I have been a designer for my whole life. My father was an industrial designer specializing in packaging graphics and corporate identity. I spent my summers running a ‘stat camera’ and doing layout with letraset sheets in his design studio in Boston. In whatever incarnation my life and career has taken, from actor, to photo assistant to NYC photographer to SEO guy to WordPress developer to Online Media Strategist, design has always been the boilerplate of reference.
The names of fonts were as familiar as the names of cars and hotrods on the street, Franklin Gothic. Futura. Gil Sans. Goudy Sans. Helvetica Optima. Syntax. Univers. Bembo, Times New Roman, the names scroll on in my mind.
When I bought my first Mac (an LC II), it was in the quest to be able to print out a dynodex file into my swanky Filofax. Thus began my journey into the world of the Mac and desktop publishing in New York City, 1991. Back then all the hot desingers were using the Macintosh IIci with Quark Express.
Anyway, I recently;y found myself looking to buy some new fonts to complete a WordPress site as well as do some logo design work. This list is not extensive, just some of the recent high points. 😀
Over 25 years, Tobias has established himself as one of the world’s leading typeface designers and created some of the world’s most widely used typefaces. He received a BFA in Graphic Design from the Rhode Island School of Design in 1992. He joined the faculty of the Yale University School of Art in 1996 and has lectured throughout the United States, Europe and Australia. His work is in the permanent collections of the Victoria & Albert Museum in London and the Museum of Modern Art in New York. In 2006, The Royal Academy of Visual Arts in The Hague (KABK) awarded him the Gerrit Noordzij Prijs, for his contributions to typographic design, writing and education. In 2013 he received the AIGA Medal, in recognition of exceptional achievements in the field of design. http://www.frerejones.com/
For more than ten years the pan-European design collective Underware has been creating versatile fonts, surfing the waves, conducting type workshops, running the radio station Typeradio, throwing cannon balls, experimenting with blood, practicing kamikaze chess; but mostly, they gave flowers for their mothers and turned them into a cover girl. Which resulted in an everlasting smile on their faces.
Production Type is a digital typeface foundry based in Paris, France. Operated by French type designer Jean-Baptiste Levée, the foundry produces retail typefaces for brands, corporations and publications; for print, screen and environmental design.
About Jean-Baptiste Levée
Jean-Baptiste Levée works methodically in a process where history and technology are approached altogether within the nuances of artistry. He manufactures functional, yet versatile digital platforms for designers to build upon.
Levée has designed over a hundred typefaces for industry, moving pictures, fashion and publishing. He has shown work internationally in group and solo shows, and is featured in the permanent collections of the French national library (BnF) and the National Center of arts (Cnap); of the Newberry Library in Chicago, and several printing museums in Europe. He is also the country delegate for France at ATypI (Association Typographique Internationale). Levée curates exhibitions on typeface design, organizes research symposiums and teaches typeface design at the Amiens school of Arts & Design, at the Caen-Cherbourg school of Arts & Media and at the University of Corte. He is a typography columnist and editor on Pointypo.com.
Luc(as) de Groot
Berlin-based Dutch type designer Luc(as) de Groot has worked with and for many well-known companies and publications. He has made custom fonts for prestigious newspapers such as Folha de S.Paulo, Le Monde, Metro and Der Spiegel in addition to creating corporate type for international companies including Sun Microsystems, Bell South, Heineken, Siemens and Miele. He designed two font families for Microsoft: the ‘monospaced’ font family Consolas, the new alternative to Courier; and Calibri, the new default typeface in MS Word.
De Groot founded his own type foundry, LucasFonts, in 2000.
Its aim, in a few words: to make the world a better place by designing typefaces that look good and work well under any circumstances and in many languages. Graphic designers across the planet have discovered the special qualities of Luc(as)’ fonts. They are attracted by their functionality and friendly appearance and love the enormous range of possibilities that each family offers. Many also appreciate the idiosyncrasies – a quest for extremes that has resulted in some of the narrowest, thinnest, wittiest or boldest typefaces around.
The name LettError was created in the late eighties for an art-school magazine on type. It cleverly combines Letter, Error and Terror which at the time we thought was very witty. Since then a lot of things have happened in the world. Sometimes folks ask about the name. Then we say: the name is old; it has become part of the infrastructure; it does not want to be changed.
Erik van Blokland (1967) studied Graphic and Typographic Design at the Royal Academy for Fine and Applied Arts in The Hague, Holland. Erik started to collaborate with Just van Rossum under the name LetTeRror in Berlin, while working at MetaDesign. After experimenting with computer programming in connection to type design, they came up with Beowolf, the first typeface with a mind of its own. It was released by FontShop in July, 1990. The radical approach of Beowolf caused a lot of publicity for LeTterRor, and of course fame and fortune. Well, fame anyway. After stints at several places in the world, including David Berlow’s FontBureau, van Blokland settled in The Hague as an independent designer, working together separately with van Rossum.http://letterror.com/
Quite simply, we love type and typography.
Back in 1990, Erik Spiekermann and Neville Brody wanted to build a foundry where type was made for designers by designers, a place where type designers were given a fair and friendly offer and where type magic was made.
From the very beginning, we wanted to bend the rules and test typographic boundaries, to build a library with a collection like no other; a range of typefaces that had different styles, different purposes, that was contemporary, experimental, unorthodox, and radical. https://www.fontfont.com/about
Known throughout the world as a prolific type foundry, House Industries has made a considerable impact on the world of design. House Industries fonts scream from billboards, wish happy whatever from tens of thousands of greeting cards, serve as the basis for consumer product logos and add elements of style to a wide range of mainstream media. In their illustrious career, House artists have mastered a large cross-section of design disciplines. Their typography deftly melds cultural, musical and graphic elements. From early forays into distressed digital alphabets to sophisticated type and lettering systems, House Industries’ work transcends graphic conventions and reaches out to a broad audience. What ultimately shines in the House Industries oeuvre is what always conquers mediocrity: a genuine love for their subject matter. http://www.houseind.com/
Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Edited by Stephen Coles and designed by Chris Hamamoto. Founded in 2002 by Joshua Lurie-Terrell. Relaunched in 2009 by Coles and Hamamoto.
Welcome to the Arkandis Digital Foundry -ADF- homepage. This site has been created in order to offer a large collection of high quality fonts for publication and open source programs.
This collection came from my work, started a few years ago, now redeveloped for Scribus use, and has three purposes. The first is provide fonts to allow for artistic creativity in publications for those who cannot afford the cost of commercial font families. The second is to protect the works of professional font foundries and designers from the illegal use of their fonts in publications or for commercial use by providing these free alternatives. The last is that making fonts is a great pleasure.
Remember that Arkandis Digital Foundry offers only alternative font typefaces or derivative works that have the “look” of commercial fonts.
Fonts In Use is a public archive of typography indexed by typeface, format, and industry. We document and examine graphic design with the goal of improving typographic literacy and appreciation.
The first incarnation of the site launched in December 2010 as a Blog. The new version, which debuted in July 2012, introduces the Collection, a much larger database open to contributions from visitors.
Hoefler & Co.
For 25 years, we’ve helped the world’s foremost publications, corporations, and institutions develop unique voices through typography. Our body of work includes some of the world’s most famous designs, typefaces marked by both high performance and high style. We work with brand leaders in every sector, developing original typefaces for print, web, and mobile environments, and licensing fonts from our library of more than one thousand designs. http://www.typography.com/
An international leader in typeface design and marketing for over 30 years, ITC collaborates with world-class designers to provide a library of more than 1,500 classic typefaces and innovative new designs. ITC has also helped to raise the standards of design quality, and focused attention on the ethical issues related to design protection and licensing. While renowned for classic designs, ITC has aggressively expanded the scope of its type library to include more contemporary designs, including distinctive display faces and inventive illustration fonts. http://www.fontshop.com/fonts/foundry/itc/
Storm Type Foundry
Spalova 23, 162 00 Praha 6, Czech Republic
The day Ottmar Mergenthaler demonstrated the first linecasting machine to the New York Tribune in 1886, Whitelaw Reid, the editor, was delighted: “Ottmar,” he said, “you’ve cast a line of type!” The editor’s words formed the basis for the company label, and marked the beginning of Linotype’s success story. Four years later, the ingenious inventor founded the Mergenthaler Linotype Company. For more than 100 years, the Linotype name was synonymous with high quality typefaces. In 2006, Linotype GmbH was acquired by Monotype Imaging Holdings inc., and in 2013 was renamed to Monotype GmbH. The Linotype library remains part of the Monotype libraries and continues as an active type label. Linotype.com also remains as the same thriving e-commerce portal through which you will be able to obtain as before the latest Linotype typefaces and the font products of our other libraries and font foundries.
As Monotype GmbH, we will continue to provide superior quality typographic products and services to brand managers, designers, publishers, IT administrators and product developers. Home to legendary typefaces including the Helvetica®, Frutiger® and Univers® families, We provide trusted, global design expertise and are committed to serving the design community.
Some Font Tools:
RoboFont, the missing UFO editor.
Type and Media is a full-time one year Master program. Its schedule can therefore incorporate every day of the week. At the beginning of the course, each student establishes an individual study-plan in consultation with the permanent faculty.
RoboFab Step by step.
Converts OpenType and TrueType fonts to and from XML.
FontForge — An Outline Font Editor
FontForge allows you to edit outline and bitmap fonts. You may create new ones or modify old ones. It is also a format converter and can interconvert between PostScript (ascii & binary Type1, some Type3, some Type0), TrueType, OpenType (Type2), CID, SVG http://fontforge.org/