNCH.tape (Ulf Stein), INK.blow (Martin Kitz), DYS.opia (Ulf Stein), NOOD.less (Martin Kitz), DOC.Snyder (Martin Kitz), CHRISCHI.writes (Ulf Stein based on handwriting of Christian Roth), PYRO.mania (Ulf Stein), FLITCH.it (Martin Kitz). Martin Kitz co-designed ScreamHot at Apply Design with Ulf C. Stein. At Elsner&Flake he designed EF BANANA.strip (1996), EF DOC.sneider, EF Ink.blow, EF Mon.ster (1996), EF Nood.less and the LED font EF SCREAM.hot. FontShop link. [Google] [MyFonts] [More]  ⦿

    Martin Kotulla
    [SoftMaker Software GmBH (or: freefont.de)]

    [MyFonts] [More]  ⦿

    Martin Lorenz
    [TwoPoints.net]

    [MyFonts] [More]  ⦿

    Martin Schumacher

    Munich, Germany-based designer of Moiree 1415 (2014), an op-art experimental typeface done as a custom design for Kognito Gestaltung Berlin. Behance link. [Google] [More]  ⦿

    Martin Schüngel

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Martin Steiner
    [Der Tintenfisch]

    [More]  ⦿

    Martin Veicht

    German communication designer who published the handcrafted typeface EF Petroglyph in 2004 at Elsner & Flake. [Google] [MyFonts] [More]  ⦿

    Martin Vogel

    Martin Vogel from Dortmund made a great TrueType symbol font, MarVoSym, complete with the Euro symbol, useful office symbols, astrological symbols, gender symbols, toilet door glyphs, and a peace dove. The early version of this great font was called Martin Vogel's Symbols. Freeware.

    The type 1 version was created by Thomas Henlich from TU Dresden. Alternate URL. Yet another URL. Dafont link. [Google] [More]  ⦿

    Martin Wecke
    [Hatsamatsu (or: Design Code Lab)]

    [More]  ⦿

    Martin Wenzel
    [MartinPlusFonts]

    [MyFonts] [More]  ⦿

    Martin Weygel
    [Weygel's Menschenalphabet]

    [More]  ⦿

    Martin Wilke

    German type designer, b. Berlin, 1903, d. Berlin, 1993. He studied at Unterrichtsanstalt des Staatlichen Kunstgewerbemuseums Berlin in 1921. In 1923, he was hired by Atelier Wilhelm Deffke and later became an independent graphic designer. His typefaces include many scripts:

    • Ariston, including Ariston and Ariston Fett styles. The ultra-black Ariston Extra was done in 1936. Originally designed for Germany's top cigarette in 1932. Light appeared in 1933, Bold in 1934 and Medium in 1936, all at Berthold. Copycats of Ariston include Agnes (2002, SoftMaker MegaFont XXL CD), Artistic (2010, SoftMaker), Arioso, Aristocrat (WSI), Aristus (URW), Canon, Alison (EFF), Jaclyn (SvG), Arian (Primafont), Fumarea (Greenstreet). See also here.
    • Berolina (broad-tipped pen).
    • Burgund (Schriftguss). A slightly inclined formal script.
    • Caprice (1938-1939, Berthold). A formal script font.
    • Diskus halbfett (1939-01940, Stempel).
    • Diskus mager (1938, D. Stempel). See Disciple on the SoftMaker MegaFont XXL CD, 2002. Hutchings mentions the unlikely date 1955.
    • Essentia (sans serif).
    • Gladiola (1936, D. Stempel). An upright rather monotonous script.
    • Halftone (decorative).
    • Konzept (1968, D. Stempel). A felt-tipped pen. Digital versions include Cougar (2006) by Canada Type and FontForum URW Konzept Pro (2005) by Ralph Unger at URW.
    • Moira (decorative).
    • New Berolina (1965, Monotype),
    • Palette (1950, Berthold). This brush typeface was ripped off by Bitstream as Brush 445 BT.
    • Piccadilly (1968, Berthold). A script typeface.
    • The transitional text typeface family Wilke (1988, Linotype).
    • Wilke-Kursiv (1932, W. Woellmer). Now known as Ambassador from Photo Lettering Inc. See also the superb digital extension by Jans van Maanen at Canada Type in 2013 called Wilke Kursiv. On the genesis: in the middle of the 1920s, Wilke had designed a script typeface for the headlines of a series of Cadillac advertisements which had attracted the attention of the Wilhelm Woellmers foundry. That was the basis for Wilke Kursiv a few years later.
    • Wilke Versalien (1933, W. Woellmer).

    Klingspor file. FontShop link. Linotype link. Catalog of some of his digital descendancy. [Google] [MyFonts] [More]  ⦿

    Martin Z. Schröder

    German blog by Martin Z. Schröder about lead type. [Google] [More]  ⦿

    Martina Balke

    Designer of Stempel LT Std 1 and 2 (2002) in the Linotype Taketype 5 collection. Stempel Std2 (2002) is a white on black informally hand-printed caps set, perhaps emulating linocut.

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

    Martina Flor
    [KurzProject in Type Design]

    [More]  ⦿

    Martina Flor

    Independent Argentinian designer (b. 1982) who was an assistant in the graphic design program at the University of Buenos Aires from 2003 until 2009. Graduate of the Masters program in type design at KABK, 2010. Martina set up her own Martina Flor Type Foundry in 2014. She presently lives in Berlin and teaches type design at Dessau where she initiated and manages Kurz Project in Type Design.

    Author of The Golden Secrets of Lettering (Princeton Architectural Press and Thames & Hudson, 2017). Cofounder of the online competition Lettering versus calligraphy.

    At KABK, she created the script family Supernova (2010) for packaging and signage. Supernova can be bought at Typotheque. Read about it here.

    Her other lettering work is special too---I particularly appreciate her wedding cards for Mariana and Nacho. She did a revival of Berthold's Augustea in 2009, while still at KABK.

    At her own foundry, in 2014, she published the connected handwriting font family Wonderhand (2014)---it has three axes of parameters, thickness, width and slope (0, 20 or 40 degrees).

    In 2018, Martina Flor and Neil Summerour (Positype) published the layerable Tuscan typeface family Decorata. In 2019, the same duo released Ribbons at Positype.

    Typecache link. Behance link. Home page. Speaker at ATypI 2014 in Barcelona. Speaker at ATypI 2016 in Warsaw on Telling good from bad Lettering. Keynote speaker at TypeCon 2017 in Boston. [Google] [MyFonts] [More]  ⦿

    Martina Hartmann

    Born in 1977 in Karlsruhe, she graduated in 2007 from Hochschule Pforzheim. She lives and works in Köln. Designer in 2006 at Volcano Type of the soccer / World Cup-inspired free scanbat and logo fonts KickItKlinsi, KickItLiga, KickItTooor and the stitching fonts Stich Dings and Stich Me.

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

    Martina Schikorski

    Designer of the hand-printed Linotype Mild (1997). Fontshop link. [Google] [MyFonts] [More]  ⦿

    Martina Theisen

    German designer of the display typeface Linotype Typentypo (2002, part of TakeType 4), Linotype Creatures (2002), Linotype Improfil Outline and Black (2002, profiles of funny typefaces), Linotype Smileface, Linotype Maenneken (2002), and Linotype Astrolo (2002, hand-drawn astrological symbols).

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

    MartinPlusFonts
    [Martin Wenzel]

    MartinPlusFonts is the Berlin-based foundry of Martin Wenzel, a German type designer (b. Berlin, 1969). Graduate of KABK Den Haag in 1998. From 1998 until 2005, he worked at Buro Petr van Blokland + Claudia Mens. Martin now runs MartinPlus, first in The Hague, The Netherlands, and relocated to Berlin in 2005. He is also affiliated with Kombinat Typefounders. His oeuvre:

    • FF Marten (1991).
    • FF Rekord (grunge).
    • The award-winning sans serif font FF Profile (1999), a flared sans known for its little contrast. This evolved in a semi-hand-printed casual teenager, FF Duper (2009).
    • At FUSE 6, he created FUSE Schirft, now sometimes called Wenzel Schrift.
    • At FUSE 3, he created InTegel (1991), a font like Boris Mahovac's Kalendar.
    • FF Primary (1995, chiseled stone look).
    • Daela (free, this font evolved into FF Primary).
    • MediaPigeons (experimental, free).
    • Trinité Sans (based on Bram de Does' Trinité).
    • Ode (2010): a restaurant menu family, angular yet rounded. This type family evolved from Textura into a slightly broken readable set, in the German expressionist genre.
    • Realist (2011), Realist Narrow and Realist Wide. A sans family that can be bought at Kombinat Typefounders.

    Old web site. Fontshop link. Klingspor link.

    View Martin Wenzel's typefaces. [Google] [MyFonts] [More]  ⦿

    Marvin Klee

    Marvin Klee (Mainz, Germany) created the wonderful slightly spooky sans typeface MK Rabe (2012). [Google] [More]  ⦿

    Mary C.

    German designer who lives in Huerth. Creator of the runic Stargate font High Antarian (2008). [Google] [More]  ⦿

    Mary Chalkia

    Munich-based art director. Creator of the experimental 3d polytope-shaped typeface Mair (2013), the geometric typeface Heads Off Why (2011, done for an animal rights poster), and the geometric experimental typeface RMT (2010).

    Behance link. [Google] [More]  ⦿

    Masa Busic

    German designer of the art deco typeface Nancy (2008, Avoid Red Arrows). [Google] [More]  ⦿

    Mascha Wansart

    German designer at xplicit Berlin. Codesigner of Brush Poster Grotesk (2017, a fun semi grungy typeface designed for the children's exhibition 1,2,3 Kultummel from Labyrinth Kindermuseum Berlin by xplicit, Berlin (Annette Wüsthoff, Alexander Branczyk and Mascha Wansart) and Manuel Viergutz; loaded with glyphs and decorative extras like arrows, dingbats, emojis, symbols, geometric shapes, catchwords and decorative ligatures). [Google] [MyFonts] [More]  ⦿

    Master E.S.

    Fifteenth century German artist, active ca. 1450-1467. He created caps made of animals and people. See here. [Google] [More]  ⦿

    Matca Brand Design

    Studio in Hamburg, Germany. Creator of the fun custom display sans typeface GNG Gourmet (2014). Behance link. [Google] [More]  ⦿

    Mateusz Sztajnke

    Berlin, Germany-based designer of the free display sans typeface Elbing (2015). Behance link. [Google] [More]  ⦿

    Mathias Maassen-Pohlen

    Designer at Germany's Apply Design of fonts such as Thing (1993). [Google] [More]  ⦿

    Mathias Nösel

    Munich-based designer who created the neon light / paperclip font Kabel (2011). [Google] [More]  ⦿

    Mathias Pfefferle

    Karlsruhe, Germany-based open source and open web supporter. Designer of the free font Open Web Icons (2018). Github link. [Google] [More]  ⦿

    Mathias Siering
    [Phonts from Matz]

    [More]  ⦿

    Mation Design
    [Matteo Müller]

    Freiburg, Germany-based designer of the all caps blackboard bold typeface Two Lines (2017). Creative Market link. [Google] [More]  ⦿

    Matteo Müller
    [Mation Design]

    [More]  ⦿

    Matthew Tyndall
    [Dismantle Destroy]

    [MyFonts] [More]  ⦿

    Matthias

    Berlin-based communication student. His first typeface was the geometric compass and ruler typeface Circles (2010). [Google] [More]  ⦿

    Matthias Beck

    Matthias Beck is a German graphic and type designer based in Santa Cruz de Tenerife, Spain. He worked in advertizing agencies and design studios in Berlin, Barcelona, and the Canary Islands. He obtained a Bronze Award for the Letter Island typographic project (Graciosa) in the 2015 Canary Islands Design Awards, and several Gold Awards in the 2013 and 2019 editions of these awards.

    In 2015, he started work on Graciosa, a revival of a typeface by Carlos Winkow, subsidized by the Spanish Ministry of Education, Culture and Sport. Graciosa, which has a gorgeous engraved style as well as four other styles, was published in 2021 by P22 as P22 Graciosa. [Google] [More]  ⦿

    Matthias Fink

    Illustrator and graphic designer in Stckholm, Sweden, who studied at FH Trier, Gerany. In 2010, he created the typeface Supercake and the logotype Dagoba. In 2011, he made the multiline face Kayno.

    In 2013, Matthias created Supercake (a sans typeface for packaging), Kayno (an elliptical sans---I am confused as to the difference with his other Kayno typeface...), and Prominence (a 3d display face). The 2d typeface Saint Tropez followed in 2014. Behance link. [Google] [More]  ⦿

    Matthias Jordan

    Essen-based FontFont designer in 2000 of the FF PaperTape family.

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

    Matthias Kahlert

    German designer of the Mac font "eurofont", with the Euro symbol (5$ here). [Google] [More]  ⦿

    Matthias Kantereit

    Born in 1982 in Karlsruhe, Kantereit studied at Hochschule Pforzheim, like so many others at the Karlsruhe-based foundry Volcano Type. He worked on many projects for MAGMA Brand Design with Lars Harmsen and Florian Gärtner. At Volcano Type, he designed Fooper (2009).

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

    Matthias Luh

    German designer Matthias Luh set up the Mathhias Luh Foundry in 2010 in Karlsruhe. His first batch of typefaces, all dated 2010, includes Electric Typewriter (a fat rounded but squarish face), Cash Point Mono (dot matrix face), Rough Bits (grunge), Matthew's Scribblings (scribbled hand), Autumn Leaves (hand-printed), Modern Curves (organic sans), Peanutz (hand-printed), Matthew's Text (hand-printed and grungy), and Mandala FX (comic book face).

    Later typefaces: Typewriter BasiX (2011, old typewriter), Take Some Notes (2011, notebook face), Skribblex (2011, scribbly face), Typewriter Revo (2011), Lisa's Hand (2012), Look At Me (2012, +Outline: cartoonish), 19th Century Retro (2012, blackletter), 14 Segment LED Display (2013), Bunny Mambo (2014), Paintbrushdd (2015), Blitzeffekt (octagonal), Scratch That (a sketched 16-style font family), Zombie Apocalypse (2016), Typewriter DirtY.

    View matthias Luh's typefaces. [Google] [MyFonts] [More]  ⦿

    Matthias Nicolai

    Designer from Freiburg, Germany, who is working on the display typeface Benderline Medium (2004) and the experimental typeface Flotto (2004). Handwriting and display typefaces he is working on. [Google] [More]  ⦿

    Matthias Pospiech

    Links for the use of type 1 fonts in TeX and Latex documents. German page. [Google] [More]  ⦿

    Matthias Rawald

    German designer (b. 1965) who studied visual communication at the Hochschule für bildende Künste (HfbK) in Hamburg. In 1999 he co-founded the design company bestbefore. Creator of FF Burokrat (1996, grunge) and Trash (1996, a grunge font, Garcia Fonts).

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

    Matthias Ribeaucourt

    Hamburg-based designer of the modern font Kontor Display (1998-2006). Dafont link. [Google] [More]  ⦿

    Matthias Rischewski

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Matthias Rosenkranz

    Young designer at fontgrube who made A44. [Google] [More]  ⦿

    Matthias Thiesen

    German designer of FF Burokrat (grunge) and FF Singer. [Google] [MyFonts] [More]  ⦿

    Matthias Tratz

    Ingolstadt, Germany-based designer of the comic book font Sachsenfahrt Neue (2012). Darius Gondor and Matthias Tratz co-designed the 3d typeface KIM (2014) and Protest Neue (2014). Behance link. [Google] [More]  ⦿

    Maurice Göldner

    Type designer born in Germany who graduated from the Hochschule für Grafik und Buchkunst in Leipzig in 2009 and the Burg Giebichenstein University of Arts and Design Halle. His research project on the history of Dresden's Brüder Butter foundry has been published in the Typography papers 9, Hyphen Press. Maurice is type design lecturer at the Kunsthochschule Berlin Weissensee and cofounder of Camelot Typefaces.

    Creator of the Meran family (OurType) in 2008. OurType says: Its design grew out of an exercise to construct capital letters from strips of black paper. The letters were later translated into digital form and given matching roman and italic lowercase designs together with figures. Meran is not easy to characterize. A sanserif? Undoubtedly, but much more too: with its fresh and distinctive look we might call it a 'contemporary rotunda'. A display type that works well as text, or a text typeface that performs impressively in display? It's both! Meran is a sanserif with an edge, which offers an exceptional blend between character and utility.

    His second retail typeface is Stan (and Stan Plus, 2012, Our Type), and StandingType (2012, OurType).

    His custom typefaces include

    • Weinviertel (2009). A headline typeface designed for Weinviertel Tourismus GmbH under the direction of Bauer Konzept & Gestaltung Vienna Austria. It was based on the handwriting of Katharina Wohlrab, and developed in collaboration with Thomas Thiemich.
    • Hivo Slab (2007). A custom typeface in three weights for Hirschvogel GmbH & Co. KG. Executed in collaboration with Peter Mohr.
    • Rando and Rando Display (Camelot Typefaces). Rando won an award in the TDC Typeface Design competition in 2017.

    Typedia link. Typecache link. [Google] [More]  ⦿

    Maurice van Brast

    Illustrator in Berlin, b. 1975. Home page. Creator of the free cartoon typeface KK Schnitzler (2009). [Google] [More]  ⦿

    Mauve Type
    [Eike Dingler]

    Mauve Type (est. 2015) is based in Berlin and run by Eike Dingler. He studied type design in The Hague, as well as graphic design in Düsseldorf and Arnhem and has worked for Typotheque type foundry in The Netherlands.

    In 2008, Peter Bilak, Eike Dingler, Ondrej Jób, and Ashfaq Niazi created the 21-style family History at Typotheque: Based on a skeleton of Roman inscriptional capitals, History includes 21 layers inspired by the evolution of typography. These 21 independent typefaces share widths and other metric information so that they can be recombined. Thus History has the potential to generate thousands of different unique styles. History 1, e.g., is a hairline sans; History 2 is Peignotian; History 14 is a multiline face; History 15 is a stapler face, and so forth.

    In 2015, Eike designed the textured and patterned typeface family Pattern and the snow crustal-themed font Christmas Pattern.

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

    Max Bill

    Influential Swiss graphic designer, sculptor, painter and architect, b. 1908, Winterthur, d. 1994. He studied at the Bauhaus from 1927 until 1929 under Josef Albers, Paul Klee and Oskar Schlemmer, and moved to Zurich after that. In 1944, Bill became a professor at the school of arts in Zurich. In 1953, along with Inge Scholl and Otl Aicher, he founded the influential Ulm School of Design, which closed in 1968. Bill was a professor at the Hochschule für bildende Künste Hamburg and chair of Environmental Design from 1967 to 1974. He lived in Zurich in the later years of his life and died at the Berlin Tegel airport of a heart attack.

    Max Bill created the typeface Bill (1949-1950) which is characterized by straight-edged glyphs (the o excepted).

    Digital typefaces based on his work include the geometric Max Bill (2014, Jack Harley Szukalski), Architype Bill (The Foundry), Bill Corporate Narrow (2015, Oliver Jeschke), Bill Corporate (2015, OGJ Type Design), Bill Display (2015, Oliver Jeschke: Greek simulation style) and Sequel Sans (Oliver Jeschke), Sequel Geo (2022, Oliver Jeschke).

    Swiss Type Design link. [Google] [MyFonts] [More]  ⦿

    Max Bittrof

    German type designer (1890, Frankfurt/Oder-1972, Frankfurt/Main), who made Element Fraktur (1933-1934, Bauerische Giesserei). Ben Archer writes: Element was Max Bittroff's rational attempt to solve a dispute raging within German typography of the middle 20th century; the rivalry of two competing orthographies - blackletter or gotisch versus roman or antiqua. While Rudolf Koch's Peter Jessen Schrift was also an attempt to provide a synthesis between blackletter and roman styles, it was intended as a private press face. Element was released as a fully commercial typeface in four weights by a larger foundry, Bauer, which had a programme of modernized blackletter typefaces, such as Tannenberg, National and Gotenberg. [Google] [More]  ⦿

    Max Bloch
    [1001 Fonts]

    [More]  ⦿

    Max Burchartz

    German Photographer, 1887-1961. In 1924, he proposed the introduction of one alphabet (no more upper case and lower case). That idea was picked up by other avant-garde type designer, and was developed at Bauhaus by Herbert Bayer, and by Joost Schmidt, Kurt Schwitters, Jan Tschichold and at the end of the 30s by Peignot. [Google] [More]  ⦿

    Max Dutzauer

    German designer at J. Klinkhardt of Vignetten (1914). [Google] [More]  ⦿

    Max Fiedler

    Young designer at fontgrube who made 1977. [Google] [More]  ⦿

    Max Fröhlich

    The blackletter typeface Bauernschrift (1906, A. Numrich, Leipzig), also called Fritz-Reuter-Schrift, was designed by Max Fröhlich. It appeared at Bauersche Giesserei in 1911. Revivals of the Bauersche version include Bauernschrift (2004, Manfred Klein) and Bauernschrift (2004, Petra Heidorn). [Google] [More]  ⦿

    Max Fuchs

    Together, Max Fuchs (Dessau, Germany) and Martin Heinemann (Dessau, Germany) designed Burlington Antiqua (2014) at Hochschule Anhalt. [Google] [More]  ⦿

    Max Glimm

    Graphic designer in Hamburg, Germany, who created the handcrafted sans typeface Felt in 2016 while he was studying at HAW Hamburg University. Behance link. [Google] [More]  ⦿

    Max Hertwig

    Painter and graphic designer born in 1881 in Bunzlau (today Boleslawiec, Poland), he died in 1975. Read about him in Albrecht A. Gribl's book Max Hertwig (1881--1975): Zeichner Grafiker Maler in Düsseldorf, Hannover, Berlin und Dorfen.

    Typefaces designed by him at H. Berthold AG include Alt Mediaäval (1914, +Halbfett) and Alt Mediaäval Kursiv (1923). [Google] [More]  ⦿

    Max Joseph Gradl

    German type and jewelry designer, 1873-1934. He did advertising work for customers in Naples, London, New York and Germany. He was active in the art nouveau era and is credited with these typefaces:

    • The ultimate art nouveau all caps face, Gradl Highstep, revived under that name in 2008 by Tom Wallace (HiH).
    • Gradl Initialen (2005), another art nouveau caps typeface revived and extended by Tom Wallace in 2008. Wallace writes: Max Joseph Gradl designed Art Nouveau jewelry in Germany. At least some of his designs were produced by Theodor Fahrner of Pforzheim, Germany -- one of the leading manufacturers of fine art jewelry on the Continent from 1855 to 1979.
    • Gradl Zierschriften is yet another art nouveau decorative face, ca. 1900. Revived by Tom Wallace in 2005 under the same name. Another revivalist is Peter von Zezschwitz (Zetafonts), who created, e.g., Gradler. Rivanna NF (Nick Curtis) is yet another revival, but this one is free. Other revivals include Gradl No 1 (2008, Ralph M. Unger, URW++), Gradl (1992, Font Bureau typeface done for Microsoft), and Gradl Max (2010, Mike Freiman).

    Scans of some his art nouveau alphabets: (1), (2). Scans of some alphabets of initials: (3), (4), (4). [Google] [MyFonts] [More]  ⦿

    Max Kopievsky

    Frankfurt-based designer of the art deco typeface Maxico (2021). [Google] [More]  ⦿

    Max Kostopoulos

    Max Kostopoulos 26plus-zeichen with Jakob Runge in 2010. After his studies of communications design at the universities of Würzburg and Mainz in Germany, Kostopoulos was art director in Mainz and Hamburg.

    Creator of the slab serif typeface Margina (2010, 26plus-zichen). In 2016, he and Jakob Runge published Cera Brush at TypeMates, a type foundry run by Jakob Runge and Nils Thomsen. [Google] [MyFonts] [More]  ⦿

    Max Körner

    Max Körner (1883-1963) was a painter and German trademark designer. From 1913 to 1921 he was a teacher of visual design and crafts at the School of Applied Arts in Stuttgart. From 1921 he held a professorship at the State School of Applied Arts in Nuremberg. His 1949 book, Das Neue Schriften Buch is a collection of bold, modernistic examples of the Germanic style. Samples all reside on Flickr either from Indra Kupferschmid or Depression Press, courtesy of Mindofone Fonts.

    In 2012 and 2013, Dick Pape digitized twelve of Körner's alphabets: MaxKornerBlackMouse, MaxKornerBlackletter, MaxKornerBodenseefahrt, MaxKornerFlotteSchreibschrif, MaxKornerHaircutBlock, MaxKornerKraftigeWerbegotik, MaxKornerMachinenbau, MaxKornerModeausstellung, MaxKornerRed&BlackScript, MaxKornerSchablonen-Bold, MaxKornerSpikyAntiqua, MaxKornerStencilCaps.

    Download here. [Google] [More]  ⦿

    Max Kutschker

    During his media design studies at DHBW Ravensburg, München, Germany-based Max Kutschker created a modular typeface (2018). [Google] [More]  ⦿

    Max Kuwertz

    Berlin-based designer who studied at the Köln International School of Design, Parsons Institute (New York) and at the Hong Kong Polytechnic University. He created the counterless typefaces VARD in 2013 and Obese in 2015.

    Behance link. [Google] [More]  ⦿

    Max Littledale

    Mitch Hopkins is based in Vancouver, BC. In 2017, during their studies at Hochschule Darmstadt in Darmstadt, Germany, Mitch Hopkins and Max Littledale designed the donationware blackletter typeface Oettinger. [Google] [More]  ⦿

    Max Miedinger

    Swiss designer, born and died in Zürich, 1910-1980. His typefaces, all produced for the Haas Foundry in Basel, Switzerland:

    • Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre.
    • Helvetica (1956/57), Helvetica Rounded (1956/57). Helvetica was in fact first called Neue Haas Grotesk, and was only named Helvetica in 1960 by Stempel AG, because it wanted to appeal to an international market. Erik Spiekermann says that it was coined by a Stempel salesman, Heinz Eul, although credit for the invention of the name later went to Eul's boss, Schultz-Anker, the managing director of Stempel. Linotype published Neue Helvetica in 1983, with weights denoted by two digits, ab, where a goes from 2 to 9 (ultra light to black), and b from 3 to 7 (extended to condensed)---example: 75 is Bold Regular. A total of 51 weights were produced in 1983.

      The Bitstream version of Helvetica is called Swiss 721. See also "Sans" and "Hegel" on the SoftMaker MegaFont XXL CD, 2002. URW's version of Helvetica, free with the Ghostscript font package, is Nimbus Sans (1987).

      Most famous for Meta, Spiekermann is quoted as saying: Neue Haas Grotesk was a redesign of (surprise!) Haas Grotesk, which in turn was partly based on Scheltersche Grotesk from Schelter&Giesecke in those days, type was also quickly assimilated, copied, emulated, ripped-off; the success of Akzidenz Grotesk had alerted Haas to the fact that they were missing sales because all the Swiss designers were specifying AG from Germany. People are always reminded that Miedinger was in fact a salesman, not a true type designer. Nick Shinn: Here is a document showing the working process of plagiarizing Akzidenz Grotesk that Miedinger oversaw.

      Mac McGrew: Helvetica originated as Neue Haas Grotesk at the Haas Type foundry in Switzerland, where Max Miedinger, in cooperation with Edward Hoffman, drew the first version in 1957; this was acquired by Stempel in Germany and developed into an extensive series, which has become what is probably the most widely used typeface of the 1980s and 1990s. The name is derived from an ancient name for Switzerland. Along with the foundry type, many fonts of German Linotype matrices were imported into the United States. In 1965 Mergenthaler Linotype copied several versions and later added more of its own. Since alignment standards are different, American typographers who had bought imported matrices had to replace them with domestic mats so the older versions would align with the added ones. Linotype's Helvetica Bold is the same weight as what is common- ly known as Helvetica Medium in foundry type; this has caused much confusion. A spokesman says, "At Mergenthaler we use Medium to designate a weight that is in the text category. We have no Mediums that are designed for bold typeface emphasis. We intend to stick with this system for all the future faces we produce." Lanston Monotype, after it was taken over by ATF in the late 1960s, produced several weights of Helvetica, but listed them only as Gothic with their identifying numbers. Reportedly they were copied directly from Linotype cuttings, without the delicate adjustments normally made to fit the Monotype unit system; thus these typefaces have a somewhat spotty appearance when assembled. Compare Record Gothic Medium-Extended.

    • Horizontal (1964). Digitally revived in 2007 by Patrick Griffin (Canada Type) as Miedinger. 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.
    Biography by Nicholas Fabian. Linotype link. FontShop link. Klingspor link. Wikipedia link. [Google] [MyFonts] [More]  ⦿

    Max Nelles

    Designer at G+J Corporate Editors. In 2016, Lufthansa Magazin commisioned Nils Thomsen and Max Nelles to create a fun hand-drawn font. [Google] [More]  ⦿

    Max Salzmann

    German type designer. His typefaces include

    • Salzmann-Fraktur (normal, 1909, and kräftig, 1910, J.G. Schelter&Giesecke). For a digital version, see Salzmann Fraktur (2019, Ralph M. Unger), DS-Salzmann-Fraktur (2001, Delbanco) and TbC Salzmann Fraktur (2012, Chiron). Some say the typeface was made in 1915, and others mention 1912.
    • Dolmen (1921-1922, Schelter&Giesecke). An art deco face. Digitized by Nick Curtis in 2011 as Salzmann Deco NF). Zierdolmen (1922) was digitized by Nick Curtis in 2011 as Salzmann Deco Deco NF). There are also versions of Dolmen by Linotype (1987), Letraset and ITC.
    • Salzmannschrift (1910) and halbfette u. schmale Salzmannschrift (1907; some say 1910).
    • Salzmann Antiqua (1910, Schelter&Giesecke; some say 1911 and 1912) and Salzmann Antiqua Halbfette (1912, Schelter&Giesecke).
    • Salzmann Kursiv (1911, Schelter&Giesecke).
    • Kalender Vignetten (1907).

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

    Max Schiffner

    Type designer, b. 1876, Böhlen, d. 1953, Offenbach. [Google] [More]  ⦿

    Max Waibel

    Calligrapher and ex-student of Rudolf Koch, who lived from 1903-1979. He worked for Heinrich Jost (Bauerschen Giesserei, Frankfurt). From the 18950s until 1969, he taught at the Gutenberg Berufsschule in Franfurt. He set up the Waibel Pressendrucke with Günter Dörr. A lot of his work is now at the Klingspor Museum in Offenbach.

    His type designs include St. Georg (1948, Bauersche Giesserei), which was co-designed with punchcutter Joseph Spahn. [Google] [More]  ⦿

    Max Weinland

    Graphic designer, photographer and visual researcher in Lübeck, Germany, b. 1988, Hamburg. In 2013, he is working on the typefaces AG Mono, Hottentotten, Ye Olde Grotesque, Dumm (hand-printed) and Wotan. [Google] [More]  ⦿

    Maxim Neufeld

    Aachen, Germany-based designer of the stencil typeface Divisa (2017). [Google] [More]  ⦿

    Maximilian Bloch
    [Fontfinder]

    [More]  ⦿

    Maximilian Hesse
    [ADGY]

    [More]  ⦿

    Maximilian Müsgens
    [Formatpunktotf (or: Format.otf; was: t-1, type-eins)]

    [More]  ⦿

    Maximilian Novikov

    German pixel artist who created the free techno typeface Skyline Typo (2011). [Google] [More]  ⦿

    Maximilian Sprengholz

    Graphic designer in Berlin, who created the deco typeface Saigo [sigo is Japanese for "end"] in 2015. Behance link. [Google] [More]  ⦿

    Maxro (or: RS Design; or: RS Layout)

    German type designer. Plus font links. Fonts: RSCorner (1998), Creep, CutSemiBold, NumberMedium, RSCornerNormal, ThinmanLight, TrancetNormal. [Google] [More]  ⦿

    Mayis Ceylan

    Mayis Ceylan (Köln, Germany) designed the modular typeface Award in 2016. [Google] [More]  ⦿

    MdSymbol
    [Sebastian Schubert]

    MdSymbol (2011-2012) is a mathematical symbol font designed by Sebastian Schubert as a companion for Adobe Myriad Pro, but it might also fit well with other contemporary typefaces. It is used by the MyriadPro package. The package contains ample TeX support. [Google] [More]  ⦿

    MediaMarkt

    Big German PC and appliance chain. They however included some fonts pirated from Linotype. Linotype sued them and won in court. [Google] [More]  ⦿

    Medienwerkstatt Mühlacker
    [Ralf Lohuis]

    German commercial school font outfit based in Mühlacker. Free demo fonts. The categories: Lateinische Ausgangsschrift, Vereinfachte Ausgangsschrift, Schulausgangsschrift, Druckschriften, Druckschriften Bayern, Pädagogische Zeichensätze, Zeichensätze für die Mathematik, Weihnachtsfonts, Sekundarfonts. There are subpages for Swiss and Austrian school fonts. Of the many fonts, here are some made by Manfred Klein: KreuzWort, Norddruck, Sdfett, Vahalb, Veraus, Verfett. Ralf Lohuis (from Hünxe) made these fonts: Adam, Atlas, Bausteine, Blackwhite, Boxquestion, Domino, Eisenbahn, FlaggenABC, Geheim, Guitar, KreuzWort, Lapunkt, Lineatur, MatheRechner, MatheTangram, Meteo, Musik, Norddruck, Nordspur, Saspunkt, Sdfett, Sport, Telegraf, Trainee, Vahalb, VeenPikto, Veraus, Verfett, ZahlenABC. Subpage on school fonts. Christmas fonts made between 1999 and 2002, also by Lohuis: Fichten, Lichterglanz, Osterei, Schnee, Tannen, Verschneit, Weihnacht. Sub-page on Swiss school fonts where one finds CH Schrift 1 through 4, and Stein and Stein 1-Linie, Stein 2-Linie and Stein 4-Linie. At the Austrian school font sub-page, we find Druckschrift and Schulschrift 95. There is also a set of Suetterlin fonts.

    An alphabetic list: ABCKIDS, Abgedeckt, Animalabc, Anlaut, Anlautbilder 1, Anlautbilder 2, Astro, Atlas, Ausdruck, Babylon Keilschrift, Baerchen, Bausteine, BayernOutline, BayernSpur, Bayernband, Bayerndruck, Bayernf, Bayernfine, Bayernline, Bayernmiba, Bayernpunkt, Bayernpunktliniert, Bayernunter, Blackfoot, Blackwhite, Boxquestion, Braille, Briefmarken, CH-1_B, CH-1_L1, CH-1_L2, CH-1_L4, CH-1_R, CH-1_SPF, CH-1_Um, CH-1_ouL, CH-1_out, CH-1_pt, CH-1_ptL, CH-2_B, CH-2_L1, CH-2_L2, CH-2_L4, CH-2_R, CH-2_SPF, CH-2_Um, CH-2_ouL, CH-2_out, CH-2_pt, CH-2_ptL, CH-3_B, CH-3_L1, CH-3_L2, CH-3_L4, CH-3_R, CH-3_SPF, CH-3_Um, CH-3_ouL, CH-3_out, CH-3_pt, CH-3_ptL, CH-4_B, CH-4_L1, CH-4_L2, CH-4_L4, CH-4_R, CH-4_SPF, CH-4_Um, CH-4_ouL, CH-4_out, CH-4_pt, CH-4_ptL, Clocktime, DIN-Schrift Kapitalien, DIN-Schrift bold, DIN-Schrift capitals, DIN-Schrift italic, DIN-Schrift outline, DIN-Schrift shadow, DIN-Schrift, Dinosabc, Dontworry, Dontworry, Druck Au, Eisenbahn, Faces, Faraline, Fichten, First, FlaggenABC, Geheim, Gotisch unicial, Guitar, Gutenberg Druckschrift, Halloween Bilder, Halloween Schrift, Handschrift, Hieroglyphen Monumental, Hieroglyphen Papyrus, Hieroglyphen hieratisch, Isis, Kanzlei kursiv, Keys, Kontur, KreuzWort, Lahalb, Lapunkt, Lapunktliniert, Lateinaus, Latf, Latline, Latmiba, Latout, Lauflos, Launter, Lautgebueden, Lichterglanz, Lineatur, Linequestion, Lokos, Luftballon, Maps, Maramo, Math.Soma, Mathe.Adam, Mathe.Domino, Mathe.Euklid, Mathe.Euler, Mathe.EuroAdam, Mathe.Gaus, Mathe.Geobr, Mathe.Rechner, Mathe.Riese, Mathe.Tangram, Mathematik Bilder 1, Mathematik Bilder 2, Meteo, Mixed, Musik Notensatz, Musik, Noline, Nomiba, NordFaraFu, Norddruck, Nordf, Nordfine, Nordout, Nordpunkt, Nordpunktliniert, Nordspur, Nounter, Novokal, Osterei, Phoenizisch, Phonetic, Phonetic, Puzzle, Rounded bold Bold, Roemer, Saspunkt, Saspunktliniert, Schnee, Schuf, Schul 95, Schulaus, Schuline, Schulout, Schulunter, Schumiba, Schwunguebungen 1 Bilder, Schwunguebungen 2 Bilder, Schwunguebungen 3 Bilder, Schwunguebungen 4 Zeichen, Spiegel, Sport, Ste-1_1L, Ste-1_2L, Ste-1_4L, Ste-1_PL, Ste-1_Pt, Ste-1_SP, Ste-1_Um, Ste-1_bo, Ste-1_no, Ste-1_oL, Ste-1_ou, Ste-2_1L, Ste-2_2L, Ste-2_4L, Ste-2_PL, Ste-2_Pt, Ste-2_SP, Ste-2_Um, Ste-2_bo, Ste-2_no, Ste-2_oL, Ste-2_ou, Ste-3_1L, Ste-3_2L, Ste-3_4L, Ste-3_PL, Ste-3_Pt, Ste-3_SP, Ste-3_Um, Ste-3_bo, Ste-3_no, Ste-3_oL, Ste-3_ou, Suetterlin L2 outline, Suetterlin L4 outline, Suetterlin Lineatur 2, Suetterlin Lineatur 4, Suetterlin bold, Suetterlin normal, Suetterlin outline, Suetterlin, Suedout, Sueline, Suemiba, Sueddruck, Sueddrne, Sueddrnkt, Sueddrnktliniert, Sueddrur, Sueddrter, Tannen, Telegraf, Tiere, Tierspuren, Traffic, Trainee, Uhrzeit, Unterlinie, Vahalb, Valine, Vamiba, Vapuli, Vaunter, VeenPikto, Veraus, Veraus, Verbig, Verf, Verout, Verpunkt, Verpunktliniert, Verschneit, Weihnacht, WinkerABC, Xschrift, Zahlen.ABC, Zahlen.XYZ, Zetadrei, Zetaeins, Zetazwei. [Google] [More]  ⦿

    Megan Carter

    German lettering artist. Designer of the chunky marker pen font Garlic (2020, Monotype). [Google] [MyFonts] [More]  ⦿

    Meike Sander

    Designer of Linotype Wildfont (1997, glyphs shaped like animals).

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

    Meine Unterschrift
    [Karl Welker]

    German signature font service by Karl Welker. There is a free sample truetype font, Unterschr_Muster. [Google] [More]  ⦿

    Meister E.S.

    German monogrammist, who lived from about 1420 until about 1468. His oeuvre contains elaborate initial caps, often around religious themes, weaponry and love scenes. [Google] [More]  ⦿

    Melanie K

    Aka Mellis Font World. German creator of Meine Handschrift (2014) and Wailwish (2014). [Google] [More]  ⦿

    Melchior Lechter

    Type designer, b. 1865 Münster/Westfalen, d. 1937 Raron. [Google] [More]  ⦿

    Melchior Lotther

    16th century German printer on whose work Lotther Text (Fraktur font, Ludlow, UK) is based. [Google] [MyFonts] [More]  ⦿

    Melle Diete

    Berlin-based foundry run by Melle Diete, an ex-disciple of Lucas de Groot at the University of Applied Sciences in Potsdam. Before her studies she worked in several design agencies on typographic projects. Her typefaces are based on her natural illustrative handwriting. Her fonts are mostly published at Volcano Type. They include:

    Klingspor link.

    Interview by MyFonts.

    She also has beautiful illustrations. [Google] [MyFonts] [More]  ⦿

    Melville Brand Design
    [Johannes König]

    Led by Michael Schmidt, with participation of Florian Brugger, Lars Hamsen and Johannes König (art director, b. 1979). This German design studio made the free font Melville Too Bold (2009).

    After Johannes König graduated from the University in Salzburg as a "Magister for Multimedia-Arts", he worked for Fantomas and Starshot Munich as a free-lance art director and illustrator. In 2010, Johannes published the art deco all caps typeface Abracadabra and the variable stroke size typeface Trick Pony at Volcano.

    In 2012, he created the alchemic typeface Mestizo, which was published by Volcano. Accius, Alerio and Amias are three substyles that deal with the basic geometric shapes, while the Balbo, Belus and Borba styles are for playful icons.

    Some of the guys are involved in Karlsruhe-based MAGMA Brand Design (Behance link). The successful Slanted magazine is published by MAGMA Brand Design.

    Home page. Klingspor link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Mercedes Reibe

    Hamburg, Germany-based designer of the handcrafted typeface Mercedes (2016). [Google] [More]  ⦿

    Merck

    A corporate URW typeface family published in 2009. The 17-font family sells for nearly 10,000 Euros. There are sans, serif, semi-sans and semi-serif subfamilies. This family started out as a design for the Merck company. URW writes: URW++ is authorized by Merck KGaA to deliver the Merck corporate typeface family for a license fee to external users, i.e. Merck KGaA suppliers such as ad agencies, signmakers and the like. The Merck corporate typefaces are available in four different volumes with correspondingly multi lingual character encoding. All Merck Global Fonts contain approximately over 45,000 glyphs including the complete CJK glyph set (China, Japan and Korea). Besides all Latin, Greek, and Cyrillic glyphs as well as the complete CJK glyph set also cover Japanese Katakana and Hiragana plus Korean Hangual syllables. Furthermore they are supporting Thai and Arabic (including Farsi and Urdu) plus Hebrew and Vietnamese as well. [Google] [More]  ⦿

    Mergenthaler
    [Ottmar Mergenthaler]

    The Mergenthaler company was formed in 1886 to develop and market Ottmar Mergenthaler's (1854-1899) invention of the linecaster. Under Chauncey Griffith's typographic direction from 1915 to 1949 the company assumed the leading position in the Americas in both book and newspaper production, originating a large and varied library. Under the direction of Allied Corporation, the company lost control of the overseas companies and became the American marketing arm of Allied Linotype, which was based in Frankfurt. Some types, both metal and photo, were developed at the company by William Addison Dwiggins, Chauncey Griffith, Jackson Burke and others. Also called Mergenthaler Linotype. German postage stamp showing Ottmar Mergenthaler in 1954, designed by Hermann Zapf. [Google] [MyFonts] [More]  ⦿

    Metatype
    [Angelo Stitz]

    Metatype is Angelo Stitz's outfit in Pforzheim, Germany. A painter and illustrator, he is also a type designer. His first typeface family is Mevum (2012), a techno sans published by Die Gestalten.

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

    Metzler'sche Schriftgießerei

    Stuttgart-based foundry founded in 1837 by the J. B. Metzlersche Buchhandlung und Buchdruckerei which existed sine 1682. In 1838 it published Proben von Kaleidoskop-Einfassungen. In 1854, near the end of its the foundry, the owners were Eugen and Alfred Druckenmüller. [Google] [More]  ⦿

    MIA
    [Miriam Magdalena Tetzlaff]

    Berlin-based graphic designer, who has a degree in information science and media design from the Faculty of Graphic Design, University of Applied Sciences Augsburg, Germany. Creator of Mia Logotype (2008), Script01 (2005), NHM Regular (2008, octagonal), Tape Type (2005, rectangular). No downloads. Behance link. [Google] [More]  ⦿

    Micha Kumpf

    Freelance graphic designer in Berlin and Melbourne. On Behance, he showed a pixel typeface called Nils Puzzelt Gerne Fonts (2009), and a leaf-based experimental face, called Leaf Font (2009). [Google] [More]  ⦿

    Michael Albers

    German creator in 1997 of CRX, Z1 Alice Dee (art nouveau), Sign (dingbats and scanbats), and Bundesliga. Alternate URL. Fontspace link. [Google] [More]  ⦿

    Michael B

    Creator of the rough hand-drawn typeface Crazy Cartoon (2013) and the angular comic book / video game font New Super Mario Font U (2013). Michael is based in München. [Google] [More]  ⦿

    Michael Baurenfeind

    German penman who published Vollkommene Wieder-Herstellung der Schreib-Kunst in Nürnberg in 1716. Pia Frauss made a blackletter typeface called Love's Labour in 2007 based on his work. [Google] [More]  ⦿

    Michael Baurenfeind

    German calligrapher, who in an opus entitled Vollkommene Wieder-Herstellung [...] (1716, Christoph Weigel, Nuremberg) created an alphabet named Neudoerffer Initialen (named after Johann Neudoerffer). Baurenfeind lived from 1680 until 1753. [Information provided by Julian Waters and Oliver Linke] [Google] [More]  ⦿

    Michael Bulgrin

    Michael Bulgrin runs art&DESIGN in Berlin.

    German designer of the free fonts Adelphi Broken and Adelphi Plain (2001, pixel face). See also here and here. Other free fonts include Subotnik, Institut (a Treefrog-style brush face), Tresor Eins (techno face), and Taigatrust (grunge).

    Dafont link. [Google] [More]  ⦿

    Michael Bundscherer
    [Typolis (German version)]

    [More]  ⦿

    Michael Cortez

    Michael Cortez (Blond & Schwarz, Bamberg, Germany) is the designer of the free monoline octagonal typeface Schrottinger (2012). The typeface is copyright of Justus Schrotte, 2010, and was made with the Fontula software.

    In 2013, he created the hairline typeface Kriekl. [Google] [More]  ⦿

    Michael Fluhr

    Designer at Leo Burnett who lives in Mainz, Germany. In 2015, he developed a handcrafted corporate typeface for the Clubhouse range at McDonald's Germany /Austria. [Google] [More]  ⦿

    Michael Göbel
    [Pixelchen]

    [More]  ⦿

    Michael Herold

    Born 1964 in Detmold (East Westphalia/Lippe, Germany), Michael Herold did his undergraduate studies in communication design at the Muthesius Fachhochschule für Gestaltung from 1986 until 1991. Since then, he is a freelance designer in Itzehoe (Northern Germany).

    Creator of the Lamont family (URW++, 2009). In 2012, he published Fou Pro at URW as an alternative for Trade Gothic. Fou Serif followed in 2015.

    In 2016, he designed the La Casa typeface family, named after the urban villa Dupli Casa by architect J. Mayer. H.

    In 2018, he designed Corner, a sans with 14 styles published by Fontforum. I find it stunning that Fontforum was able to trademark the name Corner. Still in 2018, Herold published the elliptical typeface Lux. [Google] [MyFonts] [More]  ⦿

    Michael Hoffmann

    Michael Hoffmann studied Japanology at Germany's University of Hamburg and traveled in the early years of his professional career frequently to Japan, where he taught URW's Ikarus font production tools to Japanese customers. At URW++, where he has worked for over 30 years, he contributed to the technological progress. Codesigner with Anita Jürgeleit of the stamped font URW Urban (2013). In 2014, he designed the readable sans family Arsapia (2016, URW++) and the accompanying programming font Arsapia Mono. Arsapia is multiplexed---all styles have the same space metrics. [Google] [MyFonts] [More]  ⦿

    Michael Hübner

    Creator at Volcano Type of Trigot (2010), a geometric semi-blackletter face. [Google] [More]  ⦿

    Michael Kahlert

    Berlin, Germany-based designer of the wayfinding typeface Breitschek (2019). [Google] [More]  ⦿

    Michael Kania

    Michael Kania (Frankfurt am Main) created Hebrew Michol (2011). [Google] [MyFonts] [More]  ⦿

    Michael Konrad

    German type glossary. [Google] [More]  ⦿

    Michael Luther

    German designer of PILOTHeavy (2003). Forza (2007, used to be called Pilot) can be bought at Die Gestalten. In 2008, he offered the free sans typeface Heel Bold. In 2014, he published the cursive typeface Rigate at Die Gestalten. Dafont link. Old URL. [Google] [More]  ⦿

    Michael Munzert

    German photographer who lives near Potsdam. He created the free font MM Stenxil (2010). Comments. [Google] [More]  ⦿

    Michael Nicklas

    Type pages by Michael Nicklas (in German). It has a German glossary. [Google] [More]  ⦿

    Michael Petters

    Designer of GFVreehend (1998) at GarageFonts. Born in 1973 in Tegernsee, Bavaria. Lives in Schliersee. [Google] [More]  ⦿

    Michael Pieroth

    Modern blackletter calligrapher in Germany. [Google] [More]  ⦿

    Michael Portmann

    Designer at Brass Fonts in Cologne of BF Portik (2003).

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

    Michael Preidel

    German designer of the (free) pixel dingbat font PixIcons (2004). He lives in Potsdam. [Google] [More]  ⦿

    Michael Salow
    [Michael Salow]

    German designer of these pixel fonts: SiebenBold (2001), Sieben (2001), Vierzehnplain14px (2002).

    Dafont link. [Google] [More]  ⦿

    Michael Salow
    [Michael Salow]

    [More]  ⦿

    Michael Schinköthe

    Free font designer in Germany. His production, which is divided over two foundries, one called Akut, and one called Typism, is as follows: Arthur-Regular, Attila-Regular, Attila-ShadowRegular, Ernst-Regular (old typewriter), Ernst-RegularBackg, Gustav-Black, Heiko-Normal (futuristic), Hektor-Bold, Hektor-Light, Hektor-Regular, Ilse-Normal (irregular hand), Kolja-Black, Ringo-Heavy, Ronny-Normal, Sancho-Bold, Sancho-Regular, Typos-Regular (dingbats), Ute-Regular.

    Dafont link. [Google] [More]  ⦿

    Michael Schmidt
    [Style Force (was: Semplice Pixelfonts)]

    [More]  ⦿

    Michael Schmitz
    [Genotyp]

    [More]  ⦿

    Michael Schröter

    German designer from Eschwege who slightly modified Dirk Stein's Crystal and Crystal Proportional, bitmap fonts in FNT format. He also created ArialPixel. [Google] [More]  ⦿

    Michael Strobel

    German designer of the bold hand-printed Simple Life (2006). [Google] [More]  ⦿

    Michael Struller

    German artist. Designer of the handprinting font Linotype Salamander in 1997.

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

    Michael Ummels

    Michael Ummels at RWTH in Aachen, Germany, created the TeX font package ccicons, which offers authors who want to publish their documents under a Creative Commons license an easy way to include the relevant icons in their documents. It includes a free type 1 font, CC Icons (2009-2017), where CC stands for Creative Commons. CTAN link to CCIcons.

    In 2011, he created the mathematical font FD Symbol in Metafont and Type 1, to accompany Fedra in mathematical texts. [Google] [More]  ⦿

    Michael Wallner

    There are two Michael Wallners in type design. This one is based in Karlsruhe, Germany, where he works as a visual designer. In 2017, he designed an experimental deconstructed typeface. Behance link. [Google] [More]  ⦿

    Michael Wörgötter

    Michael Wörgötter has been professor of type, typography and design at the School of Design, Munich, Germany, since 2001. He also teaches at the University of Applied Sciences in Augsburg. Designer of LD Genzsch Antiqua (2017-2020) at Lazydogs Typefoundry, a revival of Genzsch Antiqua (or Nordische Antiqua), Genzsch & Heyse's workhorse text family originally developed between 1906 and 1910. The overall family consists of seven fonts based on original styles: Normal, Halbfett, Fett, Schmalhalbfett, Schmalfett, Kursiv and Halbfett Kursiv.

    Author of Type Selector (2006), a font swatch. [Google] [More]  ⦿

    Michal Kosmulski

    Designer of Dark Garden, a free thorn-like font with Polish and German characters, 1999-2004. It The typeface is based on author's original hand drawings. The letterform is complex, with all characters decorated with spikes resembling thorns or flames. Access via NONAGS. Polish fonts at this site include Arial CE, Times New Roman CE, Courier New CE, Strony US.

    OFL link. Dafont link. Abstract Fonts link. Sourceforge link. Alternate site. [Google] [More]  ⦿

    Michel M.

    German freelance artist and designer, associated with URW++, b. 1964. He graduated in 1992 from Fachhochschule für visuelle Kommunikation und Design Münster. He created Tricky (2002, stencil face), Keys (2002), Hands on Albrecht (experimental font at URW, 2005, based on Albrecht Dürer's geometrically constructed letters), TrickyTracky, MovingMouse (computer key fonts), Oranda MM and Oranda SC (for NABU Münster), LuxSansBookNumsOsF and LuxSansBookNumsTab (for Mekomnet), CometoMama and CometoDaddy (done for invers-Weihnachts-Typo-Wettbewerb), GooseBump (Farmers, Plants, Desaster, Twinkle: free download!), Playstation (free dingbat font), Radieurorund ascii (free download), Teletron (grunge family done at Volcano Type). In 2010, he set up Fontschmiede with Frank Baranowski, another (ex-)URW++ designer. His fonts there include the techno typefaces Und4 (2008) and Line44 (2009), and the hand-printed typeface Just Deine (2011).

    MyFonts page. Alternate URL. Klingspor link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Michelle Missler

    During her studies at the University of Applied Sciences in Trier, Germany, Michelle Missler created a modular typeface family called Heyke (2013). This techno typeface may have been influenced by the shapes of Eames furniture. Heyke Schmuck has added dots and looks from a distance like a connect-the-dots typeface. [Google] [More]  ⦿

    Mick Theisen

    During his studies in Mainz, Germany, Mick Theisen created the Liberty typeface (2014)---its glyphs are constructed using compass and ruler in the romain du roi style. Behance link. [Google] [More]  ⦿

    Mi-Ea Son

    Designer at Atilde in Welver, Germany, (b. 1982) who vectorized an Otmar Alt children's alphabet font in 2010 (which was subsequently programmed by Florian Kleinehollenhorst). [Google] [More]  ⦿

    Mieps' Cool Fonts
    [Marc André Misman]

    Marc André Misman from Saarbrücken designed Wendy (2009, pixel font), Pocket Monster, Funky Knut (1999), Funky Knut Sober (1999), Matchworks (1999), MicroMieps, TriumphTippa (old typewriter), Belmongo (2001, pixel font), Pixelino, Booze, Snorks, Amina, Garth, Jet Age, Ernest Borgnine, Engelberg, AdvoCut, and Oliver. Has a Corel Draw font making tutorial. [Google] [More]  ⦿

    Miguel Gallo

    German illustrator. Designer of the handwriting fonts Migs Font 1 (2006) and Migs Font 2 (2006). Alternate URL. Yet another URL. [Google] [More]  ⦿

    Miguel Moebius

    Designer of the technical experimental typeface Struktura (2013), This was done in typography course of the University of Applied Sciences in Münster, Germany. Behance link. [Google] [More]  ⦿

    Mike Wolf

    Born in 1960, this German or American designed several 3d typefaces such as Twister (2006, Escher trompe-l'oeuil face), Aragon (2010), Ribbon (2006), Greek To Me (2011, Greek simulation face), Inner City (2011, an Escheresque face), A Ripping Yarn (2011, texture face), Helixx (2006), Strip Joint (2011), Wicker Man (2011), and Atomic Picnic (2006). Other typefaces include Tapestry (2011), Stonehenge (2011, textured), Tape Deck (2011), Bad Escher (2011), Swirl (2011, labyrinthine), and Grounf (sic) Round (2011). [Google] [More]  ⦿

    Miki Früh

    Emmering, Germany-based designer of the tall handcrafted typeface Angi Natural (2017). His hilarious Weinschmecker series of illustrations uses Ralp Steadman-style lettering. Behance link. [Google] [More]  ⦿

    Milan Walker

    German designer of Aaron Std (2010). [Google] [More]  ⦿

    Milch und Wurst

    German scientist, b. 1983. Creator of the fonts Tekztil (2007, all caps display face) and Printed 2 Times (2007, a Times rip-off). No downloads. [Google] [More]  ⦿

    Milo Dominik Ivir
    [Milo Typografik]

    [MyFonts] [More]  ⦿

    Milo Typografik
    [Milo Dominik Ivir]

    Milo Dominik Ivir is a Croation graphic designer and type designer, born in Zagreb in 1968. He worked at the Institute of Print Technology and Planning in Berlin, and started Milo Typografik. Check his essay "Schrifttechnologien und Bildschirmtypografie". His typefaces: Agram (2000), Aramaica (1997), AvantHighBook (1997), Bonbon (1998), CorinnaHand (1999), Delirious (1998), GirlsAndBoys (1997), Gotharda (1997, a blackletterish headline face), Kaptol (1997), LexikaBold, Pianissimo (1998), Poster-Inline (1997), Poster-Outline (1997), Samantha (1997), StariGrad (1998), StephenHand (1997), Zagreb. His families: Factory (1997), FactoryBroken (1997), Klavir (1997), KlavirCaps (1997), Milo-Inline, Milo-Outline, Screen14 (1998), Screen14Bold (1998).

    He joined Linotype in 1999 where he had already published his blackletter font Linotype Gotharda (1997). FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Mind Design
    [Holger Jacobs]

    Mind Design is a British studio, which is responsible for quite a few, typically customized, typefaces. It was established by three people, Holger Jacobs (German founder of Mind Design in 1999), Claire Huss (who joined Mind Design in 2010) and Romily Winter (a British designer who joined Mind Design in 2011). Their typefaces are sold through The Type Foundry.

    Holger Jacobs (b. 1967, Kleve, Germany) studied at Saint Martins College of Art & Design (1992-1994) and at the Royal College of Art, (1995-1997). He was briefly Art Director at Tuttle Publishing, Tokyo (1998-1999). Since 2011, he is Professor at the University of Applied Science, Düsseldorf, Germany.

    Their typefaces:

    [Google] [More]  ⦿

    Mini Type

    Graduate of the University of Lodz, Poland, in 2011 and Robert Gordon University in the UK, class of 2015. She is currently based in Mannheim, Germany. Her typefaces:

    • Warsaw 59 (2015), a geometrical font inspired by mid-century Polish architecture and typography. The designer managed to capture the spirit of the era just perfectly. It can be bought at Hellofont.
    • Roses (2015). A serifless didone, which I started calling Peignotian on my pages.
    • Marilou Script (2017).
    Carbonmade link. [Google] [More]  ⦿

    Min-Joo Ham

    Min-Joo Ham (Seoul, South Korea, b. 1985) is a type designer, typographer and a graphic designer who studied graphic design at the Seoul Women's University (2005-2009). After that, she designed typefaces at the Korean type foundry S-Core. In 2015, she graduated from the TypeMedia program in Den Haag, and settled in Berlin. Future Fonts link.

    During her Bachelor's studies, she created the experimental Latin / Hangul typeface Bang.

    She designed Core Label (2012, S-Core": with Hyun-Seung Lee). Hyun-Seung Lee, Dae-Hoon Hahm and Min-Joo Ham jointly designed the programmers' typeface Eco Coding (2012) and the huge Core Sans, Core Sans G (geometric), Core Sans M and Core Sans N, Core Sans NR, and Core Sans N SC families (supported codepages are MS Windows 1252 Latin1, MS Windows 949 Korean (Hangul) consisting of 11,172 letters and KS Symbols (Korean Symbols)).

    In 2013, Hyun-Seung Lee, Dae-Hoon Hahm and Min-Joo Ham jointly designed the layered type system Core Circus---as a reaction to the hugely successful Trend typeface by Latinotype, I guess. The slab version is Core Magic (2014). See also Core Circus Rough (2014) and Core Magic Rough (2014), both jointly designed by Hyun-Seung Lee, Dae-Hoon Hahm and Dong-Kwan Kim. Core Slab M (2013) is a 31-style companion of Core Sans M---it is a soft rounded slab with some seriffy tails mixed in with standard slab terminals. Core Mellow (2013) is a condensed organic rounded sans family that comes in 21 weights.

    In 2014, Hyun-Seung Lee, Dae-Hoon Hahm and Min-Joo Ham co-designed Core Sans D, Core Sans A, Core Rhino, Core Narae Pro (a Comic Sans alternative) and Core Deco (a 14-style art deco family).

    The rounded versions of the Core Sans E, D and G families were designed in 2015 by Hyun-Seung Lee, Dae-Hoon Hahm and Dong-Kwan Kim under the names Core Sans ES, Core Sans DS, and Core Sans GS.

    In 2015, Min-Joo Ham designed the Latin / Hangul typeface Koppla (2015) as a graduation project from the TypeMedia program of KABK, Den Haag. Koppla comes in title, bold, book, text and italic styles.

    In 2017, at Fust & Friends, where she is part of the founding group of designers, she published the layered colorable retro script typeface family Teddy, which is loosely inspired by an alphabet drawn by Ernst Bentele in 2017. The family was awarded at TDC Typeface Design 2018.

    In 2019, she released Dunkel Sans at Future Fonts and wrote: Dunkel Sans is a buzzing heavy weight display font, perfect to leave a fierce impression on posters and signage applications.

    Seol Sans (2018) is a full Korean font family developed by Minjoo Ham, Akira Kobayashi and the Monotype Design Team. It features Neue Frutiger (an extension of Adrian Frutiger's Frutiger) for its Latin glyphs, and works harmoniously with Neue Frutiger World and Monotype's CJK typefaces: Tazugane Gothic (Japanese) and M XiangHe Hei (Chinese). Variable fonts published in 2022: M XiangHe Hei SC Pro Variable, M XiangHe Hei SC Std Variable, M XiangHe Hei TC Variable, Seol Sans Variable, Tazugane Gothic Variable, Tazugane Info Variable.

    In 2020, she released Blazeface Hangeul at Future Fonts.

    In 2020, Minjoo Ham and Mark Frömberg set up Hypertype in Berlin, a studio that specializes in Latin and Hangul scripts. They promptly designed Neutronic and Neutronic Hangul, which are proportional descendants of Mark Frömberg's earlier monospaced typeface, Gintronic.

    At Github, Minjoo Ham and Mark Frömberg published the Latin / Hangul typeface family Hahmlet (2020). Hahmlet is inspired by a poster for the Korean Hamlet movie from the 1940s, created by an unknown letterer. Free download at Google Fonts. Adobe link. [Google] [MyFonts] [More]  ⦿

    Mirco Kirsch

    Hamburg, Germany-based designer of Fancy No Name Grotesk Regular (2015), No Fancy Name Font (2015) and No Fancy Name Grotesk Bold Rounded (2015, free), all caps avant garde typefaces. Various weights were published in 2016 including No Fancy Name Grotesk Caps Light and No Fancy Name Grotesk Bold. Behance link. [Google] [More]  ⦿

    Mirco Zett
    [Mirco Zuchowski]

    Mirco Zuchowski is a German graphic and type designer, who started the commercial foundry Mirco Zett in 2012 in Aschaffenburg.

    Creator of the grunge blackletter typeface Lazy Monk (2012, free demo), Shodo Gothic (2012, an oriental brushy take on blackletter), and the dark gothic fonts Vertigo Death (2012), Black Edge (2012, a stylized blackletter), and Cinematic English (2012).

    In 2013, he created Vertigo Death.

    Fonts from 2015: Heftiga (watercolor brush), Lovely Madness (rough calligraphic script).

    Typefaces from 2016: Gory Madness, Paunchy (brush font).

    Typefaces from 2017: Black Madness (blackletter), Uncut Madness (horror genre).

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

    Mirco Zuchowski
    [Mirco Zett]

    [MyFonts] [More]  ⦿

    Miri Chuuei

    Bremen, Germany-based illustrator, who was a manga artist in Japan. He used iFontMaker to create the hand-printed outline typeface Miri Serif Sketch (2011). Creator of the slabbed hand-printed typeface Hand Serif Regular (2011, iFontMaker), I Need a Girl and Hand Serif Ultra Light and Hand Serif Light. In 2012, he created Inky (iFontMaker), Lautmalerei (painted letters). [Google] [More]  ⦿

    Miriam Bauer

    German designer of the Swiss techno style typeface Letrix (2008, Avoid Red Arrows). [Google] [More]  ⦿

    Miriam Horn

    Art director at Formlos, Berlin, who created Flittchen (2013, a blackletter typeface), Gridio (2013, a poster typeface) and a set of museum icons (2013).

    Behance link. [Google] [More]  ⦿

    Miriam Krause

    Creator of the slabbed sans typeface Merista (2011, 26plus). [Google] [More]  ⦿

    Miriam Magdalena Tetzlaff
    [MIA]

    [More]  ⦿

    Miriam Roettgers

    Visual communication specialist in Reichling, Germany. She designed Unimap specially for cartographic purposes as a final project at the university. [Google] [More]  ⦿

    Miriam Schmalen

    Aachen, Germany-based designer of the geometric typeface Oxika (2014). Behance link. [Google] [More]  ⦿

    Mirko Borsche
    [Bureau Borsche]

    [More]  ⦿

    Miro Denck

    Illustrator in Köln, Germany, who designed the blackboard bold typeface Tattwriter Serif (2012). [Google] [More]  ⦿

    Mitch Hopkins

    Mitch Hopkins is based in Burnaby, BC where he is participating in the IDEA progra, at Capilano University. In 2017, during their studies at Hochschule Darmstadt in Darmstadt, Germany, Mitch Hopkins and Max Littledale designed the donationware blackletter typeface Oettinger. [Google] [More]  ⦿

    Mittelpunkt Zhongdian
    [Susanne Zippel]

    Berlin-based author, lecturer, art director, communication designer and type designer with special expertise in Chinese, Japanese, Korean, and Hanzi, Kanji, Hanja and CJK fonts.

    Susanne Zippel (b. 1967) grew up in the former German Democratic Republic. She studied design in Berlin, and lived for five years in Japan. Later she founded the design office Mittelpunkt-Zhongdian in China. For more than two decades she has been researching the history of writing and media in China, Japan, and Korea, with a special focus on sociology and linguistics. She published the first extensive foundational book on Chinese typography, Fachchinesisch Typografie, which provides a comprehensive insight into the CJK writing system and its cultural context. She is currently studying for her doctorate in Vienna, Austria. Linkedin link. [Google] [More]  ⦿

    Mladen Balog

    German designer of Molecular, Detector (2000, electrical circuit-themed letters) and Tsunami (2002) at T26. Not to be cofused with the 1998 Monotype font TsunamiMT. He also made the experimental font Weird (1996, Garcia Fonts). [Google] [MyFonts] [More]  ⦿

    Moby Digg

    Munich, Germany-based designer of the free pixelish typeface MD Maya (2017), which was designed as part of the branding for the Panama Plus music and arts festival. Behance link. [Google] [More]  ⦿

    Modonomat
    [Christine Gertsch]

    The Modonomat type foundry was founded in 2011 by Christine Gertsch (b. 1984, Bubendorf, Switzerland), a Swiss graphic and type designer living in Berlin. Christine studied in Basel, Québec, Berlin, Kolding and The Hague, where she was part of the TypeMedia class 2011/2012. Her typefaces:

    • Allonghata (2012). A cursive text face. Her graduation project at KABK.
    • Kleukens Antiqua (Regular and Titling, 2011-2012). A revival of Kleukens Antiqua (1910, F.W. Kleukens, Bauersche) done while studying at KABK.
    • Modono (2012). A layered typeface family.
    [Google] [MyFonts] [More]  ⦿

    Momeant
    [Moritz Dengler-Kingerter]

    Communication designer and photographer Moritz Dengler-Kingerter (Momeant, Esslingen, Germany) designed the free typefaces Xpnded Standart (2015-2017) and Xpnded Massiv (2015-2017). His company used to be called MOGrafix. Behance link. [Google] [More]  ⦿

    Mona Franz

    During her studies in Nuremberg, Germany, Mona Franz (now in Munich, Germany) created the refreshing monolinear grotesque typeface Franz Sans (2014-2016).

    In 2017, she started the TypeMedia program at KABK in Den Haag, and graduated in 2018 with an editorial typeface called Bridge, which was subsequently released by Typemates in 2019 as a 28-style collection, split into Bridge Head and Bridge Text subfamilies.

    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. [Google] [MyFonts] [More]  ⦿

    Monah Ribeiro

    Berlin-based designer of the curvy sans typeface Mambo (2013). [Google] [More]  ⦿

    Monday Type
    [Sebastian Hilgetag]

    Monday Type is a typefoundry established in 2021 by Sebastian Hilgetag in Berlin. Sebastian Hilgetag obtained a Master of Arts degree from Fachhochschule Potsdam under Luc(as) de Groot. After his graduation he worked as a freelance designer for agencies such as Stan Hema (formerly, Meta Design), Realgestalt and Leo Burnett.

    In 2021, he released Lilith Script Pro (a smooth creamy script), Lilith Script Pro Narrow, and the 21-style extra condensed didone typeface Fiona Pro.

    Typefaces from 2022: Kate Slab (22 styles), Kate Slab Pro Ultra Expanded, Kate Slab Pro Expanded. [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]  ⦿

    Monika Bartels
    [Fontwerk]

    [More]  ⦿

    Monika Gause

    Hamburg, Germany-based designer of the typeface Skribble Schrift (2014), Chair Design Alphabet (2016), and the free geometric solid color font Geometric (2017). [Google] [More]  ⦿

    Monika Grause

    Hamburg, Germany-based designer of the free modular all caps typeface MGGeometricColor NoColor (2019) and the freeGeometric Color. Both were made with Fontself. Other fonts by Monika include MG Skribble. [Google] [More]  ⦿

    Monika Thomas

    Author of Schriften erkennen (Verlag Hermann Schmidt, Mainz, 1988), coauthored with Hans Peter Willberg. [Google] [More]  ⦿

    Moniteurs

    Group of German typographers related to Face 2 Face. Run by Heike Nehl, Heidi Specker and Sibylle Schlaich. [Google] [More]  ⦿

    Monkey Type

    Type foundry based in Berlin and New York. In 2016, Monkey Type and Mitch Paone designed the typeface family Banana Grotesk and the wide monolinear all caps sans typeface Albert. In 2020, they released the sans typeface family Marcel. [Google] [More]  ⦿

    Mono2
    [Oliver Gries]

    Oliver Gries runs the Mono2 blog. He is the Ingolstadt-based German creator (b. 1977) of Mono2Poser (2006) and Mono2Schlitzer (2005, a scratchy handwriting font also called drlads). Dafont link. [Google] [More]  ⦿

    Montessori
    [Thomas A. Osthege]

    On this site, we have two collections of truetype fonts. The first one is a Helvetica-style collection by Thomas A. Osthege (Eurocomp HH, 1993) with these fonts: HH123quadrRechnenQuadrate, HH123Rechnen, HHKursiv, HHmod123quadrModifiziertRechnenQuadrate, HHmod123ModifiziertRechnen, HHmodModifiziert, HH and HHUmrissUmriss. The second one is a collection of children's fonts and dingbats by Dr. Gert Wettschureck (Frankfurt, Germany, 1994): LoKinderDingsbums-Links, LoKinderDingsbums-Rechts, LoKinderSchrift-Dunkel, LoKinderSchrift-Hell. [Google] [More]  ⦿

    MonTEX
    [Oliver Corff]

    Oliver Corff's Latex and metafont software for Mongolian and Manju. The page is now co-managed by Dorjpalam Dorj. Corff is at the Freie Universität Berlin. Type 1 fonts have been added in 2001: TeX-bcghsb, TeX-bcghsm, TeX-bcghwb, TeX-bcghwm, TeX-bcgvsb, TeX-bcgvsm, TeX-bcgvwb, TeX-bcgvwm, TeX-bicighb, TeX-bicighm, TeX-bicigvb, TeX-bicigvm, TeX-bthhsb, TeX-bthhsm, TeX-bthhwb, TeX-bthhwm, TeX-bthvsb, TeX-bthvsm, TeX-bthvwb, TeX-bthvwm, TeX-bxghsb, TeX-bxghsm, TeX-bxghwb, TeX-bxghwm, TeX-bxgvsb, TeX-bxgvsm, TeX-bxgvwb, TeX-bxgvwm, TeX-kmbx10, TeX-kmr10, TeX-kmss10. [Google] [More]  ⦿

    moonlightme

    German designer of Lazy Student (2021). [Google] [More]  ⦿

    Morice Cupper

    German designer (b. 1984) of Destroyer (2014) and Cupper Reversed (2012, a children's hand typeface).

    Dafont link. [Google] [More]  ⦿

    Moritz Appich

    Gruppo Due (Berlin, London, Karlsruhe and Bern) is a type design platform and foundry offering retail typefaces, alongside bespoke designs resulting from a close collaboration with our commissioners. Gruppo Due was founded in 2019 by Moritz Appich, Massimiliano Audretsch, Jonas Grünwald and Bruno Jacoby.

    He published these typefaces at Gruppo Due:

    • G2 Kosmos. A monolinear rounded sans by Moritz Appich and Bruno Jacoby. They write: G2 Kosmos is a modernistic monoline typeface. Its simple shapes follow a geometric grid, but don't hesitate to break free to form better flowing and smoother letters. The grid is the same one artist and designer Wolfgang Schmidt used for his Lebenszeichen. This system of signs was developed to measure the entire cosmos of his emotions and experiences. The typeface's first incarnation was drawn as part of the 2019 diploma project by Maxim Weirich surrounding the Lebenszeichen.
    • G2 Erika (Regular, Mono).
    [Google] [More]  ⦿

    Moritz Dengler-Kingerter
    [Momeant]

    [More]  ⦿

    Moritz Esser
    [Tovaley Gestaltung]

    [More]  ⦿

    Moritz Kleinsorge
    [Identity Letters]

    [MyFonts] [More]  ⦿

    Moritz Mortimer

    Hamburg, Germany-based designer of the inline typeface Mohawk (2013). [Google] [More]  ⦿

    Moritz Welker

    Munich-based designer of the Escher-style 3d typeface Ethoth (2013).

    Behance link. [Google] [More]  ⦿

    Morphoria Collective

    Düsseldorf, Germany-based designer of Fortuna Sans (2018), a sports branding typeface custom made for the soccer team Fortuna Düsseldorf 1895, aka F95. [Google] [More]  ⦿

    Morphoria Design Collective

    Based in Düsseldorf, Germany. For the identity of the Schreibwaisenbibliothek, they created Failfont (2014). Behance link. [Google] [More]  ⦿

    Mosh Katoblepas

    Mexican graphic designer who lives in München, aka Mosh el Cabrón. He created Rincón de Pacífico (2008). [Google] [More]  ⦿

    Mostafa Ashraf

    Krefeld, Germany-based designer, with Saif Zain, of the tangram typeface Anniway (2019), which is based on textile patterns designed by Bauhaus artist Anni Albers. [Google] [More]  ⦿

    Mota Italic
    [Rob Keller]

    Foundry, est. 2009 by Rob and Sonja Keller. Originally located in Berlin, Mota Italic is a type design studio specializing in unique, extensive type families. It relocated to Mumbai, India, at the end of 2014, and moved back to Berlin in 2020.

    Rob Keller (b. 1981) is a typeface designer from Illinois. He attended the University of Illinois where he earned Bachelor (BFA) degrees in both Graphic Design and Sculpture. From 2006 until 2007 he attended the University of Reading, England, for the MA in Typeface Design program. Immediately following the dissertation submission, Rob moved to Frankfurt, Germany, to work at Linotype GmbH in the Product Marketing department. He left Linotype to be able to do type design full time, first as a freelancer then forming Mota Italic in 2009. Sonja Keller, now Sonja Stange, left Mota Italic in 2013 to join Type Together. From 2014 until 2020, Rob lived in Mumbai.

    Mota Italic's fonts:

    • Vesper, a hookish and sturdy serif typeface with which Rob graduated from Reading in 2007 [Discussion by I Love Typography]. It includes Vesper Devanagari (2006) and Vesper Hebrew. The Vesper Devanagari character set was completed in 2014 through the collaboration with Kimya Gandhi. The free font Vesper Libre (2014) is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading.
    • Mota Pixel (free), made in 2009.
    • In 2013, Rob created the ultra-fat counterless typeface Pufff with three f's.
    • Fip (2015) is a techno family.
    • When he was a student at Reading he announced that he was working on these font projects: Azul y Blanco Pin Pan Pun (hand-printed), Compilation Serif, New Orleans Light, Unicase Monospace, Untitled Experiment, Chef, Gemma. The large informal typeface family Gemma was finally published in 2009. It includes wonderful multiple master dingbats.
    • Brashy, a crazy large multi-glyph handcrafted typeface that emulates painted letters.
    • Sharad 76 (2016: free). A Devanagari only font by Kimya Gandhi (after his father's writing).
    • Chikki (2019 / Devenagari variable font.
    • Collection (2020). An allm caps font in which each letter has 50 variants, and all letters look like they cam from a different font.
    • Show Me The Mono (2020).

    Type blog by Rob Keller. At the University of Reading, he published Linotype Devanagari: an abridged history of the typeface with analysis of the 1975 redesign (2007). Alternate URL for his blog. [Google] [More]  ⦿

    Movus Munay

    German designer (b. 1997) of Movus Brush Pen (2015). [Google] [More]  ⦿

    Mr. Bunbury

    Designer in Hamburg who works at Jung von Matt. He posted the Books Font (2011). A correspondent pointed out that this font is identical to that published by Jody Yeoh and Hwee Chong Chan earlier in 2011. [Google] [More]  ⦿

    Muellerschrift

    The house font of the German drug store Müller. Based on Gill Sans. [Google] [More]  ⦿

    Museum für Druckkunst

    Printing museum in Leipzig's suburb of Plagwitz (Nonnenstrasse 38), an outgrowth of the old Haas-Drugulin printing house [Drugulin was started in 1829 by Friedrich Nies, became renowned for Asian and African languages, and was merged with Haas in 1928, only to be damaged during WWII, and emerge outdated from the East German era in 1990]. "There are wood and lead printing characters, matrices, steel stamps, in all some thirty tons from the stocks of the best known (no longer existing) typefoundries or printing establishments. Among them are hieroglyphs, cuneiform types, Sanskrit types from the Reichsdruckerei, the Imperial Printers in Berlin and the set of matrices of a gothic script by Jakob Sabon, cut before 1575." In 1992, the Museum was bought by Eckehart SchumacherGebler, a printer from München. Page at MyFonts. [Google] [MyFonts] [More]  ⦿

    Music Font Factory

    Based in Freiburg, Germany, this company published the 150 USD Susato font (1994, all formats), designed by Werner Eickhoff. Mixchael Müller-Hillebrand from Erlangen is also involved in the design. [Google] [More]  ⦿

    Mustafa Mankash

    Heilbronn, Germany-based designer of the tringular typeface Bad Wimpfen (2017). [Google] [More]  ⦿

    Mutabor Design
    [Jens Uwe Meyer]

    Mutabor Design in Hamburg, Germany is where Jens Uwe Meyer (b. 1973) and Heinrich Paravicini publish their work. They are the winners of an award at the TDC2 Type Directors Club's Type Design Competition 2002, with Globetrotter, a fine hand-printed font. At fonkingz, he made BOT (2002, +Stencil) and the tecno typeface Zero G (2002).

    At Die Gestalten, Mutabor published Lingua Digitalis Icon Set (2012).

    Jens Uwe Meyer has studied in visual communication at the University of Applied Sciences Bielefeld and now works for MUTABOR Design as a graphic designer and illustrator.

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

    Mxedruli, Xucuri - The Georgian Alphabets

    Metafont code by Berlin-based Johannes Heinecke (Lannion, France) for Georgian. It nowhas type 1 fonts as well. This is a short documentation of the two alphabets used by Georgian and some of its neighbouring languages from the Kartvelian language family. The first alphabet is called Mxedruli. Some letters used by Old Georgian or other languages such as Ossetian are also included. The second alphabet is called Xucuri. Whereas Mxedruli does differentiate majuscules and minuscules, Xucuri distinguishes between majuscules (also called Mrg(v)lovani) and minuscules (K. utxovani). However, in opposition to the Roman, Greek and Cyrillic alphabets in a text either majuscules or minuscules are used. They cannot be combined. Xucuri is now restricted to religious use.

    CTAN mirror. Another CTAN link. [Google] [More]  ⦿

    MyFonts: East German typefaces

    MyFonts selection for East German typefaces. I guess what appears are typefaces that are revivals of old East German typefaces or that are made by East German type designers during or after the four decades of its existence. [Google] [More]  ⦿

    MyFonts: Eszett

    A selection of typefaces that have the German eszett glyph, ß. [Google] [More]  ⦿

    MyFonts: German deco

    A collection of commercial typefaces in the German art deco style. [Google] [More]  ⦿

    MyFonts: Hermann Zapf

    MyFonts selection for Hermann Zapf. [Google] [More]  ⦿

    MyFonts: Manfred Klein

    MyFonts selection for Manfred Klein. [Google] [More]  ⦿

    MyFonts: Rudolf Koch

    MyFonts selection for Rudolf Koch. [Google] [More]  ⦿

    MyFonts: Versal Eszett

    MyFonts lists typefaces with versal eszett (capital sharp s). [Google] [More]  ⦿

    MyFonts.de

    This is a German version of MyFonts, launched in 2009, and is currently edited by Jan Middendorp (CEO), Florian Hardwig and Frank Rausch. It has informative, fresh, and interesting typographic discussions, and is not a subsidiary of MyFonts. Jan Middendorp: We'll offer type reviews and case studies, interviews, historical articles and the occasional book or magazine review. [Google] [More]  ⦿

    N3tRunn3r

    German designer of the pixel typeface C&C Red Alert (2007). [Google] [More]  ⦿

    Nadezda Geringer

    German designer of Oktjabrskaja (2014), a typeface that won an award at Modern Cyrillic 2014. It is based upon a typeface from 1966 originally designed by Iraida Chapil. [Google] [More]  ⦿

    Nadine Chahine

    Nadine Chahine (b. 1978) is a Lebanese graphic designer with a special interest in Arabic type design. She started her research on Arabic typography, theory and practice, at the American University of Beirut and at The University of Reading, UK (MA in Typeface Design), where she designed Koufiya (2003). She did a Ph.D. on legibility in the Arabic script. She spoke at ATypI 2003 in Vancouver on Arabic typography. She taught Arabic typography as a visiting lecturer at the American University in Dubai and is currently working at Linotype, Germany, as the Arabic type expert.

    In 2004, she started a coop project with Gerard Unger to develop Big Vesta Arabic, a companion of Unger's Big Vesta. At ATypI 2008 in St. Petersburg, she ran the Linotype type design student workshop.

    She designed Frutiger Arabic with Adrian Frutiger and Palatino Arabic (2007) with Hermann Zapf, for which she won the Certificate of Excellence in Type Design from the TDC in 2008. For Palatino Sans Arabic, she won at TDC2 2011.

    In 2009, she published Neue Helvetica Arabic at Linotype.

    In 2011, she published Univers Next Arabic (with Adrian Frutiger, Linotype).

    During a week-end of 2014, she speed-designed the Arabic typeface Hamra Str.

    She is working on Zapfino Arabic.

    In 2015, she finished ITC Handel Gothic Arabic, a modern monolinear Kufi design.

    In 2016, with a relaese date in April 2017, Nadine Chahine and the Monotype team designed the free Latin / Arabic typeface Dubai Font for the city of Dubai.

    In 2017, she published Amariya (Monotype), intended for long form, on-screen textual content. It supports the Arabic, Persian and Urdu languages, and its Latin companion is Matthew Carter's ITC Charter.

    Neue Frutiger Arabic (2018) was created by Nadine Chahine and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi.

    Avenir Arabic (2019), extending Adrian Frutiger's Avenir. Nadine Chahine and Toshi Omagari collaborated with Akira Kobayashi and Monotype Studio on Avenir Next Arabic (2021).

    Designer of Kafa Black.

    Bio. Interview. Behance link. Speaker at ATypI 2010 in Dublin, where her talk tackled psycholinguistics and type design. Speaker at ATypI 2011 in Reykjavik and at ATypI 2013 in Amsterdam. She gave the keynote at Typecon 2016.

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

    Nadine Dickmann

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

    Nadine Weiberg

    Graphic designer in Alfeld, Germany. Behance link

    Hildesheima (2012) is a free ransom note font based on letters and symbols found in Hildesheim's Schuhstrasse.

    Dafont link. [Google] [More]  ⦿

    Nadja Schoch

    German designer of the sans typeface Amoto (2008, Avoid Red Arrows). [Google] [More]  ⦿

    Naghi Naghachian
    [Naghi Naghashian]

    Naghi Naghashian's foundry (called Naghi Naghachian, with a c) is located in Frankfurt. Quoting MyFonts, where we can buy his fonts: Naghi Naghashian was born in Teheran. After completing his school education in Iran, he studied illustration and book design at the Hochschule für Gestaltung (HfG), an academy of design, in Offenbach, Germany. Thereafter he was engaged as art director in various advertising agencies in Germany, Switzerland and England. He also worked as a freelance graphic designer with focus on illustration and brand designing for leading producers of brand articles in Europe, and also for broadcasting stations in Germany and other European countries. He was occupied with theoretical work in the field of color and research in the passive perception of color and "after image" phenomena. He carried out an analysis of the letters of the Arabic alphabet and a definition of their structure, enabling him to design a number of modern types of Arabic script. He designed the monoline typeface Aban (2010), which covers Latin, Arabic, Persian and Urdu. Jasna (2010) is a monoline rounded family with the same support. Avesta Extra Bold (2010) and Anahita Extra Bold (2010) are headline typefaces. Bi Bi (2010) is a squarish (Bank Gothic style) typeface that also covers Arabic, Persian, and Urdu.

    Ahoura (2011) is an Arabic font family. Decora One (2011) is a curly ornamental all caps face. Decora Two (2011) is another ornamental caps face. Bamdad Extra Bold Condensed (2011) is an Impact-like typeface Bamdad that supports Latin, Arabic, Persian, and Urdu. Parsi (2011) is an elliptical sans family that supports Latin, Arabic, Persian, and Urdu. Novin (2011, +Shadow) is an elliptical typeface that supports Latin, Arabic, Persian, and Urdu.

    Typefaces from 2012: Parto (elliptical).

    Typefaces made in 2013: Iranica, Avid Pro, Nima (a Latin/ Arabic techno family named after Persian poet Nima Yooshij, 1896-1960), Decora Arabic, Decora Pro (and its Arabic / Farsi / Urdu companion, Parvin), Ekbatana (for Latin, Arabic, Farsi and Urdu), Apadana (for Latin, Arabic, Persian and Urdu), Roumi Pro (an elegant inline typeface), Surprise Pro (headline rounded sans), Mocca Pro, Nana Pro, Nana Rounded Pro, Nana Arabic, Petrol Stencil (an Arabic / Urdu / Latin stencil typeface), Kashi (2015: inspired by 16th century building decorations in Iran).

    Typefaces from 2013: Ostad Arabic.

    Typefaces from 2016: Naghashian, Golestan (supports Arabic, Persian and Urdu), Babak (a techno family for Latin, Arabic, Persian and Urdu), Ostad Pro, Elogium Pro.

    Typefaces from 2017: Afsoon, Afsane, Jekta, Pasargad, Kamane (Naskh style for Arabic, Persian and Urdu), Damavand.

    Typefaces from 2018: Bieta, Afshid, Pegah, Homayoon, Hafez, Dara, Homa (for Arabic, Farsi and Urdu), BaBa Rounded, BaBa.

    Typefaces from 2019: Nahid, Nameh (a single-weight sans), Gilan, Jaleh, Bauhaus Arabic.

    Typefaces from 2020: Golnama (a prismatic typeface for Arabic, Persian, Urdu and Latin), Esfand, Bonyad (modern kufi / geometric sans), Art Deco Arabic, Behtab.

    Author of Illustrated Quatrains of Omar Khayyam, Geometrie als Mysterium, and Design and Structure of Arabic Script.

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

    Naghi Naghashian
    [Naghi Naghachian]

    [MyFonts] [More]  ⦿

    NaN
    [Luke Prowse]

    British autodidact (b. 1983) who worked for or with Neville Brody's Research Studios, and founded NaN in 2020. He is based in Berlin. NaN was co-founded with Sydney-based Markus Piper.

    Prowse designed the sans typeface Book First. In 2006, he created Times Modern, designed for The Times. It was first used on November 20, 2006. Reaction from the typophiles.

    Sans Papier (2007, Umbrella Type, Veer) is a halftone and paper-inspired experimental concoction. Oscilloscope (2007) is a typeface in which the oultlines seem to be electrified---he calls it Filtered licks of electric, programmatic arcs. Crafted code, coded nodes, amphatic wave forming calm storming sparks. Oscilloscope is three juicy bolts of blue-volted love.

    In 2018, Brody Associates announced their custom font, TCCC Unity, for Coca Cola. It was jointly designed by Neville Brody and Luke Prowse.

    At NaN, he released the 10-style monospaced experimental serif family Nan Weiss (2020).

    Typefaces from 2021: NaN Holo (), Rubik Beastly (a hairy version of the Google Font Rubik by Hubert and Fischer, Meir Sadan and Cyreal; The code used to generate it can be found here), NaN Fiasco (a disobedient sans-serif drawing inspiration from errata in the design, application and reproduction of letterforms).

    Further additions to the generative font family Rubik in 2022, all published at Google Fonts: Rubik Wet Paint, Rubik Puddles, Rubik Moonrocks, Rubik Microbe, Rubik Bubbles, Rubik Glitch. [Google] [MyFonts] [More]  ⦿

    Nancy Pappas

    Student in Trier, Germany who created the typeface Geometrisches Dekor in 2012. [Google] [More]  ⦿

    Napoleon Services (was: Napoleon Typefaces)
    [Erik Sachse]

    Berlin (was: Weimar), Germany-based designer of the experimental straight-edged typeface Milumena (2016), the free font Ekkku (2016) and the geometric sans typeface Agggo (2016).

    In 2019, as Napoleon Typefaces, he is showcasing and offering his experimental types: CheesyTots (2018), Heartbeats (2019), JonsHair (2018), Pito (2019), SerifNo02 (2019), Starla (2018: a great mono-height geometric typeface family), Summer (2019), Tina&Ben (2019), Captain Cadet (2019: text typeface).

    Typefaces from 2020: Booz-uhm, Pito Slab. [Google] [More]  ⦿

    Nat Brown

    Berlin-based designer of Booty Bold (2021). He writes: this slightly condensed sans-serif font is inspired by regional American club music and its intense obsession with large derrières. The uppercase and lowercase characters hold an almost consistent weight, giving the font a digital appearance comparable to mono-spaced typefaces. Nostalgic, yet futuristic. The font works best in larger sizes, think headlines, posters and logotypes. [Google] [More]  ⦿

    Natalia Drabik

    Visual communication student in Berlin. She created the missing-piece typeface Economy (2011) as an experiment. [Google] [More]  ⦿

    Natalie Hoppe

    Hamburg, Germany-based designer of a calligraphic text typeface in 2015 that is based on quill writing. [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]  ⦿

    Natalie Wurster

    German designer who created Heart Heaven (2008), letters made out of hearts. [Google] [More]  ⦿

    Natascha Dell
    [Fontfarm]

    [More]  ⦿

    Natasha Ahmed Rethke

    Designer of Linotype Dressage (1997, horse dingbats). FontShop link. Linotype link. [Google] [MyFonts] [More]  ⦿

    Nathan Howind

    Digital photographer and typographer in Braunschweig, Germany. He created the alchemic typeface Crescent (2012). [Google] [More]  ⦿

    Nathanael Hemon
    [Slang Graphic Design]

    [More]  ⦿

    Nele

    German. She designed the Kafkaesque typeface Font Breakdown (2009). Fontsy link. [Google] [More]  ⦿

    Nele Goetz

    German designer at Semplice Pixelfonts of the free pixel fonts Gros, GrosExtended, Memoria, MemoriaExtended, all made in 2005. [Google] [More]  ⦿

    Nenad Hancic-Matejic

    Nenad Hancic (Glagolitica Fonts&Co) specializes in Glagolitic. He created two fonts, Croatica (2009), and Glagolica Missal DPG. The lower case letters of Glagolica Missal DPG are based on Missal from 1483, while the capital letters are based on those of Transit of St. Jerome from 1508. Nenad lives in Duesseldorf, Germany. [Google] [More]  ⦿

    Nenad Katic

    Berlin-based architect and designer, b. 1977, who created the handwriting font NekoKoNeko (2009). Dafont link. [Google] [More]  ⦿

    Nessa Elensar

    German designer of the primitive handwriting typeface sdf (2009). [Google] [More]  ⦿

    Neubau Berlin (or: NB Typography, or: Neubau Laden)
    [Stefan Gandl]

    Stefan Gandl was the designer at Designer Shock in Berlin of the pixel fonts DS1D, DS2D, DS3D, DSClone, DSClone3D, DSCutout, DSImitate, DSMufdi, DSMufdi3DL, DSMufdi3DR, DSNSW45, DSNSW55, DSNSW65, DSNSW75, DSNSW85, DSNSW95, DSP9RMX (with Markus Angermeier), DSP9RMX3D, DSSQR35, DSSQR45, DSSQR55, DSSQR553DL, DSSQR553DR, DSSQR65, DSSQR75, DSSQR85, DSTicket35, DSTicket45, DSTicket55, DSTicket65, DSTicket75, DSTicket85, DSTicket95, DSVDOTXT1, DSVDOTXT2, DSVDOTXTError. At the end of 2001, he established Neubau Berlin or NB Typography. He created DS Yakuti (experimental) and DS Lane (2001, trilined) at Die Gestalten. Fonts at Neubau include NB55RMS, NB55RBX, NB55RLS, NB55MS, NB55BX, NB55SET, NBFETT, NBFORM, NBRUND, NBTRANSFER, NBUNIVERS, and NBBLOCK, which are all mostly futuristic-looking designs. In 2008, they added the beautiful 6-weight (35, 45, 55, 65, 75, 85) NBGrotesk family (+Mono, +Mono Stencil), also by Stefan Gandl. In the Neubau series, we also find the gorgeous didone display typeface NB Antiqua Nero (+Italic), NB Antiqua Roman, Antiqua Libro, and NB Typewriter.

    NB Architekt and NB Architekt Neue (2015) pay tribute to blueprint typefaces used during the Letraset era. The typeface is a classic modern monoline monospace that was originally designed by Gandl in 2002 and named NB55RMS.

    Neubau made a concerted effort in the Akzidenz Grotesk genre. The classical AG became the starting point for the development of Neubau's distilled grotesque NBGrotesk (2008)---a strongly restricted, grid-based, brutally honest and optically non-corrected mono line type system comprising 28 styles. An optically balanced version of NB Grotesk's skeleton resulted in Neubau's popular NB International (2014) type system paying homage to the "international style" era. Coming full circle with NB International's conceptual successor---NB Akademie---(2016-2020) is a more distinctive and refined follower inspired by the studio homegrown Berlin influences. The in house, non-retail and beta versions of NB Akademie are called NB National. Gandl writes: The typeface's infuences and naming go way back to legendary German type designer Ferdinand Theinhardt and his revolutionary typeset Royal Grotesk (1880) designed for the publications of the Königlich-Preußischen Akademie der Wissenschaften zu Berlin. After selling his own type foundry Ferd. Theinhardt Schriftgiesserei Berlin Theinhardt's Royal Grotesk became internationally successful as Berthold's Akzidenz Grotesk (1896)---the godmother of all modern grotesque typefaces.

    Other typefaces: NB Plan Pro, Postmates (2017).

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

    Neue Deutsche (was: Der Graph)
    [Wolf Böse]

    Wolf Böse (Der Graph, NeueDeutsche, est. 2010, Berlin) is the alias of prolific German experimental font designer Thomas Helbig. His typefaces date from ca. 2009. In 2021, he opened a shop on MyFonts as NeueDeutsche. His typefaces there, published in 2021, include ND Dildo (an 8-style sex-positive rounded sans for Latin, Greek and Cyrillic), ND Gestalt (experimental and circle-based), ND Kronenberg (experimental and circle-based), ND Alias (a modular font that uses basic geometric elements) and ND Gambit (an experimental font with glyphs composed of arcs, circles and line segments). [Google] [MyFonts] [More]  ⦿

    Neue (or: Neue Foundry)
    [Alexander Alexandrowitsch Roth]

    Alexander Alexandrowitsch Roth, or just Alexander Roth, was born in the Tajik Soviet Socialist Republic and immigrated from Dushanbe to Germany in 1993. He is a Berlin-based graphic designer who holds a bachelor degree in Media Production from the Hochschule Ostwestfalen-Lippe University of Applied Sciences. Alexander is one of the founders of Ghostarmy---a conglomerate of several designers who are working among others for Erik Spiekermann, FSI FontShop International, FontShop Germany and the city of Wardenburg. In 2012, he graduated from TypeMedia at KABK in Den Haag. His graduation project was the high-contrast Uoma typeface which comes to life in large display sizes.

    He held positions as a graphic designer for FontFont, as a lead graphic designer for FontShop and as a marketing manager for Monotype's digital commerce businesses, before joining Monotype's type team.

    Roth set up Neue. Alexandra Schwarzwald is a type designer & typographer and joined Neue as business partner in October 2020.

    In 2020, he designed the 72-style typeface family Neue Radial, which is a compendium of sans genres: Neue Radial A follows the model of the original London underground typeface; Neue Radial B exemplifies the roots of a rational grotesque of the late twentieth century; Neue Radial C is a contemporary representative of the geometric sans, mechanically constructed to optically appeal to the appearance of a true compass and ruler typeface; avant-garde-esque elements ensure a smooth transition into Neue Radial D that reflects the tradition of neo-grotesques. The Soft versions (done with Alexandra Schwarzwald) were added in 2021: Neue Radial Soft A, Neue Radial Soft B (18 styles), Neue Radial Soft C, Neue Radial Soft D.

    Late in 2020, Neue released Neue Vektor (by Alexander Roth; 27 styles, describable as cold-hearted, utilitarian, DIN-like, and for engineers only), Neue Vektor CNC (a monolinear rounded sans in 14 styles), Neue OS Icons (by Alexandra Schwarzwald) and Neue UXUI Icons (by Alexandra Schwarzwald).

    Typefaces from 2021: Neue Rasant (a cold 15-style brutalist sans), Neue Singular (60 styles: a contemporary neo-grotesque sans-serif designed in three variants, H, D, and V according to stroke endings---H for horizontal, D for diagonal, and V for vertical). [Google] [MyFonts] [More]  ⦿

    Neuekoepfe

    German typeface archive. [Google] [More]  ⦿

    New Cat Orange (or: NCO)
    [Lars Cellini]

    German type foundry, est. 2016 in Wiesbaden. Their first typeface is NCO Potatoe (2016, Lars Cellini and H.P. Becker), a prototypical potato carving font. [Google] [MyFonts] [More]  ⦿

    New Letters
    [Markus John]

    New Letters is a design and typography studio in Nattheim founded in 2015 by German graphic designers Markus John and Armin Brenner. In 2013, they co-designed Tilde. Based on this, Markus created the angular text typeface family Rasmus in 2014 at Ten Dollar Fonts. Other typefaces include Meriva (2015, by Armin Brenner), New Mériva Mono (2017), Solvej (2015, by Markus John), and Voltaire (2014, by Armin Brenner).

    In 2017, Markus John and Armin Brenner designed the high-contrast display and headline antiqua serif typeface Freya.

    Theodor is a commissioned typeface.

    In 2018, they published the extended poster typeface Rois.

    In 2017, Markus John and Armin Brenner released their take on Helvetica / Neue Haas Grotesk, called Anais. Like Helvetica, it has horizontal / vertical terminals, but the x-height of Anais dominates.

    In 2021, they released the ink-trapped display typeface Kjell.

    Ten Dollar Fonts link. [Google] [More]  ⦿

    Newsgroup search

    German site that allows one to find newsgroup servers. [Google] [More]  ⦿

    Nice to Type
    [Gabriel Richter]

    Gabriel Richter studied communication design at Düsseldorf University of Applied Sciences from 2010 till 2015, and attended a workshop by Jakob Runge and Max Kostopoulos. After working on experimental type projects, Richter did an internship at FontShop International in 2013. His Bachelor's project was the grotesque Richter Grotesk (now called FF Infra, published by FontFont). In 2017, he became independent and founded Übertype with Andreas Uebele. Richter teaches type design at Düsseldorf University of Applied Sciences. Übertype later morphed into Nice To Type. His typefaces:

    • FF Infra (2019, FontFont, and by inclusion, Monotype). A sturdy sans typeface family.
    • Massimo Grafia (2017, by Gabriel Richter and Andreas Uebele). Massimo Grafia is a vast experimental linear-grotesque typeface in four weights, with an option for more kink.
    • Crack Grotesk (2018, Gabriel Richter). A geometric sans. With a variable style added in.
    • Blow, and Krasz, two typefaces announced on the Nice to Type site, but not available for study or purchase.

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

    Nice To Type (was: Übertype)
    [Andreas Uebele]

    Übertype, later renamed Nice To Type, is an independent type foundry based in Stuttgart, Germany and Japan. Established by Gabriel Richter and Andreas Uebele in 2017, Übertype designs and publishes high-quality typefaces for text and display with the focus on exceptional design and rigorous technical precision. Programming by Petr Pscolka, Opentype support by Alphabet Type, and font production by Christoph Koeberlin. Typefaces:

    • Massimo Grafia (2017, by Gabriel Richter and Andreas Uebele). Massimo Grafia is a vast experimental linear-grotesque typeface in four weights, with an option for more kink.
    • Crack Grotesk (2018, Gabriel Richter). A geometric sans.
    • Blow (2019, Yanik Hauschild). A display family.

    Andreas Uebele (b. 1960) studied architecture and urban planning at the University of Stuttgart, and art at the Stuttgart State Academy of art and design. In 1996, he founded his own visual communications agency in Stuttgart, and since 1998 has been a professor for communications design at Düsseldorf University of Applied Sciences. [Google] [More]  ⦿

    Nicholas Cintrón

    Student at the University of Wuppertal who made the experimental typeface MoSys01 (2004). [Google] [More]  ⦿

    Nick Blume
    [Guillemets.de]

    [More]  ⦿

    Nick Edward Matavka

    Creator of the classic Germanic blackletter hand simply called Blackletter Hand (2014). It has elements of Suetterlin.

    Creator of Cyanotype (2014) and EngineerHand (2014), both engineering or architect draftsman scripts.

    In 2014, he created an irregular handwriting font, Saucy Jack, and wrote: A true Victorian handwriting font. Don't use the Jane Austen font to emulate Victorian or later handwriting; by the Victorian era, the pen had been invented and people no longer used quills like Miss Austen did. This was very obviously written with an actual pen rather than with a dipper, quill or biro; it comes from a letter purportedly written by the famous Englishman, Mr John D. Rypper. It is suited to any period ranging from the invention of the pen (1830) to the popularity of the biro (1965). Ron's Font (2014, in a style not unlike hat of Jack Kerouac or Hunter Thompson) and Nick's Font (2014) emulate irregular handwriting as well.

    Station (2014) is an all-caps sans typeface based on the font used in Toronto's subway stations.

    DN Titling (2014) is an ultra-compressed font based on the titling used in the pop-psychology textbook Dianetics: The Modern Science of Mental Health.

    He designed the following Greek / Coptic fonts in 2014: Antonios-B, Antonios-D, Athanasius-B, Athanasius-D, Copt-A, Copt-B, Copt-D, Coptic-A, Coptic-B, Mina-A, Mina-B, Shenouda-A, Shenouda-D.

    In 2015, he published Draughtsman, an internationally standardized typeface for Latin, Greek and Curillic for labelling architectural and engineering blueprints, as found in the GOST standard 2.304-81.

    Open Font Library link. Fontspace link. Open Font Library link. [Google] [More]  ⦿

    Nickel Beryllium

    Hamburg, Germany-based designer of the blocky font Brutalism (2020). [Google] [More]  ⦿

    Nico Doerle

    Freiburg im Breisgau, Germany-based designer of the free constructivist faux Cyrillic typeface Revoluzia (2017). [Google] [More]  ⦿

    Nico Hensel
    [Fontkitchen Type Foundry]

    [More]  ⦿

    Nico Richter

    Meissen, Germany-based Nico Richter (Kenaz Media) created the flowing display typeface Lineara (2012): each letter consists of one uninterrupted curve.

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

    Nicolai Gogoll

    Gogoll was born in Hamburg where he studied type design with Jovica Veljovic at the Fachhochschule Hamburg. He is a freelance graphic designer since 1997. Designer at Bitstream of the Drescher Grotesk family (2001-2002), a geometric design named after Arno Drescher, which consists of Drescher Grotesk Light, Book, Roman and Demi. This revival of Drescher's Super Grotesk of 1930 (Schriftguss) was awarded the 1999 Kurt Christians Award.

    He was at some point working on Klartext 128, a barcode font with 46 weights, the display typeface Kreiss and FF DIN Italic (with Albert-Jan Pool).

    In 2017, he published the headline font Gwent for the game Gwent (CD Projekt).

    In 2019, he designed Night Sans and Night Serif.

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

    Nicolas Speck

    Nicolas Speck is an illustrator and photographer in Augsburg, Germany. He designed the display typeface family Astuto in 2013. [Google] [More]  ⦿

    Nicolaz Groll

    German designer of the grotesque poster typeface Vahen (2008, Avoid Red Arrows). [Google] [More]  ⦿

    Nicole Gebel

    Nicole Gebel (Kiel, Germany) was born in 1985. In 2009, she graduated from the Muthesius Academy of Fine Arts and Design in Kiel. In 2011, she showed some illustrated caps typefaces at Behance. [Google] [More]  ⦿

    Nicole Kapitza
    [Kapitza]

    [MyFonts] [More]  ⦿

    Nicole Köhler

    Stuttgart, Germany-based designer of the warm round-serifed typeface Avegra (2015). Behance link. [Google] [More]  ⦿

    Nicole Simon

    Young designer at fontgrube who made Pavemind. [Google] [More]  ⦿

    Niels de Jong

    Berlin, Germany-based designer of a display typeface in 2017. [Google] [More]  ⦿

    Niels Vollrath

    As a student at Fachhochschule Aachen, he developed Unperfekt, Semiperfekt and Sansperfekt. No downloads. [Google] [More]  ⦿

    Niklas Block

    During his studies, Stuttgart and/or Heidelberg, Germany-based Niklas Block created some experimental typefaces. He shattered Arial and recombined its pieces in his Verspiegelt (2017). Broken Millionaires combines the hacker style with monetary glyphs for optimal effect. See also Währungsfont (2017). Behance link. [Google] [More]  ⦿

    Niklas Meuter

    German designer of Literally Handwriting (2015). [Google] [More]  ⦿

    Niklaus Troxler

    Designer (b. 1947, Willisau, Switzerland) of several multicolored type experiments, such as one called Children are the rhythm of the world (2004, stencil letters). The pictures below are taken from the thesis of Thomas L'Excellent.

    Since 1998, Niklaus teaches at the Staatlichen Akademie der Bildenden Künste in Stuttgart. [Google] [More]  ⦿

    Nikolai Dobreff

    During his studies in Hamburg, Germany, communication designer Nikolai Dobreff created the experimental prismatic typeface Minimalphabetically (2013). Behance link. [Google] [More]  ⦿

    Nikolai Kampen

    Editorial designer and illustrator in Köln, Germany. He created a display typeface called 210% (2012).

    Behance link. [Google] [More]  ⦿

    Nikolas Type
    [Nikolas Wrobel]

    German art director and graphic designer located in Köln (and before that, Recklinghausen). Creator of the thunderbolt typeface FF E-Talking (2008). In 2017, he designed Cosi Times, and in 2019 Cosi Azure and Grand Slang. [Google] [More]  ⦿

    Nikolas Wrobel
    [Nikolas Type]

    [More]  ⦿

    Nikolaus Waxweiler

    Type technician in Giessen, Germany. In 2017, Nikolaus modified Dave Crossland's Cantarell (2009), and---confusingly--calls his updated 5-style typeface family still Cantarell. Free download. Github link. Discussion at Typedrawers. Nikolaus writes that he was dissatisfied with the original Cantarell, which is used in GNOME 3, and adds: The motivation behind this typeface is to be the UI font of the GNOME project, (type 1) hinting is therefore a priority. I took inspiration from Source Sans Pro and you'll probably see the similarities (letter forms and e.g., the thin-black master approach). Cantarell is a bit wider, though. I managed to iron out the personality of the original design, for better or worse. [Google] [More]  ⦿

    Nils Cordes

    Bielefeld, Germany-based designer of Canted Comic (2016. comic book typeface), Canted FX (2016, cartoon typeface), Cardenio Modern (2013, a hand-printed typeface). Dafont link. Behance link. [Google] [More]  ⦿

    Nils Gauding

    German creator of the grunge/metal 3d font WoW Plexus (2008). Home page. [Google] [More]  ⦿

    Nils Gerheim

    German designer of a blocky 3d experimental typeface in 2016. [Google] [More]  ⦿

    Nils Kraus

    Hamburg, Germany-based designer of the handcrafted typeface Maft (2017). Behance link. [Google] [More]  ⦿

    Nils Merkel

    German designer of Hype (2012), Timea (2012), Truebo (2012, sans), Truebo Serif (2012), Jette (2011, hand-printed), Gausshaus (2011, sans) and Ruff (2011, grunge). [Google] [More]  ⦿

    Nils Schack

    Hannover, Germany-based designer of Desk Slab (2017). [Google] [More]  ⦿

    Nils Stahl

    German creator of the free hand-drawn typefaces Just Symbols And Stuff (2014), Double Line (2014), Never Ending (2014), Step on Step (2014), Nils (2014) and Cookies (2014). [Google] [More]  ⦿

    Nils Stigler

    Aachen, Germany-based designer of Neue Gill Sans (2016), a wayfinding font based on Gill Sans but also DIN 1450. [Google] [More]  ⦿

    Nils Thomsen
    [Nils Types]

    [MyFonts] [More]  ⦿

    Nils Types
    [Nils Thomsen]

    Nils Thomsen or Nils Thomsen-Habermann, (Kiel, Germany) is a graduate of the Masters program in type design at KABK, 2010. Before that, he did a Bachelor of Arts in 2009 at Muthesius Academy of Arts and Design Kiel, Germany. From 2011 Nils Thomsen worked at Bureau Johannes Erler in Hamburg for two years. He set up Nils Types in 2013 and co-founded Typemates with Jakob Runge (Ortenbach) and Lisa Fischenbach (Hamburg).

    During this time he participated in the redesign of the German daily, the Süddeutsche Zeitung, ca. 2012, contributing to its new corporate typeface, SZ (Serif, Sans, Sans Condensed, Text, 40 fonts in all). Nils writes: In 2011 and 2012 I participated on the corporate typeface for the German daily, "Süddeutsche Zeitung", at the office "Bureau ErlerSkibbeToensmann". Hand in hand with type designer Henning Skibbe and art director Christian Tönsmann the different styles and weights were carefully designed. The technical part was edited by fontshop.com. SZ Text is based on Excelsior (Chauncey H. Griffith, 1931). The new typeface got narrower and the capitals smaler and lighter. To this we added lots of new details, which worked better and made it overall more efficient in tight columns and line spacing. SZ Serif is based on SZ Text and replaced the "Times" (Stanley Morison, 1931). Higher contrast and slightly narrower letter shapes makes it more useful for headline typography. SZ Sans is designed for strong headlines and replaces "Helvetica" (Max Miedinger, 1957). Simple and silent shapes gives the right touch to the neutral character of "Süddeutsche Zeitung". SZ Sans Condensed is made for tables in the sport or economy segment. It replaces FF Unit (Erik Spiekermann & Christian Schwartz, 2003-2011).

    His typefaces:

    • Conto Compressed, Conto Narrow, Conto Condensed, all made in 2015.
    • Jabana (2014), Jabana Alt (2015) and Jabana Extras (2015). A compressed rounded font family, with dingbats, designed for menus. It is the first font in his own foundry, Nils Types, est. 2013. It was inspired by having a Schorle at Hamburg's coffee bars. There also is a custom version of Jabana for Lufthansa Magazin.
    • Meret (2010) was his KABK graduation project. Meret is a typeface family for news, designed for tight columns and narrow interlinear space. The family includes six weights from light to black in upright and italic style. Christian Schwartz selected Meret in 2011 for use in the American magazine Fast Company. Meret won an award in 2013 at the Communication Art Magazine competition, and in 2011 at the Letter.2 type design competition, organized by the Association Typographique Internationale. It is now part of the OurType foundry collection.
    • Perpetua (revival): Done at KABK in 2009-2010.
    • Tretton (2009): an elliptic sans that constituted his Bachelors graduation project.
    • Conto (2014). A minimalist sans family. Extended some time later in 2014 to Conto Slab.
    • In 2016, Lufthansa Magazin commisioned Nils Thomsen and Max Nelles (of G+J Corporate Editors) to create a fun hand-drawn font.
    • Comspot and Comspot Tec (2017). A large typeface family with rounded corners and a typewriter feel.
    • Mikkel (2018, TypeMates). A versatile creamy / bouncy grocery market or cartoon script family.
    • 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.
    [Google] [MyFonts] [More]  ⦿

    Nils von Blanc

    German graphic designer and photographer. His free fonts, all dated 2008: Reclaim (grunge), Space Pez (2008, dot matrix, almost kitchen type), Starry Stitch (stitching font), L-MEN-RAVE-IT (handwriting), Neon (Neon sign font; also reminds me of the logo of the Neon car), Reclaim (stencil), Urban Brush (2008), Urban Rubber, Urban Sketch, Stahlbetontraeger-College (athletic lettering), Stahlbetontrger-Compressed, Stahlbetontrger-Outline, Stahlbetontrger-Stripes (all inspired by Patric Schwarz's original Stahlbeton), Urban-Sketch, Urban-Constructed.

    At FontStruct, he made the pixel typeface SPACE PEZ (2008).

    Fonts from 2009: Defatted Milk (condensed sans).

    In 2012, he published the striped typeface Zebretica, and the hand-printed outline typeface Kalligedoens. In 2016, he added Karopapier (octagonal typeface).

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

    Nils Westheider

    Dortmund, Germany-based designer of avfew f=great typographic posters such as Surf Safari (2018) and Club House (2018). [Google] [More]  ⦿

    Nimbus

    In their Global Type collection, URW++ has its Helvetica clone, Nimbus Sans (2005, 5 fonts, 2000 Euros) and Nimbus Roman (2005, 2 fonts, 2000 Euros). The former is based on Helvetica, the latter on Times New Roman. Meant as workhorses, these fonts cover Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew. Of course, Nimbus Sans can be had for free at Open Font Library.

    The first versions of Nimbus Sans were digitized in the 1980s for the URW Signus sign-making system. The highest precision of all characters (1/100 mm accuracy) were required because the fonts were to be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), display (D) and poster (P). In addition, URW produced the L-version that was compatible with Adobe's PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts. Also in the 1980s, a new improved and expanded version of the Nimbus Sans, Nimbus Sans Novus, was developed with URW's Ikarus system. Nimbus Sans Novus was modified for Nimbus Sans Round in 2015. Nimbus Sans Devanagari was redesigned in 2016. Nimbus Roman Japanese was refurbished in 2014 by URW.

    Two releases in 2021: Nimbus Roman No. 9 L, Nimbus Sans L. [Google] [More]  ⦿

    Nimbus Sans and Helvetica

    On March, 2, 1988, Peter Karow of URW registered the Helvetica clone Nimbus Sans as a new and original font design with the patent office in Munich, Germany. I assume Helvetica had been patented before that, in which case the patent office blundered in granting the patent twice for the same design. If the Helvetica design has not been patented, then I'd call this a shrewd move on the part of Peter Karow. [Google] [More]  ⦿

    Nina Abele

    Schwäbisch Gmünd, Germany-based designer of a custom typeface for Deutsches Verpackungsmuseum (2017). [Google] [More]  ⦿

    Nina David

    Born in 1975, Nina David lived in Kaarst, Germany. She changed her working name to Nina Hons. Her commercial foundry is Font-o-Rama. See for a full description of Font-o-Rama and Nina Hons. [Google] [MyFonts] [More]  ⦿

    Nina Faulhaber

    Winner of the Gerard Unger Scholarship 2021 (an award annually bestowed by Type Together) for her typeface Aeroplan (renamed from Flieger), which was developed while Nina was studying towards a BA in Communication Design at Augsburg University of Applied Science (Germany) under the supervision of Maurice Göldner. Aeroplan is a revival of a serif typeface found in a book about aircraft engines published by Waldheim-Eberle A.G. Wien-Leipzig in 1916. While in the original printed book the typeface was slightly irregular and populated with unusual details, Nina's digital version is an open interpretation rather than a copy. The letterforms are based on the original, but they feature a contemporary digital sharpness and more regularity in the forms and contrasts. [Google] [More]  ⦿

    Nina Gestaltet

    Köln, Germany-based designer of an oriental emulation typeface in 2017. She also designed Nina's Handwriting (2017). [Google] [More]  ⦿

    Nina Hons
    [Font-o-Rama]

    [MyFonts] [More]  ⦿

    Nina Stössinger
    [Typologic]

    [MyFonts] [More]  ⦿

    Ninja-Anique Himbert

    Graphic designer from Saarbrücken, Germany. In 2008, she and Henri Roussier designed Typonautique for a watersports facility. Typonauten can be bought from Volcano Type. [Google] [More]  ⦿

    No Foundry

    This German foundry publishes typefaces by students from HfG Karlsruhe. Their typefaces include Buckle, Coffea (polygonal), Cutter, Dolabra (wedge serif), Extragrosse Depeschenschrift, Fragment (polygonal), Friendship, GQOM 404, Kaeru Kaeru (2019, Isabel Motz), Morphose, New Rage (artsy, like from a painting), Shbshb Pixel, Slice, Uschi, Warsaw, William Wilson. [Google] [More]  ⦿

    Noah Marcuse

    Graphic design student at Temple University, who is related to the social progress fighter Herbert Marcuse (b. Berlin, 1898, d. Germany, 1979). Designer in 2021, during his studies, of the muscular all caps sans typeface Boltzzv8 (2021). [Google] [More]  ⦿

    Nolan Paparelli

    Nolan Paparelli is a Swiss graphic and type designer currently based in Munich, Germany. His practice focuses mainly in developing editorial design, visual identity, web and type design solutions for clients across the cultural and commercial fields. After graduating from ECAL/University of Art and Design of Lausanne in 2015 with a Bachelor in Graphic Design, he has worked on various commissions in collaboration with Editions Attinger, Herburg Weiland, Kairos Studio and Swiss Typefaces among others.

    His typefaces include the sans family Everett and Everett Mono (2014-2019), available at Weltkern. As a special derived type, he released Everett Lukumi in 2017 for the Lukumi language, which is used mainly by the Yoruba community in Cuba during Santeria ceremonies. Lukumi is a hybrid of Spanish and African Yoruba. He also created the poster typeface Suba (2017). [Google] [More]  ⦿

    Noman Kapust

    Norman Kapust is a graphic designer, illustrator and photographer from and in Berlin. Aka Sakral, he created the typeface Lijnn (2012). [Google] [More]  ⦿

    Nomoshi

    Berlin-based designer (b. 1986) of Eyes (2011). [Google] [More]  ⦿

    Nora Bruckhoff

    Düsseldorf, Germany-based member of the team at Shaped Fonts (before that, Phitra Design). Creator of the handcrafted typeface Key Lime (2018), the oriental brush typeface Okashi (2017) and the free rounded sans typeface Corn (2017). [Google] [More]  ⦿

    Norasoft

    Type site in Germany. It has a truetype archive, and a nice timeline (in German) about the various eras in type. [Google] [More]  ⦿

    Norasoft Zierschriften

    Rainer Nowoczin's German handwriting and signatures service. A truetype font for 140 DM (100 USD). There is also a 50-font truetype archive (standard, but includes some SSi fonts), and a demo font of drop caps. Some drop cap fonts contain semi-erotic symbols. P_Behr_1 (1996) and Erasmus-Initialen (1996) drop caps. [Google] [More]  ⦿

    Norbert Krausz

    German graduate of the MATD program at the University of Reading, class of 2015. His graduation typeface, Lloyd, is designed for modern newspapers but also for other media. Lloyd covers Latin and Arabic. [Google] [More]  ⦿

    Norbert Reiners

    Aachen-based German type designer (born in 1967). After finishing his vocational training as a typesetter in 1991, he went on to the Fachhochschule Aachen, where he studied visual communication under Werner Eikel (calligraphy) and K. Mohr (typography), and graduated in 1996. He created these typefaces:

    • FF Tarquinius Pro (1995). A roman typeface.
    • Éirinn AsciiLL and Eirinn Gaelic (1994, Linotype). A modern round Gaelic typeface based on Petrie A.
    • EF Domingo (1995) and EF Flamingo (1995): glyphs tilted 90 degrees. Available from Elsner & Flake.
    • Ossian EF(1995), Ossian EF Gaelic, and Ossian EF Ornaments (1995): very beautiful Gaelic / Irish / uncial typefaces.
    • Linotype Octane (1997): a display sans typeface.
    Linotype link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Norbert Schwarz
    [OCR-B: Norbert Schwarz]

    [More]  ⦿

    Norddeutsche Schriftgießerei

    Berlin-based foundry established in 1921 by Johannes Wagner together with his brother Ludwig and his brother-in-law Willy Jahr. That business moves to Ingolstadt in 1949. Their metal types included Krystal-Grotesk, Grotesk Pfeiler (1927: a tall radio font), Reporter (Carlos Winkow, 1938), Kurmark (1934, blackletter; revived by Gerhard Helzel; it was also published originally with Wagner & Schmidt) and Kabinett-Fraktur (1938, also called Unger-Fraktur as it is based on work of Johan Friedrich Unger; Unger-Fraktur also made it to Berthold, ca. 1925), and Sütterlin-Schreibschrift (1939). [Google] [More]  ⦿

    Norman Greiner
    [Greiner Grafik]

    [MyFonts] [More]  ⦿

    Nova Media Verlag GmbH

    Shady German company which sells these CDs through Amazon: "3333 Schriften -- Durable" (10 Euro), and "4000 Fonts 4.0" (15 Euro). [Google] [More]  ⦿

    OCR-B: Norbert Schwarz
    [Norbert Schwarz]

    OCR-B was developed by Adrian Frutiger. Norbert Schwarz (Rechenzentrum, Ruhr-Universitaet Bochum) developed this metafont package. In 2010, Zdenek Wagner created type 1 and Opentype versions of this font, as OCR B Outline. [Google] [More]  ⦿

    Officina Serpentis
    [Eduard Wilhelm Tieffenbach]

    Eduard Wilhelm Tieffenbach was born in Königsberg (1883) and died in Berlin (1948). He ran a private letterpress in Berlin around 1900 called Officina Serpentis. His typeface (now dubbed) Officina Serpentis (1913, digitized by Petra Heidorn under the name SerpentisBlack in 2004; also, see the extension Serpentina (2004) by Manfred Klein) is a gotico-antiqua type reminiscent of the 15th century types. It is in fact based on typeforms by Peter Schoeffer (Mainz, 1462) which in turn were refined a few years later by Creussner and Koberger. [Google] [More]  ⦿

    Oghuzan Ocalan
    [Gravitart]

    [MyFonts] [More]  ⦿

    OGJ Type Design
    [Oliver Jeschke]

    Aka OGJ, Oliver Jeschke is based in Berlin. With Oliver Mayer (Tatin, Basel), he created the avant garde linear grotesk typeface family Version 1 International (2013). The typeface family, characterized by upward diagonal strokes in the f, h, m, n and u, was published by Volcano. Volcano writes: The Version 1 font family is a mannered geometric linear-grotesque, hand-drawn and developed by Oliver Jeschke and Oliver Mayer at Tatin Design Enterprises in Basel, Switzerland and Berlin, Germany. It was created in a three-month training and was further developed in the later stages as OpenType font.

    In 2015, influenced by the work of Swiss master designer Max Bill, Oliver Jeschke created the Greek simulation typeface family Bill Display, the sans typeface Bill Corporate, and Bill Corporate Narrow. See aso Bill Corporate Mx (2016) and Bill Display Lowercase.

    Spectators Headline (2016) is a breezy semi-informal notebook sans family.

    Typefaces from 2017 include Sequel Sans and Sequel Rounded. Calling it a "post-Max Bill design", Sequel Sans was developed in collaboration with the Max Bill Georges Vantongerloo Foundation. In 2018, Sequel 100 Wide and Sequel 100 Black were added to that collection.

    Typefaces from 2018: Shapiro (a 32-style grotesk in which horizontal and vertical strokes are nearly identical in width), Temper Wide (slab serif).

    Typefaces from 2019: Shapiro Pro (138 styles), Shapiro Base (sans), Darbee Legend (a sans family with cuts named after famous racehorses).

    Typefaces from 2020: Sequel Sans VF (the variable font version of Sequel Sans), JT Energy (a great addition to the geometric sans genre featuring optically consistent line thickness; it comes with two condensed styles called JT Energy Placard, and with JT Energy Variable).

    Typefaces from 2021: JT Collect (a 14-style grotesk used by Nike).

    Typefaces from 2022: Sequel Geo (an 82-style Swiss sans family).. [Google] [MyFonts] [More]  ⦿

    Olaf Claussen

    Young designer at fontgrube who made Volt.age. [Google] [More]  ⦿

    Olaf Kummer
    [doublestroke]

    [More]  ⦿

    Olaf Leu

    Professor and Linotype designer of the big Compatil family (2001), with Silja Bilz and Reinhard Haus. Compatil Fact is a sans family. Compatil Letter is mini-slabbed and asymmetrical. Compatil Exquisit is an Antiqua-style serif face. Finally, Compatil Text is a workhorse text typeface family.

    CV and picture: Leu was born in Chemnitz, Germany in 1936. Teaches corporate design since 1986 at the Fachhochschule in Mainz. Art director, prolific author, graphic designer, and head of Olaf Leu Design&Partner from 1971-1991. [Google] [MyFonts] [More]  ⦿

    Olaf Stein
    [Factor Design]

    [MyFonts] [More]  ⦿

    Old German handwritten scripts

    Samples of old German handwriting fonts, links to Fraktur fonts, lists of related books. [Google] [More]  ⦿

    Ole Fischer

    Designer (b. 1986, Dresden, Germany) at Fontomas of the futuristic Corner-bi and Corner-mono. [Google] [More]  ⦿

    Ole Neumann

    Berliner, b. 1994. Home page. Creator of the grungy typeface Brain Damage (2010) and Berlin Graffiti (2010).

    Fontspace link. Abstract Fonts link. [Google] [More]  ⦿

    Ole Schäfer
    [Primetype]

    [MyFonts] [More]  ⦿

    Oleg Agafonov
    [Yoursdesign (or: Oleg and Katja)]

    [More]  ⦿

    Oleg Matison

    Russian designer of the free Latin / Cyrillic didone typeface Elisabethische (2018). It is a revival of the Jelisawethinskaja Lehmann-Garnitur (1904), with modern additions such as the rubel sign and proper German ß ligatures. Home page. [Google] [More]  ⦿

    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]  ⦿

    Oliver Brentzel

    German designer of the sans serif family Linotype Spitz (1997).

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

    Oliver Corff
    [MonTEX]

    [More]  ⦿

    Oliver Gries
    [Mono2]

    [More]  ⦿

    Oliver Heise

    Hamburg-based and Berlin-schooled designer at Garagefonts of Sabeh (1996) and Einhauer (1999). At his own Grafik Design Port, he created Atavis, Bruno, Imbiss Begehr, Megapolitanus Romanus, Rushaflow, Quorz, Sympusch Light and Teamtype.

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

    Oliver Hoffmann

    Designer at Germany's Apply Design of fonts such as Bumpers (1994) and HomeboyzRegular (1994). [Google] [More]  ⦿

    Oliver Jeschke
    [OGJ Type Design]

    [MyFonts] [More]  ⦿

    Oliver Kaestner

    Hannover, Germany-based designer of the thin tall italic sans typeface Freas One (2014). [Google] [More]  ⦿

    Oliver Linke
    [Lazydogs Type foundry]

    [MyFonts] [More]  ⦿

    Oliver Lobenhofer

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Oliver Matelowski

    German type designer who created Ceebo (2011, a humanist sans), which was designed for legibility purposes. MyFonts link. MyFonts foundry link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Oliver Reichenstein
    [iA Writer]

    [More]  ⦿

    Oliver Wiegner
    [Ice Cream For Free]

    [More]  ⦿

    Oliver Wrobel

    German designer of the grotesque typeface Linden (2008, Avoid Red Arrows). Klingspor link. [Google] [More]  ⦿

    Oliver-A. Krimmel

    Stuttgart-based designer at Garagefonts of Oak-Out (1996), OakBlow (1995), OakBubble (1996), OakBurnout (1996), OakFoil (1996), OakMagicMushroom (1996), OakMorlok (1996), OakMyopia (1996), OakPainInside (1996), OakSimblz (1995), OakWeightWatcher (1995), OakWerewolf (1996). MyFonts page. FontShop link. At Dafont, one can now download the experimental display typefaces Oak Marsquake (1997) and Oak Magic Mushroom (1996). Elsner and Flake sell the dymo typeface EF Oak Engraved. [Google] [MyFonts] [More]  ⦿

    Olja Ilyushchanka

    For HBK Saar in Saarbrucken, Olja Ilyushchanka designed an ornamental initial caps typeface in 2012. [Google] [More]  ⦿

    Olli Meier

    German designer of Vary (2021, Monotype). Vary is an 10-style geometric sans serif typeface (+a variable font) inspired by Bulgarian Cyrillic. Its weights range from Hairline to ExtraBlack. [Google] [MyFonts] [More]  ⦿

    Ollie Peters

    German designer of GP.F La Muerte (2005, with Fred Bordfeld) and GP.F Mudam (2005, with Fred Bordfeld). [Google] [More]  ⦿

    OMFD Official
    [Stefanie Vogl]

    Stefanie Vogl (OMFD Official, Berlin, Germany) graduated from FH Würzburg. In 2018, she designed the experimental typefaces Modal, Movement and Saedge. In 2020, at The Type Department, she released Dyade, a modern interpretation of old art nouveau fonts that combines curvy and modern elements. [Google] [More]  ⦿

    OMFD Official

    Art director in Berlin. In 2018, he designed the sharp-edged display typeface Saedge. [Google] [More]  ⦿

    Omnikono

    German design group that published a font, GT Airline (Marcel Staudt, 2000). This page is impossible to navigate, and time-consuming. I never found the font, by the way. [Google] [More]  ⦿

    On the history of sans serif

    Linotype had pages on the history of sans serif ("Grotesk" in German), from its inception in 1816 in England and the early versions of William Caslon and Vincent Figgins (1832), through the Akzidenz Grotesk (1900), Reform-Grotesk (1904) and Venus (1907). [Google] [More]  ⦿

    Or Segal

    Israel-based designer at HAV Hamburg of David Latin (2020), a Latin counterpart of the famous Hebrew typeface David. [Google] [More]  ⦿

    Origins of sans serif

    Extremely informative page on the origins of sans serif, and, in particular, about the first sans serif in Germany. [Google] [More]  ⦿

    Oriol Bèdia

    Berlin-based designer who seems to have made some typefaces according to his Behance face, but I could find no confirmation that he has actually created complete alphabets. Before his Berlin stint, he studied communication in Barcelona. [Google] [More]  ⦿

    Oscar Octavio Osorio Cortés

    Mexican type designer who lives in Munich, b. 1971. Flickr page. He created the experimental modern typeface Rincón del Pacífico. [Google] [More]  ⦿

    Oscar Smith

    German lettering artist. Designer of the childish hand-printed font Madsen (2020). [Google] [MyFonts] [More]  ⦿

    Oskar von Kress

    Also called Oskar Freiherr von Kress. He designed the pointed heavy inline typeface Kress Versalien (1926, Schriftguss AG). Note that Ashley Inline (Agfa) is a digital clone of his font.

    His font also inspired Nick Curtis to make Not Mary Kate NF. [Google] [More]  ⦿

    Osrodek Pism Drukarskich (ODP)

    Polish type development center from the communist era. OPD was founded in Warsaw in 1969 under the direction of the Polish type designer and long-term Association Typographique Internationale (ATypI) board member Roman Tomaszewski. Until 1976, it existed as a research center of the state printing industry, gathering a group of Polish designers involved in lettering with a goal of creating a series of new typefaces for use in printing. Before OPD, very few original typefaces were designed in Poland. A major moment in the existence of this typeface development center was a font design contest held in March 1971 in Dresden, East Germany, where several Polish fonts designed at OPD specifically for that event received awards. One of the most interesting typefaces developed under the auspices of OPD is Alauda, designed by Jerzy Desselberger, who is a world-renowned specialist for Middle European… birds. As a member of international ornithological associations, Desselberger writes about birds, supplementing the texts with beautiful illustrations. He occasionally deals with type, and Alauda — [Latin for lark] is one of his typographic creations. Adam Twardch: This intricately drawn, beautifully clear typeface bears a strikingly modern appearance which remains fresh after 30 years. Although slightly slanted, Alauda retains its balance by using half-serifs. In essence, Desselberger follows Poltawski’s design postulates, but does so far better and more consistently than Poltawski himself has ever done. Initially, Alauda has been meant for release on photosetting, with Desselberger having prepared three styles (roman, italic and bold), with over 350 characters each. Unfortunately, the typeface has never been released, and OPD has ceased to function in 1976 due to a financial crisis. Currently, Desselberger is working with Adam Twardoch on a digital version. Other typefaces by ODP include Hel, Helikon (by Helena Nowak-Mroczek), and Bona. [Google] [More]  ⦿

    Oswald Weise

    German book designer, b. 1880. At F.A. Brockhaus, Weise designed Weise Kursiv in 1912. [Google] [More]  ⦿

    Otl Aicher

    Ulm-born designer (1922-1991) who, in 1953, along with Inge Scholl and Max Bill, founded the influential Ulm School of Design. He became famous as the lead designer for the 1972 Olympics in Munich. His main contribution to type design was Rotis (1988, Agfa-Monotype). He also created the typeface Traffic for the München public transport. He adapted Univers for Bulthaupt.

    Aicher was a world expert on pictograms, having designed, e.g., the pictograms for the 1972 Munich Olympics, and his visual language system of over 900 pictograms. Robin Kinross and Erik Spiekermann discuss the pros and cons of Rotis.

    Hrant Papazian sums up Rotis, a family disliked by many type designers, but that has some oomph: Rotis -the typeface- is admirable not for its typographic merit, but for its lion-hearted spirit, its golden intentions - things so totally lacking in almost every other font ever made. Norbert Florendo, who worked with him on and off, muses: If anything, Aicher was a formalist in turmoil. A philosopher in spirit who was shackled by his sense of order. He called for revolution in design and typography, but adhered to the grid (anti-nature) in distrust of chaos. He admired Adrian Frutiger immensely and one can undoubtably see how Univers influenced the Rotis matrix. If one reads deeper into Aichers Typographie, one will see Aichers concepts as being less typographic (relating to type design and type layout) and more involved with humans within a rapidly changing environment in need of new symbology and notation systems. [...] I am far more an admirer of Herr Aicher than Rotis the type family. Rotis was named after the village (Rotis über Leutkirch) in Allgäu where Aicher lived from 1972 and died in 1991. Typophile discussion. URW shows the Monotype WMF Rotis family (2007) which was exclusively used by WMF AG. The Rotis family consists of Rotis Serif (1988), Rotis Semi Serif (1988), Rotis Sans Serif (1989) and Rotis SemiSans (1989).

    Author of these books:

    This biography reveals that Aicher was a German soldier in the second world war, both on the Russian and French fronts. In 1953, he founded the HfG (Hochschule für Gestaltung) in Ulm, and he helped with the graphic design for the Olympic Games in München in 1972. Discussion of his contributions by the typophiles. Markus Rathgeb wrote Otl Aicher (2006, Phaidon Press Limited, London), which is about Aicher's life as a graphic designer, and has little about his type design.

    Vendors of Rotis and typefaces like Rotis: Rotis Sans Serif (Linotype), Rotis Semi Serif (Monotype), Rotis SemiSans (Monotype), Rotis Serif (Monotype), Rotis SansSerif (Adobe), Cutoff Pro (URW++), Rotis Sans Serif (Monotype), Rotis SemiSans (Adobe), Rotis Semi Serif (Adobe), Rotis Serif (Adobe), Diphthong (Diphthong Type Foundry), Cutoff Pro Regular (URW++).

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

    Ottmar Hoefer

    Otmar Hoefer is the Director of Font Marketing at Linotype Library. In the late 1970s, while he was still a college student, Hoefer began working at D. Stempel AG as a printing technician. After Mergenthaler-Linotype GmbH acquired D. Stempel AG, Hoefer remained with the company, eventually ending up in the marketing department. Hoefer is very active as a volunteer with the Klingspor Museum. Hoefer also raises donkeys and mules in his spare time. Hoefer is the son of the famed calligrapher and type designer Karlgeorg Hoefer. Speaker at ATypI 2011 in Reykjavik on the topic of the treasures in the Klingspor Library in Offenbach. [Google] [More]  ⦿

    Ottmar Mergenthaler
    [Mergenthaler]

    [MyFonts] [More]  ⦿

    Otto Arpke

    Otto Arpke (b. Braunschweig, 1886, d. Berlin, 1943) was a graphic artist, illustrator, painter, and teacher at the Kunst- und Gewerbeschule in Mainz, Germany. Arpke was famous for his designs for the movie Das Kabinet des Dr Caligari and posters for the North German Lloyd shipping line. He designed a fat copperplate display typeface, Arpke Antiqua (1928, Shriftguss), which is available in digital form as Taiko (2006, Andreas Seidel). Klingspor link. [Google] [MyFonts] [More]  ⦿

    Otto Eckmann

    Born in Hamburg, 1865, died in Badenweiler, 1902. Otto Eckmann was a painter, graphic artist and type designer, who did some graphic design for the magazines "Pan" (from 1895 onwards) and "Jugend" (from 1896 onwards). Otto Eckmann's work from around 1900 for Klingspor includes his Munch Jugendstil style typeface from 1901 simply called Eckmann or Eckmann-Schrift (1900, Jugendstil font at the Rudhardsche foundry), his famous Rudhardsche Initialen, and Fette Eckmann (1902). Digital versions of this:

    • Linotype's Eckmann Com.
    • Delbanco's DS Eckmann Schrift.
    • Ralph Unger's Schmuckinitialen (2009) and Initials RMU One (2012).
    • Bitstream's Freeform 710.
    • Elsner&Flake's Eckmann EF.
    • URW's version.
    • Brendel/Softmaker's Etienne Regular.
    • Dieter Steffmann's excellent free font family Rudelsberg (2002), which has styles called Schmuck, Schrift and Initialen. Steffmann has an accompanying Jugendstil Ornamente. Other revivals by Dieter Steffmann include Eckmann Initialen (2002, after the famous art nouveau typeface from 1900 by Otto Eckmann), Eckmann Plakatschrift (2002), Eckmann-Schrift (2002), Eckmann Titelschrift (2002) and Eckmann Schmuck (2002).
    • Peter Wiegel's free font CAT Eckmann (2020).
    • Paper Moon's PM Eckmannschrift (2022), PM Eckmore (2022) and PM Eckmann Initials (2022).

    Image: A set of his art nouveau capitals.

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

    Otto Erler

    German punchcutter, b. 1890, Leipzig, d. 1965, Leipzig. He worked for Brüder Butter in Dresden in 1921, and after that, until 1946, at Schelter & Giesecke. In 1946, he joined VEB Polygraph und from 1951 until 1957, he worked for VEB Typoart. After that, he joined the Institut für Buchgestaltung at the Hochschule für Graphik und Buchkunst.

    The typeface Erler Versalien (1953, Herbert Thannhaeuser) is named after him. Digital versions of Erler Versalien Erler Titling (2015, Ralph M. Unger) and Missale Incana (2004, Andreas Seidel). [Google] [More]  ⦿

    Otto Heim

    German letterer who drew some alphabets in the 1920s and early 1930s, in the heyday of art deco, and showed many of them in his book Farbige Alphabete (1925). His alphabets influenced these digital type designs:

    [Google] [MyFonts] [More]  ⦿

    Otto Heinrich Schmidt

    Born in 1862 in Neuschönefeld/Sachsen, this engraver and punchcutter died in 1934 in Hamburg. He worked at Genzsch&Heyse since 1886.

    His typefaces include Gigant (1926), Lithograph halbfett (1912: a formal script), and the Monument series (1928-1929(, which includes Monument 11, 12, 13, 32, 33 and 34.

    Klingspor link. [Google] [More]  ⦿

    Otto Hermann Werner Hadank

    Born in Berlin, 1889, d. Hamburg, 1965. Was professor at the Hochschule für freie und angewandte Kunst in Berlin, where he designed the exquisite Ornata (Klingspor, 1943), a bold copperplate roman with fine herring-bone inline design. See here. He also designed the logo for "Haus Neuerburg Zigaretten" in 1925, which was digitally remade by Cerement as Neuerburg (2008). Long time president of the BDG. One of his designs is being digitally revived by [Google] [More]  ⦿

    Otto Hupp

    German type designer, painter, Gutenberg researcher and heraldy specialist, b. Düsseldorf 1859, d. 1947, Oberschleissheim. Mainly specializing in blackletter. His typefaces:

    • At Genzsch&Heyse (Hamburg, München), he did Heraldisch (1910), Hupp-Neudeutsch or Neudeutsche Schrift (1899-1900, see revivals by Gerhard Helzel and Petra Heidorn (2004)), Baltisch (1903, extension of Hupp-Neudeutsch), Numismatisch (1900; revived (?) by P22 as P22 Numismatic), Liturgisch (1906, Klingspor, revived by Dieter Steffmann in 2002, Kristian Sics in 2013, Eugen Kaelin in 1988, as well as by Gerhard Helzel), and Hupp-Gotisch.
    • At Rudhardsche Giesserei, Offenbach am Main, which in 1906 became Gebr. Klingspor, he made more blackletter typefaces, such as Hupp-Fraktur (1906-1911), Hupp Fraktur Fett (1910), Hupp Unziale (1909), Heraldisch (1910), Hupp Antiqua (1909: this is a delightful display typeface with religious undertones), Hupp Antiqua Fett (1910), Hupp Schrägschrift (1922; others give the date 1927), and the display fonts Lichte und volle Tam-Tan, Keilschrift and Kegelschrift.
    Noteworthy among modern digitizations are Hupp Fraktur (2016, Ralph M. Unger), Hupp Antiqua NF (2006, Nick Curtis) and DXS Otto Hupp Initials (2010, Dick Pape). In 2012, Dick Pape created LFD Alphabet Und Ornamente 216 which is based on Hupp's Modern German version of roman capitals, as seen in Alphabete und Ornamente (Frau Bassermann Nachfolger, Munich).

    German biography by Wolfgang Hendlmeier from 1985: A, B, C. Scans of his blackletter alphabets: I, II, III, IV, V.

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

    Otto Kaestner

    Typefounder in Krefeld, Germany, who was active around 1905. [Google] [More]  ⦿

    Otto Ludwig Nägele

    German type designer, painter and illustrator, b. 1880, München, d. 1952, Herrsching. Creator of these typefaces, which all show blackletter influences:

    • The Reklameschrift Feder Antiqua (1911, Ludwig&Mayer), a typeface that was revived in 2011 by Olexa Volochay (Cyreal Type) as Federant and placed at the Google Font Directory.
    • Bombe (1908, Ludwig&Mayer).
    • Nero Kursiv (1907, Genzsch&Heyse), and Nero Kursiv Licht (1900, Gensch&Heyse).
    [Google] [More]  ⦿

    Otto Maurer
    [Otto Maurer (was: Tattoofont)]

    [MyFonts] [More]  ⦿

    Otto Maurer (was: Tattoofont)
    [Otto Maurer]

    Tattoo artist and graphic designer from Dinslaken (Duisburg), Germany, b. 1968, Duisburg. Klingspor link.

    Otto Maurer (Tattoofont) created Ipoint (2008, a 15-style fun-filled Bauhaus-inspired family), Black and Beauty (2007, blackletter family), Big Rain (2007), Blood (2007, dripping blood type), Preussen (2007, a 4-style blackletter family), Otto Bismarck Italic (2007), an italic blackletter face, and its parent, Otto Bismarck (2007). Designer of the free curly font Corps Script (2006) and Corps Script Shadow (2006). Creator with Sabrina of the free handwriting fonts Sabsis Handwriting Version 3 (2007) and Sabsis Handwriting (2007). Home page. Dafont link. Yet another URL.

    In 2007, he went partially commercial and set up shop at MyFonts. His fonts there include the artsy Sailors Tattoo (2006), SailorsTattoo-waves (2007), Sailors Tattoo Pro Xmas (2007), Sick Skull (2007, scary), Tribal Maori (2007), MauBo Flatline (2007, experimental), Tribal Dingbats (2007), Tribaltypo (2007: quite interesting), MauBo (2007, mechanical look), Hotrod (2007), Blood (2007, scary), MauBo Flatline (2007, white on black) and Corpse Fairy (2007), Mrs. Sabo (2007, calligraphic and grunge hand), Tribal King (2007), Pierced (2007), Big Rain (2007), Detective Maurice (2007, a typeface with fingerprints on the alphabet), Cutdown Maurice (2007), Digital Maurice (2007), Good Old Fifties (2007, 11 styles), Tribal Dingbats II (2008, a tattoo font), Tribal tattoos III (2010), Hot Flames (2008), Drago (2008, a blackletter and alphading family), Party Night (2009), Tattoo Girl (2008).

    Typefaces from 2009: Yuma (2009, Western saloon font), Freiheit (2009, blackletter), Lycaner (2009, blackletter), Sud France (2009, script), Psychbilly (2009, fat brush), Love Mom (2009), Vampire (2009), Animal Zoo (2009), Turtle (2009), Grunge (2009, cracked marble family), Crate (2009).

    Typefaces from 2010: Big Mom (2010, a family that includes a blackboard bold style), Haike (2010).

    Typefaces from 2011: Tinka Babe (2011, a gangster or tattoo script), Poisoni Pro (2011, tall art nouveau style brush face, with Shadow and College sub-styles), Lanzelott (2011, a very elegant retro display family, followed in 2017 by New Lanzelott), Stencilla (2011, a heavy stencil face), Guilin (2007, brushy), Darkwood (2011), Rock n Roll Typo (2011), Loreen (2011: an elegant display family that includes a hairline and a shadow style).

    In 2012, he made the pointy Psychomonster typeface.

    In 2013, Otto Maurer published the gangster tattoo font Bibiana as a companion for Tinka Babe.

    Typefaces from 2014: Cupcakes Winterwonder (snowy font), Soul Winterwonder, Loreen Hollywood (art deco), Soul Material Design Dingbatz, Soul Love (Valentine's Day font), AZ Cupcakes, Soul (a sans family with some flaring), Christe Wagner (a great set of curly Victorian music sheet-inspired typefaces), Spider Type, Marie Lyn, Mariedean (a Victorian titling set, including decorative caps), Peachy (+ Shadow: a slab serif).

    Typefaces from 2015: Maori New Zeeland, Chika Tattoo (12-style tattoo script), Chino Tattoo, Big Yukon (Wild West font), Bonecracker, Freibeuter NR (Western Tuscan family), Sailor Marie (tattoo font family), Baby Lyns ABC (children's book alphabet).

    Typefaces from 2017: Anchorage (a sailor's tattoo font), Friedrichsfeld (blackletter).

    Typefaces from 2018: Lettre Damour (handwriting font), Cryptolucre (started in 2014, Cryptolucre is a font specifically for all crypto currencies like Bitcoins, Litecoins, Ethereum, Ark, Siacoin and Golem--the icon version includes some existing currency logos and newly invented currency logos), Haike, Soul Leo (textured), Soul Skull, Tattooflash Fingers, Tattooflash Marie.

    Typefaces from 2019: Stencilla.

    Showcase of Otto Maurer's fonts. View the typefaces made by Otto Maurer. [Google] [MyFonts] [More]  ⦿

    Otto Reichert

    Calligrapher, graphic designer, artist and teacher, b. Offenbach, 1883, d. Offenbach, 1956. From 1921 until 1949, he taught typography at TH Darmstadt. [Google] [More]  ⦿

    Otto Rohse

    Graphic designer, typographer and book specialist, b. 1925, Insterburg. In 1962, he started the Otto Rohse Press. [Google] [More]  ⦿

    Otto Weisert

    Typefounder who ran the Schriftgiesserei Otto Weisert in Stuttgart. Designer of the prototypical Jugendstil font Arnold Boecklin in 1904, a typeface named after the Swis symbolist painter Arnold Böcklin. Arnold Boecklin is available at URW, Linotype, Adobe, Scangraphic, Mecanorma, and Softmaker [where it is known as Jugendstil]. A monolinear version was done in 2020 by Mario Feliciano, called Korrodi.

    Otto Weisert also designed the blackletter typefaces Moderne Fette Schwabacher and Brabanter Gotisch (1905). He also made the great-looking art nouveau style Kalligraphia (digital revivals at Linotype, URW, Scangraphic and Elsner&Flake). For recent revivals of Kalligraphia, see Kalligraphia (2012, SoftMaker) and Karin Pro (2019, SoftMaker).

    His 1890 catalog has an extensive series of caps typefaces.

    A catalog of digital typefaces that descend from Otto Weisert's work. See also here. And another one. FontShop link.

    View some digital implementations of Arnold Boecklin. [Google] [MyFonts] [More]  ⦿

    Otto Weisert
    [Schriftgiesserei Otto Weisert]

    [More]  ⦿

    P. Gottfried Meier

    P. Gottfried Meier from the Benediktinerabtei Gerleve in Billerbeck, Germany has made a truetype font for Gregorian music notation. Lives in Kloster Gerleve. Unclear how to get that font. [Google] [More]  ⦿

    P. Wezel

    Designer at Haas of Constellation (1970). [Google] [More]  ⦿

    p4r4d0x

    Aka Paradox. German creator of Paradox Handwritten (2017). [Google] [More]  ⦿

    Pablo Garcia Risueño

    Researcher at Humboldt Universität zu Berlin. In 2016, Pablo Garcia Risueño, Apostolos Syropoulos and Natalia Verges launched the free package SVR Symbols. The glyphs of this font are ideograms that have been designed for use in Physics texts. Some symbols are standard and some are entirely new. [Google] [More]  ⦿

    Page Online
    [Thorsten Wulff]

    Thorsten Wulff's graphic design and type blog. In German. [Google] [More]  ⦿

    Palatino FAQ

    Essay from 2001 by John Butler on the Palatino story and how Hermann Zapf was duped by Monotype. John Hudson writes: Herr Zapf left ATypI in disgust over the fact that the association was unwilling or unable to do anything to enforce respect for the rights of designers among its members. Monotype had pirated the design of Palatino to make Book Antiqua, and the only response from ATypI seems to have been embarassment that Zapf was rude enough to protest in public. It was, and remains (Monotype are still flogging this pirated face), a shameful episode for the association and the industry.

    To which David Berlow replied: This episode may have percipitated Zapf's departure, along with a very bad version of fake-Palatino used on a menu at Parma, but it was Compugraphic and Autologic's pirating of whole libraries, incl. Palatino that broke the organization. Major designs and designers were locked up forever and when the designs had to be present in the first wave of computer setters, the old-boy foundries simply would not deal with the new kids on the block. Why the new kids were not ejected from AtypI, why a German designer, or a German company did not seek to block Book Antiqua's sale in Germany, which might have turned things by waking up the world, if not MS, baffles my mind. (Though it is part of the same episode, this had nothing to do with the court case between Monotype and ITC as Andrew implies). Zapf was also interested in doing anything he could to fix the situation, including working on Linotype to license the fonts. He told me this at Parma, and despite Bitstream's earlier work, similar to that of the first wave of pirates, Zapf was hired by Bitstream to consult on Calligraphic 862 or whatever it was. Later, when Linotype licensed Palatino to Apple and Zapf wanted to fix some of the more barbaric treatments of the font over the years, Apple had to pay for Zapf's consultation on the changes. Mircosoft later did the same thing in paying Zapf a consulting fee, I think, to fix some stuff.

    John Hudson again: The fact that there was a court case in the USA -- a country whose total lack of copyright protection for type design is both well known and generally lamented among type designers -- is not exactly supportive of Monotype's moral position. They are not the first type company, and not the first member of ATypI, to simultaneously claim to want copyright protection for fonts and commercially exploit the present lack of it.

    John Butler later wrote this: Book Antiqua is an unauthorized knockoff of Palatino for which Herman Zapf receives zero royalties. Personally, I'm baffled that Monotype is still selling the damn thing. I thought the whole Book Antiqua fiasco got settled and that as copmensation Monotype actually did the hinting for the new Palatino Linotype that comes with Win2000 and XP and is available from Linotype Library as well. I could be wrong about this though. Book Antiqua was done in the early 90s or so when Rene Kerfante or somesuch was in charge. It's possible the current management might have no knowledge that the package is still for sale on their website. Either way, if you're going to buy Palatino, buy the "Linotype Palatino" OpenType version for sale at fonts.de, or use the "Palatino Linotype" version that comes with Win2000 and XP. Not sure about why the names are flipped there. MacOS currently ships with an older TT version of Palatino that doesn't contain the extra glyphs or features you get in the OT version. The OT version can be used on both platforms. Also check out Aldus and Zapf Renaissance for variations on the Palatino theme. Aldus has lower x-height and longer extenders. Zapf Renaissance is a finer, more delicate font with strong allusions to Palatino. Aside from the Book Antiqua problem that somehow refuses to die, Monotype is a fine library with some of the world's best hinting. But please consider buying Linotype designs from Linotype. Note that unlike Book Antiqua which was not authorized, there are two Zapf-authorized Palatino lookalikes from Bitstream (Zapf Calligraphic) and URW (Palladio) which I believe were released before Adobe or Linotype started selling digital fonts. But I can see no reason to get either of these instead of the real thing. The prices are pretty much the same.

    Postmortem, after Monotype ("owner" of Book Antiqua) bought Linotype (owner of Palatino Linotype). As a reaction to the news that Microsoft refuses to retire Book Antiqua, even thought Monotype now has both designs, John Hudsaon, who has consulted for Microsoft on many projects, explains: I was doing work for both Linotype and Microsoft at the time of the development of Palatino Linotype, and had the story from both sides. Bruno Steinert was head of Linotype at the time, and was a good friend, as were many of the people involved in the project on the Microsoft side (Geraldine Wade, Mike Duggan, Greg Hitchcock). Bruno had hoped that Palatino Linotype would replace Book Antiqua, in Windows and Office, but because of existing user documents set in Book Antiqua and the lack of metrics compatibility between the two fonts, Microsoft decided that it could not remove support for that font. But at least, through the Palatino Linotype project, Hermann Zapf and Linotype received money from Microsoft for the licensing of the legitimate type. [Google] [More]  ⦿

    Pancratius Lobinger

    German punchcutter from Nuremberg, who worked in Vienna. He published a large-format ramoan type specimen in Salzburg in 1678. A Fraktur by him can be found in the Norstedt collection in Stockholm. [Google] [More]  ⦿

    Panick Burns

    Applied geosciences student in Darmstadt, Germany. Designer who used FontStruct in 2009 to create Interstice (piano key stencil face), Dotting (dot matrix), Pandabear, Monn Pix (dot matrix) and Grape (ultra black). [Google] [More]  ⦿

    Paola Bascón

    German designer of the experimental typeface Nails and Strings (2010, Avoid Red Arrows). [Google] [More]  ⦿

    Paraskevas Ntinakis

    Freelance designer in Köln, Germany, who created the free octagonal typeface Enotric in 2013. [Google] [More]  ⦿

    Pascal Behning

    Communication designer in Dortmund, Germany, who designed the information design icon font PB Info in 2019. [Google] [More]  ⦿

    Pascal Glissmann
    [Fridayfonts]

    [More]  ⦿

    Pascal Huber
    [Hyber Type]

    [MyFonts] [More]  ⦿

    Pascal Schmidt

    Köln, Germany-based designer of Smooth Sans (2015), which is intended for body text on the web. It has many stencil elements with interrupted contours. Behance link. [Google] [More]  ⦿

    Pascal Schönegg

    Berlin-based illustrator and graphic designer who created the ultra-fat typeface Niceei (2008). [Google] [More]  ⦿

    Pascal Tarris
    [Lennart Pascal Tarris]

    Originally a typesetter and designer of fine art catalogues based in Berlin and Cologne, Germany. In 2019, he published the slightly elliptical sans typeface family Objet. [Google] [MyFonts] [More]  ⦿

    Pat Design
    [Patrick Dehen]

    Patrick Dehen (b. 1979) is the German designer of the scratchy handwriting font People Are People (2003), and of Denial (2008) for denial Music. He runs Pat Design out of Dortmund. Dafont link. Link at Abstractfonts. His graphic design studio. [Google] [More]  ⦿

    Patric Schwarz
    [Bureauschwarz]

    [More]  ⦿

    Patrick Adamove
    [Charter Design]

    [More]  ⦿

    Patrick Dehen
    [Pat Design]

    [More]  ⦿

    Patrick Hubbuch

    Born in 1986 in Bruchsal, Germany, and a graduate in 2009 in visual communication from HS Pforzheim Fakultät für Gestaltung. Designer in 2008 at the German foundry Volcano of Machtwerk Slanted, a gloomy angular type family. Still at Volcano, he added the hand-printed families Handjob and Handsome in 2009. This was followed by Drei D, TT Youth, Vier Module, Zwoelf Ton, and Zwoelf Ton B (octagonal).

    In 2010, he made the blackletter family Die Fette Hubbuch (at Volcano).

    In 2011, he added Die Monospaced Hubbuch typeface family (Volcano).

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

    Patrick Martin

    After graduating from Bauhaus University Weimar he founded the graphic and corporate design studio Happy Little Accidents in Leipzig, Germany, with Tobias Dahl. Creator of the art nouveau-inspired sans typeface Superspitze Grotesk (2013, Ten Dollar Fonts and The Designers Foundry). Patrick writes: Superspitze Grotesk was inspired by bold geometric typefaces such as Futura, Erbar and Kabel, yet its shapes are slightly more humanist and detailed. [Google] [More]  ⦿

    Patrick Strietzel

    German designer of Renner Antiqua (2008, Linotype), a revival of a text typeface by Renner going back to 1937. Linotype writes: First published in 1939 by Stempel, Renner Antiqua is a classic serif text typeface. Designed by Paul Renner, the father of Futura, this design stands out as strikingly different from his other designs. The letterforms are relatively compact and space saving and the strokes have a strong contrast to look as if made by a pen. This design is extremely distinctive and individualized, but without being overly distracting. Notice many of the small details such as the serifs on the uppercase C, E, and L and the bar at the top of the uppercase A. Also observe the special curve in the bowl of the lowercase b, the dot of the i, and the tail of the y. This design is wonderful for extended amounts of text at 10pt, but the subtle details will be fully appreciated when used larger for titles and display settings. [Google] [MyFonts] [More]  ⦿

    Patrick Verhamme

    German designer at the University of Applied Sciences Düsseldorf of the text typeface Quintus. [Google] [More]  ⦿

    Patrik Sneyd

    German designer. Creator of the octagonal typeface Ascsys (2005). Dafont link. [Google] [More]  ⦿

    Patriz Huber

    German designer, goldsmith and furniture maker (1878-1902). Creator of the art nouveau ornamental typeface Patriz Huber Ornamente (published by J.G. Schelter&Giesecke in 1906). For a digital revival, see Oliver Weiss's WF Border Patriz Huber (2020). [Google] [More]  ⦿

    Paul Christ

    During his studies in München, Germany, Paul Christ designed the angular typeface Oh No (2017) and the wavy typeface Crooked (2017). In 2018, he designed the variable font typeface Herbivore. [Google] [More]  ⦿

    Paul Eduard Lautenbach

    German type designer (b. 1875, d. 1954, Berlin [note: Schnelle mentions that he died in 1926 in Berlin, and Klingspor puts the date as 1927]) who designed these typefaces:

    • The heavy German script typeface Prägefest (Ludwig&Mayer, 1926).
    • Lautenbach-Gotisch and Zierversalien (1912, Ludwig & Mayer). Klingspor mentions 1914. A free revival by Dieter Steffmann simply as Lautenbach. Klaus Burkhardt and Dan X. Solo also have revivals called Lautenbach. see also Ernst H. Wulfert's Lautenbach.
    • Frankfurter Buchschrift I and II (1906, Benjamin and Krebs).
    • Eskorial (1909) and Eskorial halbfett (1908), both published at Emil Gursch in Berlin.
    • Epoche and Epoche Schmuck (1912, Benjamin and Krebs).
    • Lautenbach Kursiv (1926, Ludwig & Mayer).
    • Markant (1909, Ludwig & Mayer).
    • Ohio Kraft (1922, Schriftguss AG). Oliver Weiss has a 3-style revival. WF Neue Ohio Schrift is described by him as follows: The Brüder Butter foundry in Dresden had a good working relationship with ATF, and thus several American typefaces found their way into the Butter catalog. Among them was Pabst Oldstyle, designed in 1902. Brüder Butter changed the erect peak of Pabst's A to a flaccid one, and distributed the result as Ohio Schrift, starting about 1913. Throughout the 1920s, Brüder Butter marketed the Ohio family through a series of leaflets that put the typeface through its paces in innovative ways. WF Neue Ohio Kursiv is the Italian companion. In 1922, Brüder Butter added a bold typeface to the Ohio family. This was not an ATF transplant, but a new design by Eduard Lautenbach. It was available with a set of swash capitals, and several curly-cued, lowercase alternates, ideally suited for children's books. Weiss's revival of the latter typeface is WF Neue Ohio Kraft.
    • Walgunde mit Zieraten (1908, Schelter & Giesecke). Klingspor writes that the date is 1906.
    [Google] [More]  ⦿

    Paul Eslage

    Graduate of the Münster School of Design, class of 2014. After his degree he joined Nils Thomsen in his Kiel, Germany, office as TypeMates' first intern. Typefaces at TypeMates designed by Paul Eslage include Halvar Stencil (2019: a German engineering stencil font family by Jakob Runge, Nils Thomsen, Lisa Fischbach and Paul Eslage) and Sombra (2020). Sombra is eccentric, incised, hipsterish and full of contrast. [Google] [MyFonts] [More]  ⦿

    Paul Helmuth Rädisch

    German punchcutter and engraver, b. 1891, Leipzig, d. 1979, Haarlem. He taught Matthew Carter the art of punchcutting in 1955 at Enschedé, and hosted Carl Dair as an apprentice in 1956-1957. Carl made a silent movie of a day in Rädisch's life in Haarlem, called Gravers and Files. Lutetia Open (2007, ARTypes) is based on the 48-pt Lutetia capitals engraved by P. H. Rädisch under the direction of Jan van Krimpen for Enschedé in 1928. [Google] [MyFonts] [More]  ⦿

    Paul Klee

    Paul Klee (b. 1879, Münchenbuchsee, Switzerland, d. 1940, Locarno, Switzerland) was a Swiss-German artist. His style was influenced by movements in art that included expressionism, futurism, cubism, and surrealism. Wikipedia: Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively. His lectures "Writings on Form and Design Theory" (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are held to be as important for modern art as Leonardo da Vinci's "A Treatise on Painting for the Renaissance". He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus School of Art, Design and Architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.

    As often happens with influential artists, some typefaces were either named after him or influenced by his style. These include work by Anna Postum (2016), Alba Calderon (2013) and Rmbo Dsgn (2012). Commercial typefaces include Klee (Timothy Donaldson, ITC), Klee Print (K-Type), Swiss 921 (Bitstream), Bill Display (OGJ Type Design), and Octin Vintage (Typodermic).

    View some digital typefaces related to Paul Klee. Monoskop page on paul Klee. [Google] [More]  ⦿

    Paul Koch

    Son of Rudolf Koch. Skilled punchcutter who cut type for his father, but also for others such as Herbert Post, Berthod Wolpe and Victor Hammer. Specific examples:

    • When his father designed Claudius (1931-1934), Paul followed Rudolf's instructions to make one weight. Rudolf died in 1934. Klingspor completed this family in 1937.
    • He helped Herbert Post with his Post-Fraktur (1935, Berthold).
    • Hammer Samson Uncial. Mac McGrew tells its story: This typeface was designed by Victor Hammer in Florence, Italy, about 1930, with punches cut by Paul Koch, and type cast by them and their private press associates. Their first book was Milton's Samson Agonistes, for which the type was named Samson. During World War II the type was lost or destroyed, but the punches survived. About 1970, R. Hunter Middleton made new matrices and directed a casting of new fonts as Hammer Samson Uncial. Compare American Uncial.
    Upon his father's death in 1934 he took over the Frankfurt workshop called Haus zum Fürsteneck, at which Hermann Zapf studied typography from 1938-1941. Paul Koch was killed on the Russian front in 1943.

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

    Paul Renner

    German type designer, architect and Bauhaus-style designer, b. 1878, Wernigerode, d. 1956, Hödingen. He designed the famous and popular Futura between 1924 and 1936 at Bauer. He had a strict Protestant upbringing, being educated in a 19th-century Gymnasium. He was eductaed with a traditional German sense of leadership, duty and responsibility. Despite the fact that Futura came to symbolize abstract ideas, but also modernism and jazz, Renner disliked abstract art and many forms of modern culture, such as jazz, cinema, and dancing.

    Later weights include the headline stencil typeface Futura Black. Deberny&Peignot issued the Futura family under the name Europe. Spartan (American Typefounders and Mergenthaler Linotype) is similar but not identical. Intertype Futura Extra Bold was designed by Edwin W. Shaar (roman in 1952; italic in 1955 with Tommy Thompson). Neufville published a revival of his Futura fonts. This 50+ family, Futura ND (1999), has Small Caps, Old Style Figures, Display and Black (stencil), and was digitized by Marie-Therésè Koreman. The typophiles generally agree that this version of Futura is the best digital implementation around. Nick Curtis's Airport Tourist (2009) is modeled after Futura. In 2013, URW++ published Futura Round. Tens of other typefaces are also descendants of Futura.

    Renner's typeface "Topic" is also known as Steile Futura (1952) [check also Bauer Topic (The Font Company), Tasse (1994, Guy Jeffrey Nelson at Font Bureau) and URW Topic for digitizations]. Renner also designed the Fraktur font Ballade (1937, Berthold; revived by Dieter Steffmann in 2002), the geometric sans family Plak (1928), Futura Schlagzeile (1932), and Renner Antiqua (1939, D. Stempel). Plak was revived in 2018 by Linda Hintz and Toshi Omagari at Monotype as Neue Plak.

    Renner, who was a prominent member of the Deutscher Werkbund (German Work Federation), wrote Typografie als Kunst (Typography as Art) and Die Kunst der Typographie (The Art of Typography).

    Bibliography: Christopher Burke wrote "Paul Renner: the art of typography", Hyphen Press, 1999. U&LC review. Bio by Nicholas Fabian. In 2007, Nathalie Wegener wrote a graduation thesis on Renner entitled Paul Renner. Au-delà du Futura.

    Klingspor link. FontShop link.

    Showcase of Paul Renner's fonts. View digital typefaces based on Futura. [Google] [MyFonts] [More]  ⦿

    Paul Sinkwitz

    Designer and painter, b. 1899, Ebersbach, d. 1981 Arzbach (MyFonts claims he died in Bad Tölz). Sinkwitz studied at Kunst- gewerbeakademie Dresden in former East Germany. He settled in 1922 in Hellerau and moved to Stuttgart in 1955 where he was an art professor. His typefaces include the semi-calligraphic semi-blackletter typefaces Sinkwitz Gotisch and Versalien in 1942 at Schelter & Giesecke. These became part of the Typoart collection in 1950.

    In 2007, Ingo Preuss revived Sinkwitz Gotisch and added Sinkwitz Bastard to accompany the blackletter.

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

    Paul Spehr

    Paul Spehr joined the team of Alphabet Type in Berlin in March 2017. He studied fine arts in Milan and later graduated in the class of system design in Leipzig. Next to his project based work at Alphabet Type, he works as a freelance graphic designer and currently teaches at Hochschule Hannover. [Google] [More]  ⦿

    Paul Troppmair

    Graduate of New Design University in Austria, class of 2013, and the Typemedia program at KABK, class of 2016, who was based in Innsbruck, Austria, and now works out of Berlin, Germany. Designer of Ale Sans (2015). His graduation typeface at KABK is Smul (2016), a chunky typeface inspired by American candy bar packaging.

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

    Paul Valentiner

    Dominic Paul Valentiner (Wiesbaden, Germany, b. 1988) created the display typeface Inkwood (2013) during his communication design studies at Rhein Main University in Wiesbaden.

    Behance link. [Google] [More]  ⦿

    Paul van Oijen
    [Quill Type Co]

    [More]  ⦿

    Paul Voigt

    Designer of Voigtsche Gotisch (1899-1900, Reichsdruckerei, Berlin). [Google] [More]  ⦿

    Paul Wilhelm Bürck

    German artist of the Viennese Secession, b. 1878 (Strassburg), d. 1947 (München). Designer of Bürck Schrift (1904, Stempel). [Google] [More]  ⦿

    Paul Zimmermann

    Paul Zimmermann (b. 1920, Mosbach, Eichenach, d. 2017) studied at the Hochschule für Grafik und Buchkunst in Leipzig between 1945 and 1949. From 1957 onwards, he worked as a freelance designer. His typefaces:

    • The brush script Impuls (1954; often misdated as 1945), a handwriting font done at Johannes Wagner and published by Typoart as well. Bitstream made digital version called Brush 439 and ImpulsBT, SoftMaker released I770 Script, and Ralph M. Unger made Impuls Pro (2010).
    • At Ludwig Wagner, Paul Zimmermann released Antiqua Florenz (1960), which is based on Venetian romans. According to Berry, Johnson and Jaspert, the typeface is close to Aldus. Ralph Unger digitally revived and extended it in 2021, also as Antiqua Florenz.
    [Google] [MyFonts] [More]  ⦿

    Paulfried Martens

    German type designer, 1892-1975. [Google] [More]  ⦿

    Paulina Porten

    At HAW (University of Applied Sciences) Hamburg in 2017, Paulina Porten designed Bubble Wrap Font (2017). Behance link. [Google] [More]  ⦿

    Paulus Franck

    Designer of a set of curly baroque initials in Nürnberg in 1601, published in Schatzkammer. Allerhand Versalien. The original book was scanned in at the BSB (Bayerische Staats Bibliothek and can be downloaded.

    Joseph Kiermeier-Debre and Fritz Franz Vogel published a facsimile that can be seen at Google Books and at Amazon (Ravensburger Buchverlag, 1998).

    A penmanship book due to Paulus (or Paul) Franck from 1655 under the title Kunstrichtige Schreibart: allerhand Versalien oder AnfangsBuchstaben der teütschen, lateinischen und italianischen Schrifften aus unterschiedlichen Meistern der edlen Schreibkunst zusammen getragen was published in 1655 in Nürnberg by Paul Fürst (ca. 1605-1666) and printed by Christoph Gerhard (1624-1681). This text, of which some pictures can be viewed here, consists largely of hyper-ornamental blackletter initials.

    Franck's über-ornamental decorative caps were revived digitally in several typefaces:

    • PaulusFranckInitialen (2002) was created by Dieter Steffmann based on those initials, but they are apparently incomplete.
    • Paulo W (Intellecta Design) created the font Paulus Franck 1602 (2006).

    Open Library link. [Google] [More]  ⦿

    Paulus John Christian Egenolff
    [Luthersche Schriftgiesserei]

    [More]  ⦿

    Pavel Bondarenko

    Designer of the great free poster font Troja Script (2014). Aka Paschka21. Inside the font, we find the name Jung von Matt.

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

    Pavlina Boneva

    Graphic designer in Essen, Germany. In 2007, she created an experimental alphabet (not a font) in which every letter exists of six identically positioned nails and a black thread. [Google] [More]  ⦿

    Pawel Wolowitsch

    German graphic and type designer. Creator of Eliza and Eliza Mono at Camelot Typefaces in 2020. He writes: Eliza is a conceptual exploration of transitional typefaces. The square as a key element is a reference to the digital age---the pixel. It is the smallest unit of our todays communication. Introduced into the humanistic construction of a serif typeface, it creates a dialogue between two extremes: the familiar, humanistic liveliness, and artificial, modern rigidity. Eliza can be seen as an allegory for the conjunction of human and machine. Eliza is a type system equipped with stylistic sets to transform certain letters into even more rigid versions. The typeface comes in four weights in roman and italic, accompanied by a monospace version. [Google] [More]  ⦿

    PB Types (was: Handmadetypes)
    [Peter Becker]

    German designer (now based in Paris) who started out specializing in logotypes, and then spent a few years at URW in Hamburg in the type production department, before moving to Paris as a freelance designer. In 2018, he set up PB Types. His (mostly script) typefaces:

    • The beautiful calligraphic brush script typeface Meroe Pro (2012, Linotype).
    • The free Jensonian typeface Vinta (2014).
    • Rena. An old style typeface.
    • Treveris. A Trajan font.
    • Manus Scripts.
    • Whiskas.
    [Google] [MyFonts] [More]  ⦿

    Peggy Seelenmeyer

    During her studies at University of Applied Sciences in Potsdam near Berlin, Peggy Seelenmeyer (b. 1987, Berlin) created the geometric blackletter typeface Kottifraktur (2014). Behance link. [Google] [More]  ⦿

    Pelikan Lehreinfo
    [M. Kahler]

    After registration, you can download school fonts at this German site (PC and Mac): SAS-Schulausgangsschrift (school style introduced in the DDR in 1968), Lateinische Ausgangsschrift (introduced in Germany in 1953), Druckschrift Hamburg, Druckschrift Bayern, Druckschrift Bayern 2001, Vereinfachte Ausgangsschrift (by M. Kahler at Pelikan, 2001), Vereinfachte Ausgangsschrift (unliniert). On subpages, one can see samples of Picturalis. [Google] [More]  ⦿

    Peter A. Demeter

    German designer (1875-1939) at Weber of the shaded roman capital typeface Holländisch (1922-1926, also published by Schriftguss), which comes in breit, fett and licht styles. He also made Demeter Schraffiert (1922, Schriftguss), and Fournier Geperlt (1922, Schriftguss; called Dresden when it was later published by BB&S in Chicago).

    Mac McGrew writes: Demeter is a decorative, shaded letter produced by BB&S in 1925, by arrangement with Schriftguss A.-G. of Dresden, where it was designed by Peter A. Demeter. Serifs are leaf-like in form. This is one of a few German faces BB&S received in exchange for rights to the Cooper types. He adds: Dresden is a very decorative typeface designed by Peter A. Demeter for Schriftguss A.G. in Dresden and cut by BB&S in 1925 by arrangement with that firm, part of the deal by which the German company got rights to copy Cooper. In this face, the main strokes as well as the serifs are leaf-like.

    Digital revivals include Baroque Pearl (2016, Ralph M. Unger).

    Klingspor linkPeter A. Demeter [Google] [More]  ⦿

    Peter Becker
    [PB Types (was: Handmadetypes)]

    [MyFonts] [More]  ⦿

    Peter Behrens

    Hamburg-born type designer, painter and architect, 1868-1940 (Berlin). From 1900 until 1903, he was part of the Darmstädter Künstlerkolonie, at the apex of the art nouveau era. From 1903 until 1907, he was director of the Duesseldorfer Kunstgewerbeschule. From 1903 until 1914, he was artistic director at AEG and designed their corporate identity. He was the cofounder of the Deutsche Werkbund in 1913, became a professor at the Wiener Akademie in 1922, and the head of the Prussian Academy of Art in Berlin in 1936. CV. MyFonts page. Typefaces:

    • Behrens Roman (1900, a rather useless and ugly pen-drawn roman; Klingspor)
    • Behrens Schrift (1901-1902, Jugendstil font at the Rudhardsche foundry in Offenbach. This typeface served, for example, as the official German type for the world expositions in 1904 and 1910. Digital revivals or interpretations:
    • Behrens-Kursiv (1906, Klingspor), aka Behrensschrift Kursiv (1907). For a digital version, see Behrens Kursiv (2013, Ralph M. Unger).
    • Behrens Antiqua (1907; digitized by Dan X. Solo). The halbfett is from 1909. Behrens Antiqua Initialen was revived in 2015 by Typograf in a free font.
    • Behrens Mediäval (1914)
    • Behrens Initialen. Digitally revived as Sprecher Initials at Intecsas, and as Ar Tarumian Behrens Initialen (by Ruben Tarumian).
    • Behrens Schmuck (ornaments). Faithfully revived based on a 1914 catalog by Andreas Stötzner in 2014 as Behrens Ornaments.
    • AEG logotype

    Complink. MyFonts page. Klingspor link.

    View typefaces. [Google] [MyFonts] [More]  ⦿

    Peter Bezdek
    [Rudolf Koch]

    [More]  ⦿

    Peter Brugger

    Designer at Volcano Type in Karlsruhe of the extensive Western font family Gringo (2005-2006): GringoDingbats, GringoTuscan LightNarrow, GringoTuscan Light, GringoTuscan LightWide, GringoTuscan MediumNarrow, GringoTuscan Medium, GringoTuscan MediumWide, GringoTuscan BoldNarrow, GringoTuscan Bold, GringoTuscan BoldWide, GringoSans LightNarrow, GringoSans Light, GringoSans LightWide, GringoSans MediumNarrow, GringoSans Medium, GringoSans MediumWide, GringoSans BoldNarrow, GringoSans Bold, GringoSans BoldWide, GringoSlab LightNarrow, GringoSlab Light, GringoSlab LightWide, GringoSlab MediumNarrow, GringoSlab Medium, GringoSlab MediumWide, GringoSlab BoldNarrow, GringoSlab Bold, GringoSlab BoldWide. Discussion.

    In 2010, he created a family for type layering called Matryoshka (+Pregnant; scans: i, ii, iii).

    Brugger studied at the Schule für Gestaltung Basel Schweiz, the Hochschule für Gestaltung Pforzheim and at the Nova Scotia College of Arts and Design in Halifax, Canada. He teaches typography at the Staatlichen Akademie der Bildenden Künste in Stuttgart.

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

    Peter de Walpergen

    German type designer (1646-1703) who practised in Oxford.

    He designed Roman and Italic cuts for Fell (the "Fell" types) in 1693. The Gaelic typeface Saxon (ca. 1667) is tentatively credited by Michael Everson to him. Peter de Walpergen also made musical type, used, e.g., by Leonard Litchfield in Oxford for printing the Musica Oxoniensis in 1698. See here. Digital typefaces influenced by de Walpergen include these:

    • Jonathan Hoefler made a Fell type family based on this at the Hoefler Type Foundry.
    • A fresh 5-weight Fell type family called Prudential was made in 2002 by Apostrophe for Prudential Insurance.
    • In 2004, Igino Marini made a large number of revivals of the Fell types (revised in 2007):
      • English Roman, Italic&Small Caps probably cut by Christoffel van Dijck. The Italic was probably cut by Robert Granjon. Acquisition in 1672.
      • Three line pica (for 41pt size) by Peter de Walpergen. Acquisition in 1686.
      • French canon (for 33pt size) by Peter de Walpergen. Acquisition in 1686.
      • Double pica (for 17pt size) by Peter de Walpergen. Acquisition in 1684.
      • Great primer (for 14pt size) by Peter de Walpergen. Acquisition in 1684 (Roman&Small Caps) and 1687 (Italic).
      • De Walpergen pica (for 10.5pt size) by Peter de Walpergen. Acquisition in 1692.
      • Fell flowers bought by Fell in 1672 from Holland. Cut by Robert Granjon and others. To be used at 25 or 17,5 points.
    • WT Fallen (2019) and WT Solaire (2021), both by Guillaume Jean-Mairet, are revivals and reinterpretations of the Fell types.
    • Saxon was digitized as Junius (1996), named after Franciscus Junius (1589-1677), a pioneer in the study of Gothic and Anglo-Saxon who is famous for The Junius Manuscript, a compilation of Anglo-Saxon poems.
    [Google] [MyFonts] [More]  ⦿

    Peter Doerling
    [Die Entwicklung unserer Schrift]

    [More]  ⦿

    Peter Eckartz
    [Kleinholz Typo]

    [More]  ⦿

    Peter Fritzsche
    [Formfound]

    [More]  ⦿

    Peter Glaab

    Interesting German language type design and typography blog by Peter Glaab (Hamburg, Germany). [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]  ⦿

    Peter Hoffmann
    [Glashaus Design]

    [More]  ⦿

    Peter Huschka

    German artist. Designer at Linotype of the experimental 3-weight family Sinah Sans LT (1994, an Indic simulation font) and the oriental simulation font family Linotype Chineze (2002, part of TakeType 4). In 2003, he created Picture Yourself with Karin Huschka, also at Linotype and reaped an award for it at the Linotype International Type Design Contest 2003. The illustrations in Picture Yourself were based on ideas of the architect Oscar Niemeier.

    Sync (2018) is a 26-style layered font system for chromatic typesetting. The first sketches were inspired by some hand-painted characters on a weathered beach sign at the French Côte d'Argent.

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

    Peter Hübner
    [Hybi Types]

    [MyFonts] [More]  ⦿

    Peter Karow

    Born in Stargard, Pomerania, in 1940, Peter Karow studied physics at the University of Hamburg. After receiving his PhD in 1971, he co-founded the company URW Software & Type GmbH in Hamburg (URW stands for Unternehmensberatung Rubow Weber, after the first two of the founders, Rubow and Weber [Karow being the third one], and was succeeded by URW++). Peter Karow was the technical director at URW. In 1975, his Ikarus (typography software) was introduced to members of Association Typographique Internationale in Warsaw. Afterwards, Ikarus was used all over the world for the digitization of fonts. Between 1975 and 1995, URW digitized a large number of fonts for companies such as IBM, Siemens, Microsoft, Apple Inc., Adobe, Linotype, Monotype, Rudolf Hell and numerous Japanese companies.

    Starting in 1988, Karow and Zapf cooperated on the hz program for micro-typography of texts.

    Karow published Digitale Schriften. Darstellung und Formate (1992, Springer, Berlin), Digital Typefaces (Springer, 1994), Typeface Statistics (URW Verlag, Hamburg, 1993), and Font Technology (Springer, 1994), and is an expert in font technology.

    In 2013, DTL published Karow's booklet Digital Typography & Artificial Intelligence. In 2003, he was the first recipient of the Dr. Peter Karow Award established by DTL to honor people with extraordinary and innovative achievements in the field of font-related technology. [Google] [MyFonts] [More]  ⦿

    Peter Klassen

    Pete "The Hutt" Klassen (Germany) created the "Lord of the Rings" movie logo font, Ringbearer Medium (2002), as well as Aniron (2004, Latin & Cyrillic), an uncial typeface that was used in the credits of the same movie. See also here and here and here. There is also a small rune archive.

    The all caps Three Point Six Roentgen font (2019) is inspired by HBO/Sky's TV miniseries Chernobyl.

    Alternate URL. [Google] [More]  ⦿

    Peter Langpeter

    German illustrator, cartographer, calligrapher, and logo and typedesigner who has his own studio, LP Design, since 1995. Designer of the classical script typeface LP Pinselschrift (2009, URW++), the bush script LP Pinsel Satt (2013, URW++), and the signage / bamboo script typeface LP Bambus (2009, URW++).

    LP Saturnia (2013, URW++) and LP Saturnia Sans (2017, URW++) is a roman antiqua typeface: The aim was to create a modern interpretation of the classical Roman letters (Capitalis Monumentalis or Trajan by Carol Twombly), avoiding the archaic look of these letter forms.

    LP Philharmonia (2014; +Outline in 2017) is a one-style didone typeface. In 2015, he designed the Peignotian typeface family LP Lazise (Regular, Lapidar, SemiSerif, Serif), and published it in the URW Fontforum collection.

    In 2016, still at FontForum URW++, he published LP Hand Eins and the slightly tapered lapidary typeface LP Cervo.

    Typefaces from 2017: LP Harmonia (calligraphic). LP Horizont Caps.

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

    Peter Lowas

    Visual artist in Berlin. Creator of the Greek simulation and geometric typeface Archimedes (2011). [Google] [More]  ⦿

    Peter Mohr

    Type designer at OurType, born in Germany. He graduated from AIK (Academy for Information and Communication Design) in Dresden in 2003, and studied type design at the Hochschule für Grafik und Buchkunst in Leipzig in 2009, graduating with a thesis on Didot printing types. He still lives in Leipzig, and entered the type scene with a bang in 2010, when he published the pre-didone family Fayon (OurType). Fayon is a fresh interpretation of the early Didot style---the contrasts are not extreme, making this a legible family. Discussion by the typophiles.

    In 2007, Maurice Goeldner and Peter Mohr co-designed the custom typeface Hivo Slab.

    Klingspor link. [Google] [More]  ⦿

    Peter Nijboer

    German designer (b. 1979) at FontStruct in 2008 of BiggerBetterFasterStrongerPeter (ultra-fat, art deco). Dafont link. Aka Cumulus IX. [Google] [More]  ⦿

    Peter Pannes

    Young designer at fontgrube who made Tank. [Google] [More]  ⦿

    Peter Reichard
    [Typosition]

    [More]  ⦿

    Peter Reichard
    [Spatium Newsletter]

    [More]  ⦿

    Peter Rosenfeld
    [Profonts]

    [MyFonts] [More]  ⦿

    Peter Schneidler

    German type designer who designed the heavy brush script typeface Maxim (Bauersche Giesserei, 1955; Ludlow). Ralph Unger drew a digital version in 2003 at Profonts, also called Maxim. Group Type also has a digital version called Maxim (1993).

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

    Peter Schnorr

    German artist and illustrator in the art nouveau (Jugendstil) period. He collaborated at some point with Bruce Rogers on book design, e.g., for Houghton Mifflin. Designer of the blackletter typeface Augsburger Schrift (+Halbfette) (+Augsburger Initialen) (1901, Berthold AG; Seemann and Wetzig state 1903) and of the art nouveau display typeface Gezeichnete Schrift.

    Digital revivals:

    • HiH published the blackletter typefaces Schnorr Dekorativ, Demi Bold and Initialen (2007), as well as Schnorr Gestreckt (2006), an art nouveau typeface initially done in 1898 by Peter Schnorr. See also Tom Wallace's Augsburger Schrift.
    • Jason Castle's Samira (2008) also revives Schnorr Gestreckt.
    • The art nouveau typeface Schnorr Gestreckt was also the basis of Gert Wiescher's Modernista (2008). Gert himself added two weights to the original.
    • Alan Jay Prescott's New Ambrosia APT (1996) is also based on Schnorr Gestreckt.
    • Ralph M. Unger revived Augsburger Initialen in his Initials RMU Two (2012).
    • Scriptorium: Maginot (1993, David Nalle) is also strongly based on Schnorr Gestreckt.
    [Google] [MyFonts] [More]  ⦿

    Peter Schoeffer

    Peter Schöeffer, a calligrapher, was an assistant to Johannes Gutenberg in Mainz, Germany, through the years of preparation necessary for the printing of the 42 line Bible, in 1455. Schöeffer designed the font under Gutenberg's supervision, during the preceding years. The font was a very accurate imitation of the best manuscript style of the period, and it contained nearly 300 letters, ligatures, and abbreviations. Later in 1455, Gutenberg lost his business to Johann Füst, but Schöeffer stayed on with the new owner. In 1459, Schöeffer designed the first "transitional" typeface from Gothic to Roman and it was used in the publication of Rationale Divinorum Officiorum by Guillaume Durand (Durandus). Some of the upper-case characters have full roman shapes and several of the lower case characters are noticeably rounded. Example of Schoeffer's early Schwabacher, created in Mainz in 1465. His son, Peter the Younger, moved to Mainz and carried on the trade.

    Among digital revivals, see Psalterium (2012, Alter Littera), Schoeffer GP Roman (2015, Philippe Gauthier), and Germanica (2010, Seamas O'Brogain).

    Fust&Schoeffer-Durandus-GoticoAntiqua118G (2016-2019, Alexis Faudot and Rafael Ribas, ANRT, France) is a recent revival of Durandus. Faudot and Ribas write Durandus's 118G Gotico-Antiqua was first used in Mainz by Peter Schoeffer and Johann Fust for Guillaume Durand's Rationale Divinorum Officorum in 1459. The book displays two sizes, the smaller 92G for the main text and the bigger and more contrasted 118G used only for the colophon and later for the famous 48-line Bible in 1462. It was used until the end of the 15th century. [Google] [MyFonts] [More]  ⦿

    Peter Schoeffer the Younger

    Son of Peter Schoeffer, Peter Schoeffer the Younger was a type cutter in Mainz. A blackletter type he cut ca. 1509-1520, and also known as Typ.7:146/148G and as Gesellschaft für Typenkunde plate no. 258, was digitized and extended from 80 to 900 characters by Shane Brandes as Schoeffer (2011). [Google] [MyFonts] [More]  ⦿

    Peter Schwanemann

    Peter (Nasenbaer) Schwanemann, aka Drehatlas, is the German designer of these free fonts in the Open Font Library, all dated 2005-2007: Time For Orion (Sci Fi font), Warender Bibliothek (scratchy and gory), Widelands (gothic, medieval), Xaporho (scary). [Google] [More]  ⦿

    Peter Stahmer

    German designer, b. 1987, Würzburg, who is now based in Graz, Austria. Creator of the grotesque typeface Mauren (2009, Avoid Red Arrows), Cogfit, Barbarossa (2008, folded type), Urinal (2008, nearly octagonal). Co-founder of Avoid Red Arrows, est. 2008 in Karlsruhe. More recent typefaces at Avoid Red Arrows include Plano. [Google] [More]  ⦿

    Peter Steiner

    Painter and designer, b. Lochen, Germany, 1926, Graduate under Walter Brudi of the Akademie der bildenden Künste in Stuttgart. He taught at that school from 1962 until his retirement.

    Designer of these typefaces:

    • The slightly psychedelic art nouveau film typeface Swing (1974, Bertghold AG). This typeface was revived and expanded in 2007 as Steiner Special (2007, Rebecca Alaccari, Canada Type).
    • Alpine (1974, Berthold AG).
    • Black Body (1973, Berthold AG). Revived and extended by Jonathan Hill as Mekon in 2010.
    • Black Pepper (1972). Florian Hardwig wrote that Black Pepper was exclusively available from Anton Herkner Graphisches Atelier, a phototype studio in Stuttgart, Germany.
    • Dektiv Double (1975, Berthold AG).
    • Jockey (1974, Berthold AG).
    [Google] [MyFonts] [More]  ⦿

    Peter Thienhaus

    German visual artist, b. 1911, Berlin, d. 1984. In 1939, he made this great drawing of the inside of a 15th or 16th century print shop in Leipzig. [Google] [More]  ⦿

    Peter Vismann

    Peter Vismann (Sopra, Germany) created the primitive font Sopra (2013). This is a commercial hook. Fontspace link. [Google] [More]  ⦿

    Peter Vollenweider
    [Rechenzentrum Universität Zürich]

    [More]  ⦿

    Peter Wiegel
    [CAT Design Wolgast]

    [More]  ⦿

    Peter Willadt

    Peter Willadt's free barcode fonts in metafont format, covering Code 128, EAN, Codabar, Interleaved 2 of 5, Code 39, Code 93, Code 11. Written in 1999. [Google] [More]  ⦿

    Peterpaul Weiß

    German type designer, 1905-1977. He created the blackletter typeface Kursachen (1937, Schriftguss). Digitized and extended by Patrick Griffin at Canada Type as Blackhaus (2005).

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

    Petra Beisse

    Renowned German calligrapher who has a studio in Wiesbaden. At Elsner&Flake in Hamburg she published EF Petras Script (1995) and EF Casanova Script (2006-2007, based on the hand of the real Casanova; with Günther Flake). The latter font was remastered in 2015 by Jessica Franke and Günther Flake for release as EF Casanova Script Pro.

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

    Petra Eisele

    Professor of Design History and Design Theory at the University of Mainz. In 2016, Petra Eisele, Annette Ludwig and Isabel Naegele published Futura: Die Schrift (in German). The English version Futura: The Typeface (Laurence King) followed in 2017. [Google] [More]  ⦿

    Petra Heidorn
    [CybaPeeCreations (or: Typoasis)]

    [More]  ⦿

    Petra Niedernolte

    German designer, with Ralf Sander, of the techno sans family Bunken Tech Sans (2014, Buntype) and Bunken Tech Sans Wide (2015).

    In 2016, Ralf Sander and Petra Niedernolte co-designed the minimalist rounded sans typeface Bunuelo Clean Pro and in 2017 Bunday Slab and Bunaero Pro (Petra Niedernolte and Ralf Sander). Bunaero Pro is advertized as a friendly sans, and hits all the right notes---it is optimized almost to perfection. Subfamilies include Classic, the shapely Up, and the accompanying Italic.

    Typefaces from 2018: Bunaero (by Ralf Sander and Petra Niedernolte), Bunday Clean (by Ralf Sander and Petra Niedernolte). [Google] [MyFonts] [More]  ⦿

    Petra Rueth

    Petra Rueth is a graphic and type designer who is studying at HGB Leipzig under Fred Smeijers in 2018. More specifically, she researches the relationship between the Fraktur, Kanzlei, and Kurrent scripts. At ATypI 2018 in Antwerp, Petra Rueth introduced the work of C.G. Roßberg in 1793: In the late 18th century, C.G. Roßberg, a German clerk, worked on a stunning project: he envisioned a system of scripts which would harmonize together. Following the Renaissance approach, where science and art were intermingled, his aim was to encapsulate the beauty of letters in a mathematical system. [Google] [More]  ⦿

    Petra Weitz

    General Mananger of Monotype who is based in Berlin. Before that, she was Managing Director at FontShop International in Berlin. Currently, she also sewrves as a Board Member of ATypI. [Google] [More]  ⦿

    PFA Typefaces
    [Martin Aleith]

    Designer at Die Gestalten of Quanten (2014, a stencil typeface), Knochen (2009, a fat rounded modular typeface), Laminat (2007), Logosmen (2003, geometric display face), Braten Fat (2004), Haudegen (2002, severe bold octagonal face), Halunken Spezial (2004, rounded octagonal), Boxen (2003, a slashed zero font), Esposito (2002, a paperclip font), Galotta (2002), Feixen (2007, paperclip inspired), Nicola Kroita Script, Nicola Kroita Sans, Nicola Zucka Script.

    His fonts can also be found at Pfadfinderei.

    Aleith started PFA Typefaces out of Berlin. His catalog of typefaces there in 2021 included Gratis, Grinsen, Haben, Kyoto TW (emulating type on old computer screens), Laminar, Meilen (pixelish), Quartier, Quanten and Quoten. [Google] [More]  ⦿

    Pfadfinderei
    [Thomas Bierschenk]

    Berlin-based visual communication agency. Their fonts include these type families by

    • Martin Aleith: Logosmen (2003, geometric display face), Braten Fat (2004), Haudegen (2002, severe bold face), Halunken Spezial (2004), Boxen (2003, a slashed zero font), Esposito (2002, a paperclip font), Galotta (2002), Feixen (2007, paperclip inspired).
    • Critzla, Critzler, or Thomas Bierschenk: FF Trademarker (2000), Franz Jäger (2000, ultra fat, mini-slabbed), FF Magda Clean (1997, done with Henning Krause), FF Localizer (1995, LED simulation), Flomaster (1998, graffiti, done with Jayone), Vinataba Solid (2002), Nicola Zucka (2002, connected cursive script), Neo (2002, geometric as in the logo of the Neo car).
    [Google] [More]  ⦿

    Phantom Power (was: Phantomphonts)
    [Stefan Claudius]

    German type designer Stefan Claudius (b. 1971, Essen) studied in Wuppertal and Essen (industrial design) and became an independent graphic designer in 2000. He runs Phantom Power and co-founded Cape Arcona (in 2002, with Thomas Schostok).

    In 2021, he designed CA Edwald (a 10-style serif in the Cooper Black and Windsor genre; with Thomas Schostok), CA Slalom Compressed, CA Slalom Condensed, and CA Slalom (an all-purpose 12-style grotesk for Latin and Cyrillic).

    In 2020, he released CA Mechano (an octagonal mechanical typeface family).

    Typefaces from 2019: CA Saygon Text (a grotesque family) and CA Saygon (with Thomas Schostok: a formidable experimental sans that evokes an internal clash between 90-degree angles and smooth arcs).

    Earlier typefaces: CA Rough Rider (2015, weathered typeface), CA Rusty Nail (2015, handcrafted vintage style), CA Segundo (2014), Yalta Sans (2013: Yalta Sans Pro was published by Linotype), Buenos Aires, Strong Man, Phantom, Play (Real, Roman, Wild, Script, Gothique Superfat (2009) and Dynamic, all at Cape Arcona), Cape Rock (a fat Clarendon, Umbrella Type; with Schostok), Cosmo-Pluto and Cosmo Saturn (2002, at Cape Arcona), CA Normal (2010, grotesque), CA Normal Serif (2011), CA Plushy (2007, a nice brush script at Cape Arcona), Styroscript (at fontomas.com), Caseprintitalic, Caseconected, Malermeister, CA Oskar (2012, originally a custom typeface for the international Traumzeit music festiva), CA Postal (2013), PhantomItalic, Product (stencil font), Untitled1, Pizzeria Hamburg, Dekoria (2006, a saloon font), CA Subbacultcha and CA Zaracusa (2006, a sans family at Cape Arcona), Minimal Punctuation, Futile extraoutitalic, Kalish-Normal, Malermeister (2001, white oblack stencil), PhantomItalic (2001, techno), Product (2001, a rough handpainted stencil), Melancholie4, Low (2001), CA Texteron (2010, an award-winning text font family), Koenigsbrueck (2002, handwriting).

    Stefan was at one point part of the Chank Army, where you can buy his ultra-thin font Sensuell Thin (2002, a gorgeous fashion mag hairline face, also at Cape Arcona).

    Designer of Dekoria (2004, Fountain).

    Designer of Melancholie at Fontomas.

    Designer at Volcano Type of Hermaphrodite (a sans with serif genes).

    Interview. FontShop link. Dafont link. Klingspor link. Fountain Type link. Linotype link. Linotype interview. [Google] [MyFonts] [More]  ⦿

    Philip Graner

    Saarlouis, Germany-based designer of the free sans typeface Hooked Light (2011). Behance link. [Google] [More]  ⦿

    Philip Kampling

    Graduate of Fachhochschule Hannover, 2012. Creator of the modular stencil typeface Blonescha Bold (2012).

    Dafont link. [Google] [More]  ⦿

    Philip Lammert
    [Vibrant Types (was: Calligrafiction)]

    [MyFonts] [More]  ⦿

    Philip Litzke

    Königstein im Taunus (was: Wismar), Germany-based designer of the modular squarish school project font Waaaft (2014, at Hochschule Wismar). Behance link. [Google] [More]  ⦿

    Philip Steffen
    [Steffen Design]

    [More]  ⦿

    Philip Trautmann
    [Shaped Fonts (was: Phitra Design)]

    [More]  ⦿

    Philip von Borries

    After completing his studies at the SRH Hochschule der populären Künste FH, Philip von Borries moved to Copenhagen, Denmark, but also has an address in Berlin. Designer of the animated script typeface Madita (2016, Animography). Philip also made animated versions of Barbour (by Timo Kuilder) and League Spartan (by the League of Movable Type). [Google] [More]  ⦿

    Philip Waschmann
    [Studio Vachement]

    [MyFonts] [More]  ⦿

    Philipp Acsany

    Philipp Acsany studied type design in Leipzig, Germany. After freelancing as a technical consultant for Lineto and an internship at Fontshop International/Monotype in Berlin he now works as a font engineer and programmer at Alphabet Type. Speaker at ATypI 2016 in Warsaw. [Google] [More]  ⦿

    Philipp Caroline Neumeyer
    [Rüdiger]

    [More]  ⦿

    Philipp Herrmann

    Creator (b. Münich, Germany) of a great blackletter typeface called Diek while he was studying at the Hochshshule für Gestaltung und Kunst in Zürich.

    Designer at Optimo of the playing cards slab serif font Piek (2006).

    In 2013, Philipp Herrmann set up the Out of the Dark foundry in Zurich. [Google] [More]  ⦿

    Philipp Luidl

    Author of Die Schwabacher (2004), and Ornaments. Philipp Luidl and Günter Gerhard Lange coauthored Paul Renner (1978, Typografische Gesellschaft München). Philipp Luidl and Helmut Huber wrote Typographical ornaments (Poole, Dorset: Blandford Press; New York, N.Y.: Distributed in the U.S. by Sterling Pub. Co., 1985), a 368-page in-depth treatise on the subject. Cover page and selected images such as this end piece with tendril decorations, 17th century, this cast unit piece assembled from various elements, these great ornamented caps, and this vignette from the Academicism period. They divide type ornaments up by historical periods:

    [Google] [More]  ⦿

    Philipp Luidl

    Prolific German author, who has written these books: "Hommage für Georg Trump" (1981, with G.G. Lange), Typographie, Herkunft, Aufbau, Anwendung (Schlütersche Verlagsanstalt, Hannover, 1989), Typographie (1998, Könemann Verlag, with Friedrich Friedl, Nicolaus Ott and Bernard Stein), Typographical Ornaments (Blandford Press, 1985, with Helmut Huber), Ornaments (1995, Bruckmann Verlag, with Helmut Huber and Lenore Lengefeld). He is docent in typography at the Akademie für das Grafische Gewerbe in Munich. [Google] [More]  ⦿

    Philipp Rösler

    In Martina Flor's class at Anhalt University of Applied Sciences in Dessau, Germany, in 2014, Philipp Rösler (Leipzig) designed the display sans typeface AtVice (2014). Dafont link. [Google] [More]  ⦿

    Philipp Seiffert

    During the second semester of his graphic design studies at Hannover University of Applied Sciences and Arts, Philipp Seiffert created the bubble gum typeface Knubbel (2011). Behance link. [Google] [More]  ⦿

    Philipp Spindler

    Münchberg, Germany-based creator of the wide-gapped stencil typeface Spaced (2015). [Google] [More]  ⦿

    Philipp Thom
    [freetypography.com]

    [More]  ⦿

    Philipp von Schlechtleitner

    Berlin, Germany-based designer of Tribute (2018). [Google] [More]  ⦿

    Philipp Winterberg

    German creator of the Lormalphabet font (2003), a handsignal alphabet for the deaf, which was invented in 1881 by Hieronymus Lorm (alias Heinrich Landesmann). He lives in Greven. [Google] [More]  ⦿

    Philipp York Martin

    Hamburg, Germany-based graphic designer. Creator of Polygon Type (2010). [Google] [More]  ⦿

    Phonts from Matz
    [Mathias Siering]

    Mathias Siering (Matz) is the German designer in 2001 of the pixel fonts Pixelprollcaps, Pixelprollmono, Pixelproll, Pixelprolldingbats. The fonts are copyright of "popelsack phont produktion". [Google] [More]  ⦿

    Pia Frauss

    German designer (whose real name is Marianne Steinbauer) of these beauuuuuuutiful (free) fonts:

    • Francisco Lucas Llana Regular (2003, chancery hand). Pia writes: Written in Madrid in 1570, by a man called Francisco Lucas. He classified it as a Bastarda; but actually, it is a humanist cursive -- the type of writing that is mostly known under the name of Chancery.
    • Francisco Lucas Brioso Regular (2003, medieval hand). Also based on Francisco Lucas.
    • WirWenzlawRough (2003). Pia writes: This is a genuine Bastarda, written at Prague in the year 1400, at the chancery of one Wenzlaw who was king of Bohemia and Roman king. His elixir of life was booze, his first occupation fighting off a brother who tried and retried to have him dethroned for insanity, his favourite pasttime having people drowned in the Moldava, and his only claim at immortality causing thereby the death of a court clerk called John of Pomuk, who afterwards became renowned as a saint.
    • XenippaRegular (2003). Absolutely original Rotunda capitals mixed in with French Bastarda.
    • XirwenaRegular (2003). A swash font invented by Pia.
    • Dei Gratia (2005): This font is rather closely based on a charter issued in 1275 by Rudolf of Hapsburg (the first of his house to make it on the German throne).
    • JaneAusten (2005): handwriting based on Jane Austen's hand.
    • Tagettes and Tagettes Plus (2005): Pia writes Tagettes&TagettesPlus are the type of Italian chancery cursive of the 16th and 17th century that is mostly called Cancellaresca. Swashes galore!
    • Xiparos (2005): an extract of some German charters issued nine hundred years ago by Henry, the last of the Salic kings. This medieval typeface was followed by Xiparos Lombard (2005).
    • XiBeronne (2005): "XiBeronne is, of course, plain Black Letter -- at least as far as the lower case glyphs are concerned. They were inspired by a very beautiful and very celebrated French manuscript written at the beginning of the 15th century, containing -- and splendidly illustrating -- Gaston Phoebus' Book of the Hunt."
    • EtBoemieRex (2007): a 14-th century blackletter face. Boemie means Bohemia...
    • Tycho's Recipe: based on the Antiqua used by Peter Payngk (Denmark, 1575-1645) or his helpers in copying astronomer Tycho Brahe's recipe against the plague, ca. 1610.
    • Love's Labour (2007): a blackletter based on a sample that Pia Frauss suspects is due to Michael Baurenfeind, ca. 1716.
    • aeiou (2007): a blackletter based on the chancery used by the Hapspurg's who reigned from 1440 to 1493.
    • XalTerion (2007): another blackletter.
    • Mala Testa (2012). A chancery hand based on a writing sample titled Lettere piacevolle taken from A booke containing divers sortes of hands, published by J. de Beauchesne and J. Baildon, in 1571.
    • Mitre Square (2012). A script typeface based on a handwriting dsample from the files of the Jack The Ripper case in 1888.
    • Son of Time (2012). Based on the handwriting of Giovanni Borgia (Joan Borja), duke of Gandia, who was the son of a pope and the grandfather of a saint.
    • Tycho's Elegy (2012). Based on the chancery hand of Tycho Brahe (1597, Denmark).

    Dafont link. Yet another URL. Klingspor link. Abstract Fonts link. [Google] [More]  ⦿

    Pia Neerfeld

    Düsseldorf, Germany-based designer of the colorful Happy Alphabet (2017). [Google] [More]  ⦿

    Piano Dog

    Designer at Brass Fonts in Cologne of Hone (1996). [Google] [More]  ⦿

    Piero Glina

    German designer of the exceptionally beautiful art deco poster typeface Motomoto (2008, Avoid Red Arrows). [Google] [More]  ⦿

    Pierre Enorm Exner

    Berlin-based designer, b. 1977. Creator of the sci-fi typeface Crackwhore (2004). In 2006, he added Block Addicted and Purple Tiger Cubs (done for a Brooklyn-based rap band). [Google] [More]  ⦿

    Pierre Pané-Farré

    Pierre Pané-Farré is a type designer born in Germany. Pierre studied at the Fachhochschule in Wismar and, later, at the Hochschule für Grafik und Buchkunst in Leipzig, class of 2012. His thesis focused on the development of the book cover in the early 19th century, while his practical work explored and revived the technique of compound-plate printing, using Pierre's own woodcut poster types. Pierre lives and works in Leipzig. He co-founded Forgotten Shapes in 2017.

    His study, What came after black and red, which deals with color and chromatic typefaces in the German print industry in the nineteenth century, was published in Vom Buch auf die Strasse: Grosse Schrift im öffenlichen Raum (Journal der HGB, no. 3, 2014), Hochschule für Grafik und Buchkunst, Leipzig.

    At OurType in 2012, he published the typefaces Orly Stencil, Couteau Stencil, and Greco Stencil. At Forgotten Shapes, he published these revival typefaces:

    • Antiques FSL (2017): Antiques FSL is the digital re-issue of Antiques advertised in "Epreuves de caracteres" by E. Tarbe & Cie. (Fonderie Generale) around May 1839 in Paris. Antiques was available in the sizes of Corps 220, Corps 252 and Corps 280. The design was the sans serif counterpart to Allongees---a condensed Egyptian display typeface.
    • Breite-Fette Antiqua FSL (2017): Breite-Fette Antiqua FSL is the digital re-issue of an unidentified display typeface which---from ca. 1850 onwards---was part of the type case in the printing workshop of Oskar Leiner in Leipzig. It can not be said whether it was a custom-made design or if the typeface was distributed commercially by a foundry.
    • Doppel-Mittel Egyptienne FSL (2017): Doppel-Mittel Egyptienne FSL is the digital re-issue of Doppel-Mittel Egyptienne by Eduard Haenel, Magdeburg. It was advertised 1833 in "Schrift- und Polytypen-Probe. Zweite Lieferung. Blatt 25-72." and again 1834 in "Neueste Lettern", a supplement to the "Journal fuer Buchdruckerkunst." Doppel-Mittel Egyptienne itself was a re-casting of Two-Line English Egyptian No. 1 originally shown in 1821 by William Thorowgood, London.
    • Schmale Egyptienne N.12 FSL (2017): Schmale Egyptienne N.12 FSL is the digital re-issue of Schmale Egyptienne No. 12, 28 Cicero Kegel advertised 1841 in "Proben der Affichen-Schriften von Eduard Haenel. Berlin."

    His Affichen Schriften FSL won the type design prize at the Tokyo Type Directors Club TDC 2020. This is a digitally reconstructed set of four distinctive display typefaces from that era, Doppel-Mittel Egyptienne FSL, Schmale Egyptienne No.12 FSL, Antiques FSL, and Breite-Fette Antiqua FSL.

    At ATypI 2013 in Amsterdam, he spoke about the multicolored typefaces of the 19th century. Speaker at ATypI 2016 in Warsaw on The stencilled poster in Paris in the 19th century. [Google] [More]  ⦿

    Pino Lamanna

    Art director in Wuppertal, Germany, who created a great logotype for the identity of Russian DJ and producer Anton Chekhov in 2012. [Google] [More]  ⦿

    Pixel Canibal
    [Jonathan Rodríguez]

    Pixel Canibal is Jonathan Rodriguez's site. He is a Costa Rican, born in 1983. Educated at UNA (Costa Rica) and Bauhaus University (Germany), he does graphic design in a very broad sense. Creator of the art deco typeface Generación (2009), Pig (2009) and the stunning brushed-figures all caps alphabet Dayana (2009). Behance link. [Google] [More]  ⦿

    Pixel und Punkte
    [Andreas Brietzke]

    Andreas Brietzke (Pixel und Punkte) is the Berlin-based designer of the pixel fraktur typefaces New Hildegard and Erka Mono Fraktur. Both are on the CD that comes with Fraktur Mon Amour (Hermann Schmidt Verlag, 2006). [Google] [More]  ⦿

    Pixelchen
    [Michael Göbel]

    Michael Göbel (Pixelchen) designed these free fonts: PixelchenSchrift (2007), ixpix-xx (2006), ohne-SCHIEF (2007), ohne-EXTRA (2007), SCHRIFT0.1-verlauf (2007). Alternate URL. [Google] [More]  ⦿

    Pixey.de

    Type blog, in German. [Google] [More]  ⦿

    Pixologie

    About pixels. In German. [Google] [More]  ⦿

    Plakatschriften

    A poster typeface book by Schelter & Giesecke (Leipzig, 1927). Scans by Jens Jørgen Hansen. Typefaces include Nymphe, Nathan, Naxos and Naufikaa. [Google] [More]  ⦿

    Pleasure Fonts
    [Wolfram Pleger]

    German designer of Jungle Man (2020), and the informal sans typeface Charlonka (2020).

    Typefaces from 2021: Dark Star (a 6-style sci-fi family), Dark Star (a 6-style sci-fi family), Boomtown (a 4-style informal sans). [Google] [MyFonts] [More]  ⦿

    Plusminus Type
    [Tomas Clarkson]

    Tomas Clarkson is the Berlin and London-based designer of the free all caps monoline sans typefaces Neukölln and Neukölln Mono (2016). This font was developed during his studies at London College of Communication. He also designed the free condensed typeface Friedrichshain (2016).

    Armel Bellec and Tomas Clarkson together run Plusminus Type / Plusminus Studio in London. Tomas is also associated with Bureau Mario Lombardo in Berlin.

    Typefaces from 2017: Lowlands Display (free), Rubinstein (free: a typeface for acid techno), Ostkreuz Fraktur (free).

    Typefaces from 2018: Archiv Grotesk (Plusminus Type: a sans serif typeface inspired by various visits to the Stanley Kubrick archives at the London College of Communication), Waxwing (a free high-contrast all caps typeface). [Google] [More]  ⦿

    Po Cheung

    Or Pou Cheung Siu Po. Communication designer based in Hong Kong and Berlin, who graduated with a BA in Communication Design from the School of Design, The Hong Kong Polytechnic University, class of 2017. During a workshop at Type Paris 2018, she designed Hoko. Hoko is a humanist Latin typeface inspired by Hong Kong Beiwei calligraphy which was used on stores there to be seen from far away. She writes: Influenced by the marks made by a chisel, Beiwei Kaishu has a rustic sensibility, with sharp strokes, dynamic forms and slightly asymmetrical constructions. [Google] [More]  ⦿

    Poem Editions (or: Atelier Jerome Knebusch)
    [Jérôme Knebusch]

    Poem is an independent publishing initiative related to text, type and typography directed by Jérôme Knebusch and located in Frankfurt am Main. Knebusch, who also runs Atelier Jerome Knebusch, is a French type designer who graduated from l'École nationale supérieure d'art de Nancy and from l'Atelier national de recherche typographique. In 2008, he started teaching graphic and type design at ESAL (Ecole Supérieure d'Art de Lorraine) in Metz. He also taught at National Institute for Typographic Research, Nancy, France.

    In 2012, he designed the sans family Instant, which could be bought from BAT Foundry, and, since 2014, directly from his own foundry, Knebusch. In Instant, each style corresponds to a speed or style of writing.

    After setting up Poem Editions, he designed Almost Roman and Almost Gothic (2012-2019). Almost sails between gothic and roman. All fonts take their inspiration from the period of 1459-1482 with Gotico-Antiqua typefaces like the Durandus (of Fust & Schöffer), the first type to present a humanistic tendency, probably based on the hand of Petrarch. A few years later Sweynheim & Pannartz used a type in Subiaco which some consider to be the first roman although gothic influences remain clearly visible. Roman type was finally defined in 1469-1470 in Venice by the de Spira brothers and Nicolas Jenson. Almost was awarded with the Certificate of Typographic Excellence in 2020 by the Type Directors Club.

    If (2017-2020) was developed by Jerome Knebusch and Constantin Pfeiffer. They write: Based on Futura Fett, released by the Bauer Foundry in Frankfurt in 1928, the type was pushed to extreme blackness without loosing its historical reference nor becoming a caricature. Decisions Paul Renner took to achieve maximum boldness like opening the counters of some letters were taken even further. The typeface, designed by Constantin Pfeiffer & Jérôme Knebush, was initially created during a workshop at the Gutenberg Museum Mainz on the occasion of the "Futura. Die Schrift" exhibition in 2017.

    Editor of Gotico-Antiqua, proto-roman, hybrid, 15th-century types between gothic and roman (2021, Atelier National de Recherche Typographique). This text has papers by Olivier Deloignon, Riccardo Olocco, Martina Meier, Nikolaus Weichselbaumer & Mathias Seuret, Dan Reynolds, Christopher Burke, Ferdinand Ulrich, Rafael Ribas & Alexis Faudot, and Jérôme Knebusch, and a foreword by Christelle Kirchstetter and Thomas Huot-Marchand. Knebusch writes about it: The book brings together researchers from the fields of typography, palaeography and incunabula studies, with a particular focus on type and letterforms. The relatively understudied period---after Gutenberg and before the consolidation of Jenson's model---extends from the earliest traces of humanistic tendencies to pure roman type, including many cases of uncertain or experimental design, voluntary hybridisation and proto- or archaic roman. In 1459 in Mainz, Johann Fust and Peter Schöffer printed the Rationale Divinorum Officiorum by Guillaume Durand, using a typeface (now known as Durandus) that looked like no other before. From that point, we can follow a wide variety of developments, partly related to the travels of early printers from the Rhine area to Italy and France. By extension, the private press movement initiated by William Morris and Emery Walker at the end of the nineteenth century in England, revived some of those typefaces before they were once more largely forgotten.

    Speaker at ATypI 2017 Montreal: Halbgotische, Gotico-Antiqua, Fere-Humanistica.

    Link for Atelier Jerome Knebusch. [Google] [MyFonts] [More]  ⦿

    Polish Your Art (was: Marta Van Eck Designs)
    [Marta Waniek]

    Marta Waniek (Marta Van Eck Designs, Poland and Germany) made the free old typewriter typeface SENTA Schreibmaschine (2011), the curly script Midnight Reverie (2012), the spindly script Vintage Marta Van Eck (2012), and Burned Letters (2012, recovered from burnt newspapers).

    In 2013, she published the grungy typeface Rubber Stamp, the children's hand font Melchior, and the scratchy chalky Chalkboard.

    Typefaces from 2014: Steampunk (grungy), Mischief Circus, Comic Block (3d, shaded).

    Typefaces from 2015: Clasica Striped (an etched money font).

    Typefaces from 2016: Sketched 3D.

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

    Polygraph
    [Jason Mannix]

    Jason Mannix is a graphic designer from New York, who lives in Washington, DC. He is a German Chancellor Fellow, currently working on a new typeface at the Typographische Gesellschaft München e. V. (Munich Typographic Society). An article by Jason on blackletter in Germany, in which he recalls that Otto von Bismarck, Chancellor of the German Empire in the 19th century, who, upon receiving a book set in Latin as a gift, would always return it with a note, I don't read German books set in Latin letters. With Lindsay Mannix, he created the blackletter face Enzian (2011), which was awarded at TDC2 2011. The blurb about Enzian at TDC: Enzian is the product of a German research fellowship sponsored by the Alexander von Humboldt Foundation. We set out with two goals: to better understand the technical nuance and complicated history of German Blackletter and produce an original typeface inspired by our findings. Polygraph (Falls Church, VA) is run by Jason Mannix. Link to Lindsay Mannix. [Google] [MyFonts] [More]  ⦿

    Porsdorffsche Giesserei

    Christain Porsdorff was a typefounder in Leipzig, Germany, active ca. 1722. His Curreent-Schrift was used in 1725 by printer Johann Zacharias Fleischer (Eisenberg) to print a catechismus. [Google] [More]  ⦿

    Praegnanz.de
    [Gerrit van Aaken]

    Gerrit van Aaken's essays on and dissections of some free fonts. In German. Gerrit also designed the free experimental typeface Gerrystyle (2005, 26plus-zeichen), by extreme manipulation and alteration of Aldo Novarese's Eurostile Bold (1962). At iFontMaker, Gerrit made the hand-printed Gerry Sans (2010). [Google] [More]  ⦿

    preussTYPE
    [Ingo Preuss]

    Ingo Preuss studied art at HBK Dresden (1976-1980) and graphic design from 1984-1989. In 1989, Ingo Preuss launched Cubus, a graphic design studio. Since then he also does freelance type design and illustration. Preusstype (est. 2003 in Dossenheim, and now Ladenburg, Germany) is his present foundry. In 2007, he also started an affiliation with The German Type Foundry.

    • Adora (2010-2015). An information design superfamily that consists of Adora Compact PRO, Adora Normal PRO, Adora Compressed PRO, and Adora Condensed PRO.
    • Amita. A contemporary sharp serif.
    • Anthea (2014). A transitional text typeface family.
    • Arventa (2010): Arventa Sans Pro was the basis for the system, but the Slab is not just a Sans with sticking Serifs. Arventa Slab Pro is delicately crafted form the outlines of the Sans.
    • Athanasius (2017-2018). a baroque font family.
    • Aureata (2015). A vintage text typeface family (+Inline) that reminds me of the style of Lucian Bernhard in the early part of the 20th century.
    • Babine (2003). Children's handwriting.
    • Badgirls (2003). Hhandwriting.
    • Barocco (2017). In Text and Display subfamilies. A traditional book font.
    • Baroque Borders A and Baroque Borders B (2004).
    • Battista (2005). A fat Bodoni family in Regular, Italic, Open, Stroke&Ornate.
    • Care Instructions Pi (2005). With US and EU symbologies.
    • Colombo (Normal, Outline). A revival of Columbian (1891, Hermann Ihlenburg).
    • Daphne (2004). After a calligraphic script by Hildegard Korger.
    • Daring. A revival of Hermann Ihlenburg's art nouveau font Childs (1892).
    • Compressa (2006). A strong condensed grotesk.
    • Floridana. A digital version of Hildegard Korger's handwriting font from 1965.
    • Ebura (2004).
    • Elara Sans and Elara Round.
    • Fleischmann Gotisch PT (2004). A digital revival of Fleischmann's gorgeous Fraktur typeface Groote Canon Duyts (1744).
    • Gekko (2003). In the style of Treefrog.
    • Instance (2014-2016). A high-contrast almost Peignotian sans family characterized by a karate chop k.
    • Korger Hand (2004). After the 1965 calligraphy of Hildegard Korger.
    • Language Code.
    • Lavina Sans. A humanistic sans.
    • Linotype Scrap (1997) and Linotype Funny Bones (1997).
    • Moto Guzzi Logo (2020). A logo font.
    • Neue Steinschrift (2006). A 6-style condensed geometric sans. The Pro version contains 814 glyphs.
    • Phoenica Std (2007, +Mono (for programming), +Hairline). A 12-style
    • PicNic (2003). Handwriting.
    • Placebo (2003).
    • Prillwitz (2005). A didone typeface of 1790, cut by Johann Carl Ludwig Prillwitz well before the first Walbaum. Prillwitz Pro was published in 2015.
    • Rosalia (2004). Based on the 1964 brush typeface Stentor by Heinz Schumann.
    • Scooter (2003).
    • Scootting.
    • Scribana. An Italian renaissance script.
    • Sebaldus. A heavy blackletter typeface, after Sebaldus Gotisch (1926, H. Berthold).
    • Sinkwitz Gotisch (2007). A revival of a 1942 typeface by Paul Sinkwitz.
    • Sipora (2016). A classic grotesque.
    • Spitting Image (2003).

    FontShop link. View Ingo Preuss's typeface library. [Google] [MyFonts] [More]  ⦿

    Preußische Eisenbahn Grotesk

    Taken from an article by Albert-Jan Pool: In 1897, the KPEV (Königliche Preußische Eisenbahnverwaltung) ordered the use of a very specific raster-based round Grotesk for its railway system. It remained in use until 1905. [Google] [More]  ⦿

    Preußisches Bleisatz-Magazin
    [Georg Kraus]

    Substantial German web site about metal type run by Georg Kraus (Ratingen, Rheinland). It has a fantastic collection of JPG samples of old metal specimen, all precisely dated and attributed, an invaluable historic record for those who do not have access to the old specimen books. Unfortunately, Kraus passed away at the young age of 55, as reported by Rainer Zerenko, his Austrian friend: One of our typophiles, Georg Kraus, has passed away on July 22nd 2010. He was a man with character, who didn't refuse to tell his own opinion, especially if it is against the mainstream. He was a keeper of lost typefaces, a provider of vintage typespecimen; a fighter for the black art, for mankind, for his home country. He lost his last fight this July. I will always remember you, Georg. Gott grüß die Kunst. Martin Z. Schröder's obituary of Kraus. Pic. [Google] [More]  ⦿

    PrimaFont

    Foundry that was run in the 1990s by Christine Mauerkirchner and Rainer Grunert out of Kronberg, Germany. They made about 30 free Truetype and PostScript fonts, and were selling over 2000 fonts at 2.50 Euro a shot. Check here for Berthold A.G. clones of all famous families. The main PrimaFont collection in PostScript cost 1700 USD! As far as I can tell, if the 30 free-font sampler is any indication, this collection is not different from the good old Adobe, Monotype or Linotype collections, which may all be found somewhere if one looks hard enough.

    Free fonts: Cheboygan, Exmouth (copperplate script), Jacoba (another copperplate calligraphic script), Mouth (uncial), Livingstone (uncial), Marlon Book, Oliver (Victorian), Scoutlight DB, Shanghai (oriental simulation face), and Xtra (Greek simulation face).

    Dafont link. Abstract Fonts link. Font Journal link. [Google] [More]  ⦿

    Primarlehrer.de Tipps Schulschriften

    Jump page for free school fonts in Germany. [Google] [More]  ⦿

    Primetype
    [Ole Schäfer]

    Ole Schäfer is a German type and logo designer (born 1970 in Gütersloh) who specializes in sans and slab type. He studied graphic design at the Fachhochschule Bielefield under Gerd Fleischmann. From 1995 until 99 he worked at MetaDesign as type designer and as type director for Audi, Volkswagen, Boehringer Ingelheim, Düsseldorf Airport, Sächsische Zeitung, Berlin's public transport company BVG and others. Schäfer now works as an independent type designer and teacher for type design and typography in Berlin. During 2006-2007, he taught typography at the University of Hildesheim. He launched his own foundry, Primetype, in 2002 with new typefaces by himself and other designers. With Erik Spiekermann at FontFont he did FFInfoOffice (1999), and earlier they co-designed ITC Officina Sans and Serif (1990-1998). He designed the huge FF Fago family, as well as FF Info Text (1998), FF Info Display (1998), FF Govan (2001, by Ole Schaefer and Erik Spiekermann), FF Turmino (2002), FF Zine (2001, in Sans, Serif and Slab flavors), CstBerlinEast (2000, FontFont), and CstBerlinWest (2000, FontFont, with Verena Gerlach).

    His typefaces at Primetype include PTL Adigo (2002), PTL Touja (2002: Sans, Slab), PTL Fabrik (2004), PTL Fabrik Two, PTL Golary Red (2002), PTL Notes (2003), PTL Notes Soft (2004), PTL Notes Mono, PTL Notes Tec Mono (20908, techno, typewriter), PTL Scetbo (2004), PTL Speech (2004: made for WDR television), PTL Zatro, PTL Strom, PTL Manual (2004: Extra, Round, Sans, Semi, Slab, Office, Mono), PTL Qugard (2002: Sans, Slab), PTL Zupra Sans. Verena Gerlach's fonts there include PTL Lore (2002), PTL Tephe (2002), PTL Trafo (2002).

    His custom typefaces include Audi Sans, Audi Serif (both for Audi, done while he was at Meta Design; they were replaced by Audi Type (van der Laan and van Rosmalen) in 2009), Boehringer Sans, Serif (Boehringer Ingelheim), VW Utopia (Volkswagen), Glasgow 1999 (City of Glasgow), Officina Sans Display (The Economist), EcoNewtext, Newhead (The Economist), SZ Headline (Sächsische Zeitung), Fago SZ (Süddeutsche Zeitung), and Fago Ns (New Scientist). At Primetype, Verena Gerlach's PTL Blinkenlights is free. In 2004, Ralph de Carrois contributed PTL Maurea, a sans family, to Primetype.

    Alternate URL. Speaker at ATypI 2007 in Brighton. In 2009, he helped revive three superfamilies of Karl-Heinz Lange, each having between 60 and 94 styles, the humanist sans families PTL Minimala and PTL Publicala, and the geometric (Futura-like) family PTL Superla, my favorite of these three.

    Linotype link. FontShop link. Klingspor link.

    View Ole Schäfer's typefaces. [Google] [MyFonts] [More]  ⦿

    Priscilla Anton

    Priscilla Anton (Berlin) created the typeface Hamburgefontiv (2014). [Google] [More]  ⦿

    Priska Wollein

    The Cool Wool family of pixelish fonts was designed by Alessandro Leonardi in 1994. Priska Wollein's name is attached to it in 2003, but I do not know in what capacity. FontShop link. [Google] [MyFonts] [More]  ⦿

    Privatbrauerei Hoepfner Karlsruhe
    [Robert Norton]

    The Hoepfner family of fonts is copyright by s.a.x. software. It was designed for this German brewery. In 1995, s.a.x. custom-designed Hoepfner, a blackletter family, for the German beer producer. [Google] [More]  ⦿

    Profonts
    [Peter Rosenfeld]

    Profonts is Peter Rosenfeld's German foundry in Norderstedt near Hamburg, est. 2005, and closely associated with URW++. Dr. Jürgen Willrodt is the other cofounder. The in-house designers as of 2013 are Volker Schnebel, Ralph M. Unger, Jörn Oelsner and Ivana Koudelkova.

    Typefaces include Frau Becker (2011, hand-printed typeface by Daniel Henry Bastian and Volker Schnebel), Gallegos Pro (2011, a classic pen-drawn uopright script family), Manuskript Antiqua (2010, an angular Czech design), Charade (2009, psychedelic era style family), Balladeer (2009, formal script with imperfect connections), HH Sonora (2005, comic book or signpainting style script) and HH Valentine (2005, formal script). Link at MyFonts, where one can buy these script fonts: Adagio Pro (2006, a copperplate wedding script by Karl Krauß), Sonora (2005), Eurobrush Pro (2007, by Ralph M. Unger), Euroscript Pro (2006, a school script by by Ralph M. Unger), Civilite (2008), Ballerina Pro (2006), Laredo Pro (2010), Arabella Pro (2006, a calligraphic script typeface sold at URW; Arabella was originally designed by Arnold Drescher around 1936/1939 for Johannes Wagner), Chaweng (2006, an oriental simulation typeface by Ralph M. Unger) and Laramie Pro (2006, a free form script family).

    In 2007, the Montauk Pro family of casual (comic book style) scripts was added, despite the fact that there already exists a similarly named script font since 1992 made by Sylvester A. Cypress. It can be had from URW.

    Other 2007 designs: Iova Nova (based on Jowa Script by J. Wagner, 1967), Concerto and Sonata Pro (calligraphic scripts, co-designed with Jürgen Willrodt), Symphony Pro (calligraphic with lots of alternates; for a knock-off, see Opti Sybaris, Castcraft, 1990-1991), and Veltro Pro (based on a 1931 Nebiolo design by that name).

    Designs from 2008: the signage family Santa Fe, the connected monoline script typeface Energia Pro (by Ralph Unger), and the blackletter typeface Peter Schlemihl (by Ralph Unger).

    Designs from 2011: Northport (a casual upright non-connecting script face).

    About Rosenfeld, taken from his CV: Peter Rosenfeld started, after finishing his business studies in 1980, his first position in the font production department at Dr. Hell in Kiel, a once well-known company in the area of CRT/laser composing and scanning systems. It was there where he first got in touch with digital type, (still in bitmap form at that time). Peter joined URW in Hamburg in 1982 and a little later he became the manager of the URW font studio. He says, 'All I am in this small font business, and all I know about font technology, I owe to Peter Karow. I had the luck to work very closely for and with this visioneer and pioneer of our industry for more than a decade.' Roughly ten years later Peter became Managing Director of URW++ and the company has established itself in the graphic design industry by continually developing and marketing innovative font and software products. URW++ is particularly successful in the area of corporate type development and production, as well as a supplier of so-called world or global fonts for OEM customers.

    Speaker at ATypI 2011 in Reykjavik. Behance link.

    Showcase of the most popular Profonts typefaces. View all Profonts typefaces. [Google] [MyFonts] [More]  ⦿

    Progothics

    Fraktur site run by Petra Heidorn and Dieter Steffmann (in German). Books on Fraktur. Tons of history. The fonts:

    • Fontsmith et.al.: Crusades Alternate
    • Petra Heidorn: Semper Idem (2001)
    • James Fordyce: Deutsch Gothic
    • Richard Gast: LeeBee Schwarz, Swedie Cruel
    • Iconian Fonts: Uberhölme
    • Manfred Klein: Broken Brains, Frax Initials, MKaslon Textura, Civilité Edges, Very Broken Frax, Fraxx Sketch Quill (2001, inspired by the work of Imre Reiner), Cowboy Caxton (2001), TShirts for Frax.
    • Graham Meade: Heidorn Hill, Labrit
    • Darren Rigby: Bayern
    • Mickey Rossi: Bongo Fraktur
    • Dieter Steffmann: Lautenbach
    • Tepid Monkey: Benegraphic
    • Derek Vogelpohl: Gothican, Iron Gothic, Ironsides
    • Matthew Welch: Fraktur Modern
    • Sara: Hilda Sonnenschein (2001)
    [Google] [More]  ⦿

    Prosa GmbH
    [Ulrich Proeller]

    Designer of the free monoline programming typeface family Codetta (2017). [Google] [More]  ⦿

    psd.de

    Friederike is the young German designer of the pixelish handwriting fonts Alice, MrElegant, psd, all made in 1999. She lives in Dortmund. [Google] [More]  ⦿

    Pure Circles

    A free circle-based font made in 2015 by a German type designer who prefers to remain anonymous. [Google] [More]  ⦿

    Quill Type Co
    [Paul van Oijen]

    Berlin-based product designer who created these typefaces in 2017: Luzia (text typeface), Cache (letterpress emulation), Stash, the display sans typeface Gerst, Konstanz (industrial age font), the slab serif Wrangell, the great all caps sans typeface Hossa (+Soft) (2017), and the dashing serif typeface Elaris (2017).

    Typefaces from 2018: Meryll (serif), Hanko (sans), Brusco.

    Elsewhere, he writes that he is based in Maastricht, The Netherlands, and Helsinki, Finland. Creative Market link. Behance link. Newest Creative Market link. [Google] [More]  ⦿

    R. Bauer

    Type designer who designed fonts at Klingspor such as Magnet (1906). [Google] [More]  ⦿

    R. Schöne
    [Schöne Schöne]

    [More]  ⦿

    Raban Ruddigkeit

    Berlin-based designer and editor who co-edited Typodarium in 2010 and in 2009. Typodarium is a typographic one-sheet-per-day wall calendar by Lars Harmsen and Raban Ruddigkeit (2009, Verlag Hermann Schmidt). He created the geometric arc-and-line segment typeface Perles (2010, Volcano).

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

    Raban Ruddigkeit
    [Typodarium 2009]

    [More]  ⦿

    Radar Design
    [David Phillips]

    Radar Design of Seattle, WA, was founded in the fall of 1995 by David Phillips. It is mainly a graphic and web design company (with a web site that does not show on my Netscape browser!). David Phillips's fonts include B52 (2001, US military and athletic lettering font), Konstruct (2000, a type family inspired by the hand-drawn typography used in posters by Russian, German and Dutch graphic designers of the 1920's and 1930's), and the quirky Kut Out (2002). More recent typefaces by Radar Design, mostly created by Jens Gehlhaar: Amoebia (organic family), Cornwall (sans), Gagamond (mini-serifed), Blindfish (almost grunge). In 2004, David Phillips and Traci Daberko went on to set up StockBucket, still in Seattle. MyFonts link for StockBucket.

    In 2021, David Phillips founded Komet & Flicker. [Google] [MyFonts] [More]  ⦿

    Radar Five Media
    [Charles S. Kuzmanovic]

    Charles S. Kuzmanovic (Radar Five Media) (b. 1973) lives near Munich, Germany. He created the fine scratchy typeface Radar.One (2008), and the paper cut-out typeface Radar Two (2010). Dafont link. [Google] [More]  ⦿

    Rade Matic

    Rade Matic studied with Lucas de Groot at the Berlin Weissensee School of Art. In 2014, he published the sans typeface family Truus (and Truus Truant) at Die Gestalten. Three of the six styles are stencil types (which have he suffix Truant). Die Gestalten writes: Truus is a humanist sans serif and comes with two sets of families in three weights. Inspired by Vilém Flusser's book Does Writing Have a Future?, the font design Truus Truant was originally drawn with a witch pen. The application and removing of the feather define an exceptional characteristic, translating Flusser's thoughts of breaks and crises during the creative process of a typeface design. [Google] [More]  ⦿

    Rafael Frank

    Late nineteenth century, early twentieth century rabbinical scholar, teacher, and typographer, b. Ischenhausen bei Augsburg, 1867, d. Leipzig, 1920. His typeface Frank Rühl (or Frank Ruehl), designed in 1908, and released in final form in 1910, became the main Hebrew typeface of the 20th century. Many Israeli books, newspapers and magazines use Frank Rühl as their main body text typeface. It was published by the C.F. Rühl Schriftgiesserei in Leipzig. Rafael Frank also designed the Hebrew typeface Mirjam (1919, published by Berthold in 1924).

    A digital version of Frank Rühl Hebräisch was done by Bitstream in 2002 as Frank Ruehl BT. MasterFont offers Frank Ruhl 1924 MF and Frank Ruhl MF (2020). In 2016, Yanek Iontef designed the free Google Font Frank Ruhl Libre for Latin in Hebrew. Iontef's extension and modernization has five styles.

    For a digital version of Mirjam, see Miriam Libre (2015) by Michal Sahar at Google Fonts.

    Author of Über hebräische Typen und Schriftarten (1926, Berlin). [Google] [MyFonts] [More]  ⦿

    Rah Dick
    [Thomas Radeke]

    German designer of the spiky grungy black metal band typeface Unreal Tournament. This typeface was used for the titling of one of the computer games by Epic Games in Raleigh, NC. Old link. [Google] [More]  ⦿

    Raimo Böse

    Born in Wittingen, Germany, in 1978, Raimo Böse is a freelance graphic designer in Berlin. He designed the fat rounded typeface Snoogle and Snoogle Dingbats together with Hannes von Döhren, which was released into the Linotype library in early 2009. [Google] [More]  ⦿

    Rainer B. Nowak

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Rainer Wiechmann

    Graduate of Fachhochschule für Druck in Stuttgart Vaihingen, Germany. Freelance teacher and founder of a studio. He created the free typefaces RaBi Fraktur (a Schwabacher) and Dörfler (marker script). Klingspor link. [Google] [More]  ⦿

    Rainer Will
    [Will Software]

    [More]  ⦿

    Rainer Will
    [Schulschriften]

    [More]  ⦿

    Ralf Borowiak

    In house type designer at Elsner&Flake in Hamburg. Designer of EF KaffeeSatz. [Google] [More]  ⦿

    Ralf de Jong

    In 2002, Friedrich Forssman and Ralf de Jong published Detailtypografie: Nachschlagewerk für alle Fragen zu Schrift und Satz (Verlag Hermann Schmidt). [Google] [More]  ⦿

    Ralf Herrmann
    [FDI Type Foundry]

    [MyFonts] [More]  ⦿

    Ralf Hoffmeister

    Designer who published two fonts in 2010 at 26plus-zeichen: Superficial (an organic sans), and Winheim (a simple sans; lowercase only). [Google] [More]  ⦿

    Ralf Janaszek

    Fantastic glossary of type terms. Very complete. In German. See also here. [Google] [More]  ⦿

    Ralf Lohuis
    [Medienwerkstatt Mühlacker]

    [More]  ⦿

    Ralf S. Engelschall
    [TypoPRO]

    [More]  ⦿

    Ralf Sander
    [Buntype]

    [MyFonts] [More]  ⦿

    Ralf Schmitzer
    [German Icons]

    [More]  ⦿

    Ralf Steinsträsser
    [Bissantz SparkFonts 5]

    [More]  ⦿

    Ralf Stubner

    German designer of these typefaces in a package called FPL fonts: TeXPalladioL-SC, TeXPalladioL-ItalicOsF, TeXPalladioL-BoldOsF, TeXPalladioL-BoldItalicOsF (2004), also called fplrc8a, fplrij8a, fplbj8a, and fplbij8a. The author explains: The FPL Fonts provide a set of SC/OsF fonts for URW Palladio L which are compatible with respect to metrics with the Palatino SC/OsF fonts from Adobe. Note that it is not my aim to exactly reproduce the outlines of the original Adobe fonts. The SC and OsF in the FPL Fonts were designed with the glyphs from URW Palladio L as starting point. For some glyphs (eg 'o') I got the best result by scaling and boldening. For others (eg 'h') shifting selected portions of the character gave more satisfying results. All this was done using the free font editor FontForge. The kerning data in these fonts comes from Walter Schmidt's improved Palatino metrics.

    Download FPL Neu. [Google] [More]  ⦿

    Ralf Weissmantel

    German designer of the paperclip font Linotype Contacta (1994) and the multiline hypnotic typeface Boogie (2003, Linotype). He worked as an art director for various international advertising agencies, and has led Corporate Design projects for firms such as Grey and MetaDesign. He is currently teaching graphic design at the Düsseldorf University of Applied Sciences.

    Boogie won an award at the Linotype International Type Design Contest 2003. Linotype link. Klingspor link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Ralph du Carrois
    [Carrois Type Design]

    [More]  ⦿

    Ralph du Carrois
    [Seite4]

    [More]  ⦿

    Ralph Michael Unger
    [RMU (Ralph Michael Unger Typedesign)]

    [MyFonts] [More]  ⦿

    Ralph Oliver du Carrois

    Berlin-based designer at Primetype of these typefaces:

    • The simple sans family PTL Maurea (2004).
    • The free sans/techno fonts Share and Share-TechMono (2005) and the large Pro family Share, which was designed as a corporate type family for Typo3.
    • The techno family PTL Highbus (2006).
    • The quirky serif family PTL Sadgirl (2006).
    • With Jenny Horn, he designed the pixel typefaces PiPaA35, PiPaB35, PiPaC35, PiPaD35 (2002).
    • Colaborate (2003) is free.
    • Axel (2009): developed jointly with Erik Spiekermann and Erik van Blokland, it is a system font with these features:
      • Similar letters and numbers are clearly distinguishable (l, i, I, 1, 7; 0, O; e, c #).
      • Increased contrast between regular and bold.
      • High legibility on the monitor via Clear Type support.
      • Seems to outperform Courier New, Verdana, Lucida Sans, Georgia, Arial and Calibri, according to their tests (although I would rank Calibri at or above Axel for many criteria).
    • In 2012-2013, Ralph du Carrois and Erik Spiekermann co-designed Fira Sans and Fira Mono for Firefox / Mozilla. Google Web Font link. This typeface is free for everyone. Open Font Library link. Dedicated web page. CTAN download page. Mozilla download page. It is specially designed for small screens, and seems to do a good job at that. I am not a particular fan of a g with an aerodynamic wing and the bipolar l of Fira Mono, though. Google web Fonts published Fira Sans Condensed and Fira Sans Extra Condensed (2012-2016) in 2017.
    • Real Text Regular is a corporate font designed in 2014 by Ralph du Carrois in close cooperation with Erik Spiekermann, for the monograph by Gestalten Hello I am Erik. In 2015, Fontfont finally published the full family FF Real, in 13 weights each for FF Real Head and FF Real Text. The typeface family is influenced by the German grotesques from ca. 1900 by foundries such as Theinhardt and H. Berthold AG. In 2017-2018, that family was extended to 52 styles in all thanks to a new set of italics. The designers are listed as Erik Spiekermann, Ralph du Carrois and Anja Meiners. They write: The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries---among them the Berlin-based foundries Theinhardt and H. Berthold AG---released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real's regular weight. In the words of Spiekermann, the historical example is "the real, non-fake version, as it were, the royal sans serif face", thus giving his new typeface the name Real (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story g and an 8 with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, f and t are wider, the capital I is equipped with serifs, as is the lowercase l. What's more, i-dots and all punctuation are round.
    • Quist (2015).
    • Belbo (2016). A sans family. Belbo Two is perhaps one of the thinnest hairline sans fonts ever made.
    • In 2022, Erik Spiekermann, Anja Meiners, and Ralph du Carrois published the neo-grotesque superfamily Case at Fontwerk. It includes Micro and Text subfamilies.

    Around 2011-2012, he set up Carrois Type Design in Berlin. He also co-founded bBox Type with Anja Meiners some time between 2016 and 2018.

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

    Ralph Oliver du Carrois
    [bBox Type]

    [More]  ⦿

    Rami Tawil

    Originally from Aleppo, Syria, Rami Tawil is now based in Frankfurt, where he designed the bold war-inspired slab serif typeface Bundeswehr (2017). [Google] [More]  ⦿

    Ramona Ring

    Nuremberg, Germany-based graphic designer and illustrator, who did some nice typographic posters in 2009. [Google] [More]  ⦿

    Rana Rmeily

    Designer in Stuttgart, Germany, who created the didone typeface Liv (2011) during her studies at SPD in Milano. Behance link. [Google] [More]  ⦿

    Raoul Gottschling

    New York City based graphic designer from Düsseldorf, Germany, who is currently working at Pentagram. At the University of Applied Sciences Düsseldorf, he designed the sans typeface La Nord. [Google] [More]  ⦿

    Raphaela Heuer

    During her studies, Trier, Germany-based Raphaela Heuer designed the semi-Lombardic typeface Atlastina (2017), which is based on an ancient stone tablet found in the Cathedral of Trier. [Google] [More]  ⦿

    Rasselbock

    During his studies in Trier, Germany, Rasselbock created FK Hoc (2015), FK Cut (2012, a cut paper dada typeface), FK Zeugma 2012, (an irregular eerie sans inspired by bad movie titling fonts from the 1930s), FK Futhark (2012, Germanic runes), FK Epiphany (2013, blackletter), FK Permutata (2013, an angular octagonal corporate typeface) and FK Neoz (2012, a smooth sans display family). In 2011, he designed FK Beo. [Google] [More]  ⦿

    Ray Moore

    Graphic designer in Munich. Behance link. He is working on an extensive ornamental caps typeface in 2010. [Google] [More]  ⦿

    Rayan Abdullah

    Type designer (b. 1957, Mosul, Iraq) who participated in the Linotype International Type design Contest in 2000 and lives in Germany, where he set up Markenbau in 2000. Author (with Roger Hübner) of Pictograms and Icons (2005, Herman Schmitz, Mainz) and Arabische Schriftkunst (1993, Hochschule der Künste Berlin). [Google] [More]  ⦿

    Razan Jilani

    Berlin, Germany-based designer of Rubber Band Theory Font (2015) and an Arabic display typeface (2015). She also designed a proposal of Olympic icons for Amman 2040 during her studies in Berlin. [Google] [More]  ⦿

    Rebecca Egger

    German type designer, b. 1985 Schwäbisch hall, who studied visual communication at HS Pforzheim, and at NSCAD University in Halifax, Canada. Codesigner with Lars Harmsen at Volcano Type of the sketched letter font B-Scratch One and B-Scratch Two (2009). Cypheral (2010, Volcano) is an LED style face. [Google] [MyFonts] [More]  ⦿

    Rebecca Reckstadt

    Hannover-based designer of Euredice (2000, Apply Design, Germany). [Google] [More]  ⦿

    Rechenzentrum Universität Zürich
    [Peter Vollenweider]

    PostScript information and sample programs at RZU. Site by Peter Vollenweider with a ton of information. There is a crash course on Bezier curves, a type 1 version of Frutiger 47, and a random type 3 font, with line by line explanations. In German. [Google] [More]  ⦿

    Rechtschreibeform

    German lobby for good handwriting. [Google] [More]  ⦿

    Red Bikini
    [Sven Heyckendorf]

    Red Bikini offers shareware fonts for all platforms: Shokkking (2006), PythonianDeluxe (2001, grunge face), Plakativo, Significa. By Hamburg-based Sven Heyckendorf.

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

    Reichsdruckerei Berlin

    Berlin-based state foundry and press. Designers there included

    • Paul Voigt: Voigtsche Gotisch (ca. 1900).
    • Georg August Eduard Schiller (imperial punchcutter): Borussia (1900, blackletter), Germania (1900, blackletter).

    Publications include Alphabete und Schriftzeichen des Morgen- und Abendlandes zum allgemeinen Gebrauch... etc (1924, Berlin). [Google] [More]  ⦿

    Reinhard Haus

    Born in 1951 in Dörnigheim am Main, Germany, Reinhard Haus started working in 1970 for D. Stempel AG. In 1990, he became art director at Linotype Hell AG and later at the Linotype Library in Bad Homburg, Germany. He also taught type design. At Linotype, he published several typefaces:

    • The big Compatil family (1999-2001), which was developed together with Silja Bilz and Olaf Leu. As the name suggests, this typeface was intended for use in reporting computations, tables, and in information design in general. The 16-font family from Linotype comprises Compatil Fact, Compatil Letter, Compatil Text, and Compatil Exquisit. View the Compatil typefaces.
    • Guardi (1987). A pleasing Venetian text family.
    • The rather bland slabbish typeface LinoLetter (1980s), which was co-designed with André Gürtler.

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

    Reinhard Minkewitz

    Designer of Holz-Fraktur-Schrift. [Google] [More]  ⦿

    Reinhold Bauer

    Type designer, 1861-1936. His typefaces include Rübezahl (1904, Klingspor), an art nouveau typeface, and Magnet (1906, Klingspor), a condensed display typeface. [Google] [More]  ⦿

    Renate Weise

    Freelance artist who studied in Mainz, Germany. Designer of the display font Linotype Charon (1999). She also made Scriptuale LT (2003). Claudio Piccinnini complained that this design has some roots in Post Antiqua (Herbert Post, 1932, now a Berthold face), and in particular that the Linotype blurb does not mention Post Antiqua. Dan Reynolds (then Linotype) replied in a more or less legalistic manner, avoiding the ethical issue of not mentioning sources.

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

    Rene Marco

    Rene Marco (Aachen, Germany) created the decorative display typeface Jelly Candy in 2013. Behance link. [Google] [More]  ⦿

    René Barth

    René Barth (Kassel, Germany) designed the heavy display sans Cicciona (2013). Behance link. [Google] [More]  ⦿

    René Bergenroth

    During his studies in Hannover, Germany, René Bergenroth designed the plump round sans typeface Valken (2013). [Google] [More]  ⦿

    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]  ⦿

    René Breil

    Designer at URW++ of ReneMenue (2010: has Symbols (kitchen dingbats) and Book styles), ReneFont (1999, a strong elliptical face) and ReneLemon (1999, lemon-shaped glyphs).

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

    René Kerfante

    With Klaus Bartels (1948-2005), Wolfgang Talke, Bernd Pillich, and Frank Sax, he formed the BSK team---Babylon Schrift Kontor, a German foundry, est. 2000. It specializes in major text families, mostly based on fonts from the Berthold collection. However, after Bartels's death, BSK seems to have vanished from the typeface of the earth. [Google] [More]  ⦿

    René Rieger

    German designer of the three-style geometric sans typeface Rhizome (2020) and the 4-style condensed transitional typeface Plateau Five (2020). [Google] [MyFonts] [More]  ⦿

    René Tillmann

    Designer at Brass Fonts in Cologne of the grungy typefaces BF Amnesia, BF Decore, and BF SynkopSemi (1996).

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

    René Wagner

    Wolgast, Germany-based designer, b. 1985, of the display typeface Rustswords (2016). [Google] [More]  ⦿

    Renegade Fonts
    [Jan Charvat]

    Jan Charvat (Prague, Czechia) studied electrical engineering and computer graphic programming at Prague University. He set up his own commercial type foundry in Czechia in 2014 and works as a font engineer (with two years of font engineering experience at monotype in Bad Homburg) and type designer. His typefaces:

    • Globe Grotesk Display (2014). A sans typeface family inspired by Universal Grotesk (1951, Grafotechna). It is contemporary in some design elements (an organic b and a handicapped g spring to mind), yet it has inktraps and other features that hearken back to the era of print.
    • The poster typeface Velodrama (2015).
    • The soft sans typeface family Hela (2018).
    • The extended grotesk typeface Burt (2019).
    • The techno typeface family Deus (2020).
    • The free experimental typeface Rack (2020).

    Speaker at ATypI 2016 in Warsaw on Capital additions to Georgian typography. Personal home page. [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 80s 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]  ⦿

    Ret Samys

    Possibly German designer of the free fonts LSW Drachenklaue (2015, "Dragon's claws"), Samys Bookified Tuffy (2013, alphadings) and Samys KeysNKeys (2013).

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

    Reto Brunner

    Graphic designer from Berlin. Soundfiles (1998, Garcia fonts) are glyphs in the shapes of soundwaves. [Google] [More]  ⦿

    Revolver Type Foundry
    [Lukas Schneider]

    German type designer born in Frankfurt in 1973. He studied in Offenbach at the Hochschule für Gestaltung. He assisted Akira Kobayashi with some projects, and still lives in Frankfurt. In 2017, Lukas Schneider set up Revolver Type Foundry.

    At Typeoff.de, he created the Western billboard typeface Jeans (2004), AT Stencil (2004) and the kitchen tile typeface Disco3000 (2004). At the Hochschule, he created Gazoline, a grotesk face. Lukas Schneider has free-lanced for companies in Frankfurt as well as for the magazine form and for Linotype. He runs his own studio in Frankfurt, called Protago Graphic, and most recently started Snider Inc, also in Frankfurt.

    In 2007-2008, his masterpiece appeared in the FontFont collection: FF Utility, 15 styles of Bank Gothicalized alphabets specially made for information design. See also YB Utility Slab.

    He custom designed in 2006-2007, under the supervision of Prof. Johannes Bergerhausen and Prof. Ulysses Voelker at Fachhochschule Mainz the Plus family (for the Plus supermarket). In particular, one font is called Plus Exklusiv Medium. Another custom design is DRAFTFB for Eikes Grafischer Hort, a hand-printed typeface that covers Latin and Cyrillic.

    In 2013, he graduated from the Type and Media program at KABK in Den Haag. His graduation typeface was the delicate and quite readable text family Damien, which was created for editorial design.

    In 2016, Lukas published Expose at Indian Type Foundry. This 4-style sans typeface is "constructed" or "engineered" for use in headlines. Free version at Fontshare.

    Typefaces at Revolver Type Foundry: Damien (2017, in Display and Text subfamilies), Dinamit (2016: a terrific DIN Breitschrift, abandoned by the German DIN norming institute around 1936), Mondial Text (2016: a striking didone based on Hans Bohn's Mondial from 1930), Mondial Display (2016), Newson (a low contrast wayfinding sans with plenty of dingbats---hey, Frankfurt Airport managers, is anyone paying attention?).

    Designer of DTL Gros Canon at Dutch Type Library, which writes: The first part of the DTL [Gros] Canon Project included the digitization of three types by the Flemish Renaissance punchcutter Hendrik van den Keere (ca.1540-1580): Gros Canon Flamande (textura type, 1571), Gros Canon Romain (roman type, 1573), and Canon d'Espaigne (rotunda type, 1574). The latter is almost ready for release.

    Typecache link. Klingspor link. FontShop link. Type Network link. Old Snider Inc link. [Google] [MyFonts] [More]  ⦿

    Reymund Schroeder
    [Zeugler]

    [More]  ⦿

    Ricarda Hollmann

    German designer of the lively calligraphic typeface Lauries Tanz (2016). Behance link. [Google] [More]  ⦿

    Ricardo Carlet

    Berlin-based graphic designer who created a paperclip font in 2011. [Google] [More]  ⦿

    Rich vom Dorf

    Hamburg-based creator in 2009 of the grunge fonts RvD_BETON13, RvD_PATTERSON, RvD_SUITCASEBOY, RvD_THUMBSUCKERS, RvD_GLUED, RvD_MICROCODE, RvD_PRINTPLATE, RvD_TRAKTORFAHRER. He also made RvD_CODE28 (2009). [Google] [More]  ⦿

    Richard Gerbig

    Designer at Haas of the script titling font Riccardo (1941). [Google] [More]  ⦿

    Richard Grimm-Sachsenberg

    Designer (1873-1952) at Klinkhardt of Grimm-Antiqua und Schmuck (1914), Neue römische Antiqua (1907), Saxonia (1907), magere römische Antiqua (1912), and magere Grimm Antiqua (1916). [Google] [More]  ⦿

    Richard Ludwig

    Son of typefounder Carl Jacob Ludwig. Born in 1877, he created Antiqua Augenheil (+Kursiv) (Ludwig&Mayer, 1907-1908), Deutsche Kursiv (1909, Ludwig&Mayer) and Linear Antiqua (1911, Ludwig&Mayer). Deutsche Kursiv was revived by Delbanco as DS-Deutsche-Kursiv. [Google] [More]  ⦿

    Richard Redfern

    München-based designer of the monospaced thin avant garde typeface ABC2 (2014) and the squarish almost constructivist Pinguin (2017). Behance link. Tumblr link. [Google] [More]  ⦿

    Richard Stickel
    [Typoflocke]

    [More]  ⦿

    Richard Weber

    Amerian designer of the bubblegum font Papageno (Bauersche Giesserei, 1958). Gumball (2005, Canada Type) is a digitization of this font. Canada Type writes: It was our designer's duty to inform you of your stolen past. So we made Gumball. It is still hard for us to swallow: These letters are the typographical parallel of Khrushschev, Nixon, deGaulle, Batista, Kerouac, Capote, Levi-Strauss, Peter Gunn, Bridge on the River Kwai, Project Mercury, and three-cent stamps.

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

    Richie Jegen

    During his studies in Köln, Germany, Richie Jegen designed the free font Belem (2018), which is based on geometric patterns found in Santa Maria de Belem church in Lisboa, Portugal. Behance link. [Google] [More]  ⦿

    RichyType
    [Eric Schmitt]

    Eric Schmitt's foundry established in 2006 in Frankfurt am Main. Some of his fonts are free and all have at least free demos. The list, as of early 2007: RT Cornelia (organic sans), RT Elsa, RT Francesca (a roman type in the style of Francesco Griffo's lettering), RT Francesca-bold, RT Francesca-italic, RT Gerda, RT Gerda-bold, RT Gerda-italic, RT Gerda-light, RT Gerda-light-italic, RT Klara Sans-bold, RT Klara Sans-italic, RT Klara Sans, RT Klara-Semibold, RT Klara-Tooled, RT Klara-italic, RT Klara-regular, RT Klebelettera (grunge), RT Le Papa (a Bodoni-inspired script), RT Paula (Futura-inspired), RT Questa, RT Questa-hoppel, RT Questa-italic, RT RichySans-bold, RT RichySans-kursiv, RT RichySans-light, RT RichySans, RT Tankstella (an experimental stencil). RT Magellan (2007) is a free medieval map font.

    Klingspor link. [Google] [More]  ⦿

    Rick Lewik

    Berlin, Germany-based designer of the free octagonal typeface Grad (2017), the free blackletter font Deutschmeister Moderne (2019), the free grungy typeface Blended (2019), and the free font Mirror (2019). [Google] [More]  ⦿

    Riegerl, Weißenborn&Co

    Creators of the blackletter typefaces Lipsia Fraktur (1906, H. Berthold), Halbfette Lipsia Fraktur (1907, H. Berthold) and Fette Lipsia Fraktur (1908, H. Berthold) [Google] [More]  ⦿

    Righttype
    [Daniel Bretzmann]

    Righttype is a typeface design project by Daniel Bretzmann (from Germany) that was started 2004 in Vienna, Austria. Font families include Sola Minora (2008, blackboard chalk face), Raumstoff (2006-2007, a fat counterless logotype), Novatero (a lovely sans, 2006), Novatero-Monitoro (2006, pixel), rt screenloft8 (2004, pixel), Screenloft 8 (2007, pixel), and Start Today (2006).

    Dafont link. [Google] [More]  ⦿

    Risa Kusumoto

    Art director in Berlin who was born in Japan, and who graduated from the University of Toronto. Designer of the decorative all caps Brush Pen Font (2014). [Google] [More]  ⦿

    RMU (Ralph Michael Unger Typedesign)
    [Ralph Michael Unger]

    Ralph M. Unger (b. 1953, Thuringia, East Germany) says this about himself at MyFonts: Typesetter from the composing stick via Linotype setting machines to the Mac. Jobs in various Thuringian printeries. Barred further education by Communist authorities due to political reasons. Imprisoned in East Germany. Since 1988 in the state of Baden-Wuerttemberg, former West Germany. Jobs in several newspaper printing houses as advertisement compositor. Own office since 1995, in Aalen, Baden-Wuerttemberg. He lives in Schwaebisch Gmuend, and was a freelance type designer for Profonts and URW++, where he contributed frequently to their libraries between 2002 and 2009. In 2009, he founded RMU. MyFonts link. I split his contributions into two groups, the URW / Profonts group, and the RMU group. The prefix FontForum refers to a subseries of URW++ fonts. Unless specifically mentioned, all the following fonts are at URW++ and/or Profonts:

    • FontForum Admiral Script (2005): revival of Middleton's Admiral script from 1953.
    • Amitié (2009): a garalde family.
    • Arabella Pro (2006): after the script by Arnold Drescher from 1936, published at Joh. Wagner.
    • Fontforum Atrament (2006): architectural lettering. Do not confuse with a Suitcase Type Foundry font from 2003 by the same name.
    • Atze (2010): a comic book family.
    • Behrensschrift D (2007): after the jugendstil typeface Behrens Schrift, 1902, by Peter Behrens.
    • FontForum Bernhard Script (2005): after Bernhard Script from the 1920s.
    • Bradley (2005): blackletter, after the original by William H. Bradley.
    • Breite Kanzlei (2007).
    • Breitkopf Fraktur (2003): after the original by Johann Gottlob Immanuel Breitkopf, done in 1793.
    • Brocken (2011) is a signage typeface inspired by a design of Volker Küster (1960s).
    • Profonts Bureau (2010, Profonts): a minimalist rounded sans family.
    • FontForum Calypso (2005): a revival of Roger Excoffon's Calypso (1958).
    • Card Pro (2006): a decorative display based on Ella Cursief (1916, Sjoerd Hendrik de Roos, Lettergieterij Amsterdam).
    • Chaweng (2006, Profonts): an oriental all caps simulation face.
    • Civilite URW (2005).
    • Compliment (2004, casual script). Based on a 1965 script by Helmu Matheis for Ludwig & Mayer.
    • Cranach (2007): a blackletter typeface modeled after Kuenstler Gotisch from the Krebs Foundry.
    • Dominante (2007): a serif family based on Johannes Schweitzer's font by that name, 1959.
    • Dominique (2010, profonts): an informal typeface.
    • FontForum URW Ecsetiras (2005): revival of Ecsetirás (Zoltan Nagy, 1967, a brush face).
    • Edda Pro (2008). An art nouveau typeface that revives a Heinrich Heinz Keune typeface from 1900.
    • Energia Pro (2008, Profonts): connected monowidth script, based on Arno Drescher's Energos from 1932.
    • Estro (2003, Western lettering). Seems close to Nebiolo's Estro from the 60s.
    • Eurobrush Pro (2007, Profonts): handwriting.
    • EuroSans (2008).
    • Euroscript Pro (2006, Profonts): school script typeface based on his own handwriting.
    • Flashes (2007): a revival of Crous-Vidal's Flash, 1953.
    • Fox (2007): a brush script based on W. Rebhuhn's original from the 1950s.
    • Gamundia (2010): a calligraphic copperplate script inspired by Excoffon's Diane.
    • Ganz Grobe Gotisch (2006): a fat blackletter modeled after the original by F.H.E. Schneidler.
    • Gmuender Elan Pro (2011) is a 1950s style script face.
    • Gradl Nr 1 (2008): based on hand-drawn art nouveau upper case characters by M. J. Gradl, ca. 1900.
    • Graphique Pro (2008): shaded caps face, based on Graphique, which was originally created by Swiss designer Hermann Eidenbenz in 1945, and issued as hot metal font by Haas'sche Schriftgießerei. See also New Graphique Pro (2011).
    • Handel Slab (2009): a 6-style extension of Trogram's 1980 typeface Handel Gothic.
    • Hanseat (2010): a grotesque family done at Profonts. It was heavily inspired by Germany's official DIN 1451 Engschrift.
    • Iova Nova (2007): based on Jowa Script, designed by J. Wagner in 1967.
    • Profonts>Impression (2008): art deco.
    • Jessen Schrift (2004): after the Rudolf Koch blackletter typeface by that name.
    • FontForum URW Konzept Pro (2005): revival of Konzept (1968, Martin Wilke's handprinting face).
    • Legende (2002): a script typeface based on the original typeface of Friedrich Hermann Ernst Schneidler (1937).
    • Leipziger Antiqua. The original Leipziger Antiqua by Alfred Kapr at Typoart dates from 1971 until 1973. The digital version of Leipziger Antiqua was developed by Ralph M. Unger in 2005.
    • Manuskript Antiqua (2005): after Oldrich Meinhart's Manuskript Antiqua.
    • The Maszynysta family of heavy industrial sans typefaces (2010) have a textured style (Struktura), a Shadow, and a plain Roman.
    • Maxim (2003, Profonts): The heavy brush typeface Maxim was originally designed by Peter Schneidler in 1956 for the Bauer foundry.
    • New Bayreuth (2008): after Friedrich Hermann Ernst Schneidler's Bayreuth from 1932.
    • Old Borders and Lines (2010). A free font.
    • Ornella (2008): Jugendstil.
    • Peter Schlemihl (2008, Profonts): a revival of a blackletter by Walter Tiemann.
    • Pedell (2009): a casual script.
    • Polo (2002): a brush face modeled after Carl Rudolph Pohl's Polo (1960).
    • In 2012, Ivana Koudelkova co-designed the grungy headline typeface Retroactive Pro with Ralph M. Unger at Profonts.
    • Fontforum Rhapsody (2006): a revival of Ilse Schüle's rotunda face.
    • Roberta (2003): art nouveau typeface after obert Trogman's typeface for FotoStar.
    • FontForum Signs and Symbols (2006).
    • Splendor (2009): a revival of a brush script typeface by Wilhelm Berg, Schriftguss, 1930. See also Splendor Pro (2014).
    • Sportowy (2009): an outline face.
    • Stanford (2011). A sports lettering face.
    • Stiletto (2006): a medieval script.
    • Fontforum Stripes (2007): a multistripe op art display typeface based on a Letraset font from 1973 by the same name.
    • Fontforum Thalia (2006): retro font.
    • Tintoretto (2006): shadow display face based on an origonal by Schelter & Giesecke.
    • Tip Top Pro (2008): a Julius Klinkhardt art nouveau typeface revival.
    • FontForum Unciala (2005): a revival of Oldrich Menhart's typeface Unciala (1953, Grafotechna).
    • Unger Chancery (2005).
    • Unger Script (2003): based on H. Matheis' Slogan typeface designed for Ludwig&Mayer in 1957.
    • Veltro (2007): after a 1931 original by G. da Milano at Nebiolo.
    • Profonts Woodpecker (2008).
    The list of RMU fonts:
    • Affiche (2017). A revival of Helios Reklameschrift of the Klinkhardt foundry.
    • Aldo Manuzio (2017). After a house typeface from 1897 by Schelter&Giesecke.
    • Amati Pro (2010): after Georg Trump's condensed didone face, Amati, 1951.
    • Antiqua Florenz (2021). A revival and extension of Paul Zimmermann's Antiqua Florenz (1960, Ludwig & Mayer), which is based on Venetian romans.
    • Avus Pro (2012). A sans family that extends Gert Wunderlich's Maxima (1970).
    • Baroque Pearl (2016). A pearly typeface that revives Peter A. Demeter's Fournier Geperlt (1922, Schriftguss).
    • Behrens Kursiv (2013). After a 1906 original by Peter Behrens.
    • RMU Belvedere (2020). A revival of Heinrich Wieynck's art nouveau / fin-de-siècle typeface Belvedere (1906, Bauer).
    • RMU Bison (2020). A revival of Julius Kirn's brush script Bison (1935-1938, C.E. Weber).
    • Bernhard Blackletter (2016). After Lucian Bernhard's extrafette Bernhard Fraktur (1921).
    • Bernhard Cursive Extra Bold (2010).
    • Borghese (2015). An art nouveau font after a Schelter & Giesecke original from 1904.
    • Borgis Pro (2012). A Clarendon-style text family.
    • Boulette (2015, a fat creamy script).
    • RMU Bowery (2019) A revival of Old Bowery (1933, ATF)).
    • Bravura Pro (2013). After G.G. Lange's Publica.
    • Bricklayers (2012). An original fat slab display face.
    • Brillant (2009): art nouveau and ultra heavy.
    • Butti (2011). A script family paterned after Fluidum (1951, Alessandro Butti, Nebiolo).
    • Cable Condensed (2014). Based on Koch's Kabel.
    • Caesar Pro (2011). A flared sans typeface after Caesar Schrift (1913, Georg Schiller, C.F. Rühl).
    • Capitol Pro (2012). An art deco typeface based on Capitol (Karl Hermann Schaefer for Schriftguss, 1931).
    • Carina Pro (2017). A calligraphic script typeface based on Rautendelein (1929, Schriftguss).
    • Carla Pro (2013). A broad-nibbed script modeled after Ballantines Script (Elsner & Flake, 1974; see also Ballantines Serial by SoftMaker).
    • Carlsbad (2018). A couple of art nouveau typefaces based on originals from 1895 by H. Berhold called Regina Cursiv and Hansa Cursiv.
    • Caslon Gotisch (2009): after the original by William Caslon from 1763.
    • Celebration (2009): blackletter.
    • Circensis (2016). A Western circus font based on a concept of Fritz Richter.
    • Claudius (2010): after a 1937 blackletter font at Klingspor.
    • Constanze Pro (2012). A light cursive typeface based on Constanze (1954, Joachim Romann, Klingspor).
    • Contact Pro (2010): after Contact, a 1963 font by Helmut Matheis.
    • Dante Alighieri (2018). Based on a Schelter & Giesecke original.
    • Daphnis (2016). A revival of Daphnis (1929, Walter Tiemann).
    • Deutschmeister (2017). A textura blackletter typeface after Deutschmeister by Berthold Wolpe for Ludwig Wagner in 1934. (Some dispute that Wolpe made this font.)
    • Diamant Pro (2012). A transitional serif face.
    • Emilia (2016). Based on Weiss Antiqua (1928) by Emil Rudolf Weiss.
    • Neue Echo (2016). Based on Echo for Schriftguss.
    • Elbflorenz (2020). A revival of Albert Auspurg's display typeface Miami (1934, Schriftguss).
    • Emilia Gotisch (2016). After Weiss Gotisch (1936) by Emil Rudolf Weiss.
    • Emilia Fraktur (2021). A revival of Emil Rudolf Weiss's Weiss Fraktur (1913).
    • Erler Titling (2015). After Erler Versalien (1953, Herbert Thannhaeuser for Typoart).
    • Eurotech Pro (2011): a slabby techno family.
    • Faulkner Pro (2011): a connected heavy signage script based on Alan Meeks's Kestrel.
    • Fette Kanzlei (2019).
    • Fette Unger Fraktur (2010).
    • Fichte Fraktur (2020). After Walter Tiemann's Fichte Fraktur (1934).
    • Fontanesi RMU. An ornamental caps typeface that revives Aldo Novarese's Fontanesi (2018).
    • Forelle Pro (2010): after the original Forelle script typeface by Erich Mollowitz, 1936.
    • Frankenberg Pro (2012). An antique script face.
    • Gabor Pro (2014). A connected copperplate script.
    • Gaby Pro (2017). A revival of Hans Möhring's script typeface Gabriele (1938 or 1947, C.E. Weber).
    • Garamond Antiqua Pro (2015).
    • RMU Gilgengart (2020). A revival of Hermann Zapf's Fraktur font Gilgengart (1938).
    • Gillray Pro (2015). A copperplate script after Hogarth Script (by Harald Bröder for Typoart).
    • RMU Gloria (2019). After Gloria (1898, Emil Gursch).
    • RMU Gong (2020). Based on Arno Drescher's Super Grotesk Schmalfett first released in 1933 at Schriftguss.
    • Gmuender Gravur (2011). A 3d shadow face. Gmuender Antiqua Pro (2015) is influenced by the metal font Imprimatur (1952-1955, Konrad F. Bauer and Walter Baum). Gmuender Kanzlei (2018) is a blackletter typeface.
    • Goethe Fraktur (2022). A revival of a blackletter typeface by Wilhelm Woellmer (1905).
    • Gravira (2021). A revival of Herbert Thannhaeuser's Gravira, released by Schelter & Giesecke in 1935 .
    • Haenel Antiqua (2020, based on a 19th century antiqua by Eduard Haenel) and Haenel Fraktur (2011, after Haenel Fraktur, ca. 1840).
    • Hanse Textura (2020). A revival of a textura by Hermann Zapf.
    • RMU Helion (2020). A revival of the 3d titling typeface Helion (1935, Arno Drescher for Schriftguss Dresden).
    • RMU Herkules (2019). After a late 19th century font by Bauer and Berthold called Reklameschrift Herkules.
    • Hoelderlin (2018). After Eugen Weiss's Hoelderlin blackletter font (1937).
    • Hoyer Script (2017). After Hanns Thaddeus Hoyer's Hoyer Schoenschrift (1939, Stempel).
    • Hupp Fraktur (2016). After Otto Hupp, 1911.
    • Impuls (2010): a brushy typeface based on Paul Zimmermann's Impuls (1945).
    • Initials RMU One (2012) consists of revivals of Rudhardsche Initialen (Otto Eckmann, ca. 1900) and Walthari Initials (ca. 1900, Rudhardsche Giesserei). Initials RMU Two (2012) consists of revivals of Jubilaeumsinitialen (by Bauersche) and Augsburger Initialen (by Peter Schnorr, 1901).
    • Jean Paul Fraktur (2021). A revival of Breitkopf's Fraktur font Jean-Paul-Schrift (1798).
    • Jobs Gravure (2011). It had to happen---a few days after Steve Jobs' death, Unger released the beveled engraved typeface Jobs Gravure, which is an extension of Trump Gravur (1954, Weber).
    • Jolly Polly (2012): a curly non-connected script face.
    • Kis Antiqua Pro (2018). A revival of Hildegard Korger's Kis Antiqua at Typoart.
    • Kleist Fraktur (2010): after Walter Tiemann's original.
    • Kompress Pro (2013). Two compressed sans typefaces.
    • RMU Kontrast (2021). An art deco typeface that revives Kontrast (1930, F.H.E. Schneidler at Weber).
    • Koralle RMU (2018). A revival of Schelter and Giesecke's Koralle (1915).
    • Korpus Pro (2014). A text typeface family. Followed later in 2014 by Korpus Sans Pro.
    • Korpus Serif Pro (2021). A revival and extension of Timeless (Typoart) that covers Greek, Latin and Cyrillic.
    • Leibniz Fraktur (2012) is modeled after the famous Genzsch & Heyse blackletter font.
    • Lenbach (2021). Inspired by a German font from the Victorian era.
    • Liliom Pro (2012). A beautiful fat didone typeface based on an original from the Fonderie Française.
    • Lipsia Pro (2011). An angular serif family.
    • Literatura Pro Book (2012).
    • Litfass (2021). A revival of an art nouveau font by Flisch.
    • Lutetia Nova (2014). A fresh two-style take on Jan van Krimpen's Lutetia (1924).
    • RMU Luchs (2021). A redesign of Jakob Erbar's inline all caps art deco font Lux (Ludwig & Mayer, 1929).
    • Luxor Pro (2010): a Victorian/Western display face.
    • Lyrica (2014). A revival of the informal blackletter typeface Lyrisch (1907, Georg Schiller).
    • RMU Magnet (2021). A redesign and revival of Magnet (1951, Arthur Murawski at Ludwig & Mayer).
    • RMU Manolo (2019). Based on the art nouveau typeface Manolo (Ludwig & Mayer).
    • Manutius Pro (2012).
    • Meister Antiqua (2011, +Bold, +Book). A Typoart original from 1951 in the tall flared ascender serif genre, revived and extended.
    • Mitropaschrift (2016). An octagonal original.
    • Mobil Pro (2011). A semi-script typeface in the fifties style of Matheis.
    • Monument (2010): a 3d shadow roman caps face created after Oldrich Menhart's Monument.
    • Narziss (2018). A revival of Walter Tiemann's Narziss from 1921.
    • RMU Neptun (2021). A revival and extension of the art nouveau typeface Neptun by Aktiengesellschaft fuer Schriftgiesserei und Maschinenbau, Offenbach.
    • Neue Kurier (2011). Typoart's popular signage script font in a new, completely remastered version.
    • Neue Muenchner Fraktur (2010).
    • Neue Schwabacher (2021). After Albert Anklam's Neue Schwabacher (Genzsch & Heyse, 1876).
    • Neue Thannhaeuser (2011).
    • Old Towne Pro (2010): a Western font.
    • RMU Omega (2020). After Omega, an art deco typeface by Friedrich Kleukens at Stempel in 1926.
    • Orbis Pro (2016). A revival of Walter Brudi's shadow typeface Orbis (1953, Stempel).
    • Orplid Pro (2019). a layerable typeface that revives and extends Hans Bohn's all caps Bauhaus era typeface Orplid (1929).
    • Parcival Antiqua (2016). A revival of Parcival Antiqua (1926, Herbert Thannhaeuser).
    • Parfum (2013). A low x-height script that was inspired by Howard Allen Trafton's Quick (1933, bauer).
    • Parler Fraktur (2018). A revival of Friedrich Poppl's Poppl Fraktur.
    • Parler Gotisch (2011). A blackletter face.
    • RMU Pittoreske (2019). A decorative Victorian typeface.
    • Plastica Pro (2015, a chiseled typeface inspired by a J. Lehmann design).
    • RMU Pergola (2021). A vintage shadow typeface inspired by a late-19th century font of Georg Giesecke.
    • Post Fraktur (2014) and Postillon (2014). After Herbert Post, 1933-1937.
    • Primana Pro (2012). A seductive geometric grotesk family.
    • Prinzess Gravur (2010): a blackletter typeface modeled after Prinzeß Kupferstichschrift (1905, Berthold).
    • Prisma Pro (2011). Revival and extension of Rudolf Koch's multiline typeface Prisma (1931).
    • Reklame Fraktur (2016). After Reklame Fraktur by Albert Christoph Auspurg, 1914.
    • Reflex Pro (2018). All caps, with an inline style.
    • Reznicek Pro (2011) is a post-Victorian pre-art nouveau typeface named after Ferdinand von Reznicek (1868-1909), one of the leading artists and illustrators of those times.
    • Rekord Antiqua (2020). A revival of the art nouveau era text typeface Rekord Antiqua (1911, Wagner & Schmidt).
    • Rhythmus Pro (2016). After a Schriftguss AG and Schelter&Giesecke original grotesk, and extended to cover Cyrillic.
    • Ridinger Std (2012). Based on Riedingerschrift (Franz Riedinger, 1906, for Benjamin Krebs Succ.).
    • Ronde Pro (2011): roundhand script.
    • Royal Grotesque (2021). A revival of Wotan by Wagner & Schmidt, 1914. Did this typeface become RMU Royal Sans (2022)?
    • Salzmann Fraktur (2019). A revival of Max Salzmann's blackletter font released by Schelter & Giesecke in 1912.
    • Saskia Pro (2016). Revival of Jan Tschichold's Saskia (1931, Schelter & Giesecke).
    • Schmale Anzeigenfraktur (2009): based on Koch's Schmale Deutsche Anzeigenschrift, 1923, Klingspor.
    • Schmale Mediaeval (2020). Based on Schelter & Giesecke's Schmale Mediäval (1840).
    • Schmuckinitialen (2009): an ornamental caps typeface in the art nouveau style based on Walthari Initials [Walthari (1899, Heinz König for the Rudhard'sche Giesserei) in the upper case and Eckmann Initials (ca. 1900, by Otto Eckmann, Germany's chief art nouveau type designer) in the lower case].
    • Schreibmeister (2021). Ralph's interpretation of Arno Drescher's formal cursive typeface for Ludwig Wagner (1958, Leipzig).
    • Schwabacher Book (2013).
    • Sebaldus (2019). A heavy blackletter typeface, after Sebaldus Gotisch (1926, H. Berthold).
    • Senatsfraktur (2020). After Friedrich Bauer's Senats Fraktur done in 1907 for Genzsch & Heyse.
    • Concordia (2020). A revival of Sensation Schmalfett (1914, Heinrich Hoffmeister).
    • Siegfried Pro (2017). A revival of the art nouveau typeface Siegfried (1900, Wilhelm Woellmer).
    • RMU Skizze (2021). This revives Walter Höhnisch's script typeface Skizze (1935, Ludwig&Mayer).
    • Staxx Pro (2013). A prismatic typeface.
    • Staufer Gotisch (2015). An engraved blackletter typeface modeled after Herbert Thannhaeuser's Hermann Gotisch (Schriftguss, 1934).
    • Steinschrift Pro (2015). A single style condensed sans serif.
    • Sylphe Pro (2019). A vintage script font that revives Schelter & Giesecke's Isabel (not Sylphide, as claimed by him).
    • Tablica (2017). After Karl-Heinz Lange's DDR telephone directory font Minima (1984).
    • Thannhaeuser Fraktur (2013) is a redesign of Typoart's Thannhaeuser Fraktur.
    • Thomasschrift (2014). A rustic typeface that revives and extends Thomas-Schrift by Friedel Thomas (1957-1958, Typoart).
    • Titanschrift (2011). A yummy soft and fat display face.
    • Tombola (2018). After an alphabet from the 1920s by Otto Heim.
    • RMU Trianon, renamed RMU Trifels (2020). After Heinrich Wieynck's Trianon (1905, Bauersche Giesserei).
    • Trocadero Pro (2010): an extension and revival of Trocadero Kursiv, 1927, Albert Auspurg, Trennert.
    • Troubadour Pro (2010): In Medium and Engraved styles.
    • Trump Deutsch (2011): a blackletter face, after the 1935 original by Georg Trump.
    • Trybuna (2013). Based on Herbert Thannhaeuser's Liberta Antiqua (1958), but completely redrawn.
    • Turnier (2019). A revival of G.G. Lange's derby (1952-1953).
    • Tyton Pro (2013). A brush script after Heinz Schumann's famous 1964 Stentor.
    • Typoskript Pro (2010): a revival of Hildegard Korger's Typoskript, first done at TypoArt in 1968.
    • Unger Fraktur (2010): after a 1793 design by Johann Friedrich Unger; includes fett and mager.
    • Walbaum Antiqua Pro (2013). A revival of Justs Erich Walbaum's didone classic.
    • RMU Wallau (2019). After Rudolf Koch's rotunda typeface Wallau (1926-1934).
    • Werbedeutsch (2021). A revival of the blackletter typeface Buchdeutsch (Ernst Schneidler, 1926).
    • Wieynck Fraktur (2019). after Heinrich Wieynck's Wieynck Fraktur (1912).
    • Wieynck Gotisch (2018). After Wieynck Gotisch (1926, Heinrich Wieynck).
    • Zentenar Fraktur (2010): mager and halbfett; after the 1937 workhorse by Ernst Schneidler at Bauer.
    • Zierfraktur (2010): after Deutsche Zierschrift, an engraved blackletter font that was cut by Rudolf Koch between 1919 and 1921 for Klingspor.

    Ralph made some typefaces outside URW/Profonts and RMU, such as Stripes (2014, a prismatic typeface puvlished by Thinkdust).

    Klingspor link.

    View Ralph M. Unger's typefaces. [Google] [MyFonts] [More]  ⦿

    RMX

    RMX stands for Font Remix Tools. The Font Remix Tools are a set of plug-ins for FontLab and Glyphs. They allow to harmonize glyph shapes, tune the width, automatically generate small caps, generate superior figures and many more. They were developed by and can be licensed from Just Another Foundry (Tim Ahrens, Shoko Mugikura) in Garching, Germany. [Google] [More]  ⦿

    R.O. Peel
    [Studio Bob]

    [More]  ⦿

    Rob Keller
    [Mota Italic]

    [More]  ⦿

    Robert Bucan

    German designer of the multi-layered font Linotype Not Painted (1997). Own web site. He also created Braille Blindenschrift, Braille Extended Grid, Braille Extended Square (Elsner&Flake), and a set of arrow fonts called Creative Arrows. [Google] [MyFonts] [More]  ⦿

    Robert Engels

    Designer at Klingspor of Die Leidensstationen (1905). He lived in München. [Google] [More]  ⦿

    Robert Flubacher
    [screentype.de (or: Cybedesign)]

    [More]  ⦿

    Robert Janes

    Graduate of Monash University (Australia), class of 2016. Now based in Berlin, he is a type engineer at Dinamo. Type designer who created these typefaces:

    • ABC Viafont (2021). An unreleased typeface for Dinamo based on Viafont, an alphabet created for an OCR device in 1970.
    • Simon Mono (2018-2019; by Robert Janes and J.P. Haynie). A monospaced typewriter-style slab serif family published by Dinamo.
    • ABC Gravity (2021). A grotesque family with a variable font option that covers all widths from ultra-compressed to very wide. Published by Dinamo.

    Linkedin link. [Google] [More]  ⦿

    Robert Knoth

    Christoph Knoth studied graphic design at the University of Art and Design Burg Giebichenstein in Halle and at the Gerrit Rietveld Academie in Amsterdam. He is currently at ECAL in Lausanne where he is finishing his master in type design. Speaker at ATypI 2011 in Reykjavik. [Google] [More]  ⦿

    Robert Kolben

    German artist. Designer of the font Linotype Venezia Initiale (1997), a caps font based on the classic forms of Roman writing in the 1st and 2nd centuries found chiseled on many Roman buildings. [Google] [MyFonts] [More]  ⦿

    Robert Meek

    Font software specialist who has written several free font editors such as MEEK 4.0 and FontStruct, both on-line truetype font generators. He is based in Berlin. At Designer Shock in Berlin, ca. 2001, he made the grunge fonts DSHomeBack, DSHomeFront, DSHomeSide, DSHomeTop (2001). At Meek FM, he presents a typographic synthesizer.

    His fontStruct creations are mostly pixelish: Robby Meeky, floorplan, Johann, Johann Skinny, Johann Small (2008, all fat rounded sans typefaces), logo (a horizontal stencil face), low_orbit, low_orbit_super_pixel, minimeek_1, Modular Nouveau No. 2 (2008), minimeek_extended, nouveau_modular, plain, sharp, snipped_1, the_first_dot_clone, the_first_fontstruction, tuning_fork, Dilly Dally (2012, possibly by a pretender?).

    As Font, he made Robby Meeky (2008). [Google] [More]  ⦿

    Robert Norton
    [Privatbrauerei Hoepfner Karlsruhe]

    [More]  ⦿

    Robert Perendi
    [dmfstudio]

    [More]  ⦿

    Robert Pfeffer

    Dr. Robert Pfeffer (Giessen, Germany) specializes in old German and Germanic philology fonts. His mostly free typefaces include:

    • The two Latin fonts Pfeffer Simpelgotisch and Pfeffer Mediaeval are typefaces of the European Middle Ages. Pfeffer Simpelgotisch is a textura typeface. Pfeffer Mediaeval depicts a Carolingian minuscule.
    • Some gothic (Wulfilan) alphabet fonts: Silubr (based on the uncial script of the Codex Argenteus), Ulfilas (a serif font designed to satisfy the requirements of modern typography), Skeirs (a sans serif font intended above all for screen display), Midjungards (following the style of J.R. Tolkien's Elven script Tengwar), Pfeffer Mediaeval.
    • Runic alphabets: see Skeirs and Pfeffer Mediaeval.

    Fontspace link. 1001 Fonts link. [Google] [More]  ⦿

    Robert Steinmüller

    German typographer and book designer who studied at Fachhochschule Potsdam (under Lucas de Groot) and wrote a thesis on the history and future of monospaced fonts. [Google] [More]  ⦿

    Robert Strauch

    Born in 1973, he studied graphic design at the University of Applied Science Augsburg, Germany from 1994-1999, and attended a year at the École Supérieure des Arts Décoratifs in Strasbourg, France. He founded his own shop in 2001 and teaches calligraphy, type design and typography in various workshops and seminars. One of the three cofounders of Lazydogs Type foundry in Augsburg, Germany. Robert left the foundry in December 2014 to concentrate on his main business in graphic design.

    His (fabulous---in my view) garalde typeface Fabiol (2005) was a winner at the TDC 2005 type competition. In 2008, he created the Pandera typeface family.

    In 2013, Boris Kochan and Robert Strauch co-designed Streets of London, a lapidary typeface based on London street signs developed by David Kindersley. [Google] [More]  ⦿

    Robert Wiebking

    Born in Schwelm, Germany, 1870, Robert Wiebking emigrated to the United States in 1881 with his father Hermann Wiebking, and became an apprentice engraver in Chicago. After another apprenticeship in 1884, with C.H. Hanson in Chicago, he became an independent professional matrix engraver in 1892 in that city for several American and English founders and for Ludlow, who cut many of Goudy's types, as well as types for Bruce Rogers and Robert H. Middleton. In 1894 Robert Wiebking and Henry H. Hardinge (also from Chicago) built the first successful machine for engraving type matrices. In 1896, they became partners and set up Wiebking, Hardinge & Co in 1901, manufacturing matrices for type foundries. This led them to set up the Advance Type Foundry in Chicago. He died in 1927 in Chicago.

    Designer of these typefaces:

    • Advertiser's Gothic (Regular and Condensed, Outline, Condensed Outline) (1917, Western Type foundry). This was interpreted as an art deco typeface by Nick Curtis in his Bellagio NF (2006). It was revived by HiH as Advertisers Gothic (2008). HiH's blurb: Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S 1916. See our Publicity Headline. In 2010, SoftMaker did its own revival, called Advertisers Gothic. Personally, I find this Wiebking typeface ugly and useless.
    • Artcraft&Bold&Italic (display typefaces originally designed for Barnhart Bros&Spindler (1911-1913; Jaspert lists Artcraft as a 1930 publication at Ludlow, and Klingspor as western Type Foundry typefaces from 1911-1913). Mac McGrew: Artcraft was designed in 1912 by Robert Wiebking and featured under the name of Craftsman in the first ad for his short-lived Advance Type Foundry, operated by Wiebking, Hardinge&Company, in Chicago. A short time later, the typeface was advertised as Art-Craft, and later as one word---Artcraft. Advance was soon taken over by Western Type Foundry, for whom Wiebking designed Artcraft Italic and Artcraft Bold a year or two later. Western in turn was taken over by Barnhart Brothers&Spindler in 1918. BB&S was already owned by ATF but operated separately until 1929; in the meantime, though, Artcraft and a number of other typefaces were shown in ATF specimens as well as those of BB&S. Artcraft has an unusual roundness in some of its serifs and line endings and a line of it produces a rolling feeling; some characters have curlicues, such as the long curl at the top of the a and and the exaggerated ear on the g. A number of auxiliary characters were made for roman and italic fonts; as these were sold separately, they were overlooked by many printers and typographers. The boldface has fewer eccentricities. Artcraft was a popular typeface for a number of years; the roman was copied by Monotype in 1929 without the fancy characters, and all three typefaces were copied by Ludlow. Adaptation in 1924 of Artcraft Italic to the standard 17-degree slant of Ludlow italic matrices was the second assignment of Robert H. Middleton (after Eusebius, q.v.) at that company. Hansen called it Graphic Arts. One source attributes the Artcraft family to Edmund C. Fischer, otherwise unidentified, but the details stated here are more generally accepted and seem to fit known facts better. For digital versions, see OPTI Artcraft (by Castcraft), Artcraft Pro (Jim Ford at Ascender), Artcraft URW (2001), Heirloom Artcraft (2013, Nathan Williams) or Federlyn NF (2011, Nick Curtis).
    • Bodoni Light&Italic (Ludlow), Bodoni Bold&Italic.
    • Caslon Clearface&Italic (1913, BB&S).
    • Caslon Catalog (1925, BB&S), Caslon Light Italic.
    • Collier Old Style.
    • Engraver's Litho Bold&Condensed (1914, BB&S), Engraver's Roman&Bold (available as Engravers EF Roman), Engravers Litho Bold, Engravers Litho Bold-Condensed.
    • Invitation Text (1914, Western Type Foundry).
    • Laclede Old Style (1920, Laclede Type Foundry). The Laclede Type Foundry was absorbed by BB&S, and the typeface was renamed Munder Venezian.
    • Modern Text (1913, Advance Type Foundry).
    • Munder Venezian&Italic (1924-1927, BB&S, aka Laclede Oldstyle).
    • Square Gothic.
    • Steelplate Gothic (1907) and Steelplate Gothic Shaded (1918), both at Western Type Foundry. A Copperplate Gothic style typeface. Digital revival by Steve Jackaman as Steelplate Gothic Pro (2017).
    • True-Cut Bodoni&Italic.
    • World Gothic&Italic (both also with Condensed).
    • Venus Bold Extended (1924). The Venus typeface was at Bauersche Giesserei from 1907 until 1927. Digital descendants (mostly not copies) include Venusian Ultra NF (1924, Nick Curtis), Venus (URW++), Venus SB (Scangraphic Digital Type Collection), Venus (Linotype), Eurydome (2010, by Stephen Boss at Emboss), Akazan (2007, Typodermic), Scout (2008, Cyrus Highsmith for Font Bureau).

    Bio at No Bodoni. FontShop link. Linotype link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Roberto Mannella
    [German Appeal]

    [MyFonts] [More]  ⦿

    Robiert Luque

    Graphic designer in Berlin. During a course mentored by Lucas de Groot, he designed Blanca Black Extended (2014). Behance link. [Google] [More]  ⦿

    Robin Coenen
    [I Am God]

    [More]  ⦿

    Robin Frischmann

    During his studies, Robin Frischmann (Karlsruhe, Germany, b. 1993) designed Unverschaemt Sans (2014). Behance link. [Google] [More]  ⦿

    Robin Röcker

    Mannheim, Germany-based designer of Lica Sans (2016). Behance link. [Google] [More]  ⦿

    Robin Röcker

    Heidelberg, Germany-based designer of the thin hand-printed caps typeface Badass (2012).

    Behance link. [Google] [More]  ⦿

    Robin Schu

    Oldenburg, Germany-based designer of the octagonal hipster typeface Peak (2018). [Google] [More]  ⦿

    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]  ⦿

    Rocío Martínez Jiménez

    Graphic designer from Granada, Spain, who lives and works in München, Germany. Creator of Geometric Abecedary (2015). [Google] [More]  ⦿

    Rocket & Wink

    Hamburg, Germany-based outfit which made LEGO Braille Font (2012).

    Behance link. [Google] [More]  ⦿

    Roland Henß

    German designer at Plazm of Capitalis Pirata (2001-2004), a free typeface in which each letter represents a well-known logo. For example, the capital M is in the shape of McDonald's golden arches. As reported by Stanley Moss in 2013, McDonald's lawyers wanted that M removed. Plazm wrote: As designers, educators, and artists, we are interested in better understanding the power of corporate iconography in the world today. In an effort to explore the meaning of corporate icons in our world, type designer Roland Henss has created an alphabet called Capitalis Pirata. By placing fragments of corporate icons into the form of an alphabet, Henss challenges the notion of ownership of letterforms. Since a copyright can not be placed on the alphabet itself, this typeface raises issues about the boundaries of ownership and the proprietary nature of letterforms in the public domain. Capitalis Pirata is a fully functioning digital typeface available strictly for education and discussion purposes. Capitalis Pirata is for free distribution only and may not be sold.

    Roland Henss-Dewald (b. Bonn, 1952, d. 2015) taught at the Peter Behrens School of Arts (Fachbereiche Architektur und Design) ofthe University of Applied Sciences in Düsseldorf, Germany. [Google] [More]  ⦿

    Roland Lehle

    In 2019, Benedikt Matern and Roland Lehle (Yung & Frish, Germany) co-designed the piano ket typeface Scoop Display.

    In 2020, they released Ronnys Handwriting. [Google] [MyFonts] [More]  ⦿

    Rolf Niepraschk

    Creator of a few (free) type 1 dingbat fonts using FontForge, starting from MetaFont sources, placed here: bbding (like Zapf dingbats), dingbat, karta15, umranda, umrandb. The latter two are ornamental dingbats. [Google] [More]  ⦿

    Rolf Schlösser
    [ChessBase]

    [More]  ⦿

    Rolf Zaremba

    Cofounder of Brass Fonts in Cologne, and designer of BF Hone Gothic (grunge and BF Visitor (1996, LED style).

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

    Romain Bergaentzlé

    Romain Bergaentzlé is a graphic designer running his studio OOII since 2007 in Berlin. He created the octagonal stencil typeface Ossature (2013, Ten Dollar Fonts and The Designers Foundry). Behance link. [Google] [More]  ⦿

    Roman Georg Arens

    Saarbrücken-based designer of the freeware font Suetterlin (1995). [Google] [More]  ⦿

    Roman Gornitsky
    [Temporary State (was: Abstrkt)]

    [MyFonts] [More]  ⦿

    Roman Hippler

    Designer of the pixel font Tinyscreen (2001) at Font-o-rama. Hippler lives in Düsseldorf, Germany. [Google] [More]  ⦿

    Roman Lindebaum

    Potsdam, Germany-based designer (b. 1977) who runs Hellograph. Creator of the 3d cubic typeface Kubikmeta (2013). Behance link. [Google] [More]  ⦿

    Roman Sehrer

    German advertising professional. Designer of the hand-printed typeface AdPro (2004, Linotype) and of the display family Advance (2006, URW).

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

    Roman Type
    [Roman Wilhelm]

    Born in 1976 in Germany, Roman Wilhelm graduated in 2004 with a diploma related to a German-Chinese book project. He studied visual communication at the Burg Giebichenstein University of Art and Design Halle (Saale) in Germany and type design at the Academy of Visual Arts Leipzig under Fred Smeijers. He briefly taught type design at the Hochschule für Grafik und Buchkunst in Leipzig. Besides working for Berlin-Beijing-based studio INSIDE A Communications, he is a member of the Multilingual Typography Research Group at the Geneva University of Art and Design. A fluent Chinese speaker, his work focuses on cross-cultural mediation, Chinese-Western bilingual typography and typeface design issues. A frequent visitor of Asia, he has taught at various academies such as the Central Academy of Fine Arts in Beijing, the Hong Kong Polytechnic University School of Design, as well as the Seoul National University College of Fine Art. He is working towards a PhD at the Braunschweig University of Art.

    Roman is primarily a web, book and magazine designer, but in 2009, he did create Sung New Roman, a typeface for Latin-Chinese typography, for which he received the award Ars Lipsiensis in 2009.

    In 2013, he designed a wonderful hand-drawn Chinese typeface, Laowai Song. It has over 28,000 Chinese ideographs, supported by a perfectly matched hand-drawn roman.

    At 3type, he published Hong Kong Street Face (2015), a Hanzi font that reflects the character of Hong Kong.

    His typeface Koex Text (2016) aims to meet the requirements of style-switching typography, i.e., the use of a different style for imported words or special context material [examples of this include katakana in Japanese, or roman letters in blackletter text in 16th century Prussia for words of Latin origin].

    Designer of the octagonal / techno typeface family 946 Latin (2019), Pivnaya-Cyrillic Greek, Pivnaya-Arabic, Pivnaya-Hebrew and Pivnaya-Latin. Pivnaya, a geometric display typeface inspired by Bauhaus and featuring many triangles.

    In 2017, Roman Wilhelm and 3type, a Shanghai-based type foundry, released a six-style extension called Freundschafts Antiqua Neue, a revival and extension of the famous Freundschafts-Antiqua made between 1959 and 1962 by Yu Bingnan during his studies and research under Albert Kapr in Leipzig. 3type has also fashioned a sans-serif member of the Freundschafts-Antiqua Neue family.

    Speaker at ATypI 2012 in Hong Kong on multicultural typography. Speaker at ATypI 2016 in Warsaw on Code Switching, Multi-Style, Diglossia. Speaker at ATypI 2018 in Antwerp on the topic of multilingual typography in Belgium. [Google] [MyFonts] [More]  ⦿

    Roman Wilhelm
    [Roman Type]

    [MyFonts] [More]  ⦿

    Romina Ayelen Busto

    Graphic designer in Buenos Aires, who created an experimental counterless typeface in 2016. [Google] [More]  ⦿

    Romina Iken

    German designer at the University of Applied Sciences Düsseldorf of the stylish sans typeface Pechey Fin. [Google] [More]  ⦿

    Ron Dale

    Bad Bramstedt, Germany-based designer of the dry brush typeface Brushstroke (2018). [Google] [More]  ⦿

    Ronny Edelstein

    German designer of the grunge family Linotype Mineru (1997).

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

    Roos&Junge

    German foundry established in 1886 and located in Offenbach. Acquired by D. Stempel in 1915. Typefaces include Teutonia (scan) and Offenbacher Reform (blackletter, ca. 1900). Offenbacher Reform was revived by Peter Wiegel in 2015. Teutonia is being reworked by Dan Reynolds as Teutonia Serif (2005) and/or Mountain. HiH made another revival in 2007, also called Teutonia. One of their art nouveau / Victorian typefaces, Mira, was digitized as Mira (2009, Tom Wallace). Komet is another art nouveau face, and Romanische Initialen is a decorative caps face. [Google] [More]  ⦿

    Rosa Kammermeier

    Graphic designer in Munich who studied at the University of Applied Sciences in Augsburg, Germany. Designer of the free handcrafted typeface Roughbrush (2017). Behance link. [Google] [More]  ⦿

    Rosemarie Kloos-Rau

    German designer who made Wiesbaden Swing Dingbats and the neat handwriting Wiesbaden Swing in 1992. In 1993, together with Michael Rau, she published Schreibschriften (Bruckmann, München), a collection of 500 calligraphic or script alphabets.

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

    Rosetta Lake Mills

    During a study semester at FH Mainz, Rosetta Lake Mills designed a futuristic Fraktur font called Fabrik (2012). The font is based on an octagonal grid. [Google] [More]  ⦿

    rotfont halle-ost
    [Christian-Heinrich Wunderlich]

    At the SPD Halle-Ost web site: " sozialdemokratische schriftgiesserei "rotfont halle-ost"". Offers four free fonts, Arabica, dada, rhenania and gutenberg. Fonts by Christian-Heinrich Wunderlich. [Google] [More]  ⦿

    Röder

    Leipzig-based publisher of the music notation typeface specimen book Noten und Schriftproben der Röder'schen Offizin in Leipzig (ca. 1860). [Google] [More]  ⦿

    Rowan Rüster

    German designer (b. 1964) of the free IBM-logo lookalike font Speedster (2007). Fontsy link. [Google] [More]  ⦿

    rQuadrat
    [Siegfried Rückel]

    rQuadrat (Berlin) is a German design agency run by Siegfried Rückel (Fontcredit) and Georg(ij) Rijinachvili. Siegfried studied design at the University of Applied Sience in Potsdam under Luc(as) de Groot and Lex Drewinski. One of the typefaces shown and developed by rQuadrat is the experimental Gija (2004).

    Rückel designed these typefaces:

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

    Rua Sharawi

    During her studies in Wiesbaden, Germany, Rua Sharawi created an Arabic typeface (2014) that emulates Latin script. [Google] [More]  ⦿

    Ruben A. Fischer

    Talented illustrator in Trier, Germany. His illustrations have nice lettering. Enjoy the raw emotions in his Ice for Africa series (2011) and in Flamingos (2011) and Bloody pig. Behance link. Logo. Another logo. [Google] [More]  ⦿

    Rudhardsche Gießerei

    German foundry established in 1842 by Johann Peter Nees, Phillip Rudhard and Johann Michael Huck, that was located in Offenbach am Main. Carl Klingspor (1839-1903), the father, bought the Rudhardsche Gießerei in 1892. It was renamed Gebr. Klingspor in 1906. Scans of some of its typefaces:

    [Google] [More]  ⦿

    Rudo Spemann

    Born in Würzburg in 1903, this type designer died in 1947 in Schepetowka, USSR. Illustrator and calligrapher who made the calligraphic font Gavotte in 1940-1942 at Klingspor, now digitized by Linotype as Linotype Gavotte.

    He studied at the Kunstgewerbeschule in Munich under F. H. Ehmcke and Emil Preetorius and at the Kunstakademie in Stuttgart under F. H. E. Schneidler.

    Picture. A blackletter lettering example. In 1998, Harald Süß wrote a brief biography. See also Hans Adolf Halbey's book Rudo Spemann 1905-1947. Monographie und Werkverzeichnis seiner Schriftkunst (Offenbach, 1981).

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

    Rudolf Engelhardt

    German type designer, b. 1886, d. 1968. His typefaces include Deutsche Laufschrift (1911, Schrägschrift done with Heinrich Hoffmeister, and published at D. Stempel), Leipziger Neugotisch (1913, Ludwig Wagner), Journal-Kursiv (1913, blackletter at Ludwig Wagner). Seemann spells his name Engel-Hardt.

    Digital revivals include TbC Leipziger Neugotisch (2012, Chiron). [Google] [More]  ⦿

    Rudolf Franke

    German type designer, 1913-1970. From 1960 until 1970, he was docent of typography at the Werkkunstschule in Kassel. [Google] [More]  ⦿

    Rudolf Hell
    [Hell GmbH]

    [MyFonts] [More]  ⦿

    Rudolf Koch
    [Kabel]

    [More]  ⦿

    Rudolf Koch
    [Koch Neuland]

    [More]  ⦿

    Rudolf Koch
    [Peter Bezdek]

    Peter Bezdek writes about Rudolf Koch in Die deutsche Schrift in 1984, fifty years after Koch's death. [Google] [More]  ⦿

    Rudolf Koch
    [Georg B. Allmacher]

    Georg B. Allmacher's site about the work and life of Rudolf Koch (1876-1934). [Google] [More]  ⦿

    Rudolf Koch

    Great German type designer (b. Nürnberg, 1876; d. Frankfurt, 1934) who worked mainly at the Klingspor foundry. He founded the Offenbach Werkstatt in 1921.

    Many of his typefaces can be classified as German expressionist. These include Kabel (a sans), and Neuland (an angular poster face). An early Nazi sympathizer and supporter, Koch's fonts were heavily used by the Nazi regime.

    This page lists 158 royalty-free Christian symbols drawn by Rudolf Koch, a religious Lutheran, with the collaboration of Fritz Kredel (1900-1973) (see also here).

    His typefaces, with notes on digitizations:

    • Claudius (1931-1934, 1937, D. Stempel AG). His son Paul Koch followed Rudolf's instructions to make one weight in 1931-1934. Klingspor completed it in 1937. Delbanco (as DS-Claudius) and Klaus Burkhardt (1991) digitized it. Based on the latter, Manfred Klein made ClaudiusImperator (2001). Dieter Steffmann made Claudius, ClaudiusAlternate, and ClaudiusHeadline in 2003. Ralph M. Unger published Claudius in 2010.
    • Deutsche Anzeigenschrift (1913-1914), Deutsche Anzeigenschrift schmal (1916-1923, D. Stempel AG). revivals include SchmaleAnzeigenschrift (2002) and SchmaleAnzeigenschriftZier (2002) by Dieter Steffmann, and Schmale Anzeigenfraktur (2009) by Ralph Unger. Later weights by Koch: Deutsche Anzeigenschrift eng (1923) , Deutsche Anzeigenschrift breit (1923, D. Stempel AG) , Deutsche Anzeigen. schmalhf. (1934, D. Stempel AG).
    • Deutsche Schrift (1908-1921), consisting of Deutsche Schrift schmal (1913, Gebr. Klingspor), Deutsche Schrift fett (1910, Gebr. Klingspor), Deutsche Schrift mager (1918, Gebr. Klingspor) and Deutsche Schrift halbfett (1912, Gebr. Klingspor). Also known as Koch Fraktur. Revived by Gerhard Helzel as KochFrakturSchmaleHalbfette (2000), by Christian Richter as Rudolf Koch (2003), and by Delbanco as DS Koch Fraktur. It was a popular family, known in England as Oxford. For comparison, here is a phototype version. Deutsche Schrift fett, aka Fette Deutsche Schrift, was revived by Dieter Steffmann in 2002 (as Fette Deutsche Schrift) and by Alter Littera in 2012 as Deutsche Schrift.
    • Deutsche Schrägschrift (1912, Gebr. Klingspor).
    • Deutsche Werkschrift (1934, D. Stempel AG) and Deutsche Werkschrift hablfett (1934, D. Stempel AG): This is really the "mager" version of Deutsche Anzeigenschrift. Delbanco revived it digitally as DS Deutsche Werkschrift.
    • Deutsche Zierschrift (1919-1921, Gebr. Klingspor). Revived as Dutesche Zierschrift (2002) and Zierinitialen> (2002) by Dieter Steffmann. See also Delbanco's DS Deutsche Zierschrift.
    • Frühling (1913-1917, Gebr. Klingspor). A blackletter that seems to have been executed with a shaky hand---it is definitely one of Koch's weakest and ugliest designs. Incredibly, the revival gang was still eager to spring into action: it was revived and interpreted by Frantisek Storm in Monarchia. See also Delbanco's DS Frühling. For another revival, see Next Stringtime by Manfred Klein (2003). Frühling is sometimes called Kartenschrift.
    • Geschriebene Initialen zur Grotesk (1930, Gebr. Klingspor).
    • Grotesk Initialen (1933, Gebr. Klingspor). Paul Hayden Duensing made Koch Initials (metal).
    • Holla (1932, Gebr. Klingspor). Digitized by Dieter Steffmann in 2001.
    • Jessen Schrift (1924-1930) is a hybrid of gothic (blackletter) minuscules and roman capitals (including the characteristic Basque capital A) designed and cut without preliminary drawings in Offenbach am Main by Rudolf Koch for The Four Gospels, which was printed at the Klingspor press in 1926 and published by Koch himself. Formerly named Bibel-Gotisch, the type was developed between 1924 and 1929 as Peter Jessen Schrift and released as Jessen in several sizes by the Klingspor foundry in 1930. See DS-Jessen-Schrift (1998, Christian Spremberg), Peter Jessen Schrift (Delbanco), Jessica Plus (2002) and JessicaSerif (2003) by Manfred Klein, Peter Jessen Schrift Pro (Softmaker, 2016), and Jessen Schrift (2004, Ralph M. Unger). Jessen Mittel 14 and Jessen Cicero 12 were developed by Alexis Faudot and Rafael Ribas in 2016 during an ANRT workshop in Valence, France.
    • Kabel (1927, Gebr. Klingspor), Klingspor's competing design for Paul Renner's Futura. The most famous digitization of this Koch Sans family is by Victor Caruso in ITC Kabel (1976), and with its exaggerated x-height, much larger than the original, it is a poor bastard. The modern Bitstream version is called Geometric 231. Softmaker calls it Koblenz. Poster by Jorge Martinez. At Linotype, Marc Schütz designed the large family Neue Kabel (2016) that revives Kabel by making it more consistent. This version overshadows all previous digital versions or extensions of Kabel. Dates of the various weights: Kabel Kursiv (1929, Gebr. Klingspor), Kabel groß (1928, Gebr. Klingspor), Kabel Kursiv groß (1930, Gebr. Klingspor), Norm Kabel (1930, Gebr. Klingspor): LinotypeLibrary, Kabel fett (1929, Gebr. Klingspor): LinotypeLibrary, Kabel schmal (1930, Gebr. Klingspor), Kabel schmalhalbfett (1929, Gebr. Klingspor).
    • Koch Antiqua (or: Locarno) (1920-1922, Gebr. Klingspor). It was sold by Continental Type in the United States as Eve. This gorgeous tall-legged and flared typeface was designed in 1917, but cut in 1922. Koch Kursiv (1923, Gebr. Klingspor) is the Kursiv version of Koch Antiqua. See also Koch Kursiv groß (1929, Gebr. Klingspor) and Koch Antiqua fett (1926, Gebr. Klingspor: some give the date 1923-1924). Rivoli is a similar metal typeface. Digital versions include Rudolf Antiqua (2018, Now Type), Eva Antiqua, Eva SG (Spiece Graphics), Eva (Monotype), AIKochAntiqua (a multiple master font by Randall Jones for Alphabets Inc), Astaire Pro (2004, Bergslund Design, or Hackberry), Koch Altschrift (2004, Moorstation crew), Locarno (1985, Alan Meeks for Letraset), Kuenstler 165 (Bitstream), Koch Antiqua (Adobe, Linotype), Evadare (David Nalle), Hellen (2019, Genilson Lima Santos).
    • Koch Kurrent (1933, Gebr. Klingspor). This is Koch's version of school scripts, a variant of his earlier proposal, Offenbacher Schrift (1927). It was only cut in 1935. See Rudolf Koch Kurrent at Delbanco .
    • Koch Schrift (1909) is a Schwabacher first known as Neudeutsch and later as Koch Schrift. It was used by the Deutsche Reichsbahn, ca. 1930. For a digital revival, see, e.g., Koch Schrift (1998-2021) by Ingo Zimmermann.
    • Marathon (1930-1938, Gebr. Klingspor). Digitized by Linotype in 2003 as Marathon LT (by Ute Harder, aka Frau Jenson), and by Softmaker a bit earlier. The best digital version is by the Koch Memorial team of Petra Heidorn under the name Romantha (a permutation of the letters) in 2003 (it preserves the original x-height better, for example).
    • Maximilian Antiqua (1913-1917, Gebr. Klingspor). Digitization by Manfred Klein, who made Maximilian Antiqua (2003) and MaximilianAntiquaSmallCaps (2003). For an initial caps extension, see Typograf's Maximilian Antiqua Initialen (2015).
    • Maximilian (Gotisch) (1914-1917, Gebr. Klingspor). Walden Font has a revival. See also Maximilian at Delbanco. Castletype made MaximilianCS. In 1995, Doug Olena revived it as Maximilian. Dieter Steffmann made Maximilian (2002) and Maximilian Zier (2002). Maximilian (2012) is due to Alter Littera. Drawings for Maximilian-Gotisch. Gerhard Helzel's revival from 1995. Stephen Miggas's revival is called Gothicus (2006).
    • Neu Fraktur (1933-1934, Gebr. Klingspor): Koch's last Fraktur.
    • Neuland (1923, Gebr. Klingspor) and Neuland licht (1928, Gebr. Klingspor), an outline version of Neuland. Neuland is all caps German expressionist typeface chiseled directly by Koch from metal. Copied by Monotype in 1929 as OthelloMT. Digitized by Linotype Library. Also digitized as Newland Black by Andrey Mel'man. In 1995, Doug Olena (Keystrokes) revived it as FFD Neuland (1995). A lower case and hair-serifed extension was created by Manfred Klein as On Kochs Roots (2002) and KochNeu-ExtraBlack (2003). Nick Curtis made Jungle Fever and Jungle Fever Shaded (2008) after Neuland. In 2010, Ian Lynam published yet another update, Neuerland. In 2013, Lazar Dimitrijevic created Cal Neuland Bold.
    • Offenbach (1928-1934, Gebr. Klingspor). Made for display in church windows, Koch designed the "mager" weight (1931) and an uncial version. His student Hans Kühne finished the "halbfett" and the gothic after his death.
    • Prisma (1928-1931, Gebr. Klingspor): A four-lined art deco face. Revived by Dieter Steffmann (2003-2004) as Prisma, and by Ralph Unger as Prisma Pro (2011). See also the 10-style typeface family LL Prismaset at Lineto (2003-2017, Mauro Paolozzi, James Goggin, Alex Rich, Arve Båtevik, and Raphael Koch).
    • Stahl (1933-1939): Done with H. Kühne. Revived by J.F.Y.Daniel Gauthier (GautFonts) as StahlSteel (2003) and StahlSteelRiveted (2003).
    • Wallau (1924-1932, Gebr. Klingspor), Wallau halbfett (1930, Gebr. Klingspor), Wallau fett (1935, Gebr. Klingspor), Wallau schmal (1934, Gebr. Klingspor). See Wallaby on the SoftMaker MegaFont XXL CD, 2002, or Wallau by Fraktur.de or DS Wallau by Delbanco, or Wallau (2012) by Alter Littera. Pictures by Dan Reynolds about Klingspor's Wallau speciman book (1939). Wallau, which comes in rotunda (Rundgotisch) and uncial, was named after Heinrich Wallau (1852-1925), a printer from Mainz. Originally, the typeface was going to be called Missale. Also revived by Dieter Steffmann (as WallauDeutsch-Bold (2002), Wallau Rundgotisch Heavy (2002), Wallau Rundgotisch OsF Heavy (2002), WallauUnzial-Bold (2002) and WallauZierBold (2002)) iand by PrimaFont.
    • Wilhelm-Klingspor-Schrift. (1920-1926, Gebr. Klingspor): This was originally called Missal. To commemorate Wilhelm Klingspor, who died in 1925 from a war injury, it was renamed Wilhelm-Klingspor-Gotisch. Paul Hayden Duensing made a metal version under the latter name. Digitizations by Fraktur.de and Delbanco. See also Wilhelm-Klingspor-Schrift at LinotypeLibary, Wilhelm Klingspor Schrift (2012) by Alter Littera, Wilhelmschrift (2006) by Stephen Miggas, and Missal by Dieter Steffmann (2003). Matching decorative caps were made in 2004 by Paul Lloyd under the name Holzschnitt-Initialen.
    • Zeppelin (1929, Gebr. Klingspor). This is a decorative (inline) version of Kabel. Revived as Zeppelin (2003, Dieter Steffmann) and Evadare (1993, David Nalle).

    In 1984, Wolfgang Hendlmeier discussed the blackletter typefaces in Koch's oeuvre: A, B, C, D, E, F, G. Brief bio by Wolfgang Hindlmeier (1984).

    Koch's involvement in handwriting education in Germany led to these Schreibschrift examples from 1930 (also called Deutsche Verkehrsschrift), and to the development by Martin Hermersdorf of the Deutsche Schreibschrift for fourth graders in Bavaria in 1950.

    Wood engraving of Koch by Bernard Brussel-Smith.

    Publications by Rudolf Koch:

    • Die Schriftgießerei im Schattenbild, Offenbach 1918.
    • Das Schreiben als Kunstfertigkeit, Leipzig 1921.
    • Das ABC-Büchlein, Leipzig 1934.
    • Das Schreibbüchlein, Kassel 1939.
    • Klassiche Schriften.
    • Das Zeichenbuch. This book contains 493 old-world symbols, monograms and runes and was reprinted in 1955 in the Dover Pictorial Archive Series as The Book of Signs.
    • Das Blumenbuch.

    References:

    • Gerald Cinamon: Rudolf Koch: Letterer, Type Designer, Teacher (2000, Oak Knoll Press and The British Library).
    • Georg Haupt: Rudolf Koch der Schreiber, Leipzig 1936.
    • Wilhelm H. Lange: Rudolf Koch, ein deutscher Schreibmeister, Berlin, Leipzig 1938.
    • Oskar Beyer: Rudolf Koch. Mensch, Schriftgestalter und Erneuerer des Handwerks, Berlin 1949.
    • Friedrich Friedl, Nicolaus Ott (Editor), Bernard Stein: Typography An Encyclopedic Survey of Type Design and Techniques Throughout History, Könemann Verlagsgesellschaft mbH.

    Rudolf Koch's carved lettering inspired spin-offs like PGF Americas (2021, Pedro Gonzalez).

    FontShop link. Klingspor link. Biography by Nicholas Fabian. Bio at Linotype. Bio in German. The Koch Memorial page [now defunct] offered historical notes and many free revivals of his typefaces.

    View digital typefaces based on Rudolf Koch's work. [Google] [MyFonts] [More]  ⦿

    Rudolf Koch - Ein virtuelles Denkmal

    Dead link. Extraordinary pages by Petra Heidorn and her group of type designers (Manfred Klein, Dieter Steffmann, Daniel Gauthier, Paul Lloyd, Graham Meade and Harold Lohner) to commemorate the 70th year of Koch's death (1876-1934). The free fonts, revivals and interpretations include, by designer:

    • Dieter Steffmann: Claudius, ClaudiusAlternate, ClaudiusHeadline (2003), DeutscheZierschrift (2002), FettedeutscheSchrift (2002), Holla (2001), KochAltschrift-Bold, KochAltschrift, KochAltschriftAlt, KochAltschriftInitialen, KochAltschriftKursiv-Bold, KochAltschriftKursiv (2003), Maximilian (2002), MaximilianZier (2002), Missal (2003), Prisma (2003), SchmaleAnzeigenschrift, SchmaleAnzeigenschriftZier (2002), WallauDeutsch-Bold, WallauRundgotisch-Heavy, WallauRundgotischOsF-Heavy, WallauUnzial-Bold, WallauZierBold (2002), Zeppelin (2003).
    • Manfred Klein: ClaudiusImperator (2001), JessicaPlus, JessicaSerif (2003), KochNeu-ExtraBlack (2003), KochWoodcut (2003), Kochfragments (2003), KochsBricksInvers (2004), KochsGries (2003), Kochwood-Light (2003), KochwoodQuill (2003), MaximilianAntiquaSmallCaps (2003), NextSpringtime (2003), OnKochsRoots (2002), RootsKochThree (2001), SacredOldSymbols (2003).
    • Paul Lloyd: Holzschnitt-Initialen (2004).
    • Daniel Gauthier: StahlSteel, StahlSteelRiveted (2003).
    • Graham Meade: Rudolphin (2004), Rudolphin Oblique (2004).
    • Graham Meade and Manfred Klein: ABC-LongLegs (2004).
    • Harold Lohner: KochRivoli (2000).
    • The entire team: Koch-Defrag (2003), Romantha (2003).

    [Google] [More]  ⦿

    Rudolf Ludwig Decker
    [Deckersche Schriftgießerei]

    [More]  ⦿

    Rudolf Mattes

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Rudolf Paulus Gorbach

    German type personality who studied printing and typography in Berlin, and is active since 1971 in book printing, magazines, corporate design and screen design. Author of "Typografie professionell" (2001, Galileo Press). First chair of the Typografische Gesellschaft München. [Google] [More]  ⦿

    Rudolf Schiffner

    Graveur, punchcutter who co-designed Möricke-Fraktur with Ernst Engel in 1922 (Klingspor, Ernst Engel Privatpresse). [Google] [More]  ⦿

    Rudolf Steinberg

    Designer at Schelter&Giesecke of the script font Artista (1936). [Google] [More]  ⦿

    Rudolf Wolf

    German type designer (b. Hechingen, 1895, d. Frankfurt/Main, 1942). He undertook doctoral studies at the University of Frankfurt am Main. From 1922 until 1942, he was responsible for type design at D. Stempel AG in Frankfurt am Main. Author of Fraktur und Antiqua (1934, Frankfurt am Main). His typefaces:

    • Codesigner with Chauncey H. Griffith in 1929-1930 of the well-known Egyptian typeface Memphis (Stempel). Digital versions of Memphis are everywhere, including at Linotype and Adobe, as well as on the SoftMaker MegaFont XXL CD, 2002, under the name Missouri. Metal versions of Memphis, at Stempel: Memphis halbfett 1929, Memphis zart 1930, Memphis mager 1932, Memphis licht 1932, Memphis schmalfett 1932, Memphis Buchschrift 1932, Memphis Buchschrift halbfett 1932, Memphis for Linotype 1931/32, Memphis fett 1933, Memphis Universal mager 1938, Memphis Universal halbfett 1938, Memphis Luna 1938, Memphis Universal fett 1943. Descendants of Memphis include Memphis Magro and Memphis Meio Preto (1960s, Brazilian foundry Funtimod), Missouri (Softmaker, digital), Geometric Slabserif 703 (Bitstream, digital).
    • Görres Fraktur (1939, Stempel).
    • Artemis (1932, Stempel). Unpublished.
    • Garamond Antiqua (1925), Garamond Kursiv (1926), Garamond Antiqua Halbfett (1927), Garamond Kursiv Halbfett (1932). All done at Stempel, this has become known as Stempel Garamond.
    • Paracelsus Antiqua and Kursiv (1942, Linotype).
    • Welt-Antiqua (Ludwig&Mayer, 1931ff).
    • Cairo (Intertype, 1933ff).
    • Nil (Jan Idzkowski Giesserei in Warschau, 1934ff).
    • Nofretete (Genzsch&Heyse, 1938ff).
    • Versalien Licht (1935, Stempel). Unpublished.

    View Rudolf Wolf's typefaces. View a list of digital typefaces related to Memphis. Linotype link. [Google] [MyFonts] [More]  ⦿

    Rudolph Hell

    A doctor and an engineer (1902-2002). He was mostly known for his invention of the fax machine and the color scanner. In Kiel, Germany, he stablished his business, Dr.-Ing. Rudolph Hell GmbH, after the original facility in Berlin was destroyed in World War II. The firm was acquired by Siemens in 1981, and in 1990 merged with Linotype AG to become Linotype-Hell AG. The Rudolph Hell company asked Gerard Unger to create a new round-nibbed script type. From Unger's felt tip exercises grew a font in 1985 that was licensed to ITC and released as ITC Flora (1989). [Google] [More]  ⦿

    Rumburaks Softwarestuebchen

    Hub (Rumburaks Softwarestuebchen) is the German designer who created the genealogical and astrological symbol font Stepsym1 (1999). [Google] [More]  ⦿

    Rundfunk Antiqua

    A large x-height plumpish transitional typeface developed by Linotype Design Studio from 1933 until 1935. [Google] [More]  ⦿

    Runenprojekt Kiel
    [Edith Marold]

    At the University of Kiel, Prof. Edith Marold and Dr. Christiane Zimmermann are working on a runes project. There is a free font for now: Runenprojekt (2000). It seems though that both the font and the project are stalled. [Google] [More]  ⦿

    Rüdiger
    [Philipp Caroline Neumeyer]

    Philipp Neumeyer is a ballet dancer and type designer who studied communication design at the Muthesius Academy of Fine Arts and Design Kiel (MAFAD), Germany, class of 2014. In the TypeMedia program at KABK in Den Haag, Phillipp Victoria (or Beatrix, or Caroline, or Bartholomaeus) Neumeyer designed the typeface Elma and Frederick (2015), about which he writes: Elma has a robust construction with chunky-esque serifs, subtle rough and slightly quirky details but resonates in a yet serious appearance that combines traditional elements with modern functionality.. After graduating from the KABK in 2015, he moved to Berlin and then to Copenhagen, where he worked for Playtype.

    As Rüdiger at Future Fonts, he designed the typefaces Arnold (2018: a monospaced sans for Latin and Cyrillic) and Rainer (2018: a compressed sans). In 2019, he released the condensed sans typeface Theodor for Latin, Greek and Cyrillic.

    In 2021, he published Norbert at Typemates. Norbert is an extensive grotesque with support for Latin and Cyrillic. Subfamilies include Norbert Schmal and Norbert Breit. Award winner at 25 TDC in 2022.

    In 2022, Philipp Neumeyer released Juneau, a friendly geometric workhorse sans for Latin and Cyrillic, at TypeMates.

    Future Fonts link. [Google] [More]  ⦿

    Rüdiger Lorenz

    Author of Der letzte seines Standes? Der Schriftgießer (Icking o.J., DVD). [Google] [More]  ⦿

    Sabina Popin

    Sabina Popin is based in Sydney, Australia and Berlin, Germany. Together, Sabina Popin, Seda Duman and Mahkameh Shirazi designed the tangram (puzzle piece) font Birdy (2012).

    Behance link. [Google] [More]  ⦿

    Sabine Pfeiffer

    Calligrapher who gives many seminars and leads several calligraphic workshops each year, mainly in Germany. [Google] [More]  ⦿

    Sabrina Scherzinger

    Villingen-Schwenningen, Germany-based designer of the sans typeface Vintage Shop (2014). [Google] [More]  ⦿

    S.A.D.

    Shady German company which sells this CD through Amazon for 5 Euros: Das 4.000 Schriften Packet (2004). [Google] [More]  ⦿

    Safa Zmaili

    At Ger-Yor University, Safa Zmaili (Stuttgart, Germany) designed Triangle Grid (2018). [Google] [More]  ⦿

    Safia Bashir

    Hamburg, Germany-based designer of the geometric display typeface Moko (2015). [Google] [More]  ⦿

    Saif Zain

    Duisburg, Germany-based designer, with Mostafa Ashraf, of the tangram typeface Anniway (2019), which is based on textile patterns designed by Bauhaus artist Anni Albers. [Google] [More]  ⦿

    Saizi van Gogh

    Saizi van Gogh (Media Dreams, Rostock, Germany) created the display typeface DA Law, the eerie typeface C-Town, the constructivist Keine Freunde, and the fat mechanical typeface Drastic in 2014. Behance link. [Google] [More]  ⦿

    Salival
    [Daniel von Appen]

    Daniel von Appen (Salival) is the German designer (b. 1985) of the pixel typeface YAPF (Yet Another Pixel Font) (2004). Homepage called Philosophischer Scheiss. [Google] [More]  ⦿

    Samuel Bottschild

    Samuel Bottschild (1641-1706) was painter to the court of Johann Georg IV, Elector of Saxony, and from 1699 inspector of the Electoral art collection. He was based in Dresden, Germany. He conceived a complete alphabet of roman capitals with figures mostly from Greek mythology. The series was engraved by Moritz Bodenehr (1665-1749) in Dresden. Each letter is engraved over the image of a figure from classical (mostly Greek) mythology whose (sometimes Roman) name begins with that letter. The letters do not directly copy any known model, but they come close to those in Geofroy Tory's 1529 Champ Fleury, with the straight strokes, the bracketing of the serifs and some curved strokes possibly executed with a ruler and compass. [Google] [More]  ⦿

    Samuel Marcius
    [Font Environment]

    [More]  ⦿

    Sandra Adler

    German graduate of the MATD program at the University of Reading in 2012. Her graduation typeface is Emelia (2012), a humanist design that covers Latin and Tibetan. [Google] [More]  ⦿

    Sandra Augstein

    German designer who published Wald Ast (1996-2002, tree branch look face, Volcano Type) and Wald Blatt (1996-2002, a leaf-themed font, Volcano Type) together with Tanja Raststätter. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Sandra Dickmeis

    Graphic designer in Aachen, Germany, who created the stencil typeface Sous in 2016. [Google] [More]  ⦿

    Sandra Greiling

    Creator of a four-font set made for headlines caled FFFFONTS (2010): Laser, Former, Blob, Tendo. She writes: FFFFONTS was founded in 2010 as my final thesis at the University of Applied Sciences and Arts in Dortmund, Germany tutored by Prof. Sabine an Huef and Stefan Claudius. [Google] [More]  ⦿

    Sandra Hofacker

    Designer who published Glossy (dot matrix face, Volcano Type). She graduated in 2002 in visual communication from Hochschule Pforzheim and founded Apfel Z Design.

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

    Sandra Kraut

    Stuttgart, Germany-based designer of the display typeface San Beau Serif (2015) and the mysterious sans typeface San Kryptografia (2015). [Google] [More]  ⦿

    Sandra Winter

    Sandra Winter is a German font designer and graphic artist based in Frankfurt am Main. After training in advertising, she studied Communication Design in Darmstadt, and type design at the University of Reading (where she graduated with an MA in 2006). She works now at Linotype, Germany, and as a freelance designer.

    Creator of Filia Latin, Filia Greek and Filia Italic (2006) as part of her thesis project. Typedia link.

    In 2009, while at Linotype with Akira Kobayashi, she worked on DIN Next, a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. It was published at Linotype as DIN Next Pro.

    In 2012, Sandra Winter and Akira Kobayashi published Avenir Next Rounded.

    In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype.

    In 2016, Akira Kobayashi and Sandra Winter co-designed Applied Sans (32 styles) at Monotype. It is in the tradition of vintage sans typeface such as Venus and Ideal Grotesk, and competes with Rod McDonald's splendid Classic Groyesque. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Sanskrit Web (or: Transliteration and Devanagari Fonts for Sanskrit)
    [Ulrich Stiehl]

    Sanskrit Web offers several high-quality transliteration fonts for German, Polish and English-speaking indologists, made by Ulrich Stiehl (b. 1947, Wiesbaden) who lives in Heidelberg. All these fonts are derived from Hermann Zapf's URW Palladio (1990), with appropriate diacritics added for German and Polish indologists: URWPalladioCSXG-R (later replaced by URW Palladio CSX+), URWPalladioFF-B, URWPalladioFF-BI, URWPalladioFF-I, URWPalladioFF-R, URWPalladioGGM-B, URWPalladioGGM-BI, URWPalladioGGM-I, URWPalladioGGM-R, URWPalladioIT-B, URWPalladioIT-BI, URWPalladioIT-I, URWPalladioIT-R, URW Palladio IT98, URW Palladio ITU (a reencoding of URW Palladio IT), URWPalladioREEG-R, URWPalladioSKT-B, URWPalladioSKT-BI, URWPalladioSKT-I, URWPalladioSKT-R, URWPalladioUNI-Bold, URWPalladioUNI-BoldItalic, URWPalladioUNI-Italic, URWPalladioUNI (2002: replaced by URW Palladio HOT in 2003, which in addition has a Roman Small Caps style), URWPalladioUS-B, URWPalladioUS-BI, URWPalladioUS-I, URWPalladioUS-R, URWPalladioKUL-B, URWPalladioKUL-BI, URWPalladioKUL-I, URWPalladioKUL-R (with supplementary font URW Palladio M), Sanskrit 99, URW Palladio IS (2003, packaged with the 2003 IndoSkript CD from the Universities of Berlin and Halle), URW Palladio Pali (2005, Buddhist Publication Society encoding), URW Palladio KRN (Norman encoding). The site offers, besides conventional truetype and type 1 fonts, an innovative hybrid OpenType Unicode font for PC and Mac. It can be used either as plain Unicode font or as OT font. On this page, Ulrich offers free versions of two historic fonts, GiacomoFranco (a human figure alphabet based on an original from 1596) and Hypnerotomachia (based on on Aldine font used in Hypnerotomachia Poliphili). Wikipedia page. [Google] [More]  ⦿

    Sarah Driban

    Hockessin, Germany-based designer of the pixel-inspired display typeface Bismuth (2014). [Google] [More]  ⦿

    Sarah Goebels

    At Muthesius Academy of Fine Arts in Kiel, Germany, Sarah Göbels designed the LED typeface Snooze (2017). [Google] [More]  ⦿

    Sarah Nicolay

    Saarbrücken, Germany-based designer of the art deco sans typeface Bonabo (2014) and of Navify (2015). Behance link. [Google] [More]  ⦿

    Sarah Schnurbus

    Graphic designer in Berlin who created Elefont in 2016. [Google] [More]  ⦿

    Sarah Schott

    Mainz, Germany-based designer of the blackletter typeface Fracc (2015). Behance link. [Google] [More]  ⦿

    Sarinilli

    German designer (b. 1983). She created the handwriting fonts Goron (2009), Gerudo (2009), Zoran (2009) and Hylian (2009). [Google] [More]  ⦿

    Sascha Hermanns

    During his studies at FH Aachen, Sascha Hermanns designed the delicate antiqua typeface Syntesia (2017). [Google] [More]  ⦿

    Sascha Möckli

    Freelance designer in Heidelberg, Germany. Creator of Helvetia Handwriting (2013, free download).

    Behance link. [Google] [More]  ⦿

    Sascha Selke

    Designer of the Fraktur font Breitkopf Fraktur (2008, with Sebastian Kempgen). [Google] [More]  ⦿

    Sascha Thoma
    [Talib Intercultural Type Research]

    [More]  ⦿

    Sascha Timplan
    [Stereotypes.de]

    [MyFonts] [More]  ⦿

    Sascha Wohlgemuth

    Sascha Wohlgemuth (Schmieso, Dortmund, Germany) designed the mini-slabbed family Gemba in 2010. He also made the octagonal typeface Mango (2010). In 2015, he published the curvy didone typeface Renegade.

    New Behance link. [Google] [More]  ⦿

    Sasha Lobe

    Sascha Lobe of Stuttgart design studio L2M3 designed a new visual identity and typeface, Bayer Next, for the Bauhaus-Archiv museum in Berlin, ca. 2014. Lobe and his team expanded on Herbert Bayer's universal typeface from 1925 by adding more than 555 glyphs. The new typeface will be used in print materials, on the website and on location at the museum. Wired link. [Google] [More]  ⦿

    Saskia Friedrich

    Graphic designer in Berlin, who created the experimental typefaces Fritz and Sloped in 2014. Behance link. [Google] [More]  ⦿

    Saskia Noll

    German graphic and type designer, b. 1982, Eggenfelden, Germany. In 2010, she obtained a Certificate of Advanced Studies in Type Design, at the ZHdK (Zürcher Hochschule der Künste), Zurich, Switzerland. Still in 2010, she created the low-contrast garalde text family Filo Pro (URW++). [Google] [MyFonts] [More]  ⦿

    SBA: Scheppe Boehm Associates

    German company of Wolfgang Scheppe and Florian Böhm in München, with offices in Venice and New York. They are working on some type projects such as the minimalist typeface AmBig (2003), in which just seven glyphs suffice, by rotation, to cover all letters of the alphabet. The type project part is called Scarface. AmBig will be part of the FontShop library at the end of 2003. [Google] [More]  ⦿

    Scangraphic

    This company evolved in 1983 from Dr Boeger Photosatz GmbH (est. ca. 1934). The timeline:

    • 1934: Marius Böger founded the first company to manufacture and market photocopying machines and reprographic devices.
    • 1950: Dr. Böger Duplomat Apparate GmbH was founded. Its objective is the production of diazo (blue-printing) machines, equipment for diffusion transfer processing and photographic reproduction.
    • 1955: One of the company's first innovative products comes onto the market, the first vertical reproduction camera.
    • 1958: Intercop, a Dr. Böger subsidiary, started marketing a range of rapid processing machines, vertical repro cameras and processors for proofs and offset plates.
    • 1969: Dr. Böger Photosatz was founded.
    • 1976-81: Dr. Böger Photosatz develops its Copytronic phototypesetter. This machine worked on the basis of an opto-mechanical principle, and was set out to compete with Berthold's Diatronic. Hundreds of fonts from the headline library were reworked to meet the needs of the new machines. Although a small number of around 10 machines could be built and sold in Germany and Switzerland, many technical problems with the new equipment drained the financial resources. Thus the Copytronic machine is withdrawn from the market. The company survives by producing its succesful reproduction cameras for Agfa Gevaert. After a few difficult years, Dr. Böger Photosatz sets out to develop its digital typesetting system called Scantext. The output device is a CRT-machine with a resolution of 1000 lines per cm. The Copytronic type library is digitized using a video camera with a typical resolution of 512 x 512 pixels to the em quad. Bernd Holthusen proudly describes it as the fastest type digitizing system in the world. From 1971 until the mid 1980s, it designed and manufactured a family of photolettering machines for headline typesetting and offered a library of more that 1000 film fonts for that application. These were popular under the brand name VISUTEK in the UK (In the rest of Europe they were labelled and sold as Copytype, a trademark by Dr. Böger Photosatz GmbH). Additionally they were the creators and makers of a wide range of process cameras and film processing systems marketed worldwide under the Agfa brand
    • 1981: The company produces the phototypesetting system Scantext 1000. By the beginning of 1985 around 750 Bodytypes were available for the Scantext system.
    • 1983: The company evolves into Scangraphic. More than 2000 fonts were digitised by the Scangraphic company under the personal supervision of Bernd Holthusen, principally by Volker Küster (1984-1989), Jelle Bosma (1988-1991) and Albert-Jan Pool (1987-1991). These fonts were produced originally for the proprietary "Scantext" CRT digital output device and subsequently for the Scangraphic family of laser imagesetters. Quoting Pool: By the time we had completed the Ikarus Database in order to be able to convert our headline fonts to Postscript, URW had finished its Type1 converter. Our first PostScript product was a Macintosh-CD Rom with the complete library of headline fonts (those with Sh in the name) on it. The fonts were released in Type1 format for the Macintosh environment starting in 1991.
    • 1984: Scangraphic starts working on its library of headline fonts, using a proprietary high resulution short vector format which enables output sizes up to 90 mm cap height. After developing its own digital outline font format, Scangraphic starts making use of URW's Ikarus technology to produce a library of headline fonts. As from 1989, Ikarus outlines were made to fit the metrics of the Scangraphic library of bodytype fonts in order to replace the proprietary pixel based font format by digital outlines. Thus the basis was laid for converting the complete library of headline and bodytype fonts into the PostScript Type1 format.
    • 1989: The owner/partners sold the business to the large German company Mannesmann AG (and the font collection is sometimes referred to as the Mannesmann-Scangraphic collection), becoming Mannesmann Scangraphic GmbH in Wedel near Hamburg.
    • 1994: Mannesmann breaks the umbilical chord and the company becomes Scangraphic Prepress Technology GmbH.
    • 2004: the company moves from Wedel/Hamburg to Seligenstadt, Germany. The company still operates on the European mainland making and selling high resolution film and plate imaging systems. The font department is no longer in operation.
    • End of 2004: Elsner&Flake buy the font collection, and start selling the fonts under the Elsner&Flake umbrella. The 2500-strong font collection has names that either have a suffix SB (for body types) or SH (for headline types, also called supertypes). Among the tens of examples, we find classics such as Jakob Erbar's Koloss SB.
    • 2006: Ulrich Stiehl publishes a document in which he discusses the collection of fonts. He reports clear correspondences with known font families, examples including Ad Grotesk (=Akzidenz-Grotesk by Berthold), Artscript No 1 (=Künstlerschreibschrift fett by Stempel/Linotype), Black (=Block by Berthold), Chinchilla (=Concorde by Berthold), Cyklop (=City by Berthold), Esquire (=Excelsior by Linotype), Europa Grotesk (=Helvetica by Linotype), Europa Grotesk No. 2 (=Neue Helvetica by Linotype), Flash (=Okay by Berthold), Freeborn (=Frutiger by Linotype), Gentleman (=Glypha by Linotype), Grotesk S (=Neuzeit Buch by Stempel), Madame (=Madison by Stempel), Matrix (=Melior by Linotype), October (=Optima by Linotype), Parlament (=Palatino by Linotype), Paxim (=Palatino by Linotype), September (=Sabon by Linotype), Synchron (=Syntax by Stempel), Vega (=Volkswagen VAG Rundschrift). There are also originals like Volker Küster's Today Sans Serif and Neue Luthersche Fraktur, Zapf Renaissance by Hermann Zapf, and Forlane by Jelle Bosma. Küster, Pool, Zapf and Bosma have nothing to do with the non-original fonts in the collection. The typophile community shrugs Stiehl's complaints off.
    • 2008: The Scangraphic collection can be bought at Elsner&Flake.

    Examples of Scangraphic fonts: Pi Travel+Transportation, Pi Greek Maths, Pi Communication, Pi Signs+Symbols, Futura Round SB, Futura Round SH.

    A technical discussion by Yves Peeters. MyFonts link. Link to Scangraphic PrePress Technology GmbH in Seligenstadt. Elsner&Flake shop. Home page.

    View the Scangraphic typeface library. Another link to the Scangraphic typeface library. [Google] [MyFonts] [More]  ⦿

    Schaftstiefelgrotesk

    Literally, jackboot grotesk. A style of blackletter from the first half of the twentieth century that sits mid-way between the heavy industrial grotesques popular in the West (such as Akzidenz Grotesk) and the classical blackletter style that was often seen in the German-speaking universe. Hitler was one of its chief supporters, which became explicitly identified with Nazi ideas of German nationalism, and the types had names such as Deutschland, National and Tannenberg. The Schaftstiefelgrotesk is a simplified and sturdy form of the classical blackletter. In a very loose sense, Koch's Neuland could be considered in this genre---unrefined but sufficiently angular and certainly sturdy not to be ignored.

    Modern examples include Enzian (Jason Mannix, 2011), Germania One (John Vargas Beltran, 2012), Dez Sans Script (Chris Lozos).

    Modern examples include Enzian (Jason Mannix, 2011), Germania One (John Vargas Beltran, 2012), Dez Sans Script (Chris Lozos), Schadtstiefel Kaputt (Manfred Klein, 2003), Linotype Gotharda (Milo Dominik Ivir, 1997).

    Typophile link on this subject. [Google] [More]  ⦿

    Schauschau
    [Laura Dreßler]

    Laura Dreßler, partner at design studio Schauschau in Berlin, created (or had a hand in---unsure which is which) the monospaced typewriter typeface family Monoela (2015, with André Leonhardt and Dennis Michaelis). Behance link. [Google] [More]  ⦿

    Schick Toikka

    German/Finnish design studio and type foundry in Berlin, est. 2012 by Florian Schick and Lauri Toikka, two KABK graduates. Their typefaces:

    • Noe Display (2013, Lauri Toikka). Characterized by high contrast and sharp triangular serifs.
    • Trio Grotesk (2011, Florian Schick). A revival of the warm rounded sans typeface Kaart Antieke (1909, Piet Zwart) which was also published by Bold Monday, and in 2020 by Type Network.
    • Saol (Text, Display), 2012. an interpretation of the Victorian inclination to add exaggerations to text typefaces.
    • Custom typefaces from 2012 until 2013: Nrgm Grotesk (for a Finnish online music magazine), Rapala (for a fishing and outdoor equipment company), Ylioppilaslehti (Finnish university magazine), Ghostwriter Mono (a monospaced rounded sans for the visual identity of the content creation agency Mrs. Muir & Ghostwriters), Zeitschrift der Straße (headline type for a street mag in Bremen, Germany), Tapio Grotesk (for Tapio Anttila's visual identity).
    • Spot Mono (2014). They write: Spot Mono is a monospaced type family inspired by contemporary Japanese display typefaces and classic typewriter typefaces such as Courier. It has a monolinear contrast, rounded terminals and simplified letter construction that lends the typeface a distinctively naïve and characteristic appearance. Even though its shapes and proportions are balanced for harmonious and legible body text, Spot Mono is also ideal for big, chunky headlines. Additionally, Spot Mono features a very generous character set including a set of icons and support for extended Latin, Greek, and Cyrillic scripts.
    • FCINY (2014), a custom Peignotian typeface done for The Finnish Cultural Institute in New York.
    • The contrast-rich typeface family Dia (2014) was made by Florian Schick.
    • Krana Fat (2016) is a peculiar display typeface inspired by the letterings of Finnish graphic designer and illustrator Erkki Toukolehto. The original all capital letterings were done in mono line with a big flat brush. Krana Fat appeared first in the German street magazine Die Zeitschrift der Strasse.
    • Scto Grotesk. The Schick Toikka take on the turn of the century grotesks.
    • Lyyra (Standard, Extended, Expanded). Strong-willed, angular, and almost neurotic. A sans that is not happy with the world.
    • Chap: Initially designed for the Finnish Culture Institute in New York, Chap pays tribute to the contrasted sans tradition.
    • Custom fonts: Nike Unlaced, Nora Turato, Instrumentarium, Sennheiser, Flow Festival, Dia Dans, Receptor, Skatta Sans, Demi, Futurice.
    [Google] [More]  ⦿

    SchickFonts
    [Florian Schick]

    Florian Schick (b. 1982) is a German graphic and type designer who lives in Den Haag. He studied communication design at the Royal Academy of Art Den Haag and the University of Applied Sciences and Arts Hannover. He finished the Typemedia program at KABK in 2011.

    Since 2006 he has been working as a freelance designer and founded his type foundry Schickfonts in 2008. He works for his own clients as well as for graphic design studios like Bold Monday, Treibwerk or Die Typonauten. His focus is on the fields of typedesign, corporate and editorial design. SchickFonts, operated out of Hildesheim, Germany, and is now located in The Hague.

    Codesigner at The Typonauten (based in Bremen) of the brush font series B-Movie Retro (2007, with Ingo Krepinsky and Stefan Kroemer).

    At SchickFonts, he made the blackletter family Authentic Ink (2008), as well as B-Movie Retro and B-Movie Splatter.

    At KABK, he created the Mag Grotesque type family, which features 15 styles from Bold Extended to Thin Condensed. In 2012, he started the design studio Schick Toikka in Berlin with Lauri Toikka.

    At Bold Monday, he published the rounded sans typeface family Trio Grotesk (2011-2012, Bold Monday). He writes: Trio Grotesk is Florian Schick's personal interpretation of Kaart Antieke---an early 20th century sans serif [1909, to be more precise] used by Piet Zwart in his famous, yet never officially published essay about modern typography called "Van oude tot nieuwe typografie".

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

    Schlafmuetzenpirat
    [Stefan Motzigemba]

    German photographer based in Karlsruhe and Trier. Creator of the simple architectural drawing typeface Lelim (2008, 4 weights: lelim200, lelim300, lelim600, lelim800; Lelim Pro followed in 2009) and of the ultra fat artsy Orthogon (2009).

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

    Schmitz&Wiesner

    Schmitz&Wiesner is a Berlin based design studio run by Felix Wiesner and Carsten Schmitz. Together, they created the angular typeface Dragoz (2010). [Google] [More]  ⦿

    Schnekattack
    [J. Schnekenburger]

    German designer in Freiburg of the outline grunge font Nailed (2008, done with Daniel Zink). Fontsy link. [Google] [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]  ⦿

    School scripts: Florian Hardwig
    [Florian Hardwig]

    Florian Hardwig surveys the commercial school scripts--for the free ones, check my pages. His list contains:

    • From Monotype: School Oblique and School Script, both lined. These are Anglo-American examples.
    • By Rosemary Sassoon, Linotype, 2000: Sassoon Infant. See also Sassoon Infant Pro.
    • By Joan Barjau: MeMimas (Spanish style upright connected script), created between 1991 and 2007.
    • From Scangraphic: VA Script SB OT, Latinium SB OT.
    • From FontFont: FF Schulschrift A family, which is basically identical to VA Script SB OT---both are "VA" or "Vereinfachte Ausgangschrift. FontFont also has FF Schulschrift B Erstes Normal&Linien, which is virtually the same as Latinium SB OT---these fonts represent the Lateinische Ausgangschrift. The FontFont collection also contains an East version called FF Schulschrift C Normal&Linien. All of them were made by Just Van Rossum in 1991.
    • By ParaType: Propisi Cyrillic and Western, by Manvel Shmavonyan, 1997.
    • From Briem Type: Briem Script.
    [Google] [More]  ⦿

    Schöne Schöne
    [R. Schöne]

    German logo design and corporate identity bureau. [Google] [More]  ⦿

    Schraube
    [Dorothée Schraudner]

    German designer of Bremer Presse (2019), which revives Willy Wiegand's antiqua that he made for his Bremer Presse ca. 1912. [Google] [MyFonts] [More]  ⦿

    Schreibbuechlein

    Images of two Schreibbuechlein, one by Urban Wyss (Basel, 1549) showing an antiqua versal alphabet, and one by Wolfgang Fuggers (Nuernberg, 1553) that shows a paragraph of blacklettered text. [Google] [More]  ⦿

    Schreibereien.de

    Christian Zimmermann's calligraphy site (in German). [Google] [More]  ⦿

    Schreibtipp Fraktur

    Fritz Jörn's great page on Fraktur (in German), complete with links and an interesting discussion. [Google] [More]  ⦿

    Schrift der Eurokennzeichen

    About the type used on German license plates. FE-Schrift by Karlgeorg Hoefer (1914-2000) replaces the older DIN-Schrift. FE Schrift is based on the letterforms of a little known typographer (the article does not say who). [Google] [More]  ⦿

    Schrift und Typografie
    [Wolf Lumb]

    German typography glossary by Wolf Lumb. [Google] [More]  ⦿

    Schrift&Typografie

    German page about typography. Has some history, and a glossary. Link died. [Google] [More]  ⦿

    Schriftarten

    Horst Enzensberger's pages on German ways of writing, and type forms. He deals briefly with these type forms: Antiqua; Bastarda; Beneventana; Buchschrift; Capitalis; Fraktur; gotische Minuskel; Halbkursive; Halbunziale; Kalligraphie; Kanzleischrift; karolingische Minuskel; Kurrentschrift; Kursive; Lateinschrift; Ligatur; Nationalschriften; Rotunda; Textura; Unziale; Urkundenschrift. [Google] [More]  ⦿

    Schriftdateien

    German page explaining how truetype and type 1 are getting married in OpenType. [Google] [More]  ⦿

    Schriftenarchiv

    German 1000+ font archive. Useful identification of the designers. [Google] [More]  ⦿

    Schriftenpaket Osteuropa and the Hemming murder

    Schriftenpaket Osteuropa is a CD of 245 fonts sold mainly in Germany. Each font is a renamed Adobe Font Folio font. The fonts were "made" by the Hemming company, that is, the copyright notices were all changed to Mon Ami 1994, and the fonts were renamed in a predictable manner: Arial became Adorea, Courier is Cora, Futura is Fulv, Eurostile became Europa, Gill Sans is Gisela, and so forth. Thirdly, Hemming insured that all diacritics for East-European languages were available. Ulrich Stiehl, the consummate font detective, collected all Adobe name equivalences in this PDF file. The "Firma Hemming" (later renamed Hemming AG) was founded in 1989 by Olaf Hemming in Landau (Pfalz, Germany). The Schriftenpaket Osteuropa CD went to market in 1994. Olaf Hemming (b. 1967 or 1968) was murdered in May 2001. His handcuffed body was found near Andenne in Belgium. His Audi was found on highway A27 in Polleur, Belgium. Hans-Joachim Ulrich and Ralf Wetzel took over the company. In 2002, his company went bankrupt and was officially liquidated in 2003. The public prosecutor in Landau may have placed copyright charges against the two men (but the internet source for this is not 100% reliable). In 2003, the murder trial of Olaf Hemming took place. We learned that he was killed by a 22-year old German woman who was born in Madagascar. She had been influenced by a 48-year old sectarian (Indian/Islamic) partner who forced her into drugs and prostitution. She also murdered someone else and was accused of two attempted murders as well. The following stores (and probably others too) still sell the CD: Pearl, Multi-Media-Schnäppchen (owned by Daniel Grigat, 51588 Nuembrecht), and Schütz Neue Medien GmbH. [Google] [More]  ⦿

    Schriftformatierung mit Schriftartendatei

    Nice German page explaining about fonts in HTML. [Google] [More]  ⦿

    Schriftgeschichte

    Bernhard Schnelle gives a splendid historical view of the European scripts, leading up to the scripts used in Germany. [Google] [More]  ⦿

    Schriftgestaltung
    [Georg Seifert]

    Georg Seifert (Schriftgestaltung) is a Bitterfeld-Wolfen and/or Jena, Germany-based designer, born in Halle in 1978. He was a student at the Bauhaus University Weimar and runs Schriftgestaltung.de. He is best known for the free font editor Glyphs, released in 2011. Seifert lives and works in Berlin. His typefaces include

    • Olive Green Mono (2008). A monospaced typeface designed for his own use in email and programming code. Covers Greek and Cyrillic. Published by Schriftgestaltung.
    • Rosa Stencil (2008). A calligraphic stencil typeface. Published by Schriftgestaltung.
    • Azuro (2011). A 4-style screen family developed by Georg Seifert and fine-tuned by Jens Kutilek.
    • Graublau Sans (2005), GrauBlau Sans Kursiv. Has a Cyrillic style. The design of Graublau Sans Pro (20 styles with over 1000 glyphs each) took Georg Seifert over 5 years. Graublau Sans Web is free. Retail versions at MyFonts: Graublau Sans Pro (2008, FDI), Graublau Slab Pro (2012, FDI).
    • Pen (2006). A handwriting font.

    At ATypI 2009 in Mexico City, he introduced his (free) font editor Glyphs to the world. Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2016 in Warsaw.

    Klingspor link. Behance link. Older German URL. [Google] [MyFonts] [More]  ⦿

    Schriftgiesserei A. Numrich & Co
    [Adam Numrich]

    Leipzig-based type foundry, est. 1885 by Adam Numrich (who was employed by C. Kloberg at the time), taken over by Bauersche Giesserei in 1912 (or 1927?). Its first manager was Emil Moll, who was later joined by Bruno Diesel in that role. In its book Leipziger Fraktur (1906), a nice readable Leipziger Fraktur is shown in 13 weights, accompanied by four sets of Initialen. Numrich's typefaces include several sets of music notation symbols, Leipziger Fraktur (1906; see also Bauersche Giesserei, 1909), Breite Leipziger Fraktur, Universitäts-Antiqua, Romana Initialen, Chic (ca. 1909), and International (1902, blackletter).

    Bauernschrift (1906, also called Fritz-Reuter-Schrift) was designed by Max Fröhlich. It appeared at Bauersche Giesserei in 1911. [Google] [More]  ⦿

    Schriftgiesserei Flinsch
    [Heinrich Flinsch]

    Foundry in Frankfurt am Main. House typefaces include Enge Antiqua (1859), Renaissance Kanzlei (also known as Antike Kanzlei), Verzierte Musirte Gotisch (ca. 1870, digitally revived by Gerhard Henzel), Flinsch-Germanisch (1876, blackletter by Karl Klimsch), Magere Kloster-Gotisch (ca. 1900), Neugotisch (1907), Universal-Gotisch (ca. 1900), Bernhard-Fraktur (1913, plus Extrafette), Dürer-Gotisch (ca. 1900), Flinsch-Fraktur, aka Frankfurter Fraktur (1911), Tages Antiqua (1915), Flinsch-Privat (1919, by Lucian Bernhard), Halbfette Schwabacher-Flinsch (which was used for titling in the Fehsenfeld editions of the Karl-May books; a digital revival at Gerhard Helzel's place), Breite halbfette Roemisch, Elzevier Initialen, Fette Mikado, Franconia, Jenson, Langschrift, Patent reclame, Reclame, Samson, and Victoria.

    For digital revivals, see Edna Text (Reymund Schroeder, 2017) and Litfass (2021, Ralph M. Unger).

    Their Book of Type Specimens (1904) has 719 pages. An earlier book from 1899, Einundzwanzigstes Fortsetzungs-Heft 1899 has just 70 pages. [Google] [More]  ⦿

    Schriftgiesserei Otto Weisert
    [Otto Weisert]

    Stuttgart-based foundry run by Otto Weisert. Their publications and specimen books have dates between 1875 and 1922. Faces produced there include Nürnberger Buchschrift (ca. 1900), Kaiser-Gotisch (ca. 1900), Brabanter Gotisch (ca. 1900), Moderne fette Schwabacher (ca. 1900), Moderne Halbfette Schwabacher (ca. 1900, digitized by Petra Heidorn in 2005 as Moderne Schwabacher), Wilhelmina Ornamente (1914), Romanisch (1912), DeVinne Antiqua (1912), Giralda Graphik (1934), Cheltenham (1911). Designers:

    • Otto Weisert: the Jugendstil-styled Arnold Boecklin (1904), Brabanter Gotisch (1905).
    • Ernst Schneidler: Ganz grobe Gotisch (1930).
    • Heinrich Wieynck: Wieynck Mediaeval (1928) and Wieynck Mediaeval Kursiv (1929).
    [Google] [More]  ⦿

    Schriftgiesserei van der Heyden

    Foundry located in Offenbach, ca. 1895. The foundry merged with Krebs in 1912. [Google] [More]  ⦿

    Schriftgießerei der Andreäischen Buchhandlung

    Frankfurt-based type-foundry, founded in 1667 by Johann Andreà, Frankfurt am Main. It remained the centre for type-foundries even after the rise of Leipzig as the centre for the book and book trade in the German speaking countries. In 1816 (some say 1838) the firm was sold to Benjamin Krebs but kept its original name until 1892 when August Weisbrod took it over. The type-foundry was particular well-known for its many Hebrew types and the great selection of delightful borders, tail- and headpieces. [Google] [More]  ⦿

    Schriftgrad.de

    Wonderful German site concerned with typography. Plus a German glossary. Small free font archive. Type in use on posters, such as this beautiful 1964 poster by Lou Dorfsman (1918-2008).

    Their type classification:

    • Venetian renaissance antiqua (15th through 17th centuries). Called humanians in England, and humanes in France. Slightly left-leaning axis. Mostly characterized by a sloped stroke on the e. Includes Deepdene, Horley Old Style, Jersey.
    • French renaissance antiqua (15th through 17th centuries). Also called garaldes. More left-leaning axis than the Venetians, and more contrast-rich as well. Examples include Sabon Antiqua, Goudy Old Style, Palatino, and all Garamonds.
    • Baroque antiqua (17th through 19th centuries). Called transitionals in anglophone countries. These typefaces have more contrast than the old style (or antiqua) typefaces. Examples include Caslon, Baskerville and Times New Roman.
    • Klassizistische Antiqua, didones, or modern typefaces, developed between 1750 and 1800. Characterized by high contrast, ball terminlas, thin square serifs and a logical design, these include Walbaum, Caledonia, Didot and Bodoni.
    • Slab serifs or Egyptiennes or mechanistic typefaces, 19th and 20th centuries. Blocky serifs with some didone influences left in the glyphs. Examples incluude Clarendon, Impressum and Lubalin Graph.
    • Sans serifs, aka lineales in French and lineals in English. Developed starting in the 19th and 20th centuries, the sans serifs include Franklin Gothic, Avant garde and Helvetica.
    • Antiqua variants, and incised typefaces.
    • Scripts.
    • Hand-drawn antiqua. These include Delphin, Time Script and Ondine.
    • Gebrochene Schriften
    • Non-Latin scripts.
    [Google] [More]  ⦿

    Schriftguss AG

    German foundry that was located in Dresden. Designers include

    • Otto Arpke: Designer of the fat display typeface Arpke Antiqua (Schriftguss, 1928).
    • Carl Albert Fahrenwaldt, who made the Minister family in 1929 based on garalde types (Adobe and Linotype have their own versions). He also made Edelweiß (1937), Prominent (1936), and Symbol (1933).
    • Heinrich Wieynck made Wieynck-Werkschrift (1930) and WieynckGotischLicht (1926).
    • Peter Schneidler made the handwriting Mistral-like typeface Maxim in 1955 (Ludlow's version).
    • Peter A. Demeter: the shaded roman capital typeface Holländisch (1922-1926), which also comes with Bold and Extended weights.
    • Fritz Müller: Armin-Gotisch (1933).
    • Martin Wilke: Burgund (script face).
    • Willy Schumann: Butterfly (1927, script), Butterfly Halbfette (1928), Troubadour Magere (1927).
    • Walter Schnippering: Pentape (1935, script).
    • K. H. Schaefer: Orchidea (1937, script), Schaefer Versalien (1927, lineale titling font on a shaded background), Capitol (1931, a lineale with an extra vertical stroke on the left of each glyph typical of art deco; for a revival, see Capitol Pro (2012, Ralph M. Unger).
    • A. Auspurg: Lido (1936, script).
    • Arnold Drescher: Energos (1932, script).
    • W. Berg: Divina (1930, script), Splendor (1937, script).
    • Peterpaul Weiß: Kursachen (1937, blackletter). Digitized and extended by Patrick Griffin at Canada Type in 2005 as Blackhaus.
    • Paul Sinkwitz: Sinkwitz-Gotisch (1942).
    • Gerhardt Marggraff: the blackletter typeface Marggraff-Deutsch (Halbfette and Fette in 1939, Leichte in 1940), Marggraff Light Italic (1929).
    • H.-R. Müller: Fao (1938). Nick Curtis used this as the basis for his Fargo Faro (2007).
    • K. Lehmann: Lehmann-Fraktur (1919).
    • J. Lehmann: Diamant (1937).

    House typefaces include Gilden-Fraktur (1937), Jasmin (1929, blackletter), Jean-Paul-Schrift (1798), Härtel Roman (1928, a didone family) and the Plakatstil font Ohio in 1924, on which Nick Curtis based his ITC Zinzinnati (2001). One of their catalogs was published in Dresden around 1930. A 1925 catalog in Spanish includes Cursiva Minosa, Versaes Schaefer, Cursiva Saxonia Preta, Wieynk Gothic, Rembrandt Meia Preta, Grotesca VI Mercur, Hollandeza Larga, Versaes Kress, Romana Hamburguesa, Typo Klinger, vignettes, tipos de cartel, and other typefaces.

    Samples of their work: Aldine Schmalfett, Ambassador, Mimosa, Maximum, Appell (1934), Artista, Belwe Antiqua Licht Versalien, Bodoni, Cooper, Druckhaus, Echo, Helion, Diamant, Duplex, Milo, Fette Copra Kursiv, Fette Gotisch, Gladiator, Aktuell, Energos, Burgund, ElegantKursiv, Grossmuetterchen, Grotesk, Grotesk Breite, Junior, Kurier, Fanal, Flamme, (a logo), Marko, Milo, Faro, Luxor, Admira (1940: revived in 2019 by Coen Hofmann), Ramona, Parlament, Patria, Pfeil, (a poster Plakattype), Rautendelein [a calligraphic typeface revived by Ralph M. Unger in 2017 as Carina Pro], Rhythmus [revived in digital form by Ralph M. Unger as Rhythmus Pro in 2016 and by Peter Wiegel in 2015 as CAT Rhythmus], Romantisch, Saskia, Schreibmaschinenschrift 512, Steinschrift, Super-Grotesk, Super-Kursiv, Super-Grotesk, Super Blickfang Initialen, SupremoVersalien, Tausendschoen, Unger Fraktur. [Google] [More]  ⦿

    Schriftklassifikation nach DIN 16 518

    Type classification (in German) according to the DIN 16 518 system invented in 1964. Pages by Bernhard Schnelle. I will use his German nomenclature, and quote his examples of each style.

    • I. Venezianische Renaissance-Antiqua: Amalthea, Ascot, Berkeley Old Style, Centaur, Concorde, Deepdene, Eusebius, Goudy Italian, Guardi, Horley Old Style, Jersey, Lutetia, Menhart-Antiqua, Normandy, Seneca, Schneidler-Mediaeval, Trajanus, Verona, Weidemann, Worcester Round.
    • II. Französische Renaissance-Antiqua [garalde types]: Aeterna, Aldus-Buchschrift, Bembo, Berling, Charter, Comenius-Antiqua, Garamond, Granjon, Leipziger Antiqua, Meridien, Michelangelo, Octavian, Palatino, Perpetua, Plantin, Sabon-Antiqua, Trump-Mediaeval, Van Dijck, Vendome, Weiß-Antiqua.
    • III. Barock-Antiqua [transitional types]: Baskerville, Bernhard Modern, Bookman, Caledonia, Caslon, Century, Century Schoolbook, Cheltenham, Cochin, Diotima, Ehrhardt, Imprimatur, Janson, Life, Nicolas Cochin, Poppl-Antiqua, Raleigh, Schoolbook, Scotch, Tiffany, Times.
    • IV. Klassizistische Antiqua [modern or didone types]: Bauer Bodoni, Bodoni-Antiqua, Linotype Centennial, Corvinus, De Vinne, Linotype Didot, Ellington, Falstaff, Fat Face, Fenice, Madison-Antiqua (Amts-Antiqua), Normande, Tiemann-Antiqua, Torino, Walbaum-Antiqua.
    • V. Serifenbetonte Linear-Antiqua [slab serif]: Aachen, Clarendon, Memphis, Old Towne, Pro Arte Schadow-Antiqua, Serifa, Volta.
    • VI. Serifenlose Linear-Antiqua [sans]: Akzidenz-Grotesk, Antique Olive, Avant Garde Gothic, Cosmos, Delta, Erbar-Grotesk, Eurostile, Folio, Franklin Gothic, Frutiger, Futura, Gill, Helvetica, Univers.
    • VII. Antiqua-Varianten: Abbot Old Style, Amelia, Americana, Arnold Böcklin, Banco, Calypso, Churchward, Cooper Black, Dynamo, Eckmann, Glaser Stencil, Hobo, Lasso, Mexico Olympic, Plastica, Profil, Souvenir, Stop, Superstar, Tintoretto, Traffic, Washington, Windsor, Zipper.
    • VIII. Schreibschriften [scripts]: Arkona, Amazone, Bison, Boulevard, Brush Script, Caprice, Charme, Choc, Diskus, Englische Schreibschrift, Künstler-Schreibschrift, Lithographia, Mistral, Reiner Script, Rondo, Signal, Swing, Vivaldi.
    • IX. Handschriftliche Antiqua: American Uncial, Antikva Margaret, Arcade, Codex, Delphin Dom Casual, Hadfield, Klang, Koch-Antiqua, Libra, Lydian, Ondine, Poetica, Post-Antiqua, Prima, Ritmo, Solemnis, Studio, Time Script.
    • X. Gebrochene [Fraktur, blackletter], subdivided into Xa Gotisch, Xb Rundgotisch, Xc Schwabacher, Xd Fraktur, Xe Fraktur-Varianten.
    • XI. Fremde Schriften [foreign types]: all non-Latin typefaces.
    [Google] [More]  ⦿

    Schrift-Klassifikationen

    Type classification at typografie.info. By Ralf Hermann. Interesting to get used to the German terminology, so here we go:

    • Venezianische Renaissance-Antiqua (ca. 1470): Venetians such as Berkeley Old Style, Centaur, Deepdene, Horley Old Style, Kennerley Old Style, Trajanus, Schneidler-Mediaeval, Seneca.
    • Französische Renaissance-Antiqua (ca. 1540, humanist): Garamond, Aldus-Buchschrift, Bembo, Berling, Diethelm-Antiqua, Goudy, Palatino, Sabon-Antiqua, Trump-Mediäval, Weiss-Antiqua.
    • Barock-Antiqua (1750, transitional): Baskerville, Caslon, Imprimatur, Janson-Antiqua, Poppl-Antiqua, Tiffany, Times-Antiqua.
    • Klassizistische Antiqua (1800, didone, modern): Bodoni-Antiqua, Didot, Madison-Antiqua, Torino, Walbaum-Antiqua.
    • Serifenbetonte Linear-Antiqua (1850, slab serif) Egyptienne: American Typewriter, Beton, City, Lubalin Graph, Memphis, Rockwell, Serifa, Stymie.
    • Serifenbetonte Linear-Antiqua Clarendon: Clarendon, Impressum, Melior, Volta.
    • Serifenbetonte Linear-Antiqua Italienne: Figaro, Hidalgo, Memory, Old Towne, Pro Arte.
    • Serifenlose Linear-Antiqua (1850, sans): Akzidenz-Grotesk, Avant Garde Gothic, Avenir, Berthold Imago, Franklin Gothic, Frutiger, Futura, Folio, Gill Sans, Helvetica, Kabel, Meta, Neuzeit-Grotesk, Rotis Sans, Stone Sans, Syntax, Univers.
    • Antiqua-Varianten: Arnold Böcklin, Blur, Eckmann, Exocet, Mambo Bold, Moonbase Alpha, Revue.
    • Schreibschriften: Ariston, Ballantines, Berthold-Script, Commercial Script, Diskus, Englische Schreibschrift, Künstlerschreibschrift, Lithographia, Mistral, Slogan.
    • Handschriftliche Antiqua: Arkona, Delphin, Dom Casual, Express, Impuls, Justlefthand, Poppl-College, Post-Antiqua, Vivaldi.
    • Gebrochene Schriften (blackletter): Gotisch (Fette Gotisch, Wilhelm-Klingspor-Gotisch), Rundgotisch (Tannenberg, Wallau, Weiss-Rundgotisch), Schwabacher (Alte Schwabacher, Renata), Fraktur (Fette Fraktur, Neue Fraktur, Unger-Fraktur, Walbaum-Fraktur, Zentenar-Fraktur), Fraktur-Varianten (Breda-Gotisch, Breite Kanzlei, Rhapsodie).
    [Google] [More]  ⦿

    Schriftkünstler

    Dieter Steffmann has short bios of the lives of various German typographers. [Google] [More]  ⦿

    Schulschriften
    [Rainer Will]

    Rainer Will Softwareentwicklung (Schöffengrund, Germany) developed these school and cursive writing fonts: DR-BY2, DR-HH2, LA-El2, VA-Pe2. Another URL. [Google] [More]  ⦿

    Schulschriften.de

    Free German school fonts, all made by Ralf Lohuis from Hünxe in 2002: Bayernmiba, Latmiba, Nomiba, Schumiba, Suemiba, Vamiba. There are even more commercial fonts for uses in schools, including official pedagogical handwriting fonts, Christmas fonts, and many symbol fonts for mathematics and other subjects. Most fonts were designed between 1996 and 2000. Free demos: Adam, Atlas, Bausteine, Bayerndruck, Blackwhite, Boxquestion, Domino, Eisenbahn, FlaggenABC, Geheim, Guitar, KreuzWort, Lahalb, Lapunkt, Lateinaus, Lineatur, MatheRechner, MatheTangram, Meteo, Musik, Norddruck, Nordspur, Saspunkt, Schulaus, Sdfett, Sport, Sueline, Telegraf, Trainee, Vahalb, VeenPikto, Veraus, Verfett, ZahlenABC. [Google] [More]  ⦿

    Schultzschultz Team
    [Marc Schütz]

    Marc Schütz was born in Frankfurt am Main, Germany. He studied at the University of Art and Design Offenbach am Main and has been teaching type design at the same school since about 2015. Together with Ole Schulte he founded design studio Schultzschultz in Frankfurt in 2007.

    At Linotype, he designed the 18-style typeface family Neue Kabel (2016) that revives Rudolf Koch's Kabel (1927) by making it more consistent. Linotype link.

    In 2018, the Schultzschultz Team published Strokeweight at Schriftlabor. Strokeweight is named after a PostScript parameter that permits one to set the linewidth of a stroke-based font. [Google] [MyFonts] [More]  ⦿

    Schwabacher Judenletter

    German page that explains the false myths about Fraktur and the Nazi regime. In fact, on January 3, 1941, the Nazis decreed to abort the use of Fraktur letters for all official purposes and in the media. The page also has these truetype fonts: FrakturBT-Regular, Germen-Type, SchwabenAlt-Bold. [Google] [More]  ⦿

    Schwarzschild
    [Stefan Frey]

    Free screen font families Schild7 and Schild9: Schild7FS, Schild7LovelyFS, Schild7Lovely, Schild7BoldFS, Schild7Bold, Schild7HighscoreFS, Schild7Highscore, Schild7, Schild9FS, Schild9. There is also a free Schild Jubilee typeface, based on woodtype numerals. Schwarzschild is run by Stefan Frey, Karsten Müller (Karste Mueller) (and originally also by Huschang Pourian) in Wiesbaden, Germany. [Google] [More]  ⦿

    S-Core

    Foundry in Korea, whose type designers include Hyun-Seung Lee and Dae-Hoon Hahm. One of the house typefaces is Core Gungseo (2012), a calligraphic typeface for Latin and Hangul. [Google] [MyFonts] [More]  ⦿

    screentype.de (or: Cybedesign)
    [Robert Flubacher]

    Screen fonts: Bobula (1998, Robert Flubacher), Farrow (2000, Robert Flubacher), Gizma (2000, Robert Flubacher), Quotidian (2001, Robert Flubacher), Tolski (2000, by Apostolos Simeonakis) and Totally Regular (2000, by Apostolos Simeonakis), all made for about 5 to 8 point showings. All by Cybedesign GmbH, Heilbronn, Germany, the home of Robert Flubacher (b. 1976), who also designs pixelfonts at Ductype. Flubacher also is the founder of the design studio 808Medien. [Google] [More]  ⦿

    Screentypo.org
    [Jens Weigel]

    Screentypo.org discusses experimental fonts and screen typography (in German). It is run by Jens Weigel (b. 1976, Marburg, Germany), who studied at FH Augsburg. He is the designer of StandUp (2002, a sans), and the beautiful Insekt (2003, with influences from Bernhard Roman) and InsektBiene (2004, roman titling face). Standup and Insekt are now available at URW (2004).

    He also designed a bitmap font with large x-height, showcased here, as well as the italic bitmap font Arty, and Behemot. Currently, he is working on a humanist italic of Aldus Manutius (2003), based on a scan.

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

    SD Fonts
    [Hartmut Schaarschmidt]

    Cofounder of Brass Fonts in Cologne, and designer of Sanctus (1998), Souper (1997), Veto (1996).

    In 2019, he started SD Fonts, and published the condensed poster sans typeface family Size (2019) and the pointy serif typeface Sardo (2019). [Google] [MyFonts] [More]  ⦿

    Sebastian Bentler
    [Dezyner Records (was: Dezyne.de)]

    [More]  ⦿

    Sebastian Bissinger
    [Bank Graphic Design Today]

    [More]  ⦿

    Sebastian Bohm

    Graphic designer in Berlin. His SB Cabinet font (2012) is a 3d typeface that is based on simple sketches found in IKEA manuals. [Google] [More]  ⦿

    Sebastian Boschert

    German designer of SPADORE (1998), a Novella lookalike. Another Novella lookalike is Bay Animation's Terra. [Google] [More]  ⦿

    Sebastian Cremers

    German designer of the grotesque typeface Mayfield (2008, Avoid Red Arrows). [Google] [More]  ⦿

    Sebastian Dittmann

    Designer in Berlin, who created experimental typefaces such as Molekel (2012, a connect-the-dots molecular font), 45 Degrees Font (2012), Piefex (2008, pixel face), Stronghold (2008), Biefstreet (2009) and Black Holes Ghost (2008).

    Behance link. [Google] [More]  ⦿

    Sebastian Fischer
    [Hubert and Fischer]

    [More]  ⦿

    Sebastian Grabbert

    German (b. Leipzig, 1974) designer at Fontomas of Mighty Tiza (2000). [Google] [More]  ⦿

    Sebastian Grebing

    German graphic and type designer who created the nifty display typeface Tregger (2002). [Google] [More]  ⦿

    Sebastian Hartmann

    Graduated in Communication Design from the Fachhochschule für Gestaltung in Hamburg in 1993. He studied under Mark Jamra. Designer of the semi-Western semi-Basque display typeface Casanova (2004, URW). [Google] [More]  ⦿

    Sebastian Hilgetag
    [Monday Type]

    [MyFonts] [More]  ⦿

    Sebastian Kempgen
    [KODEKS]

    [More]  ⦿

    Sebastian Kempgen
    [MacCampus]

    [More]  ⦿

    Sebastian Kosch

    Sebastian Kosch (b. 1989, Germany) studied Engineering Science at the University of Toronto. He designed the open license garalde font family Crimson Text (2010), which is part of the Google open font directory. This was followed by Crimson (2011) and Crimson Bold (2011). Free downloads at OFL, CTAN and Aldus Leaf. See also Crimson Pro, originally designed by Sebastian Kosch and in 2018 expanded by Jacques le Bailly. The Crimson fonts were corrected in 2016 by Michael Sharpe and are available as Cochineal. Michael writes: These remarkable fonts are inspired by the famous oldstyle fonts in the garalde family (Garamond, Bembo) but, in the end, look more similar to Minion, though with smaller x-height and less plain in detail..

    Sebastian's motto: free as in both "free beer" and "freedom."

    Klingspor link. Open Font Library link. Google Plus link. Github link. [Google] [More]  ⦿

    Sebastian Kuntz

    Darmstadt, Germany-based designer of the ixel typeface Four Courner Font (2014). Behance link. [Google] [More]  ⦿

    Sebastian Lappe

    German creator of the fat finger typeface Lappe 1 (2011, iFontMaker). [Google] [More]  ⦿

    Sebastian Losch
    [Kilotype]

    [MyFonts] [More]  ⦿

    Sebastian Mechelk

    Berlin-based graphic designer and digital artist who made the avant garde typefaces Helenistic Thin (2009), Amaso (2009, thickj outline face) and Logarde Thin (2009, free). Kernest link. [Google] [More]  ⦿

    Sebastian Mecklenburg

    German designer of Flohmarkt. [Google] [More]  ⦿

    Sebastian Moser

    As a student at Hochschule Pforzheim in Germany, Sebastian Moser won an award at TDC 2014 for his typeface Sori (2013). Sori is a Latin typeface that emulates the stacking of Hangul. [Google] [More]  ⦿

    Sebastian Onufszak

    Born in Breslau (Poland) in 1978, Sebastian Onufszak is a German-Polish illustrator, designer and director. He is located in Augsburg, Germany. Creator of the experimental geometric typeface Black and White (2012).

    Behance link. [Google] [More]  ⦿

    Sebastian Scheid

    German designer of the informal hand-printed typeface Sebastian Informal (2010). [Google] [More]  ⦿

    Sebastian Schubert
    [MdSymbol]

    [More]  ⦿

    Sebastian Schubmehl

    Trier, Germany-based designer of these typefaces:

    • Mohyla Sans (2019). A heavy modular tombstone font for Latin and Cyrillic.
    • Muzey (2019). A fantastic sketched typeface.
    • Novos Grotesk and Novos Roman Serif (2020). Created at Hochschule Trier in August 2019 under the supervision of professor Andreas Hogan and Sven Fuchs.
    • Oh Boi (2019). A dry brush font.
    • Zabuta (2019). A typeface inspired by a cyrillic alphabet found on an old stone in front of the Museum of Ancient Ukrainian Books in Lemberg / Lviv, Ukraine.
    [Google] [More]  ⦿

    Sebastian Wieland
    [Typemotion]

    [MyFonts] [More]  ⦿

    Sebastian Wießner

    Creator in 2008 of Homeblock (cubic) and Homeboots (futuristic). Alternate URL. Dafont link. [Google] [More]  ⦿

    Second Linotype Font Technology Forum

    Held at the Print Media Academy, Heidelberg, Germany, from February 20-22, 2003. [Google] [More]  ⦿

    Secret Fontasies
    [Christian Bauer]

    From Mönchengladbach, Germany, Christian Bauer's commercial fonts: Buddy (childish leters), Grandma, Lineal, Missal, Salatino (free), World (dingbats), Linotype Compendio (1997, grungy), Oneworld. You may request a free copy by email of Salatino, a reworked Garamond.

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

    Sedef Aydogan

    Kiel, Germany-based designer of Schleswiger Sans (2015). [Google] [More]  ⦿

    Seidel&Naumann

    German typewriter company in Dresden. Sample of the letters of their Ideal typewriter of 1934. Naumann Ideal from 1935. [Google] [More]  ⦿

    Seite4
    [Ralph du Carrois]

    Berlin-based design company, est. 2003, run by Ralph du Carrois and Jenny Horn. It ceased to exist, but du Carrois now runs Colaborate (sic): A four-style sans family done in 2001 for StudioMiR (free).

  • The Pixelpath series (2002): PiPaA35, PiPaB35, PiPaC35, PiPaD35. Free. [Google] [More]  ⦿

  • Selina Christ

    Selina Christ has a Bachelor of Arts in Communication Design from the Trier University of Applied Sciences. During an internship at MAGMA Brand Design, Karlsruhe, she worked for Volcano Type and the 2014 version of the type calendar Typodarium. At Volcano, she created the monoline modular foliate typeface Blattwerk (2013). [Google] [MyFonts] [More]  ⦿

    Selina Sommer

    Freelance designer in München, Germany, who created a geometric low x-height headline sans typeface called Sommer (2014). Behance link. [Google] [More]  ⦿

    Selina Sophia Heursen

    During her studies in Berlin, Selina Sophia Heursen designed the informal typeface Quirky (2017). Behance link. [Google] [More]  ⦿

    Sergej Krieger

    Tim Schmeer (b. 1984, Duesseldorf, Germany) studied communication design in Duesseldorf, Germany. In 2020, Sergej Krieger and Tim Schmeer founded Duestype in Duesseldorf. In 2022, Duestype released Extragraph Display, a modular monolinear display typeface that only uses circular arcs and straight lines. [Google] [MyFonts] [More]  ⦿

    Sergej Lebedev

    Trier, Germany-based designer of the commercial typefaces Bass (2019: a monoline sans), Group Sans (2018: an organic sans designed for web use), Barman (2018), Alicante Sans (2017), Client (2017, an organic monoline all-purpose sans), Genua Sans (2017), Bilbao Sans (2016, organic style), Ostende Sans (2016: 8 styles, Monotype: named after the Belgian port city of Oostende; followed by Ostende Round and Ostende Gothic), Avion Outline (2016), Avion Sans (2016), Avion Soft (2016), Desk Sans (2016), Desk Round (2016, organic sans), Secans (2015, a square sans), Secans Soft (2016), Flat Sans (2015) and Group Sans (2015, a corporate sans).

    Home page. Behance link. Typedesigner.de link. Another link. Behance link. [Google] [More]  ⦿

    Sergey Oleynik

    Type designer from Münster, Germany, who was born in 1981 in Münster. Creator of the simple hand-printed typeface Mateur (2011). [Google] [MyFonts] [More]  ⦿

    Setzmaschinenfarik Typograph

    Creators of typefaces such Teutoburg (1935, blackletter). [Google] [More]  ⦿

    SFB Fonts (or: Studio Fabio Biesel)
    [Fabio Biesel]

    Ravensburg (was: Konstanz), Germany-based designer of the experimental sans typeface families Increase (2018) and Güggeli (2018). In 2019, he released the sans typeface Pedalo. In 2020, he designed the custom hipster typeface Knoblauch Jubilee. [Google] [More]  ⦿

    SH Grafikdesign
    [Stefan Hoppe]

    Stefan Hoppe set up SH Grafikdesign in Wipperfürth, Germany. In 2014, he published the sans typefaces Proband and Proband Special. [Google] [MyFonts] [More]  ⦿

    Shaped Fonts (was: Phitra Design)
    [Philip Trautmann]

    Philip Trautmann (Phitra Design, b. 1996) is the Düsseldorf, Germany-based founder of Phitra Design in 2016. He renamed the foundry Shaped Fonts and was joined by Christoph Dörre and Nora Bruckhoff.

    Creator of the free handcrafted fonts PhitraDesign Handwritten (2013), Cookies+Milk (2016), Inkina (2016), Georgina (2016, a rounded stencil typeface), PhitraDesign Ink (2016), Skybird (2016), Skybird Rough (2016, free), and the sans typefaces Aquino (2016) and Sequel (2016: free).

    In 2016, Trautmann designed the letterpress emulation typeface Prequel, the informal monoline typeface Kanada and the experimental typeface Artypa.

    Typefaces from 2017: Grape, Coffee & Tea, Fish & Chips.

    Typefaces from 2018: Shelta Hand (comic book font).

    Typefaces from 2019: Snow Hut.

    Typefaces from 2020: Argio (a rounded all caps sans; +Rough, +Shadow), Honey & Jam.

    Typefaces from 2021: Magic Owl, Prequel Shadow, Patron (a variable rounded sans font with almost architectural letters), IceBear (art deco caps), Sunshine (script), Fresh Tea (a tall hand-printed font), Lifestyle (a monolinear signature font), Equil (roman caps, plus a stencil set).

    Typefaces from 2022: Mind The Caps. Behance link for Phitra Design. [Google] [More]  ⦿

    ShareCorner

    Links to some font utilities. In German. [Google] [More]  ⦿

    Sheehan Sista

    Graphic designer in Leipzig, Germany. Creator of the tall condensed sans typeface Novus (2018) and the didone typeface Initium (2018), which was created under supervision at the Academy of Visual Arts in Leipzig. [Google] [More]  ⦿

    Shenja Tatschke

    As a student in Berlin, Shenja Tatschke created the tongue-in-cheek decorative caps alphabet Frisky (2016). [Google] [More]  ⦿

    Shift Magazin

    German printing magazine. [Google] [More]  ⦿

    Shlomo Steinar
    [Shlomo Steinar - The Kosher Nordmann]

    [More]  ⦿

    Shlomo Steinar - The Kosher Nordmann
    [Shlomo Steinar]

    Designer of the free icon dingbat typeface Socialbats (2011, Open Font Library). [Google] [More]  ⦿

    Shoko Mugikura

    Shoko Mugikura is a Japanese type and graphic designer currently based in Berlin. Since 2010, she has been jointly running the type design studio Just Another Foundry with Tim Ahrens, while she continues to work on her own projects. Together, they designed JAF Domus Titling (2011), a rounded typeface with classical Roman proportions, and JAF Garamond (unreleased). In 2015, Shoko Mugikura and Tim Ahrens revived the squarish blackletter Johannes Type (Johannes Schulz at Genzsch & Heyse, 1933) as JAF Johannes. [Google] [MyFonts] [More]  ⦿

    shType
    [Steffen Heidemann]

    shType is a foundry in Hamburg run by Steffen Heidemann (b. Münster, 1982), est. 2010. He created sh Klicker (2010), a modular pixel-based or dot matrix based typeface in eight styles that simulate a script in various textures. [Google] [MyFonts] [More]  ⦿

    Shylock

    Free fonts: Requiem, Cheek 2 Cheek, Mega, Fight Club. All fonts are futuristic in conception.

    Dafont link. [Google] [More]  ⦿

    SIAS (or: Signographical Institute Andreas Stötzner)
    [Andreas Stötzner]

    Andreas Stötzner (b. 1965, Leipzig) is a type designer who lives in Pegau, Saxony. Graduate from the Hochschule für Grafik und Buchkunst Leipzig and the Royal College of Art in London (1994). Since then, free-lance. Started making typefaces in 1997. He edits the sign and symbol magazine Signa. He spoke at Typo Berlin 2004 and at ATypI 2005 in Helsinki where his talk was entitled On the edges of the alphabet. Coauthor with Tilo Richter of Signographie : Entwurf einer Lehre des graphischen Zeichens. He set up SIAS in 2006-2007 and started selling fonts through MyFonts.

    He created Andron Scriptor (2004, free), with original ideas for Greek and Cyrillic alphabets. The Andron project intends to extend this Venetian text typeface in many directions: right now, it covers Latin, Greek, Coptic, Gothic, runes, Cyrillic, Etruscan and Irish scripts, musical symbols, astronomical and meteorological symbols, and many dingbats. The Andron MC Corpus series (2012) contains Uncial, Mediaeval and Capital styles. He also created Andron 1 Monetary (2014), Andron 1 Alchemical and Andron 2 ABC (2014, for children's literature).

    On or before 2006, he created a few typefaces for Elsner & Flake. These include EF Beautilities, EF Ornamental Rules, EF Squares, EF Topographicals, EF Typoflorals, EF Typographicals, EF Typomix, EF Typosigns, EF Typospecs, EF Typostuff.

    Fonts from 2007-2010: Gramma (2007, three dingbats with basic geometric forms), Andron Corpus Publix (2007, dingbats including one called Transport), SIAS Freefont (2007, more dingbats), SIAS Lineaturen (2007, geometric dingbats) SIAS Symbols (2009), Andron Freefont (2009, text font), Andron 1 Latin Corpus (2009), Andron 1 Greek Corpus (2009), Andron Kyrillisch (2009, consisting of Andron 1 CYR, Andron 2 CYR and Andron 2 SRB where SRB stands for Serbian), Andron 2 English Corpus (2010, blackletter-inspired alphabet), Andron 2 Deutsch Corpus (2010), Andron Ornamente (2012), Reinstaedt (2009, blackletter family), Crisis (2009, economic sans).

    Lapidaria (2010) is an elegant art deco sans family that includes an uncial style and covers Greek. Hibernica (2010) is a Celtic variant of Lapidaria. Symbojet Bold (2010) is a combination of a Latin and Greek sans typeface with 400 pictograms.

    Rosenbaum (2012) is a festive blackletter face, obtained by mixing in didone elements.

    In 2013, he published Arthur Cabinet, a six-style inline art deco caps collection of typefaces, with accompanying Arthur Ornaments and Arthur Sans. Meanwhile, Andron Mega grew to 14,700 unicode glyphs in 2013.

    Typefaces from 2014: Behrens Ornaments (art nouveau ornaments based on Behrens Schuck by Peter Behrens, 1914), Fehlian (an open capitals typeface family with Plain, Gravur and Precious styles), Happy Maggie (a hand-drawn script based on Maggie's sketches when she was 13 years old), Abendschroth (for lullabies, girl's literature, murder poems, short stories and Christmas gift books), Abendschroth Scriptive, Albyona English No. 1 (as Andreas writes, suitable for children's books, fantasy literature, crime novels, natural food packaging and poison labeling, for infancy memories, vanitas kitsch items, dungeon museum bar menu cards, introductions to herbalism and witchcraft manuals), Lindau (a Venetian Jensonian typeface with considerable flaring in the ascenders), Grund (based on the 1924 art deco signage in Leipzig's Untergrundmesshalle Markt whose architect was Otto Droge), Leipziger Ornamente (based on variopus buildings in Gohlis, Leipzig, dating from the 1920s-1950s), Kaukasia Albanisch (ancient writing system of the Caucasus region, allegedly created by Mesrop Mashtots who also invented the Armenian alphabet in 405).

    Commissioned fonts include Runes (commission by Ludwig Maximilian University Munich), Lapidaria Menotec, Old Albanian, Dania (a special notation for Danish dialectology. Font extension of Latin Modern Italic (Open source), commissioned by the Arnamagnanean Institute, Copenhagen Universit).

    Typefaces from 2015: Andron 2 EIR Corpus (uncial, Gaeli), Artemis Sans (Greek version of Arthur Sans), Ardagh (a Gaelic / Irish version of Arthur Sans). Don Sans (a sturdy sans).

    Typefaces from 2016: Popelka (an uncial fairy tale font modeled after the opening sequence of the 1973 movie Drei Haselnüsse für Aschenbrödel).

    MyFonts. Behance link. Abstract Fonts link. Klingspor link.

    Showcase of Andreas Stötzner's typefaces at MyFonts. View the SIAS typeface library. [Google] [MyFonts] [More]  ⦿

    Siegfried Rückel
    [rQuadrat]

    [MyFonts] [More]  ⦿

    Siegfried Rückel
    [Fontcredit]

    [MyFonts] [More]  ⦿

    Siggi Eggertsson

    Icelandic graphic designer, illustrator and type designer, b. 1984 in Akureyri, a small town on the north coast of Iceland. He graduated from the Iceland Academy of the Arts in Reykjavík in 2006. He now lives in London and/or Berlin. Old URL. His creations:

    • Bútasaumsletur (2005): a typeface inspired by patchwork quilts. Each letter is a block, and when you write a text with it, the blocks connect to each other, so in the end you have some kind of a digital quilt.
    • Skuggasveinn (2006-2007): a 3d-folded paper style typeface made in collaboration with Gunnar Vilhjalmsson.
    • Grasrot (2005): Headline typeface for the catalogue of Grasrot, an exhibition held in Reykjavik, showcasing young and upcoming Icelandic artists. Done in collaboration with Gunnar Vilhjalmsson.
    • Pulsa (2005): a hot-dog themed typeface.
    • Tundurdufl: Based on German poster grotesks, ca. 1900, and constructed according to a special grid.
    • Times New Siggi: a wiggly version of Times Roman.
    • With Sveinn Daviðsson, he made several typefaces such as Reinhardt, Ultima Thule, and Russibani (organic).
    • Typojanchi (2015) is an amoebic typeface.

    A nice quote by him: Designing a proper typeface is a difficult and boring process. When you've sketched down your main ideas, there is not much room for creativity, it just becomes hard labor, a bit like doing the dishes. [Google] [More]  ⦿

    Signa

    A German language magazine devoted to signs and symbols. Edited by Andreas Stötzner in Leipzig. [Google] [More]  ⦿

    Signalgrau *(was: eyesaw fontz)
    [Dirk Uhlenbrock]

    Signalgrau was eyesaw fontz. It offered free Mac/PC T1 and TrueType fonts by Dirk Uhlenbrock from Essen, Germany (b. 1964). Many of his fonts are "techno", but there is some variation in the selection. The "Creatures" dingbat is very very funny, and a must-see. Check also the erotic font Xxx, which can be seen here. Names: Alienation, AlienationOutline, Alieo, Apollo9, Apollo9Italic, Atman, AtmanBold, Atmandings, Bald, Baldhead, BeBop, Bite, Bits, Blob, BlobThin, Bubble, BubbleWild, Crack, Creatures, Dennis, Dioptrin, Dna, Electrance, Frakt, Gordon, Launchpad, Max, Kazoo, M Werk, Rosalinde (original script-techno font available at Fountain), Jetset, FSB, Ticket, ORAV (hacker font), Paul5, Paul6, PlakatOne, PlakatTwo, Push, Rubbermaid, RubbermaidSingle, Scrabble (1999), Speedway, Splat, Ticker, Tubeone, Tubetwo, Tvdinner, TvdinnerFull, Ufo, UfoItalic, Xxx, Yodle, Honey (pixel font), Super, Girl (Fountain, 2002), Robotron (Fountain: futuristic type). Swisz, a 5-weight family, is used in the magazine Massiv. [Google] [More]  ⦿

    Sigrid Claessens

    Born in Duesseldorf in 1951. She co-designed at Apply Design (now Apply Interactive) in 1999 a nice series of stencil fonts with Guenther Flake: WaltonStencil-BlackRough, WaltonStencil-WhiteRough, LaPinaStencil, Lasertac Stencil, Reedon Stencil, RoundedStencil, SerpentineStencil, StencilAntiqua, TeaChestStencil, WesternStencil, AdveraStencil, ArstonStencil, BankStencil-Medium, BankStencil-MediumRough, CaslonFinaStencil-Black, CaslonFinaStencil-BlackRough, ChicoStencil-Rough, ChicoStencil, FerroStencil, GeometricStencil, GlaserStencil. Some of these can be bought at MyFonts.

    In 2004, still at Elsner&Flake, she designed OCR-A EF Pro.

    Klingspor link.

    View Sigrid Claessens's typefaces. [Google] [MyFonts] [More]  ⦿

    Sigrid Hecker
    [Bibliographisches Institut & F.A. Brockhaus AG]

    [More]  ⦿

    Silja Bilz

    Linotype designer of the big Compatil family (1999-2001), with Olaf Leu and Reinhard Haus. As the name suggests, this typeface was intended for use in reporting computations, tables, and in information design in general. The 16-font family from Linotype comprises Compatil Fact, Compatil Letter, Compatil Text, and Compatil Exquisit. View the Compatil typefaces. [Google] [More]  ⦿

    Silvia Posavec

    German designer of the elegant display typeface Edoli (2009, Avoid Red Arrows).

    Klingspor link. [Google] [More]  ⦿

    Simon Bassler
    [Designconcepts]

    [More]  ⦿

    Simon Becke

    German type designer. [Google] [MyFonts] [More]  ⦿

    Simon Becker
    [B2302]

    [MyFonts] [More]  ⦿

    Simon Cubasch
    [Gosub]

    [More]  ⦿

    Simon Geist

    Aka Zorrobs. FontStructor who made the octagonal typeface Love And Kill (2012) for a course taught by Florian Hardwig in Germany. [Google] [More]  ⦿

    Simon Kobel

    Simon Kobel (Whynut, Berlin) created the sans typefaces Whynut and MATL in 2013.

    Behance link. [Google] [More]  ⦿

    Simon Lueke

    German creator of the hand-printed typeface Lukefont (2012). [Google] [More]  ⦿

    Simon Mager

    Simon Mager is a German graphic designer based in Lausanne, Switzerland. He graduated from ECAL with a Masters in Art Direction with the typeface family Rima. He works as a teaching assistant for the Master Type Design at ECAL and together with his partners he founded the Swiss-based design studio Omnigroup. His design practice spans from art direction to graphic and type design. In 2020, he designed Horizontal, which is based on Max Miedinger's 1965 typeface called Horizontal. Speaker at ATypI 2017 Montreal. [Google] [More]  ⦿

    Simon Pascal Klein

    Designer from Canberra, Australia, but born in Mainz, Germany. Leader of Open Baskerville, an open source project for a digital revival of the famous Baskerville typefaces. Open Baskerville is based upon Fry's Baskerville, a Baskerville derivative from ca. 1768 created by Isaac Moore, a punchcutter who worked for John Baskerville. Besides Klein, contributors include James Puckett and Robin Mientjes. Typophile discussion. OFL link. They explain the project:

    In order to be historically correct and entertain typophiles, Open Baskerville is to be a revival of a Baskervillian ‘clone’ by Isaac Moore, a punchcutter who worked for the type foundry of Joseph Fry in Bristol and later in London. It is believed that he did so because Baskerville had little financial success, never selling his types which were at their making considered vulgar in their stark contrast of the lettershapes and ‘damaging to the eyes’. Further, no other printer had the technology to accurately print with the high-contrast, sharp hairline punches at the time anyway. Fry’s Baskerville was created as a derivative of Baskerville that could be used with the less expensive papers, presses, and the inks that were common.

    Moore created a huge series of fonts in this style, complete with ornaments, a (subjectively weak) italic, and old-style figures for the text weights. The typeface was cut around 1766 and the original matrices still exist. They were purchased from the Fry foundry by Stephenson, Blake & Co. in 1910 having already acquired the Fry foundry materials off the Sir Charles Reed foundry. The surviving punches and even original matrices are in the collection of the Type Museum, London and The Smithsonian National Museum of American History, though both inaccessible, the latter due to their location in a warehouse containing asbestos.

    Sadly only two complete original specimens exist, both in libraries that are currently inaccessible. The first, a broadside specimen printed in Bristol in 1766 is currently housed at the Providence library and the second specimen is in the Royal Library in Stockholm. A copy of the 1766 specimen was reprinted in Updike’s Printing Types, figure 276 though obtaining a high-quality scan is desireable. A contact attempt was made at the Providence with no luck whereas the cost of having a Stockholm copy digitized is presumed to be around the USD $100 mark — this is an option worth considering. There is a very large, multi-page specimen in the Library of Congress, but it only shows the ‘Quosque Tandem…’ quote and it cannot be photographed. Stephenson, Blake are likely to have edited and extended the typeface, as there are subtle variations and differences in the 24-, (possibly 30-,) 36- and 48-point specimens that were made in 1913 and consequently most of the accessible specimens feature them. Below are featured two extracts from two separate scans of Stephenson, Blake specimens. They are both of the Stephenson, Blake Fry’s Baskerville, which in some sizes was produced entirely from the original matrices. In the smaller sizes the letters with descenders were replaced with shorter descenders in the twentieth century when the baselines of of metal type were standardized.

    Stephenson, Blake 1960s specimen featuring their version of Fry’s Baskerville. Stephenson, Blake 1960s specimen featuring their version of Fry’s Baskerville.

    Morris Fuller Benton revived the Moore design for ATF and it first appears in the 1923 ATF specimen (also note a 12pt scan from 1923), as well as later again in the 1934 ATF specimen and in the 1941 ATF specimen. Interestingly Benton did not choose to use Moore’s italic, instead opting for an italic which was in fact copied from the type of Richard Austin that English Monotype later made under the name of ‘Bell’ and also very similar to ‘Bulmer’. So also up for discussion is the selection of an italic; Moore’s italic has been received poorly and as just noted, even Benton choose to replace it. We may do the same, using or basing it off an existing italic or if we’re feeling particularly fruity, draw our own.

    Dunwich Type Founders [James Puckett] explains in an abrasive style Open Baskerville's origins, and destroys it as a possible web font: In 2007 I was working in-house at an organization that used ITC New Baskerville as the serif typeface of its identity. New Baskerville is a great design, but it lacks the high contrast needed for large sizes. This inspired me to start work on Large Fry's, a revival of Fry's Baskerville by Isaac Moore. Large Fry's had extreme contrast for big print use. I left that job in 2008 and never finished Large Fry's. Later a heated discussion about free/open-source/libre fonts occurred on a web forum. I ended up releasing my unfinished Large Fry's into the public domain in hopes that some of the libre fonts geeks could turn it into something worthwhile. That never happened; the project went off track when open-source zealots wanted to move the entire thing to Fontforge, which nobody with type design skills really wants to use to design type. So the files wasted away in online repositories, which is not really a loss to anyone. Then, in 2010, web fonts happened. And someone decided to make web fonts out of Open Baskerville. This was a horrible idea---Open Baskerville was not intended to be a general purpose print font. It needs to be used larger than 36 pixels just to be readable. [Google] [More]  ⦿

    Simon Puzich

    German designer of the free experimental typeface Arow (2021). [Google] [More]  ⦿

    Simon Roth

    German designer of the poster stencil typeface Pluk (2009, Avoid Red Arrows). Co-founder of Avoid Red Arrows, est. 2008 in Karlsruhe.

    Klingspor link. [Google] [More]  ⦿

    Simon Schmidt
    [Closefonts]

    [MyFonts] [More]  ⦿

    Simon Schulte

    German designer of the free handcrafted typeface Blockss (2017). Dafnt link. [Google] [More]  ⦿

    Simon Thiefes

    German graduate of the MATD program at the University of Reading, class of 2020. His graduation typeface was Chunky for Latin, Hebrew and Arabic. He writes: I am like trousers made from corduroy or a shirt made from flannel. I am the fabric that wraps your words. Warm and cosy. [Google] [More]  ⦿

    Simon Thomaschke

    German designer of Amputierte (2009), Bubblegum (2009), Derail (octagonal) and McLovin (2009, outline face), Giantypo (2009, constructivist). [Google] [More]  ⦿

    Simon Viebach

    German designer who created the hand-printed typeface Cyan Cherry (2012). [Google] [More]  ⦿

    Simon Walter

    Graphic designer and illustrator in Darmstadt who created an erotic alphabet called Schriftverkehr (2010) out of letters from various fonts. Other typefaces by him include Type Faces (2009), and Familie Bodoni (2009).

    Behance link. [Google] [More]  ⦿

    Simon Wiesmayr

    German designer of Costura (2006, stitching font), a three-weight stitching font family. He also made the octagonal stencil font family Autobahn (2007). His foundry is called Rebellion.

    Dafont link. And another URL. Klingspor link. Font Squirrel link. [Google] [More]  ⦿

    Simone Gier

    German designer of the Bank Gothic style face Oceanic (2008, Avoid Red Arrows). [Google] [More]  ⦿

    Simone Hutsch

    During her studies in Berlin, Simone Hutsch designed the display typeface Miss Little Serif (2014). [Google] [More]  ⦿

    Simone Schöpp

    Simone May (b. 1962, Wuppertal, Germany) studied type design, typography/book design and free illustration in Wuppertal and Essen. She has been working independently as a freelancer for various design agencies and a publishing house since 1990. She has published a number of typefaces at FontShop International and other typefoundries.

    Creator of fun fonts such as BB BadBlocks EF (1994), BB Candy EF (1995), BB Comanche EF (1995), BB Mao-Mao EF (1994), BB Miro EF (1995, her best font, of which Joan would have been proud), BB Ninive EF (1995), BB Sioux EF (1995), BB Stayawhile EF (1994), BB Truck EF (1994), BB Xabbie EF (1994), Luzie (spooky), A Lazy Day (FontFont), Littles (FontFont).

    FontShop link.

    It is a bit of a mystery why FontShop calls her Simone May. Also, FontShop says that she designed Beasty Bodies, while MyFonts credits this 1993 design to Günther Flake and Gisela Will.

    View Simone Schöpp's typefaces. [Google] [MyFonts] [More]  ⦿

    Simone Wolf

    Simone Wolf, born in Germany, now lives and works in Italy from where she runs her studio typevents Italy. She has worked in the graphic arts field since 1999, specializing in marketing, consultancy and PR. She also organizes seminars, conferences and events. She has been a visiting professor at universities in Milan and Florence. [Google] [More]  ⦿

    Sinah Iskuhi Kramer

    Berlin-based creator of the flowing script Anna (2012).

    Behance link. [Google] [More]  ⦿

    Sine Bergmann

    German designer of the artsy dingbats typeface GiacomettiLL Pi (1994), depicting active stick figures, and for which an award was won in the Bukvaraz 2001 competition. It is a symbol font containing 62 stick figure illustrations inspired by Swiss artist Alberto Giacometti. Together with Lenore Poth, Sine expanded her font family in 2008 with the handwriting typeface Giacometti Letter. She also designed Jump (2008, handwriting face, Linotype) and Linotype Festtagsfont (1999), a festive stick figure typeface in the style of Giacometti Pi.

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

    Sinikka Li

    Berlin (and Stuttgart), Germany-based designer of the brush typefaces Emmeline (2017: free), Ingenue (2017), Stay Humble (2017), Alyshia Brush (2017), La Rosé (2017), Wanderlust (2017), Milky Way (2017), Wildflower (2017), Little Dreamer (2017), Magnolia (2017), Summer Vibes (2017), Iceland (2017) and Bloomberg (2017), the signature fonts Just Dreamin (2017), Classy (2017), Savannah (2017), Salome (2017), Sienna (2017), Roses Please (2017: signature font) and Lemon & Mint (2017), the blackboard bold Oh Juniper (2017), the display typeface Vagabond (2017), the font duo Saluti (2017), the informal typeface Lisbon (2017) and the script typefaces Blossom (2017), Magical (2017), Affinity (2017), Hello Agnes (2017), Wild Romance (2017), Mindfully (2017, free at Pixel Surplus) and Chicago (2017).

    Typefaces from 2018: Osaka (sans), The New Yorker, Augusto, Americano (a signature font), Rome Diaries (brush script), Oh Savannah (brush SVG font), Brooklyn (font duo), Western Love (brush SVG font), Blush Away, Whisper, The Bohemian, Ciao Ciao (watercolor SVG font), Bella Vista, Bonjour SVG, Aloha Babe (watercolor brush SVG font), New York City (SVG brush font), Austin (opentype SVG), TheWilde (opentype SVG), Roses Please (a free signature font), Mindfully, Valerie (signature font), Copenhagen, La Parisienne, Figueira, Audrey & Louis, Only You, Sanziah, C'Est La Vie, Attila, Esther, Beatrix (brush), Unconditionally, Oh Jasmine (signature script), Hey Thalissa (brush script), Matsuko (sans).

    Typefaces from 2019: Bloom+Wonder, Dear Rose, Botanista. [Google] [More]  ⦿

    Sirkka Hammer

    German designer (b. 1975) at Volcano Type in Karlsruhe of the blackletter-inspired font Frakzidenz (2006), which was part of her thesis in 2005-2006 at the Hochschule für Gestaltung Pforzheim, Germany. It seems to be called Black Sirkka now. It can be bought at MyFonts.

    Since 2007, she works as a graphic designer in Hong Kong at Philips Design Communication.

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

    Skak New
    [Ulrich Dirr]

    Skak is a chess font originally developed by Torben Hoffmann and Dirk Bächle. Skak New (2003, by Ulrich Dirr) combines features of Skak and the "chess" font of Piet Tutelaers. It includes the free type 1 and opentype fonts ChessAlphaDiagram (an enhanced version of Eric Bentzen's Chess Alpha font), SkakNew-Diagram, SkakNew-Diagram2, SkakNew-Figurine-Bold, SkakNew-Figurine, skakf10. CTAN link. [Google] [More]  ⦿

    Skogtype
    [Gunnar Link]

    Type designer born 1983 in Schramberg, Germany. He studied Kommunikationsdesign at Fachhochschule Mainz from 2007 to 2011, and founded Skogtype.

    Creator of Royal Oak Decor (Victorian ornaments), Royal Oak Sans (2009, Edwardian headline sans) and Royal Oak Serif (Western headline face). All were done in 2009 at Die Typonauten and were joint work with Ingo Krepinsky and Stefan Kroemer.

    In 2011, he designed the Cooper Black-style typeface Frido Black at 26 plus zeichen. See also Frido Narrow (2011).

    Ingo Krepinsky and Gunnar Link made the fun hand-drawn Western family Oklahoma Pro (2012) in styles called Deputy, Sheriff, Marshal and Scrawls (dingbats), and

    In 2012, he published Selva, a modern take on the textura style, at Die Typonauten. Riga (2012) is a lively fat signage typeface.

    Typefaces from 2014: Donki (fat signage script, extended to Donki Pro and Donki Pro Stencil in 2015).

    Typefaces from 2017: Skog Sans.

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

    Skylla Magazin

    Alexander Svensson's German ezine about languages. Has regular contributions on fonts (with downloads). Three free IPA fonts, Sophia, Doulos and Manuscript. Includes the Euro Collection v1.03. [Google] [More]  ⦿

    Slang Graphic Design
    [Nathanael Hemon]

    Berlin-based graphic design company. In 2003, Nathanael Hemon (b. 1973, France) designed the free experimental font Brother. Hemon moved first to the US in 1983, and thewn to Berlin in 2000. [Google] [More]  ⦿

    Slanted: Merkwürdige Schrifte 2009

    A review in German of 2009's special fonts. [Google] [More]  ⦿

    snug.abc

    German creator of a tangram alphabet in 2014. [Google] [More]  ⦿

    Snuggels99

    German designer (b. 1982) whose real first name is Jessica. She created Snuggels Mouse Left Hand (2008). [Google] [More]  ⦿

    Softmaker: Blackletter fonts

    The blackletter fonts sold by Softmaker (which are based on hand-digitizations of Berthold's and and other collections by URW and Primafont):

    • Alte Schwabacher
    • E780 Blackletter: This is Engravers Old English (1902, Morris Fuller Benton, ATF).
    • F692 Blackletter: This is Fette Fraktur, or simply Fraktur.
    • Fraktur-Regular: A 1875 typeface by Wagner, see also F692 Blackletter. Elsewhere: Frankenstein.
    • G820 Blackletter: This is also known as Gregorian elsewhere.
    • Headlight: Made by URW in 1994. Another name: Blacklight.
    • J790 Blackletter: This is Unger Fraktur (1800, Berthold).
    • Marriage: This is Mariage or Wedding Text (1901, Morris Fuller Benton, 1901).
    • Old Blackletter: Also known as Old English, Ottoman.
    • Ottoman: Also known as Old English, Old Blackletter.
    • P650 Blackletter: This is Paladin. Elsewhere known as Excalibur.
    • P790 Blackletter: This is Poppl Fraktur (1986, Friedrich Poppl, Berthold).
    • Walbaum Fraktur
    • W650 Blackletter: This is Walbaum Fraktur (1800, J.E. Walbaum).
    • Z690 Blackletter: This is Zentenar Fraktur (1937, F. H. Ernst Schneidler, Neufville).

    Later, the Elegant Blackletter collection was published in which the fonts were renamed, and new ones added: The blackletter collection published in 2016 by SoftMaker includes these typefaces: Albrecht Duerer Fraktur Pro, Barock 1720, Breitkopf Fraktur Pro, Coburg No1, Coburg No2, Coelnische Current Pro, Diamant Gotisch Pro, Fleischmann Gotisch Pro, Fraktur No2 Pro, Fraktur No3 Pro, Alte Schwabacher No1 Pro, Alte Schwabacher No2 Pro, Fraktur Pro (+ Arrow,Broken Glass, Broken Glass No2, Directions, Falling, Falling No2, Flash, Flash No2, Glass, Glass Nop2, Gradient, Gradient No2, Inkjet, Inkjet No2, Plant, Rising, Rising No2, Sawmill, Sawmill No2, Squiggle, Squiggle No2, Stars, Stars No 2, Strings, Stripes, Stripes No3, Strokes, Teensy No2, Winding, Winding No2), Fraktur No4, Gothic Pro, Gotisch Pro, Grail Fraktur Pro, Gravure Pro, Bold;Gravure Pro Bold;Gravure Pro-Bold, Gutenberg Textura Pro, Hans Fraktur Pro, Hohenstein Gotisch Pro, Hungarian Fraktur Pro, Innsbruck Initials, Leibniz Fraktur Pro (after Genzsch & Heyse, 1912), Light Text Pro, Lincoln Text Pro, Marriage Pro, Offenbacher Kanzlei Pro, Old Londontown Pro, Ottoman Pro, Peter Jessen Schrift Pro (after Rudolf Koch's Peter Jessen schrift, 1930), Poem Fraktur Pro, Renaissance Fraktur Pro (after Heinz Koenig's Renaissance Fraktur, 1885), Rundgotisch No1 Pro, Rundgotisch No2 Pro, Schwarzwald Pro, Schwere Fraktur Pro, Theuerdank Fraktur Pro, Walbaum Fraktur No1 Pro, Walbaum Fraktur No2 Pro, Walbaum Zierfraktur Pro, Wallau No1 Pro, Wallau No2 Pro, Wilde Fraktur Pro, Wilhelm Gotisch Pro, Zentenar Fraktur Pro (after Friedrich Hermann Ernst Schneidler, 1937-1938), Zwickau Fraktur Pro. [Google] [MyFonts] [More]  ⦿

    SoftMaker Software GmBH (or: freefont.de)
    [Martin Kotulla]

    SoftMaker, Martin Kotulla's German foundry in Nürnberg, is selling the 10,000-TrueType font Megafont XXL CD (50 USD, www.megafont.de). Every month, a different font or font family (TT and T1) is given away for free. The MegaFont XXL has most standard Monotype/Adobe/Linotype families (up to 1995/1996). They say that most fonts are licensed from URW++ and Brendel Informatik (Cologne). Contents of MegaFont XXL's predecessor, MegaFont Profi CD, here. Since early 2001, you can download one font family from the CD MegaFont XXL here. Martin Kotulla also started infiniType, a collection of 5050 fonts at a good price (Mac and PC). That collection grew to 7444 fonts in InfiniType 4 in 2016. The XXL series has character sets for Western and Central European languages, Turkish, and Celtic, and comes with many expert sets. For historical accuracy: older packages by Softmaker include the 3333-font (TT and T1) MegaFont Profi CD-2.0 (99DM), the 5000-font MegaFont Euro (50 Euro), the Truepack Profi-CD and the 500-font TypeMaker 5.0 Profi-Pack (10DM).

    Their early fonts were renamed and had the attribute Serial in the name. Samples of some of these fonts/families: Adelon Serial (1996, after Albertus MT), Melbourne Serial, Nashville Serial (+Heavy), Nevada Serial, On Stage Serial, Ornitons Serial, Penthouse Serial, Plakette Serial, Priamos Serial, Quadrat Serial, Quebec Serial, Riccione Serial, Rochester Serial, Salzburg Serial, Stafford Serial, Sunset Serial, Sydney Serial, Thames Serial, Toledo Serial, Valencia Serial (Heavy), Valencia Serial (Xlight), Verona Serial, Volkswagen Serial, Wichita Serial.

    In 2008, SoftMaker started selling fonts on MyFonts: fonts there include the 28-style Suetterlin family (2008), based on the handwriting taught in German schools in the first half of the 20th century, Harald Handwriting (2009), Agilo Handwriting (2009), Wally Handwriting (2009), Vittorio Handwriting (2009), Turandot Handwriting (2009), Tommi Handwriting (2009), Veneto Handwriting (2009), Tolomeo Handwriting (2009), Sarx Handwriting (2009), Salew Handwriting (2009), Roxana Handwriting (2009), Renate Handwriting (2009), PizPaz Handwriting (2009, Mexican style), Schneid Handwriting (2009), Pietro Handwriting, Phil Handwriting, Nadine Handwriting, Kuno Handwriting, Larissa Handwriting, Lizzy Handwriting, Juri Handwriting, Jeff Handwriting (2009), Josh Handwriting (2009), Jelena Handwriting (2009), Jaro Handwriting (2009), Jacques Handwriting (2009), Hilly Handwriting (2009), Harico Handwriting (2009), Hakon Handwriting (2009), Stone Handwriting (2009), Federico Handwriting (2009), Fabio Handwriting (2009), Emmi Handwriting (2009), Davio Handwriting (2009), Alec Handwriting (2009), Brian Handwriting (2009), Armand Handwriting (2009), Claude Handwriting (2010), Cathy Handwriting (2010), Clay Handwriting (2010), Danielle Handwriting (2010), Feliks Handwriting (2010), Foster Handwriting (2010), Giorgio Handwriting (2010), Giovanna Handwriting (2010), Guga Handwriting (2010), Giuliano Hanriting (2010), Carlo Handwriting (2009), Brouet Handwriting (2010), Bjarne Handwriting (2009), Fuego (2015: a retro script, after Letraset's Flamenco), Agnieszka Handwriting (2009) and Thery Handwriting (2009).

    Additions in 2010: Tabasco (a geometric based on the phototype font by John Schaedler), Tabasco Twin (a bilined typeface after John Schaedler's Paprika), Advertisers Gothic (a revival of a 1917 typeface by Robert Wiebking), Ad Lib (a revival of a quirky 1961 typeface by Freeman Craw for ATF), Accent (brush face), Flagstaff (oblique techno face), Cornered (with angular pieces), Abilene (Western; caps only), Comix, Cathedral Open (nice open face), Boa Script (2010), Bryce (2010, brush script), Brush Script (2010, after the original ATF font by Robert E. Smith from 1942), Bernhard Fashion (2010), Abbott Old Style (2010, after a 1901 semi-Victorian font by Joseph W. Phinney), Artistic (2010, after Ariston, a 1933 typeface by Martin Wilke), Elegant Script (2010, a revival of Berthold's Englische Schreibschrift), Garamond Serial (2011), the Suetterlin family.

    The typefaces remastered in 2012 include Chandler Pro (this is Rofer Excoffon's 1955 brush typeface Choc; see also Staccato 555 by Bitstream and Chalk by Corel), Cheltenham Pro, Cleargothic Pro (after Morris Fuller Benton's flared version of Clearface, Clearface Gothic, 1907), Cooper Black Pro (+Stencil), Bristol Pro, Tioga Script Pro (after Georg Trump's 1956 script by that name, but aka Time Script).

    Free download: Huntington-Bold [-> Handel Gothic], Huntington-Light, ImperialStd-Bold [-> URW Imperial] ImperialStd-BoldItalic, ImperialStd-Heavy, ImperialStd-HeavyItalic, ImperialStd-Italic, ImperialStd-Medium, ImperialStd-MediumItalic, ImperialStd-Regular, ImperialStd-Xbold, ImperialStd-XboldItalic, KremlinScript-Bold [-> Kuenstler Script], RaleighSerial-Bold, RaleighSerial-Heavy, RaleighSerial-Regular, Scott [-> Stop], TiogaScript-Bold [-> Time Script], TiogaScript-Light, TiogaScript-Medium.

    Handwriting fonts shown at MyFonts in 2013: Allan Handwriting, Andrew Handwriting, Eleanor Handwriting, Enrico Handwriting, Estelle Handwriting, Jay Handwriting, Jaz Handwriting, Jesco Handwriting, Justine Handwriting, Kris Handwriting, Laszlo Handwriting, Lennart Handwriting, Luitpold Handwriting, Manolo Handwriting, Marbo Handwriting, Marcello Handwriting, Murielle Handwriting, Pablo Handwriting, Paolo Handwriting, Pascal Handwriting, Picto Handwriting, Rainer Handwriting, Reyno Handwriting, Ronaldo Handwriting, Teje Handwriting, Theo Handwriting, Valerian Handwriting, Vincent Handwriting, Vogel Handwriting, Volker Handwriting, Wilma Handwriting.

    The blackletter collection published in 2016 by SoftMaker includes these typefaces: Albrecht Duerer Fraktur Pro, Barock 1720, Breitkopf Fraktur Pro, Coburg No1, Coburg No2, Coelnische Current Pro, Diamant Gotisch Pro, Fleischmann Gotisch Pro, Fraktur No2 Pro, Fraktur No3 Pro.

    Later in 2016, SoftMaker published its revival collection, which includes Alternate Gothic Pro, Amsterdamer Garamont Pro, Antiqua Pro, Balloon Pro (brush), Caslon Antique Pro, Century Old Style Pro, Elmore Pro (architectural hand), Falcon Pro (retro brush), Cheltenham ExtraCondensed Pro Bold, Casual Pro (a copy of Thomas Nevison's Casual Pro from 1935), Garamond Nova Pro, Giulio Pro (a copy of Gillies Gothic), Josephs Brush Pro (a copy of Joseph Churchward's Churchward Brush), Malaga Pro (a copy of Roger Excoffon's Mistral), Melville Pro (after Murray Hill), Pedro Pro (a revival of the brush script Dom Casual by Peter Dombrezian, 1950-1953, at ATF), Salmon Pro (a revival of François Boltana's Stilla from 1973), Soledad Pro (based on Helmut Matheis's Slogan (1959, Ludwig & Mayer)), Somerset Pro (a revival of the Letraset font Shamrock designed in 1978 by Alan Withers), Sterling Pro (based on Stentor, designed in 1964 by Heinz Schumann at Typoart), Violin Script Pro (based on Vladimir Script by Vladimir Andrich, 1978).

    Typefaces from 2019: American Text (after an original condensed textura by Morris Fuller Benton), Angelo (after a Victorian typeface called Anglo by Barnhart Brothers ans Spindler, ca. 1895), Balloon No2 (just like SoftMaker's Balloon, based on Max Kaufmann's Balloon from 1939 at ATF), Balzac (after Johannes Boehland's Balzac from 1951), Amber (after Amelia by Stanley Davis, 1964), Karin Pro (a revival of OttoWeisert's art nouveau script Kalligraphia), Beale Charming (2019, after an art deco typeface by Collis Clements, ca. 1974), Bernhard Condensed No2, Bluff No2 (2012-2019, after Julius Kirn's brush script Bison, 1938), Boss (2012, after the sci-fi typeface ITC Bolt (1970, Tom Carnase and Ronne Bonder)), Broadway No2 (2012), Cavalier (2012), Century Schoolbook Pro (2019: after Morris Fuller Benton's typeface from 1919), Century PS Pro (2019: after New Century Schoolbook), Commercial Script No2 (2012, after Morris Fuller Benton's Spencerian script), Cristoforo (2012: after Columbus, a Victorian typeface by Hermann Ihlenburg), Dillon No2 (2012, after Jan Van Dijk's Demian), Disco (2012), Dom (2012; after Peter Dombrezian's Dom, 1952), Durango No2 (2012; after K. Sommer's Dynamo, 1930), Egyptian Wide (2012, after walter H. McKay's Egyptienne from 1952), Eller Initials (2012), Entebbe (2012: after F. Scott Garland's Enviro, 1982), Estelle (2012, based on Vince Whitlock's Equinox from 1988), Florentine (2012, after Ludvig S. Ipsen's ATF Florentine Old Style (1896)), Fraktur No2 (2012, after Johann Christian Bauer's Fette Fraktur, 1850), Frenzy (2012), Giulio No2 (2012, after William S. Gillies's Gillies Gothic, 1935), Greyhound (2012), Harlekin (2012, after Colin Brignall's retro script Harlow Solid (1977)), Hobo No2 (2012, after Morris Fuller Benton's Hobo, 1910), Hubert (2012, after Jan van Dijk's Van Dijk from 1982), Hudson (2012, a brush script), Ingrid (2012), Inverserif (2012), Japanette (2012, an oriental simulation face modeled after Barnhart Brothers and Spindler's 1893 font, Wedge Gothic ML, aka Japanet), Kalligraphia (2012, after Otto Weisert's art nouveau script, Kalligraphia, from 1902), Legend Script (2012, after F.H. Ernst Schneidler's faux Arabic simulation font Legende from 1937), Looking Glass (2012, after Phil Martin's Introspect, 1971), Messing (2012, after W. Schwerdtner's Metropolis from 1928), Metallic Sky (2012, after Mekanik, a Letraset typeface from 1988 by David Quay), Mister Big (2012, after Juergen Riebling's Mr. Big from 1972), Openface No2 (2012, after Augustea Open done in 1951 by Alessandro Butti and Aldo Novarese), Organ Grinder (2019, based on Franz Heigemeir's Organda from 1972), Paladin (2012, a blackletter, also called P650 Blackletter and Excalibur), Pergamon (2012, a deco hairline sans modeled after Premier Lightline (1969, Colin Brignall for Letraset)), Pinocchio (2012, based on a psychedelic typeface by Gustav Jaeger from 1973; earlier called P732 Deco by SoftMaker), Pretoria (2012, earlier called P820 deco by SoftMaker; a revival of the Edwardian typeface Pretorian by P.M. Shanks and Sons, ca. 1880s), Publicity Gothic (2012, based on Sidney Gaun's 1916 typeface for BBS), Quartz (2012, after Alan Birch's LCD from 1981), Reflex (2012, based on Refracta, made in 1988 by Martin Wait), Regency Script (2012: was R690 Script), Rosa (2019, after Herb Lubalin's ITC Ronda, 1970), Rough Script (2012, based on Imre Reiner's Reiner Black, 1955), Rovinj (2012, after a font by Phil Martin), Shotgun (2019, based on a film font from 972 by J. Looney for VGC), Siegfried (2012, art nouveau style), Slager (2012, based on Flash by Edwin Shaar, 1937), Sprint (2012, after Aldo Novarese's Sprint from 1974), Station Script (2012, after a 1946 typeface pair, Studio and Flambard, by Adolf Overbeek), Status (2012, after Michael Neugebauer's Squire from 1980-1987), Tico (2019), Unziale (2012), Yorkshire (2019, formal calligraphy), Zanzibar (2019, after a 1950s Filmotype font), Zephyr (2019; after Rofger Excoffon's Mistral, 1953).

    View the Softmaker library of typefaces. See also here. [Google] [MyFonts] [More]  ⦿

    Sol Matas

    Argentinian type designer born in Buenos Aires who graduated from Universidad de Buenos Aires, and worked initially at Saatchi & Saatchi agency in Buenos Aires. Since 2001 she runs her own studio Sonnenshine specializing in branding and custom type design, working for companies from Latin America, Europe and the United States. She co-founded the type foundry Huerta Tipografica with fellow Argentinian designers in 2009. iIn 2013, she moved to Berlin, where she focused on developing fonts for Latin, Cyrillic, Greek, Oriya and Devanagari. Since 2019 she runs Hungry Type Society.

    Award winner at Tipos Latinos 2010 for her caps only text typeface Parque Chas (done with Juan Pablo del Peral), created for maps and information design.

    At Huerta Tipográfica [an Argentinian type foundry and coop that unites Juan Pablo Del Peral, Carolina Giovagnoli, Sol Matas and Andrés Torresi], she published Bitter HT (2011, a contemporary slab serif) and Parque Chas HT. Bitter is free at Google Web Fonts. Specially designed for on screen use, it won an award at Tipos Latinos 2012. Bitter HT was Sol's graduation typeface at FADU-UBA and covers Latin and Cyrillic. Bitter was extended to the Devanagari typeface Kadwa in 2015, which can be obtained for free at Google Web Fonts.

    In 2016, Abhaya Libre was published by Google Fonts, which writes: Abhaya Libre is the Unicode compliant and complete libre version of Pushpananda Ekanayakes's FM Abhaya font, the most popular Sinhala typeface on Earth, with a new and original Latin [didone style] designed by Sol Matas. [Google] [More]  ⦿

    Solid Sake

    German designer of Shinys Font (2009, hand-printed) and Headshot (2009). [Google] [More]  ⦿

    SolusGmbH

    Ulrich Stiehl writes about this company: "The shady company "Solus GmbH" in Iserlohn (Germany), also known as "New Media Agency GmbH" in Menden, is selling a font collection CD which is the worst collection I have ever seen. The files on this Herlitz CD have been ripped off from private BBS and from the CDs of commercial font companies." Included are Stone Sans, Aachen Bold, AvantGarde, City, Eurostile and many others. Do not buy this CD (4000 fonts for 20 Euro). [Google] [More]  ⦿

    Sonja Knecht

    Sonja Knecht was born in Indonesia, grew up in Venezuela and lives in Berlin. Calling herself a Texterin, Sonja Knecht runs an interesting type blog related to Edenspiekermann. In 2011, she started to work for TYPO Berlin as an editor, team leader and moderator. One of her funniest pieces is the interview with Erik Spiekermann on the topic of Don't work for arseholes. Don't work with arseholes. One of Erik's quotes: Aus einem traurigen Arsch kommt niemals ein fröhlicher Furz.

    Speaker at ATypI 2016 in Warsaw on Text in need. [Google] [More]  ⦿

    Sonja Lehnertz

    Student in Trier, Germany, who created the typeface Mademoiselle (2012). [Google] [More]  ⦿

    Sonja Stange

    Sonja Stange (b. 1984), formerly Sonja Keller, is a native Berliner who also happens to be a serious type nerd. She comes from real life font-family: her mother is a technical specialist for fonts and has worked with almost every German type foundry; her late step father was a Berthold man. Sonja began her professional career at Linotype where she worked in customer support for several years. She left Linotype to focus on programming, both online and with fonts, at Mota Italic with Rob Keller. In 2013, Sonja left Mota Italic to join Type Together as a font engineer and font production ninja. [Google] [More]  ⦿

    Sonja Steiner-Welz

    Author of Von der Schrift und den Schriftarten (Reinhard Welz Vermittler Verlag, Mannheim). These have a history of type and lettering, instructions on lettering (e.g., stroke guide for Antiqua Majuskeln, Lombardische Versalien, and Gotische Majuskeln), some type specimen (mainly German, from the early part of the 20th century), some alphabets, drawn by her, information on the German school scripts, and a German type and lettering glossary: i, ii, iii, iv. It was probably published between 1956 and 1959.

    In 2010-2012, Dick Pape created a number of (mostly caps-only) typefaces based on that book. These include SSWAntiquaPionsel, SSWAntiquaVersalien (a caps set based on Ludovico Vicentino, 1523), SSWCelticAntiquaOutline, SSWFederAntiqua, SSWHollowScript, SSWHolz (Lombardic caps), SSWJensonsAntiqua, SSWLeopoldAntiqua, SSWLombardischeVersalien, SSWMannheimOrnament, SSWPlakatschrift (a useful outline alphabet), SSWRoundPrinting, SSWRusticAlphabet, SSWRusticScript, SSWSchablonenschrift (Bauhaus-style stencil face), SSWUrbanAntiqua-Versal, SSWWoodcuts.

    Download Pape's fonts here. [Google] [More]  ⦿

    Sophie Caron

    Graduate of ESAD in Amiens, France. Her graduation typeface there is Mastok (2015), a slab serif (mécane) that covers Latin and Hebrew. She joined Alphabet Type in Berlin as a font engineer in March 2017. [Google] [More]  ⦿

    Sophie Friedrich

    During her studies in Munich, Germany, Sophie Friedrich created The Blank Font (2013), a minimalist typeface. She also designed Die Gerippte (2015), a geometric font inspired by the traditional Apfelwein pattern. Die Gerippte appeared in a Frankfurt tourist guide. Behance link. [Google] [More]  ⦿

    Sophie Lucht

    German designer (b. 1974, Cottbus) of interesting fonts, such as the chair dingbat fonts Appartement Témoin, the pixel font Universcreen, the electronic dingbats font Electroo (1999), and Bikini. The fonts can be downloaded at Typotek. Sophie lives in Berlin. Alternate (old) URL. [Google] [More]  ⦿

    Sophie Möbius

    During her studies in Berlin, Sophie Möbius designed the display typeface Shemale (2017). [Google] [More]  ⦿

    Sophie Spatschke

    Karlsruhe, Germany-based designer of the formal typeface Black Tea (2020). [Google] [More]  ⦿

    Spaceship

    Karlsruhe, Germany-based design and communication studio. Behance link. Creators of the futuristic techno family Cygnus Alpha (2009). [Google] [More]  ⦿

    Spatium Newsletter
    [Peter Reichard]

    German site concerned with typography, type news, interviews, links, and discussions, and masterfully managed by Peter Reichard (Offenbach) and Christopher Lindlohr (Frankfurt). It was active from 2002 until 2012. Peter designed the cute dingbat font PixelheadHandmadeBeta (2001). Pixel font links. Typosition is an on-line type-in-design mag (free, PDF format). Now also in print. [Google] [More]  ⦿

    Spiekermann's blog
    [Erik Spiekermann]

    Erik Spiekermann's type blog. Copy is set in Espi Slab Regular, Head lines in Espi Sans Bold, Twitter Feeds in Espi Sans Regular and Bold. Espi is Erik Spiekermann's exclusive version of FF Unit and FF Unit Slab. Done with Typekit. [Google] [More]  ⦿

    Spiekermann's favorite typefaces
    [Erik Spiekermann]

    Erik Spiekermann reveals his choices for type: "I use my own typefaces (mainly Meta, Officina and Unit - I don't have to pay for them) and corporate type like Frutiger, FF Transit, News Gothic, Minion (very versatile), Univers, Myriad et al and even Helvetica (for Deutsche Bahn, the German railways, but that's going to change)." He goes on to list those typefaces he admires most:

    • Reklameschrift Block; the staple diet of pre-war jobbing printing in Germany, and the one typeface I had from 8pt through to 96pt (plus larger sizes in wood type) in my metal typeshop (which burnt down in 1977). I redrew some of the versions for Berthold in the 70s, making Block Halbfett into Berliner Grotesk Medium.
    • Akzidenz Grotesk Mager. The first font I bought from the Berthold foundry as brand new type; 8pt, half a minimum, which meant about 8 a, 9e, 2c, etc. 3.5kg of type which cost me half a month's wages, except as a freelancer, I didn't earn any.
    • Concorde. The first typeface whose design process (in 1968) I followed. GGL's answer to Times, and much better.
    • FF Clifford by Akira Kobayashi (now type director at Linotype). Amazing book typeface by a Japanese designer. Not a revival, but in the baroque tradition. Only regular weight, but for 3 sizes plus great Italics and Small Caps. Try it!
    • Arnhem by Fred Smeijers (great website). Love it for newspapers, magazines, etc. Not so keen on the headline weights, they look too Dutch for my use (perhaps too Ungerish, but then Fred is also from Arnhem). But the text weights are a superb modern interpretation of a legible serif with an edge.
    [Google] [More]  ⦿

    Spirit&Bones
    [Lena Schmidt]

    Lena Schmidt was born 1981 in Bremen, Germany, and works in Hamburg, Germany. She is a painter, graphic designer and illustrator mostly known for her huge wood carving paintings. From 2003 to 2011 she studied Fine Arts in Hamburg under Matt Mullican. From 2015 to 2019 she studied graphic design with a focus on type design at HAW Hamburg under Jovica Veljovic. In 2021, she set up Spirit & Bones in Hamburg.

    Her typefaces:

    • In 2019, she released a 9-style revival and extension of F. H. Ernst Schneidler's Schneidler Latein (1916-1921) simply called Schneidler Latein. Each style contains 948 glyphs, variations of numbers, three stylistic sets one preserving the historic forms of changed characters, small caps, open type features and superior and inferior characters. She writes: Schneidler Latein is a sharp and elegant Antiqua based on the ductus of the broad edged pen with a strong character. Running perfectly in paragraph text giving it something quite special and being effortlessly legible at the same time, Schneidler Latein works great in headings as well. Each glyph is a piece of art ready to be used in branding and blowup combining beauty and personality in a kick-ass blend. It is absolutely new to the digital world as it never has been digitized before.
    • Jutta (a hand-crafted stencil typeface) (2021). A delicate painted stencil text typeface that relates to Auriol's art nouveau typefaces and the era of impressionism.
    • Neue Latein (2021). A 2-weight sans based on Schneidler Latein.
    [Google] [MyFonts] [More]  ⦿

    Sportsfonts
    [Christoph Koeberlin]

    German type foundry, est. 2016 by Christoph Koeberlin, whose passion for FC Kaiserslautern in the Bundesliga led to the creation of Sportsfonts. Koeberlin previously designed retail typefaces such as Fabrikat and FF Mark (the latter with Hannes von Döhren and the FontFont Type Department).

    His first typeface at Sportsfonts is the 24,000-glyph 49-font athletic lettering superfamily, Winner (2016), and its follow-up fonts, Winner Numerals and Winner Sans (2019, designed with Sven Fuchs).

    In 2016, he created the free variable font typeface Gingham. [Google] [MyFonts] [More]  ⦿

    Stabenfonts
    [Johannes Steil]

    Stabenfonts is a German type foundry in Hamburg, est. 2013 by Johannes Steil. Steil's first commercial typeface is the humanist sans Estragon (2013): Estragon is a vivid sans-serif text typeface with venetian influences, suitable especially for books. It is remarkable for its light slant, to the right, for most of the verticals, its small sized uppercase letters making it suitable for languages where they are often used (for example German) and its just lightly inclined true italics.

    In 2015, Steil made Macis (a simple geometric slightly arthritic sans).

    In 2017, he published Wakame (a playful uppercase font with automatic glyph replceemnt to avoid repetitions within short distances).

    In 2020, he released Olivia Sans and Olivia Serif. [Google] [MyFonts] [More]  ⦿

    StarWars-Union.de

    Star Wars font archive. [Google] [More]  ⦿

    Stef Helfgerdt

    While studying in Köln, Germany, Stef Helfgerdt designed the Freshly Mad typeface (2013). [Google] [More]  ⦿

    Stefan Claudius
    [Phantom Power (was: Phantomphonts)]

    [MyFonts] [More]  ⦿

    Stefan Frey
    [Schwarzschild]

    [More]  ⦿

    Stefan Gandl
    [Neubau Berlin (or: NB Typography, or: Neubau Laden)]

    [More]  ⦿

    Stefan Gandl
    [Designer Shock]

    [More]  ⦿

    Stefan George

    German poet who, according to P22, designed a font for his own work around 1907 at a small foundry in Germany. This font was used primarily for the works of George as well as other books including a monumental edition of Dante's Divine Comedy. It was revived and extended in digital form by Colin Kahn as P22 St. G Schrift in 2005. Other sources state that Stefan George-Schrift was created in 1904 by Marcus Behmer. [Google] [More]  ⦿

    Stefan Hägerling

    Type designer of FF Singer (1995), of FF Motive (1995) and of the stencil font EF Helio (Elsner and Flake, 1995). [Google] [MyFonts] [More]  ⦿

    Stefan Hauser

    German Face2Face designer who made F2FBoneR (available from Linotype, 1996), Haakonsen (1996). Both fonts are part of the Linotype Taketype 5 collection (2003), under the names F2FBoneRbook LT Std and F2FHaakonsen LT Std.

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

    Stefan Hoppe
    [SH Grafikdesign]

    [MyFonts] [More]  ⦿

    Stefan Huebsch
    [Typocalypse Types]

    [MyFonts] [More]  ⦿

    Stefan Imhoff

    Hamburg, Germany-based designer of the free dry brush cipher font Iga Ninja Cipher (2018). [Google] [More]  ⦿

    Stefan Kisters

    Hamburg-based art director and illustrator (b. 1959). Co-designed the pixel font family FF Call with Maik Ignaszak and Astrid Scheuerhorst in 2000. [Google] [More]  ⦿

    Stefan Krer

    German designer at Typonauten of the Dimitri family (2001, Cyrillic simulation and dingfbats). [Google] [More]  ⦿

    Stefan Krömer

    Cofounder (b. 1975, Bueckeburg) and type designer at Typonauten, a Bremen-based commercial font foundry started in 1998.

    Creator of SingapurFlash, SingapurHeavy, SingapurHeavyColor, SingapurLight, SingapurLightExpert, SingapurWords in 2003, a collection of dingbats and fun tattoo scripts that evoke Asia. Codesigner in 2005 with Ingo Krepinsky of Toon Town (2005, a comic book face). Creator of the grotesk family Sheffield (2003) and of the Cyrillic simulation font Dimitri (2001). In 2006, he added the Witchfinder family (2006), which has handwritten scripts, and fonts for alchemy, astrology, icons, demons, and necronomicons. In 2007, he co-designed the brush font series BMovie Retro with Ingo Krepinsky and Florian Schick. Creator (with Gunnar Link and Ingo Krepinsky) of Royal Oak Decor (Victorian ornaments), Royal Oak Sans (2009, Edwardian headline sans) and Royal Oak Serif (Western headline face).

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

    Stefan Mader

    Graphic designer in Munich, Germany, who designed the thin typeface Vote in 2018 and the experimental working Class in 2019. Type Department link. [Google] [More]  ⦿

    Stefan Motzigemba
    [Schlafmuetzenpirat]

    [More]  ⦿

    Stefan Pott

    Bonn-based designer of Linotype Konflikt (1990s). Second and third prizes at the 3rd International Digital Type Design Contest by Linotype Library for Linotype Henri Axsis and Linotype Henri Dimension, respectively. Runs Leitwerk in Bonn. FontShop link. [Google] [MyFonts] [More]  ⦿

    Stefan Ruetz
    [Bert Typography]

    [More]  ⦿

    Stefan Schuster

    Stefan Schuster (Schuster Design, Berlin) is a senior art director, designer and photographer. Behance link. As Violent Elegance, he made two experimental free fonts (obtainable per email request). [Google] [More]  ⦿

    Stefan Wäldin

    Based in Endingen, Germany, Stefan Wäldin created a great typographic poster for Stadtmusik Endingen in 2014 called Herrlich Weiblich. Behance link. [Google] [More]  ⦿

    Stefan Weyer

    Art director in Trier, Germany. Designer of the free font family Fraita (2009, all letters use only linear and circular segments). Behance link. Klingspor link. [Google] [More]  ⦿

    Stefanie Bendfeldt

    Stefanie Bendfeldt (Bootie, Berlin, Germany) created the beveled and triangulated typeface Onska (2015), the vector format 3d ribbon font Knut (2015), and the art deco typeface Doblin (2016). Creative Market link. [Google] [More]  ⦿

    Stefanie Eifler

    Graphic designer in Weimar, Germany, who created the handcrafted antiqua typeface Homisage in 2018. [Google] [More]  ⦿

    Stefanie Fortmann

    Young designer at fontgrube who made Schizoforte. [Google] [More]  ⦿

    Stefanie Haslberger

    Illustrator in Muenchen, Germany, who designed a colorful all caps alphabet in 2017. Behance link. [Google] [More]  ⦿

    Stefanie Miller

    German designer of Monta (2007, an angular face, Avoid Red Arrows), Oberrhein (2007, Avoid Red Arrows), a governmental poster font. Elsewhere she calls this typeface Region. Free download here. Co-founder in 2008 of Avoid Red Arrows. [Google] [More]  ⦿

    Stefanie Pfann

    Stefanie Pfann Reinhart (Munich, Germany) designed the watercolor brush typeface Julie (2017). Creative Market link. [Google] [More]  ⦿

    Stefanie Schönbach

    German type designer who graduated in 2007 from FH Mainz (Design und Medien-Design). She created Xania for her thesis. Her picture at Typostammtisch. [Google] [More]  ⦿

    Stefanie Schwarz

    Stefanie Schwarz studied Visual Communication at Pforzheim University in Germany and received her M.A. in Communication Design from Central Saint Martins College of Arts and Design in London. Since 2012 she is teaching typography and type design at the Stuttgart State Academy of Art and Design. She also teaches at Bauhaus University Weimar. In 2013 she founded the Typographic Research Lab Open2Type together with Dirk Wachowiak and became an associate of the London-based institution DesignScience.

    [T-26] designer of the futuristic More Modern family (2005) consisting of Light, Medium, Black and Pixel.

    In 2007, she added More Modern Flow.

    In 2008, she created FF Polymorph, a fun family that includes the alchemic typeface FF Polymorph North.

    In 2015, Stefanie Schwarz and Dirk Wachowiak designed the rounded sans typeface family Weissenhof Grotesk at the Indian Type Foundry. It is characterized by a striking similarity between many letters, and a lower case g with its ear perked up.

    In 2020, Dirk Wachowiak and Stefanie Schwarz released Referenz Grotesk at Sudtipos. They write: Made in Germany, Referenz Grotesk is a typeface full of references referring to the type design history of Stuttgart State Academy of Art and Design. Its typographic history holds a broad spectrum of shapes and characters, including F.H. Ernst Schneidler (1882?~@~S1956), Imre Reiner (1900-1987), Walter Brudi (1907-1987), Kurt Weidemann (1922-2011) and Frank Heine (1964-2003). [Google] [MyFonts] [More]  ⦿

    Stefanie Vogl
    [OMFD Official]

    [More]  ⦿

    Steff Hengge

    Aka Stefanidad. In 2016, Steff Hengge and Ulrike Rausch co-designed the free handcrafted felt tip pen animation typeface Beyond Typo for TYPO Berlin 2016. It is published by Liebe Fonts and Monotype. [Google] [More]  ⦿

    Steffen Design
    [Philip Steffen]

    The free old typewriter truetype font BulkyRefuse was designed by Philip Steffen from Braunschweig, Germany.

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

    Steffen Hartwig

    Essen, Germany-based designer of Maschine Grotesk (2014), a typeface for drawing machines. Behance link. [Google] [More]  ⦿

    Steffen Heidemann
    [shType]

    [MyFonts] [More]  ⦿

    Steffen Kraft

    Creative director in Wiesbaden, Germany. Creator of a circular connect-the-dots typeface in 2014. [Google] [More]  ⦿

    Steffen Sauerteig

    German Fontfont designer (born 1967, lives in Berlin). With Kai Vermehr, he forms the E-Boy team. His typefaces:

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

    Steffi Strick

    During his studies in Trier, Germany, Steffi Strick created the modular display typeface Obsidian (2014). [Google] [More]  ⦿

    Steile Futura

    In 1952, Paul Renner published Steile Futura (Berthold). Its origins were explored by type experts. I summarize their conclusions as a timeline.

    • From Burke's book on Paul Renner: A typeface actually called Renner-Grotesk appeared in trial type castings by Stempel type foundry in May 1936. The Stempel Renner-Grotesk was very condensed in its regular weight, with a consequent stress on the modular squareness of the letters. This design seems to have been taken over by the Bauer type foundry in 1938, and in 1939 the grotesk changed shape to some extent, becoming less modular and incorporating references to pen-made forms. The italic accompaniment to this grotesk, simply called Renner-Kursiv, was actually a true cursive, marking a decided difference between this typeface and Futura. Work on the Grotesk and Kursiv continued through the late 1930s and early 1940s. However, progress on these typefaces seems to have been very slow, perhaps due to Renner's failing health: he had a serious heart attack in 1948 (at 70 years of age) which restricted his activity. By 1951, Renner had begun to work again, and his Grotesk began to appear in 1952 from the Bauer type foundry under the name of Steile Futura. Perhaps the typeface was renamed merely in order to link it to the successful Futura family.
    • Steile Futura started showing up as Bauer Topic in the mid to late 1950s.
    • One of the first digitizations was Bauer Topic by Font Company, which used a VGC photo master. This digitization includes the two weights, medium and bold, both in regular and italic. The URW version of Steile Futra is called URW Topic. It is an exact copy of the VGC digital version, with every defect preserved. According to Bill Troop, Font Company did the work, and URW acquired the rights under typical IK licensing. Bill Troop continues: The FC/URW version is almost unusable because it is so amateurishly, in fact irrationally spaced and because there are so many incorrect glyphs.
    • At Font Bureau in 1994, Guy Jeffrey Neslon published the great multi-width revival and extension, Tasse. Tasse has no italics though.
    • Neufville (Wolfgang Hartmann's Fundicion Tipografica Bauer, or FT Bauer), who took over the Bauersche Giesserei, published the Steile Futura-inspired Futura ND Display. The FT Bauer effort does not impress Bill Troop: FT Bauer has not shown the slightest originality in any of its digitizations or design choices. If anyone is going to produce an 'original' Steile, I think it is very unlikely to be FT Bauer. Its Futura digitizations largely recklessly imitate, often point for point, previous translations of the fonts into photo from metal. Nowhere have we yet seen what we most need, a Futura intended for setting at text sizes, which in metal features the substantially reduced ascenders which are necessary to make the type viable at text sizes. Because we have not seen anything from 'FT Bauer' which in the slightest degree resembles research into original drawings or any effort to come to understand what the foundry originally did, I would conclude that FT Bauer does not actually possess any original artwork or pattern drawings, and is simply relying on precisely the same sources that are available to everyone else.
    • Berthold's Steile Futura is the second original digitization.
    • For typefaces further afield, see Pakenham (2000, Ray Larabie), Dinky Rink NF (2007, Nick Curtis), and Solex (Zuzana Licko).
    [Google] [More]  ⦿

    Steinberg Soft- und Hardware GmbH (and Steinberg Media Technologies)

    Music software company in Hamburg, Germany, which also employs designers in England. Some of their music typefaces are downloadable from Github. A partial list:

    • Academico (2017). A free and open-source soft didone typeface family developed for distribution with the Dorico music-notation program.
    • Bravura (2020, Daniel Spreadbury): Bravura draws on the heritage of the finest European music engraving of the 19th and early 20th centuries, with a bolder and more substantial look than most other music fonts: thin strokes are slightly thicker than in other fonts, improving the overall blackness of the font and its legibility when read at a distance.
    • Cubase Score Font (2000).
    • Petaluma (2018, Anthony Hughes) and Petaluma Script (2018, Daniel Spreadbury). A musical handwriting font based on the handwriting of Ernie Mansfield and Ann Krinitsky, the hand copyists for Sher Publishing's Real Book series.
    [Google] [More]  ⦿

    Stempel blackletter fonts

    Andreas Seidel lists the blackletter typefaces in D. Stempel's Probe No. 100 specimen book from the early 1940s. Verbatim, with some missing dates and designers filled in:

    • Fraktur designs
    • Amts Fraktur 1906-11 Heinrich Hoffmeister
    • Balmung
    • Breitkopf Fraktur 1912
    • Buhe Fraktur 1915-22-35 Prof. Walter Buhe
    • Büxenstein Fraktur (1912)
    • Deutsche Anzeigen-Schrift (1923-34, Rudolf Koch)
    • Deutsche Werkschrift (1934, Rudolf Koch)
    • Deutsche Zeirschrift
    • Ehmcke Fraktur (1912, F. H. Ehmcke)
    • Ekkehard Fraktur 1912 (1917? by Heinrich Hoffmeister)
    • Elfen Fraktur (1919, M. Beck)
    • Faust Fraktur (1910, E. Brox)
    • Fette Fraktur
    • Frühling (1914, Rudolf Koch: Klingspor?)
    • Halbfette Fraktur
    • Heinz König Setzmaschienen Fraktur (1913, Heinz König)
    • Humboldt Fraktur (1938, Hiero Rhode)
    • Kleukens Fraktur (1911, F.W. Kleukens
    • Luthersche Fraktur (1919, acquired from Drugulin, and revived)
    • Matthies Kursiv (1912, Karl Matthies)
    • Neuzeit Fraktur
    • Reform Fraktur (1903, Heinrich Hoffmeister)
    • Schumacherische Fraktur
    • Stempel Fraktur (1914, Heinrich Hoffmeister)
    • Unger Fraktur 1794 Joh. Friedrich Unger (revival in 1919)
    • Schwabacher designs
    • Alte Schwabacher (1919, acquired from Drugulin and revived)
    • Ehmcke Schwabacher 1920 Prof. F. H. Ehmcke
    • Nürnberger Schwabacher
    • Offenbacher Schwabacher
    • Schwabacher (1906)
    • Gotische&Kanzlei designs
    • Aristokrat
    • Caslon Gotisch
    • Elegant
    • Elite Kanzlei
    • Gotenburg Garnitur A&B 1935-37 Friedrich Heinrichsen
    • Jaecker Schrift 1912 Wilhelm Jaecker
    • Lithurgisch
    • Tannenberg 1933-35 Emil Meyer
    • Victoria Kanzlei
    • Wieynck Kanzlei 1926 Prof. Heinrich Wieynck
    He goes on to say: In a newer specimen book "Gesamtprobe der lieferbaren Schriften D. Stempel AG from 1962 you will find also:
    • Claudius original Klingspor design
    • Jessen original Klingspor design
    • Fette Gotisch

    To which I should add

    • Achilles Fraktur (1910)
    • Ariadne Fraktur (1910)
    • Arminius Fraktur (1905). Also called Rheinische Fraktur. Revival by Dieter Steffmann in 1999 as Rheinische Fraktur.
    • Caslon Gotisch (1926, revival)
    • Ceres Fraktur (1903)
    • Danziger Fraktur (1905, Cohn Stempel)
    • Deutsche Laufschrift (1911, Rudolf Engelhardt, Heinrich Hoffmeister)
    • Egmont Fraktur (1909)
    • Fraktur (1908)
    • Fenella Fraktur (1911)
    • Frankfurt (1906, F. Schweimanns)
    • Frankfurter Schwabacher (1912)
    • Fröbel Fraktur (1910)
    • Gilgengart (1941, Hermann Zapf---some say 1952)
    • Gutenberg Fraktur (1900)
    • Gutenberg Juniläums Fraktur (1900)
    • Marius Fraktur (1910)
    • Moderne Schwabacher (1926)
    • Moderne Setzmachinen Schwabacher (1908)
    • Neue Fraktur (1913)
    • Neue Luthersche Fraktur (1934, revival)
    • Normal Fraktur (1908, Roos&Junge)
    • Normannia (1905, mager, halbfett). Digitizations in 1995 by Gerhard Helzel. This Hausschrift of Stempel was also adopted by linotype, where it became Germanen-Fraktur.
    • Reform/Offenbacher (1916, Roos&Junge)
    • Romeo Fraktur (1910)
    • Rheinische Fraktur (1905). Same as Arminius Fraktur.
    • Romulus Fraktur (1910)
    [Google] [More]  ⦿

    Stempel: Typewriter types

    Typewriter types at Stempel included Deberny, Haas and Olive. [Google] [More]  ⦿

    Step Ahead

    Experimental type design at the University of Wuppertal under Professor Heribert Birnbach and Dipl.-Des. Hartmut Schaarschmidt. Type experiments by these people, all dated ca. 2004:

    • Cornelia Aust: Split One, Split Two.
    • Holger Schmitz: Organ.
    • Marco Kouz: Tukan 01 and 02.
    • Joachim Schmitz: Such Mich, Kristallin.
    • Nicholas Cintrón: MoSys01.
    • Thilo Krapp: Emotional Code.
    • Denise Steitz: Cutout.
    • Markus Schwarz: r-line.
    • David Conrad: Schleife.
    The typefaces can be bought for 30 Euros. [Google] [More]  ⦿

    Stephan Baitz

    German designer of the freeware font Alphabet of the Magi, Alphabet of Daggers, and of Masonic-Rosicrucean (1997). [Google] [More]  ⦿

    Stephan Baum

    German creator of the sans family Jaune d'oeuf (2010), and of Acid (2010, a free simple monoline sans family). Stephan studied at the Fachhochschule Trier. His blog is called Stivolio. See also 26plus, where Acid can be found.

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

    Stephan Brechtl

    Author of Ein gruenndtlich Formular manncherley Art Lateinischer und Teutscher Handschrifften (1550, Nuremberg), the first writing manual in Germany. [Google] [More]  ⦿

    Stephan Mueller

    Swiss graduate (b. 1965) of Luzern School of Art and Design, who settled in Berlin in 1997. Co-founder with Cornel Windlin in 1993 of Lineto, with Cornel Windlin and Andreas Eigendorf in 2014 of Alphabet Type (Berlin), and in 2018 of Forgotten Shapes, a Leipzig-based digital foundry dedicated to historical reconstructions. Since 2011, Müller has been directing the type design master class at HGB Leipzig, together with Fred Smeijers.

    His fonts can be obtained at Lineto and FontFont. These include: Aveugle (Braille font, 1995), Berlin-Schnefeld and Berlin-TegelSmallSizes (1995), Parking, FF Gateway (1997 a triangulated font family done with Cornel Windlin), and Grid (1996), FF Chernobyl (1998, from stenciled letters on the Chernobyl plant), Paragon, Batarde Coulee, Shuttle, FE Mittelschrift and FE Engschrift (1997, modeled after the impossible-to-counterfeit German license plate font), 104 (nice geometric font), FF Container, Bitmap-Condensed and Bitmap-Regular (1998), Regular (2004, Lineto, a typewriter family), SMonoHand (2009, a handwritten monospaced Latin font with support for German). FF Screen Matrix (1995) was done with Cornel Windlin. In 2003, he released the LL Numberplate series at Lineto, which covers Austria, Belgium, Finland, France, Germany, Italy, Luxemburg, and Switzerland. Other Lineto fonts include LL Office (1999: an Eurostile-like monospaced font), LL Excellent (2004), LL Freundschaft (2001: a dystiopian / constructivist typeface) and LL Valentine (2002: a typewriter typeface based on the Olivetti Valentine machine from 1969 designed by Ettore Sottsass and Perry A. King).

    Open Font Library link. View Stephan Mueller's typefaces. [Google] [MyFonts] [More]  ⦿

    Stephan Stoffels

    After his apprenticeship as a photographer in a Luxembourgian agency and several internships at studios, Stephan Stoffels (b. 1985) started studying Communication Design at the FH Trier in 2008. Creator of the (free) slightly flared sans typeface Dualis (2010, Lite, Sans and Serif).

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

    Stephan Weinhold
    [xq]

    [More]  ⦿

    Stephanie Türk

    A graduate from the Hochschule für Gestaltung in Pforzheim, where she wrote a thesis on music notation (Notationstypografie). She is a freelance designer in Stuttgart. [Google] [More]  ⦿

    Stephanie Wiehle

    Illustrator in Stuttgart, Germany, who created some type posters in 2010. [Google] [More]  ⦿

    Stephen Geary

    New Paltz, NY-based designer of Toothface (2015, a tooth-inspired typeface). Behance link. [Google] [More]  ⦿

    Stereoswebfunk

    Design studio in Berlin. They designed minimalist and geometric / experimental typefaces such as Alpha, Ultimate Medium hard, and World Typeface, all in 2010. Behance link. [Google] [More]  ⦿

    Stereotypes.de
    [Sascha Timplan]

    Stereotypes is Sascha Timplan, a German type and graphic designer from Trier, b. 1979, who studied Communication Design at FH Trier.

    He created these typefaces:

    • 2009: St Substance, St Booka Shade (purely geometric), ST Moviehead, an ultra-condensed family (Dafont), St. Atmosphere (fat, rounded), St Transmission (free), St Shadowplay, St-Lorie (connected upright script), St Notorious (after the titling font in Hitchcock's Notorious---a beautiful high-legged serif face), St Technique, St Atmos (a commercial ink trap plaything), St Mika, Apfelstücke (a hookish face).
    • 2010: St Marie (a nice free typewriter typeface), St Ryde, Fridge (casual sans family), St Frika, Friska.
    • 2011: Elsa (sans), Villa Didot (this layered font family was created for the posters of the club VillaWuller).
    • 2012: Florence (a swashy poster typeface that was also influenced by VillaWuller), St Transmission (industrial sans), Flenja (a narrow retro didone family), Christmas Numerals.
    • 2013: Sarre (sans), Prism (prismatic, multiline typeface, influenced by Rudolf Koch's Prisma and Herb Lubalin's Avant garde).
    • 2014: Timplan published a large antiqua family with wedge serifs in the heavier weights, Christel Text excepted, partitioned into three subfamilies, Christel Text, Christel Display, and Christel Poster. His main contribution in 2014 is the great Stereotesque (a grotesque family). Together with Lukas Bischoff, he created the athletic lettering typeface family Atletico.
    • In 2016, Sascha Timplan and Lukas Bischoff published the handsome sans typeface family Golden Sans [no relationship with Tarin Yuangtrakul's Golden Sans from 2010 or Heitor Latosinski's Golden Sans from 2013]. Free Golden Sans Light demo.

    Behance link. Blog. Klingspor link. Dafont link. Abstract Fonts link. Interview by MyFonts in 2014.

    Showcase of Sascha Timplan's fonts. [Google] [MyFonts] [More]  ⦿

    Steven Resch

    Speyer, Germany-based designer of Tearz (2015), a dingbat font with tear-shaped smilies. Dafont link. Behance link. [Google] [More]  ⦿

    Steven Wulf

    Dortmund-based digital media designer who is working on this Bauhaus-inspired geometric sans (2006). Working on the Baskerville-like typeface Eris Avec (2006), the great masculine sans headline typeface Tobacco (or Tabak) (2007), this rough didone (2007) and the clean sans Knubbel (2007). [Google] [More]  ⦿

    Stijlroyal

    Design bureau in Wiesbaden, Germany. As iFontMaker, it created the hand-printed typeface Hucktizzle (2011). [Google] [More]  ⦿

    stillerhimmel

    German designer of the stone chisel font Capitalis Goreanis (2009). [Google] [More]  ⦿

    Studio Bob
    [R.O. Peel]

    Or Studio ROP, probably a German outfit, active as a free font creator in 1998 and 1999. Studio Bob designed the Celtic-looking 6-weight St. Charles family (1998), sB-Cross (crosses), Crayomonde (1999), MelonSeeds, Mosuna, Nymph, Howdy Roper (1999: an artistic rope script font), Piratus&Parts (1999: dingbats) and FontsAnonBats Dingbat (1999). [Google] [More]  ⦿

    Studio Brunner
    [Laurenz Brunner]

    Swiss-born London-based designer at Lineto of these typefaces:

    • LL Akkurat and LL Akkurat Mono (2004), a 3-weight sans family (Leicht, Normal, fett).
    • LL Circular (2011), a geometric sans typeface in the tradition of Futura and Neuzeit Grotesk. In 2014, it spawned a corporate branding typeface, Circular Air Pro, designed for AirBNB. It was used by AirBNB until 2018. The LL Circular font also serves in a custom version as corporate typeface for the global music streaming service Spotify, for which Lineto also created non-Latin versions of LL Circular in Greek, Cyrillic, Vietnamese, Hebrew, Arabic, and Devanagari. Both LL Akkurat and LL Circular are being re-launched in early 2019, both families sporting additional cuts and a number of non-Latin scripts.
    • LL Bradford and LL Bradford Mono (2018).
    • For the wayfinding at the Gerrit Rietveld Academie, where Dick Dooijes was director from 1968 until 1975, Laurenz Brunner designed an interpretation of Dick Dooijes's typeface Mercator (1958).

    Studio Grau

    Studio Grau (Berlin) created some unnamed geometric experimental typefaces in 2013. [Google] [More]  ⦿

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

    Hannes Famira, who runs Studio Hannes Famira, was born in Buchholz in der Nordheide, Germany in 1966. Hannes Famira studied graphic and typographic design at the Royal Academy of Fine Arts in The Hague in the Netherlands. He worked as a type designer in the Hague and used to work at Buro Petr van Blokland. Hannes started his own design studio Das Kombinat in 1999 and the Kombinat-Typefounders in 2001, and renamed it FamiraFonts in 2016. He taught various typography and typedesign classes at the SfG, School for Design in Basel (CH), at the University of the Arts in Philadelphia, at the New Jersey City University, at the City University of New York, at Rutgers University, at the Hochschule für angewandte Wissenschaft und Kunst Hildesheim/Holzminden/Göttingen (HAWK), at the Kunsthochschule Kassel, at The Cooper Union, and at SVA the School of Visual Arts. He is presently based in Brooklyn, NY.

    Typefaces by Famira include FF Blocker, FF Mutilated, H-Stamp, Tieshy, Bubblejet on Steroids, Plantijn, Humiliated, Kugelkopf Letter, Hernard, MaryPason. He also doescustom font work. At Kombinat Typefounders, he designed InterFamily (Interpol Sans, Interpol Correspondence, and Interpol Serif, 1992: zuinig or thrifty almost condensed typefaces), ScanLine Bundle (which includes the nice display font Mary Pason), H-Stamp, FF Blocker, Sonar Sans (2011, mixing gei=ometric and humanistic elements), JC Corrido (2001, letterpress emulation), JC Tieshy (1993, grunge), JC Bubblejet on Steroids (1992, grunge, based on cardboard box prints), and JC Kugelkopf (1996: an old typewriter font based on the IBM Selectric type ball). The letters JC stand for the Jetsam Collection.

    He explains the Futura-like Sonar Sans: Sonar is the attempt to marry the rule of geometric, historical form with the forgiving, human expression of early gothic typefaces. In fact, nothing about this typeface is truly symmetrical. The geometric nature of the underlying model merely served as a starting point to find the shapes of a low contrast expansion typeface. Through Sonar it seems that I have finally made peace with the Geometric Sans.

    Famira on Interpol Sans: it is a robust, low contrast typefaces designed for legibility in low resolution situations. It performs particularly well on media like television and computer screens or in projections and on lightboxes.

    FontShop link. Adobe link. Type network link. [Google] [MyFonts] [More]  ⦿

    Studio Karamemet
    [Erkin Karamemet]

    German type designer active at Dinamo who is based in Berlin. In 2015, he set up Studio Karamemet. Since 2020, he teaches design at FH Bielefeld. His typefaces:

    • Pareto (2016). A Western typeface family designed by Johannes Breyer, Fabian Harb & Erkin Karamemet.
    • Prophet (2016). Prophet is designed in 2016 by Johannes Breyer, Fabian Harb & Erkin Karamemet. Technical support and mastering by Chi-Long Trieu. It is inspired by Joseph Churchward's Georgina.
    • Whyte and Whyte Inktrap (2019, Dinamo). In 2019, Johannes Breyer, Fabian Harb and Erkin Karamemet released Whyte and Whyte Inktrap at Dinamo.
    • In 2022, Erkin Karamemet developed a Wingdings / Webdings-inspired typeface for the rebrand of Stink Studios.
    [Google] [More]  ⦿

    Studio Manuel Schibli
    [Manuel Schibli]

    Studio Manuel Schibli is a creative direction and design studio founded by Manuel Schibli in 2012. Based in Paris and Berlin, they work for a wide range of clients in fashion, arts and culture. Manuel Schibli designed some custom fonts such as MSC Max Werner (2013) and MSC Pyrit (2013). In 2012, Manuel Schibli created the custom typeface family Derzeit for Derzeit, the Berlin Fashion Week Daily. It was designed in collaboration with Yassin Baggar at Fatype. [Google] [More]  ⦿

    Studio Misirlou

    Studio in Ludwigsburg, Germany, wich made some vector (EPS) alphabets at YWFT in 2010, such as Arte Newest, Steintype, and Limber.

    Creative Market link. [Google] [More]  ⦿

    Studio Vachement
    [Philip Waschmann]

    Studio Vachement was founded in 2020 by Philip C. Waschmann in Hamburg, Germany. Waschmann has worked as an art director in the gastronomic and hotel industries. His style is influenced by old letterpress printing processes and handcrafting. In 201, he designed Press Grotesk (+Illustrations), a handmade condensed sans serif that takes inspiration from old letterpress printing processes. [Google] [MyFonts] [More]  ⦿

    Studio Weidemüller

    Kaohsiung City, Taiwan and/or Berlin-based designer of the blackletter typeface Blak (2016, +Blak Extra). Behance link. [Google] [More]  ⦿

    Stürtze AG

    Tibor Tscheke, who was head of the Computer Science Department at Universit\"{a}tsdruckerei, Stürtze AG (Wurzburg, Germany), was at some point in the early nineties selling an IPA font. See here. [Google] [More]  ⦿

    Style Force (was: Semplice Pixelfonts)
    [Michael Schmidt]

    Nice free pixel fonts by Michael Schmidt (Aurora, AuroraExtended, BavariaExtended, BavariaRegular, FrucadeExtended, FrucadeMedium, FrucadeMediumExtended, FrucadeRegular, FrucadeSmall, FrucadeSmallExtended, MarkeEigenbau, MunicaExtended, MunicaRegular, SempliceExtended, SempliceRegular) and Nele Goetz (Gros, GrosExtended, Memoria, MemoriaExtended), all made in 2005. Schmidt is a graphic designer in Munich.

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

    suedostasien fonts

    South East Asian TrueType font archive, with Thai, Burmese, Buginese, and Vietnamese fonts, for example. At the site of Dr. Vincent Houben, University of Passau in Germany. Can't locate the archive any more! [Google] [More]  ⦿

    Sumbo Pinheiro

    Copywriter based in Hamburg, Germany. In 2018, she teamed up with Harald Geisler to develop the fun typeface Excited Alphabets, which is based on Sumbo's illustrations. [Google] [MyFonts] [More]  ⦿

    Sumho Pinheiro
    [I Can Letter]

    [MyFonts] [More]  ⦿

    Sun Young Oh

    iGraphic designer from South Korea. She studied graphic design in HfG Karlsruhe in Germany, and is based in Stuttgart, Germany. Her typefaces as of 2021: Flefixx (typewriter type), Kiko, Erwin (a plump script), Anthony (a free stick font released at Velvetyne that pays homage to British sculptor Anthony Caro). Sun Young Oh at Velvetyne [Google] [More]  ⦿

    Sundowntower
    [André Schulz-Werner]

    André Schulz-Werner's (b. 1968) free grunge font rasterfahnder 1 can be found here. Rasterfahnder is a German design bureau. [Google] [More]  ⦿

    Super Grotesk

    One of the classic German geometric sans workhorse typefaces made by Arno Drescher in 1930 for Schriftguss. Digital versions include:

    • FF Super Grotesk (1999, Svend Smital for FontFont). [Note: FF Bauer Grotesk (2014, Thomas Ackermann and Felix Bonge) is a revival of a slightly different German grotesk of that era, Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn.]
    • Drescher Grotesk BT (2001, Nicolai Gogoll).
    For images of original catalogs, see . [Google] [More]  ⦿

    Supergrafik
    [Franz Heidl]

    Franz Heidl (b. Dresden, 1975) is the German designer of the Supergrid family (2002) at Supergrafik in Berlin. [Google] [MyFonts] [More]  ⦿

    Superieur Graphique (was: 52 Nord, and: Superlooper)
    [Sven Stüber]

    Superieur Graphique is Sven Stueber's graphic design company in Berlin. Sven is involved in some logo and corporate font design. Before that, his company was called 52 Nord, and before that, Superlooper. He also ran Vecor.Ize.

    Designer of mostly dot matrix or pixel typefaces, such as Supercar, Superkarcher, Supernatural, Superhunky, Supersonic, Superaircraft, Superboy, Supercargo, Supercollider, Supercollidersmall, Supercondenced, Superdigital, Superfluidhard, Superfluidsoft, Supergirl, Superhelioextended, Superhelioextendedultra, Superhelioregular, Superheliosmall, Superheliothin, Superload, Supermagnet, Supermagnetfat, Supermarketround, Supermarketsquare, Supernova, Supernovaextended, Supernovafat, Superphonic, Superphonicextended, Superphunky, Superpointrounded, Superpointsquare, Superrazor, Superscreen, Superscript, Supersimplefat, Supersimpleregular, Superstar, Superstarfat, Superstition, Supertext01 (2003), Supertext02 (2003), Supertext03 (2003), Supervisor. He also made the octagonal typeface Coastboy (2002) and the rounded sans typeface 52 Nord (2002).

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

    Supertype
    [Jürgen Huber]

    A Berlin-based foundry started by Jürgen Huber and Martin Wenzel. In 2010, Jürgen Huber (Berlin, b. 1967) and Malte Herok had started The Type Department. They are also part of Type Network. In 2020, their typeface library contained

    • Realist, Realist Narrow and Realist Wide (2011-2019) by Martin Wenzel.
    • Cy (2018). A geometric hipster sans by Juergen Huber.
    • Duper. Evolved from FF Duper (2009). By Martin Wenzel.
    • Hothouse. TD Hothouse---that font was started in 2001 as a corporate typeface for the Glasgow School of Art, and took inspiration in the arts and crafts lettering of Charles R. Mackintosh. Bukvaraz 2001 award.
    • Lemon Serif, Lemon Sans, Lemon Sans Condensed, Lemon Sans Rounded, and Lemon Sans Rounded Condensed (2014-2015). See also Lemon Sans Next (2021, 24 styles).
    • Ode (2010). A German expressionist typeface by Martin Wenzel.
    • Profile Pro. A humanist sans family by Martin Wenzel that won an Excellence award at The Type Directors Club, which evolved from FF Profile (1999), a flared sans known for its little contrast. This evolved in a semi-hand-printed casual teenager, FF Duper (2009), mentioned above.
    • Scarlet, Scarlet Script and Scarlet Wood (2016). By Juergen Huber.
    • Blinker (2019). A free Google font family by Juergen Huber who writes: Blinker is a low contrast sans serif typeface with a squircle as its basic shape, think squarish curves, or Eurostile's flamboyant cousin. Github link.
    • Adapt (2021). A no-nonsense legible sans family that consists of 80 standard fonts and two variable fonts.
    [Google] [More]  ⦿

    Susann Berger

    Hamburg, Germany-based designer of the display sans typeface Jardin (2020) at HAV Hamburg. [Google] [More]  ⦿

    Susanna Ammon

    Student in illustration in Cologne, who created a modular layered typeface in 2012 called Suva Fontart. [Google] [More]  ⦿

    Susanne Chmela

    Communications Design student in Berlin. She created Fjorda Sans (2012) and Fjorda Serif (2012). The font is a collaboration with Silke Hansen and Maria Stier, also students from HTW Berlin. [Google] [More]  ⦿

    Susanne Fiedler
    [Dingfontbats]

    [More]  ⦿

    Susanne König

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Susanne Ulmke
    [Kalligraphie]

    [More]  ⦿

    Susanne Zippel
    [Mittelpunkt Zhongdian]

    [More]  ⦿

    SuSE

    SuSE CR s.r.o (Czech Republic) and URW++ Design and Development GmbH (Germany) have reached an agreement to ship URW equivalents of the 35 standard PostScript fonts using the ISO 8859-2 encoding with the Czech SuSE Linux 6.4 distribution. The fonts are distributed with the GNU General Public Licence. The type 1 fonts: URW Gothic L EE Book, URW Gothic L EE Demi, URW Gothic L EE Book Oblique, URW Gothic L EE Demi Oblique, URW Bookman L EE Light, URW Bookman L EE Demi Bold, URW Bookman L EE Light Italic, URW Bookman L EE Demi Bold Italic, Century Schoolbook L EE Roman, Century Schoolbook L EE Bold, Century Schoolbook L EE Italic, Century Schoolbook L EE Bold Italic, Nimbus Sans L EE Regular, Nimbus Sans L EE Bold, Nimbus Sans L EE Regular Italic, Nimbus Sans L EE Bold Italic, Nimbus Sans L EE Regular Condensed, Nimbus Sans L EE Bold Condensed, Nimbus Sans L EE Regular Condensed Italic, Nimbus Sans L EE Bold Condensed Italic, Nimbus Roman No9 L EE Regular, Nimbus Roman No9 L EE Medium, Nimbus Roman No9 L EE Regular Italic, Nimbus Roman No9 L EE Medium Italic, Nimbus Mono L EE Regular, Nimbus Mono L EE Bold, Nimbus Mono L EE Regular Oblique, Nimbus Mono L EE Bold Oblique, URW Palladio L EE Roman, URW Palladio L EE Bold, URW Palladio L EE Italic, URW Palladio L EE Bold Italic, URW Chancery L EE Medium Italic. [Google] [More]  ⦿

    Susuanne Ulmke
    [Alte Schriften]

    [More]  ⦿

    Sütterlin --- Deutsche Schreibschrift
    [Andreas Göbel]

    German pages by Andreas Göbel about the Sütterlin way of writing as proposed by Ludwig Sütterl;in (1865-1917) which was taught in schools in Germany from 1915 untril 1941. It is also called German handwriting (Deutsche Schreibschrift). [Google] [More]  ⦿

    Sütterlin Schrift Lernprogramm

    German page about the Sütterlin writing system developed by Ludwig Sütterlin (1865-1917). Page by Marcus Hahn, Historisches Institut der Universität des Saarlandes. The software has some Sütterlin truetype fonts. [Google] [More]  ⦿

    Sütterlinschrift

    German wiki page on Sütterlinschrift, named after Ludwig Sütterlin, and introduced in Preussen in 1915 to teach school children a writing script. Image of a practice book in Berlin in 1929. [Google] [More]  ⦿

    Sveinn Þorri Daviðsson

    Sveinn Þorri Daviðsson was born and raised in Akureyri on the north-east side of Iceland. He moved to Reykjavik in 2005 to study graphic design at the Iceland Academy of the Arts (B.A. degree in 2008). After his graduation, he moved to Berlin, where he shares a studio space with his friend Siggi Eggertsson. His typefaces:

    • Times New Rope (2008).
    • Grindavik (monospace face). Inspired by Wim Crouwel's type design, Futhark runes and older cumae forms.
    • Tekkno. An isometric modular and angry face.
    • Papers. An origami typeface.
    • Russibani. A super-organic typeface done with Siggi Eggertsson.
    • Reinhardt. Done with Siggi Eggertsson, this typeface is based on old German woodcut posters.
    • Bad Times. A hand-printed Times Roman.
    • Ultima Thule. A grotesk headline typeface co-designed with Siggi Eggertsson.
    • Api. A curly typeface.
    • Ryksug. An experimental typeface.

    YWFT link. [Google] [More]  ⦿

    Sven Dühring

    German designer (b. 1970) of the display typeface Swatch Touch (2012). [Google] [More]  ⦿

    Sven Fuchs

    Sven Fuchs is a communications designer focused on typography and code. His Masters thesis at the Trier University of Applied Sciences dealt with functionalism in lettering and typography. Sven is one of the founders of Typocalypse, a typography collective and type foundry in Saarbrücken, Germany. He teaches workshops and is a lecturer at the Saar College of Fine Arts.

    Graduate of the TypeMedia program at the KABK in The Hague in 2017. He writes about his graduation typeface Gustav (2017): Gustav is a typeface system that reflects on the super-elliptic design space and dives into the heritage of German type design of the early and mid 1950s like the work of Georg Trump, Hermann Zapf and Friedrich H. E. Schneidler. Gustav aims to be used in editorial design. It consists of serif and sans-serif family members. The serifs with their corresponding bold and italics are aimed for medium length texts. The sans-serif members which are much more outspoken, are to be used in headlines.

    In 2016, he designed the excellent 8-style Typewalk Mono 1915 (Typocalypse), a family that glorifies early German industrialism, and writes: Typewalk Mono 1915, the vintage typewriter grotesque that is branded by history. It is a tribute to the European sign painter and lettering tradition of the early 20th century. Typewalk Mono 1915 also speaks in the proto-rational and graphical language of the Werkbund Objectivity which was used around 1915. It works great for cultural, editorial and branding purposes. Typewalk 1915 was published in 2017.

    Winner Sans (2019, designed with Christoph Koeberlin at Sportsfonts) is a large athletic lettering family of typefaces.

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

    Sven Gabriel

    Designer in Hamburg, Germany. Creator of the experimental typefaces Camo Hype (2013, abstract ornamental caps) and Stickz and Stonez (2013). Behance link. [Google] [More]  ⦿

    Sven Heyckendorf
    [Red Bikini]

    [More]  ⦿

    Sven Stüber
    [Superieur Graphique (was: 52 Nord, and: Superlooper)]

    [More]  ⦿

    Sven Winterstein
    [Brandstiftung Design Gruppe]

    [More]  ⦿

    Svend Smital

    Freelance designer, b. 1967, who works in Berlin. He designed FF Super Grotesk in 1999 at FontFont, which is created after the original classic, Super Grotesk, created in 1930 by Arno Drescher for Bauersche Giesserei. With the "eBoys" Steffen Sauerteig and Kai Vermehr, he created more bitmap fonts, FF Typestar, FF Screenstar, and FF Scriptstar (2003).

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

    Svenja Eisenbraun

    Designer based in Köln, Germany (b. 1989, Düren), who created the readable elliptic slab serif typeface Barney (2012). She studied at FH Aachen. [Google] [More]  ⦿

    Svenja Muenster

    During her studies in Trier, Germany, Svenja Muenster created the thin avant garde typeface White Venice (2015). [Google] [More]  ⦿

    Svenja Voss

    Born in 1970 in Brühl. Designed Schwennel Negro and Schwennel Lilia (1994), both grunge typefaces. She lives in Kalifornien, Germany.

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

    Svetlana Postikova

    Graphic designer and illustrator in Mülheim an der Ruhr, Germany, whose company is called Type and Graphics Lab. She created the hand-drawn art deco typeface Small Talks (2015), the stylish marker pen font Caffe Latte (2016), the art deco typeface Lemon Pie (2016), the handcrafted poster typeface Soleil (2016), and the signage typeface Sign Painter (2016). Creative Market link. Behance link. [Google] [More]  ⦿

    Swastika

    The Swastika symbol

    • History of the symbol: Indians associate the swastika with good luck and protection from wrath. They mark it on doors, walls, shrines, and their own bodies. It can represent the sun, the god Vishnu, or the 'world-wheel.' The swastika is commonly used on Japanese maps to indicate the location of a buddhist temple. It was also widespread among Native American peoples, and appeared in ancient Oriental, Egyptian, and Irish cultures. In the late nineteenth century, the swastika symbolized a movement celebrating Germanic culture, heritage, and nationalism. By 1912, this movement began to take on anti-Semitic undertones. Later, Adolph Hitler chose the swastika to be the symbol of the Nazi Party. The Nazi swastika was a clockwise pointing swastika, whereas most Buddhist versions are counterclockwise.
    • In a fit of political correctness, Microsoft removed the Swastika symbols from its Bookshelf Symbol 7 font in December 2003.
    • Insightful discussion (and indignation) on Typographica after the Microsoft flap.
    • Kagijuuji: a font made in 2004 by yours truly with nothing but swastika symbols.
    [Google] [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]  ⦿

    SWFTE
    [Bill Dettering]

    Swfte started producing thousands of fonts in 1985 by adapting or copying existing fonts. In 1993, they were sued by Adobe, Bitstream, Emigre, FontShop Canada and QED/Fonthaus. From the Seybold report: Adobe, Bitstream, Emigre, FontShop Canada and QED/Fonthaus had asked the court for a preliminary injunction to stop SWFTE from marketing fonts that were alleged to be pirated. The judge denied that request without comment. The five vendors then appealed, hoping that a higher court would grant the injunction. They have now withdrawn the appeal. This action will have no effect on the primary copyright-infringement suit, for which no trial date has been set.

    Swfte folded in 1995. The Seybold Reports wrote: Expert Software, the supplier of software for composing forms and other applications, has signed an agreement to acquire SWFTE International Ltd., a supplier of fonts. The price was $7 million, plus 320,000 shares of Expert stock. SWFTE, which had revenues of $8.3 million last year, was at the center of a controversy over font piracy two years ago. Five font vendors charged it with illegal use of their fonts. The charges were later dropped after SWFTE changed some of its practices. A bit of digging reveals that Swfte International's cofounder in Hockessin, Delaware, was Bill Dettering. One of the main designers was Rich Roat. At Swfte, Dettering released Glyphix font software, the first ever on-the-fly font generator for DOS based systems, which sold over 50,000 copies, and over 100 scalable fonts.

    Expert Software is now owned by Activision. Another product is Fantastic Fonts. Ulrich Stiehl's analysis. List of font names. Link to all the fonts.

    Dafont link, where one can download Garage Shock (which is identical to House Industries' Playhouse). [Google] [More]  ⦿

    Sybille Schlaich

    German Face2Face designer who made Styletti Medium (1996), which became part of the Linotype Taketype 5 collection in 2003 under the name F2FStylettiMedium LT Std. Coauthor of Emotional Digital. See also here. FontShop link. [Google] [MyFonts] [More]  ⦿

    Sybille Wohlfarth

    Born in Buchen in 1973, Sybille is a free-lance graphic designer since 2001, and as a typography teacher at the Akademie für Kommunikation in Stuttgart. [Google] [More]  ⦿

    Sylvain Mazas

    Born in 1980 in Chambéry, France, he studied at the Kunsthochschule Berlin-Weißensee in 2007, and has been working in Berlin since then, first for seven years as a type designer at LucasFonts, where he specialized in Arabic type, and then as a graphic designer at the Mückenschwein Publishing House, and as a freelance graphic designer and illustrator. Personal site.

    His typefaces: Ostbahnhof (2016, a blackletter-inspired headline font), Paula (2016, based on the hand of comic book artist Paula Bulling), Bikini (2010, fatty poster face), Skizzenfont (2009), Palast Black (2008, ultra fat), Pestorino (2008). He also did a great typographic job in his Foch Flyer (2010) and Mückenschwein logo (2008).

    Arapix12 (2012) is a Latin-Arabic pixel font with very special capabilities: every Latin and Arabic glyphs are designed within just 12 pixels, which is especially reduced for fitting Arabic extended ascenders and descenders. Retails as 29LT Arapix.

    At his own tyefoundry, simply called Sylvain Mazas (est. 2018), he published the German expressionist typeface Ostbahnhof (2018). [Google] [MyFonts] [More]  ⦿

    Sylvia Egger
    [Web font hosting services]

    [More]  ⦿

    Sylvia Janssen

    Designer (b. 1976, Düsseldorf) with Daniel Janssen at T-26 of Engel (2003). At Fountain, she designed Vitus (2003, with Daniel Janssen), Atlantik (2007, wavy pattern dingbats, with Daniel Janssen) and Gretel (2005, Fountain). Other fonts with Daniel Janssen include Kaa, Emily (2003, T-26, with Daniel Janssen, similar to Monte Carlo Script NF (2002, Nick Curtis), both based on a font called Medicis by Deberny and Peignot, ca. 1920), Nitro, Cash, Initialen, Diavolo, Gigant, Unovis, Sektor, Loop, Sonar and Masina. The frilly Emily, with a border set, is also available from T-26 (2003). She studied graphic design at Hamburg University of Applied Sciences. In 2002, Sylvia and Daniel Janssen founded the design studio Büro für Gestaltung Janssen in Hamburg. [Google] [More]  ⦿

    szidat-design

    This German outfit based in Tannroda will make your handwriting into a font for 99DM. [Google] [More]  ⦿

    Szonja Balint

    München, Germany-based designer of the free avant garde typeface family Barrow (2017). [Google] [More]  ⦿

    T4 Typography AB (was: Sinnebild, Olsson's Fonts, Torbjörns Typer, T-Type)
    [Torbjörn Olsson]

    T4 Typography after Sinnebild (which still exists). Its sister company, A4, designs newspapers. Libretto, a text font with old style figures, is absolutely gorgeous! Ludovico is also brilliant as a text face, while Ornaments Ink and Pen is an elegantly original dingbats font with ink spots. Other fonts include Interrupt Display (a Morris Fuller Benton revival, done in 2001), Fin Tertia Kursiv (2001, a great modern font, digitized from matrices found in the Norstedt collection, dating back to about 1750), More, Lights (dot fonts), GenderFeminine (1997), GenderMasculine (1997), Fournier Initialer, KumlienMM (1993), Kumlien-Initialer (1994), Mecanic (1992), MixtureMM (1994), RendezvousMM (1993), Ornaments, Ornaments Ink and Pen, Rössjor. Olsson is one of today's grand masters. And now, multiple master fonts Vadau and DejaVue! Lights One, Two, Three, Sarajevo, Cirkelnummer. And a splendid revival of Doves Type created in 1900 by Emery Walker and used by Thomas J. Cobden-Sanderson at their Doves Press (1900-1916). It is called DovesType (1996, OpenType versions now also available). The PDF file on that site has Troycer (1996), also by Olsson. By clicking on "Info", you get free Borders and Ornaments fonts.

    MyFonts sells the T4 fonts Motor Mouth (2006, by Martin Fredrikson), Batory (techno) and Batoswash (both monoline sans designs by Bo Berndal, 2006), Mixtra Roma (forced serif), Havel (super-condensed constipated slab serif), Mixtra Sansserif, and Mixtra Slabserif. Mixtra is a versatile and complete type family designed by Bo Berndal in 2006. Olsson's Havel (2006) is an updated interpretation of a Czech type design from the 1930s, different from condensed types of the same era, such as Spire (Sol Hess, 1937), Onyx (Gerry Powell for ATF, 1937) or Quirinus Bold (Alessandro Butti, 1939). In 2007, Olsson added these fonts: One Night Stand (experimental), Interrupt Display Pro (2007, in the style of Impact), Eknaton (a powerful Egyptian family), Museum Tertia Cursive (2007, inspired by a beautiful set of 126 matrices in the Swedish Norstedts type collection. These types were probably manufactured in Germany before 1750. The matrices are part of a set imported to Sweden by J.P. Lindh from Breitkopf and Härtel 1818), Museum Ornaments (2007), Museum Borders, and Museum Fournier (2007, inspired by a set of Rococo capitals designed by Pierre Simon Fournier le Jeune ca. 1760. The matrices are part of a set imported to Sweden by J.P. Lindh in 1818 from Breitkopf&Härtel in Leipzig, Germany. They are now in the Nordiska Museum in Stockholm).

    Tyma Garamont (2007, five wonderful styles) was inspired by the Berner-Egenolff type sample from the 1560s. The Italic was inspired by a sample from Robert Granjon, also from the 1560s. The name TYMA is short for AB Typmatriser, a Swedish company founded in 1948, because the Second World War stopped all import of matrices for Linotype and Intertype typesetting machines. The templates for Garamont Roman were initiated by Henry Alm 1948. Bo Berndal was hired the following year, and continued the work by drawing and cutting templates for the rest of Garamont Roman, as well as for the remaining Garamont family. Bo Berndal stayed at TYMA until it went bankrupt in 1952. At that time Bo Berndal had already kick-started his career as type designer by drawing the typeface Reporter for one of the big daily newspapers, Aftonbladet, a version of Cheltenham for another daily, Dagens Nyheter, and copied several old typefaces for other customers. Librarian Sten G. Lindberg at The Royal Library of Stockholm, Kungliga Biblioteket, procured copies of original type samples. Bo Berndal completed TYMA Garamont in 2007.

    Klingspor link. Alternate URL.

    View the typefaces designed by T4. View the T4 library. View Torbjörn Olsson's typefaces. [Google] [MyFonts] [More]  ⦿

    Tabitha Swanson

    Berlin-based designer of the free typeface Naive (2018). [Google] [More]  ⦿

    Tage der Typografie

    Three-day conference, May 30-June 2, 2002, in Lage-Hörste. The speakers included Susanna Stambach (Basel), Gabine Heinze (Leipzig), Peter Reichard (Offenbach), Klaus Detjen (Holm), Hans Peter Willberg (Eppstein), Richard Frick (Bonstetten), Andreas Skott (Köln) and Markus Junker (Konstanz). [Google] [More]  ⦿

    Talha Sariyürek

    German designer (b. 1990) of EpoXY-histoRy (2007). [Google] [More]  ⦿

    Talib Intercultural Type Research
    [Sascha Thoma]

    Talib (2004) is a type project of eps51, a Berlin-based graphic design studio founded in 2004 by Sascha Thoma and Ben Wittner. They developed these faux Arabic fonts: Talib Old Style (calligraphic), Talib Kulkufi, and Talib Mohandes. [Google] [More]  ⦿

    Tammy Schaefer

    German designer of Handschrift (2015). [Google] [More]  ⦿

    Tanja Diezmann
    [Actiontype.de]

    [More]  ⦿

    Tanja G

    Bonn, Germany-based designer of the straight-edged typeface Sputnik (2016). [Google] [More]  ⦿

    Tanja Hildebrandt

    Graphic designer and illustrator based in Karlsruhe, Germany. Creator of the art deco series Swap (2015), and several other typographic experiments. Behance link. [Google] [More]  ⦿

    Tanja Huckenbeck

    Born in 1976, she runs Typosition with Peter Reichard in Offenbach. German co-designer with Peter Reichard at Typosition Mediendesign of TF Motte_Beta (2002, a 3x3 grid pixel font) and TF Ohwale. She also made the pixel font 525_Square and the dingbat fonts Caution and No Smoking (2002, free copy at Dafont). Pic. [Google] [More]  ⦿

    Tanja Oppel

    German designer Tanja Oppel combined blackletter and grotesk to get Fratesk (2012). In an interesting experiment, Tanja averaged 13 versions of Garamond: Adobe Garamond Oldstyle Figures, Garamond Classico, Garamond, ITC Garamond, Stempel Garamond, Adobe Garamond LT, Stempel Garamond Oldstyle Figures, ITC Garamond LT, Garamond 3, Garamond Premier Pro, Simoncini Garamond LT, Adobe Garamond Pro, Garamond Three LT.

    Behance link. Yet another URL. [Google] [More]  ⦿

    Tanja Rastätter

    German designer, b. 1980, Karlsruhe. In 2006, she graduated from the Berufsakademie in Ravensburg. Thereafter, she worked for MAGMA Brand Design. She published ald Ast (1996-2002, tree branch look face, Volcano Type) and Wald Blatt (1996-2002, a leaf-themed font, Volcano Type) together with Sandra Augstein. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Tanja Schulz
    [Zoefonts]

    [More]  ⦿

    Tanja Skalsky

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Tata Tatze
    [Alma Tatjana Neu]

    Alma Tatjana Neu (aka Tata Tatze, Berlin, Germany) designed the free rounded modular display typeface Tatafirst (2017). [Google] [More]  ⦿

    Tatevik Aghababyan
    [Tatssachen]

    [More]  ⦿

    Tatjana Poeschke

    German designer at the University of Applied Sciences Düsseldorf of the reverse contrast typeface Molodoy. [Google] [More]  ⦿

    Tatssachen
    [Tatevik Aghababyan]

    Tatevik Aghababyan is an Armenian designer who lives and works in Frankfurt, where she is the main person at the studio Tatssachen. She designed these typefaces: Fedra Sans Armenian (with Peter Bilak; Third Prize at Granshan 2010 for Armenian text types), Elien (an experiental modular family), Glueziffer (2010; a Treefrog-style scratchy hand family), Arpi (2007; sans Armenian unicode face). Elien (2009, 26plus) is a monospace typeface inspired by bike chains and dot matrix ideas. [Google] [More]  ⦿

    TechStat
    [Andreas Wehner]

    Andreas Wehner (Germany) made the technical dingbat font TechStat (truetype, commercial). [Google] [More]  ⦿

    Temporary State (was: Abstrkt)
    [Roman Gornitsky]

    Moscow, and before that, St. Petersburg, Russia-based foundry, first called Abstrkt, and later extended to The Temporary State. All fonts are by Roman Gornitsky (b. 1986, Leningrad). In 2020, the foundry was located in Leipzig, Germany. Roman's fonts:

    • Krisis Sans (2008).
    • Lawyer Gothic (2008).
    • Littera Plain (2008) and Littera Text (2008). An interpretation of the most popular sans family in Russia.
    • Proto Sans (2008). A 42-style constructivist family.
    • Vremena (2009) and Vremena Grotesk (2009) each have eight styles, and are their interpretation of Times and Arial, respectively. See also Nowie Vremena (2011). Vremena was extended in 2016-2017 to the free typeface Wremena.
    • Fun City (2010). An extensive family of typefaces designed for multi-layered use. Each letter is designed on the same grid, so overlays can create great effects.
    • The Stroke Sans (2010).
    • Differentura (2010). A grotesk.
    • Lineatura (2011). A great art deco-meets avant garde family.

      Twentytwelve (in styles Slab N, Sans R, Sans C, Serif C, Sans G, Sans). Created in 2011-2012 at the Jan van Eyck Academy in The Netherlands, and inspired by Paul Renner's original designs for Futura. Extended in 2017 as Five Years Later.

    • Manege (2016). Manege was initially designed for the celebration of 200 years of Manege Central Exhibition Hall in Moscow: The shapes of the typeface are heavily influenced by monumental typefaces of late 1950s Stalinist architecture, as well as hand-drawn title pages of Soviet books of the same period and typefaces like Telingater, Lazurski, Trajan and even some Romain du Roi. Initially designed for all caps typesetting, Manege tries to combine in itself monumentality with clumsiness, a particular mixture of feelings one often gets from looking at old stone-carved inscriptions.
    • Panama and Panama Monospace (2017). A text typeface in the style of Century.
    • Soyuz Grotesk (2017). This free almost experimental sans is based on a Cyrillic version of Helvetica made by two students of the Moscow print Institute in 1963, Yuri Kurbatov and Maxim Zhukov.
    • Steinbeck (2018). A playful sans.
    • Gramatika (2020). Initially developed as a Helvetica-like typeface for Experimental Jetset's new visual identity of V-A-C Foundation (Moscow/Venice), it became a retail font (with some additions and changes) in 2020. Special attention was paid to spacing and multi-language diacritics, as well as dingbats that include arrows, chess symbols and weather icons.
    • Pressuru (2020). A compact sans.
    [Google] [MyFonts] [More]  ⦿

    TeX und Schmuckschriften

    German help file for using type 1 fonts with TeX and ghostscript. Located at the University of Wuppertal. [Google] [More]  ⦿

    The Bat Lover

    German designer. She created the kid's handwriting typeface Aleah (2008). [Google] [More]  ⦿

    The body found in the Elbe

    On July 6, 2016, a man's decomposing body was discovered in a metal tool box in the Elbe river near the German town of Vockerode. One year later, the body of the man remains unidentified. He had a ring with the name Michaela engraved on it, and that same name was tattooed on his forearm as well. After some sleuthing, it turns out that the tattoo is based on the Back to Black font made by Misti Hammers in 2016. Misti had originally placed it on the Dafont site, but it eventually made it to several minor download sites as well. Still, the likelihood is great that the victim at some point downloaded it from Dafont, due to the sheer volume of that site's downloads. Police are now trying to get all German IP addresses associated with the downloads of Back to Black in the hope of identifying the victim. Back to Black, according to Misti, was published on May 8, 2017, which places the murder between May 8 and July 6, 2016.

    News page on this case by the Mitteldeutscher Rundfunk. [Google] [More]  ⦿

    The European Computer Modern Fonts

    Jörg Knappen's page on the European Computer Modern fonts. "The following languages are supported by the Cork encoding: Afrikaans, Albanian, Breton, Croat, Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, French, Frisian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Irish (modern orthography), Italian, Letzeburgish, Lusatian (Sorbian), Norwegian, Polish, Portuguese, Rhaetian (Rumantsch), Romanian, Slovak, Slovene, Spanish, Swedish, Turkish." [Google] [More]  ⦿

    The Fly

    Berlin, Germany-based designer of Maniac Letters (2019), which is based on the cartoon adventure game Day of the Tentacle. [Google] [More]  ⦿

    The Gothic or Wulfilan alphabet

    Quoting Dr. Robert Pfeffer: The Gothic or Wulfilan alphabet has nothing to do with the medieval gothic script. Rather, it is the script used by the ancient Goths and invented by Visigoth bishop Wulfila in the fourth century A.D. for the purpose of translating the Bible into Gothic. The Gothic fonts offered here [i.e., by Robert Pfeffer] are based on the younger model of the Gothic script (S-style) as it appears in the Codex Argenteus. The difference to the older variants (Sigma-style) lies in the younger model's S being equal to the Latin one, while the S of the older variants resembles the Greek sigma. [Google] [More]  ⦿

    The Gutenberg Bible

    The entire Gutenberg Bible on-line at the British Library. [Google] [More]  ⦿

    The Quick Brown Fox GmbH
    [Willi Welsch]

    Run by Willi Welsch out of Köln, Germany, this foundry sells the SERIALS type library, consisting of 2,000 professional typefaces on the CD-ROMs Typecollection, DesignerCollection, CreativeTypeCollection (500 Brendel Informatik fonts for 499DM), and the new StyleCollection. Their program FontExpert automatically identifies typefaces from a scanned document out of a database of 25,000 typefaces. A quick check reveals however that many fonts are just renamed designs.

    The TypeShop Collection is also owned by them. MyFonts writes: The originator of the big TypeShop Collection was Walter Florenz Brendel (1930-1992). As far back as 1972, he had the idea of an electronic and digital system for typeface plotting and cutting, as well as automatic modification and reproduction. Before 1972, when type users demanded their type color to be a little lighter or little darker, Brendel, as the owner of over 28 type shops across Europe employing about six hundred people, could not meet their demands with the existing typefaces. Consequently Brendel developed a method to satisfy their needs. Brendel was the originator of the concept, and contributor and partner in the development, of IKARUS by Dr. Peter Karow. He cut typefaces based on mathematical increments that would allow type weights to be graduated in equal steps. Thanks to his perfectionism, type users can have the luxury of choosing a specific type weight out of seven from as many as 65 font families in the TypeShop Collection. Mr. Brendel was an accomplished professional type designer. Lingwood, Montreal, Volkswagen, Derringer, and Casablanca and many more were his creations. He was a design collaborator of Congress, Litera, Worchester and others. [Google] [MyFonts] [More]  ⦿

    The Student

    Essen, Germany-based designer of the experimental neon light alphabet Generativ Jazz (2011). Not a font, I think. [Google] [More]  ⦿

    TheGirl
    [Jacqueline Stöber]

    Jacqueline Stöber (TheGirl) (b. 1983, Germany) is the designer of the fonts 3BOXESBold and 3BOXES (2002). Home page. [Google] [More]  ⦿

    Themtypes
    [Erik Sachse]

    Erik Sachse presents the latest experimental and crazy typefaces. [Google] [More]  ⦿

    Theo Nonnen

    FontFont designer of Stoned (1995). Runs Bohm and Nonnen in Darmstadt, Germany. In the development and digitization of Stoned, he was helped by Barbara Schmitt, Caroline Berger and Susanne Curlott. Fontshop link. [Google] [MyFonts] [More]  ⦿

    Theo Paul Etbauer

    German designer of the Schreibschrift typeface Balmung (D. Stempel, 1934). [Google] [More]  ⦿

    Theo Seemann
    [Visual Braille]

    [More]  ⦿

    Theodor Walbaum

    Weimar-based foundry. [Google] [More]  ⦿

    Therefore

    German designer of the ornamental caps typeface called The Fragile Typeface (2011).

    Dafont link. [Google] [More]  ⦿

    Theresa Luft

    Muenster, Germany-based designer of the free art nouveau typeface Mohnschein (2019). [Google] [More]  ⦿

    Thesis versus PMN Caecilia

    An Egyptian fight! In this and this PDF file, Max Caflisch asks whether Lucas de Groot's slab serif called FF Thesis Serif (1994) is too close a copy of Matthias Noordzij's PMN Caecilia (1991, started in 1982): he says that without PMN Caecilia, FF Thesis Serif would not have existed. He and other experts agree that the skeletons of the glyphs are identical, but Spiekermann argues that both had the same background and the same teachers. Cynthia Hollandsworth proposes a legalistic solution (let the courts decide), while Adrian Frutiger largely agrees with Caflish's accusation. Noordzij is clearly upset, and the counteroffensive of de Groot is plainly acidic. He claims indirectly that there are equal or even more similarities in these pairs: (Foundry, Syntax), (Myriad, Frutiger), (Akzidenz Grotesk, Helvetica). He ends by claiming that PMN Caecilia is closer in fact to Frutiger's Serifa (1967) than to FF Thesis Serif. This wonderful polemic is in German. [Google] [More]  ⦿

    TheTypes digital type foundry
    [Luc(as) de Groot]

    Dutch foundry by Luc(as) de Groot. Displays his commercial creations such as AlfAlfabetje, Aquarelkwast, BalpenVelTwee, Druiper, Hand&Feet, HateSchool, ScreenWrite, Typelab, TheAntiqua, TheSerifCorr, GezelligVet, Newspaper (Bukvaraz 2001 award), SpiegelFonts, Sprankelend Licht, Weetikveel, Punker Book, Pistol One, Two and Three, Marieke Serieuzer, MariekeWildStrip, Puntenstraight, PuntenExtremo, PuntenRondom, Drekkig, Modderig, Verschrompelfont. Also logo font services. de Groot was born in Noordwijkerhout in the Netherlands in 1963.

    FontFont write-up. Founder of Font Fabrik in Berlin, and of LucasFonts.

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

    Thezu

    Foundry in Pürgen, Germany. [Google] [MyFonts] [More]  ⦿

    Thieme Verlag

    German studio that designed the hand-printed typeface URW Nifty Script (2013) and the large dingbat font FontForum Medical Icons (2015, URW++). MyFonts link. [Google] [MyFonts] [More]  ⦿

    Thilo Krapp

    Student at the University of Wuppertal who made the experimental typeface Emotional Code (2004). [Google] [More]  ⦿

    Thoai-Hong Thu

    German creator of Pick of Destiny (2012).

    Dafont link. [Google] [More]  ⦿

    Thoma

    München-based foundry. [Google] [More]  ⦿

    Thomas A. Osthege
    [Montessori]

    [More]  ⦿

    Thomas Ackermann

    Thomas Ackermann studied Communication Design at Hochschule für Angewandte Wissenschaften Hamburg (Germany) and Shenkar School of Engineering and Design in Tel Aviv. He worked as freelance designer for Blotto Design in Berlin and teaches typography at the design department of HAW Hamburg. He specializes in corporate design, typography and type design favouring big letters in architectural spaces. In 2010, he founded PBLC---Büro für Visuelle Kommunikation---with three other partners in Hamburg.

    Codesigner of FF Bauer Grotesk (2014, Fontfont), with Felix Bonge. Fontfont writes: FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the Art Deco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, Bauer Grotesk stands out for not being so dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval O is a good example of this approach, as are characteristic shapes like the capital M or the unconventional varying stroke endings on the c and s which give them a less constructed look. [Google] [MyFonts] [More]  ⦿

    Thomas Bierschenk
    [Pfadfinderei]

    [More]  ⦿

    Thomas Bierschenk
    [Critzler]

    [MyFonts] [More]  ⦿

    Thomas Biwer

    Creator of the grunge typefaces Schwabstrasse (2008) and We are Potatoes (2007, potato printing).

    Dafont link. [Google] [More]  ⦿

    Thomas Crolla

    Graphic designer, born in 1976 in Aachen, Germany. After studying graphic design at the Academie Beeldende Kunsten in Maastricht, Netherlands, Thomas started working for several agencies in Germany, primarily specialising in corporate and web design. Since 2002 he is working as an Art Director in Aachen. Together with a couple of freelancers Thomas founded Einwaage, a design network for cultural projects. Designer of the Scrixel 8 and 16 connected script pixel font families at Fountain in 2005 (also available from Veer). FontShop link. [Google] [More]  ⦿

    Thomas Curtze-Schatton

    Stuttgart-based graphic designer. He is working on the display typeface Konsequent (2006). [Google] [More]  ⦿

    Thomas Finke

    German graphic designer. Creator of the gorgeous handlettered face Bergell (Letraset, 1991). [Compare with the free font Bambino.] Letraset writes: The work of Alberto Giacometti inspired this spontaneous, calligraphic style created by German graphic designer Thomas Finke. Although somewhat abstract, this typeface is highly legible and benefits from generous letter spacing.

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

    Thomas Hofmann

    German designer of the slab serif typeface Linotype Ho Tom (Linotype, 1994).

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

    Thomas John

    Designer of the ultra-heavy poster typeface Hanje (2021, at New Letters in Munich, Germany). [Google] [More]  ⦿

    Thomas Junold
    [Büro für Aufmerksamkeit (was: Font Bastard)]

    [More]  ⦿

    Thomas Korst

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Thomas Lehner

    Thomas Lehner (Neukölln, Berlin, Germany) teaches at Berlin University of the Arts and is associated twith Kombinat Typefounders, a Dutch-Swiss type foundry. He studied visual communication at Hochschule für Gestaltung und Kunst Basel. [Google] [More]  ⦿

    Thomas Leif

    Linotype designer of Traffity (1997, traffic policemen dingbats). FontShop link. [Google] [MyFonts] [More]  ⦿

    Thomas Marecki

    Thomas Marecki was born in Berlin in 1972. After his schooling he completed a graphic design program in 1994 at Lette Verein in Berlin. Since 1988 he has been interested in graffiti. He has worked as a freelance graphic designer. His type designs include FF Tag Team, which consists of the graffiti family FF Marker (1994, +Skinny, +Fat, +Icons).

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

    Thomas Mettendorf

    Aka Thomas Schnäbele (b. Karlsruhe, Germany, 1966). Designer of the GFToaster family and the GF CafeRetro family at Garagefonts in 1998. He also designed Derivat (1998, a rub-down letter font), Tipi (1998: grunge), Dualis, Mobilette (1999), Five Link Chain (1999), Fonicons (dingbats, 2000), Fono (2000, techno family, which includes unicase weights), Modus (2001), Metroflex (2003-2004, Garagefonts: based on geometric principles and conceived as an "experimental vision!" for Fritz Lang's classic film, Metropolis). At Linotype, he designed Linotype Method (1997) and Linotype InkyScript (1997).

    In 2006, at Volcano Type, he designed Copy, a sans family consisting of Copy Regular, Copy Bold, Copy Italic, CopyCut Regular, CopyCut Bold, CopyCut Italic, CopySemiGrotesk Regular, CopySemiGrotesk Bold, CopySemiGrotesk Italic. This family has the look and feel of typewriter types.

    In 2007, he decided to quit type and graphic design and went into music.

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

    Thomas Mugele

    München, Germany-based designer of the squarish typeface Moogie Tavira (2016). Behance link. [Google] [More]  ⦿

    Thomas Nagel

    German designer and art director, born in 1962. Face2Face designer who made F2F HogRoach, F2F PixMix, ScreenScream, Shakkarakk, ElDeeCons, Madame Butterfly, Pixmix, Shpeetz, TyrellCorp, F2FWhaleTreeRnd (1992), F2FZakGlobe. In 2003, the Linotype Taketype 5 collection contains these fonts by Thomas Nagel: F2FEIDeeCons LT Std, F2FHogRoach LT Std, F2FPixmix LT Std, F2FScreenScream LT Std, F2FShakkarakk LT Std, F2FShpeetz LT Std, F2FTyrellCorp LT Std, F2FWhaleTree LT Std, F2FZakkGlobe LT Std.

    He ran Mind 21 in Frankfurt.

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

    Thomas Petrach

    Product designer in Berlin, who created the slightly flared sans typeface Linda in 2016. Behance link. [Google] [More]  ⦿

    Thomas Pryds Lauritsen
    [German Donaldist Society (D.O.N.A.L.D.)]

    [More]  ⦿

    Thomas Radeke
    [Rah Dick]

    [More]  ⦿

    Thomas Schmelz

    EDV-Beratung Thomas Schmelz (Bahnofstrasse 130g, D-61267 Neu-Anspach) designs some Fraktur fonts. Address found at the Bund für Deutsche Schrift und Sprache. [Google] [More]  ⦿

    Thomas Schonig

    German designer of Streetlight Manifesto (2005). [Google] [More]  ⦿

    Thomas Schostok
    [THS Design]

    [MyFonts] [More]  ⦿

    Thomas Schulze

    During his studies in Potsdam, Germany, Thomas Schulze created the alphabet Messer Gabel Schere Licht (2014). This is not a digital typeface. [Google] [More]  ⦿

    Thomas Sokolowski
    [Apply Design Group]

    [More]  ⦿

    Thomas Stupan

    German designer (b. 1983) of Onkelz 2014 (2014), a grunge letterpress style typeface created for the German rock group Böhse Onkelz. Chubby Poof (2014) is pure grunge. [Google] [More]  ⦿

    Thomas Thiemich

    German type designer who graduated from the Hochschule für Grafik und Buchkunst in Leipzig. He is currently based in Antwerp, Belgium. First working under the pseudonym Ixel, he used FontStruct in 2008 to create Dolores Alpha (chunky blackletter), Pulgo 2.0 (fat stencil), Blone (octagonal stencil), Rimski (fat hexadecimal face), Figaro (artsy octagonal stencil), AGRAR Unicase (+Black), an elegant ultra-fat type family. He also made the techno typeface Ixelator 0.1. Alternate download.

    His commercial work was published by OurType and transferred later to Type By when fred Smeijers quit OurType. His typefaces there:

    • Alto (2008), a humanist sans.
    • Fakt (2010). A large grotesk superfamily that was followed by Fakt Slab, Fakt Mono (2019), Fakt Sencil (2019) and Fakt Soft.
    • Remo (2012), Remo Stencil and Remo Slab.
    • Rosalinde (2019). A playful almost monolinear rounded slab serif.
    • Gustella (2018) in Solid, Stripes, Inline and Boxed styles. Gustella won an award at the Type Directors Club's Type Design Competition 2019.
    • Cobertura (2019). A large distinguished almost modular sans family with a good choice of widths from compressed to wide.

    Thomas Thiemich has also made some custom typefaces. These include Weinviertel (2009, with Maurice Goeldner), a handwriting typeface designed for a wine distributor in Vienna.

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

    Thomas Weigl

    Thomas Weigl (Köln, Germany, b. 1982) created the hand-printed typefaces King Kendrick (2015) and Weigl (2014). [Google] [More]  ⦿

    Thomas Wenner

    Graphic design student in Dortmund, Germany, who created a 3d typeface called Futurist (2012). [Google] [More]  ⦿

    Thomas Witte
    [Atlier Hurra]

    [More]  ⦿

    Thomas Wortmann

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Thorsten Schraut
    [Hi-Type]

    [More]  ⦿

    Thorsten Wulff
    [Page Online]

    [More]  ⦿

    THS Design
    [Thomas Schostok]

    Thomas Schostok from Essen is a German designer of free and commercial fonts. In 2002, Thomas Schostok and Stefan Claudius cofounded Cape Arcona.

    His free fonts are offered via Freaky Fonts [Dafont link. Abstract Fonts link. Fontspace link]. His free fonts include After Midnight Sale Jack (2002), Alternative3 (2002), Texas Funeral (2002), 1st Sortie, and Chucky Mendoza.

    His commercial typefaces are through THS Design and MyFonts. They include: CA Hail to the King (2010), CA Kink (2007), CA Uruguay (2007, lettering for revolution posters with huge ink traps), CIA (1999) and Zatrulla (1998) are sold by Garagefonts. In October 2002, he co-founded Cape-Arcona with Stefan Claudius. There one can get the free fonts After Midnight Sale Jack (2002), Alternative3 (2002) and Texas Funeral (2002) and the commercial fonts CIA, CA Trasher (dots), CA Kink (counterless face), CA Blitzkrieg Pop, CA Uruguay (2007, inktrap face), CA BND Trash, CA No Dr, CA Spy Royal, CA BND, CA Rebel Party Rebel, CA Pussy Galore, CA Wolkenfluff, CA Cula (2009), CA Cula Superfat (2009), CA 12c13c, CA Cape Rock, Viva Las Vegas Day and Viva Las Vegas Night (2002), CA Recape (2014, Cape Arcona), CA Capoli (2015: a retro connected automobile script), CA Saygon (2019, with Stafan Claudius: a formidable experimental sans that evokes an internal clash between 90-degree angles and smooth arcs), CA El Amor (2020: a back-slanted grungy layered typeface), CA Kometo (2020: an all caps comic book typeface), CA Mystery Girl (2020: an antiqued all caps sans family), CA Smut (2020: in the dirty vernacular style), CA Weird Stories (2020), CA Edwald (a 10-style serif in the Cooper Black and Windsor genre; with Stefan Claudius).

    FontShop link.

    Typefaces from 2022: CA Zentrum (a 30-style grotesk). [Google] [MyFonts] [More]  ⦿

    Tightype
    [Fabian Fohrer]

    Tightype is an independent type design collective, based in Konstanz, Germany, founded in 2015 by graphic design students Fabian Fohrer and Fabian Huber. Their typefaces from 2015: Fabrik (sans), Moderat (geometric almost monoline sans by Fabian Fohrer and Fabian Huber). In 2016, Fabian Fohrer designed Sneak, which is characterized by an oversized top-heavy capital S. In 2017, Fohrer designed Lemur. In 2018, Fohrer added the playful poster letter typeface family Exposit, the sturdy Fleya, and the sans typeface Plaid and its companion, Plaid Mono.

    Typefaces from 2019: Principal (a fresh sans typeface family), Mue (hip and experimental).

    Behance link. Fabian Fohrer's home page. [Google] [More]  ⦿

    Tihana Vukcevic

    Belgrade and now Cologne, Germany-based illustrator and graphic designer. In 2011, Tihana created Fama and Kronopio (art deco; Latin and Cyrillic). In 2014, she designed the Comic Sans-styled typeface Zora. [Google] [More]  ⦿

    Tijmen Ploeger

    Illustrator in Berlin, whose work involves fresh creative lettering. His businessman poster series is exceptional. Behance link. [Google] [More]  ⦿

    Till F. Teenck

    German type designer of the handprinting font family Linotype Mega (1997). [Google] [MyFonts] [More]  ⦿

    Till Hopstock

    Born in Dortmund in 1978. Since 2000, he studies in Offenbach at the Hochschule für Gestaltung. He assisted Akira Kobayashi with some projects. At Typeoff.de, he created the experimental typeface India Gothic (2004). [Google] [More]  ⦿

    Till Wiedeck
    [HelloMe]

    [More]  ⦿

    Tillae Type

    Type foundry in Berlin, Germany. In 2020, they released the sharp-contrast serif typeface TS Magnole. [Google] [More]  ⦿

    Tilman

    Tilman, A German web page designer (b. 1975), made free pixel fonts, July (2001), JulyAlternate (2001), KRN, and Binary Slim (2001). Mac and PC. For very small sizes on screens. [Google] [More]  ⦿

    Tilman Jersch

    Tilman Jersch (Studio Jersch, Berlin, Germany) created the papwer fold typeface Opaci, the paper cut font Kuts, the Hebrew simulation typeface Moses, and the modular rounded slab serif typeface Pionier in 2013.

    Behance link. [Google] [More]  ⦿

    Tilman Schalmey
    [Fontasy (was: Norbomat Fonts)]

    [More]  ⦿

    Tilmann Hielscher

    Tilmann is a designer from Berlin, Germany. Before studying at TypeMedia (KABK, Den Haag), he worked as a freelance designer in various fields, such as graphic design, lettering or illustration. His previous degree was in Visual Communication from the Berlin Weissensee School of Art. In the TypeMedia program at KABK in Den Haag, Tilmann Hielscher designed Ligan (2015) and writes: Ligan's soft letters look more like being inflated with bit too much helium, giving a balloonish, whimsical appearance. The hefty display style is best used for all that needs to be said big and loud. It's reminiscent of a signpainters' brush lettering---written with a lot of paint, making thick, bubbly, round strokes. . [Google] [More]  ⦿

    Tilo Pentzin

    Rostock, Germany-based designer of the condensed display typeface High Times Regular and High Times Goofy (2013, Die Gestalten). Behance link. FontShop link. [Google] [More]  ⦿

    Tim Ahrens
    [Just Another Foundry (or: JAF34)]

    [MyFonts] [More]  ⦿

    Tim Blunck

    Hamburg, Germany-based designer of the free hipster font Stacked (2015) and the geometric solid typeface Gometric (2017). [Google] [More]  ⦿

    Tim Kowalewski
    [lgtm]

    [MyFonts] [More]  ⦿

    Tim Krueger

    German typographer and graphic designer. He created a number of fonts including TK Corola (2001) and TK Castrata (2001). [Google] [More]  ⦿

    Tim Kunz

    During his studies at Bergische Universität Wuppertal, Tim Kunz (Hilden, Germany) designed the angular typeface Kerosin (2017). Behance link. [Google] [More]  ⦿

    Tim Larson
    [Dieter Steffmann's blackletter typefaces]

    [More]  ⦿

    Tim Meyersick

    Muenster, Germany-based designer in 2017 of Westside, a condensed all caps sans typeface. Behance link. [Google] [More]  ⦿

    Tim Schmeer

    Tim Schmeer (b. 1984, Duesseldorf, Germany) obtained his Bachelor of Arts in communication design from FHD in 2013 and his Masters of Arts degree from HSD in 2017. Since 2011, he is a freelance graphic designer and art director in Duesseldorf. In 2020, Sergej Krieger and Tim Schmeer founded Duestype in Duesseldorf. In 2022, Duestype released Extragraph Display, a modular monolinear display typeface that only uses circular arcs and straight lines. [Google] [MyFonts] [More]  ⦿

    Tim Sluiters

    Tim Sluiters (Studio Tim Sluiters, Solingen, Germany) created an avant garde logotype for Hotel Trafohaus in 2015. Behance link. [Google] [More]  ⦿

    Tim W

    Tim W (Langen, Germany) created a condensed typeface in 2011. [Google] [More]  ⦿

    Timo

    Designer from Berlin, b. 1987. Creator of TimoPlain (2007), an irregular font. Home page. [Google] [More]  ⦿

    Timo Brauchle

    German designer at Fontkitchen Type Foundry of Stitch (2006), Hotplate family (2002, Linotype's Taketype 5 collection, a ransom font; with Nico Hensel), The Dig (with Nico Hensel), Acrobuzz (2002, dingbats) and Lucha Libre (2003, dingbat font). Home page. [Google] [More]  ⦿

    Timo Gaessner
    [123 Buero]

    [More]  ⦿

    Timo Glosemeyer

    Designer in Berlin who created the geometric grotesk typeface Zirkel (2014). Behance link. [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]  ⦿

    Tina Henschel

    Tina Henschel (Krebsmilk.de, Berlin) created the wonderful upright cursive typeface Fepgoy (2012).

    Behance link. [Google] [More]  ⦿

    Tinati Khunashvili

    Georgian graphic designer based in Dortmund, Germany. In 2017, she designed a thin condensed Georgian typeface. [Google] [More]  ⦿

    Tinet Elmgren
    [TungusFonts]

    [More]  ⦿

    Tini Malitius

    German designer based in Bergen, Norway. In 2012, he created a custom typeface that was inspired by the movie They Live. [Google] [More]  ⦿

    Tip Top Typ

    Foundry in Berlin, Germany. In 2015, they published Ranga as a free Google Web Font. GitHub link. Ranga is cursive and influenced by signpainting. It covers Latin and Devanagari. [Google] [More]  ⦿

    TITUS Unicode Greek
    [Jost Gippert]

    Jost Gippert (University of Frankfurt) discusses UNICODE for Greek. Also available is his TITUS Cyberbit Unicode compliant font that includes all languages except Korean, Japanese and Chinese. TITUS Cyberbit Basic, version 4.0 has 9866 characters from a large number of Unicode code charts; the extended version (TITUS Cyberbit Unicode, not available for download), version 4.0, has 36161 Unicode characters. TITUS Cyberbit is based on Bitstream's Cyberbit. He also made a True Type font with indo-iranic diacritics (see here). [Google] [More]  ⦿

    Tobi Masur

    German creator of the grunge typeface Paschitnow Sans (2010). Aka Paschitnow. [Google] [More]  ⦿

    Tobias Baggemann
    [Breitenlauf]

    [MyFonts] [More]  ⦿

    Tobias Banning

    German type designer. At the 13th Typeclinic in Slovenia in 2016, Tobias Banning designed Aurel (an angular lapidary typeface). [Google] [More]  ⦿

    Tobias Battenberg

    Designer from Köln, Germany. Creator of the super-heavy Bildhauer Kant (2008). Link at Dafont. [Google] [More]  ⦿

    Tobias Benjamin Köhler
    [www.uncia.de (was: uncifonts)]

    [More]  ⦿

    Tobias Herz

    German designer of a digital revival in 2017 of the film font Hunyady Gothic (1974, Daniel Hunyady). [Google] [More]  ⦿

    Tobias Holzmann

    German-born designer who studied in Strasbourg, France. Creator of the thin avant-garde typeface Early Sans Serif (2011) and of the paperclip typeface Trombone (2011). [Google] [More]  ⦿

    Tobias Rechsteiner
    [grotesk cc]

    [More]  ⦿

    Tobias Ritter

    German designer of the handcrafted typeface On Blow (2015). Dafont link. [Google] [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]  ⦿

    Tobias Schmitt

    German creator of Mischstab Umbrella Patina (a pixelish typeface).

    Dafont link. [Google] [More]  ⦿

    Tobias Weber

    Tobias Weber (Villa Hamburg, Hamburg, Germany) designed the tweetware geometric sans typeface villa Bonn (2015). Behance link. Home page. [Google] [More]  ⦿

    Tobias Weinald

    German designer in Offenburg, b. 1982. Creator of the grunge typefaces Zombie Girlfriend (2013) and Frank Black (2009).

    Dafont link. [Google] [More]  ⦿

    Tobias-David Albert

    Tobias-David Albert (b. 1978) studied visual communication at the design faculty of Hochschule Wismar as well as type design at Hochschule für Grafik und Buchkunst Leipzig (with Fred Smeijers and Stephan Müller). His thesis work, an antiqua with an italic cut called Tilia, won the state prize for upcoming designers in 2011; a bold weight of Tilia is currently in development. From 2012, Tobias-David taught at Wismar, and since 2016 he has been at Burg Giebichenstein, Halle. Working at the intersections between calligraphy, sign-writing, lettering and type design, Tobias-David's work includes many customized letterforms for labels, posters, store signs, glassware, and tombstones. He applies a wide range of lettering techniques such as drawing, painting, etching, carving, and moulding.

    Swiss type foundry Lineto turned to Tobias-David for the brush script typeface LL Blankenhorn in 2014, named after lettering artist Fritz Blankenhorn.

    Among other designs that Albert produced digitally are a poster with a Gerrit Noordzij quote for Museum für Druckkunst, Leipzig (2013), and various brush letterings for commercial magazines such as Shape, Men's Fitness, and MusikExpress (2014-2017). [Google] [More]  ⦿

    Tolkienworld

    German sitewith two Tolkien truetype fonts. [Google] [More]  ⦿

    Tom Bernard Anyz

    Frankfurt-based photographer, b. 1973. Creator of the free font Toms Handwritten. In 2008, this font was commercialized as Toms Handwritten (URW++).

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

    Tom Grace

    Born in Boston in 1976. Graduated with an MA in Typeface Design from-the University of Reading and studied at the Rhode Island School of Design. After graduation, he worked briefly for Jeremy Tankard and Font Bureau. In 2005, he worked briefly for Porchez Typofonderie. He currently lives in Heidelberg, Germany.

    He designed these typefaces:

    • Strela (2003). This typeface covers Latin, Cyrillic, Albanian, Belorussian, Bosnian, Catalan, Croatian, Czech, Estonian, Greenlandic, Hungarian, Latvian, Lithuanian, Macedonian, Maltese, Polish, Romanian, Sami, Serbian, Slovak, Slovenian, Turkish, Ukrainian, and Welsh.
    • Deréon (2005, Porchez Typofonderie). This is a 6-font family done together with J.F. Porchez for House of Deréon, the clothing label of Beyoncé and Tina Knowles.
    • Other typefaces done for Porchez: Henderson Serif (2006, black weight and production help), Verspieren (2007, for an insurance company), Le Monde Journal PTF (2007, help with the expansion of the 1994 original by J.F. Porchez), Le Monde Livre PTF (2008, help with the expansion of the 1997 original), Parisine PTF (2006, production assistance), Parisine Office (2006, production assistance), Sabon Next (2002, assistance), Mencken (2005, help with this font for The Baltimore Sun).
    • In June 2007, he won the best Greek display typeface catgory at the Hellenic Alphabet competition.
    • In 2008, he made a bastarda typeface Givry (Type-Together) created in the spirit of the bâtarde flamande as shown in the styles of the prominent scribes Jean Fouquet, Loyset Liédet, and Jean Bourdichon. It has Civilité influences.
    • Trade Gothic Next (2008), with Akira Kobayashi at Linotype.
    • In 2009, he created Alizé (Type-Together), a 3-weight italic beauty based on the chancery italic of the 16th century, with a Garamondesque "h".
    • In 2012, Type Together published his typeface Iskra, a rounded family that covers Latin and Cyrillic. Iskra won an award at TDC 2013.
    • Aeris (2010, Linotype). A flared sans family.
    • Neue Helvetica Compressed (2014, Linotype).
    • In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype.
    • In 2018, Tom Grace and Steve Matteson published VAG Rounded Next at Monotype. It is an extension of the Volkswagen font VAG Rounded from the 1970s.

    Speaker at ATypI 2017 Montreal.

    Behance link. Old URL. Klingspor link.

    View Tom Grace's typefaces. [Google] [MyFonts] [More]  ⦿

    Tom Haake

    German digital artist who lives in Berlin. Creator of the squarish typeface Bar (2009) and the super ultra fat Block (2009). [Google] [More]  ⦿

    Tom Hossfeld
    [Lit Design Studio]

    [MyFonts] [More]  ⦿

    Tom Nowak

    Together, Tom Nowak (Nowak Studios) and Karol Gadzala (YLLV, Krakow, Poland) created the Lean Serif type family in 2012. They explain: Lean is Cologne based digital agency specialized in CGI, Photomanipulations, 3D Modelling and Sound Engineering. Lean is working with an international clients, especially with automotive companies like Lamborghini, Seat and some more. [Google] [More]  ⦿

    Tom Plate

    Illustrator and pinstriper who studied at FH für Gestaltung in Hamburg, Germany. With Stuart Sandler at Sideshow, he designed the funky curly beatnik typeface Savage Hipsters (2008). [Google] [MyFonts] [More]  ⦿

    Tom Zander

    Based in Halle an der Saale, Germany, Tom Zander designed the art deco typeface Absinthe in 2013.

    Behance link. [Google] [More]  ⦿

    Tomas Clarkson
    [Plusminus Type]

    [More]  ⦿

    Tony Teller

    Hildesheim, Germany-based designer of the 3d typeface Isometric Layer (2019). [Google] [More]  ⦿

    TOPOS Marketing GmbH

    Shady German company which sells this CD through Amazon for 15 Euros: Fonts Total -- 4.000 Schriften (2004). [Google] [More]  ⦿

    Torbjörn Olsson
    [T4 Typography AB (was: Sinnebild, Olsson's Fonts, Torbjörns Typer, T-Type)]

    [MyFonts] [More]  ⦿

    Torsten Bronger

    Torsten Bronger converted the metafont Fraktur fonts of Yannis Haralambous (yfrak, yswab, yinit and ygoth) to type 1. Type 1 versions generated by Torsten Bronger. See also here. [Google] [More]  ⦿

    Torsten Dreßler

    Dresden, Germany-based designer of the modular typeface Shrep (2014). [Google] [More]  ⦿

    Torsten Weisheit

    German designer of Linotype IrishText (1997), a Gaelic uncial. Fontshop link. [Google] [MyFonts] [More]  ⦿

    Tot Mischstab
    [Acrylnimbus]

    [More]  ⦿

    Total Immersion (or: Felina Cat)

    Free fonts by Sarah from Baden-Württemberg, b. 1985 (in the fonts, it says Catty): Pixelshit (2005), First (2005, handwriting), Mediaeval (2006), Dirty little secret (2005, grunge), Devil's Snare (2005, gothic), Twist of Fate (2005), Screwed (2005), Reality Sucks (2005), Drive Shaft (2005), Just Chalking (2005), Ginny (2005), Love is like Dirt (2005), Black Catty (2005, a blackboard math face), Just Brittled (2005, grunge), Highschool memories (2005, superfat outline font---not bad!!!), Save Me (2005, scratchy handwriting), Iron Brew (2005), Scared (2006, gothic), Treebeard (2006, gothic), Esprit (2006, stencil based on the fashion brand), Bored Now (2006), Whatever (2006), Crazy (2006), Oscar (2005, Oscar show-themed), Mommy (2005, handwriting), Supernatural (2007), Human Alphabet (2008), Alien (2005), paulchen (2008, handwriting), Cartoon Me (2009), curly Whurly (2010). Alternate URL. [Google] [More]  ⦿

    Tour de Typo
    [Christian Feurstein]

    German type blog by Christian Feurstein and Manuel Tiziani. [Google] [More]  ⦿

    Tovaley Gestaltung
    [Moritz Esser]

    Moritz Esser (Tovaley Gestaltung, Freiburg, Germany) designed the humanist slab serif typeface Nautinger (26plus-zeichen, and Die Gestalten) for his Diplomarbeit at FHF Freiburg in 2009. He also made the experimental typefaces Fraxel and Fraque. Klingspor link. [Google] [More]  ⦿

    Trajan Alphabet
    [Wolfgang Beinert]

    Wolfgang Beinert's piece in German on the Trajan all-caps alphabet (without H, J, K, U, W, Y, Z) created by Syrian engineer Apollodoros from Damaskus for the Roman Emperor Marcus Ulpius Traianus (53-117). The Trajan Column near the Basilica Ulpia in Rome dates from 113. People inspired by the elegant lettering include Fernando Ruano, Vespasiano Amphiarea, Wolfgang Fugger, Geoffroy Tory, Albrecht Dürer, Francesco Torniello, Luca Pacioli, Damiano da Moile, Leonardo da Vinci, Felice Feliciano, Claude Garamond, Jan Tschichold (see his book Meisterbuch der Schrift, Otto Maier Verlag, Ravensburg 1952), Günter Gerhard Lange (see his book Die römische Kapitalschrift, Jahresgabe der Typographischen Gesellschaft München, München 1983), and Carol Twombly (who made a digital font called Trajan at Adobe in 1989). [Google] [More]  ⦿

    Transfer Studio
    [Falko Grentrup]

    Transfer Studio is a design studio that was established in 2006 in London and Stockholm by Valeria Hedman (b. Sweden) and Falko Grentrup (b. Germany). Falko first studied Graphic Design at the Arts Institute of Bournemouth followed by an MA in Communication Design at Central Saint Martins in London. He is based in the UK. Their typefaces:

    • Cabaret Nouveau (T26). It has a bit of an oriental art nouveau look.
    • At Parachute, Falko Grentrup published PF Eef (2012). Parachute writes: First conceived as the upper-and lowercase e for the logotype of independent publishers Elemental Editions, the letterforms were so well received that they were extended to an entire typeface and formed the basis for a bespoke font, Eef. The type design draws inspiration from the basic elements, the periodic table, functionalist vintage lettering and influences from other classic geometric typefaces with condensed cuts such as Futura and Trade Gothic. The extended set is now developed into a family consisting of three weights---Regular, Medium and Bold
    • Konrad, a bespoke sans typeface for the identity of Transfer Studio.
    • Love Story: A playful display typeface custom-made for The Southbank Centre.
    [Google] [MyFonts] [More]  ⦿

    Transkription semitischer Texte
    [Ulrich Seeger]

    Ulrich Seeger from Karlsruhe explains about the transcription from/to Hebrew. His nice page (in German) includes free Mac type 1 fonts such as HaifaTimes, GalilTimes, Beyrut, Hatra (a rare script). Plus the Galil family by Ulrich Seeger (1998) for Windows. Also, assur (for Akkadian), Bock and Nebe (for Aramaic), Sima (for South-Arabian), Abbas (for Persian). All these are adaptiations of Times for easy transcriptions. [Google] [More]  ⦿

    Transkrypt
    [Frank Baranowski]

    Frank Baranowski (b. 1960, Altenmedingen), of Neuenkirchen in Northern Germany, runs the Transkrypt foundry and has been designing typefaces since 1990. He studied Graphic Design at the Hochschule fuer Bildende Kuenste in Braunschweig, Germany. In 2003 transkrypt was started as a website to show typographic experimental projects, exercises on types and also typefaces, which were designed by Frank Baranowski. He also set up Fontschmiede. His most extensive project, the Lyrix Projekt, is a kind of typographic anthology of pop lyrics. He describes transkrypt as "a space for unusual and unused type-design and typography". He designs mainly experimental typefaces, such as Kaleido (2004), Clayborn (2004, slightly grungy), Concrete, EF Mrs. Beasley (1995, nice fat round letters, Elsner&Flake), Sputnik (2004, URW++, an oriental look family), Phoenikia, Tambourine (2004, URW++), BB Mr. Beasley (1995, Linotype) and EF Musical (Elsner&Flake, serifed and playful). His experiments also include Lyrix (type motifs from pop songs), Quak (Quadrat-Kreis System, a grid system for constructing letters as parts of circles and lines), Patchwork (2005), Pardon (2005) and Kryptik-Zyklus (his own type posters and art).

    Latest creations: Karoline (2005), New Telegraph (2007, slab serif), Funtype (2009, hand-printed), Monumental (2009, a fat typeface made for stacking), Dodgy Ultra (2009, fat face). He has a page on "Typen mit Schwung". He also designed many elaborate initial caps typefaces, such as Tookatooth Initialen, Schnabel, Alien Initials, Siamesisches Alphabet (Thai simulation face), Banderol Initialen.

    In 2010, he started Fontschmiede with Michel M, where further fonts, commercial and free, can be found: Mrs Beasley, Sputnik, Superia, Tambourine, Destroya, Alphabutts and Elemenz are free.

    In 2011, he published New Telegraph Arrows at Fontschmiede.

    In 2012, he created Journal 74 (Fontschmiede), a retro font family.

    MyFonts site. Linotype page. View the transkrypt typeface library. [Google] [MyFonts] [More]  ⦿

    Travis Owens
    [Fixedsys]

    [More]  ⦿

    Trifon Andreev

    Bulgarian freelance type designer based in Potsdam, Germnany, where he studied at Fachhochschule Potsdam. [Google] [More]  ⦿

    Tristan Schmitz

    German designer from Düsseldorf, who moved to New York City in 2011 to work as senior designer at Chermayeff & Geismar. Creator of the sans typeface Kwartier (2012). [Google] [More]  ⦿

    T-Ryder

    German designer of these handcrafted typefaces in 2016: Mozugushi (inky), On Acid, On Meth, Shash. In 2020, he added Ryder Dirty. [Google] [More]  ⦿

    TS Design Media Agentur
    [Ewald Strassmann]

    Graphic design studio in Höxter, Germany. At FontStruct in 2008-2009, they made TS Comtom (octagonal), TS High Paper, TS Pixeldotzz (Regular, Narrow), TS HighFly (stencil), TS Rounded Block, Club M, TS MyBlock77, TS Yokohama, and TS Tokio Rounded Serif (oriental simulation). The designer is Ewald Strassmann. Klingspor link. [Google] [More]  ⦿

    Tuan Vuong Tron

    German designer at the University of Applied Sciences Düsseldorf of the display typeface Phonetic. [Google] [More]  ⦿

    TungusFonts
    [Tinet Elmgren]

    Berlin-based outfit of Tinet Elmgren (from Sweden). Designer of the free hand-printed / comic book typeface Tinet (2008). Dafont link. [Google] [More]  ⦿

    Tuschemann

    Designer at Brass Fonts in Cologne of Battery (1996), Nobody (1995), Styptic (1995) and Stoneman (1998). [Google] [More]  ⦿

    TwoPoints.net
    [Martin Lorenz]

    Design bureau in Barcelona, Hamburg and Berlin, est. 2007, with fonts that are mainly due to German type designer Martin Lorenz. The list of typefaces:

    • TpFloral (2006) is a modular typeface inspired by Kombinationsschrift (1926, Josef Albers). It is based upon two basic elements, a quarter circle and a square.
    • TpStretch (2002).
    • TpKurier Sans and Serif (2006). A redesign of Courier. Followed by TpKurier-Contrast (2008), TpKurier-Filled (2009) and TpKurier-Calligraphic (2010). In 2013, Vette Letters published VLNL Tp Kurier (2013, a monospaced typewriter face; + Serif, + Callig Regular).
    • TpMartini (2008) is a didone family that was used for the identity of Bambi Mint. It was published in 2013 by Vette Letters as VLNL Tp Martini.
    • TpLlum (2008) is a typeface that was designed for the festival Montjuïc de Nit. It was published in 2012 by Vette Letters.
    • TpDuro (2010) is a blackletter typeface.
    • In 2017, TwoPoints was commissioned to design a typeface for ESPN The Magazine's NBA Preview issue.
    • At Vette Letters, he published VLNL TpDuro (2019: a blackletter inspired by an Albrecht Dürer design from 1525; with Juanra Pastor).
    • VLNL Tp Bar Paco (2014, inspired by the vernacular type found in traditional Spanish bars in Barcelona).
    • Tp Rawkost (2019), Tp Marte (2019), Tp Luna (2019).
    • In 2019, they were commissioned by ESPN to make a special display font, ESPN Next. In 2018, they designed the arc-and-circle typeface Gold Rush for an ESPN Magazine issue about the female athletes participating in the Winter Olympics in Pyeong Yang.

    In 2019, TwoPoints published On The Road To Variable (Victionary). [Google] [MyFonts] [More]  ⦿

    Type and Signs

    Hamburg-based branding and designstudio. Typefaces made by them between 1995 and 2012 include Cheerpeople, Karate Do, Insanity (dripping blood font), San Polo, and an unnamed ornamental caps typeface for children (1995). [Google] [More]  ⦿

    Type and the City

    Peter Reichard (Typosition, Offenbach) and die Typonauten Ingo Krepinsky and Stefan Krömer (Bremen, Hamburg) organized workshops on logotype and book design from 25-28 November 2004 in Lage-Hörste, Germany. [Google] [More]  ⦿

    Type Department
    [Jürgen Huber]

    The Type Department was founded in 2010 by Jürgen Huber (Berlin, b. 1967) and Malte Herok. In 2011 Martin Wenzel joined as a friend of the Type Department. Much of the work is typographic and centers on logo, retail and custom type design. Jürgen Huber, who studied at Folkwang Academy in Essen and is now a professor of typography at FHTW in Berlin, a city he moved to in 1997, designed FF Plus Sans (2003, a sans family), FF Ginger (2002, includes Ginger-Icons, and FF Ginger Flamboyant, 2014), FF Angst (1997, grunge) and Hothouse (which netted him a Bukvaraz 2001 award). His typeface Scheck (Meta Design, made for Sport Scheck GmbH) won an award at the TDC2 2005 type competition.

    Jürgen Huber originally designed Crocodile Brokenscript (2013, blackletter) for a small brewery in München where it is used alongside with its sanserif counterpart.

    FontShop link. Most of Huber's typefaces are published vi FontShop / FontFont due to his spell as type director at Meta Design.

    Typefaces from 2014 by Huber include TD Lemon Sans, TD Lemon Sans Rounded (released in 2015), TD Lemon Serif (a low contrast very readable text typeface; +Unicase; see also here), TD Hothouse---that font was started in 2001 as a corporate typeface for the Glasgow School of Art, and took inspiration in the arts and crafts lettering of Charles R. Mackintosh.

    Typefaces from 2016: Scarlet, Scarlet Wood, and Scarlet Script.

    In 2019, he released the free Google web font Blinker. He writes: Blinker is a low contrast sans serif typeface with a squircle as its basic shape, think squarish curves, or Eurostile's flamboyant cousin. It's best used for medium to large text, rather than a long copy. To do its claim justice Blinker also comes with a headline weight with an extra large x-height, tight spacing, and glyphs drawn more narrowly. Github link. [Google] [MyFonts] [More]  ⦿

    Type Destroyers
    [Christina Maria Bee]

    Type Destroyers was a project of Christina Bee (Darmstadt, Germany) and Frederik Berlaen (Ghent, Belgium). Types designed by them include Dottie (dot matrix), Schrottie (grunge), Sucks (grunge), and Shoottie.

    Later, Christina Bee set up Krizbi. Her typefaces at Krizbi include Olga (a renaissance antiqua done in 2006 at the Royal Academy of Art in Den Haag, The Netherlands), and Pony. [Google] [More]  ⦿

    Type Directors Club Deutschland

    German faction of the Type Directors Club of New York. [Google] [More]  ⦿

    Type Goemo
    [Goetz Morgenschweis]

    German language type site. Has a glossatry, type classification information, type measurement information, type history, type design information, the works. Link died. [Google] [More]  ⦿

    Type Hype
    [Lothar Südkamp]

    Lothar Südkamp's page on type (in German). There are about 80 brief bios of type designers, as well as a German type lexicon, and some notes on the history of type. [Google] [More]  ⦿

    Type in Berlin
    [Andreas Seidel]

    Type activity web site in Berlin, maintained by Andreas Seidel (since 2014), and before him, by Rob Keller. It has a blog with announcements of type events, a list of active type designers, and a list of active type foundries in Berlin. [Google] [More]  ⦿

    Type Mates

    German type foundry, est. 2015 by Jakob Runge and Nils Thomsen, and based in Hamburg. Their typefaces:

    • Comspot and Comspot Tec (2015): Comspot is a rounded and characterful typeface mixed with some typewriter flavour and human touch. The font is especially designed for hard- and software dealer who need some attractive figures to sell their products. In June 2015 Nils Thomsen designed this font as a corporate font for the Hamburg based hard- and software reseller CPN Cooperation Network GmbH and its Partner Comspot. The client wants an individual typeface for all media. It should work in reading sizes and of course also display very distinctive in larger sizes. Comspot can do!
    • The Conto family by Nils Thomsen: Conto Compressed, Conto Narrow, Conto Condensed, all made in 2015.
    • Jabana by Nils Thomson, 2014-2015. This includes Jabana Alt (2015) and Jabana Extras (2015). A compressed rounded font family, with dingbats, designed for menus. It is the first font in his own foundry, Nils Types, est. 2013. It was inspired by having a Schorle at Hamburg's coffee bars.
    • Pensum Pro (2016). An 18-style text family with large x-height and considerable contrast. Followed in 2017 by Pensum Display, its wedge serif sharp-edged flashy companion. Pensum Stencil was added in 2021.
    • Urby Basic (2017).
    • Cherry (2017). A custom typeface designed for the brand new MX Board 5.0 keyboard for gaming enthusiasts.
    • 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.
    • Gratimo Classic and Grotesk (2021), and Grato Classic and Grotesk (2021). Four sans families, with Classic referring to more humanist forms; Grato is the geometric twin, while Gratimo is more economic. Design by Jakob Runge, with contributions by Mona Franz, Irene Vlachou (consukting on Greek), Ilya Ruderman and Yury Ostromentsky (consulting on Cyrillic), Donny Truong (consulting on Vietnamese), Christoph Koeberlin (hinting) and Igino Marini (spacing and kerning). Grato Marker was added by Teja Smrekar in 2022.
    • In 2022, Philipp Neumeyer released Juneau, a friendly geometric workhorse sans for Latin and Curillic, at TypeMates.
    Creative Market link. [Google] [MyFonts] [More]  ⦿

    Type Matters

    Foundry est. 2015 in Germany. [Google] [MyFonts] [More]  ⦿

    Type Me

    Type foundry in München, Germany. [Google] [MyFonts] [More]  ⦿

    Type Rookie
    [Angie Biso]

    German designer of Colonia Deco (2020). Home page. [Google] [MyFonts] [More]  ⦿

    Type This Studio
    [Anita Jürgeleit]

    Graduate of the University of Applied Sciences, Hamburg, Germany, who was initially associated with URW++ in that city. She first set up her own foundry under her last name, but in 2021 started using Type This Studio.

    Co-designer with Michael Hoffmann of the stamped font URW Urban (2013). She also made the strong-willed handwriting typeface Quendel (2013, URW++; extended in 2015 to include the textured Quendel Wood and the eroded Quendel Crayon) and Hangulatin (2014, URW++). Hangulatin applies the principles of Hangul to make letter combinations in Latin. See also Hangulatin EN (2016).

    In 2015 she created the slim vintage / steampunk typeface Nitaah One (URW++) and the handsome super-tall 1970s cocktail lounge sans Allioideae (URW++, Latin and Cyrillic).

    In 2018, she set up her own type foundry, and published Umba Sans, a 30-style family that exudes joy and is useful for display applications. It is accompanied by Umba Soft (2018) and Umba Slab (2019).

    Typefaces from 2019: Cosima (a low contrast workhorse sans), Captura (a simplified geometric sans), Famosa (+the pearl-studded Famosa Diara), Diara (a colorable wedding font package including ornaments), Crossfit (an elliptical sans family), Hyper (a wonderful packaging font).

    Typefaces from 2020: Orangina (a creamy supermarket typeface), Mireille (a decorative serif) , Marilka (a snappy 4-style modern text typeface characterized by the vertical terminals atop a, c, f, s and z), Lovebeat (a Valentine's Day font).

    Typefaces from 2021: Every Core (an 8-style serif), Headlines (a 12-style + 2 variable font headline sans), Every (a 24-style serif).

    Typefaces from 2022: Crossfit Core (a 5-style rounded technical sans), Horizona (a 9-style harlequin typeface), Cosima Core Edition (an 8-style sans), Famosa Core Edition (a fashion mag family with hints of Victoriana), [Google] [MyFonts] [More]  ⦿

    Typeclub Düsseldorf

    The Type Club is an archived, curated online platform for type designs and type sketches by students of the University of Applied Sciences Düsseldorf. It was founded in 2017 by Charlotte Rohde and active until 2019. The typefaces:

    • Agil - Charlotte Lengersdorf
    • Armand Grotesk - Charlotte Rohde
    • Cacao Grotesk - Christian Lindermann
    • Calyces - Charlotte Rohde
    • Format Grotesk - Dominik Bissem
    • Kasja - Vivien Hoffmann
    • La Nord - Raoul Gottschling
    • Lunettes Ende3 - Angela Klein
    • Marguerite Grotesk - Charlotte Rohde
    • Molodoy - Tatjana Poeschke
    • Nature - Felix Sandvoss
    • Pechey Fin - Romina Iken
    • Phonetic - Tuan Vuong Tron
    • Quintus - Patrick Verhamme
    • Serif Babe - Charlotte Rohde
    • Transdigitale v4 - Christian Lindermann
    [Google] [More]  ⦿

    Typecuts
    [Andrea Tinnes]

    Andrea Tinnes is a German type designer who occasionally teaches type design. She is associated with the Das Deck agency in Berlin. Through her own label, Typecuts, which she founded in 2004, she publishes as well as promotes all her type designs. After several years of teaching at Norway's Bergen Academy of the Arts she took on a professorship of type and typography at Burg Giebichenstein University of Art and Design in Halle in 2008. She has a degree in communication design from the University of Applied Sciences Mainz and an MFA in graphic design from the California Institute of the Arts. Klingspor link. Her fonts:

    • PTL Roletta Ornaments, PTL Roletta Slab, PTL Roletta Sans, 2004-2010. A rounded family published at Primetype.
    • PTL Skopex Gothic (5 weights) and Serif (3 weights) for a total of 96 fonts, published at Primetype and Typecuts (2000-2006) (see also here). She says: Spektro (now PTL Skopex) was customized for the new identity system of the Minneapolis College of Art and Design. Under the supervision of Jan Jancourt and Matthew Rezac several new weights were added to the original family. In addition, the letters of the word MCAD were slightly altered and turned into a logotype font that works with the whole Spektro family.
    • DasDeck (2001), a family ranging from thin octagonal to thick stencil.
    • WeddingSans (2002), a contemporary sans family, quite useful.
    • Haircrimes No. 1 through 4 (2001), a modular and slightly crazy set of fonts.
    • Switch (2002): geometric and unicase.
    • Stitch-Me (2001).
    • Mimesis (2001), a typographic experiment.
    • Volvox (2001), five caleidoscopic fonts.
    • Custom fonts such as Burg Grotesk (2011-2013, for Burg Giebichenstein University of Art and Design, Halle, Germany), Burg Mono (2014, its monospaced version), Eastern Columbia (2005, commissioned by Reverb Studio), Los Angeles, Viceroy (2007; with Verena Gerlach; for the Viceroy Hotel in-house style), Broadway Hollywood Script (2005, commissioned by Reverb Studio), Los Angeles, and Trivium (2005, commissioned by Anne Burdick, the Offices of Anne Burdick, Los Angeles).
    [Google] [MyFonts] [More]  ⦿

    Typeface and Lettering

    Typography book published by Heintze and Blanckertz in Berlin in 1931. [Google] [More]  ⦿

    Typefacts
    [Christoph Koeberlin]

    Informative pages about typefaces and typography, by Christoph Koeberlin. In German. Contains subpage on the best fonts and the best free fonts. [Google] [More]  ⦿

    Typefacts: The Best Free Fonts
    [Christoph Koeberlin]

    Links to and discussion of the best free fonts (in German) by Berlin-based Christoph Koeberlin. Other subpages at Typefacts include a list of the best commercial fonts:

    [Google] [More]  ⦿

    Typeforum

    Typeforum's German language glossary. [Google] [More]  ⦿

    typeFORUM

    Ingo Preuss's type portal, with links, news, discussions. In German. It closed its doors in January 2011. [Google] [More]  ⦿

    Typeimage
    [Jochen Hasinger]

    Jochen Hasinger (b. 1964, München) lives in Frankfurt am Main, Germany. From 1992 until 1994, he studied typography with Wolfgang Weingart and André Guertler at the Schule für Gestaltung in Basel, and studied in Stuttgart before that, rom 1985-1988. He became art director at various ad agencies in Frankfurt and Hamburg. He founded Typeimage in 2003. Klingspor link.

    Typefaces designed by Jochen Hasinger:

    • Covent BT (2003, a display sans family, Bitstream). Covent Nano (2006, a narrow version of Covent).
    • TIPS (2004, Linotype). This family consists of six logo and image fonts: BComTIPS, ThisWayTIPS, TravelTIPS, ActiveTIPS, AstroTIPS, CountTIPS. Linotype page where TIPS is discussed: Tips (which stands for Type-Image-Piktogramm-Schrift in German, or type-image-pictogram-font in English) contains six different fonts of pictograms and stylized icons. Tips Active is a font filled with characters reminiscent of Otl Aicher's sports pictograms from the 1972 Olympic Games. Tips Astro contains astrological signs. Tips Bcom depicts icons for use in business communication or web page design. Tips Count is a font featuring numbers inside of various circles. Tips This Way and Tips Travel are both collections of pictograms for use in navigation and other signage systems.
    • Sabin (2006).
    • Architextura (2001).
    • Botta (1989, modern).
    • DryGin (1979, headline face).
    [Google] [MyFonts] [More]  ⦿

    TypeManufactur (was: GST Georg Salden Typedesign)
    [Georg Salden]

    Born in Essen, Germany, in 1930, Georg Salden is the nephew of Helmut Salden (1910-1996), a book and font designer in the Netherlands and a resistance fighter against Hitler.

    From 1950 until 1954, Georg studied advertising design at the Folkwang School in Essen (1950-1954). Later, he taught typography for five years at Folkwang. Until 1971, he was a freelance graphic designer specializing in typography and calligraphy.

    In 1966, he received an award in the international VGC competition in New York for the headline typeface York. He completed three fat weights of York (VGC) and four heavy weightys of Angular (VGC) before 1973.

    At Berthold AG in Berlin, he completed the phototypes Transit in 1969 and Daphne in 1970.

    From 1971 onwards, he cooperated with six German and 24 international foundries, producing about ten fonts per year, under the name GST (Georg Salden Types) and later Context-GmbH. For example, he did 35 fonts for Fototransit. Between 1972 and 1984, he created these typefaces: Aster 4.2, Polo (7 styles), Bilbao, Caslon (4 styles), Basta (5 styles), Stresemann (8 styles), Parabella, Mäander, Brasil (8 styles), Magnet, Hansa, Bonjour, Tandem, Futuranea (a rounded set of 18 styles; royalties for the name were paid to Bauersche Giesserei), Congress (6 styles), Ready, Salut, Loreley (4 styles), Loretta (4 styles), Gordon (7 styles), Volante, Tap (3 styles), Sketchy (4 styles), Gallopp, 1 Videon, Deutschkurrent, Corvey (2 styles), Klicker and Dalli (2 styles).

    In 1977, he converted some of his headline typefaces into text fonts for the Diatronic, spending a lot of time on the kerning tables.

    Before 1988, he drew Basta, Polo, Tap, Turbo, Gordon, Brasil, and Dalli. These were digitized by hand between 1989 and 1992 on the Ikarus system. The families were also expanded. For example, just for Polo, we have these styles: 11, 22, 66, 77, G, Fino, schmal, eng, extracondensed, kyrillisch and griechisch, with old style and lining figures in both Mac PostScript and PC truetype formats. New typefaces in this productive period include Carree, Axiom, Votum, Zitat, Rolls, Essenz, Planet, Trigon, and Deutschkurrent. Videon got four new heavy weights, and Daphne was redesigned for use as a text typeface.

    In 2003, he set up Typemanufactur which he managed until 2008 with Daniel Resing and Tanja Link. Typemanufactur sold the GST typeface library. In 2009, Ludwig Uebele took over this company by himself. He takes care of the web presence, the font licensing, web font production, opentype production and all managerial aspects. After the end of all contracts with VGC, Berthold AG and GST/Context GmbH, all rights of the font collection belong to Georg himself.

    Nowadays, he is critical of the lack of quality in recently designed typefaces. In FontBlog, we find a discussion of the Polo vs. Meta controversy, in German, with a reply by Erik Spiekermann who says that his FF Meta was influenced by many types, not just Polo, but also Syntax, News Gothic and Akzidenz Grotesk. The success of Polo reaches beyond FF Meta. For example, Walter Brendel's Glasgow Serial is also based on Polo. Typophile discussion.

    Also noteworthy is Georg's success in the removal of Revis (2011, Coen Hofmann, URW) from the URW library as it was judged too close to Daphne.

    Scans and technical discussions of some of his typefaces:

    In 1993, Benjamin Kempas made a 12-minute documentary in Georg Salden's life and work entitled Der Schriftgelehrte.

    Behance link. Fontshop link. Klingspor link. Bio. Wikipedia link. What A Character is a web site dedicated to Salden's fonts. [Google] [More]  ⦿

    Typematters.de
    [Jürgen Weltin]

    The German type designer Jürgen Weltin was born in 1969 in Konstanz, and lives in Pullach, Bavaria. He designed Balega (2003, Linotype: a stencil typeface based on Resolut (1937, H. Brünnel, Nebiolo)), Linotype Finnegan (1997, his first typeface designed as a student in Würzburg under Reinhard Haus), Agilita (2006, Linotype, a humanist sans family including Agilita Hairline), Yellow (award-winning exclusive font family in 1999 for the yellow pages at British Telecommunications), and Mantika Informal (2010, an organic sans family that covers Latin, Greek and Cyrillic; Linotype). Mantika Book, the serifed text version, was published by Monotype in 2014. Mantika News followed in 2016.

    Since 1997, he worked with Freda Sack and David Quay at The Foundry in London. Then he worked at Stankowski + Duschek in Stuttgart. Currently, he runs Typematters.de.

    Yellow is an exclusive yellow pages typeface for British Telecom. it received awards from D&AD in 1999 and Bukvaraz in 2001.

    In 2015, he made the heavy extended titling typeface Assai.

    His typeface Julius Roman won an award at ProtoType in 2016.

    Mantika Sans won Third Prize at Granshan 2010 in the Greek text typeface category.

    FontShop link. I Love Typography link. Klingspor link. CV at Linotype. [Google] [MyFonts] [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]  ⦿

    Typemotion
    [Sebastian Wieland]

    A resident of Trier, Germany, Sebastian Wieland started studying communication design at the University Of Applied Science in Trier in 2008. In 2010, he set up shop at MyFonts as Typemotion.

    His typefaces: the square counter typeface Easton (2009), Elias (2010, handwriting), Easton (2010), Haegtor (2014, medieval calligraphic style).

    Dafont link for some free fonts. Klingspor link. [Google] [MyFonts] [More]  ⦿

    typemotion
    [Heike Häser]

    German on-line type and web design mag run by Heike Häser (in German). Nice subpage on high quality free fonts. [Google] [More]  ⦿

    TypeOff
    [Dan Reynolds]

    Typeoff was an Offenbach-based German type collective, est. 2004 by Daniel John Andrew Reynolds (b. 1979, Baltimore, MD), who blogs happily and frequently. Dan grew up in various cities in the USA, received a BFA in graphic design from the Rhode Island School of Design (RISD) in 2002, and moved to Germany in 2003 to study typography with Professor Fritz Friedl at Hochschule für Gestaltung in Offenbach. Dan was an intern at Linotype, and is still affiliated with Linotype. In 2004, he founded Typeoff.de. In 2007 he moved to the University of Reading for an MA in typeface design. Afterwards, he returned to Germany where he is based in Berlin and, for some time. In 2017, he helped Jan Middendorp set up the new foundry Fust & Friends. In 2018, he submitted his type history PhD dissertation at the University of Braunschweig, Germany, and joined LucasFonts in Berlin.

    Typefaces created by the collective include Argos, AT Stencil, Disco 3000, Ignaz Text, Ignaz Titling, India Gothic, Janus, Jeans, Pater Noster, Proportia, Sweet Pea, Teppic, Used to Love Her. The designers include the founder Dan Reynolds, and his collaborators David Borchers, Lara Glück, Till Hopstock, and Lukas Schneider.

    Dan's own typefaces at TypeOff include Ignaz Text (2004, originally called Ignaz Textura, and based on letters he found on a sepulchral memorial outside of St. Ignaz church in Mainz (Germany)), Ignaz Lombard Caps (2004), Ignaz Titling (2004), Janus (2004, a pixel face), Pater Noster (2004-2009, an uncial), Proportia (2004, a geometric sans), Sweet Pea (2004, an octagonal face), and Used to Love Her (2004, experimental). He is working on a Lombard Capitals face (2004), Teutonia Serif (2005, based on Teutonia, a geometric display typeface that was cut in Offenbach by the Roos & Junge type foundry in 1902; this squarish family is released under the name Mountain at Volcano Type in 2006) and Farewell Street (2004, sans family). Working on this condensed didone (2007).

    In 2007, he worked with Kobayashi at Linotype to produce a revival and extension of a 1930 sans family of Morris Fuller Benton, and named it Morris Sans (+Small Caps), which could be viewed as an organic version of Bank Gothic. Morris Sans was published in 2008 by Linotype.

    In 2008, he designed the serif family Martel in partial fulfilment of the requirements for the MA in typeface design at the University of Reading---it covers Latin and Devanagari. Martel Sans was published in the (free) Google Fonts collection in 2015. It was finished in 2014 in cooperation with mathieu Réguer. Github link.

    He is working on a Condensed Serif.

    Malabar (2008) won an award at TDC2 2009. Malabar also won the German Design Prize in Gold 2010. See the Linotype version Malabar Etext (2013).

    In 2013, Dan did a digital revival of Harold Horman's Western reverse stress typeface Carnival at House Industries. The original dates back to the 1940s when Horman co-founded PhotoLettering Inc.

    Codesigner with Matthew Carter in 2010 of Carter Sans (ITC), a flared lapidary typeface family.

    With Mathieu Réguer, he created the libre a monolinear, geometric sans typeface family Biryani (2015, Google Web Fonts) for Latin and Devanagari.

    In 2017, he published Rustic.

    In 2020, Eben Sorkin, Pria Ravichandran, Inga Ploennigs and Dan Reynolds co-designed the sans family Karow at URW.

    Type events of 2008 reviewed by Dan. Volcano Type link. Speaker at ATypI 2010 in Dublin and at ATypI 2011 in Reykjavik. Klingspor link. Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona. Speaker at ATypI 2016 in Warsaw on Did photography kill punchcutting?. Speaker at ATypI 2018 in Antwerp on the topic of Jean Midolle's typeface Midolline. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Typeoff: Blackletter Type Resources

    Dan Reynolds' jump page for blackletter type. [Google] [More]  ⦿

    Typesetter

    Handwriting font service for 130DM by Siegfried Fuchs (Worms, Germany). [Google] [More]  ⦿

    TypeShop Collection
    [Walter Florenz Brendel]

    The TypeShop collection was at some point, ca. 2006, part of Elsner&Flake, and its fonts could be licensed via MyFonts. Elsner&Flake provided the history behind this collection and its developer, Brendel: The originator of the big TypeShop Font Collection was Walter Florenz Brendel (1930-1992). As far back as 1972 he had the idea of an electonic and digital system for typeface plotting and cutting as well as automatic modification and reproduction. Before 1972 when type users demanded their type color to be a little lighter or little darker, Brendel as the owner of over 28 typeshops across Europe employing about 600 people, could not meet their demands with the existing typefaces. Consequently he developed a method to satisfy their needs. Brendel was the originator of the concept and the contributor and partner in the development of IKARUS by Dr. Peter Karow. He cut typefaces based on mathematical increments that would allow type weights to be graduated in equal steps. Thanks to his perfectionism, type users can have the luxury of choosing a specific type weight out of seven from as many as 65 font-families in the TypeShop Collection. Mr. Brendel was an accomplished professional type designer. Lingwood, Montreal, Volkswagen, Derringer and Casablanca and many more were his creations. He was a design collaborator for Congress, Litera, Worchester and others. Today all of this fonts complete with a Euro currency symbol are available in four font formats including OpenType.

    That view of Brendel is perhaps not held by most type designers, who regard Brendel's collection as highly derivative.

    Albert-Jan Pool: Walter Brendel (1933-1992) was the founder of Brendel Informatik, Brendel & Pabst and the Type Shop group of phototypesetting houses. He also co-founded the European Typeface Corporation (ETC) which was connected with Typo Bach, another group of phototypesetting houses. Brendel's Serials were based on existing typeface designs, which had typically been made fit for creating a range of 7 weights from extra light to extra bold by interpolation. The Serials Typeface Collection used to be exclusively available through Brendel's Type Shops, Typo Bach and others. The German type designer Georg Salden created another range of exclusive typefaces, they were only available through the GST group of typesetting houses. Similar to Brendel's Type Shops and Adrian William's Club Type, the GST group also tried to enforce customer loyalty by offering typefaces that were exclusive to their group. As all of these typesetting houses worked for the same advertising agencies, their typeface libraries show many similarities. Some of these similarities were created on purpose, some of them not. Some of them are just copies, some of them are re-engineered designs, some of them are adaptations of existing designs, some of them are originals.

    Elsewhere, Elsner&Flake write: Brendel ordered the development of exclusive phototypesetting typefaces in the 70s and the beginning of the 80s for the phototypesetter he himself built, Unitype, which had their basis partially in historical but also in contemporary designs.

    For what it is worth, here are the font family names: Volkswagen TS, Clear Gothic TS, Franklin Gothic TS, Old Baskerville TS, Accolade TS, Baskerville TS, Belfast TS, Bernstein TS, Bodoni TS, Broadway TS, Casablanca TS, Casad TS, Castle TS, Colonel TS, Clearface TS, Congress TS, Denver TS, Derringer TS, Diamante TS, Digital TS (square gothic), Dragon TS, Enschede TS, Expressa TS, Florida TS, Formula TS, Garamond TS, Gascogne TS, Glasgow TS, Goudita TS, Goudy TS, Granada TS, Grenoble TS, Hamburg TS, Helium TS, Hoboken TS, Horsham TS, Koblenz TS, Leamington TS, le Asterix TS, Le Obelix TS, Limerick TS, Lingwood TS, Litera TS, Media TS, Melbourne TS, Montreal TS, Napoli TS, Nashville TS, Nevada TS, Ornitons TS, Pasadena TS, Penthouse TS, Plakette TS, Plymouth TS, Priamos TS, Quartz TS, Ragtime TS, Ravenna TS, Riccione TS, Rochester TS, Roundest TS, Salzburg TS, Seagull TS, Toledo TS, Veracruz TS, Verona TS, Wichita TS, Worchester TS.

    Name equivalences between the TypeShop collection and other fonts.

    View TypeShop's library of typefaces. Another link to TypeShop's library of typefaces. [Google] [MyFonts] [More]  ⦿

    TypeShow
    [Frank Rausch]

    Software for testing typefaces and showing them on web sites. Developed by Frank Rausch at LucasFonts in Berlin. [Google] [More]  ⦿

    TypesKlaus

    Klaus-Dieter and Monika Bartels run this web site in Ahrensfelde, Germany. No idea about its purpose. [Google] [More]  ⦿

    TypeType
    [Dirk Uhlenbrock]

    Foundry with free and commercial fonts, started in June 2002 by Dirk Uhlenbrock.

    Partial font list: Leni, Kazoo, Dandruff, Webmap (2001, dingbats for making a web map), Rung, Dole, ViceVersa, Perform, Girl, CellPics (icon font), Sauerkraut (gothic / blackletter), Hamburgotische (more octagonal than blackletter), Neutrum (futuristic octagonal), Laurel and Hardy, Trans (futuristic), Cyanide, Diet, Race (squarish), Girl, Lollop.

    Originally called Hellvetica, it lasted a few days before Linotype complained about its name. It is now known as Typetype. Part of Signalgrau Designbureau in Essen, Germany.

    Dafont link. [Google] [More]  ⦿

    Typeworkshop
    [Manuel Bieh]

    On-line type advice by Dortmund-based Manuel Bieh. [Google] [More]  ⦿

    Typic Schuss
    [Jochen Schuss]

    German typesetter, active since 1993 in Marburg. Designer of the display typefaces Linotype Paint It and Paint It Black (2002, part of TakeType 4), ITC Vino Bianco (1998), ITC OutOfTheFridge (1996), ITC Whiskey (1999), ITC Kokoa (1996, inspired by lettering in Ghana), ITC Aspirin (2000), and the sans serif family Linotype Textra (2002, with Jörg Herz), ITC Schuss Hand, ITC Schuss Hand Bold. With Bob Alonso, he designed the brush typeface ITC Outback.

    In 2016, he published these typefaces: Schuss Sans CG Poster Black, Schuss News Pro, Schuss Sans PCG, Schuss Slab Pro, Schuss Serif Pro.

    In 2017, he designed Schuss News Poster.

    Typefaces from 2018: Schuss Sans CG Poster Extrabold.

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

    Typii.de
    [Maja Schulte-Vogelheim]

    Maja Schulte-Vogelheim (Essen, Germany) shows many examples of ascii-inspired lettering and ascii art. [Google] [More]  ⦿

    Typo

    Fantastic German collection of web pages with a glossary of sorts. More an encyclopedia of typography, really. By Karen Wegehenkel, Technical University of Dresden. Has a good bibliography of type books as well. Link died. [Google] [More]  ⦿

    TYPO 1996

    Second FontShop Design Conference, October 3-5, Berlin, 1996. Theme was Idea versus Ideology. [Google] [More]  ⦿

    TYPO 1999

    Fourth FontShop Design Conference, April 15-17, Berlin, 1999. Theme was Image and Language. Report by John D. Berry. [Google] [More]  ⦿

    TYPO Berlin 2000

    Fifth FontShop Design Conference, April 13-15, Berlin, 2000. Registration: between 890 and 1200DM. [Google] [More]  ⦿

    TYPO Berlin 2009

    Fourteenth FontShop Design Conference, May 21-23, 2009, held in Berlin. Registration: 645 Euros. The theme is Space. The main speakers are Joshua Davis, Mario Lombardo and John Downer. Other speakers include Tim Ahrens, Timothy Donaldson, Heide Hackenberg, Markus Hanzer, Peter Higgins, Chip Kidd, Heidrun Osterer, Jona Piel, Judith Schalansky, Nick Shinn, Philipp Stamm, and Gerard Unger. Reports&blog. Photographs of some speakers. [Google] [More]  ⦿

    TYPO Berlin 2010

    Fifteenth FontShop Design Conference, May 20-22, 2010, Berlin. Registration: 670 Euros. The theme was Passion. The main speakers were, in alphabetical order, Roman Arnold, Jonathan Barnbrook, Erwin K. Bauer, Hartmut Bohnacker, Veronika Burian, David Carson, Candy Chang, Jan Chipchase, Malte Christensen, Diederik Corvers, Dragan Espenschied, Andreas Frohloff, Ivo Gabrowitsch, Daniel Gjde, Heide Hackenberg, Christian Hanke, Ralf Herrmann, Fons Hickmann, Richard Kegler, Rob Keller, Erik Kessels, Alexandra Korolkova, Peter Kruse, Michael Kubens, König Bansah, Eike König, Julia Laub, Alessio Leonardi, Knut Maierhofer, Laura Meseguer, Jan Middendorp, Yves Peters, Jörg Petruschat, Oliver Reichenstein, Dan Reynolds, Rich Roat, Joachim Sauter, Florian Alexander Schmidt, Piet Schreuders, Carlos Segura, Julian Smith, Erik Spiekermann, Torsten Stapelkamp, Studio Dumbar, Andrea Tinnes, Bastian Unterberg, Erik van Blokland, Paul van der Laan, Uta von Debschitz, Thilo von Debschitz, Yanone, and Julian Zimmermann. [Google] [More]  ⦿

    TYPO Berlin 2011

    Sixteenth FontShop Design Conference, May 19-21, 2011, Berlin. Registration: 700 Euros. It was held at the Haus der Kulturen der Welt. The theme is Shift. The main speakers were, in alphabetical order, Tim Ahrens, Randa Abdel Baki, Jörg Becker, Johannes Bergerhausen, Donald Beekman, Peter Bilak, Petr van Blokland, Alexander Branczyk, Todd Childers, Malte Christensen, Christopher Çolak, Tina Frank, Andreas Frohloff, Damian Gerbaulet, Pascal Glissmann, April Greiman, Shelley Gruendler, Markus Hanzer, Jost Hochuli, Michael Johnson, Christoph Keese, Robin Kinross, Lukas Kircher, Jason Edward Lewis, Jörn Loviscach, Sebastian Meier, Heike Nehl, Christoph Niemann, Wolfgang Pauser, Florian Pfeffer, Martin Poschauko, Thomas Poschauko, Rathna Ramanathan, Oliver Reichenstein, Roland Reuß, Donald Roos, Sybille Schlaich, Pierre di Sciullo, Kris Sowersby, Frantisek Storm, and Pascal Zoghbi. [Google] [More]  ⦿

    TYPO Berlin 2012

    Seventeenth FontShop Design Conference, May 17-19, 2012, Berlin. Registration: 650 Euros. It was held in the Haus der Kulturen der Welt. The theme was Sustain. The main speakers were Andy Altmann (why not associates), Lupi Asensio (twopoints.net), Ruedi Baur (ruedi-baur.eu), Matthew Butterick (buttericklaw.com), Kirsten Dietz (Strichpunkt), Carima El-Behairy (P22), Jeff Faulkner (agiantgirl.tumblr.com), Maurice Göldner (kurs26.de), Jessica Hische (jessicahische.is), John Hudson (considerwhat), Nat Hunter (Airside), Stefan Kiefer (Spiegel), Hanif Kureshi (handpaintedtype.com), Martin Lorenz (twopoints.net), Shoko Mugikura (Just Another Foundry), Lars Müller (Lars Müller Publishers), Morag Myerscough (studiomyerscough.com), Michael Schirner (michael-schirner-bye-bye.de), Petz Scholtus (Pöko Design), Elliot Jay Stocks (elliotjaystocks.com), Nina Stössinger (ninastoessinger.com), Jan Teunen (teunen-konzepte.de), Susanne Zippel (Mittelpunkt-Zhongdian). [Google] [More]  ⦿

    TYPO Berlin 2014

    Nineteenth FontShop Design Conference, May 15-17, 2014, Berlin. Registration: 650 Euros. It was held in the Haus der Kulturen der Welt. The theme was Roots. The main speakers included the following type designers: Peter Bilak, Petr van Blokland, Yanone. [Google] [More]  ⦿

    TYPO Berlin 2015

    International Design Talks Conference, May 21-23, 2015, Berlin. This is the first meeting after FontShop was bought by Monotype. It will be held in the Haus der Kulturen der Welt. The theme is Character [against a culture of superficiality]. Facebook link. [Google] [More]  ⦿

    TYPO Berlin 2016

    International Design Talks Conference, May 12-14, 2016, Berlin. It was held in the Haus der Kulturen der Welt. The theme was Beyond Design. Facebook link. [Google] [More]  ⦿

    TYPO Berlin 2017

    International Design Talks Conference, May 25-27, 2017, Berlin. It was held in the Haus der Kulturen der Welt. The theme was Wanderlust (or Put Everything in Motion). Facebook link. [Google] [More]  ⦿

    TYPO Berlin 2018

    International Design Talks Conference, May 17-19, 2018, Berlin. It will be held in the Haus der Kulturen der Welt. Facebook link. [Google] [More]  ⦿

    TYPO Berlin Blog

    German blog. [Google] [More]  ⦿

    Typo Day Hamburg

    On February 17, 2017, Typo Day Hamburg took place at Studio E (Laeiszhalle). Speakers included Jürgen Siebert, Ulrike Rausch, Bernd Volmer, Frank Rausch, Marcus Veigel, and Tobias Meyerhoff. [Google] [More]  ⦿

    Typo Day Köln

    A one day workshop/conference in Köln, Germany on September 30, 2016. Speakers: Erik Spiekermann (Die Rolle der Schrift in der Markenkommunikation), Jürgen Siebert (Corporate Typography), Ulrike Rausch (OpenType mit Liebe), Andrea Nienhaus (E-Publishing), Frank Rausch (Responsive Typography), Johannes Bergerhausen (Unicode: Einführung und Aussichten), Henning Skibbe (Typografie im Editorial Design), Hendrik Weber (Exklusivschrift für eine Automarke). [Google] [More]  ⦿

    Typo Goemo

    German language typography site. Has a glossary, type history, HTML tips, and useful type information. By Götz Morgenschweis. [Google] [More]  ⦿

    Typo Knowledge Base (tkb)
    [Kai F. Oetzbach]

    A type portal managed by teachers and students at the Fachhochschule Aachen, Germany, in German. The page contains the basic rules of legibility and good typography. There is a historic timeline, a list of famous type designers, a list of famous typefaces, a timeline of the great typefaces, anatomy of a letter (glossary), lecture notes, and font downloads of fonts that were developed in the courses of K.F. Oetzbach. The latter include Fegron (Marcel Feiter) and Unperfekt, Semiperfekt and Sansperfekt (Niels Vollrath). Finally, there are many useful book reviews. The site was started by K. F. Oetzbach, André Berkmüler, Natascha Dell and Simon (Burschi) Becker. There are about 25 people participating in the growth of this type portal. K.F. Oetzbach is the codesigner in 2005-2006 with Natascha Dell at Fontfarm of several fonts. [Google] [More]  ⦿

    TYPO Labs 2016

    A two-day type tech conference held in Berlin on May 10 and 11, 2016. TYPO Labs is an offshoot of TYPO Berlin, a graphic design conference held from May 12-14, 2016. Moderated by Yves Peters and Nina Stössinger. Speakers include Louis-Rémi Babé, Frederik Berlaen, Erik van Blokland, Frank E. Blokland, Amélie Bonet, Ralph du Carrois, Jan Chavat, Mike Duggan, Behdad Esfahbod, Lasse Fister, Michael Hoffmann, John Hudson, Jens Kutilek, Werner Lemberg, Vladimir Levantovsky, Thomas Phinney, Akaki Razmadze, Tom Rickner, Rainer Scheichelbauer, Lukas Schneider, Georg Seifert, Peter Sikking, Axel Stoltenberg, Julia Sysmäläinen, Adam Twardoch, Just van Rossum, Jürgen Willrod, and Yuri Yarmola. [Google] [More]  ⦿

    TYPO Labs 2017

    A three-day type tech conference in Berlin on April 6, 7 and 8, 2017 on the theme of New Dimensions in Type Engineering. Speakers included Dan Rhatigan, Liron Lavi Turkenich, Adam Twardoch, Sampo Kaasila, Frank E. Blokland, Lukas Schneider, Frederik Berlaen, Erik van Blokland, Peter Constable, Rob McKaughan, Jean-Baptiste Levée, Tom Rickner, Bob Taylor, Rainer Erich Scheichelbauer, Laurence Penney, Roel Nieskens, Marianna Paszkowska, John Hudson, Amélie Bonet, Jeff Wu, Werner Lemberg, Sascha Brawer, Akiem Helmling, Bas Jacobs, Thomas Phinney, Behdad Esfahbod, Dominik Röttsches, Yuri Yarmola, Nicole Dotin, Georg Seifert, Mike Duggan, Frank E. Blokland, Jürgen Willrodt. [Google] [More]  ⦿

    TYPO Labs 2018

    A three-day type tech conference in Berlin on April 12, 13 and 14, 2018 on the theme of How Far Can We Go. Speakers: Sahar Afshar, Frederik Berlaen, Bianca Berning, Luc(as) de Groot, Mike Duggan, Behdad Esfahbod, Lasse Fister, Minjoo Ham, Laura Hernández, John Hudson, Sampo Kaasila, Gerry Leonidas, Hin-Tak Leung, Sol Matas, Jason Pamental, Laurence Penney, Ulrike Rausch, Dominik Röttsches, Ksenya Samarskaya, Georg Seifert, José Miguel Solé Bruning, Ferdinand Ulrich, Underware, Vivek Vadakkuppattu, Marius Watz. [Google] [More]  ⦿

    Typo-Akademie Leininger Hof

    Very interesting (German) seminar series on typography at Typo-Akademie Leininger Hof, Ulm. Page not updated since 2006. [Google] [More]  ⦿

    Typoart GmbH (or: VEB Typoart)
    [Jay Rutherford]

    Dresden (East Germany)-based font studio that evolved from the former East German centralized press, VEB Typoart. VEB Typoart operated from 1948 until 1989, when it was renamed Typoart GmbH. Typoart GmbH dissolved mysteriously in 1995, perhaps due to bankrupcy.

    MyFonts catalog of digitizations. Timeline as provided by Typoart-Freunde, a project of Jay Rutherford at the Bauhaus University in Weimar (and published in 2007 in a book by the same title, Heinz Wohlers Verlag, Harrlach):

    • 1945: Schriftguß KG (before that, Gebr. Butter) produces type again.
    • 1946: Schelter&Giesecke in Leipzig becomes VEB Druckmaschinenwerk Leipzig.
    • 1948: Schriftguß KG becomes VEB Schriftguß Dresden. This is the true start of Typoart.
    • 1951: the foundry section of VEB Druckmaschinenwerk Leipzig is absorbed by the VEB Schriftguß Dresden. Herbert Thannhaeuser becomes art director. We see the name Typoart.
    • 1952: Herbert Thannhaeuser publishes Papier und Druck, and creates Meister-Antiqua and Technotype.
    • 1957: Typoart is in full production now. An eyecatcher is Albert Kapr's Leipziger Antiqua.
    • 1958: Thannhaeuser publishes his Liberta Antiqua and Garamond Antiqua. The Party decides that all private industrial property now belongs to the state.
    • 1961: Typoart absorbs Ludwig Wagner KG in Leipzig and Norddeutsche Schriftgießerei Berlin. The Berlin wall is built.
    • 1962: There is some negative press about Typoart's domination by Thannhaeuser's designs. VEB Typoart is absorbed by Vereinigung Volkseigener Betrieb (VVB) Polygrafische Industrie.
    • 1963: Thannhaeuser dies. Albert Kapr becomes art director.
    • 1965: The annual production reaches 4,5 million matrices. Purchase of the Digiset machine, built by Firma hell in Kiel, which is the first machine for electronic typesetting.
    • 1967: Sabon Antiqua appears.
    • 1970: Typoart is now owned by SED. In the DDR, all phototype printing is now done in Berlin, Leipzig and Dresden.
    • 1971: Typoart is now producing its own phototype for the Linotron 505. Their prime productions include Maxima (by Karl-Heinz Lange; based on Gert Wunderlich's Linear-Antiqua) and Prillwitz-Antiqua (Albert Kapr).
    • 1973: Albert Kapr publishes Typoart-Typenkunst, in which 19 typefaces are showcased.
    • 1976: Phototype fonts are developed for Diatype, Diacomp (such as Maxima, Liberta, Garamond-Antiqua, Tschörtner-Antiqua, Leipziger-Antiqua), and 2NFA (Russian). Detlef Schäfer becomes head of research and development.
    • 1977: To help with the digital transition, Norbert du Vinage joins Typoart.
    • 1980: New types include Kleopatra, Biga, Zyklop, Quadro and Molli.
    • 1987: Albert Kapr hands the art directorship to Norbert du Vinage. Publication of the first phototype catalog by Typoart.
    • 1989: Publication of Fotosatzschriften, Typoart's typeface program. Typoart folds.
    • 1990: VEB Typoart is changed into a GmbH with 230 employees.
    • 1991: Eckehart Schumacher Gebler acquires all of Typoart's matrices. This collection is kept in the Werkstätten und Museum für Druckkunst Leipzig GmbH. Typoart GmbH and HL Computer (Karl Holzer's company) are joined.
    • 1995: Typoart GmbH still has 100 employees. It offers typefaces in truetype and postscript formats. Albert Kapr dies in Leipzig. The demise of Typoart is mysterious, and not much is known about who owes what to whom. The copyright status of its typefaces remained uncertain. This page mentions the present situation. Andreas Seidel explains that Typoart has digitized lots of its type typefaces using Ikarus, and that the rights are held by Mr. Holzer, who may be in some financial trouble. He says that no living Typoart designers have received any royalties or public recognition.
    Typoart Freunde and Typowiki have partial lists of typefaces. Here is my own:
    • Agitator (1960). By Wolfgang Eickhoff. This rough-brush typeface was digitally revived in 2007 by Patrick Griffin at Canada Type as Merc.
    • Alte Schwabacher: blackletter by Herbert Lemme.
    • Antiqua (fett, kursiv fett and schmalfett) by Barbara Cain. A didone family.
    • Baskerville (1982) by Volker Küster and Peter Greinke.
    • Bembo: Typoart's version is by Erhard Kaiser.
    • Biga: a shaded headline typeface made by Fritz Richter in 1985.
    • Caslon-Gotisch: a blackletter typeface originally created by William Caslon in 1760, it was brought to Leipzig from England in 1904 by Carl Ernst Pöschel.
    • Eckmann: a soft blackletter, dating from 1900.
    • Egyptienne. By Hans-Peter Greinke.
    • Erler Versalien (1953, Herbert Thannhaeuser). Digital versions: Erler Titling (2015, Ralph M. Unger), Missale Incana (2004, Andreas Seidel).
    • Garamond (1955): the metal Typoart version is by Herbert Thannhaeuser. The digital version is Garamond No.5 at Elsner&Flake. See also here. URW published a different digital version, Garamond No. 4. And Infinitype / SoftMaker says that its German Garamond is based on TypoArt's.
    • Fleischmann: a serif based on Fleischmann's historical face. An original cursive by Harald Brödel was added.
    • Halbfette Baskerville: an interpretation of Baskerville by Volker Küster.
    • Hogarth Script: an elegant script based on 18th century copperplate originals by William Hogarth. Font by Harald Brödel. Digital versions at URW, Softmaker (as Hobson), Alexandra Gophmann (Cyrillic version, 2005), Ralph M. Unger (as Gillray Pro, 2015), Castcraft (as OPTI Historic Script), Linotype and Elsner&Flake. Incredibly, Linotype owns the Hogarth Script trademark.
    • Kis Antiqua: Hildegard Korger's interpretation of this classic Dutch Antiqua by Nikolaus Kis. For a digital revival, see Ralph Unger's Kis Antiqua Pro (2018).
    • Kleopatra: a double-line decorative typeface by Erhard Kaiser (1985), digitized in 1989.
    • Leipziger Antiqua: a very legible Antiqua designed by Albert Kapr in 1959, developed for phototypesetting by Hans-Peter Greinke, and further developed in digital form by Tim Ahrens in 2002 as Lapture.
    • Liberta Antiqua and Kursiv: a robust house typeface from 1958 made by Herbert Thannhaeuser. Klingspor gives the date 1956.
    • Lotto (1955). By Herbert Thannhaeuser.
    • Luthersche Fraktur: a blackletter by Volker Küster and Herbert Lemme, digitized in 1989.
    • Magna: a DDR magazine text typeface from 1968, by Herbert Thannhaeuser. In 1975, Albert Kapr added Cyrillic letters. Karl-Heinz Lange developed the phototype. URW, Linotype and Elsner&Flake (who owns the trademark) have a digital version.
    • Maxima: a sans family by Gert Wunderlich (1970). Elsner&Flake (who owns the trademark), Linotype and URW have a digital version.
    • Minima: Karl-Heinz Lange's narrow sans designed for the DDR's telephone directory in 1984. Revived by Ralph M. Unger in 2017 as Tablica.
    • Molli: a comic book typeface by Harald Brödel.
    • Neutra (1968): A variant of Clarendon, rendered more legible by Albert Kapr. Used in the DDR for advertising.
    • Nidor: a slab serif by Harald Brödel.
    • Norma-Steinschrift: a house sans.
    • Prillwitz (1971-1987): a didone by Albert Kapr and Werner Schulze based on the original from 1790 by Johann Carl Ludwig Prillwitz. Elsner&Flake have a digital version. See also the 2015 revival by Ingo Preuss called Prillwitz Pro.
    • Polo by Carl Pohl. URW++ has a digital version.
    • Primus: a 1962 workhorse family (with Magna and Timeless) for the magazines in the DDR. Conceived in 1962, it was later adapted in Phototype by Karl-Heinz Lange. However, the Berthold Phototypes book of 1982 and Klingspor Museum put the date of creation at 1950.
    • Publika: a sans typeface developed between 1981 and 1983 by Karl-Heinz Lange. Sometimes spelled Publica.
    • Quadro: a four-line showstopper typeface by Erhard Kaiser.
    • Roesner Versalien (1960). By Wolfgang Roesner.
    • Schwabacher T09, T20 and T48. By Herbert Lemme.
    • Sinkwitz Gotisch and Versalien (1950). By Paul Sinkwitz.
    • Stentor: a brush script by Heinz Schumann (1964). Digital versions by Scangraphic, Ralph M. Unger (2013, as Tyton Pro), Elsner&Flake and URW. Rosalia (2004, Ingo Preuss) is based on Stentor.
    • Super Grotesk: a legible sans by Arno Drescher (1930, Schriftguss). Super Grotesk Buchtype (kursiv and halbfett) are placed in 1951. For a digital version, see FF Super Grotesk (1999, Svend Smital).
    • Technotyp (1951). By Herbert Thannhaeuser.
    • Thomas Schrift (1956). By F. Thomas.
    • Timeless (1982). See also Elsner&Flake and URW. In 2021, Ralph Unger revived and extended Timeless, calling it Korpus Serif Pro.
    • Tschörtner Antiqua and Kursiv (1955). By Helmut Tschörtner.
    • Typo Skript (1968). By Hildegrad Korger.
    • Typoart Didot (antiqua, kursiv and halbfett). Added in 1958 by Herbert Thannhaeuser.
    • Typoart Garamond (1955). By Herbert Thannhaeuser.
    • Walbaum (1984): a didone by Hans-Peter Greinke based on Walbaum's originals.
    • Zyklop: an art nouveau/Jugendstil face by Fritz Kossack.

    References on Typoart:

    • Walter Begner: 25 Jahre Typoart Dresden In: Papier und Druck, Leipzig 6/1973.
    • Walter Begner: Entwurf und Herstellung von Schrifttypen in Ostdeutschland. In: Leipziger Jahrbuch zur Buchgeschichte. Jahrgang 6 (1996), pages 405-436.
    • Albert Kapr and Hans Fischer: Typoart Typenkunst. Leipzig, 1973.
    • Albert Kapr and Detlef Schäfer: Fotosatzschriften, Itzehoe, 1989.
    • Detlef Schäfer: Fotosatzschriften Type-Design+Schrifthersteller, VEB Fachbuchverlag Leipzig, 1989.
    • Norbert du Vinage (as artistic director of Typoart): 40 Jahre Typoart---vier Jahrzehnte intensives Bemühen um niveauvolle Schriften. In: Papier und Druck, Leipzig 11/1988.

    Personal home page of Jay Rutherford. MyFonts link.

    View Typoart's typefaces. [Google] [MyFonts] [More]  ⦿

    typo.arts

    Outfit based in Schelklingen, Germany. [Google] [More]  ⦿

    TypOasis 2006
    [Manfred Klein]

    Fonts published in 2006 by Manfred Klein: Mironikas, BatsStuff, CIAThePeaceWatchers, Expressiones, Faces, FirstLove, FischersFritzen, GodsAndHeroes, Hispanish, LifeIsAMovie, NewsFromAbsurdistan, PrivateLuck, BookBeings, DaddyGrid, LineArtVectoria, AbstractToConcrete, AfricainBats, Gestalten, GloriaVectoria, ModernTimesMrChaplin, PhotosToVectors, PixelBats, SurrealismK, BlaxArties, CoolDrawings, DogsFewCats, MKBrokenTypes, NearModernArt, Piepmaetze2006, Poppenspeeler, SportsAnimals, WithALittleHelp, AllWeathers, BienMayaInvers, CarnevaleConCarne, RenaissBeings, Sagenwelt, Scissoria, Sketcheria2, StrandgutC, TrainWhatVectorMeans, CuxhavenFraktur, CuxhavenInitials, MK-Skulls, ModernHeros, MouseArt, WillkommenLeute, WreckageCuttings, CurrentBlack, AtLastATshirt, Holzschnitte, OpticalArt, Taucher, WebArtSigns, ArteVectoria, OldStyleTravel, PicturesA, Trust YourDentist, GutenbergGoesAbstract, MouseFruitFaces, Silhouettes02, SomeCapsStories, HandsDown, HandsUp, HumanPartsStore, PhantaToons, ArteFacts02, BlackBeckMan, GeoEyes01, RockFonts01, Sketchbook01, Sketchbook02, WitchesStuff, Vampyrish-ABC, AfricArtes, ArtistTracesTwo, BirdsInfluenced, KidsDrawings02, LogosLogo, MesoFauna02, MyHouse, PhaistosFingers, ReligiousSymbols, TypographicTangos, EmkaBats, GeldRegiertDie Welt, GnomesTwo, KaleidoBats, KaleidoTypes03, StrongEuro, BigShadows, BigShadowsLeftOblique, Bradbury-Oblique, BuschButGerman, DillElefantenTwo, EgyptRund, KaleidWieynckFrax, KaleidoTypesCinque, KaleidoTypesQuattro, SomeTypesSilhous, LogoPhantasies, LogoSketchesMK, MKsketches, MonAmourFraktur-Broken, PlanetarishBats, SmallTypeWriting, SmallTypeWriting-Medium, StagesAfterEarthquake, StencilStamps, WoMan, Working, ImresCorrodetCaps, OldLettresOmbrees, GingkoFraktur, LufrakturBricks, MonAmourCaps, HeadfeeterO2, MangaManjana, MangaTypes, MrVector, OnStreet, PetitButtoni, Amputata, Chaplone, KleidosChaplina, VeryBrokenFrax, AbstractClassicCuts, BauhausOSix, ComicHeadsBeings, GeoStructures2, Kaleido04Invers, MechanicsActors, SuchLifeC, BerlinCaps, BrushPenMK-Medium, LettersSnakesAndMore, ComicChars, FineArts, ForCongrats, Frames, OldfashionPeopleTwo, PeopleButtons, PiCollection, SilhousOldfashion, SomeArtists01, AntikAlphaBeta, CorrodetInitials, DrunkenSailor, MendelsohnsTochter, AnimalsOldfashion, ColumbusAntePortas, CuriousVisitors, DadaPeople01, Malheur, OldDrawingsOne, WetterKapriolen, CatsAlphabet, DigitalisHistory, Duodez, EatMyHat, FlorAlphabet, InitialenFramed-MK, ArmsIdeasNParts, BirdsNPlants, Petrographs, SomeArtistsSquares, TypoJewels, TypoJewelsSquare, ClassicRomanCaps, IllustratedAlphabet, KleinHeadline, MKGreco, ArtParticles, ChildrensDarlings, Clowns, Devils, DongbutsBeings, HistoricMedicine, K-Labyrinths, WoodcutFurniture, Nighthawk, ToleCaps, CaveBeings, DesignElemente, DinoSilhous, StreetGraffArts, TribalBats, VignettesNFrames, Reclamare (art deco), AstroSymbols3, BlacKLinoleum, CaveLife, Krabbeltiere, LandAnimals, LionsClub, OldArtTools, OldScissorCuts, ZooloVectoriA, MotherAndChild, GermanFatman, Botanish, CrazyWeather, HeadImprovisations, Masks_K, MiddleAgers, Nipponia, DelitzschCaps, ImresDiscs, EgyptMythOne, LessIsMore, Protectors, SpaceBeingsTwo, ZooBats, HappyFrax, CorneredBirds, ExtraTerrestrial, Gargoyle, GargoyleRings, HeadSketches, IndiansToday, InTwilight, MardiKrass, OldCastles, AffigMonkeys, AngelsOrDevils, FlyingPioneers, MaritimK, MonkeysTheatre, PardonAgain, PardonThankYou, PetroglyphMarks, PixelFifties, SmallEdgedFrax, TextEmptyStickers, M-AnimalsUno, PhantasyDolls, SilhouettenPeople, TribalDesigns, ZodiacsSignStars, FacesAlphabetBeta, FatFineFree, AstrobatsInvers, BlackArt, BusyPeople01, GoodOldEyeCatchers, L'ArtPourL'Art, NipponFlorales, OtherShapes, Rock'nRollTime, RunningBeings, AstrologyCeltic, ColtecsBats, DesignParts, EgyptChildren, ElectricFaces, Kidsfont01, MediBats01, MediCartoons, OldTimers, TribalBirdsMissingGap, Archaeological, BeforeAlphabetsGallery, BlackWhiteMinimalism, DancingLetters, EveryPictureTellsAntique, FemalesNMales, HeadsGallery, ImprovisationsAboutK, KleinsBrokenGotik, KleinsKruschKursiv, MusiciansOne, OldRomaUno, OurLittleDarlings-One, ParmaInitialenMK, RunningZigzags, RunningZigzagsTwo, ScrapArt, SpaceWorkers, StripedSansBlack, SzeneInFrames, TypoDisturbances, Wacomian-Regular, ZoologicalGardenOne, ZoologicalGardenThree, ZoologicalGardenTwo, AlphabetismHand, KlungerCaps, RememberScribbledInv, Tequila, LudwigHohlwein, CatSketches, HeadSketches02, Krizzeleyn, PowerWoman, RosettaCalligraphia01, ThingsFound, TypoSymbols, VectorAnimals, Fraxboxes, RodgauCaps, OhRosetta, Olisillus, DeKonitials, Buddhism, Roylich, Grotesk, BigBrotherClassizismCaps, K-LettresOmbrées, TreeLike, InsectsTwo, Woodcutter, OldAntique, MKGrecoExtraBold, AbstractFaces, Africaans, AfricanGhosts, EmotionDrawings, GeoFacesBold, MirosWitchesMedium, Neighbours, PrimaryBats, RoundPieces06, StoneAgeBats, TypoSignals, SlabRoundSerif-Light, VictorianInitialsOne, Techno06, Artists, MasKs, Masks03, MythologicalArts, MythoBats, OldBoysToys, OldPictures, StarsStripesBullets, Woodcuts01, FischersFritze, HistoricPeople, HotelPrisoner, MythologicalSquares, OrnataUno, PatternArt, PatternaliaMK, WoodcutsFontissimo, ZooCages, AfricaArt, Meeting, Pumpkins2006, ElephantaBlack, FatSansRound, FishFaces, FlagHolder, HiddenSigns, HinduismK, Jugendstil-Medium, ManneKen, MobileSquares, OrnamHeads, PrivateAstroBats, RosettaMutanta, Schonan-Black, ScribbledFraktur-XHeavy, SomeImprosBats, VectorFaces, VikingsArt, AfricanissimaOSix, ApishOne, AxeBlack, CircusBoldSquares, EiDesKolumbus-Improvisations, FamilyLifeBats, HiddenSignsRings, KidSignsThree, KochsLongCapsSquares, SketchesX, TreesAndCo, VectorDrawingsOne, BlackWhiteSigns, BoringSansBold, CuxhavenInitialsRound, FrakturNitials, GeometricConstructs, HandsAndFeet-Two, HeadsNBirds, IrishHalfUncialisBricks, IrishUncialfabeta-Bold, MaennekinTwo, MutantA-MediumOblique, MyMaestroMrMiro, RomanaCapsClassicSquares, RoundBats, RoundFacesTwo, SansThirteenBlack, SchabLonski, TypographicRosettas, WinterSports, PopUp, Gotic Caps, Fun Bats, HappyXmasBats, MKlothes, MKomicsV2, AllDaysJokes, Blackbirds, DiscoverBats, EgyptianSilhouettes, FiftyYearsAgo, HumanRelations, MKoepfeBold, NewDarkTimes, PeaceTools, SilhouettSketches, SpaceMeetings, ComicFaces, MK-Heads, NewKoeppes, PetrasBauhausXmas, SilhousSimplex, StonesAgeButtons, ZagzagHeads02, BigMummy, CircusBoldSquaresInvers, EmastEtcetera, MKanzleiCaps-One, ReadersBats, SimPlexBats, XmasImprovisations, AnimalsPrey, Cartoons, Weihnacht2006, AxelsWoodTypesMK, CowBats, KleinsLittleDings. [Google] [MyFonts] [More]  ⦿

    TypOasis 2007
    [Manfred Klein]

    Fonts published in 2007: Bloxxy, DodgesCaps, DrawingWithTypefaces, MKaputtExpanded, SuprematismK, CrossesCirclesEtc, FewYearsLater, Humunkuli, PictoGramma-Sketches, JustOldFashionedCond, TechnicalAlphabetExtraBlack, CurvedBeings, RememberWinter, VIP, DeconstructionCaps, Kater Rino, KeilschriftOblique, ZierCaps, DecadentaFrax, Lifestyle, Barnard, HandmadeTypewriter, MonaKo, BeforeAlphabetsGallery, BrailleHeadline, CaveMeetings, ClassicaCaps, CrazyDingdingsOne, FloraliaCaps, JugendstilCaps, MicroTypes, NonSense, Schraffura, WoodPecker, Serena, TokayOSeven, GotenborgFraktur, EasterIslandsPopart, EgyptIconsToday, KLArtifacts, LogosExercises, Mayakowski, NativeDesigns, OldAmericanSymbols, SomeArrows, TechnicFreaks, JonasLight, JonasMajuscles, JonasMinuscles, WrittenFrax, Actions, ArtsBeforeComputer, ButterflyAndCo, DadasStoneage02, MAnimalsK, MythologicalFantasy, NativeAmericans, NextOnEarth, Petroglyphs07, Silhous1900, Symbolica, TrafficTransportations, WebWoodcuts, DeconStruct-LightOblique, AdonisGreekSquares, ArtNoveauDecadente, BigCats, BirdSymbols, Books, Dadada, DeconStruct-Black, DeconStruct-BlackOblique, DinkPatz, ImprovisatedBats, MsKetches, NewCaveDrawingsDrei, OldNewspaperTypes, OrnamElements, QuickKleinSketches, RunishQuill-BlackSquares, Sansumi-Bold, Sansumi-ExtraBold, SpaceWinningFra, AnglosaxOblique, AstrologyBatsOne, CaveStars, EyesAndSoOn, FlyingCarpetsOSeven, GesturesMK, PixelsDream-DemiBold, SymbolicaThree, VectorizedSignets, Ballerinas, BirdsBirds, Butterfly, EgyptSilhous, Insects, JeffsLittleHelpers, LinolCuts, MythosChina, TypoSignals, FrakturInRings, ImresFraxCaps, SpaceEggs, CarolusKlein, DesignElementsTwo, HandsUpHandsDown, MinidomInvers, SignalsTypoTwo, GothicLetters, JohannesGLastTraces, MKFraktConstruct, MatisseTraces2007, Minidom-07, MouseAlphabets, MyRobots, OpArtCarpets, ReinersImOval, Swimming, AnarchoSquares, BradburySans-Light, CantzleyInverseCaps, FamousPix-Circles, FamousPix, HeadsCallSketches, HeadsHandsSketches, MaritimeSquares, MasqueradesK, MouseScribblesKTwo, ScherenschnittOSeven, ScissorCuts, SketchesSelection, BradburysSquares, DevilsAlphabets, HeidEcker, HybrideBetween, KL1MonoSansInvers, LombardInitials, MonoAlphabetMultiSized, Nonsensiqua, WalNussCaps, StrangeBlackletter, ArtesBats, ArtElements, ElectronicPoetry, EyeEyeOnBlack, FabCreaturesInverted, FlyingOparts, Humans (Silhous), Improvisations01, ModernArtBats, NewAliens, Perform02, SimplyDrawings, Sportive01, UpUpAndAway, VectorAnimals, VectorImprovisations, VectorImprovK1, VectoryStarFrames, WappneDichNow, Deconstruct2007, ClassicapsC, ComicNumerals, GearingZahnradABC, JuliusCaesarDisks, KlillMonograms, Pixfabet, QuasiModoButtons, RoundAbout, SilhouOtto, KaiserRotbartCaps, PopFraxFrankfurt, PopFraxFrankfurtCondensed, AnimalishMK, ArteFacte2007, FlagsMaritime, HistoricPeople, Humorix, KarlasNrThree, Kopffüßler, MathEmoticons, MedicalCasesFirst, MKartoons, Mouseworx, NextGeneration, PoesieConcrete, SimpleSilhouettes, Vectorism, Waxworks, CalligImprovis, CorrodetClassicapsBlack, HansSachsCaps, NipponLatin-Bold, OlderTypoTraces, Pompeji, Primeval, RememberZwart, RococoCoquete, SatanicAlphabet, TwilightCaps, Wacomiqua, Ancestors07, Bewitched, Birds+Friends, BirdsSinging, BlackBats, GoodOldTimes, HumanMirror, KleinsMousetraps, Musicians, MythsK, NewYork, OlympicToys, Panique, PeopleAndOthers, Pharaonica, Prehistoric, Pueblo, RememberStoneage, Scherenschnitte, Sculptures, SilhouettesABZ, SilhousKette, Traffic, Woodcuts2007, YoungMusicians, FrakturInitials07, AmericanBeforeColumbus, ArteCave, Aztecish, BeautyWorks, Birds07, BorderElements, CatDogHorse, ChaoticHeads, Education, Figures, Forbidden, FromOldArtists, HandsUp, InGarden, Insects07, KidsArt, Kringel, MedicalBats, ModernGarbage, Mythological, OldAdPosters, Planets, SilhouPeopleTwo, SketchAsScatchCan, SunAndFriends, TravelEtc, Tribalism, TypoBackgrounds, TypographicEdges, TypogrBanners, TypoSigns, VeryOldBirds, AroundTheClock, ArrowsOSeven, BarlosiusEdged, BrokenSansCaps, CaveOSeven, CavePaintings, DingsbumsPlus, EgyptHieros, FraxHandwritten-RoundCaps, GreeceArtDesign, HandsOnly, HumanDrawingsA, HumanLandscapes, KidsKids, Moneymoney, MouseImprovisations, MusicInstruments, MusiciansTwo, MyFreudsWorld, Mythical, NipponBats, OldTribalSymbols, PhaistosToday, PlantenNBlomen, RememberBauhausFaces, Swinging, TribalFigTwo, TribalisticaFigures, TypoAlphabetReaders, VariousPeople, WildHeads, JahnsCaps, Kletteralphabet, StencilBricks97, TypomaniacsSpecial, Zwiebelfisch, AstrologishSymbols, AufmBau, BeachWater, CavePeopleTraces, EarlyAmericans, EasterAnimals, Farmers, Frames, FreudsFreeWorld, HappyNewYear, HouseWorks, Humorica, KleinsElectronicJokes, LandAndTownscapes, OldTypoElements, OtherEyes, Pifont, RatsFatzBats, ReligSymbols, Sasurium, SpaceCommedians, TwoToTeaBlues, WaterfrontFriends, Weddings, Yogaism, TypewriterScribbled. [Google] [MyFonts] [More]  ⦿

    Typocalypse Types
    [Stefan Huebsch]

    Typocalypse Types was founded in 2009 by two students of communication design from the University of Applied Science in Trier: Kai Merker and Stefan Huebsch (b. 1981, Saarbrucken; Stefan Huebsch lives in Heusweiler / Saarbrücken in Saarland, Germany). Sven Fuchs joined some time later.

    Huebsch's first font, made in 2009, is Black No. 7---it was inspired by the Jack Daniel's Black Label Whiskey logo from 1866. Black No. 7 Vintage (2009) is a grungy version.

    In 2011, he created Lith, a hand-drawn headline typeface inspired by Alice In Wonderland and the Brothers Grimm fairy tales.

    In 2014, he published a spectacular 11-style font family, Lichtspiele, that takes inspiration from early 20th century movies, and more specifically, the film noir genre. In this series, Lichtspiele Neon 3D is of particular interest. Lichtspielhaus (2014) is an ultra-condensed version. Lichtspielhaus Handmade (2014) is the handwritten version---it was influenced by the hand-painted signs on cinema facades of the early cinema days. In 2015, we were treated to Lichtspielhaus Slab (ultra-condensed), and in 2016 to Lichtspiele Reklame (the ultra-condensed version).

    In 2017, Stefan Huebsch and Daniela Spinelli co-designed Konkret (a sharp-edged all-caps secret service sans with some left-leaning Kontra italics).

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

    Typodarium 2009
    [Raban Ruddigkeit]

    Typodarium is a typographic one-sheet-per-day wall calendar by Lars Harmsen and Raban Ruddigkeit (2009, Verlag Hermann Schmidt). [Google] [More]  ⦿

    Typoecke
    [Helmar Fischer]

    General type site (in German) run by Helmar Fischer from Dresden. Type history. Pages about educational fonts. [Google] [More]  ⦿

    Typoflocke
    [Richard Stickel]

    On-line generator of snowflakes based on letters. By Richard Stickel. [Google] [More]  ⦿

    Typograffiti

    German page by Birgit Neumann on type classification and type measurements. [Google] [More]  ⦿

    Typografie.info

    A German typography site with pages on classification, news, designers, a type glossary, and tutorials. Run by Ralf Hermann. [Google] [More]  ⦿

    Typografisches Cabinet
    [Christian-Heinrich Wunderlich]

    From Christian-Heinrich Wunderlich's announcement: I have a gift for all non-commercial users: 4 good fonts : a) Dada.ttf: A very basic type, like Helvetica b) gutenberg.ttf: The original Types of Gutenbergs Bible c) Rhenania.ttf: A decorative font from the Rhineland d) Arabica.ttf : Looks like Arabian, but it is Latin. Gutenberg Bibelschrift (1996, Fraktur) is also here. [Google] [More]  ⦿

    typografski.de
    [Heinrich Lischka]

    Typografski.de offers free original grunge fonts by Heinrich Lischka from Köthen, Germany. Fonts for Mac and PC: CopystructBold, CopystructNormal, Destroy, GroteskiBold, TimesNoRoman, Disco, Dinova, Noga (sans serif, 2002). [Google] [More]  ⦿

    Typographic Design
    [Manuel Viergutz]

    Berlin-based FontStruct artist from Stuttgart (b. 1986, Esslingen) who studied at Johannes-Gutenberg-Schule Stuttgart (class of 2007) and studied in 2008 in Esslingen at the European School of Film and Design. He set up Typographic Design. The theme of most of his typefaces is erosion, deconstruction and grunge.

    He made the striped techno fonts heavyLOUDedge, heavyLOUDedge_lineH, heavyLOUDedge_lineV, heavyLOUDedge_quad, heavyLOUDedge_raw in 2009. He also made Fat Cowboy (2009, FontStruct), QRcodeX (2009, like those airline ticket codes), Low Down Cut (2009), WebPixel (2009), ScrFibble (2009), ScriptSERIF (ransom note face), and Back To Heavy Coat Fat Ground (white on black family) in 2009.

    Typefaces done between 2010 and 2013: SKATEBOaRDbraNds (2010, ransom note face), Gothic Hand Dirty (2010), SansLigraphy, Slice n Dice (2009), Riptape, Riptrash (2010, grunge), BackToHeavyCoatFatGround, Curly Lava Bubble (2010, dotted family), Hand Times (2010, a sketched Times Roman), BlockHead (2010), kiddySans (2010), webpixelbitmap (2010), dirtyDeoHandInk (2011), Modern Hand Fraktur (2011), Elegant Hand Script (2011), Wear Fat T Shirt (2011, squarish), Giraffenhals (2011, hand-printed), Phone Scan (2011), Slanted Italic Shift (2011), Neon Club Music (2011), Raw Delta Hand Street (graffiti), India Snake Pixel Labyrinth Game (2012, labyrinthine).

    Typefaces from 2013: Hand Retro Sketch Times (layered poster headline family), Dirty Bubble Gum Grunge, Hand Skribble Sketch Rock, Hells Kitchen Devil God, Hand Scribble Sketch Times, Shaky Hand Some Comic, RawStreetWall (Volcano Type: grunge), Tag Hand Graffiti Trash, Viktors Littl Creepy Horror. Still in 2013, these commercial typefaces were published: Rip TRASH, Dirty Deo Hand Ink, Elegant Hand Script, Gothic Hand Dirty, Rip TAPE, MODERN Hand Fraktur, Giraffenhals, Raw Delta Hand Street, WEAR FAT SHIRT, HeavyLOUDedge, Soul Lotion, Webpixel Bitmap, India Snake Pixel Labyrinth Game, Kiddy Sans, MEGA SLANT LINE, NEON CLUB MUSIC, Slanted ITALIC Shift, Block Head, Happy Brain Creepy Thalamus.

    Typefaces from 2014: Konstructa Humana Stencil, Hand Stamp Play Rough Serif.

    Typefaces from 2015: Hand Sketch Rough Poster, Hand Stamp Swiss Rough Sans.

    Typefaces from 2016: Hand Stamp Gothic Rough, Raw Street Wall (Volcano type).

    Typefaces from 2017: Brush Poster Grotesk (2017, a fun semi grungy typeface designed for the children's exhibition 1,2,3 Kultummel from Labyrinth Kindermuseum Berlin by xplicit, Berlin (Annette Wüsthoff, Alexander Branczyk and Mascha Wansart) and Manuel Viergutz; loaded with glyphs and decorative extras like arrows, dingbats, emojis, symbols, geometric shapes, catchwords and decorative ligatures), Netherlands Dirty Numbers (a hacker style font), Mallorca Dirty Numbers (another hacker font), Hand Stamp Slab Serif Rough.

    Typefaces from 2018: Hand Print Stamp Rough, Typewriter 1950 Tech Mono (a great old typewriter font family).

    Typefaces from 2019: Icons Dingbats Symbols Set, Czykago Rough (with Alexander Branczyk).

    Typefaces from 2020: One United Font (+icons), Hand Stamp Wood, Klein Rough Gemein (with Inga Luft: a font family that includes an icon set and several styles that emulate old German rubber stamps), LED pixel (65 styles), Boom Pang Pow (a cartoon font), TWIGS 4 kids (2020: designed for a garden exhibition for children by Daniela Costa, Julia Stanossek, Alexander Branczyk and Manuel Viergutz), DIY Fantasy Stamp, Euro Icon Kit, Brush Hand Marker, Chalk Hand Marker.

    Typefaces from 2021: Wood Sans (a 12-style vintage wood type and letterpress emulation family), Pixel Pattern (a 9-style pixel font family), Hand Writing of Janina, Face Type, Hand of Hannah (a fat finger script), Plakat Wood (wood type emulation), Drunken Pixel, GDR Traffic Symbols, Hearts Love Smile (amorous dingbats), Open Tech Neue (Sans Serif, Invert, Outline, Slab Serif, Stretch, Box Puzzle and Icons). Cat Finger (a rough brush font), Kloetzchen (a set of blocky display types based on a 3d (physical) wood type by Peter Eckartz).

    Dafont link. Alternate URL. MyFonts link for his commercial fonts. Klingspor link. Behance link. Blogspot link. Old MyFonts foundry link. Abstract Fonts link. Volcano Type link.

    View Manuel Viergutz's typefaces. [Google] [MyFonts] [More]  ⦿

    Typographie und Layout

    Fifteen chapters on typography and page layout. In German. [Google] [More]  ⦿

    Typographische Gesellschaft München e.V.

    Large type society in München, est. 1890. [Google] [More]  ⦿

    Typographische Gesellschaft München (tgm)

    Type club in München. [Google] [More]  ⦿

    Typographische Maßsysteme: Der metrische Punkt

    Wolfgang Beinert's German page on various point systems. From his page:

    1 Punkt (Didot-Punkt) = 0,376 mm
    1 Point (Pica-Punkt) = 0,351 mm
    1 Pica = 4,216 mm
    1 Inch = 25,399 mm
    1 Cicero = 12 Didot-Punkte = 4,404 mm
    1 mm = 2,66 Punkt
    1 mm = 0,237 Pica
    1 mm = 2,846 Points
    1 mm = 0,0394 Inches


    03 Punkt = Billant
    04 Punkt = Diamant
    05 Punkt = Perl
    06 Punkt = Nonpareille
    07 Punkt = Kolonel
    08 Punkt = Petit
    09 Punkt = Borgis, Bourgeois
    10 Punkt = Korpus, Garmond
    11 Punkt = Rheinländer
    12 Punkt = Cicero [ab 12 pt. auch Schaugröße genannt]
    14 Punkt = Mittel
    16 Punkt = Tertia
    18 Punkt = Paragon
    20 Punkt = Text
    24 Punkt = 2 Cicero, Doppelcicero
    28 Punkt = Doppelmittel
    32 Punkt = Doppeltertia
    36 Punkt = 3 Cicero, Doppeltertia
    48 Punkt = 4 Cicero, Kanon
    72 Punkt = 6 Cicero, Kleine Sabon
    84 Punkt = 7 Cicero, Grobe Sabon
    96 Punkt = 8 Cicero
    [Google] [More]  ⦿

    Typography Guru

    Ralph Herrmann's type site set up in 2015. Great look, great content, including a Forum, a Font ID page, and a type calendar. [Google] [More]  ⦿

    Typolemik

    German site concerned with typography. Web master Peter Reichard. Nice links to mostly German type sites. [Google] [More]  ⦿

    Typolexikon

    Wolfgang Beinert's German page on various point systems. There is also a fantastic German glossary. Check also the gorgeous designs in Atelier Beinert in München. [Google] [More]  ⦿

    Typolexikon

    Wolfgang Beinert's German page on various point systems. [Google] [More]  ⦿

    Typo-Lexikon Index

    Karen Wegehenkel's type glossary, in German. Disappeared. [Google] [More]  ⦿

    typolinx
    [Marian Steinbach]

    Marian Steinbach's German page of typographical links, biased towards commercial foundries. [Google] [More]  ⦿

    Typolis (German version)
    [Michael Bundscherer]

    "Schrift, Typografie und Gestaltung" is a general typographic site kept by Michi Bundscherer. Alternate URL without Shockwave. Michael Bundscherer made these fonts with iFontMaker: TabletSans, TabletTimes. [Google] [More]  ⦿

    Typologic
    [Nina Stössinger]

    Graphic, multimedia and type designer from Basel, Switzerland, b. 1978. Her first degree was from Burg Giebichenstein HKD Halle (Germany). She was a freelance graphic and multimedia designer in Basel. Graduate of the Type & Media program at KABK in Den Haag in 2014, were her graduation typeface was Mica. She set up Typologic in Den Haag, The Netherlands, and started working as senior designer at Frere Jones Type in Brooklyn in the summer of 2016. She teaches at Yale School of Art.

    Nina Stoessinger designed her first font in 2001, and obtained a degree in multimedia design in Halle, Germany, in 2008. She created a family of bitmap typefaces called Svenja (2004). Blog. Her funny FF Legato illustration.

    Speaker at ATypI 2010 in Dublin.

    In 2010, she and Hrant Papazian set up Armenotype.

    In 2011, Nina published FF Ernestine (extensions by Hrant Papazian), and writes: FF Ernestine was born from the search for a versatile monoline text typeface that would feel warm yet serious, feminine yet rigid, charming yet sturdy. Its rather large x-height and wide, open shapes enable it to work well down to small sizes; ligatures, stylistic and contextual alternates, a selection of arrows, and two sizes of small caps enrich its typographic palette. Nina Stössinger first drew the Roman as a study project at the postgraduate Type Design programme in Zurich, and the Italic in dialogue with Hrant Papazian's Armenian design. Both the Roman and the Italic (which doubles as a harmonious companion to the Armenian component) are available in four individually drawn weights.

    In 2013, she published the free dotted typeface Sélavy together with Paul Soulellis: Sélavy is the result of a serendipitous collaboration with Paul Soulellis. For his project Library of the Printed Web, Paul was looking for a dotted typeface reminiscent of the punched-out caps on Marcel Duchamp's 1934 Green Box. As he could not find a typeface close enough, I [Nina] was spontaneously tempted to make one. This is it. Sélavy (named after Duchamp's pseudonym Rrose Sélavy) is a dotted typeface that does not follow a non-dotted model.

    Mica (2014, KABK) is an attempt to create a serif text typeface with horizontals that are thicker than the verticals. It later was renamed Nordvest, which was published in 2016 by Monokrom and won third prize in the TDC Typeface Design competition in 2017.

    With Tobias Frere-Jones, she designed Conductor.

    In 2018, Tobias Frere-Jones and Nina Stössinger co-designed the modernized roman inscriptional typeface Empirica Headline (with contributions by Fred Shallcrass). It has original lower case letters and italics.

    In 2021, Tobias Frere-Jones, Nina Stössinger and Fred Shallcrass designed Seaford for use in Microsoft's Office. They write: Seaford is a robust, versatile sans serif that evokes the familiarity and comfort of old-style seriffed type. With everyday Office users in mind---professionals typing up reports or correspondence, preparing school handouts or corporate presentations---we designed Seaford to be inviting, engaging, and effortlessly readable. A good font family for a miserable piece of software.

    Home page. Keynote speaker at TypeCon 2018 in Portland, OR. Interview in 2021. [Google] [MyFonts] [More]  ⦿

    Typolution

    German type blog, organized by Benjamin Göck. [Google] [More]  ⦿

    Typoma
    [Johannes Küster]

    Typoma is Johannes Küster's place in the web. He is a mathematician, type designer and designer, who graduated in mathematics from Munich Technical University. During his studies, he got involved in the typesetting and production of mathematical books. In 2000, he founded his own office, typoma, and is now working mainly on typesetting scientific books, designing mathematical fonts, and writing and talking about mathematical typesetting and scientific typography. Johannes lives in Holzkirchen, Germany. At ATypI 2004 in Prague and at ATypI 2005 in Helsinki, he spoke about fonts for mathematics. Speaker at ATypI 2011 in Reykjavik. His contributions:

    • He is currently involved in 20-style (5 optical sizes times 4 weights) mega-project for adding over 2000 mathematical glyphs to Adobe's Minion family, which was released in February 2009 under the name Typoma MbMath, and in April 2009 as Minion Math.
    • To the German book Detailtypografie (2nd ed., 2004), he contributed the chapter about mathematical typesetting, and an extensive annotated list of mathematical symbols.
    • He is working on LatinModernMath to accompany Boguslaw Jackowski's Latin Modern, a free font set that provides an alternative for Computer Modern in TeX.
    • He is also working on mathematical extensions of Euler (with Hermann Zapf) and Computer Modern (called newmath).
    [Google] [More]  ⦿

    TypoMedia 2000

    Linotype's design conference, 22-24 June 2000, Mainz, Germany. [Google] [More]  ⦿

    Typonauten
    [Ingo Krepinsky]

    Ingo Krepinsky (b. 1976, Eschwege) graduated in 2000 from Fachhochschule Hannover, and in 20903 from Hochschule für Künste Bremen, where he specialized in typography. He is a cofounder and type designer at Typonauten, a Bremen-based commercial font foundry started in 1998 (together with Christoph Hanser and Stefan Krömer). MyFonts sells these fonts: Freakshow (2005, grunge), Nautilo Font System (2002, a futuristic font family), Oklahoma (2003, Wild West, handpainted look; the Pro version from 2012 was done with Gunnar Link), Toon Town (2005, a comic book typeface done with Stefan Kroemer), B-Movie Retro (2007 a brush font series with Florian Schick and Stefan Kroemer), B-Movie Splatter (2007, a grunge version of that family).

    Newsletter (2007) is an extensive no-frills sans family influenced by fonts like OCR-B and DIN. Newsletter Stencil was published at Volcano Type. Creator (with Gunnar Link and Stefan Kroemer) of Royal Oak Decor (Victorian ornaments), Royal Oak Sans (Edwardian headline sans) and Royal Oak Serif (Western headline face).

    Other commercial fonts: Dimitri (Cyrillic simulation), Flarrow, Grebbelinsky (nice dingbats), Killvetica, Litterae Diaboli, Mosaixxs, Nautilo (pixel font), Navtilo (pixel font), R2D2 (futuristic), Sheffield (sans), Singapur (2002, a gambling dingbat font), Oklahoma (2002, Egyptienne), Transarc, Uxmal (unicase with Mexican ornaments), Weimar (Bauhaus style), Estelec (Cyrillic simulation), Trixel (2002, free pixel font), Sport1, Spacelord (2013, sci fi face).

    In was waiting for this moment, but in 2015, Typonauten published the free slogan typeface Je Suis Charlie. Other free fonts include the dingbat face BremerSchriftkoffer (2010).

    View the typefaces made by Typonauten. Klingspor link. Dafont link. View the Die Typonauten typeface library. [Google] [MyFonts] [More]  ⦿

    TypoPRO
    [Ralf S. Engelschall]

    TypoPRO is at once a repository of free fonts and a site that offers recommendations. Started in 2013, it is continuously updated by its founder, Dr. Ralf S. Engelschall (Munich, Germany), b. 1972. Dr. ret. nat. Dipl.-Inf. Univ. Ralf S. Engelschall is the the founder of the popular Open Source software organizations Apache Software Foundation, OpenSSL, OpenPKG and OSSP. He is an active developer in Apache, FreeBSD and GNU software development projects. He studied computer science at TU Munchen (class of 1999) and obtained a PhD in computer science from the University of Augsburg in 2018.

    In 2020, TypoPRO consisted of 1613 individual fonts or 182 hand-picked font families. He provides this table of his favorite fonts in the collection:
    Sans Serif: Slab Serif: Serif: Monospaced: Script: Display:
    Fira Sans Roboto Slab Merriweather DejaVu Sans Mono Handlee Bebas Neue
    Roboto Aleo Droid Serif Source Code Pro Journal Overlock
    Source Sans Pro Bitter Lora Anonymous Pro Delius Yanone Kaffesatz
    Open Sans Andada Source Serif Pro Latin Modern Mono Kalam Poetsen
    Lato Crete Round Libre Baskerville Fira Mono Nautilus Pompilius Quando
    [Google] [More]  ⦿

    Typo-Regeln

    Typographical rules for German printing. [Google] [More]  ⦿

    Typosition
    [Peter Reichard]

    Typosition is a German foundry located in Offenbach which has made typefaces such as TF-525 (2002, square and rounded: the square was by Tanja Huckenbeck), TF Ohwale (2002, by Tanja Huckenbeck), TF Karma (2002), TF Minimalistik (2002), TF Faces Caps_Beta (2002, dingbats), TF PixelheadHandmade_Beta (2002, dingbats), TF Norman, TF Papercut, TF Caution (by Tanja Huckenbeck), TF NoSmoking (by Tanja Huckenbeck), Basic, and TF Motte_Beta (2002, a 3x3 grid pixel font by Tanja Huckenbeck). Unless explicitly stated, all typefaces are by Peter Reichard (b. 1970). Typositionfonts used to be called Typosition Mediendesign. Dafont link. [Google] [More]  ⦿

    Typostrate

    Blog about typefaces, by Christian Goldemann (Germany). [Google] [More]  ⦿

    Typosuche

    German foundry and type cooperative that sells typefaces from Volcano Type, HVD Fonts, Lazydogs, type matters, and characters. The organizers seem to be Florian Stürmer and Michael Amarotico. [Google] [More]  ⦿

    Typotage

    Report on an annual type meeting in Germany. Contact: Andreas Kuhn. [Google] [More]  ⦿

    TypoTage 2004

    TypoTage 2004 was held from 9-11 July 2004 in Leipzig. This report by Silvia werfel and Michael Bundscherer describes the talks by Kurt Weidemann, Akiem Helming, Werner Schneider, Jovica Veljovic, Albert Pinggera, Albert-Jan Pool, Martin Majoor, Hans Eduard Meier, Hildegard Korger, Gert Wunderlich, Ole Schäfer, Veronika grüger, Karl-Heinz Lange, Erhard Kaiser, Günter Gerhard Lange, Andreas Seidel, and Ingo Preuss. [Google] [More]  ⦿

    Typotechnica 2003

    Font technology forum from 21-23 February 2003 organized by Linotype at the Print Media Academy in Heidelberg, Germany. This was intended for type designers and font specialists. Report. Pictures by Michael Bundscherer. Pictures by Jill Bell. [Google] [More]  ⦿

    TypoTechnica 2007

    Conference organized by Linotype in Frankfurt, 27-29 April 2007. The main speaker is Christian Schwartz. The list of other speakers includes Frank E. Blokland (Dutch Type Library), Christopher Chapman (Monotype Imaging Inc.), Peter Constable (Microsoft Corporation), Akira Kobayashi (Linotype GmbH), Attila Korap (Linotype GmbH), Serge Malkin (Microsoft Corporation), Thomas Merz (PDFLib), Tobias Meyerhoff (Linotype GmbH), David Opstad (Monotype Imaging Inc.), Carolyn Parsons(Microsoft Corporation), Thomas Phinney (Adobe Systems Inc.), Joerg Schweinsberg (Linotype GmbH), Miguel Sousa (Adobe Systems Inc.), Adam Twardoch (FontLab Ltd.), Frank Wildenberg (Linotype GmbH), Juergen Willrodt (Dutch Type Library), Yuri Yarmola (FontLab Ltd.), and Seonil Yun. Pictures by Ralf Herrmann. Report by Dan Reynolds. [Google] [More]  ⦿

    Ulf Constantin Stein

    German designer at PROTO.Type of POTATO.cut, PUNCH.tape, DYS.opia (1996), CHRISCHI.writes, PYRO.mania, SCREAMhot, LOOKAlike, PLAcard. He co-designed ScreamHot at ApplyDesign with Martin Kitz. At Elsner&Flake, he designed (or licensed) EF DYS.opia (1996), EF LOOKA.like, EF PLA.card (1998), EF POTATO.cut (1996), EF PYRO.mania, EF SCREAM.hot. Some of his fonts are distributed by the Apply Design Group.

    FontShop link.

    View Ulf Constantin Stein's typefaces. [Google] [MyFonts] [More]  ⦿

    Ulf Koppitz

    German designer of the dingbat typeface Bavaria (2010). Aka hanger1903. [Google] [More]  ⦿

    Ulf Theis

    A 16MB free font file. [Google] [More]  ⦿

    Uli Kozok

    Uli Kozok (b. 1959, Hildesheim, Germany) is Professor in Indonesian, Hawaiian and Indo-Pacific Languages and Literatures at the University of Hawai'i at Manoa.

    Creator of the free font Surak Batak. Kozok writes: The Batak alphabet, or surat batak, is descended ultimately from the from Brahmi script of ancient India by way of the Pallava and Old Kawi scripts. The Batak languages of northern Sumatra - Karo Batak, Toba Batak, Dairi Batak, Simalungun/Timur, Angkola and Mandailing Batak, and occasionally Malay. In most Batak communities, only the datu (priests) are able to read and write the Batak alphabet and they use it mainly for calendars and magical texts. This site has truetype fonts by Kozok for the Battak script: KaroNormal, MandailingNormal, PakpakNormal, SimalungunNormal, TobaNormal, VariantsNormal.

    Home page. [Google] [More]  ⦿

    Uli Steinwandel

    German designer of the handcrafted typefaces Caramba (1997: cactus-themed) and Angst (2009). [Google] [More]  ⦿

    Ulrich Apel
    [Wadoku]

    [More]  ⦿

    Ulrich Dirr
    [Skak New]

    [More]  ⦿

    Ulrich Harsch

    Specialist of the classics at Fachhochschule Augsburg, Germany, who created the Greek font Apaxnion (1999). [Google] [More]  ⦿

    Ulrich Planer
    [Ulrich Vinyl]

    [More]  ⦿

    Ulrich Proeller
    [Prosa GmbH]

    [More]  ⦿

    Ulrich Seeger
    [Transkription semitischer Texte]

    [More]  ⦿

    Ulrich Stiehl
    [Sanskrit Web (or: Transliteration and Devanagari Fonts for Sanskrit)]

    [More]  ⦿

    Ulrich Vinyl
    [Ulrich Planer]

    Ulrich Vinyl (Ulrich Planer) is the German creator of the playful fat poster stencil typeface Stefffont (2011).

    In 2012, he made the free fonts Fresh to Death, Vintage Denim and Ulbricht (a stylish art deco family that includes a blackboard bold).

    In 2013, he created Brasilcao (a modular round techno face) and Gardanio (display face).

    In 2021, he released these typefaces at Kernclub: Golden Trail (a Western font), Kern Hotel.

    At his web site called Typewatching, one can find many nice examples of found and vernacular type. Dafont link. YWFT link. [Google] [More]  ⦿

    Ulrich Weiß

    Graphic designer, b. Pforzheim, 1966. He studied design at the art school in Pforzheim, where he met his future partner Lars Harmsen, and earned a degree as in graphic design. Before founding MAGMA [Büro für Gestaltung] together with Harmsen, he worked for several years as creative director for J. G & Partner in Baden-Baden.

    In 2005, Ulrich Weiß collaborated on a typography and photography book, entitled VERSUS, together with Lars Harmsen and Christian Ernst. The book was published by dgv Die Gestalten Verlag in Berlin. Co-leader of MAGMA [Büro für Gestaltung]. Since 2006, he is involved in the Bastard Project.

    Designer of the Mr J Smith series of dingbats and text fonts at Volcano in 2005 (together with Boris Kahl, Nikolai Renger and Lars Harmsen). Their blurb: When there is no picture of a most wanted or Missing Person, photofit pictures are used. Once drawn by hand, they are now more and more substituted by photomontage. The personality is created with different modules like head, eyes, nose and mouth. The vague memory of a witness leads to the image of a concrete person. Sometimes different combinations of possible looks are attributed to a same person. This new virtual image finds itself soon in thousands of archives and data bases. Anyone can easily have access to those images by internet. To increase security and help track criminals, unknown death (Mr. Smith) or lost and kidnapped people, government asks citizen to help search those people. Mr. J. Smith is a font family consisting of 4 portrait-fonts and one letter-fonts. The portrait font Mr. J. Smith is a portrait-construction-kit. By layering the fonts Head, Eye, Nose, Mouth one over the other, you can design over 7 million different typefaces. The font Wanted gives you the possibility to join names and registration numbers to the unknown or most wanted persons.

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

    Ulrich Zell

    German printer, based in Köln, active from ca. 1463 until 1502. He studied under Johann Fust and Peter Schoeffer prior to 1462. In 2018, Shane Brandes named a rough blackletter typeface after him, Zell. [Google] [More]  ⦿

    Ulrik Vieth
    [Concrete Math fonts]

    [More]  ⦿

    Ulrike Meutzner

    German illustrator and designer. She created an upright connected script typeface called Hochzeit (2010). Born in 1982, she studied graphic design at the Universty of Applied Sciences in Wiesbaden. [Google] [More]  ⦿

    Ulrike (Wilhelm) Rausch
    [Liebefonts]

    [MyFonts] [More]  ⦿

    Ultra Kühl
    [Jan Weidemüller]

    Designer in Berlin, Germany, who created these typefaces:

    • The octagonal / blackletter typeface Blak (2016-2017, The Designers Foundry).
    • The ornamental didone family typeface Koor (2017).
    • The fun reverse stress display typeface family Guzi Warp (2018, at Ultra Kühl). Has a variable font version.
    • The crisp typeface family Para Supreme (at Ultra Kühl and The Designers Foundry). Has a variable font version.
    • The sans typeface family Siaga (2019). Siaga was initially designed in 2015 as part of the Studio Weidemüler identity.
    • Gram (2019). This typeface family fuses the functionality of classic mid-twenties century German sans-serif typefaces with the precise qualities of Swiss typefaces.
    [Google] [More]  ⦿

    Umgang mit gebrochenen Schriften

    PDF file with instructions on the use of Fraktur type, by Harald Rösler of the Bund für Deutsche Schrift und Sprache. In German. [Google] [More]  ⦿

    Ungarische Schriftgießerei

    Berlin-based foundry. [Google] [More]  ⦿

    Universal Thirst
    [Gunnar Vilhjalmsson]

    Icelandic designer and type designer in Reykjavik (and now Germany). Co-founder of Universal Thirst, an Indian and Icelandic type foundry that makes typefaces for the Indic, Latin and Arabic scripts. Gunnar studied graphic design at Iceland University of the Arts, and worked briefly in Reykjavik's creative industry before becoming a freelance designer and focusing on collaborations within the cultural sector. After completing his M.A. in Typeface Design at the University of Reading in 2010, he joined Monotype's London studio, working on major type projects for global brands. Since launching in 2016, Universal Thirst has taken on bespoke projects for Google, The Gourmand, Frieze Art Fair, DesignMarch, Monotype and Falcon Enamelware, and is scheduled to open its font library to the world in 2019.

    Gunnar co-designed the experimental display typeface Skuggasveinn with Siggi Eggertsson in 2005. He also co-designed Grasrot (2005). Old URL. At the University of Reading in 2010, his thesis typeface was Germain, a sturdy typeface that has some calligraphic origins (especially of course for its Arabic weight). The Latin appears to be a manly workhorse.

    Ryman Eco is a free multilined typeface created in 2014 by Dan Rhatigan and Gunnar Vilhjálmsson at Monotype that satisfies its two design goals---beauty and economy (it uses 33% less ink than a normal text font).

    In 2015, he developed a bespoke typeface for The Gourmand Magazine in cooperation with The Gourmand's artistic director, David Lane. The resulting typefaces, Gourmand Grotesque 777 and 888 won a bronze medal at the 2015 European design Awards competition.

    In 2019, Gunnar Vilhjalmsson, Kalapi Gajjar and the Linotype design Studio developed the 5-style Linotype Gujarati for use in print and on the screen. In 2019, he was part of a team that extended Matthew Carter's Devanagari from 1977 into Linotype Devanagari.

    Speaker at and coorganizer of ATypI 2011 in Reykjavik. [Google] [MyFonts] [More]  ⦿

    University of Cologne
    [Wolfgang Kirsch]

    Cyrillic truetype fonts by Wolfgang Kirsch (Regionales Rechenzentrum der Universität zu Köln, 1996): KyrillArch, KyrillArial, KyrillKurier, AKyrillTimes. [Google] [More]  ⦿

    UORG
    [Frank Heine]

    Born in 1964, Frank Heine died in Stuttgart in 2003. Heine established UORG in Stuttgart in 1992. UORG was essentially a one-person outfit. Frank also released his fonts through Emigre, FontHaus, FontShop and [T26]. Author of Frank Heine: Type &c (Gmeiner Verlag, 2003).

    Klingspor link. FontShop link.

    Frank Heine's typefaces:

    • At [T-26]: Amplifier (1994), IndecisionBasic, Feltrinelli, Intolerance, Kracklite, Opsmarckt (1996, medieval simulation script, including borders), Opsmarckt-Borders (1996), WholeLittleUniverse, Divine.
    • In FUSE 15 (1996), he did Determination.
    • At Emigre, he created the grungy Motion (1992), his script family Dalliance (2001), Tribute (2003, a creative revival of a 1565 typeface by Guyot), his curly Remedy (1991) family.
    • His list of fonts also includes Coolage Bold, Desolation, Vespasian, and Schablone (for Factory, 1993). It is unclear if he also designed Contrivance (1993), a neat curly handwriting font.
    [Google] [MyFonts] [More]  ⦿

    Uploaders.de
    [Bernd Duesmann]

    At Uploaders.de in Bielefeld, Germany, Bernd Duesmann designed the free fonts Draft-Connections, Draft-Shadet and Draft-UnShadet (2002) for creating site maps. Direct access. [Google] [More]  ⦿

    Ursula Huber

    Ursula Huber-Bavier (1918-2010) is the designer in 1967 of a delicate initial caps typeface, Das Lustige ABC, or Bavier (named after her father, I guess), that was scanned in and digitized by an anonymous person at Fontsanon, and named BavierShow (2000). Fontspace link. [Google] [More]  ⦿

    Ursula Suess

    Ursula Suess was born in 1924 to German parents in Camden, NJ, and grew up in Munich, Germany, where she attended two semesters of design school at the Academy of Fine Art before it burned down during the war. She then studied calligraphy with Anna Simons for two years. She returned to America in 1946 and established herself as a graphic designer working for Oxford University Press, Macmillan Co., Harper, and other publishers. She also taught calligraphy for 20 years at the Westchester Art Workshop, and at the Cooper Union in New York City. In her fifties, she learned to cut gems and became a gem carver. She moved to Green Valley, AZ, in 1998, and has been applying her artistic versatility with clay, water-color and acrylics. In 1972 she designed Book Jacket Italic, one of film type era's most famous typefaces [copied by Phil Martin as Bagatelle]. In 2010, with the help of Patrick Griffin, she released the revised and expanded digital version through Canada Type. At VGC, she also made Rotalic (two weights).

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

    URW

    URW stands for Unternehmensberatung Rubow Weber. The URW foundry from Hamburg, which existed from 1972 until 1995, when it went bankrupt and its legal successor was URW++ Design&Development, also in Hamburg. That company was started by Svend Bang, Hans-Jochen Lau, Peter Rosenfeld and Jürgen Willrodt in 1995. URW was named after two of its founders, Gerhard Rubow and Rudolf Weber. The third founder was Peter Karow, who had developed Ikarus, an in-house font editor, and possibly the first one for digital fonts. Many people initially outsourced digital font work to them, and many fonts were allowed to be released by URW as well. This led to a large collection. The bestselling typefaces at MyFonts. Adobe link. [Google] [MyFonts] [More]  ⦿

    URW Braille

    This item is worth reporting. URW++, one of the workhorses of the German type industry, is asking 950 Euros for URW Braille, an in-house font made in 2013. It covers Braille for European languages, including Greek and Cyrillic. I think that I see a business opportunity here. [Google] [More]  ⦿

    URW++ Core 35 Fonts

    In 1999-2000, URW++ Design and Development GmbH released the Type 1 implementations of the Core 35 fonts under the GNU General Public License (GPL) and the Aladdin Ghostscript Free Public License (AFPL). In 2016, URW++ released a major Version 2.0 upgrade to the Core 35 fonts. This version is an extensive reworking of the original Core 35 fonts, with improved font outlines, and greatly extended character sets, including Cyrillic and (monotonic) Greek. Also, some font names have been changed. Version 2.0 is released in Type 1, OpenType-CFF and OpenType-TTF formats. The fonts:

    • C059 (=Century Schoolbook)
    • D050000L (=Zapf Dingbats)
    • Nimbus Mono (=Courier New)
    • Nimbus Roman (=Times New Roman)
    • Nimbus Sans (=Helvetica), Nimbus Sans Narrow
    • P052 (=Palatino, formerly Palladio at URW)
    • URW Bookman
    • URW Gothic (=Avant Garde)
    • Z003 (=Zapf Calligraphic)
    [Google] [More]  ⦿

    URW++: Corporate house fonts

    Corporate fonts made by URW++ for major companies include Dräger, Gardena, Endress+Hauser, Simon-Kucher & Partners, PageTech, real,-, MAN, Schalke 04, NOMOS Glashütte, Warema, Warema Nimbus (2017), Weidmüller, StateFarm, Bankinter, Daimler AG, Deutsche Bahn, DB Type/DB Office, Deutsche Telekom, HDI-Gerling, HILTI, Igepa group, Körber-Stiftung, SIEMENS, Thieme Verlagsgruppe, TOSHIBA, WMF, Würth, ZF Friedrichshafen. [Google] [More]  ⦿

    URW Global

    URW++ Global is the foundry name used by URW++ for a collection of fonts that support a combination of Latin and non-Latin scripts such as Nimbus Sans Thai (2008), and Nimbus Sans ME (2008: Middle Eastern scripts such as Arabic, Farsi, Hebrew and Cyrillic).

    The Korean versions are Nimbus Roman Korean (2014) and Nimbus Sans Korean (2009).

    The Japanese fonts include Nimbus Sans Japanese (2014).

    The Chinese font collection includes the Hanyi fonts: Hanyi Bai Qi Jian (2001, simplified Chinese), Hanyi Bai Qing Jian (simplified Chinese), Hanyi Cai Die Jian, Hanyi Cai Yun Jian, Hanyi Chang Mei Hei Jian, Hanyi Chang Yi Jian, Hanyi Chen Pin Jian, Hanyi Fang Die Jian, Hanyi Fang Li Jian, Hanyi Fang Song, Hanyi Gan Lan Jian, Hanyi Ha Ha Jian, Hanyi Hai Yun Jian, Hanyi Hei, Hanyi Hei Qi Jian, Hanyi Hua Die Jian, Hanyi Huo Chai Jian, Hanyi Hu Po Jian, Hanyi Jia Shu Jian, Hanyi Kai Ti, Hanyi Li Hei Jian, Hanyi Ling Bo Jian, Hanyi Ling Xin Jian, Hanyi Luo Bo Jian, Hanyi Man Bu Jian, Hanyi Mi Mi Jian, Hanyi Nan Gong Jian, Hanyi Qing Yun Jian, Hanyi Shen Gong Jian, Hanyi Shou Jin Shu Jian, Hanyi Shuang Xian Jian, Hanyi Shu Hun Jian, Hanyi Shui Bo Jian, Hanyi Shui Di Jian, Hanyi Shu Tong Jian, Hanyi Song, Hanyi Tai Ji Jian, Hanyi Wa Wa Zhuan Jian, Hanyi Wei Bei Jian, Hanyi Xiao Li Shu Jian, Hanyi Xing Kai, Hanyi Xing Shi Jian, Hanyi Xiu Ying Jian, Hanyi Xue Feng Jian, Hanyi Xue Jun Jian, Hanyi Yan Ling Jian, Hanyi Ya Ya Jian, Hanyi Yuan Die Jian, Hanyi Yuan, Hanyi Zhong Li Shu Jian, Hanyi Zhu Jie Jian, Hanyi Zong Yi Jian. In addition, there are Nimbus Sans Chinese (2014) and Nimbus Roman Chinese. [Google] [MyFonts] [More]  ⦿

    URW Type Foundrty (was: urw++)

    URW++ Design&Development GmbH is a Hamburg-based foundry established in 1995 by Svend Bang, Hans-Jochen Lau, Peter Rosenfeld, and Jürgen Willrodt. URW stands for Unternehmensberatung Rubow Weber, named after Gerhard Rubow and Rudolf Weber, cofounders of the original URW company from which urw++ evolved. It offers a whole range of font services and has an extensive (7000+) font library. At the basis of the early development of many classy PostScript fonts. For example, in 1999, URW++ donated the 35 core PostScript fonts (renamed) under the GNU GPL license to the Ghostscript project. The great 3000-font CD costs about 2000DM. Other CDs are more expensive: on the ITF CD, each font is about 100DM! URW sells fonts and font families with complete rights (you can change, resell, embed, anything, except use the original name), with examples ranging from 2k for a complete family of 12 to 5k for a collection of 250 fonts. This practice continues until today: URW++ thus provides a great service to software developers who want to include high-quality typefaces in their software applications. URW has offices in many countries. In the first decade of the 21st century, freelance type designer Ralph M. Unger contributed most frequently to the URW library. OpenType collection guide (in PDF).

    Selected releases: URW Egyptienne, URW Grotesk (1985, Hermann Zapf), Anzeigen Grotesk (2009), Clarendon No 1 URW, Saa Series (an industrial sans: the official typeface for Australian road signage), Nimbus Sans (1987, a Helvetica clone), Nimbus Sans Novus, Nimbus Sans Europa (covering Latin, Greek, Baltic, Cyrillic, Central European, Turkish, Romanian, and so forth), Nimbus Roman No 9 (2001), Nimbus Sans Global and Nimbus Roman Global, each at about 2000 Euros, and each containing 35,000 glyphs, from kanji/Chinese/Korean to all European languages. House typefaces done for corporations: DaimlerChrysler Corporate ASE (after the Corporate ASE series for Daimler-Benz by Kurt Weidemann), Gardena Sans (2015, for Gardena), Siemens Schriftfamilie, Deutsche Telekom Schriftfamilie, ZF Friedrichshafen, Körber Argo, URW++ SelecType Raldo (2001, for Igepa).

    MyFonts lists their bestsellers. Catalog of their typefaces [large web page warning]. Another catalog of URW's typefaces.

    Eight-minute corporate movie produced in the summer of 2014. Adobe link. [Google] [MyFonts] [More]  ⦿

    Us Berlin

    Us is a collaboration of communication experts based in Berlin. Creators of the display typeface Sykes (2016). Behance link. [Google] [More]  ⦿

    USE Mediengestaltung (or: Union Sozialer Einrichtungen GmbH)

    Berlin, Germany-based consortium called USE (or USE Mediengestaltung, or: Union Sozialer Einrichtungen GmbH). Some of their typefaces were designed by Leonhard Katschner, such as the pixel typeface Block Rock (2018), Nasa 21 (2019), Reduza Infinity (2019: a minimalist monoline sans), Neue Jugend (2019: an all caps art nouveau typeface), and Versalis Ink (2019).

    Other members of USE developed the handcrafted typefaces Mediqua (2018) and Display Fadi (2018), Everest (2019: a wedge serif), Cleopatra (2019: Egyptian), Bastard 21 (2019: a flared terminal text typeface), Schuetz (2019: a transitional text typeface), Lisa (2019: a marker pen font), Schreibmaschine (2019: a typewriter font) and Medistencil (2019). [Google] [More]  ⦿

    USOTA (United States of the Art)
    [Carsten Raffel]

    Carsten Raffel (b. 1973) is a graphic designer and illustrator who studied communication-design in Hildesheim, Germany. Since 1999 he has been working for the Hamburg-based design studio MUTABOR as a graphic designer and illustrator, and published parts of his work in Mutabor magazines 9 and 10 and in lingua grafica.

    Creator of the free bike chain-inspired font FK Chain 08 (2008). Carsten Raffel created Affront (2002, a futuristic family). In 2001, he made the dot matrix typeface Demotype.

    In 2014, he created the fat display typeface Biki Round Stencil Black (buy it here).

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

    Uta Hinrichs
    [Fatfonts]

    [More]  ⦿

    Ute

    German designer (b. 1976) who lives near Düsseldorf. For roleplaying, she created the runic font Anja1Anja1 (also called Hemoroui) (2008). [Google] [More]  ⦿

    Ute Harder

    Born in Glückstadt a.d. Elbe, Germany in 1972, Ute Harder (known as Frau Jenson at P22) studied Illustration and Communication design at the University of Applied Science in Hamburg under Jovica Veljovic. Since 2002, she works as a freelance graphic designer, collaborating on diverse projects for Linotype and developing her own fonts. She lives in Hamburg.

    At P22, she published Alpha Initials (2004), Alpha Roman (2006, described by her as a playful calligraphic display face), Cilati (2004, calligraphic script; +Swash caps), Frau Jenson People (2004, pictograms), Bastyan Pro (2006, a bastarda based on the Carolingian minuscules), and Tulda (2004, letters done for a calendar), which includes Tulda Symbols.

    At Linotype, she designed Marathon LT Display and Book (1999, after the famous 1931 font by Rudolf Koch). Other fonts by her include My People, Some Indiduals, Initials, Out Now, Pixi Bilderbuch and Pixi Outline, as well as the Gracy, Grocy and Groby families.

    Close-up look at her work.

    FontShop link. Klingspor link. P22 link.

    View Ute Harder's typefaces. [Google] [MyFonts] [More]  ⦿

    Ute Kleim

    German graphic designer. During Typeclinic 11th International Type Design Workshop, she created the clean children's book sans typeface Kähte Sans (2015).

    Graduate of the type design program at the University of Reading, class of 2017. Her graduation typeface there was Cythe Latin / Greek / Arabic editorial typeface family Felida. [Google] [More]  ⦿

    Uwe Borchert

    German type designer and software expert who offers his fonts for free. He is mostly doing revivals, and started in 2010. His typefaces:

    • Neu5Land (2018). Based on the Schmale Erbar Grotesk (Jakob Erbar, 1922ff) that was very popular on signs in the former German Democratic Republic / Deutsche Demokratische Repubik.
    • Bstyle (2013). A squarish typeface family, perhaps a revival of Binder Style which Joseph Binder cut for the Stempel foundry ca. 1959.
    • Schilder Grotesk (2012). Based on the old handlettered road signs in Karlsruhe.
    • ST37K and ST32K (2010). Based on Stahl by Rudolf Koch (1933). Other digital versions of Stahl, but inadquate according to Borchert, include CG Lisbon and Lydian.
    • Saarland (2010). Based on hand-lettered typefaces on factory walls and propaganda posters from the 1930th in Germany and Czechia. In this genre, see also Iwan Reschniev (2008, Sebastian Nagel), Teuton (Storm), Stahlbeton (2005, Patric Schwarz), Stahlbetonträger (2008, Nils von Blanc), Urban Constructed (Nils von Blanc) and Nonstop (Jakob Fischer).
    • Plakative Grotesk (2010). A geometric poster face. In this style, see also Pilsen Plakat (Dieter Steffmann), Steelfish (Ray Larabie) and Placard MT Condensed. Uwe Borchert added Sturkopf Grotesk in 2013.
    • Grabstein Grotesk (2010). A geometric poster face. In this style, see also Iwan Reschniev (2008, Sebastian Nagel), and Teuton (Storm).
    • Mops Antiqua (2010). Or Pug Serif. A quaint serif typeface for menus. Similar typefaces include Chesterfield Antique (Alan Meeks), Chelsea (Dieter Steffmann) and Cheboygan (Christine Mauerkirchner and Rainer Grunert Schwalbach).
    • Fabrik (2012). A grotesk family based on Beteckna by Johan Mattsson. He calls it a real Deutsche Grotesk of the 1920s, with many influences of Bauhaus like Paul Renner's Bahnhofsfutura (1924), Erbar Grotesk, Drescher Grotesk BT, and Dr. Klein's numbers for the German highways. Similar typefaces include Verlag (Hoefler), Drescher Grotesk (Arno Drescher), and Universalis ADF (by Arkandis).
    • Jakob (2010). A grotesk inspired by Jakob Erbar's typeface Erbar Grotesk and the first versions of DIN Fette Engschrift. Similar typefaces include Verlag (Hoefler), Avenir (Adrian Frutiger), Erbar Grotesk (Jakob Erbar), Drescher Grotesk (Arno Drescher), and Universalis ADF (by Arkandis).
    • Tattoo U (2012).
    • Capitalis Minimalis (2012). A Trajan caps face.

    Klingspor link. Abstract Fonts link. Open Font Library link. [Google] [More]  ⦿

    Uwe Melichar

    In house type designer at Elsner&Flake in Hamburg. He is credited with Fritz Dittert (1997, with Manuela Frahm and Fritz Dittert). FontShop link. [Google] [More]  ⦿

    Valentin Wühr

    Muenchen-based designer of several experimental and deconstructed typefaces in 2018. [Google] [More]  ⦿

    Valerie Schäfers

    Student at the University of Wuppertal who made the experimental typeface hEAR (2004). [Google] [More]  ⦿

    Valken

    An orphaned plump round sans typeface by an unknown designer. [Google] [More]  ⦿

    Vanessa Bisky

    For Martina Flor's type design class at Fachbereich Design Dessau's Department of Design (in Dessau, Germany), Vanessa Bisky created the ball terminla-laden didone display typeface Minna Drop (2014). [Google] [More]  ⦿

    Vanessa Wälzer

    Berlin-based student-designer of the serifed typeface Madrette (2016). Aka Nessa Van Walz. [Google] [More]  ⦿

    Varvarka D

    Halle, Germany-based designer of the display typeface Albero (2015). [Google] [More]  ⦿

    Vasileios Synanidis
    [We Love Rain]

    [More]  ⦿

    Vasilis Tanos

    Vasilis Tanos (b. 1984) grew up in Schongau, Germany, and studied at the Technological Institute of Athens (2011). He created the corporate typeface Skroutz (Latin and Greek) in 2012 for Skroutz SA.

    Behance link. [Google] [More]  ⦿

    Vectorize
    [Magnus Högberg]

    Free original pixel fonts by Magnus Högberg (Germany) included Streetlook, V6p01, V7p01, V8p01, V8p02, V8p03, V9p01, vectorize-thin, vectorize_regular. These fonts are no longer there, I think. Alternate URL, where you can find the bitmap truetype fonts Bit3, Bit4, Bit5, Bit6, BitHigh, BitLow, BitSpace, all made in 2000. The new batch at Vectorize, Magnus' outfit, are Superaircraft, Supercargo, Supercollider, Supercollidersmall, Supercondenced, Superdigital, Superheu, Superhe, Superhr, Superhtu, Superht, Supermagnet, Supermarketround, Supermarketsquare, Supernovafat, Superphunky, Superpoint10square, Superrazor, Superscreen, Supersimpleregular, Supersimplefat, Superstar, Superstarfat, Bit3, Bit4, Bit5, Bit6, BitHigh, BitLow, BitSpace, Tafelschrift, Y2KAnalogLegacy-Italic, Y2KAnalogLegacy, Emulator, High55, High75, High77. Direct access. Mac and PC, truetype and type 1. Additional site, beautiful to look at but time-consuming and confusing. [Google] [More]  ⦿

    Vera Schäper

    Vera Schäper created Schwanensee (2010, 26plus), a playful variation on Bodoni. It was developed as a corporate type for a ballet. [Google] [More]  ⦿

    Verena Gerlach
    [Fraugerlach]

    [MyFonts] [More]  ⦿

    Verena Seele

    Stuttgart, Germany-based self-appointed Visueller Kommunist (visual communist). Designer of Typeface Remixes & Remakes (2016), in which she recombines old Letraset fonts to make a slightly neurotic and nostalgic display typeface.

    In 2017, she designed a set of experimental typefaces called Hellvetica. Behance link. [Google] [More]  ⦿

    Verena Thalmeier

    At Hochschule Würzburg in Germany, Verena Thalmeier (originally from Munich) designed the text typeface Voila (2016). [Google] [More]  ⦿

    Verlag ABC26

    German commercial site selling posters of beautiful letters. [Google] [More]  ⦿

    Veronika Broll

    Muenster, Germany-based designer of Silvan (2018). [Google] [More]  ⦿

    Veronika Burian

    Born in Prague in 1973. She grew up in Munich, where she studied Industrial Design at the University of Applied Sciences. She worked as product and graphic designer in Vienna, Austria and Milan, Italy. She graduated with an MA degree in type design from the University of Reading. She joined Dalton Maag in London in the autumn of 2003. In Milan, she was at Die kleine Fonderie, a studio headed by Andrea Braccaloni as part of LeftLoft. In 2005, she and José Scaglione founded Type Together.

    Her typeface Maiola (2003), spiced up by the prototypical Czech angular design elements, received the Type Directors Club award in 2004 (Certificate of Excellence in Type Design) (see here) and was the "Judge's Choice". FF Maiola, released in 2005, includes Latin, Greek and Cyrillic letters and ligatures. For Maiola Cyrillic (2004), she received some help from Maxim Zhukov. In 2010, the Maiola family was published at Type Together. Other designs include Ronnia Sans and Gitter. She created LL Mila (2002, Leftloft: a condensed sans with a trademark "g"), which was part of the exhibition "Contemporary Type Design in Italy" during AtypI in Rome (2002). In 2005, she collaborated with Gerard Unger on the 12-weight corporate family Allianz. With José Scaglione she created the text typeface TT Carmina (2006), which can be had via MyFonts as Karmina (2007). Also with Scaglione, she did the humanist sans family Ronnia (2007, Type Together). In 2007, her slab serif family Crete was published at Cabinet Type. She won an award at Granshan 2008.

    In 2015, Veronika Burian and José Scaglione finally published the 18-style editorial sans typeface family Ebony. It is unrelated to the 1890 Marder & Luse font Ebony.

    In 2016, Veronika Burian and José Scaglione co-designed Portada, a sturdy serif typeface family for use on screen and small devices. It comes with an extensive free set of icons. Winner at Tipos Latinos 2018 of a type design award for Portada.

    At ATypI 2004 in Prague, she spoke about Oldrich Menhart (see also this PDF file).

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

    Veronika Elsner

    Co-founder with Günther Flake in 1986 of Elsner&Flake. She designed the EF Euro family, for example. Veronika lives in Langeln, Germany. FontShop link. [Google] [MyFonts] [More]  ⦿

    Veronika Grüger

    German type designer who created Veronika (2004, Linotype), a typeface consisting of nearly uniform stroke widths, but with tiny calligraphic twists added. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Veruschka Götz

    Author of Fixierte Gedanken: eine Kurzgeschichte der Schrift, des Alphabets, der Zahlen und Ziffern (2010). [Google] [More]  ⦿

    Verzierte Musierte Gotisch

    An in house Fraktur typeface at Schriftgiesserei Flinsch, made in 1870, revived by Gerhard Helzel. [Google] [More]  ⦿

    Vesela Georgieva

    Berlin-based student-designer of a painted stencil typeface in 2017. [Google] [More]  ⦿

    Via Grafik Gestaltungsbüro (was: Meanworks)
    [André Nossek]

    André Nossek (b. 1975) studied Communications Design at the University of Applied Sciences there. He founded the artists collective Via Grafik in 2003. Andrédesigned the fine screen (pixel) fonts Erebus (2000), Hunter (2000), Organ (2000), Dictator (2000), Hacker (2000), Ivorg (2000), Robotron (2000), Limbex (2001, in the Fontomas collection), Linotype Killer (a fat face), as well as Dictator. Sassy (2006) appeared at Die Gestalten.

    At Garcia Fonts, he created the grunge typefaces Kentucky (1997) and Dr. Zaius (1997). His design bureau in Mainz, Germany, is involved in graphics, illustration and typography. For a while available in Mac and PC formats at the HI-TYPE site. In 2004, he made the experimental face Slave for Neo2 magazine.

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

    Vibrant Types (was: Calligrafiction)
    [Philip Lammert]

    Calligrafiction was a German type foundry that was founded in 2014 by Philip Lammert, who is based in Hamburg. Lammert studied communication design in Düsseldorf, Germany, and Guatemala City. In 2017, he embarked on a Masters program at the HAW Hamburg under the supervision of Jovica Veljovic. Philip's typeface Peter (2014) is a neo-grotesque sans. Very basic, it shows humanist touches in the heavier weights.

    In 2018, he published DIN Neue Roman, a serif experiment based on DIN 1451. DIN Neue Roman is part of his 2015 Masters Thesis at HAW Hamburg.

    In 2020, he changed the name of his foundry to Vibrant Types. In that same year, Lammert released the dynamic chiseled typeface family Slandic. Slandic includes a variable font.

    Typefaces from 2021: Adelbrook (a ten-style humanist text typeface with tapered asymmetric serifs, and an unclosed counter in the lower case b; the italics appear almost brushed; Adelbrook includes two variable fonts). [Google] [MyFonts] [More]  ⦿

    Victor Guerrero Vila

    Graphic designer in Hamburg, Germany, who created the alchemic typeface Martin (2013) and the free roman text typeface Fea (2017: dedicated typeface). Behance link. Tumblr link. [Google] [More]  ⦿

    Victor Malsy

    Subtil, a rounded sans designed with Hanno Bennert and Alexander Gialouris, won an award at TDC2 2007. subtil is a display typeface origoinally custom-designmed for DSW21 (Dortmund Stadtwerke AG). Malsy is located in Willich, Germany. [Google] [More]  ⦿

    Victoria Porschet

    During her studies at the Design Akademie Berlin, Victoria Porschet created a deco typeface (2015). [Google] [More]  ⦿

    Vier5
    [Marco Fiedler]

    Vier5 is a graphic design studio, founded 1999 in Germany and located in Paris as of 2002. Run by Marco Fiedler and Achim Reichert.

    Klingspor link. [Google] [More]  ⦿

    Viktor Gountaras

    Berlin-based designer of Modular (2012). [Google] [More]  ⦿

    Viktor Kharyk

    Ukrainian designer, b. Kiev, 1957. Graduate of the Senior College for Print and Design in Kiev in 1982. Viktor became art director at Sphera in Kiev. Main type designer at Düsseldorf-based company Unique GmbH since 1998. In 2012, he cofounded Apostrof with Konstantin Golovchenko. He designs Armenian, Greek, Georgian, Devanagari, Hebrew, Cyrillic and Arabic fonts, and is particularly interested in revivals of ancient, forgotten, or historically important typefaces and writing systems. His work:

    • At Elsner and Flake, he published EF Bilibin (2004, uncial), EF Abetka (2004), EF Gandalf (2004, uncial), Bilbo (2004-2008, an uncial family), Kiev EF (2002), Lanzug EF (2002, letters as zippers), Rose Deco EF (2001), EF Elf (2002, imitating Tolkien's writing), EF Deco Uni (2001-2004), EF Deco Akt Light (2001-2004), EF Fairy Tale (2003-2008, caps face), EF Varbure (2004, an experimental family), Rose Garden EF (2001, initial caps ornamented with roses; the text is uncial), and Viktors Raven EF (a spectacular caps font with letters made out of a raven).
    • At MasterFont: Abetka MF (1999, with Alexeev), Kiev MF (1976-2003), and Netta MF (1999, text family). These fonts have Latin and Hebrew components.
    • At Paratype, he published Uni Opt (2007, Op Art letters based on free brush technique similar to experimental lettering of the early decades of the 20th century; for instance to Graficheskaya Azbuka (Graphic ABC) by Peter Miturich and works by Victor Vasareli), Joker (1978, a subtractive font---since 2000, also in Cyrillic, Latin, Hebrew, Greek, Georgian, Armenian and Arabic), Blooming Meadow (2007, flowery ornaments), Bogdan Rejestrowy and Bogdan Siczowy (2006, based on Ukrainian Skoropis (fast handwriting) of the 16th and 17th centuries, and named after Ukrainian Getman Bogdan Khmelnitsky. The character set contains Cyrillic, Old Slavonic, Glagolitic, Latin and Greek alphabets), Lidia (2006, a lined engraving typeface based on a 1967 font by Iraida Chepil for Polygraphmash).
    • At 2D Typo: Florentin 2D (2011, angular family), New Hotinok 2D (2010, with Henadij Zarechnijuk).
    • Other work: Simeon 2D (2011, 2D Typo), some fonts at Face Typesetting (1970s), Getto (1970s), White Raven (2002), Handwritten Poluustav Ioan Cyrillic (1999-2001), Letopis (1983), New Zelek (1980s), UniAkt (2001, based on Unifont, an erotic caps face, done with Natalia Makievska).
    • Free fonts at Google Web Fonts, published via Cyreal: Iceberg (2012, octagonal).
    • Cyrillizations by Viktor Kharyk: Data 70 (1976; original from 1970 by R. Newman), ITC American Typewriter, Bullion Shadow (1984; of the shadow font Bullion Shadow (1978; original from 1970 by Face Photosetting), Calypso (1984; of Excoffon's 1958 original), Lazybones (1980s; of a 1972 Letraset font with the same name), Glagolitic (1983, Elvira Slysh, digitized in 2003), Augustea (1947, Allessandro Butti), Stencil (after a 1938 typeface by R.H. Middleton called Stencil), Columna (1980s; after Max Caflisch's original from 1955), Sistina (1951, Hermann Zapf), Weiss Kapitale (1935, Emil Rudolf Weiss), Vivaldi (1965, Friedrich Peter), ITC Tiffany (1974, Ed Benguiat, digitized in 1995), ITC Bookman Herb Lubalin (1974, digitized in 1980s), Berthold Cyrillic Helvetica Cyrillic (1980), Churchward Galaxy (1970s, J. Churchward, digitized in 1980s), Olive Bold Condensed (1980s, original of Roger Excoffon in 1962-1966), Motter Ombra (1980, original by O. Motter in 1975), Sinaloa (1981, original by Odermatt and Tissi in 1972), Serif Gothic (1990, original by Herb Lubalin and Tony DiSpigna in 1974), Dynamo (1980s, original of K. Sommer in 1930), EF Gimli and EF Gloin (2004-2010, mediaeval typefaces done at Elsner&Flake together with Marina Belotserkovskaja).
    • Other typefaces: Lili (multilined), Rutenia (by Henadij Zarechjuk and Viktor Kharyk, as part of Vasyl Chebanyk's Ukrainian Alphabet project).

    At TypeArt 01, he won first prize with Varbur Grotesque (1999-2001, with Natalia Makeyeva), third prize with Joker (1970-2000), and honorable mention with Abetka. At TypeArt 05, he received awards for UniOpt (2002, Kafkaeqsue Op Art display style) and Blooming Meadow (dingbats). In 2009, his 2006 digitization of Anatoly Shchukin's 1968 typeface Ladoga (+Text, +Display, +Ladoga Armenian) won an award at Paratype K2009.

    In 2016, Henadij Zarechnjuk and Viktor Kharyk designed Dnipro for Apostrof. The Cyrillic version of this font follows Ukrainian decorative traditions, initiated by Georgy Narbut and Mark Kirnarsky in the 1920s and continued until the 1980s. The Latin part has an uncial character.

    Typefaces made in 2018: Algor, Zluka (with Henadij Zarechnjuk; named after The Act Zluka, or Ukraine's Unification Act of 1919), XX Sans, Yurch (developed by Henadij Zarechnjuk and Viktor Kharyk by samples of calligraphic lettering by Ukrainian book designer Volodymyr Yurchyshyn), Chebano (based on the calligraphy of Ukrainian artist Vasyl Chebanyk), Zahar Berkut (developed by Henadij Zarechnjuk and Viktor Kharyk following the lettering by Ukrainian artist Georgiy Yakutovich),

    Typefaces from 2020: Homenko (by Viktor Kharyk, Henadij Zarechnjuk and Konstantin Golovchenko: an update and extension of Vasyl Homenko's metal Ukrainian typeface from 1963-1967), Bethencourt (an uncial typeface co-designed with Vsevolod Buravchenko).

    A special project published in 2020: 1812 (by Viktor Kharyk and Konstantin Golovchenko). This is a 14-style revival and further development of the typeface 1812 by Lehmann Type Foundry (St. Petersburg). It was created for the centenary of the French invasion of Russia, known in Russia as the Patriotic War of 1812 along the lines of decorative engraved inscriptions and ornamented typefaces of that time, presumably by the artist Alexandre Benois. It was used mainly for the decoration of luxurious elegant publications. Later, in 1917, this typeface was used on the Russian Provisional Government banknotes. In the Soviet period of time '1812' appeared to be one of the few typefaces included in the first Soviet type standard OST 1337. It was produced for manual typesetting until the early 1990s. This typeface could be seen on Soviet letterheads, forms, posters and even air tickets.

    At ATypI 2005 in Helsinki he spoke about Ukrainian fonts. At ATypI 2007 in Brighton, his talk is entitled Old Slavic alphabets and new fonts. At ATypI 2009 in Mexico City, he spoke (well, was supposed to speak) on Old Roman Styles and Cyrillic. Speaker at ATypI 2013 in Amsterdam, where he explains the development and multilingual extensions of Ladoga.

    MyFonts page. Victor's friends: a Ukrainian/Russian news blog. FontShop link. Author of Non-Latin Fonts Cyrillic and Other (2004, Düsseldorf).

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

    Viktor Nübel

    Freelance graphic designer in Berlin, b. 1977. In 2005, he graduated from the Design Akademie Berlin with a thesis entitled Type Attack. His typefaces:

    • The stencil-inspired PTL Attack (2006, Primetype).
    • Ostblock (pixelish).
    • Modul72. A modular typeface in the spirit of Meek's FontStruct). Modul22 and Ostblock were heavily inspired by events and lettering in former East Germany.
    • The decorative Oliva (2009), which has a hint of psychedelica.
    • Viktor Nübel and Hendrik Möller created some hand-printed fonts with two glyphs for each letter, to better simulate reality.
    • The large PTL Attention sans serif typeface family (2013, Primetype).
    • Babetta (2013). An all-caps typeface (with an inline called Babetta Neon) that was inspired by an illuminated vintage shop sign at Karl-Marx-Buchhandlung in Berlin. It has some elements of art deco.
    • FF Attribute Mono (2017) and FF Attribute Text (2017). These FontFont typefaces emualte typewriter and programming types.

    MyFonts link. Behance link. Viktor Nübel foundry. Klingspor link. Fontspring link. Volcano Type link. Fontshop link. [Google] [MyFonts] [More]  ⦿

    Viktor Zumegen

    In 2020, German designer Viktor Zumegen designed a versatile variable font, Varianz. He writes: Varianz is a variable font that contains four standalone fonts with different characters and five intermediate instances as a basis. With the four font characters, Sachlichkeit, Lebendigkeit, Eleganz and Robustheit, a two-dimensional space is opened up, in which users can move around freely. By using the two sliders of this variable superfamily, it is possible to merge the four font characters smoothly and individually. Designers can thus decide exactly how much character of Sachlichkeit, Lebendigkeit, Eleganz and Robustheit should be contained in the design language of Varianz. [Google] [More]  ⦿

    Vincent Schwenk

    Hamburg, Germany-based creator of the free image font Baluga (2014). Behance link. [Google] [More]  ⦿

    Vincenzo Penna

    German designer (b. 1992) of Sassion (2009, rounded stencil face). [Google] [More]  ⦿

    Vintage Foundry Illustrator
    [Marie Wagner]

    Marie Wagner (Vintage Foundry Illustrator, Munich, Germany) created a vintage Victorian typeface in 2015. In 2014, she designed Ink Collective (2014), a vintage letterpress emulation typeface.

    She originally operated as Mousemade Fonts [dead link]. Behance link. [Google] [More]  ⦿

    Vinzent Britz

    Berlin-based designer of Belgrad (2012, based on Futura, and inspired by German industry fonts from the late 19th century), Runes (2012), Bukarest (2017, a semi-offical handwriting font) and Spike (2020: dingbats). [Google] [More]  ⦿

    Vinzenz Koser

    German designer. His Vox (2010) is a left-leaning version of Rotis. Picture. [Google] [More]  ⦿

    Visual Braille
    [Theo Seemann]

    VisualBraille (2009) is a free font that combines standard Braille and Latin. It was developed in 2009 at Merz Akademie Stuttgart by co-students Christopher Heller, Michael Ruß and Theo Seemann. [Google] [More]  ⦿

    Visual Mind Rockets
    [Daniel Woessner]

    Visual Mind Rockets is a German outfit based in Köln, est. 2003. The designer, Daniel Woessner (b. 1974, Köln), studied at the Graphik Hochschule in Aachen from 1997-2002. He created the (free) type family Combat (2005), which consists of a stencil subfamily in 3 weights and a dingbat family of weapons (Handguns, Air, Ground, Water). Click on Goodies, then Fonts. These fonts are now sold through MyFonts. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Vitalj Meier

    Berlin-based designer. He made the 3d ribbon font Blech (2010, Gestalten), Gestalten). FontShop link. [Google] [More]  ⦿

    Vitan Vitanov

    Berlin-based designer of the triangulated typeface Topix (2015). [Google] [More]  ⦿

    Vivian Reiff

    During her studies at State Academy of Art & Design Stuttgart (Staatliche Akademie der Bildenden Künste Stuttgart, Germany), Vivian Reiff designed the modern serif typeface Neue Beaufort (2017), which tries to introduce an element of craftsmanship into the glyphs. Behance link. [Google] [More]  ⦿

    Vivien Palloks

    German designer born in Berlin in 1970. She studied graphic design at the College of Advertising and Design in Germany, graduating in 1993. She did an internship in type design with Lucas de Groot. Since 1997 she has worked at gra(fisch) in Berlin. Vivien created the grunge family FF Kurt (1998, FontShop).

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

    vnr
    [Han The Thanh]

    Vietnamese versions of the Computer Modern fonts developed by The Thanh Han, in mwetafont and type 1 formats. The fonts are accompanied by vntex which lets one handle the T5 encoding used in the fonts. [Google] [More]  ⦿

    Voked

    German designer (b. 1987) in 2007 of Avant Garde Black (kitchen tile style, no downloads) and Cow.Cow (2007, ultra-black wood style Egyptian). The guts of the font have the font name Cowboys and the designer name of Dennis Ludlow, so this may be derived in some way, I guess. [Google] [More]  ⦿

    Volcano Type (MAGMA)
    [Lars Harmsen]

    Magma Brand Design in Karlsruhe, Germany evolved in 2004 into Volcano Type. Magma is headed by Lars Harmsen (b. Hannover, 1964) and Ulrich Weiss. Lars Harmsen spent the first four years of his life in Chicago. He then moved to Geneva with his parents for eight years, and then moved to Karlsruhe. He completed his schooling at the French section at the European School. He first studied history and Germanics in Freiburg before beginning to study design at Basel, Boston, Saarbrücken and Pforzheim. He got his degree in graphic design, and in 1996 he founded MAGMA [Büro für Gestaltung] together with Ulrich Weiß. He is the co-founder of STARSHOT GmbH, a design company for sports products, now based in Munich. MAGMA created Type Foundry Volcano-Type.de and the internet forum Slanted.de. In the meantime, Slanted.de has become the most active German typography forum. Volcano Type offers commercial and some free typefaces: DigiBo (Boris Kahl), Objects (free ransom typeface by the house), MonoPoint and DoublePoint (monospace dot matrix families by the house), Amiga Normal and Rounded (pixel typefaces by Boris Kahl), Screeny, Pixel and C64 Style (pixel typefaces by Boris Kahl), Fette Pixel (pixel typeface by Florian Gärtner), Teckbo (digital typeface by Boris Kahl, who writes: Retro-Avant-Garde for Club-Flyer-Honks and Plastic-Pussy-Chicks), Psycho (grunge by Boris Kahl), Wald Ast (tree branch look by Sandra Augstein), Wald Blatt (tree leaf look by Tanja Rastätter), Rollerblind (a pair of dot matrix typefaces by Boris Kahl), Chaucer (uncial by Boris Kahl), Glossy (dot matrix typeface by Sandra Hofacker), Brüll (a funny frog dingbat typeface by Andre Rösler), Pax (a free peace symbol typeface by Heidrun Weißschädel and Alexander Kassel), Mud (free typeface by Boris Kahl). And these display typefaces by Florian Gärtner: Republic, Tacora. And finally the Fone 1 through 3 grunge typefaces by Florian Gärtner. The typefaces of Lars Harmsen (or co-designed by him) at Volcano:

    • African look typefaces: Masai
    • Athletic lettering: Sports (grungy, with Kahl), Sports Skinny.
    • Blackletter: Fraktape Duct, Fraktape Sticky, Fraktendon (=Fraktur+Clarendon, co-designed with Kahl), Trigot (2010, modular, semi-blackletter by Michael Hubner), Black Sirkka, Frakturbo, SAR-Lupe
    • Diabolo
    • Dingbats: Genocide (free). Mr. J. Smith Eye, Mr. J. Smith Head, Mr. J. Smith Mouth, Mr. J. Smith Nose, and Mr. J. Smith Wanted are experimental dingbat typefaces by Nikolaii Renger, based on an idea of Lars Harmsen, and digitized by Ulrich Weiss and Boris Kahl. These won an award at the 2005 FUSE competition.
    • Experimental: Sewed (2009, stitched letters), Cross Fourty, Cross Sixty, Cross Ten, Cross Thirty, Cross Twenty, Cross Ultra
    • Grunge: Basalt, Magneta, Punta Negra, Mrs. Tape Tape
    • Hand-drawn: B-Scratch (2009, Harmsen and Egger's take on sketched letters), Amebo, Diabolo, Keycaps, Kulli (curly), Oboni, Wawe, Tape One Bold, Tapemate Outline, Tapemate Regular, Tape One Bold
    • LED style: Digibeck (Boris Kahl, 2000: a DVD player font), Strichcode (a family co-designed with Kahl).
    • Kitchen tile typefaces: Bus, Bus PI, both done with Boris Kahl.
    • Oriental simulation: Japanese
    • Patriot family, done with Boris Kahl: Saddam, Commander Robot, Fidel, Slobbodan, Osama, George.
    • Ransom note face: Kriminal
    • Sans families: Copy (2009).

    Behance link. Klingspor link. Volcano Type link. MAGMA Brand Design link.

    Their bestsellers at MyFonts. View Volcano's complete typeface library. See also here and here. [Google] [MyFonts] [More]  ⦿

    Volkan Cenberoglu

    Creative director in Stuttgart, Germany, who established his Studio Volito in 1979. His typeface creations include The New Antique (2013, a straight-edged display font), and Crystal Wire (2013). [Google] [More]  ⦿

    Volker Busse
    [F25 Digital Typeface Design]

    [More]  ⦿

    Volker Küster

    Fonts of this German type designer (born in 1941) may be found at URW. He designed the Today Sans Serif family at Scangraphic from 1985-1988, as well as Neue Luthersche Fraktur (1983-1985, now available at Elsner+Flake; design based on a typeface from the Luther-Egenolffschen Schriftgiesserei, 1708). From 1984 until 1989, he was one of the main type designers at Scangraphic. Currently, he is a professor of typography at the University of Essen. In 2011, Ralph M. Unger created a signage face, Brocken, which he claims was inspired by Volker Küster's work from the 1960s. In 2015, Elsner & Flake published an update of Today Sans, Today Sans Now. [Google] [MyFonts] [More]  ⦿

    Volker Schnebel
    [Digital Type Company (DTC)]

    [MyFonts] [More]  ⦿

    Volkswagen

    Fonts used on Volkswagens: VolkswagenHeadline (Volkswagen AG, 1996), 911Porscha (Iconian), Qtypefont-Regular (Tom Nas, 1999), VAGRound, VAGRounded-Bold, VAGROUNDED-Thin, V-Dub (Ray Larabie, 1997). [Google] [More]  ⦿

    Vonquednow

    Vonquednow (Hamburg, Germany) created several typefaces in 2014, such as FV and Zeitgeist. In 2013, they designed XPO (a didone display typeface accompanied by a blackletter typeface). Behance link. [Google] [More]  ⦿

    vonquednow .com

    Hamburg, Germany-based designer of the medieval Mil Type Caps (2015). [Google] [More]  ⦿

    W. Bürenstein

    Creator of Bürenstein Antiqua (1913). [Google] [More]  ⦿

    W. Drugulin

    German foundry established in 1800 and based in Leipzig. It became Haag-Drugulin, as ATypI explains: The Offizin Haag-Drugulin has played a significant role in publishing, printing and literary history. Its origins can be traced back to the 18th Century. 1829, when Friedrich Nies from Offenbach acquired the printing workshop, is regarded as the year of its foundation. As early as 1831, Nies had attached a type foundry to the business, which he equipped with typefaces for setting Oriental languages. Since then, the printing workshop has always been a synonym for typographic diversity and quality. At the end of the 19th Century, it was even trying to take the place of the lavishly equipped state printing works in Vienna and Paris in the field of Oriental languages. In spite of these conditions, business did not always develop smoothly. After the First World War the interest for Oriental books waned. And people no longer had any money for lavishly designed books, once a speciality of the company. In 1928 the company merged with the Haag printing house, which had moved into the area, and it has traded as Offizin Haag-Drugulin since that time. Typefaces first developed at Offizin W. Drugulin include Ehmcke Fraktur (1910, F.H. Ehmcke) and this blackletter wood type. The type division was acquired by D. Stempel in 1919. Haag-Drugulin published Anwendungsproben der schönsten Drugulin Schriften erstes heft (1932) [see here].

    Hebrew typefaces in their collection include Hebraeisch II, Hebraeisch I, Maruba, Hebraeisch IV, Schreibschrift, and Rabbinische.

    The story of Drugulin was told by Peter Gericke and Wolfgang Hendlmeier in 1993: I, II, III, IV. [Google] [More]  ⦿

    W. Groß

    Designer at the Benjamin Krebs foundry who made Künstler Gotisch (1900). This typeface was digitized by Ralph Unger in 2007 at URW++ as Cranach Pro, and by Peter Wiegel as Kuenstler Gotisch in 2014. [Google] [More]  ⦿

    W. Zirndorfer

    Fürth-based foundry in the early part of the 19th century. [Google] [More]  ⦿

    Wadoku
    [Ulrich Apel]

    Wadoku is a German dictionary project, Japanese to and from German. Established in 2007 in Tübingen, it is now led by Thomas Latka in Munich. Ulrich Apel is involved. They produced a free kanji font called KanjiStrokeOrders (2006). Inside the KSO font, we learn that Ulrich Apel was the motor behind the font and the project. Tim Eyre turned the SVG data into a font. Alternate URL. [Google] [More]  ⦿

    Wagner&Schmidt

    German foundry establshed in 1888 by Theodor Robert Arthur Schmidt and Ludwig Wagner in Leipzig. In 1902, Ludwig Wagner quit and joins Gundelach&Ebersbach (first founded in 1897) also in Leipzig, and then opens his own foundry, Ludwig Wagner. Schmidt stops in 1932, while Otto Schmidt takes over--the company is now called Wagner&Schmidt Nachfolger. Otto Schmidt dies in 1941, and the company is dissolved in 1942.

    Wagner&Schmidt was responsible for such successful Fraktur typefaces such as Allemannia-Fraktur (see also Ludwig&Mayer, Frankfurt am Main, 1908), Deutschmeister (Berthold Wolpe; the date 1927 has been suggested), Fette Fraktur (well, their own version at least, dated 1875, with present day versions by that name at Adobe and Berthold. Imitations of Fette Fraktur: Fraktur Fett (Greenstreet), Baron&Berliner (Swfte), Bauble (SSi), Luftwaffe (WSI), F692 Blackletter (SoftMaker), Fraktur (SoftMaker)).

    They also made the art nouveau era text typeface Rekord Antiqua (1911: revived in 2020 by Ralph M. Unger as Rekord Antiqua), the upright semiscript Mirabelle (1926, which was digitized and extended by Nick Curtis as Anna Nicole NF (2007)), Donatello (1935), Kurmark (see also Norddeutsche Schriftgießerei, Berlin, 1934), Annonce Grotesque (1914; see also Ludlow), Amanda Ronde (1939; see Stephenson Blake) and Senta (1904).

    Under C.E. Weber in Stuttgart, we find these additional typefaces: Colonna Antiqua (1908), Druckhaus Antiqua (1919), Druckhaus Kursiv, Ekkehard (1903), Erika (1920), Margarete (before 1927), Orient Antiqua (1914), Parlements Fraktur (1908) and Progreß Reklameschrift.

    In 1936-1937 the company created the Bauhaus-inspired headline sans family Kristall Grotesk, which was digitally revived in Kristall H MfD Pro (2019, Elsner & Flake). [Google] [More]  ⦿

    Wahnfrid-Musik

    Heraldic, old German and Fraktur font archive. Has these fonts by Will Software: MA Bastarda1, MA GKursiv1, MA Gotic. Page by Mark-Oliver Konrad. [Google] [More]  ⦿

    Waldorf Fonts
    [Joachim Frank]

    Joachim Frank from Filderstadt, Germany, specializes in anthroposophical typefaces. His fonts include the Filirator (1998, a free linocut / wood print font at Dafont inspired by an old house font of an anthroposophical clinic in Germany), Waldorfduo, Waldorfitalic, Waldorf Outline, Waldorf Schmal, Waldorf Schrift, Waldorfshadow, and Lisa (a free handwriting font). The Waldorfschrift family was created in digital form in the years 1993-1994 by Joachim Frank, inspired by the naturally organic letters from the anthroposophical movement of the 20th century of Rudolf Steiner.

    Mike Diaz pointed out that Waldorfschrift is really really close to Ingrid Liche's FF Liant (1995) about which FontFont writes: In 1976 Ingrid Liche began designing Liant Medium for the packaging of the natural cosmetic company Weleda AG in Germany. Since then this typeface has defined the corporate identity of Weleda worldwide and because of this company's prestige, the look to the entire natural cosmetic and biologically oriented industry. Because of a split of opinions in the international company in 1994, the mother company in Switzerland decided to introduce a new house face; thereby giving up the brand name recognition that had been established over twenty years... Because of the turn in events and since Liche still owned the rights to Liant, she decided to distribute the typeface exclusively over FontShop International. She re-digitized the font, adding several ligatures and expanding the typeface to a three weight family. The most noticable characteristic of the font is its lively lines, the forms for which are taken from nature. Within the individual characters there is an exchange of sinking and rising points, which are connected by taut curves.

    Typefaces from 2021: Wouldkat (a woodcut font inspired by an old house font of an anthroposophical hospital in Germany; soon after its release removed and renamed to Filirator).

    Typefaces from 2022: Skinni (high-waisted and hand-crafted, appropriate for Giacometti statues), Lui (a wide anthroposophic font), Zumbo (hand-crafted letters with an African theme), Lakrits (a primitive hand-printed font influenced by the LogosNazhdag font), Suki (emulating a children's hand). [Google] [MyFonts] [More]  ⦿

    Walter Baum

    German type designer, born in 1921 in Gummersbach. Head of the Bauer graphics studio from 1949-1972. From 1972 until 1986, he led the Kunstschule Westend in Frankfurt. He died in 2007 in Bad Soden.

    Together with Konrad F. Bauer, he designed the Akzidenz Grotesk-like sans serif typeface Folio (1957-1965; see digital revivals Folio EF by Elsner & Flake (condensed styles only), Folio by URW++ (the largest of the sets of revivals), Folio by Adobe, Folio by Linotype, Folio by Tilde, Folio SB by Scangraphic, Folio B EF by Elsner & Flake, and Folio by Bitstream), as well as Caravelle (1957), Alpha (1954, a comic book style face), Beta (1954, another comic book style face; both Alpha and Beta designed with K.F. Bauer), Imprimatur (1952-1955, a narrow roman done with K.F. Bauer at Bauersche; also called Horizon; for digital revivals, see I772 Roman by SoftMaker, and Gmuender Antiqua Pro (2015) by Ralph M. Unger), Impressum (1963), Volta (1956), and Verdi (1957, a shadow caps face) for the Bauersche Giesserei in Frankfurt am Main.

    Klingspor link. Linotype link. FontShop link.

    View digital typefaces that can be traced back to Baum. View digital typefaces based on Walter Baum's work. Digital versions of Folio. [Google] [MyFonts] [More]  ⦿

    Walter Brudi

    German type designer, (b. Stuttgart, 1907, d. Stuttgart, 1987), book designer, calligrapher, illustrator and stamp designer. From 1949 until 1973, he was professor of typography at the Staatlichen Akademie der bildenden Künste in Stuttgart.

    He created Orbis (1953, a shadow typeface) and Pan (1954) at D. Stempel, and Brudi Mediaeval (Berthold, 1953-1954, a Garalde typeface with thin unbracketed serifs), as well as Brudi Kursiv.

    Digital revivals include Ari Rafaeli's Pan AR (2010) and Ralph M. Ungers Orbis Pro (2016). Klingspor link. [Google] [MyFonts] [More]  ⦿

    Walter Buhe

    German type designer (1882-1958) who created Buhe-Fraktur (1914, D. Stempel). For a digital revival, see Dequindre (2015, Alex Jacque). [Google] [More]  ⦿

    Walter Entenmann

    Creator of a free metafont set called Schulschriften (2012). These are historical German school fonts. This package comes with TeX and Latex tools and pre-coded lined pages. There are many fonts, upright and tilted, categorized as follows:

    • SU (font wesu), for Sütterlinschrift. The Prussian Ministry of Education asked Ludwig Sütterlin (1865-1917) in 1911 to develop a school font that would replace the obsolete Kurrentschrift (Kanzleischrift). This script was used in Prussia from 1915 onwards, and in all of Germany from 1935 on. It was banned by the Schrifterlass decree of 1941.
    • DN (font wedn), for Deutsche Normalschrift. Promoted in Germany in 1941 when blackletter was banned by the German government. It was in use in German schools until 1953.
    • LA (font wela), for Lateinische Ausgangsschrift. A new script introduced in German schools in 1953.
    • SAS (font wesas), for Schulausgangsschrift. Introduced in the DDR [i.e., the old East Germany] in 1968, and still in use today in ex-East Germany.
    • VA (font weva), for Vereinfachte Ausgangsschrift. Introduced in the BDR [i.e., West Germany] in 1972, based on Lateinischen Ausgangsschrift, but simpler.

    Author of Schulschriften---von Sütterlin bis heute. Die TEXnische Komödie, vol. 24 (2012) 4, 12--41. [Google] [More]  ⦿

    Walter Ferdinand Kemper

    German type designer (b. 1904, Neuenhaus, d. 1944, France) who was associated with Ludwig&Mayer. His typefaces include the humanist sans serif Colonia (Ludwig&Mayer, 1938-1939), which was revived in 2006 by Ari Rafaeli.

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

    Walter Florenz Brendel
    [TypeShop Collection]

    [MyFonts] [More]  ⦿

    Walter Gropius
    [Bauhaus School]

    [More]  ⦿

    Walter H. Cunz

    Director of Stempel, which he joined in 1898, and the Trajanus Press. He shaped the growth of the Stempel and Linotype library after the war and during the advent of photocomposition. Son of Wilhelm Cunz (1869-1951) who was one of the original shareholders in D. Stempel AG, and brother-in-law of its founder, David Stempel (1869-1927). [Google] [MyFonts] [More]  ⦿

    Walter Heberling

    German handletterer who wrote Basic Lettering, and elements of composition, color harmony, gilding, embossing-processes (1922). Mike Jackson writes: W.A. Heberling was the instructor of Sign, Scene, and Pictorial Painting at the Mooseheart Vocational Institute in Mooseheart, IL. This book was also used as a textbook, taking beginners through the basics right up to painted pictorial billboards.

    His work from 1925 inspired Nick Curtis to digitize Fortune Cookie (2007) and Eulalie NF (2009). Heberling Casual NF (2002, Nick Curtis) is based on a single-stroke pen font from Heberling's 1922 book. All these fonts are quirky and almost Victorian. [Google] [MyFonts] [More]  ⦿

    Walter Höhnisch

    Type designer born in Dresden in 1906, who lives in Lehre-Flechtorf near Braunschweig. He studied under Rudolf Koch in Offenbach in 1927 and worked at the Ludwig&Mayer Type Foundry as type designer from 1930-1971. His typefaces:

    • Antiqua die Schlanke (1938-1939), a modern family. Has Halbfett (1936), Fett (1938), Kursiv (1939).
    • Candida Italic (Kursiv, Kursiv fett) (1937: an italic to accompany Erbar's Candida from 1936), Candida Schmalmager (1957). Digital versions by Bitstream, URW, Tilde, Scangraphic, Elsner&Flake, Monotype, Adobe, Paratype and Linotype.
    • Express (1957): a brush typeface extended to Cyrillic in 2002 by Natalya Vasilyeva).
    • Fette National (1934). This Schaftstiefelgrotesk or Gotische Grotesk wasmade in stages: National (1934), National schräg (1937), National Werk-Garnitur (1938), National halbfett (1934), National fett (1934), National schmalmager (1937), National schmalhalbfett (1933), National licht (1935). For a digital revival, see Christoph Schwedhelm's Fette National (2013) and Peter Wiegel's Fette National Fraktur (2015).
    • Hallo Kursiv (1959, Ludwig&Mayer).
    • National (1933-1934, Ludwig&Mayer). This Schaftstiefelgrotesk or Gotische Grotesk was made in stages: National (1934), National schräg (1937), National Werk-Garnitur (1938), National halbfett (1934), National fett (1934), National schmalmager (1937), National schmalhalbfett (1933), National licht (1935). Gotisch-National Werkschsrift (1934). For a digital revival, see Christoph Schwedhelm's Fette National (2013).
    • Skizze (1935; aka Sketch?): this script was done at Ludwig&Mayer. For digital revivals, see, e.g., RMU Skizze (2021, Ralph M. Unger).
    • Slender (1939).
    • Stop (1939): a fat brush face. Revived in 2017 by Peter Wiegel as Halt.
    • Tempo (1930).
    • [Deutsche] Werbeschrift (1933). A script in the style of the school scripts Sütterlin and Kurrent. Revived in 2020-2021 by Lewis McGuffie as Jooks Script.
    Klingspor link. Linotype page. [Google] [MyFonts] [More]  ⦿

    Walter Jakobs

    Type designer (b. 1891) who headed the Höheren Fachschule für das graphische Gewerbe in Stuttgart starting in 1935. Designer at C. E. Weber of the blackletter typefaces Chronika (1936, J.D. Trennert&Sohn; fett and licht followed in 1938 and 1939) and Verzierte Chronika (1937, C.E. Weber). Sometimes the last name is spelled Jacobs. [Google] [More]  ⦿

    Walter Plata

    German author of Google] [More]  ⦿

    Walter Schmidt
    [Euler-VM]

    [More]  ⦿

    Walter Schmidt

    Erlangen, Germany-based metafont and TeX specialist who has designed numerous font packages and developed many others. His work is always free and he has provided the TeX community invaluable typeface support. A list of his work:

    • Based on Euler and CM, he also developed the Euler math fonts (2001). Also called Euler-VM.
    • mathpple defines the type 1 font family "Palatino" (ppl) as the default roman font and use the "mathpple" fonts for typesetting math with LaTeX.
    • ECC, or European Concrete Computer Modern: a metafont implementation of Donald Knuth's Concrete fonts, providing T1 text fonts and TS1 text companion fonts.
    • Codeveloper with Malte Rosenau of the Bera fonts, based on Bitstream's vera family.
    • Extensions of some of the free URW fonts. For example, Walter Schmidt extended URW Palladio L in his FPL Neu package. He has also worked on URW Letter Gothic and URW Garamond No. 3.
    • Creator of cmbright, a family of sans serif metafonts based on Donald Knuth's CM font. It is lighter and less obtrusive than CMSS. Together with CM Bright there comes a family of typewriter fonts, CM Typwewriter Light, which look better in combination with CM Bright than the CMTT fonts would do.
    • Designer of the free font Augie, a type1 font simulating informal American style handwriting (2000), based on an earlier font called Augie by Steven J. Lundeen (1997).
    [Google] [More]  ⦿

    Walter Schmidt
    [European Concrete family]

    [More]  ⦿

    Walter Schmidt
    [cmbright: Computer Modern Bright]

    [More]  ⦿

    Walter Schneider

    German type designer. Designer of Rotunda (1948, Johannes Presse; with Hans Vollenweider; based on the 15th century type Rotunda). [Google] [More]  ⦿

    Walter Stähle

    German professor who created Staehle Graffia LT in the 1960s. This vigorous handwritten typeface appeared in digital form in 2003, and comes in Regular and Script styles. At the Ernst Engel Privatpresse, later called the Ernst Engel Presse Walter Stähle, located in Meersburg, he designed Holzbuchstabenschrift in 1964.

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

    Walter Tiemann

    Famous German type designer, b. Delitzsch, 1876, d. Leipzig, 1951, who was active at Klingspor. He studied painting at the art academy in Leipzig. In 1898, Tiemann started working for various publishers, including S. Fischer, Reclam and Rütten&Loening. In 1903, he took up teaching at the Staatliche Akademie für Graphische Künste in Leipzig, where Jan Tschichold was one of his students [he was director of that school from 1920-1941 and from 1945-1946]. In 1907, Tiemann founded the Janus Presse with C. E. Poeschel. In 1946, he was awarded an honorary doctorate. Poster for BUGRA in 1914. Picture. Publications:

    • Georg Kurt Schauer Walter Tiemann. Ein Vermächtnis, Offenbach 1953.
    • Biography by Wolfgang Neuloh (1971, Die deutsche Schrift, volume 42): 1 2 3 4 5.
    • Biography by Wolfgang Neuloh (1981, Die deutsche Schrift, volume .--65): 1 2 3 4 5 6 7 8..
    • Biography by Harald Suess (2001, Die deutsche Schrift): 1 2 3.

    Designer at Klingspor of these typefaces:

    • Daphnis (1929). Digital revival by Ralph M. Unger in 2016 as Daphnis.
    • Fichte Fraktur (1934-1939). This was originally called Hindenburg Fraktur. Revivals by Ralph M. Unger (as Fichte Fraktur, 2020), Delbanco (as DS Fichte Fraktur) and Gerhard Helzel (as Fichte Fraktur).
    • Kleist Fraktur (1928). Kleist Fraktur was revived by Dieter Steffmann in 2002 as Kleist Fraktur and by Delbanco as DS Kleist Fraktur. Ralph Unger's version from 2010 is simply called Kleist Fraktur.
    • Narziss (1921), based in part on earlier types of Pierre-Simon Fournier. The Font Bureau font Narcissus (1995) was based on this work. Further digitizations include Narziss (2018, Ralph M. Unger), and Narcissus SG (Open and Solid) (Jim Spiece).
    • Janus-Pressen-Schrift (with C. E. Poeschel, 1906). Note: he founded the Janus Presse with C. E. Poeschel in 1907.
    • Tiemann-Medieval (1909).
    • Mediaeval Kursiv (1911).
    • Tiemann Fraktur (1914).
    • Tiemann-Antiqua (1923-1926). Available from Linotype.
    • Tiemann-Gotisch (1924).
    • Orpheus (1926-1928, Klingspor). This refined and elegant roman family languished for many years until its grand digital revival in 2011 by Patrick Griffin and Kevin Allan King at Canada Type, called Orpheus Pro.
    • Euphorion (1935-1936). This was the italic of Orpheus. It too was revived digitally at Canada Type in their Orpheus Pro package.
    • Offizin (1952).
    • Peter-Schlemihl-Schrift (1914). Also called Lichte Tiemann Fraktur. Revived by Dieter Steffmann in 2002, and by Ralph M. Unger for Profonts as Peter Schlemihl in 2008.

    Linotype link, FontShop link. Klingspor link.

    View some digital typefaces that are based on the work of Walter Tiemann. [Google] [MyFonts] [More]  ⦿

    Walter Viet

    Head of the printing lab (Setzerei-Werkstatt) from 1919-1950 at the Akademie der bildenden Künste Stuttgart. Creator of Veit Antiqua. [Google] [More]  ⦿

    Walter Wege

    German cartographer (b. Berlin, 1894, d. 1972, Berlin) who worked at AEG (Berlin) in the 1920s and then at Adrema Maschinenbaugesellschaft (Berlin) until 1937. He was an independent designer from 1937 onwards. At Berthold AG he designed these typefaces:

    • The comic book / signage style typeface Script Signal (1932).
    • Signal (1931) and its bold version, Block Signal (1932).
    • Deutsch-Signal (1934). A German school script.

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

    Walther Schnippering

    Designer at Schriftguss AG of these typefaces:

    • Aktuell (or: Penflow, 1935). An ugly informal script.
    • Schreibedeutsch (1934), in Leicht and Kräftig styles. A German educational handwriting typeface.
    • Pentape (or: Originell; 1935). An equally ugly inline script.

    Also written Walter Schnippering.

    Digital versions: Aktuell is similar to the digital typefaces Athletic Script, Sport Script and Spoleto (Novel Fonts). [Google] [More]  ⦿

    Wannabe

    German designer of the hand-printed typeface Wannabe (2012). [Google] [More]  ⦿

    Warema

    A mysterious URW staff font family in 8 styles published by them in 2012. It seems to be made for exclusive use by Warema Renkhoff. What, who, how? Help! We also find Warema Nimbus (2017) at the URW site. [Google] [More]  ⦿

    Warren Chappell

    Born in Richmond, VA, 1904, d. Charlottesville, VA, 1991. Typographer, illustrator, letterer, and type designer. He made two type families:

    • Trajanus (1939-1940, for Stempel). McGrew on Trajanus: Trajanus was designed by Warren Chappell, New York illustrator and letterer, in 1939, and cast by Stempel in Germany. It has the basic form of classic Venetian letters, but with a nervous, pen-drawn, contemporary quality. Ascenders are fairly long but descenders are short. The narrow italic lowercase shows a calligraphic quality in particular. There is an extra little flick of the pen at the end of crossbars of f and t; caps M and N have no serifs on their apexes; and cap U is lowercase in form. Trajanus is named for the Roman emperor whose accomplishments are immortalized in classic letters on the Trajan column. The three versions are also made by German Linotype, but have not received much attention in America. For revivals, see Tribunus SG by Jim Spiece and Linotype Trajanus (probably close to the original design as Linotype absorbed Stempel).
    • Lydian (1938, ATF) and Lydian Cursive (1940). McGrew writes: The Lydian series is a brilliant and popular calligraphic style designed by Warren Chappell for ATF. The lighter weight and italic were designed in 1938; bold and italic in 1939. They have the appearance of being lettered with a broad pen held at a 45-degree angle, but the ends of vertical strokes are square, improving legibility and stability. This is probably the most popular thick-and-thin serifless letter of American origin, though the concept is more popular in Europe. Oldstyle figures were made for these four Lydians, but were fonted separately and very rarely used. These four typefaces were copied by Intertype in an unusually large range of sizes for a slug machine, and from these matrices some suppliers cast fonts of type for handsetting. Lydian is named for the designer's wife, Lydia. Compare Czarin, Stellar, Radiant, Optima, Samson, Valiant. Lydian Cursive was drawn by the same designer in 1940. Although it gives the appearance of having been drawn with the same sort of pen as the regular series, it is much freer and more calligraphic, with a style unmatched by any other American script or cursive face. Lydian Bold Condensed was designed in 1946, also by Chappell, but not marketed until 1949. It has the general character of the earlier typefaces, but with much more emphasis on the vertical strokes. This gives the lowercase a suggestion of the effect of a simplified German blackletter. Digital versions:
      • Lydian and Lydian Cursive by Bitstream. The early versions of Lydian and Lydian Cursive were called Granite, Lisbon, Granite Cursive and Lisbon Cursive.
      • Lydian and Lydian Cursive by Tilde. These are identical to the Bitstream fonts.
      • Monotype Lydian.
      • Manofa (2018, Mariya Pigoulevskaya for The Northern Block). This bold family was inspired by Lydian.
      • MPI Sardis (2013). By mpressinteractive. Inspired by Lydian.
      • Beorcana Pro (2006, Carl Crossgrove). A distant relative of Lydian.
      • Libris ADF. A free family by Arkandis.
      • Lydia Bold Condensed (2013, Benjamin Critton).
      • OPTI Lydian Cursive (Castcraft).

      Chappell studied under Koch in 1931-1932 and worked briefly for him afterwards. This page states that he designed a font called Eichenauer (for Gustav Eichenauer, who cut the type in lead) in 1955, but it was never manufactured and released. This face, tentatively named Eichenauer, was shown in Chappell's book A Short History of the Printed Word.

      Klingspor file on him (PDF). FontShop link.

      View Warren Chappell's typefaces. [Google] [MyFonts] [More]  ⦿

    We Love Rain
    [Vasileios Synanidis]

    Berlin-based art director (at Rain Studios, or We Love Rain, his own studio) who created the scary brush font Phobos (2013) for Latin and Greek. In 2014, he published the equally frightening Dark Grime. Pharaos (2014) is an alchemic enigmatic typeface. Zen (2014) is entirely experimental. Pentel (2014) is a delicious fat brush family, while Rough (2014) is a rougher fat brush typeface.

    Behance link for We Love Rain. [Google] [More]  ⦿

    Web font hosting services
    [Sylvia Egger]

    Sylvia Egger compares 13 web font hosting services: Google fonts, Fontdeck, FontsLive, Fonts.com (Monotype), Typekit, WebINK, Webtype, Just Another Foundry, Typonine, Typotheque, Kernest, FontServe, TypeFont. [Google] [More]  ⦿

    WebSchrift

    German/Austrian on-line mag related to typography on the web. Edited by Wolfgang Schimmel, it has some nice discussions. [Google] [More]  ⦿

    Weidmüller

    A corporate URW studio sans family published in 2012. The six-font family sells for over 4000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More]  ⦿

    Weinblum & Stahl GmbH

    Design studio in Berlin and London run by Ani Weinbaum and Nina Stahl. Their typefaces include these:

    • Tape (2015). A straight-edged typeface done for a concept music festival in Berlin.
    • Bialik (2015, for Hebrew). Based on the Bauhaus principles of contrast, abstraction and geometry, Bialik is a clear, modern and highly readable typeface. The font takes its name from Bialik Street, a key thoroughfare in Tel Aviv, designated a UNESCO World Heritage Cultural site for having the largest number of Bauhaus style structures anywhere in the world.
    Behance link. [Google] [More]  ⦿

    Weißensee Kunsthochschule Berlin

    At the Academy of Fine and Applied Arts Berlin-Weißlensee, one can obtain undergraduate and Masters level degrees in Visual Communication. The professors include Wim Westerveld. Visiting staff includes Lucas de Groot. There are type design courses in the programs. [Google] [More]  ⦿

    Weltfremd
    [Malwin Béla Hürkey]

    Malwin Béla Hürkey (b. 1989, Mainz, Germany) is a Wiesbaden, Germany-based graphic designer, photographer and also the founder of Weltfremd (est. 2010). He studied at University of Art and Design Offenbach, Bauhaus University Weimar, and University of Applied Sciences Wiesbaden.

    Malwin created Mars (2011, an ultra-fat octagonal face) and Merkur (2011, a triangulated face). Initially, the fonts were free, but in 2011, they became commercial.

    In 2014, while studying at HfG Offenbach, Malwin designed the Japanese Inkan seal-themed typeface Nihon. This vertical order typeface has over 30,000 ligatures to make the characters fully interlocking.

    Inspired by the pioneering prefab architecture of Ernst May in Siedlung Römerstadt, Germany, Malwin created the anthroposophic typeface Bautype in 2015. Bautype is a geometric sans-serife with a humanist touch, suitable headlines and simple text.

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

    Werner Brand

    Blackletter type designer: Standarte (1934, J.G.Schelter&Giesecke). [Google] [More]  ⦿

    Werner Breker

    German type designer, 1904-1980. [Google] [More]  ⦿

    Werner Bunz

    Born in 1926. Studied at the Academy in Stuttgart with F.H.E. Schneidler. Became Professor at the Hochschule in Hamburg, where he headed the type department. [Google] [More]  ⦿

    Werner Gensmantel

    Designer of BMWPictos (1992-1995) at COI GmbH, Herzogenaurach. [Google] [More]  ⦿

    Werner J. Wolff

    Musician Werner J. Wolff founded Notengrafik Berlin / Wolff & Okrzeja GbR in 2001, and runs it together with Andrew Okrzeja. The company specializes in contemporary music and offers engraving and related digital services to opera houses, music publishers and composers throughout Europe. Speaker at ATypI 2013 in Amsterdam.

    The abstract of his talk in Amsterdam, entitled Making Notes: The Art of Musical Print Punctus contra punctum Typography in music notation Counterpoint has been a predominant compositional principle in music for centuries. In this talk I will expand about music notation, from the first examples of printed music in the 15th century to the latest computer software, showing the development of tools and techniques used in the evolution of musical type. The printing of musical scores has always been a unique craft, one which is much more involved than the printing of text. For that reason, it has taken another 50 years or so after Gutenberg's invention, before the Venetian music printers were able to set professional standards. In the 18th century, the Leipzig-based typographer Breitkopf (creator of Breitkopf-Fraktur) refined the use of movable type by breaking down all musical symbols into their smallest components. However, this technique was still incapable of fulfilling the needs of composers and professional musicians. Plate engraving, both on copper and on pewter, was explored for that purpose, but again it was type that eventually took the lead. In the 1730s, John Walsh in London was able to establish a technique used for almost 250 years thereafter: most of the elements created in music engraving are not drawn but punched (The Greek tupos also means punch) into the metal plate. During the second half of the 20th century various type-based methods, like Letraset and stencils, were explored, until digital music typesetting became standard. Although nowadays fewer than twenty music-fonts are used professionally, there is still a demand for the development of new glyphs. Some 1000 symbols are known, yet the vast majority of them are rarely used. For contemporary music, as well as for music from the pre-printing era, these are still not enough. [Google] [More]  ⦿

    Werner Rebhuhn

    Designer at Genzsch&Heyse (1922-2001), who made these typefaces:

    • Fox (1953-1955). A heavy and quite ugly brush script. Fox was revived in 2007 by Ralph M. Unger at Profonts / URW++ as Fox. See also the digital revival by Thomas E. Harvey called Swashett (1993).
    • Hobby (1955-1956). A casual heavy font. Hobby was revived in 2007 by Nick Curtis as Amper Sans NF (2007).

    There is confusion about the first name. Schnelle, Klingspor and Profonts / URW++ say it is Werner, not Walter, while Linotype sticks with Walter. [Google] [MyFonts] [More]  ⦿

    Werner Schneider

    German scribe, type designer and calligrapher, born in Marburg in 1933 or 1935, who studied under Friedrich Poppl at the Werkkunstschule in Wiesbaden from 1954 to 1958, where he started teaching in 1959. He became a professor at the Fachhochschule Wiesbaden in 1973.

    He designed Medita (1979), Sublima (1981), Schneider-Antiqua (1987, Berthold) and Schneider Libretto BQ (1995, Berthold: a didone family).

    In 1988, he made "Euro Type" for the German Federal Transportation Ministry in order to optimize the legibility of and standardize transportation typefaces.

    In 2002, in cooperation with Helmut Ness, this family evolved into the 22-weight and 14-dingbat signage family Linotype Vialog and Vialog LT Signs (mainly arrows), which is now used in the subway system of Munich.

    In 2003, he created the Senatus family (Berthold), after Roman inscriptions.

    In 2006, he designed the calligraphic family Sunetta.

    In 2007, he published the text type system Satero Sans and Satero Serif at Linotype.

    The Aeneas font family by Tiro Typeworks (1994) is based on his work.

    Linotype bio. FontShop link. Klingspor link.

    View Werner Schneider's typefaces. [Google] [MyFonts] [More]  ⦿

    Werner Schulze

    Type designer, b. Dessau, 1937. After studies at Fachschule für angewandte Kunst, Berlin, he became graphic designer. At Typoart, the East German foundry, he published the art nouveau typeface Eckmann (1961), a phototype created after the original by Otto Eckmann. Still at Typoart, he published the Timeless family (think Times Roman). Timeless is now available from Elsner & Flake, from URW++, and from Ralph Unger (as Korpus Serif Pro, 2021). Finally, he also made Garamond No. 4 Cyrillic (now a URW typeface) and Prillwitz Antiqua (1971-1987, with Albert Kapr). [Google] [More]  ⦿

    Weygel's Menschenalphabet
    [Martin Weygel]

    Bavarian creator of an alphabet in 1560 (etched in wood) in Augsburg (Germany), but basically a copy of Peter Flötner's Menschenalphabet of 1534. The alphabet shows letters composed of human figures. A digitization was done in 2007 by Paulo W at Intellecta Design: Silvestre Weygel. Character did another one, Weygel Bodies (2006). [Google] [More]  ⦿

    Wiebke Höljes

    German designer of Linotype Cadavre Exquis (1997), a bewitched face. Author of "Type Style Mixer" (London/Amsterdam, 2001). [Google] [More]  ⦿

    Wiescher Design
    [Gert Wiescher]

    Gert Wiescher was born in Braunsbach am Kocher, Germany, in 1944. Based in München, Gerd Wiescher designed many classy and classic Bodoni families, as well as New Yorker Type (1985). All of his typefaces are carefully fine-tuned and balanced. Wiescher founded first Munich Type and then Wiescher Design and Autographis. He is known as a hard, fast and prolific worker. His exquisite typefaces can be bought at MyFonts. Catalog of his bestselling typefaces. Interview in 2008. Wikipedia page. Creative Market link. List of typefaces:

    • Scripts: Prima Script (2017: for menus and cookbooks), Marmelade (2015, +Fruits, a set of dingbats), Triana (2014, a thin monoline penmanship script named after a Spanish sailor on the Pinta who in 1492 was the first to see America---in this case the Bahamas), Floral Script (2014, copperplate style script), Sherlock Script (2014: this comes with Sherlock Stuff (fingerprints) and Sherlock Stuff Dots (ink stains)), Felicita (2013, a swashy copperplate script), Vividangelo (2013, after the handwriting of a real person), Dreamline (2013, connected monoline cursive wedding scripts in A, B and C styles), Fiorentina (2012, a renaissance style script with 650 characters), Excelsia Pro (2012), Delicia Pro (2012, a fat brushy signage script), Nono (2011, formal swashy calligraphic family), Dyane (2011), Penn (2011), Lettera (2011, hand-drawn formal face), Tosca (2010, a high-contrast calligraphic typeface with 730 glyphs), Grandcafe (2010), Loulou (2010, curly and of extreme contrast), Schoolblock (2010, hand-printed school font), Grandezza (2010, calligraphic family; +Xtra), Sixtra (2010, a curly didone script), English Script (2010, classic Spencerian calligraphic script), Savage Initials (2009), Morning News (2009), Revolte (2009, a brush script for demonstration signs), Estelle (2009), Scriptofino (2008, 4 calligraphic styles to give Zapfino a run for its money), Exprima (2008), Daiquiri (2008), Lisa Bella, Lisa Fiore and Lisa Piu (2008, connected and calligraphic), Tati (2008), Movie Script (2007), Cake Script (2007), Eddy (2007, grungy calligraphy), Pointino (2007), Bohemio (2007, a great oriental-brush script), Artegio (2007, two calligraphic scripts), Xylo (2006, in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer), Tamara (2005, art-deco script based on some initials for Semplicita made in the 1930s by the Nebiolo foundry), Tecon, Ellida (2005, inspired by the elaborate scripts of 18th-century English calligrapher George Bickham, with additional influences from 19th-century American calligrapher Platt Rogers Spencer), Eloise (2009, a high-contrast version of Ellida), Nadine Script (2005, an elegant script inspired by a set of initials the French designer and artist Bernard Naudin drew for Deberny&Peignot in the 1920s), Royal Classic (2005, unbelievable script based on a design that has initially been comissioned by King Ludwig I of Bavaria for in-house-use), DesignerScript, Filzer Script (1995, handwriting), Futuramano-Condensed-Bold, Futuramano-Condensed, Futuramano-Plain, Futuramano-Thin, Giambattista, Scriptissimo-Plain, Scriptissimo-Forte, Scriptissimo-Swirls, Squickt (1989), Konstantin A, B and C (2005), Konstantin Forte (2005), MyScript, GrocersScript, Swanson (2006). Scriptissimo (2004) has versions named Start, Middle and End, tweaked for their position in the word, and there are plenty of ligatures. Check also Bodoni Classic Chancery (2007) and Bodonian Script (2012).
    • Sans: Brute Sans (2018), Xpress (2018), Xpress Rounded (2019), Classic Sans (2017, a revival of Theinhardt Grotesk), Classic Sans Rounded (2017), Maxi (2017), Nic (2017), Azur (a large almost geometric sans famly with 1950s Roger Excoffon-style French flavours, called a Medterranean grotesk by Wiescher himself), Royal Sans (2017, after Theinhardt's Royal Grotesk---the forerunner of Akzidenz Grotesk--- from 1880), Docu (2016, a workhorse elliptical sans family), Viata (inspired by Bauhaus), Noticia (2016, in the Bauhaus tradition, with very pointy v and w, and a bipartite k; not to be confused with the 2011 Google Web Font Noticia Text by José Solé; followed in 2019 by Noticia Rounded), Avea (2015), Aramis, Nota Bene (2015: squarish, narrow, technical), Nota (2015, technical and cold: the rounded version, Nota Rounded, followed in 2019), Dylan Condensed (2014), Dylan Copperplate (2014), Supra (2013, grotesk: Supra Thin is free. See also Supra Condensed (2013), Supra Mezzo (2013, between regular and condensed), Supra Extended (2013), Supra Rounded (2015), Supra Classic (2014), and Supra Demiserif (2013, slab serif derived from Supra)), Dylan (geometric sans), Franklin Gothic Raw (2013, like Franklin Gothic but with raw, not rough, outlines, only visible at very large sizes), Blitz (2012, a flared family), Blitz Condensed (2012), Contra Sans (2011, which led to Contra Slab, Contra Condensed and Contra Flare), Vedo (2011, a Bauhaus style family that include a hairline weight), Germania (2011, a useful and beautiful monoline sans family), Geometa (2011, +Rounded, +Rounded Deco, +Deco: all based initially on Renner's Futura), Geometra Rounded (2011, a rounded family based on Futura and "much less boring than DIN"), Bombelli (2010, ultra-wide architect's hand), Bluenote Demi (2010, a grungy Franklin Gothic Condensed), Perfect Sketch (2010, sketched grotesque), Unita (2009), Antea (2009), Eterna (2009, sans with a swing), Pura (2008, an uncomplicated grotesk family), Purissima (2010, a decorated extension of Pura; +Bold), Copperplate Gothic Hand (2009, after a 1901 design by Goudy), Copperplate Alt (2011), Copperplate Wide (2011), FranklinGothicHandDemi (+Shadow), Franklin GothicHandCond (2009), Franklin Gothic Condensed Shadow Hand (2010), and Franklin Gothic Hand Light (2009, a hand-drawn version of Franklin Gothic), Papas (2005, sturdy, slightly curly), Julienne (2005, a condensed sans family; see the new versions Moanin and Julienne Piu, 2017), Cassandra (1996, an art deco style after Adolphe Mouron Cassandre), Futura Classic (2006), Cassandra Plus (2012), Ela Sans (2005, a large family), Mondial-Bold (2004), Mondial-Demi, Mondial-Light, Mondial-Medium, Mondial-Normal, Mondial-XBold, Monem-Bold, Monem-Medium, Monem-Normal, Monem-Roman.
    • Serif: Imperia (2011, a Trajan column caps face), Monogramma (2012, a Trajan family for monograms), Imperium (2005, a precursor of Imperia with a Relief shadow style included), Hard Times (2011), Fat Times (2011, retraced Times), Elegia (2011, slightly Victorian family), Breathless (2010, a spiky family, inspired by nouvelle vague movie posters), Bodoni Classic 1, Bodoni Classic 2, Bodoni Classic 3, BodoniClassic-Condensed, BodoniClassic-Handdrawn, BodoniClassic-Swashes, BodoniClassic-Text, Bodoni Classic Deco, Bodoni Classic Swirls (2009), Bodoni Classic Pro (2011), Bodoni Classic Inline (2012), Bodoni Classic Fleurs (2014, ornamental caps), Bodoni Comedia (2010, one of my favorites: a funny "live one day at a time" curly Bodoni cocktail), Bodoni Classic Swing (2010), Bodoni Classic Free Style (2010, curly), Bodoni Classic Ultra (2010), La Bodoni Plain (+Italic, 2008), Take Five (2005, a jazzy take on Bodoni Classic), DonnaBodoniAa, DonnaBodoniBe, and DonnaBodoniCe (three scripts named after Bodoni's wife, Margharita dell'Aglio, who published his complete works, the Manuale Tipografico, in 1818, five years after his death), Edito, Robusta. A great series, some of which were originally published at Fontshop, see, e.g., FFBodoniClassic (1994). MyFonts: When the first of Wiescher’s Bodoni Classic fonts came out in the 1993, there was nothing like it. Up to then, virtually all Bodoni revivals had been given clear-cut forms and square serifs. But Bodoni’s originals from the late 1800s were never as straight and simplistic as is often assumed: they had rounded serifs and slightly concave feet. Wiescher digitized a wide range of Bodoni letterforms, including a wonderful script-like family called Chancery and a nice series of Initials. Having accomplished his mission twelve years later, he began making personal additions to the family, such as the more decorative Bodoni Classic Swashes. Recently a useful little family was added to the clan: LaBodoni is sturdier and less optically delicate than most Bodonis, and therefore more usable as a text face. Wiescher made Metra Serif (2009), Principe (2008) and Paillas (2009). Prince (2009) is a curlified didone.
    • Romain du roi: In 2008, Wiescher designed the two-style Royal Romain, which is based on the Romain du Roi of Philippe Grandjean, which was completed in 1745 after Grandjean's death by Grandjean's successor Jean Alexandre and Louis Luce. Wiescher: The Romain du Roi was for the exclusive use of the Louis XIV. It was never sold or given to any other king or government. The king of Sweden tried to scrounge a set, but the king refused. This font is the basic design for such famous fonts as the Fournier and Bodoni. Just so the Romain du Roi doesn't get lost in the digital turmoil I set out to redesign it in 2004 and finished now in early 2008. I did a lot of research in France's National Library. A good excuse to visit Paris is always welcome!!!
    • Engravers: Dylan Copperplate (2014), Cavaliere (2010), Guilloche A (2009), Guilloche B (2013, op-art borders), CopperplateClassic-Plain, CopperplateClassic-Round, CopperplateClassic-Sans, Copperplate Classic Light Floral (2009), Cimiez-Bold, Cimiez-Roman (2004), Ela-Demiserif, Ela-Sans (2004), Eleganza (2008).
    • Blackletter/Fraktur: Renais (2011, renaissance initials), Flipflop (2011), Fraktura and Fraktura Plus (2008), Royal Bavarian (2004, based on a typeface commissioned by King Ludwig 1st of Bavaria about 1834), Royal Blossom (2009), Royal Bavarian Fancy (2004), Bold Bavarian (2010, a heavy version of Royal Bavarian), Monkeytails (2008), Fat Fritz (2006, rounded endings), Ayres Royal (2005, blackletter typeface based on drawings of London's calligrapher John Ayres, ca. 1700; to be used with RoyalBavarian; followed in 2010 by BoldAyres).
    • Slab serif: Slam Normal (2017), Slam Rounded (2017), Suez (2017: with extra tall ascenders and descenders), Egyptia (2010), Egyptia Rounded (2010).
    • Typewriter: Lettera (2014), Lectra (2011), QuickType-Bold, QuickType-Plain, QuickType-Sans.
    • Decorative: Tric (2017, art deco), Franklin Gothic Raw Semi Serif (2015), Frank Woods (2013, letterpress simulation based on Franklin Gothic Heavy), Ohio Bold (2012, a rough headline type in the tradition of Louis Oppenheim's Lo-Type from 1913), Viking Initials (2012), Cannonball (2012, a psychedelic typeface derived from a jazz record-sleeve for Cannonball Adderley), Byblos (2011, derived from the logo of St. Tropez's famous Hotel Byblos), Blockprint (2013, early 1900 German expressionist grunge face, renamed Bannertype after 24 hours), Ferrus (2010, inspired by Cassandre's Acier Noir, 1936), Petite Fleur (2009, flowery embellishments and the capitals of his redesigned Royal Romain, which in turn is based on the famous romain du roi), Glass Light (2012, a decoirative art nouveau type family based on Glass Light by Franz Paul Glass, 1912), Penstroxx (2009, 5 fonts that are based on the powerful, expressive Traits de plume (penstrokes) designed in Paris around 1930 by Alfred Latour), Liquoia A, B and C (2008, decorative scripts), Modernista (2008, an art nouveau headline face, based on an 1898 sample by Peter Schnorr), Ornata A, B, C, D, E, F and G (2008-2009: ornaments), Fleuraloha (2008), Floralissimo (2008: flowery ornaments), Frank Flowers (2011), Scrolls A (2010, penman's dingbats), Bacterio (2007), Alpha Bravo, Alpha Charlie, Alpha Echo (2006), Barracuda, Cacao (2005, fifties style), Cassandre Initials (2004, Elsner&Flake, after the 1927 original by Adolphe Mouron Cassandre), Contype, Fleurie (2005), Fleurons Two (2006), Fleurons Three (2006), Fleurons Four (2006), Fleurons Initials (2007), Fleurons Six (2008), Fleuron Labels (2008), HebrewLatino, Julius, Lunix (2006), MyHands, NewYorkerType (1985; extended in 2011 to NewYorker Plus, and in 2020 to New Yorker Type Classic and New Yorker Type Pro; after Rea Irvin's well-known typeface for The NewYorker), Venice Initials (2006, after a 15th century find, but Wiescher added about half of the caps), Ventoux, Vivian (2005), Woody.
    • Pixel and/or futuristic: Nexstar (2013: this octagonal typeface is also useful or athletic lettering), Alpha Fox (2007), Alpha Juliet (2010), Alpha Papa (2010), Alpha Square (2010), Alpha Jazz (2010), Alpha Papa (2010, LED meets stencil).
    • Stencil typefaces: Dripps (2010, handpainted, perhaps brutalist), Red Tape Plus (2014).
    • Comic book fonts or brush fonts: Breezy (2015), Caboom (2014).
    • Dingbats: Wayside Ornaments (2012), XX Century Ornaments (2012), Thistle Borders (2012), Greenaway Mignonettes (2012, after Kate Greenaway (1846-1901), author and illustrator of childrens books), Collins Florets (2012), Flourishes A (2010), Jingle Doodles (2010).
    • Art deco: Trix (2017), Zelda (2017, named after F. Scott Fitzgerald's wife).
    • Commissioned and special typefaces include a version of the logotype for the Munich's newspaper Abendzeitung, Maxi (variable width sans), NIC Grotesk, Tric (art deco), a Cyrillic version of Bodoni Classic for Vogue Moscow, a special Bodoni Classic for Ringier Publishers in Zurich, and Red Tape, a typeface that is on permanent exhibition at the German National Library in Leipzig.
    • Typefaces from 2019: Elita (a condensed sqaurish typeface), Artis Sans, Sigma Condensed and Sigma (simplified readable sans families), Cosma (an elegant high-contrast text family with tapered upstrokes and crossbars, but otherwise didone roots), Quincy (a bebop typeface that started from some letterutouts), Phoebe (an elliptical techno family), Phoebe Rounded, Polygon A, Polygon I, Polygon X.
    • Typefaces from 2020: Bullets Bannertype, Alpha One (a counterless experiment), Exec (a 14-style sans family), Exec Corners, Exec Demiserif, Penta (a grotesque family with large counters that make the ExtraLight style quite striking), Penta Rounded.

    Author of many books, including Zeitschriften & Broschüren (Systhema-Verlag, München, 1990), Schriftdesign (Systhema-Verlag, München, 1991), and Blitzkurs Typografie (Systhema-Verlag, München, 1992).

    The following text was excerpted from his wikipedia page: At 14 years of age, Wiescher went to Paris to study fine art. He financed his stay by doing portraits on the Place du Tertre on Montmartre. In the sixties Wiescher studied graphic design at the Berlin Academy of Fine Arts. (Since November 2001, Berlin University of the Arts.) He financed his studies by sidewalk painting and drawing portraits. While doing sidewalk paintings, he met the typeface designer Erik Spiekermann, who inspired his love of this branch of design. After two years he quit his studies, and went to Barcelona where he worked at the offices of Harnden & Bombelli, for whom he designed the OECD-Pavilion of the 1970 Osaka World Expo. In 1972 he moved on to Johannesburg working as an art director at Grey and Young advertising . In 1975, he returned to Germany, working first for DFS+R-Dorland, and then for the "Herrwerth & Partner" ad agency. At Herrworth, he was involved in introducing IKEA into the German market. In 1977 he became a creative partner in the Lauenstein & Partner ad agency, creating mainly campaigns for large German retail chains. In 1982 he started his own design office, creating work for editors (Markt & Technik, Systhema and Langen-Müller-Herbig), computer companies (House of Computers, FileNet) and he worked for Apple Computers designing their publications (Apple-Age and Apple-LIVE).

    View Gert Wiescher's typefaces. Wikipedia link. [Google] [MyFonts] [More]  ⦿

    Wilhelm Berg

    Berlin-based designer at Schriftguss AG of the script fonts Splendor (1930; Georg Kraus shows this brush script as well) and Divina (1930).

    Splendor was digitized in 2009 by Ralph M. Unger at Profonts / URW++ under the same name. In 2014, Ralph Unger published Splendor Pro. Andreas Seidel's Adana (2005) is based on Wilhel Berg's 1930 script, which according to Seidel was an answer to Lucian Bernhard's Schönschrift.

    . [Google] [MyFonts] [More]  ⦿

    Wilhelm Bilz

    Type designer who worked with Ludwig&Mayer and with Francesco Simoncini in the 1950s and 1960s. With Francesco Simoncini, he created Simoncini Garamond from 1958-1961. Not the best version of Garamond in my view. Bitstream's Italian Garamond (by Bilz and Simoncini) is in the same style.

    The transitional typeface Life (1965) was designed by W. Bilz, and jointly developed by Ludwig&Mayer and Francesco Simoncini. Digital revivals of it incude Dutch 806 (Bitstream), Lyon (Softmaker) and L830 Roman (Softmaker).

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

    Wilhelm C. Pischner

    German type designer, b. Offenbach, 1904, d. Offenbach, 1989. Creator of Neuzeit Grotesk (1928-1929, Stempel, 6 styles---leicht, mager, halbfett, fett, schmalhalbfett, schmalfett) while he worked at Stempel, where he was an apprentice from 1918-1922 and a full time employee from 1922-1940. See also Neuzeit Grotesk (URW++: the first four styles only), DIN Neuzeit (Linotype), Geometric 706 (Bitstream: the schmal styles), Peter Wiegel's free CAT Neuzeit (2012-2014), N692 Sans (SoftMaker), and Neutral Grotesk (2002, SoftMaker). In 2006, Akira Kobayashi produced Neuzeit Office (Linotype), modeled after the original sans serif family Neuzeit S, which was produced by D. Stempel AG and Linotype's design studio in 1966. Neuzeit S itself was a redesign of Pischner's DIN Neuzeit.

    Minor typefaces by him include Barcarole (1939, Stempel, a shadow caps face) and Tory Gotisch (unpublished blackletter).

    Digital versions and relatives of Neuzeit Grotesk: Neuzeit Grotesk (URW++), DIN Neuzeit Grotesk (Adobe), DIN Neuzeit Grotesk (Linotype), Neuzeit S (Linotype), Neuzeit Office (Linotype), Neuzeit S (Adobe), Heimat Display (Atlas Font Foundry), Karben 105 Stencil (Talbot Type), Heimat Mono (Atlas Font Foundry), Karben 205 (Talbot Type), Karben 105 (Talbot Type), Heimat Stencil (Atlas Font Foundry), Heimat Didone (Atlas Font Foundry), Peter (Calligrafiction), Heimat Sans (Atlas Font Foundry), Karben 105 Mono (Talbot Type), Karben 205 Mono (Talbot Type).

    After the second world war, he became an independent graphic designer in Offenbach. Sometimes his name is spelled C. Wilhelm Pischiner or Wilhelm C. Pischiner.

    FontShop link. Klingspor link. Linotype link.

    View Wilhelm Pischner's typefaces. View digital versions of Neuzeit Grotesk. [Google] [MyFonts] [More]  ⦿

    Wilhelm Diebener

    Editor (d. 1922) of Monogramme und Dekorationen (1908, Leipzig: W. Diebener). This book showcases art nouveau era emblems, monograms and decorative typographic pieces with contributions by Peter Behrens, E. Doepler, Gustav Gessner, R. Langner, Edward Menzel, Robert Neubert, Georg Wastian and Bernhard Wenig. It also has many specimens of typefaces of the time period---both art nouveau and already early art deco styles. [Google] [More]  ⦿

    Wilhelm Dreusicke and Co
    [Heinz J. Kriele]

    Typewriter company in Berlin. Because the IBM type ball "Olde World" for blackletter had errors in the long s and the ß, as well as in the umlauts, this company made and sold Alt Deutsch olde English in 1988. [Google] [More]  ⦿

    Wilhelm Eckert

    Wilhelm Eckert's Masters thesis typeface Weitalic (2014) at the HAWK Hochschule für angewandte Wissenschaft und Kunst in Hildesheim, Germany, is advertized as a humanist grotesk for corporate use. It has quirky angles and shapes that render classification of this sans family difficult. Weitalic comes in four styles and covers all European languages, including Cyrillic and Greek.

    In 2015, Eckert set up the Willem Eckert type foundry.

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

    Wilhelm Gronau
    [Wilhelm Gronaus Schriftgießerei]

    [More]  ⦿

    Wilhelm Gronaus Schriftgießerei
    [Wilhelm Gronau]

    Wilhelm Gronau was a German typographer who ran the Wilhelm Gronaus Schriftgießerei in Berlin-Schöneberg from the mid 1800s until early in the 20th century. Typefaces at that foundry include Hohenzollernschrift (1905), Kolumbus and Kolumbus Eng (1905-1906, by Heinrich Wieynck) and Gronau Gotisch (Heinrich Ehlert, 1850). House typefaces include the blackletter typefaces Accidenz-Gotisch, Albion, Alt-English, Alt-Gotisch, Amerikanische Gotisch, Angelsächsisch, Bastard, Canzlei (breite, moderne, musirte, neueste fette, schmale, and umzogene), Deutsch-Gotisch, Diplomen-Gotisch, Moderne Gothisch, all done before 1891, as well as Schmale Zeitungs Gotisch and Universal Gotisch from the 1850-1870 period. Berolina (art nouveau), Sezessions-Initialen, Teutonia and Martagon Ornamente were done ca. 1900. Reichs-Deutsch followed ca. 1904. Specimen books include Brotschriften, Titelschriften für zeitgemässe Druckausstattung (Berlin, ca. 1902), Moderne Schriften, Einfassungen, Ornamente, Vignetten, Anwendungen (Berlin, ca. 1908), Muster-Sammlung von Wilhelm Gronau’s Buchdruckerei und Schriftgiesserei (Berlin, 1891). The foundry was acquired by Klingspor in 1915. [Google] [More]  ⦿

    Wilhelm Hilder

    Author of Moderne Alphabete (1922, Verlag Bernhard Friedrich Voigt. Leipzig), a booklet in which Hilder shows about 40 of his hand-drawn alphabets. I scanned in most of that book for all of you. [Google] [More]  ⦿

    Wilhelm Jaecker

    Leipzig-based book artist. Designer of the blackletter typefaces Jaecker-Schrift (1910-1912) and Enge Jaecker-Schrift (ca. 1915, Stempel). For a free revival, see Petra Heidorn's Jaecker Schrift (2005). [Google] [More]  ⦿

    Wilhelm Krause

    Professor at the Kunstgewerbeschule in Breslau, Germany. Designer of the blackletter typeface Professor-Krause-Fraktur (1930, Ludwig Wagner). He died in 1935. [Google] [More]  ⦿

    Wilhelm Pfnor

    Darmstadt-based foundry of Wilhelm Pfnor. Designers of the blackletter typeface Canzlei Nr. 15, ca. 1830. [Google] [More]  ⦿

    Wilhelm Scheffel

    Designer of Rembrandt Antiqua (1913-1914, Bauersche Giesserei) and Rembrandt (1914-1915, a blackletter done at Bauersche Giesserei). [Google] [More]  ⦿

    Wilhelm Weimar

    German type designer, illustrator, photographer and professor, b. 1857, d. 1917. Weimar worked at the Museum für Kunst und Gewerbe in Hamburg. According to Mitteilungen des Vereins für Hamburgische Geschichte, he drew at least three alphabets, Alte Schwabacher, Leibniz-Fraktur and Hamburger Druckschrift. The type foundry Genzsch & Heyse showed Weimar's alphabets Alte Schwabacher, Leibniz-Fraktur and Hamburger Druckschrift after Weimar's death. They first appeared in Die Heimat in 1917. Posthumously, via his widow, Genzsch&Heyse published the blackletter typeface Weimarschrift (ca. 1924). Klingspor credits Heimat (1927, Genzsch and Heyse) to Wilhelm Weimar---one should assume that this is a renaming of Weimarschrift.

    Heimat was revived as Heimat (2005) by Petra Heidorn.

    Author of Schrift. Monumental-Schriften vergangener Jahrhunderte von ca 1100--1812 an Stein-, Bronze- und Holzplatten (1898, Vienna). [Google] [More]  ⦿

    Wilhelm Woellmer

    Wilhelm Woellmer is a German type designer who ran a foundry which published typefaces such as Deutsche Reichsschrift (1910, a Fraktur digitally revived by Gerhard Helzel). The earliest publication is from 1886, and the latest one from 1933. The Wilhelm Woellmers Schriftgießerei in Berlin ceased operations in 1938. Most matrices are now in the possession of Typoart, formerly Schriftguss KG. Designers who published at Woellmer's foundry, which was located in Berlin, include:

    • Wilhelm Woellmer: the Fraktur typeface Berliner Gotisch (1910) and the script typefaces Barberina (1925, advertised as Kartenschrift Barberina), Berolina (1930), Drescher Eilschrift (1934) and Attraktion (1925; Jaspert says 1930).
    • Heinrich Wieynck: Mercedes Antiqua, Kursiv and Antiqua Halbfett in 1904, 1905 and 1906 respectively, as well as Woellmer Antiqua (1907), Woellmer Kursiv (1907) and Woellmer Antiqua Halbfett (1908).
    • Lucian Zabel: the Fraktur typeface Zabel Roman (1928-1930), Fette Zabel Antiqua.
    • Erich Meyer: Woellmer-Fraktur (1937).
    • Konrad Jochheim: the Fraktur typeface Jochheim Deutsch (1933-1935).
    • Martin Wilke: Ambassador.
    • Arthur Pestner: Deutsche Reichs-Schrift (1915).
    Other typefaces: Kartenschrift Feodora (1925, Wilhelm Woellmer's Schriftgiesserei: a slender sans for use on maps and drawings; designer unknown), Deutsche Reichsfraktur (before 1925), Schattierte Grotesk, Senats Antiqua (1914), Kartenschrift Gerda (1915), Breite Magere Medieval mit Zierschrift Initialen (1894), Breite magere Kolonial (1911), Empire Messing (1910s), Berliner Gotisch (1909, blackletter), Lessing Antiqua (1908), Dekor (1907), Consul Kursiv (1906), Avista Ornamente (1906), Goethe Fraktur (1905; some say 1910; digitally revived by Ralph Unger (2022) and Gerhard Helzel), Mercedes Ornamente Series 1-6 (1905), Kolonial (1904), Reiher Grotesk (1904), Mercedes Antiqua and Kursiv (1904), Halbfette Transita (1904), Consul (1903), Fette Freihand Ornamente (1903), Freihand-Ornamente (1901), Freihand-Linien (1901), Römische Initialen, Runde Buchgotisch (ca. 1900), Favorit (ca. 1900, blackletter; a reader reports having seen it in a 1889 specimaen book), Fette Globus (1898, blackletter), Reuß-Schrift, Uncial-Gotisch (ca. 1900).

    Berry, Johnson and Jaspert write about Kolonial: A heavy display roman, rather like CHELTENHAM. It is somewhat condensed and has short ascenders and descenders. Serifs are thick, blunt and horizontal (except on the d). The K has a very high waist, the middle strokes of the M descend only half-way, the R has a tapering tail. The ear of the g points north-east. The arches of the h, m and n are splayed. The italic has the serifs of the roman and some swash capitals. There are also a Shaded and an Extended face. Before World War II the type was also sold as Columbia by the Amsterdam Typefoundry, and is the Buffalo of the H.C. Hansen Foundry of Boston. It belongs with Morland (Blanchard of the Inland Type Foundry) to the group of heavy display types of which many American foundries had their own version. Its similarity with Cheltenham applies particularly to the original Cheltenham drawings.

    Notes on revivals of selected typefaces:

    • The art nouveau typeface Siegfried (ca. 1900) is also attributed to Woellmer. It was revived by Dieter Steffmann as Siegfried (2001) and by Ralph M. Unger as Siegfried Pro (2017).
    • Schmale Fette Renaissance (1895) was revived in 2016 as Edna by Reymund Schroeder.
    • Consul was revived by Stephan Müller and Reymund Schroeder.
    • In 2004, Dan Solo published Marshall Normal, an art nouveau typeface that he attributes to Woellmer, ca. 1900.

    The main specimen book of the foundry is Muster-Sammlung von Wilhelm Woellmer's Schriftgiesserei und Messinglinienfabrik (Berlin, 1896 or 1898). [Google] [More]  ⦿

    Will Software
    [Rainer Will]

    Rainer Will Softwareentwicklung (Schöffengrund, Germany) developed many school and cursive writing fonts, ca. 1996-2005. They sell their fonts in 10 to 30-font packages, such as handwriting, Altdeutsche schrift, Barcodes, Schulschriften (school fonts). There are also East-European, Cyrillic, Greek, Thai and IPA fonts. Here, we have demos for various programs, and if you download and unzip them, you will discover these alphading fonts: FT-BruchTon, FT-HochztsGlocken, KD-Kaesweich, HB-Kegel, HB-Kegelhardt, HB-Kegelweich, KD-Pilz, KD-Singvogel, and these dingbat fonts: NW-BioBlatt (leaves, 1998), Pikto5 (1997). The caps font IN-Barock is here. Will Software made hundreds of fonts, including the handwriting fonts Jeff and HW Stone (1998), KL-Antiqua2, Old-London, Fraktur. A fuller list, by type:

    • Alte Schriften (blackletter): Black-For, Chevalin, Civotype, Fleisman, Fraktur, German-Script, Germen-Type, Ghiollier, Goethe, Gotik, Gudenberg, Heinrich-Kanzlei, IN-Barock, IN-Barock2, IN-Barock3, IN-Florentine, IN-Fraktur2, IN-Fraktur3, IN-Geometric, IN-Gothic, IN-Gothic1880, IN-Innsbruck, IN-Jugendstil, IN-Jugendstil1920, IN-Jugendstil3, IN-LaRose, IN-OldGothic, IN-Schwabach, IN-Silhouette, IN-Uncial1475, IN-Walbot1, IN-Woodcut, IN-Woodcut2, KL-Antiqua1, KL-Antiqua2, KL-CapitalisQuadrata, KL-Fraktur1, KL-Gotic1, KL-Gotic2, KL-HKursive1, KL-HKursive2, KL-HKursive3, KL-Karolin1, KL-MKursive1, KL-MKursive2, KL-Rotunda1, KL-Rotunda2, KL-Unziale1, KL-Unziale2, Limpach, Luthan, MA-BastardAnglicana, MA-Bastarda1, MA-Bastarda3, MA-Current, MA-FereTextura, MA-GKursiv1, MA-GKursiv2, MA-Gotbuch, MA-Gotic, MA-InsularMinuscule, MA-Kurrent1814, MA-KurrentBarock, MA-Minuskel1, MA-Minuskel2, MA-Schreibschrift1900, MA-Schreibschrift1900Bold, MA-Urkunde, Meriage, Offenbacher, Old-Germen, Old-London, Petjes, Ried, Romand-Genealogie, Schlei, Schwaben, Suetterlin-2, Theudan, Verdn17, Verdn2, Walbot, Zentar-Bold, Zentar.
    • Alte Schriften 2 (more blackletter fonts): AD-AlbrechtDuerer, AD-AltSchwaben, AD-Ballo, AD-Barock1720, AD-Blackpool, AD-British, AD-Burgundy, AD-CalligraphicAntiqua, AD-CalligraphicFraktur, AD-CalligraphicTextura, AD-Celtic, AD-CelticCollege, AD-Coburg1, AD-Coburg2, AD-Diagoth, AD-Dublin900, AD-Fraktur2, AD-GothQuad, AD-Gothisch, AD-Gotisch2, AD-Gotisch3, AD-GottfriedLeibniz, AD-Handschrift1, AD-Handschrift2, AD-Handschrift3, AD-Handschrift4, AD-Handschrift5, AD-Handschrift6, AD-Hans, AD-Herefordshire, AD-Hohenstein, AD-Huddersfield, AD-Italia1650, AD-Kaiser, AD-Odin, AD-Offenbach, AD-OldEire, AD-Patron, AD-Ponti, AD-Renaissance, AD-Sachsen, AD-Stebark, AD-Thingvellir, AD-Toulouse, AD-Turin, AD-University, AD-Wallgau, AD-Zierfraktur, Col-Barock, Col-Barock3, Col-Celtic, Col-Florentine, Col-Fraktur3, Col-Geometric, Col-Gothic, Col-Gothic1880, Col-Jugendstil, Col-Jugendstil1920, Col-Jugendstil3, Col-LaRose, Col-OldGothic, Col-Uncial1475, Col-Woodcut, Col-Woodcut2, Suetterlin-2, Suetterlin-4, Suetterlin.
    • Familienschriften (fonts for kids, alphadings, dingbats): ArGlas3, ArSchatten7, Calos-Glas1, EffOutline, FT-Amor, FT-BruchGlas, FT-BruchTon, FT-GluecksKaefer, FT-GluecksKlee, FT-GluecksSchwein, FT-HerzanHerz, FT-Herzhardt, FT-Herzkranz, FT-Herzweich, FT-HochztsGlocken, FT-HochztsHerz, FT-Karneval, FT-Klecks, FT-Osterhase, FT-Sektknall, FT-Trommler, FT-WeihnachtsBaum, FT-WeihnachtsMann, Fingprnt-1, HB-Brfmarkclassic, HB-Brfmarkhardt, HB-Dart, HB-Fackel, HB-Fechten, HB-Filmklappe, HB-FrzBlattHardt, HB-Kegel, HB-Kegelhardt, HB-Lorbeerkranz, HB-Palette, JD-Halali, JD-Kerbe, JD-Pille, JD-Popblut, JD-Pseudokinese, JD-Pseudonippon, JD-Pseudoruski, JD-Schachhardt, JD-Timur, JD-Wurm, KD-Blumehardt, KD-Esel, KD-Franja, KD-Handschrift, KD-Kaeshardt, KD-Kaesmaus, KD-Katze, KD-LKW, KD-Lamm, KD-Nacht, KD-Obstigel, KD-Schneemann, KD-Zwerg, Revont-Kraeusel1, Teje.
    • Festtagsschriften (holiday-themed fonts): FT-Amor, FT-Babyputte, FT-Babystorch, FT-Bethand, FT-Betkind, FT-BruchGlas, FT-BruchTon, FT-Clownslachen, FT-Cupido, FT-Eihardt, FT-Eikranz, FT-Eiweich, FT-Familienbande, FT-Getreide, FT-GluecksKaefer, FT-GluecksKlee, FT-GluecksSchwein, FT-HerzanHerz, FT-Herzbruch, FT-Herzhardt, FT-Herzkranz, FT-Herzweich, FT-HochztsGlocken, FT-HochztsHardt, FT-HochztsHerz, FT-HochztsJubilaeum, FT-HochztsKranz, FT-HochztsPaar, FT-Hufeisen, FT-Kalenderblatt, FT-Kanzel, FT-Karneval, FT-Kerze, FT-Klecks, FT-Kreuzlamm, FT-Menora, FT-Osterhase, FT-Schule, FT-Sektknall, FT-Spiegelfrau, FT-Spiegelmann, FT-Spukhaus, FT-Torte, FT-Trauerzweig, FT-Trommler, FT-Trompeter, FT-WeihnachtsBaum, FT-WeihnachtsMann, FT-ZuckrtuetHardt, FT-ZuckrtuetWeich, FTH-Fische, FTH-Jungfrau, FTH-Krebs, FTH-Loewe, FTH-Schuetze, FTH-Skorpion, FTH-Steinbock, FTH-Stier, FTH-Waage, FTH-Wassermann, FTH-Widder, FTH-Zwillinge, HB-Fackel, HB-Lorbeerkranz, HW-Handpic, KD-Blumebundt, KD-Lamm, KD-Nacht, KD-Schneemann, SP-Blume, SP-DRHH2, SP-DRHH3, SP-Face, WinterNacht.
    • Geheimschriften (codes or secret fonts): SP-DRBYQuadrat, SP-DRHHQuadrat, SR-Abstrakt1, SR-Abstrakt2, SR-Abstrakt3, SR-Abstrakt4, SR-Abstrakt5, SR-Abstrakt6, SR-Astro, SR-Blatt, SR-Braille, SR-Chaos, SR-ChaosBold, SR-ChaosItalic, SR-Finger, SR-Geheim0, SR-Gesicht, SR-Labyrinth, SR-LabyrinthBold, SR-Marine, SR-Morse, SR-Puzzle, SR-Radierer, SR-Rune, SR-Schatten, SR-Schiffe, SR-Schloss, SR-Schmetterling, SR-Skyline, SR-Strichmann, SR-Tiere, SR-Wabe, SR-WabeBold, SR-Wappen.
    • Handschriften: A1, A2, A3, Agnieszka, F1, F10, F2, F3, F4, F5, F6, F7, F9, Ghiollier, Goethe, HW-Agilo, HW-Andrew, HW-Brouet, HW-Burg, HW-Clay, HW-Emmi, HW-Feliks, HW-Foster, HW-Guga, HW-Handpic, HW-Harico, HW-Hilly, HW-Jeff, HW-Jesco1, HW-Jesco3, HW-Jesco7, HW-Josh, HW-Marbo, HW-Pablo, HW-Phil, HW-PizPaz, HW-Renate, HW-Sarx, HW-Schneid, HW-Stone, HW-Tolomeo, HW-Tommi, HW-Turandot, HW-Veneto, HW-Vincent, HW-Vogel, HW-Volker, Handwrites-CTrac, KD-Handschrift, KG-Hand, Limpach, Offenbacher, Ried, Rw2, Schlei, Teje, Uggy, Verdn17, Verdn2.
    • Handschriften 2: HW-Alec, HW-Allan, HW-Armand, HW-Bjarne, HW-Brian, HW-Carlo, HW-Cathy, HW-Claude, HW-Danielle, HW-Dario, HW-Eleanor, HW-Enrico, HW-Estelle, HW-Fabio, HW-Federico, HW-Giorgio, HW-Giovanna, HW-Giuliano, HW-Hakon, HW-Harald, HW-Jacques, HW-Jaro, HW-Jelena, HW-Juri, HW-Justine, HW-Kuno, HW-Larissa, HW-Laslo, HW-Lennart, HW-Lizzy, HW-Luitpold, HW-Manolo, HW-Marcello, HW-Murielle, HW-Nadine, HW-Paolo, HW-Pascal, HW-Pietro, HW-Roxana, HW-Thery, HW-Valerian, HW-Vittorio, HW-Wally, HW-Wilma.
    • Schulschriften (lined fonts, didactic fonts): DR-HH, DR-HH1, DR-HH1Bold, DR-HH2, DR-HH2Bold, DR-HH3, DR-HH3Bold, DR-HH4, DR-HH4Bold, DR-HHBold, DR-HHEl, DR-HHEl1, DR-HHEl1Bold, DR-HHEl2, DR-HHEl2Bold, DR-HHEl2Italic, DR-HHEl3, DR-HHEl3Bold, DR-HHEl3Italic, DR-HHEl4, DR-HHEl4Bold, DR-HHEl4Italic, DR-HHElBold, DR-HHElItalic, DR-HHOL, LA-El, LA-El1, LA-El1Bold, LA-El2, LA-El2Bold, LA-El3, LA-El3Bold, LA-El4, LA-El4Bold, LA-ElBold, LA-ElOL, MA-Schreibschrift1900, Offenbacher, SAS-1, SAS-2, SAS-2Bold, SAS-3, SAS-3Bold, SAS-4, SAS-4Bold, SAS-Bold, SAS-OL, SAS, SP-AnlEssen, SP-AnlHaus, SP-AnlTiere, SP-Anlaut1, SP-Anlaut2, SP-Anlaut8, SP-Anlaut9, SP-Bear, SP-Blume, SP-DRHH1, SP-DRHH2, SP-DRHH3, SP-DRHHKubik, SP-DRHHQuadrat, SP-Dino, SP-Face, SP-VAKubik, SP-VAQuadrat, SPAnlMensch, Suetterlin-2, Suetterlin-4, Suetterlin, VA-Ansi, VA-Pe, VA-Pe1, VA-Pe1Bold, VA-Pe2, VA-Pe2Bold, VA-Pe3, VA-Pe3Bold, VA-Pe4, VA-Pe4Bold, VA-PeA, VA-PeABold, VA-PeBold, VA-PeOL.
    [Google] [More]  ⦿

    Will Y. Schaefer

    German creator of Neon, a three-dimensional sans-serif alphabet of inline capitals with a deep shadow, designed in 1936 for the C. E. Weber foundry in Germany. Mac McGrew says: [Neon was] copied in the USA by Pittsburgh's National Type Foundry, which later became Neon Type Foundry. Compare Umbra. The left-hand shadow is unusual. [Google] [More]  ⦿

    Willi Welsch
    [FontExpert 2.0 (alternate site)]

    [More]  ⦿

    Willi Welsch
    [FontExpert]

    [More]  ⦿

    Willi Welsch
    [The Quick Brown Fox GmbH]

    [MyFonts] [More]  ⦿

    William Montrose

    German / American type designer who graduated from the MATD program of the University of Reading in 2013. His graduation typeface family is called Natan (2013), named after the Russian mathematician Sergey Natanovich Bernstein.

    Natan covers Latin and Hebrew in styles that range from regular to chunky. William adjusted both scripts back and forth in function of each other in a process he calls script juggling. He writes: Natan is a punch cutting fantasy turned into Bézier curves. A tribute to craftsmanship sans nostalgia. Chunky elegant curves deriving from a broad scuffed nib, worked into metal with gravers and files. Angular calligraphic strokes, cast in typographic solutions for modern day text setting.

    In 2019, at Rosetta Type, together with Slava Jevcinova and David Brezina, he released the variable font Adapter (with three axes, for latin, Greek and Cyrillic). At Kilotype, he released Old School Grotesk (2019). In 2021, he added an all-new and extended Oldschool Grotesk 2.0---a 40-font type system in Compressed, Condensed, Compact, and Classic widths, and a weight range from Hair to Heavy. Available individually or in a single variable font file. Engineered by Sebastian Losch and published at Kilotype. [Google] [More]  ⦿

    Willy Schwerdtner

    German designer at D. Stempel of Metropolis (1928), Mundus Antiqua (1929) and Standard Latein (1929). Revivals of the beautiful Metropolis include Metropolis (Monotype; this is probably made by Doug Olena in 1995), Metropolis SG (Jim Spiece), M691 Deco (Softmaker), Messing (2012, Softmaker), Metropolis ICG (1995), Metropolis (1995, Keystrokes, and later Monotype) and Metropolis Bold and Shaded (1990, Jim Castle, Castle Type). Castle's Metropolis was first commissioned by Publish Magazine in 1990. [Google] [MyFonts] [More]  ⦿

    Willy Wegener

    Willi Wegener lived in Magdeburg, Germany. Designer of Beta Flinsch (1910, Bauersche Giesserei) and Neugotisch (1907 or 1908, +Initialen, Flinsch, with ornaments and vignettes; Wetzig shows the date 1903). Other typefaces at Flinsch include Wegener Initialen, Glückwunsch Vignetten, and Alpha (1910). [Google] [More]  ⦿

    Willy Wiegand

    Type designer and typographer (b. 1884, Bremen, d. 1961, München) who founded the famous Bremer Presse in 1911 together with his school friend Ludwig Wolde. For his publishing house he designed an antiqua in 1912 and designed Bibelschrift (Latin/Roman blackletter, Greek and Liturgica). These typefaces were cut by Louis Hoell. After World War I, the Bremer Presse moved to Bad Tölz, and finally in 1921 to München.

    The Bremer Presse Bibelschrift (1926, Bremer Presse) was revived by Petra Heidorn and Manfred Klein in 2004 as Bibelschrift. Some samples can be found in Die Bremer Presse, Königin der deutschen Pressen (1964, Typographische Gesellschaft München). Other typefaces, all in the 1970s Berthold collection: Wiegands Adbold (1974), Wiegands Roundhead (1974), Wiegands Baroque Normal and Kursiv (1977), Wiegands Renaissance Kursiv (1978).

    Wiegand's antiqua type was faithfully revived in 2019 by Dorothée Schraudner as Bremer Presse. Kevin Barrett Kane revived it in 2022 as Bremer Antiqua. [Google] [More]  ⦿

    Wjatscheslaw Smesnoj

    Hagen, Germany-based designer (b. 1996) of the free rounded campass-and-ruler blackletter typeface Odale (2016). Dafont link. [Google] [More]  ⦿

    Wolf Böse
    [Neue Deutsche (was: Der Graph)]

    [MyFonts] [More]  ⦿

    Wolf Lumb
    [Schrift und Typografie]

    [More]  ⦿

    Wolfgang Beinert
    [Trajan Alphabet]

    [More]  ⦿

    Wolfgang Breuer
    [For Home or Office Use]

    [More]  ⦿

    Wolfgang D. Ehrhardt

    German typefounder who is associated with the early development of the Ehrhardt style of (Jansonian) typeface classically associated with Nicholas Kis, ca. 1700. At least, the type is named after the Ehrhardtsche Giesserei in Leipzig, because it is there that Kis's types were found in the early 1700s. The original designer of the Ehrhardt type is unknown but often conjectured to be Kis. A metal version, Monotype Ehrhardt, was cut by Monotype in 1936-1937. Berry, Johnson and Jaspert date the Monotype version in 1938 and write: The original types were in the Ehrhardt foundry at Leipzig in the early eighteenth century. The type is another version of Janson. The upper case M is splayed and the g has a curved ear. There is also a semi-bold and italic. Many digital versions exist:

    [Google] [More]  ⦿

    Wolfgang Dutschke

    Graphic designer in Hamburg, Germany. Creator of Diamanti (a large sans serif family) at Elsner&Flake. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Wolfgang Eickhoff

    German designer (b. 1914, Dusseldorf) who studied at the Hochschule für bildende und angewandte Künste Berlin. At Typoart he published the script typeface Agitator (1960). This rough-brush typeface was digitally revived in 2007 by Patrick Griffin at Canada Type as Merc.

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

    Wolfgang Fricke

    Wolfgang Fricke designed a pair of dingbat fonts at Elsner Flake in 1995, QuadruPets Cats and QuadruPets Dogs, as well as EF faceFace (letters becoming typefaces!). FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Wolfgang Fugger

    Nurenberg-based typographer, who created this roman renaissance lower case alphabet in 1553. [Google] [More]  ⦿

    Wolfgang Hendlmeier

    München-based German typographer and type designer (b. 1942, Marienbad). A blackletter specialist, Wolfgang Hendlmeier wrote many interesting articles on this topic for die deutsche Schrift, a magazine that he managed in the 1990s. He created these blackletter typefaces:

    PDF catalog of Hendlmeier's typefaces. [Google] [More]  ⦿

    Wolfgang Hopyl

    Hopyl (Hoppyl) was a printer in Paris (1489-1523). He made Textura typefaces (some are now called Hopyl Textura) and his work served as inspiration for many. For example, the Bauersche Giesserei published the Manuskript-Gotisch typeface (Hopyl, 1514) in 1899 (see also Stempel's version), which was digitally revived by Gerhard Helzel and Petra Heidorn (2004). [Google] [More]  ⦿

    Wolfgang Kirsch
    [University of Cologne]

    [More]  ⦿

    Wolfgang Leister

    Dr. Wolfgang Leister, formerly from the Institut für Betriebs und Dialogsysteme at the Universität Kärlsruhe in Germany, and now a Senior Research Scientist, Norwegian Computing Center, made a Braille metafont. [Google] [More]  ⦿

    Wolfgang Reifarth
    [BOOKNET]

    [More]  ⦿

    Wolfgang Roesner

    Type designer, b. 1926, Berlin, d. 1958. Roesner studied at Hochschule für bildende Kuünste Berlin. At the East German type foundry VEB Typoart, he published Roesner Versalien in 1960. [Google] [More]  ⦿

    Wolfgang Schmittel

    German graphic designer and photographer, b. 1930, Frankfurt, d. 2013, Kronberg im Taunus. Creator of the compass-and-ruler typeface Braun (1952) for the logo of Braun, the company for which he worked from 1952 until 1981. He is considered as the pater familias of corporate design. Author of these books at ABC Verlag, Zurich:

    • Design, Concept, Realisation (1975).
    • Process Visual (1978).
    • Corporate Design International (1984).
    [Google] [More]  ⦿

    Wolfgang Schwaerzler

    Wolfgang Schwärzler is a graphic and type designer based in Leipzig, Germany. He received his master at the Burg Giebichenstein University of Arts and Design in 2011. His master project there was Gräbenbach Grotesk. He has been teaching at the Burg Giebichenstein University of Arts and Design Halle. In 2017, he cofounded Camelot Typefaces and published Gräbenbach Mono. Graebenbach won an award in the TDC Typeface Design competition in 2017. [Google] [More]  ⦿

    Wolfgang Steidle

    Stuttgart-based designer of Thé Vert (2013).

    Behance link. [Google] [More]  ⦿

    Wolfram Pleger
    [Pleasure Fonts]

    [MyFonts] [More]  ⦿

    wsc

    German creator of Ballpoint Scratch (2014), Hollywood Hills (2013, octagonal typeface), Fake Hieroglyphs (2010) and Conducting Paths (2011, electrical circuit face, or a connect-the-dots font). [Google] [More]  ⦿

    Würth

    A corporate geometric URW studio sans family published in 2012. The three-font family sells for over 5000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. URW++ is authorized by the Adolf Würth GmbH & Co. KG to deliver the new corporate fonts to external service providers of Würth on the basis of royalty payment. Würth covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More]  ⦿

    www.uncia.de (was: uncifonts)
    [Tobias Benjamin Köhler]

    Tobias Benjamin Köhler at the Technical University of Dresden created these typefaces:

    • The (free) Eurofurence family, which combines Kabel and Malvern (a metafont by P. Damian Cugley, 1991-1994, for which Koehler made a truetype version in 2000). The page offered Malvern as well, but all the fonts seem to have gone now.
    • The monospace screen-lookalike font Monofur (2000) (with Greek and Cyrillic thrown in as well). Julio Biason offers Monofur Powerline at Github.
    • The avant-garde sans serif Unifur.
    • The Pagebox symbols font (2000).
    • BahnhofsFutura (2002). A modification of Paul Renner's Futura as used in West-German railway stations from 1950-1980: Deutsche Bundesbahn.
    [Google] [More]  ⦿

    Xinyu Gao

    At Bauhaus Universität Weimar in Weimar, Germany, Xinyu Gao designed these typefaces: Root, Mountain, Gysotype (3d, stacked cubes). [Google] [More]  ⦿

    xq
    [Stephan Weinhold]

    A set of free metafonts by Stephan Weinhold made in 2006 for Chinese chess. [Google] [More]  ⦿

    X-Space

    German design group who made the dingbat fonts XAfroGigs, XCityGigs and XSpaceGigs in 1995. [Google] [More]  ⦿

    XTrem-Fontz
    [Jan Koller]

    Jan Koller at XTrem-Fontz in Hamburg is the designer of Bully (2001) and BullyBully (2001). At URW++, he made the pixelish display typeface FontForm Autotype (2005) and the FontForum Banner pixel family (2007). MyFonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Xuan He

    Graphic designer in Berlin, Germany. In 2019, she released the display typeface Lynn. [Google] [More]  ⦿

    Xuli Wasserhahn

    Hamburg, Germany-based designer of the pixacao graffiti font Soft Ghetto (2014). Behance link. [Google] [More]  ⦿

    Yanik Hauschild

    Yanik Hauschild (b. 1989) graduated in 2019 from Düsseldorf University of Applied Sciences. In 2017 he started his own design practice in Düsseldorf, working in various fields of graphic design with a strong focus on typography. At Nice To Type, he published Blow (2019), and wrote: Blow is a dynamic sans serif in five weights. Rooted in medieval style, Blow shifts from firm forms into smooth curves and waves. For each alphabet and figures, numerous alternates come in three steps, taking the idea of hard and soft forms with each step a bit further. [Google] [More]  ⦿

    Yannick Floßdorf

    Or Momos Design, Cologne, Germany. Designer of the experimental typeface Whiteout On Glass (2018) and the free font Ink Thin Italic (2018). [Google] [More]  ⦿

    Yanone
    [Jan Gerner]

    Jan Gerner (b. 1982, Dresden) from Weimar runs Yanone. He grew up in Addis Abbeba. He studied Media at the Bauhaus Universität Weimar in 2003. He still lives and works in Weimar. He designed the (free) informal sans family YanoneKaffeesatz (2005), which is analyzed by Gerrit van Aken. YanoneTagesschrift (2005) is a serif obtained by scanning the felt tip pen traces of a printed serif face--a nice idea! The font is now at Schriftgestaltung. The pixel font Al Abdali 8 was created during his stay with Syntax in Amman/Jordan to match the growing need for joint Arabic/Latin typefaces.

    In 2006, Yanone started selling some fonts through MyFonts. These include Monospasz (2006, a manually produced monospace typewriter font family in 5 styles), Liebfraumilch (2009, connected hand) and Pochoir (2006, stencil). And in 2009, the popular free Kaffeesatz became a pay font, FF Kava, at FontFont.

    In 2010, Yanone published FF Amman for Latin and Arabic---a bit too angular for my taste, but it has its uses.

    In 2011, he obtained a Masters at KABK in the type and media program. His graduation typeface was Antithesis (2011)---it consists of a slab serif, a connected script and a heavy sans. All three have a hand-printed look and should be fine typefaces for signage. Page dedicated to Antithesis. The FontFont version, FF Antithesis, appeared in 2013.Runya (2013) is free Arabic hipster typeface.

    At ATypI 2013 in Amsterdam, he introduces Speed Punk, a learning tool to better understand the nature of Bézier curves and their curvature. See also here.

    In 2016, he cooperated with Albert-Jan Pool in the development of FF DIN Arabic, which won an award at Granshan 2016.

    Font Squirrel link. Dafont link. Klingspor link. MyFonts link for Yanone. [Google] [MyFonts] [More]  ⦿

    Yara Stephany

    Luxembourg-based designer of the stick typeface Konstrukt (2014), which was finished during her studies at Hochschule Trier in Germany. [Google] [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]  ⦿

    Yevgeniy Anfalov
    [Kyiv Type Foundry]

    [More]  ⦿

    Yokkmokk
    [Judith Jöhren]

    Yokkmokk is a design studio in Dortmund, Germany. Designers inclide Lisa Müller (b. 1987, Gelsenkirchen) and Judith Jöhren (b. 1982, Dortmund). Its typefaces include Uwerette (2014: display type) and Monostep (2014: monospaced typewriter typeface by Judith Jöhren and Lisa Müller; includes Geometrics (with many arrows) and Washing Icons). [Google] [MyFonts] [More]  ⦿

    Yosra AlKaff

    Graphic designer in Marl, Germany, who created the experimental Arabic typeface Yosr (2013). [Google] [More]  ⦿

    Yoursdesign (or: Oleg and Katja)
    [Oleg Agafonov]

    Tula, Russia-based design studio, whose owners (Oleg and Kate, or Oleg Agafonov and Katja Buzova) studied at British Higher School of Art and Design in Moscow (2012-2014) and Tula State University (2006-2010). In 2016, they created the handcrafted / crayon typeface I Am Berliner. They are now based in Berlin.

    Typefaces from 2017: YD Modernist (monospaced sans).

    Behence link for Oleg Agafonov. Behance link for Ekaterina Buzova. [Google] [More]  ⦿

    Yuliyan Ilev

    Future web site. German creator of Nowadays (2010), Contemporary (2010), Childwood (2009, hand-drawn octagonal face), Neo Trash (2009, grunge), Light From Behind (2009). [Google] [More]  ⦿

    Yung & Frish
    [Benedikt Matern]

    In 2019, Benedikt Matern and Roland Lehle (Yung & Frish, Germany) co-designed the piano ket typeface Scoop Display.

    In 2020, they released Ronnys Handwriting. [Google] [MyFonts] [More]  ⦿

    Yusuf Algan

    Designer and illustrator in Berlin (was: Bonn), Germany. In 2012, he made a wonderful ornamental caps face, World Font, which illustrates 26 of the main scripts in the world today. [Google] [More]  ⦿

    Yü Bing-nan
    [Lin Yü-Bingnan]

    [MyFonts] [More]  ⦿

    Yvonne Baier

    German designer (b. 1983, Ulm) of the zebra-inspired rotor blade typeface Rotor (2009, Avoid Red Arrows). Klingspor link. [Google] [More]  ⦿

    Yvonne Schüttler

    German type design student at Reading, UK, 2008, now based in Frankfurt. In 2007, she got a diploma from the Frankfurt Academy of Communication and Design. Her typeface designed for the MA in typeface design at Reading in 2008 is Mina, a contemporary sturdy newspaper face for Latin and Telugu.

    At Google Font Directory, one can download Voltaire (2011), a low-contrast condensed semi-geometric style sans-serif, and Poller One (2011, a high-contrast black poster sans done for Sorkin Type).

    In 2012, she published the heavy poster sans typeface Krona One at Google Web Fonts.

    Calistoga (2011-2019). Calistoga is a cheerful, space saving display typeface. It was inspired by Oscar M. Bryn's lettering as seen on the posters made for the Western US based Santa Fe Railroad. Calistoga includes proportional, tabular, old style and lining figures. It also offers fractions, superiors, inferiors, a broad range of symbols, and it includes case sensitive forms. Calistoga is an original typeface designed by Yvonne Schuttler. Eben Sorkin expanded the language support and refined the design in 2018. Published by Sorkin Type and Google Fonts. Github link.

    Tauri was published at Google Web Fonts in 2013.

    Vinga (2007) is a sans typeface done at the FAKD, Frankfurter Akademie für Kommunikation und Design (now AVA), Frankfurt am Main.

    Google profile link. Behance link. Old URL. Typecache link. Klingspor link. Fontsquirrel link. [Google] [More]  ⦿

    Yvonne Schwemer-Scheddin

    German design journalist and typographer, born in Berlin, and based in München. She writes and talks about the importance of type in society. See also here. [Google] [More]  ⦿

    Zaid F. Sbeitan

    Architect / designer in Frankfurt am Main, Germany. Most of his artistic work, including his typefaces, show his architectural background. Typefaces include Geo Arial (2013-2014), which is Arial modified to make it more geometric and logical. Designed in Autocad, it is advertized as a typeface for architects. [Google] [More]  ⦿

    zdarx

    German designer of the handwriting fonts Zdarx Simpl v1.05 (2003) and Zdarx Hardcore (2003). [Google] [More]  ⦿

    Zeitype
    [Kara Zichittella]

    Kara Zichittella runs Zeitype, a Berlin-based studio. She studied visual communication in Arizona and completed a Master's degree at Leeds Arts University in 2016. Her work focuses on typography and graphic design within the cultural field. In 2018, she released Rockbox, a squarish display typeface, at The Designers Foundry. Rockbox was originally designed for a poster to promote the MIC LP release by Dane Close on the Power Station record label. Her Mabgate font from 2018 is pure hipsterism, at the peak of that social fad. Dial Mono (2018) is a rounded sans design, while Genesis (2018) is squarish.

    Custom typefaces for clients and projects include Dice Conference and Festival (2018). [Google] [More]  ⦿

    Zeugler
    [Reymund Schroeder]

    Award-winning German type designer, who co-founded Forgotten Shapes in 2017. NaN descibes him as a type Janus with a two-sided practice, one oriented towards the past as a meticulous archivist-historian, the other towards alternate history called Typographic Uchronias. His typefaces:

    • Tempel Grotesk (2021, Production Type). Tempel Grotesk takes inspiration from old wood types. It is a blocky black sans in four widths. He writes: All that ink creates a fantastically heavy page with rich texture popping through the counterforms.
    • Lector FSL (2017, Forgotten Shapes). A text typeface family about which he writes: Lector FSL (originally named Lector Gewoehnlich and Lector Kursiv) is the digital rework of an original type design by Gert Wunderlich, drawn between 1963-1990. Lector was designed for, but never released by former Typoart (GDR). Published in cooperation with and permission of Gert Wunderlich.
    • Friedlaender. After Elisabeth Friedlaender's Elizabeth (1934).
    • Consul (with Stephan Müller). A revival of Wilhelm Woellmer's Consul (1903-1907).
    • Polja (2013-2014). Polja won an award in the Latin category at the Morisawa Type Design Competition 2014.
    • Edna (2016). He received an Honorable Mention in the Latin category for Edna in 2016 at the Morisawa Type Design Competition 2016. A revival of Schmale Fette Renaissance (Wilhelm Woellmer's Schriftgiesserei Berlin, ca. 1895).
    • Edna Text (2017). A Victorian typeface that revives Halbfette Etienne (Schriftgiesserei Flinsch, 1908).
    • Haiti. A revival of the wood type Dumbria (1885, Holztypenfabrik Sachs).
    • Huber. A revival of the wood type Christina (1885, Holztypenfabrik Sachs).
    • Zeit Tiemann Italic (2013). A custom font for Die Zeite.
    • NaN Hyena (2022). He writes: NaN Hyena is a crisp look at the humanist sans sub-genre, conceived as a sculptural exercise. [...] Hyena started as an extrapolation of the work of 20th century calligrapher and type designer Hildegard Korger. [...] NaN Hyena challenges the idea of type hierarchies. It's thought as a mood spectrum, a subtle play between sharp and soft, as if the shifting light of the sun would cast different shadows on the same object throughout the day bringing familiarity and the unexpected within the same room. Call it Type Impressionism if you like.
    [Google] [More]  ⦿

    Ziamimi
    [Jacopo Severitano]

    Jacopo Severitano (Ziamimi) is the Berlin-based designer of Tenre (2013, Ten Dollar Fonts), Ziamimi (2012, Ten Dollar Fonts: an eye-catching sans titling face), Damier (2012, a free condensed headline typeface), Disease (2012, Ten Dollar Fonts), the sans typeface Inner City (2012, Ten Dollar Fonts), which is based on the afterparty culture. Zenith (2012, Ten Dollar Fonts), Zondag (2012, Ten Dollar Fonts), Hecatoncheir (2012, Ten Dollar Fonts) and Zwei (2012, Ten Dollar Fonts) are alchemic typefaces.

    Typefaces made in 2013, all available from Ten Dollar Fonts: Innercity (one free weight), Pincambrella (grotesque caps).

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

    Zimbardi (was: Zimbardi Calomino)
    [Flavia Zimbardi]

    The Brazilian duo of Flavia Zimbardi (b. Rio de Janeiro) and Caetano Calomino, a signpainter and lettering artist in Brooklyn, NY, formed Zimbardi Calomino. In 2018, using a speed stroke technique, Caetano developed the signpainter font ZC Casual together with Flavia.

    In 2019, Flavia Zimbardi released Lygia at Future Fonts: Lygia explores the duality of sharp and round forms with stylish cues and historical references from 16th-century masterpieces by Robert Granjon to the geometric approach of W.A. Dwiggins. An homage to Brazilian neo-concrete artist Lygia Clark, originally designed in 2017 as Flavia Zimbardi's degree project for the Type@Cooper extended program in New York. Lygia is a variable font with a weight axis.

    After Type@Cooper, Flavia settled in Berlin, Germany. In 2021, she released the companion typeface family Lygia Sans, with a further update in 2022.

    Future Fonts link. Older Future Fonts link. [Google] [More]  ⦿

    Zoefonts
    [Tanja Schulz]

    German comic book illustrator, who also is known as ZOE and Zoefonts. In 2007, she made some free comic book typefaces and several finger alphabet typefaces as well: ZOEGraphicRegular, ZOEILYhands1.0, ZOE Deutsches Fingeralphabet (+Graffiti), ZOE Fingerabc (Regular, Graffiti).

    Fontspace link. [Google] [More]  ⦿

    Zoey Spriggan

    German creator (b. 1984) of the simple handwriting typefaces Pencils (2009), ZoeySpriggan (2009), Alter (2009) and Clean (2009). [Google] [More]  ⦿

    Zosia Ciupa

    Graduate of the Academy of Art in Szczecin, Poland. Berlin, Germany-based designer of the avant garde sans typeface Forma (2018). [Google] [More]  ⦿

    ZUrigo Studio Umberto

    Studio in Berlin. Behance link. Creators of the modular 0420 (2010). [Google] [More]  ⦿

    ZVAB: Zentrales Verzeichnis Antiquarischer Bücher

    European catalogue of antiquarian books on the Internet. Located in Germany [Google] [More]  ⦿