Please click on a font designer's name to view the fonts from that designer.
Type Designer from Quebec, Quebec.
Elena Albertoni is an Italian type designer working in Berlin.
She studied graphic design at the Ecole superieure d'art et de design in Amiens, France and completed the type and typography curriculum at the Ecole Estienne in Paris.
She currently works at Luc(as) de Groot's FontFabrik in Berlin and publishes her fonts through the Anatoletype foundry.
Robert Arnow is a self-employed illustrator and graphic designer. He first became interested in art as a graffiti-writer in Brooklyn, which he later followed up with a professional design education at Parsons. Since 1999, he has been self-employed on a wide variety of projects for high-profile clients including Apple, Microsoft, the Washington Post Magazine, Blue Note Records, the Boston Globe and many others. He has also done work for many socially responsible businesses and causes. His work has been featured in the Society of Illustrators National Exhibition, Step-by-Step Graphics, and photographs of his work have appeared in the SF Chronicle and other newspapers. Rob's calligraphc style which he had used in several projects, recently was turned into the font streetbrush.
Arthur Baker has been drawing letters for decades and has written over 20 books on the subject. Along with his knowledge of letterforms and historical calligraphic styles and his own custom designed pens and brushes, his style is admired and imitated by many calligraphers and type designers. He currently lives in Andover, Massachusetts.
Type Designer from Luton.
Morris Fuller Benton
Leading American type designer who designed typefaces and managed the typographic design program at ATF from 1892 until 1937; son of Linn Boyd Benton.
Garrett Boge has over twenty-five years of professional lettering and type design experience.
He began his career as a lettering artist and type designer at Hallmark Cards in the early 1980s, leaving to establish his own studio, initially in Kansas City and later Seattle. Acquiring a Macintosh in 1986, Boge was one of the first independent type designers to embrace desktop font development tools, and start his own digital foundry — LetterPerfect. In the ensuing years, he has designed more than a two dozen original typefaces and produced over a hundred custom and proprietary faces for major companies such as Hallmark, Viacom, Microsoft, Monotype, and Apple Computer.
LetterPerfect’s growing line of original display fonts shows both Garrett’s early influence as a greeting card lettering artist, and his more recent interest in reviving historical lettering styles.
Charles Borges de Oliveira
Charles tells us: "I started my career as an apprentice to a master sign painter. I soon began to appreciate letters and layouts, and knew that I wanted to concentrate solely on being a lettering artist. I designed Sarah Script because I could not find a script font like it.
"In 2007, I formed Borges Lettering & Design. A lettering & design studio that offers high quality fonts, hand lettering, and logos for all forms of advertising."
Philip Bouwsma was born in Boston in 1948 and grew up in Berkeley, California, where his father was a professor of Renaissance and Reformation History. He was given a calligraphy book when he was ten and spent a year in Florence two years later, where he learned Latin and discovered history and art. Bouwsma was originally interested in calligraphy because of its appeal as craft and because it is old; later from copying manuscripts he discovered the unique capacity of the written stroke to record the thought patterns of people from long ago. Only later did he come to see it as art and, ultimately, a new way of seeing the universe.
Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965–1981.
Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone.
He has in recent years designed Verdana and Georgia for Microsoft; these fonts are tuned to be extremely legible even at very small sizes on the screen.
In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those "who have made significant contributions to the life, art, and craft of typography”.
Alejandro Lo Celso
Alejandro Lo Celso is an information & type designer. He has worked as an art director at different media, has taught typography, type design, and letter history at different design schools in different countries, and has collaborated with diverse design publications and projects around Latin America.
Michael Clark is a lettering artist who resides in Richmond, VA. His work entails creation of logo designs, titling for CD's, Books and magazines as well as font development for both corporations and resale.
Oswald Bruce Cooper
American advertising designer and type designer active from 1915 to 1927 with ATF and Barnhart Brothers & Spindler.
Ray Cruz is a graphic artist, consultant and custom lettering designer. For over three decades his diversified skills have allowed him to work with advertising agencies, publishers, package design firms, branding firms and corporate clients. Designing new and custom typefaces is his favorite endeavor. Ray has received over 30 graphic and type design awards from TDC, AIGA, ADC and other art associations. Currently, he is an adjunct professor at FIT and Kean
Éric de Berranger
Éric de Berranger, French designer (b. 1973) whose early fonts were first published from the 2Rebels foundry in Montreal. Éric de Berranger learned his passion for drawing letters from Jean-François Porchez, his professor of typography. Both talented and prolific, de Berranger has created everything from classic text faces to cutting-edge display designs. de Berranger does visual identity work for companies in France, most notably, the logo and logo font for Renault (2004). In 2006, he created a 6-weight legible sans family for the STIP (Brussels transport society) called Brusseline. In 2007, he created the bold gothic headline face LFP Bold for the Ligue de Football Professionnel, and in 2008, he published the stunning connected script Hermès Scripte used by the fragrance company by that name. Other fonts to his credit include ITC Berranger Hand, Mosquito, Kaola, Maxime, ITC Octane, and ITC Oldbook.
Coert De Decker
At the age of 14, Kustomtype's founder Coert De Decker began his journey into the world of type and design communication by creating hand-drawn posters and flyers for various events including parties and other events, especially for the exciting rock or alternative music scene. This opportunity allowed Coert a venue to develop his own sense of style and creative aesthetic.
Years later, in 1983, Coert started his professional graphic design career as type cutter & stone carver assistant, which was manual business at that time.
In 2011, Coert De Decker founded Kustomtype. Kustomtype is a bustling small type foundry based in Belgium.
Lucas de Groot, known professionally as Luc(as) de Groot (born 21 June 1963 in Noordwijkerhout, the Netherlands) is a Dutch type designer. He is the head of the type foundry Fontfabrik. He is mostly known for the very large font family Thesis (TheSans, TheSerif, TheMix, TheSansMono and later TheAntiqua) and Corpid (previously AgroSans). Luc de Groot also designed custom fonts such as Calibri and Consolas for Microsoft Windows Vista, for magazines and newspapers like Der Spiegel with ‘SpiegelSans’, die tageszeitung with ‘Taz’, Folha de S. Paulo with ‘FolhaSerif’, or corporations like Sun Microsystems with ‘SunSans’. Lucas de Groot teaches at the Design Faculty of the University of Applied Sciences, Potsdam, Germany.
Robbie de Villiers, an award-winning multi-disciplinary designer based in Wilton, Connecticut, started the Wilton Foundry in 2003.
Jeremy Dooley is a world traveler with a interest in type.
He received a masters in graphic design at Savannah College of Art and Design in 2005.
Favorite Designer: Adrian Frutiger.
His foundry is Insigne.
Ethan Paul Dunham
Web designer and type designer, who releases fonts under the FontHead label.
William Addison Dwiggins
Leading American book designer of the first half of the 20th century, closely associated with C.H. Griffith, and leading designer for the Mergenthaler Linotype Company from 1929 until after World War II.
James Edmondson is a type designer and lettering artist living in San Francisco, and studying design at California College of the Arts.
Tobias Frere-Jones was born in 1970 in New York, where he would come to appreciate the elegant and cultured, as well as the derelict and corrupt. His adolescence was divided between the galleries of Manhattan and the dockyards of Brooklyn. At fourteen he began exhibiting paintings, sculptures and photographs in New York galleries. An artist being raised in a family of writers and printers, he learned the power of written text, and naturally slipped into design of letterforms. By the time he entered Rhode Island School of Design, type design had displaced most other interests. He graduated from the Graphic Design Department in 1992 and began full-time work for Font Bureau, where he was a Senior Designer for several years. In addition to his numerous contributions to the Font Bureau retail library, he has made three fonts (Reactor, Fibonacci, Microphone) for Fuse, a journal of experimental type design. He now teaches a type design course at Yale School of Design with Matthew Carter. In 1999, he left Font Bureau to return to New York, where he began work with Jonathan Hoefler at The Hoefler Type Foundry, Inc.
An English sculptor, sign painter, type designer, wannabe social reformer, devout Catholic with unusual sexual behaviour. His best known type designs were produced by the Monotype corporation, although he also designed type for private presses. His most widely used type Gill Sans, strongly influenced by the London Transport lettering of his teacher Edward Johnston, was the first successful sans type based on the humanist models of the Renaissance. Other of his designs are the intricate Perpetua and Joanna, named after his daughter.
Frederic W. Goudy
Prolific American book and type designer active 1986 - 1941 whose consciously archaic style is readily recognizable, associated with ATF, Continental, and Lanson Monotype.
Type Designer from Canada.
James Grieshaber graduated Rochester Institute of Technology (USA) with a BFA in Graphic Design. His continuing self-education in typography and type design has led to his interest in the history and evolution of the Latin alphabet. He also has a special interest in in the areas of modern, experimental and new alphabets. Grieshaber has worked as an Art Director for a newspaper and advertising agencies and is currently with P22 type foundry.
Tomi Haaparanta from Finland, designing typefaces since 1990, is founder of the Suomi Type Foundry.
Paul Hunt was born and raised in the small town of Joseph City, Arizona. "I love the countryside," he says, "but I've always felt like a city kid at heart." He attended Brigham Young University and received his degree in International Studies. Paul got involved professionally in design when he took a job as a graphic designer for The Winslow Mail while still living in Arizona. Paul now lives in Buffalo, NY, where he works as a type designer for Lanston/P22. "Ever since I was young, I have been fascinated by art, language and culture. I guess it's only natural that these interests have come together in my love and practice of type design."
With over 80 typefaces in more than 300 different sizes in his portfolio, Hermann Ihlenburg is perhaps the most prolific, underrated and rarely credited type designer and punch cutter in all of type history.
Born in Berlin in 1843, Ihlenburg showed interest in drawing and engraving early on in his childhood. But upon turning fourteen, he joined the Trowitzsch & Son (Berlin) type foundry as an apprentice. Shortly after serving his apprenticeship, he moved to Dresden to work as a seal engraver, then to Prague, where he worked as punch cutter for the G. Haase foundry (later Stock Company). A year later, he took temporary positions with three different foundries: the Flinsch foundry in Frankfurt, the Battenburg foundry (later Gustav Majeur) in Paris, and the Basle foundry in Berlin.
In 1866, Ihlenburg moved to Philadelphia to work for the L. Johnson & Co. foundry (later MacKellar, Smiths & Jordan Co.) where he would spend more than 30 years designing type and cutting punches. He cut more than 32,000 punches throughout his career. With his penchant for artistic flair in his designs, he also began a large revival of interest in border ornaments with his Drapery Borders, after which he designed over 30 ornament and border faces.
American Typefounders acquired MacKellar, Smiths & Jordan Co. in 1901. Hermann Ihlenburg continued working for ATF in Philadelphia, and designed 11 faces for them before his death in 1905.
Frau Jenson moved to Hamburg for university studies after unsatisfying jobs
At the risk of being "too inside", Outside the Line type designer Rae Kaiser can best be described by revealing, she owns the movie, Helvetica. Rae bundles the unique blend of incredible design sense with savvy business acumen. Stereotypically uncommon among artists. This translates into design that is "fun with a purpose".
Hajime Kawakami was born in 1953 and has been working as a Graphic Designer since 1974. He won the 1990 Morisawa International Typeface Design Competition with an Honorable Mention in the Latin Category.
Of his work, he says: "I am interested in typefaces, especially those of the Latin alphabet. I like their functional and geometric features, together with their simplicity. I would like to live as a designer relating to characters both Japanese and Latin. I am designing these characters, dreaming that my typefaces might be used for a signboard in an unknown town, or used by unknown people in the world."
Kevin Kegler is a professor of graphic design at Daemen College in Amherst, New York. As well, he is a practicing designer and sculptor. Type design has evolved as a natural progression from his broad-based approach to visual communication. Kegler has been the principal designer at First Hand Learning, Inc., a company he cofounded, and currently is the owner/director/principal at worknotwork in Buffalo, NY.
Richard Kegler is the founding partner of P22 type foundry, which originated in 1994 as an outgrowth of his Master's thesis project on Marcel Duchamp. Mr. Kegler's background in typography and book arts includes ventures in bookbinding and letterpress printing. The historical context and background of type continue to be his greatest interest and shape the evolution of P22.
Throughout 15 years of Art Director career and later in the one of Graphic Designer, I could perceive the enormous importance and the power that the typography has as a visual register of the concept transmission.
As ever, typography has called my attention. I have felt highly motivated to seriously produce since some facts appealed to me such as the advent of the Internet, the access to the font editors kind of softwares, the investment in specialized literature and the discovery of a community crazy about typography.
The goal that keep us moving forward is to offer to the market projects that, somehow, contribute giving to the messages and mainly to the letters the real value they deserve.
Gabor Kothay was born July 19th, 1962. He works as a graphic designer and teaches second-form art students. Typeface design was a hobby for many years but it has become an everyday routine with Fontmunkasok and Fontana Type Foundry. He lives with his wife and two daughters in a suburb of Szeged, a sunny southern Hungary town that lies on the banks of the Tisza river.
Born: Dallas Texas, 1923. Died: 2005. Founder and presiding spirit at Alphabet Innovations and TypeSpectra in Dallas, Texas, where new variations on older faces were produced to witty and light-hearted specimen copy for use on photo display devices and phototypesetters.
Alan started work in 1970 for Graphic Systems as a lettering artist.
In 1975, he joined Letraset as the Senior Type Designer and Studio Manager where he was responsible for all the artwork produced by the Letraset studio. During his tenure at Letraset, he designed over 40 popular typefaces, including Bramley, Candice, Bickley and Belwe. Together with type director Colin Brignall, Alan turned Letraset into one of the most important and influential type foundries in the world.
All the original typographic artwork produced at Letraset was produced by hand cutting the fonts in Rubylith; a highly-skilled technique known as stencil cutting. Alan was responsible for training the entire Letraset studio in this art. Most of the original Letraset artwork has now been archived by the world renowned St. Brides Printing Library, London.
Today, Alan works independently, specializing in all facets of corporate identity including type design, typography, packaging, development of logos and symbols.
Type Designer from Germany.
Jim Parkinson was born in Richmond, California, in 1941, and he's been lettering ever since. In addition to his custom font work, Jim has designed dozens of retail fonts and exclusive fonts for Adobe, Monotype, FontShop, The Font Bureau, Chank and ITC. His typographic logos appear on the covers of many magazines and newspapers, including Rolling Stone, Newsweek, Esquire, InStyle, El Graphico, The Wall Street Journal, The Los Angeles Times, The Detroit Free Press, The Montreal Gazette and The National Post.
Canadian Ronna Penner (Typadelic) first discovered her obsession with type while studying graphic design in college. It seemed that the focus of many of her studies revolved around the use of type. Today, as a graphic designer, she spends her working day designing cards for a greeting card company, immersed in type, and continuously on the lookout for new typefaces. The admitted type junkie confesses that she often misses the message in advertising because she cannot get past looking at the type itself.
Ann Pomeroy started designing typefaces at Rolling Stone in the late '70s, where she was the typographer. Those were made into two-inch film fonts for the hand-cranked device, the VGC Phototypositor.
When PostScript fonts arrived, she started working in the late 80s on a project with Paula Scher, revising some of her favorite types. Later she designed the Newsweek logo with Jim Parkinson and Roger Black.
Stephen W. Rapp
Stephen Rapp began studying calligraphy in 1988. What started as a hobby soon became both a passion and a career. Stephen has applied his lettering skills to a wide variety of projects from CD covers to movie sets. He is currently a member of the lettering team at American Greetings where, in addition to other activities, he designs fonts.
Type Designer from Versec.
Isac Corrêa Rodrigues is a graphic designer born and graduated in Southern Brazil (Universidade Federal de Santa Maria, Rio Grande do Sul State).
F.H. Ernst Schneidler
German designer who worked with Bauer in the 1930s. His artistic estate is now housed in the Klingspor Museum, Offenbach.
Type Designer from Germany.
In 1991, Anton Scholtz began designing fonts to enhance the work produced by his graphic design company.
Starting in 1997 he began to use computer-aided font design and started publishing his fonts on the web.
Based in Africa, surrounded by many African cultures, (particularly Zulu), he has specialized in "African flavor" fonts to make up for the lack of fonts that are suitable for African inspired design.
His other major interest is painting and he has, over the years, had a number of one-man shows and produced the paintings for hotels and a number of public buildings throughout Africa.
I started out as a graphic designer and illustrator in 1976. During the early part of my career I worked as an art director on a number of magazines and other publications including Metropolis (a Minneapolis weekly, 1977), Machete (a Minneapolis broadsheet, 1978-80), TWA Ambassador (an inflight magazine, 1979-81), Minnesota Monthly (Minnesota Public Radio's regional magazine, 1979-85), and the Utne Reader (1984-88).
I was head designer and art director for Minnesota Public Radio (1981-85) and an art director for its sister company, Rivertown Trading Company (1992-2000). During that time, I designed over 200 audio packages, including most of Garrison Keillor's, along with several hundred products (t-shirts, mugs, rugs, watches, etc.) for the Wireless, Signals, and other mail order catalogs.
I frequently did lettering as part of design projects I worked on. This was always my favorite part, so in 2000 I opened my own shop specializing in lettering and typography.
I've also been interested in typeface design since my college days. I started licensing fonts to FontHaus in 1992, and since starting my new business, stepped up my efforts in developing original typefaces. I now have more than 100 fonts on the market with many more to come.
Type Designer from Australia.
Willard T Sniffin
American designer active with ATF 1927–1933.
Jim Spiece enjoys resurrecting old typefaces. And finding a complete set of characters can often be a challenging task. It takes him down into the musty basements of public libraries and out into the world of flea markets and hole-in-the-wall bookstores. After careful scanning and hand-outlining, he must occasionally dig deeper for a missing punctuation mark or double f-ligature. Jim chuckles, "These are all minor inconveniences when you consider you’ve brought these faces back from obscurity and found them new homes. Besides, it's fun. In one sense, my own designs are a lot easier because they never had a previous life!"
In the words of Craig Stainton, founder of SelfBuildtype:
My interest in lettering started when I was a kid in my home town of Newcastle. Graffiti was my introduction to lettering and for a while I was a graffiti tagger, practising new letter styles and shapes. This later developed into an interest in type design at Leeds Metropolitan University, where I was inspired by the crop of new type designers using Fontographer, foundries such as Emigre and Brody’s FUSE experiments. I started to design my own fonts to use on techno record labels and other projects. SelfBuild was born of necessity; I often found the fonts available to me were not suitable for the job in hand and so constructed or designed my own.
Ted Staunton was born in 1942 in Lincoln, England. He served an apprenticeship in the letterpress printing industry before training as a typographic designer at Leicester College of Art. In 1970 he emigrated to Canada, and lives in a suburb of Vancouver, on British Columbia's superbly scenic west coast, with his wife and family.
Amondo Szegi is a Hungarian freelance designer, painter and performer. He has previously worked as a newspaper editor, bookshop assistant, electrician and boilerman. Amondó is the co-founder of Fontana Type Foundry and has designed typefaces for six years. He currently lives with his family in Szeged.
Christina Torre has been with P22 type foundry since January 2000. She graduated from the State University of New York at Buffalo with a BA in Communication Design. She designed a variety of fonts, print materials, and has also designed for the web. Christina worked at the Pushpin Group in NYC and at Dog Eat Dog Advertising, Inc. in Buffalo, NY.
Ryoichi Tsunekawa’s Flat-it foundry is located in Nagoya, Japan. Ryoichi debuted his first MyFonts font family in June and now has 15 families on the website. Machia, a connecting script font with elegant swashes, had been atop our Starlets page for quite a while after its initial release, but now [October 2006] the complementary Machiarge tops the chart. Machiarge is a casual heavier brushdrawn script, meant to be Machia’s kid brother.
Mark Van Bronkhorst
Type Designer from United States of America.
Panos Vassilious is an award-winning designer. Two years after his graduation from the University of Toronto/Canada, where he studied Applied Science and Engineering, he pursued a teaching career at George Brown College/Toronto, first in the Information Systems Department and later in the Media & Graphic Arts Department. He has been Creative Director for the Canadian design firm AdHaus and former Publisher of the Greek monthly magazine DNA.
Contemporary Yugoslav calligrapher and type designer active with ITC and Adobe.
Brian Willson backed into type design through the side door—or so he says. A self-described "impostor" in the type world, Willson has no formal training, started designing fonts in mid-life, but nevertheless has been invited to speak at TypeCon, typo[media] 2000, and other type industry events, much to his astonishment. His interest and specialty are old penmanship fonts and historical simulations.
My interest in art and design began in the early 1980s when the revival of calligraphy came about. My mother had taken a class in calligraphy and I found her calligraphy supplies fascinating.
The following year I learned italics in the classroom and my skills and interest deepened. I have been a student of lettering and typography since. I studied and obtained a degree in Graphic Design, and have been a professional designer and illustrator since 1997.
At present, I am a freelance designer and an adjunct professor of Visual Communications at Highline Community College.
Paulo W is a gaúcho (Brazilian southerner), with interests in multiple areas, including poetry (he has published a digital book — Magical Book — on the Internet) and graphic design.
In the early 1990s he became one of the first artists to produce and expose works generated on digital techniques. Such contact with computers led him to decide that his life would be devoted to graphic design.
His artistic production is smaller now (his current pictorial works do not have the same fervor as before, being considered by him more technical ones) and followed career as a graphic designer, successful in the profession until discovering typography, a real turning point in his life.
Terry Wüdenbachs is a typographic designer and semi-professional snowboarder from the alpine country of Liechtenstein. Inspired by of many movements in art history (but primarily surrealism), Terry sees possibilities in incorporating references from the great masters, both classic and modern, into contemporary work. Catalan is Terry's first type design to be released to the public.