Extinct 20th Century Foundries

Extinct 20th century foundries 18/10/18 00:14
TYPE DESIGN INFORMATION PAGE last updated on Wed Oct 17 01:39:50 EDT 2018 LUC DEVROYE
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FONT RECOGNITION VIA FONT MOOSE
Extinct 20th century foundries
[Headline set in Sanchez Slab, which was designed by Daniel Hernandez in 2013]
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010Bus This foundry started in 2000 and died in October 2001. It had many interesting new
small point size screen fonts. The list: 11px2bus, 11px3bus, 11pxbus, 13pxbus,
5px2bus, 5pxbus, 6px2bus, 6pxbus, 7px2bus, 7px3bus, 7px4bus, 7pxbus, 7pxkbus,
http://luc.devroye.org/ext20.html Page 1 of 213

8pxbus, 9px2bus, 9px3bus, 9pxbus. It used to be here: http://ziz.pekori.to/. [Google]

[More] ⦿
011 fonts Self-proclaimed foundry with a mysterious web page active ca. 1999: nothing but
graphics, no products or factual information. No clue what sort of fonts they made.
[Google] [More] ⦿
2rebels A defunct Montreal foundry run by Denis Dulude and cofounded by him and Fabrizio
Gilardino in 1995. Denis Dulude closed shop in 2011 and returned all rights of fonts
to their creators. [I wish everyone would be so generous...]. Most fonts can now be
found in the FontHaus collection.
The designers included Annie Bastien (Sofa, Scratch), Robert Beck (Table Manners),
Christine Côté (the handwritten Nacht), Denis Dulude (Razzia), Patrick Giasson
(Proton 102), Fabrizio Gilardino (Babbio), Marie Laberge-Milot (funny dingbats Fred
Family), Anna Morelli (Quattr'Occhi), Serge Pichii (Thais Light), Clotilde Olyff
(Douff: geometry in action), Martijn Oostra (Mold Family), Marc Tassell (Pilgrim
Family), and Michel Valois (Perceval Family). MyFonts link.
View the typefaces made by FontHaus / 2 Rebels. [Google] [MyFonts] [More] ⦿
3Form Birmingham, UK-based design firm. Creators of the futuristic type Slacker Journal for
the journal by that name, 2001. No longer active. [Google] [More] ⦿
A. Gregr Czech typefoundry in the 20th century. Fonts by them include Gregr Roman (1930),
Gregr Italic (1931), and Dyrynk Lateinschrift (1928), all made by Karel Dyrynk.
[Google] [More] ⦿
A. Grimoldi Type foundry from the early part of the 20th century, located in Turin, Italy. [Google]
[More] ⦿
A. Haase Prague-based foundry. Acquired in 1907 by H. Berthold AG. [Google] [More] ⦿
Active Images (or: Rita Simpson and Richard Starkings' company which specialized in comic book fonts.
Comic Book Fonts, The newest Tekton-lookalike font, Hellshock, was designed by Dave Lanphear.
or: Comicraft)
Some typefaces: Achtung Baby (1997), Adamantium, Chills, DivineRight,
[Dave Lanphear]
DoubleBack, DutchCourage Elsewhere, IncyWincySpider, RunningWithScissors,
Spills StandBy4Action, Stormtrooper, TheStorySoFar, Thrills, ToBeContinued,
Alchemite, Astro City, Bithead, Bronto Burger, CarryonScreaming, ClobberInTime,
Comicrazy, Flameon, Frostbite, GrimlyFiendish, JimLee, JoeMad, Meltdown,
MonsterMash, PhasesOnStun, PulpFictioon, ResistanceIs, SezWho/SezYou,
SpookyTooth, Splashdown, TimSale, Wildwords (129 USD!), YuleTideLog, Zoinks.
Most fonts by John Roshell. [Google] [More] ⦿

AcuteType This outfit used to sell and give away fonts made by Stirling H. Alexander until it
[Stirling H. closed in 1996. Based in Orinda, California, they also were into custom handwriting
Alexander] and custom calligraphic fonts. Free typefaces included Lingbats and Ling Print Brush.
Alexander made a dozen fonts in all. Acutetype morphed into a porn site and then
another site since 1996, but Stirling H. Alexander has nothing to do with that.
[Google] [More] ⦿
Adam Numrich [More] ⦿

[Schriftgiesserei A.
Numrich \& Co]
Addressograph Also called Multigraph Corp. Varityper Division. Defunct foundry. [Google] [More]
⦿
Adler Traldi Type foundry, aka Adlertype, from the middle part of the 20th century, located in
Pavona, Italy. Their 1978 catalog includes these typefaces: Forma (sans), Impressum,
Times, Modulario, Sirio (sans), Esperia (sans), Victoria, Ionic, Excelso, Bodoni,
Aulico, some dingbats, and Akkad (simplified Arabic). [Google] [More] ⦿
Adobe Studios Incorporates Image Club, a maker of many nice fonts. Has become EyeWire.
[Google] [More] ⦿
Advance Type Short-lived foundry run by Robert Wiebking and Henry Hardinge in Chicago. In 1894
Foundry 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. Typefaces by them include
the ArtCraft Series, Caslon Antique, and Modern Text (blackletter). [Google] [More]
⦿
Affolter und Werner Affolter ran a

Gschwind AG phototype and printing
[Werner Affolter] company in Basel,
Switzerland, called Affolter und Gschwind AG, Fotosatz&Reprotechnik. In 1981,
Affolter published an extensive catalog entitled Letterama that showed over one
thousand alphabets. Few of those were original, so I suspect he acted as a vendor of
sorts, but at least a couple seemed original, or were claimed to be original or
exclusive: Guigoz, Moby Dick. Moby Dick was revived in 2014 by Nick Curtis as
Call Me Ishmael NF.
Some examples of the types shown, in alphabetical order: Antique Wood MP363 (art
nouveau), Antique Wood MP 364 (oriental simulation face) [the Antique Wood series

is quite extensive, and is just numbered], B+T Classic (roman), Bernhard Fett, Beton
Fine Line (typewriter), Burko (avant garde family), fonts starting with G, Gaston Fett
(a squarish gothic typeface also called Gipsy), Gaston Halbfett (also called Grassy),
Gemini Computer, Germanic Sans (more avant garde and Lubalin-style glyphs),
Hollandse Mediaeval, Hollywood (a 3d decorative family), typefaces starting with K,
Lineamarca (slabby), Linear (avant garde, geometric monoline), Melen (experimental,
geometric), Meola Bookman swash (decorative), Metro (art nouveau, after the
Metroploitaine font), Moraine (squarish), the Old Foundry sub-collection [another
mysterious numbered collection; examples include some uncials, and some more art
nouveau typefaces, some Victorian ornamental typefaces (F260 through F262), more
art nouveau (MP418 through MP420) and blackletter typefaces (MP421)], Pierrot
(psychedelic, groovy), Phydian (one of many Western style ornamental typefaces),
Ronda, Roulette, Roulette Schattiert (=Rajah) (more Western fare), Ruby (shaded
caps), Runic Small (condensed), Rustic (wood log look), typefaces starting with S,
Spengler Gothik, St. Clair (ornamental), Zither (calligraphic script). [Google] [More]
⦿
Agfa Monotype The company was established as

Agfa Monotype Corp. in 1998 as
a subsidiary of Agfa when its
Typographic Systems Division
merged with Monotype
Typography, a typeface foundry
that began in 1887 as the Lanston
Monotype Machine Company.
Based in Wilmington, Mass. with
regional offices in the U.K.,
Japan and China, Agfa
Monotype specialized in fonts
and font technologies for graphic professionals, software developers and
manufacturers of printers and display devices. The company also provided print
drivers and imaging technologies to OEMs (original equipment manufacturers).
Agfa Monotype was a wholly owned subsidiary of Agfa Corp. based in Ridgefield
Park, N.J. and was part of Agfa's Graphic Systems business unit. Agfa was the U.S.
subsidiary of the Agfa-Gevaert Group, one of the world's leading imaging companies.
Agfa developed, produced and marketed analog and digital systems primarily for the
graphic imaging, healthcare, micrographic, consumer desktop, motion picture and
photography markets. Headquartered in Mortsel, Belgium, Agfa had 40 national sales

organizations globally, with worldwide sales of 4.215 billion euros in 2003. It had a
7000+ font collection in its Agfa Creative Alliance.
After Agfa joined forces with (in fact, absorbed) Monotype, Agfa acquired ITC in
March 2000. In 2003, Agfa Monotype acquired Faces Ltd., a typeface distributor in
the U.K.
Designer profiles. History of the company by Lawrence W. Wallis (dead link).

Monotype library today.
The 2004 type development team included Geoffrey Greve, Dave Opstad, Mike
Leary, Delve Withrington, George Ryan, Chris Oppenberg, Jason Campbell and Jim
Wasco.
In November 2004, TA Associates purchased a majority interest in Agfa Monotype

from Agfa Corp and the company was renamed Monotype Imaging Inc. [Google]
[MyFonts] [More] ⦿
Aktiengesellschaft Foundry in Offenbach, Germany. Their main specimen book

für Schriftgiesserei is Haupt-Probe über Schriftgiesserei-Erzeugnisse und
und Maschinenbau Messing-Material (1911, Offenbach am Main). House
(or: AG für typefaces include the blackletters Angelsächsisch, Archiv-
Schriftgiesserei) 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 evivals, see Appeal DT (2007, Malcolm Wooden, a revival of Apollo).
[Google] [More] ⦿
Akubin Original fonts for Mac and PC, mostly Latin letters, but also a few kana typefaces:
AKAkubit12H, AKElephant3, AKMyPrince (2004), AKOsaruH, AKOsaruR, AK-
Keroyon (2003, alphadings), Akubin (handwriting), AKAppriqueBlack, AKANGEL,
AKAppliqueWhite, AKUNCIAL, AKCalligraphy, 09Keroyon (2004), AK Jelly Beans
(2004), AK-Piyoko (2004, egg dingbats), AK woopaa, AK Roopaa, AK-Halloween
(2004, dings), AK Sweet Prison (2004, Fraktur), AK-BlackCastle (blackletter, 2004),
AK-WinterYawns (2004, winter dings). AK-Shanghai 1930 (2005), AK-Japonesque
(2005), AK-My Baby (2005, child dingbats), KS Lovers (2007, handwritten Latin and
kana). In 2008, they stopped offering free fonts. [Google] [More] ⦿

Albert Hollenstein [MyFonts] [More] ⦿

[Studio Hollenstein]
Albert Wilhelm [More] ⦿

Kafemann
[J. G. Francke
Nachfolger]
Alien Typefaces Six futuristic typefaces by Canadian Nicholas Fabian, yours if you can decode his
[Nicholas Fabian] encrypted messages. Try them out! One is called FModernMedium (avant-garde style,
1993). Fabian died in April 2006. [Google] [MyFonts] [More] ⦿
Allain Guillaume Typefounder in Paris, ca. 1900, whose production included

Batardes coulées, Gauloises, and Ronde Ancienne (upright
script). [Google] [More] ⦿
Allen Zuk Canadian graphic designer Allen Zuk designed these typefaces: Swing (was freely
downloadable), Beat, the Kooky family (since 2004 a Bitstream font), Creep, Shadow,
Krumple, Arson, Skritch, Schroder. Zuk used to run web pages/outfits called trashtype
fonts and Financial Peril. These have disappeared. Home page (his original font pages
are gone). Zuk used to work in Edmonton. In 2000, he moved to the UK where he
worked as a freelance designer and copywriter until 2004. He currently lives in
Toronto. Klingspor link. [Google] [MyFonts] [More] ⦿
Alphabet Innovations Born in Dallas in 1923, and retired in Florida, Phil Martin had an exciting
International -- life, which started as a bombardier in WWII, and went on as a piano bar
TypeSpectra (Was: singer, publisher, cartoonist, comedian and typographer. He died in
MM2000) October 2005.
[Phil Martin]
Phil established Alphabet Innovations International in 1969 and TypeSpectra in 1974,
and designed most of his 400 typefaces (read: film fonts for use in the VGC Photo
Typositor) there: Agenda (1976), Americana (1972), Arthur (1970, by Roc Mitchell),
Aurora Snug (1969), Avalon (1972), Baskerville (1969), Beacon (1987), Bluejack
(1974), Borealis (1970, by Roc Mitchell), Britannic (1973), Bulletin (1971),
Celebration (1969, by Roc Mitchell), Century S (1975), Cheltenham (1971), Clearface
(1973), Cloister (1975), Corporate (1971, by Roc Mitchell), Corporate Image (1971,
by Roc Mitchell), Courier B EF (2004, originally done at Scangraphic), Didoni (1969,
a knock-off of Pistilli Roman with swashes added), Dimensia and Dimensia Light
(1971, by Roc Mitchell), Dominance (1971), Egyptian (1970), Eightball (1971, some

report this incorrectly as a VGC face, which has a different typeface also called
Eightball: it was digitized by FontBank as Egbert. Alphabet Innovations' Eightball
had other versions called Cueball and Highball, and all three were designed by
George Thomas who licensed them to AI), Fat Chance (Rolling Stone) (1971), Fotura
Biform (1969), Franklin (1981), Garamond (1975), Globe (1975), Goudy (1969),
Harem (1969, aka Margit; digitized and revived in 2006 by Patrick Griffin and
Rebecca Alaccari as Johnny), Helserif (1976---I thought this was created by Ed
Kelton; anyway, this typeface is just Helvetica with slabs), Helvetica (1969),
Introspect (1971), Jolly Roger (1970, digitized in 2003 by Steve Jackaman at Red
Rooster; Martin says that Jolly Roger and Introspect are his two most original
designs), Journal (1987), Kabell (1971), Kabello (1970), King Arthur [+Light,
Outline] with Guinevere Alternates (1971, by Roc Mitchell), Legothic (1973),
Martinique (1970), Mountie (1970), News (1975), Palateno (1969), Pandora (1969),
Pazazzma (1980), Perpetua (1969), Plantin (1973), Polonaise (1977; digital version by
Claude Pelletier in 2010, called Chopin Script), Primus Malleable (1972), Quaff
(1977), Quixotic (1970), Report (1971), Romana (1972), Scenario (1974), Sledge
Hammer (1971), Son of Windsor (1970), Stanza (1971, by Roc Mitchell; this angular
typeface was later published by URW), Stark (1970), Supercooper (1970), Swath
(1979), Threadgil (1972), Thrust (1971), Timbre (1970), Times (1970), Times Text
(1973), Trump (1973), Tuck Roman (1981), Viant (1977), Vixen (1970), Weiss
(1973), Wordsworth (1973).
In 1974, he set up TypeSpectra, and created these type families: Adroit (1981), Albert
(1974), Analog (1976), Bagatelle (1979), Cartel (1975), Caslon (1979), Criterion
(1982), DeVille (1974), Embargo (1975), Heldustry (1978, designed for the video
news at the fledgling ABC-Westinghouse 24-hour cable news network in 1978;
incorrectly attributed by many to Martin's ex-employee Ed Kelton: download here),
Innsbruck (1975: revived in 2018 by Olexa Volochay as Tyrol), Limelight (1977),
Oliver (1981), Opulent [Light and Bold] (1975, by George Brian, an amployee at
Alphabet Innovations), Quint (1984), Sequel (1979), Spectral (1974), Welby (1982).
His fonts can be bought at MyFonts.com and at Precisiontype. He warns visitors not
to mess with his intellectual property rights, but I wonder how he can have escaped
the ire of Linotype by using the name Helvetica. In any case, the fonts were originally
made for use on photo display devices and phototypesetters. Some are now available
in digital format.
Near the end of his life, Phil's web presence was called MM2000 (dead link).
Check his comments on his own typefaces. URW sells these typefaces: URW Adroit,

URW Agenda, URW Avernus (after Martin's design from 1972), URW Baskerville
AI, URW Beacon, URW Bluejack, URW Cartel, URW Cloister, URW Corporate,
URW Criterion, URW Didoni, URW Fat Face, URW Globe, URW Goudy AI, URW
Heldustry, URW Helserif, URW Introspect, URW Legothic, URW Martin Gothic,
URW Martinique, URW Pandora, URW Polonaise, URW Quint, URW Scenario,
URW Souvenir Gothic, Souvenir Gothic Antique (the Souvenit Gothic family was
designed by George Brian, an employee of Alphabet Innovations at the time: it was
AI's first text family), URW Stanza, URW Stark, URW Timbre, URW Viant, URW
Wordsworth.
Interview. Bye Bye Blackbird performed by Phil Martin in Largo, Florida.
The final message on his last web page, posted posthumously read: MARTIN, PHIL,
82, of Largo, died Tuesday (Oct. 4, 2005) at Largo Medical Center. He was born in
Dallas and came here after retiring as a writer, singer-songwriter, commercial artist,
and comedian. As a high school student, he worked as an assistant artist on the
nationally syndicated Ella Cinders, and at 18 wrote and drew Swing Sisson, the
Battling Band Leader, for Feature Comics. He was an Army Air Forces veteran of
World War II, where he served as a bombardier in Lintz, Austria. On his 28th mission
shelling the yards in Lintz, his B-24 was hit and he was listed as missing in action
until the war in Europe ended. He was a comedian on The Early Birds Show on WFAA
in Dallas. As a commercial artist, he founded two multinational corporations to
market typeface designs and is credited for designing 4 percent of all typefaces now
used. He also wrote columns and articles for typographic publications. Locally, he
sang original lyrics to old pop standards in area piano bars, and in 1999 produced 59
issues of the Web book Millennium Memorandum, changing the title to MM2000 when
he issued the first edition of the new Millennium on Jan. 3, 2000. Survivors include his
wife, Ann Jones Martin; and a cousin, Lorrie Hankins, Casper, Wyo. National
Cremation Society, Largo.
Phil Martin's digital typefaces.
FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿
Alphabets Inc (or: Alphabets Inc was founded by type designer Peter Fraterdeus, who made AI Marlowe,
Fontsonline.com) AI Prospera, AI Wood (1992, interpreted from examples shown in Rob Roy Kelly's
[Peter Fraterdeus] American Wood Types) and AI Quanta (1994, a multiple master face). Check here.
This foundry has some of the nicest typefaces anywhere, including many gorgeous
typefaces by Philip Bouwsma (example: Alexia, Juliana, BouwsmaScript,
Weissenau). Other designers include Bonnie Barrett (Arbor), Brian Sooy (multiple

master fonts AIVeritas and AIVeritasItalic), Ejaz Syed, Inna Gertsberg, John Pugh,
Karen Ackoff (check out the Russell handwriting), Kurt Roscoe, Lester Dore,
Manfred Klein, Mike Brooks, Peter Fraterdeus (Oberon, Prospera and Quanta
(multiple master) families), Randall Jones (the multiple master font AIKochAntiqua),
Robert McCamant, Martha Chiplis, Serge Pichii, and Steve Meek. In 2007, Peter
Fraterdeus started Exquisite Letterpress for top quality printing. In 2010, he promised
to release Quanta Uncial.
Dafont link [where one finds the free experimental typeface AI Fragment]. [Google]
AlphaOmega Typefoundry run by Cynthia Hollandsworth. Arthur Baker often contributed typefaces
Typography to them, such as ITC Tiepolo (1987). FontShop link. [Google] [MyFonts] [More] ⦿
[Arthur Baker]
Alphatype Typesetting machine and system bought by Berthold. In this thread, we learn more
about its history. It used its own versions of most fonts---English was Times Roman,
Claro was Helvetica, Musica was Optima, Eurogothic was Eurostyle, and so forth.
[Google] [More] ⦿
American Greetings In 1996, the American Greetings Corporation company issued a number of mostly
Corporation script and blackletter fonts, whose names all start with CAC. These can now be found
[Courtney Kent on many font archives. A partial list: CACCamelot, CACChampagne,
Rhodes] CACFuturaCasual, CACFuturaCasualBold, CACFuturaCasualBoldItalic,
CACFuturaCasualMedItalic, CACKrazyLegs, CACKrazyLegsBold,
CACLaskoCondensed, CACLaskoEvenWeight, CACLeslie, CACLogoAlternate,
CACMoose, CACNormHeavy, CACOneSeventy, CACPinafore, CACSaxonBold,
CACShishoniBrush, CACValiant, Care-Bear-Family, ShishoniBrush.
Founded in 1906 and based in Cleveland, American Greetings Corporation no longer

develops or sells fonts.
Some web sites report that AGC, in cooperation with AGI, published these fonts in
2011: Erin B Regular, Handwriting, Hucklebuc, Lady Script, Lasko Medium,
Lovebirds, Milli, Moonstruck, Otto Matic Sans Regular, Pigpen Two Plain, Sage
Script Regular, Wild Bill Bold.
Six of the CAC fonts were designed and produced by graphic designer and Vietnam
veteran Courtney Kent Rhodes (b. 1949, Rochester, IN) from Westlake, OH, who
worked for AGC from 1988 until 2003. He is a graduate of Indiana University, class

of 1977, and is principal of Courtney Rhodes Design since 1980.
Dafont link [removed]. Archive of most of the CAC fonts. [Google] [More] ⦿
American Type Small foundry in Greenfield, IN, operating in the mid 1990s. Production includes Hey
Corporation Stupid (by Edwin Utermohlen), Cyberotica (1994, a liquid typeface by Barry Deck),
and Hermes. Brian Horner made the grunge typefaces Treat Type, Mega, Mego, and
Unicronica, the rounded typeface Bubba, and the monoline sans typeface Urchin, all
in 1995 and 1996. [Google] [More] ⦿
American Type In 1892, twenty-three type foundries joined together to compete with the new
Founders (or: ATF) typesetting machine, the Linotype [and later, the Monotype], to form ATF, which
consolidated its type manufacturing facilities in a new plant in Jersey City in 1903.
They were the dominant foundry in America until 1933, when ATF went bankrupt. Its
collection remains intact at the American Type Founders Company Library&Museum
at Columbia University in New York. The Smithsonian possesses most of the original
type drawings and many of the matrices, and a number of other institutions and
private individuals own matrices. Interestingly, despite the bankruptcy, it continued in
operation until 1993, when the Elizabeth, NJ plant was finally liquidated. It was
Kingsley's bankruptcy in 1993 that forced the final closure of ATF. In the early part of
the 20th century, ATF was the dominant American foundry.
Their specimen books are classics:
Specimens of Printing Types (1897, New York).

Handy specimen book; specimens of type, borders and ornaments, brass rule,
woodtype etc. Catalogue of printing machinery and materials, wood goods, etc
(1897).
American Type Founders. American Line Type Book. Borders, Ornaments.
Price List, Printing Material and Machinery (ATF, 1906).
American Specimen Book of Type Styles (1912, 1352 pages---see also here and
here).
Supplementary catalogue : new type typefaces, borders, ornaments, brass rule
(ca. 1917).
Specimen Book and Catalog (1923, 1148 pages). See also here. In 2013, David
Marshall of Sevanti Letterpress in Toronto scanned in and put up for free
download high resolution scans of the entire book. The links:
High resolution scan of the ATF 1923 specimen book (1 gigabyte, torrent
download).
Pages 1-300 of the ATF 1923 specimen book (PDF file).


Book of American Types (1934).
MyFonts link.
A brief history of ATF by Carol Van Houten. Reference books.
View the digital typefaces that are based (fully, or in part) on ATF's typefaces. See
also here, here, and here. [Google] [MyFonts] [More] ⦿
Amsterdam Typeface importer and vendor and foundry

Continental Types located on Fourth Avenue and Park Avenue
and Graphic South in New York City, with offices in
Equipment Co. Burbank, CA, and Chicago, IL. Their
typefaces included Annonce Grotesque.
Amsterdam Continental ceased operations.
A Handbook of Types (PDF catalog).

[Google] [More] ⦿
Andreas Vossinakis [More] ⦿

[Area 031 Fonts]
Andreu Balius [MyFonts] [More] ⦿

Planelles
[Garcia Fonts&Co]
Andreu Balius Born in Barcelona in

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

TDC2 Type Directors Club's Type Design Competition 2002. SuperVeloz (codesigned
with Alex Trochut) won an award at the TDC2 2005 type competition.
At ATypI 2005 in Helsinki, he spoke on Pradell and Super-Veloz. Speaker at ATypI

2006 in Lisbon. At ATypI 2009 in Mexico City, he spoke about the Imprenta Real.
Coorganizer of ATypI 2014 in Barcelona.
Author of Type at work. The use of Type in Editorial Design, published in English by
BIS (Amsterdam, 2003).
FontFont link. Linotype link. Behance link.
His production:
Garcia/Typerware offers about 50 fonts, including some very artsy typefaces,

such as Fabrique (Andreu Balius), Futuda, Garcia Bodoni (Typerware), Alkimia
(Estudi Xarop), Ariadna (pixel font, 1988-1989), Garcia Bitmap (1993),
Playtext (Andreu Balius, 1995), Matilde Script (Andreu Balius, 1994: an
embroidery face), Fabrique (1993, Andreu Balius) and Dinamo (1993, Balius
and Casasin at Typerware), Helvetica Fondue (1993-1994), Futuda (1993), Ozo
Type (1994), Tiparracus (1994, dingbats), Mi mama Me Soba Script (1994),
Parkinson (1994), Garcia Bodoni (1995), Garcia snack's (1993-1995), Juan
Castillo Script (1995, irregular handwriting), and Vizente Fuster (1995), all by
Andreu Balius and Joancarles Casasin, 1993-1995; Water Knife (Laudelino
L.Q., 1995); Alquimia (Estudi Xarop, 1995); Jam Jamie (Malcolm Webb,
1996); Network (Alex Gifreu, 1996); Panxo-Pinxo (David Molins, 1996);
Euroface 80 mph (Peter Bilak, 1996); Inmaculatta (Roberto Saenz Maguregui,
1997); Proceso Sans (by Argentinan Pablo Cosgaya, 1996); Afligidos deudos
(Adria Gual, 1996); Route 66 (Francesc Vidal, 1997); Popular (Sergi Ibanez,
1997); Visible (handwriting by Fabrice Trovato, 1997); SoundFile (Reto
Brunner, 1998); Ninja type (kana-lookalike alphabet by Charly Brown, 1995);
Vertigo (Charly Brown, 1996); Loop UltraNormal (Franco and Sven, 1996);
Inercia (Inigo Jerez, 1996).
Fontshop: FF Fontsoup.
ITC: ITC Temble (1996, a great subdued ghoulish face). With Joancarles P.
Casasin, he created ITC Belter (1996) and ITC Belter Mega Outline (1996).
Typerware: Czeska was developed from Vojtech Preissig's woodtype typefaces.
Andreu Balius completed the design and included an italic version and a large
variety of ligatures (both for regular and italic).
Type Republic: Pradell, Trochut, SuperVeloz, SV Marfil Caps (2004), SV

Fauno Caps. Pradell was freely inspired from punches cut by catalan
punchcutter Eudald Pradell (1721-1788), and is considered to be Balius' main
work. Trochut is based on specimens from the 1940s by Joan Trochut.
SuperVeloz is a collection of the type modules designed by Joan Trochut and
produced at José Iranzo foundry in the beginning of the 40's, in Barcelona.
Digitized and recovered by Andreu Balius and Alex Trochut in 2004. Example
of such composition of modules include the great art nouveau typefaces SV
Fauno Caps and SV Marfil Caps. In 2007, he added Taüll, a blackletter type.
Still in 2007, he did the revival Elizabeth ND, which was based on an old type
of Elizabeth Friedlander.
In 2008, he created the Vogue mag like family Carmen (Display, Fiesta,
Regular), which are rooted in the didone style. Carmen, and its flirtatious
companion Carmen Fiesta, were both reviewed by Typographica.
Barna (2011) and Barna Stencil (2011).
In 2012, Trochut was published as a free font family at Google Web Fonts. It
was based on Joan Trochut-Blanchard's Bisonte.
Lladro (2012) is a custom sans typeface done for the Lladro company.
Rioja (2013) is a grotesque typeface that was custom-designed for Universidad
de La Rioja.
[Google] [MyFonts] [More] ⦿
Apostrophe [More] ⦿
[Apostrophic
Instances]
Apostrophic Upstart foundry with one font family for now, the geometrically inspired Toolego (all
Instances formats). Newer fonts: FightThis, Tralfamadore (fantastic font!), WitchesBrew-1999.
[Apostrophe] Alternate site. Apostrophe (Fredrick Nader from Toronto) is also a major custom font
maker in Canada. His latest creations are for the 2003 Toronto Blues Festival,
Trombone and King Gothic [not for public distribution]. In 2003, Apostrophic
Instances morphed into Apostrophic Labs. [Google] [More] ⦿
Area 031 Fonts Andreas Vossinakis (Area 031 Fonts) has an 80-font archive. He also designed Daze
[Andreas Vossinakis] (1998), Espresso (1998), Square-circle (1998). web site disappeared. [Google] [More]
⦿
Armando Grimaldi Italian typefoundry. [Google] [More] ⦿
Arthur Baker [MyFonts] [More] ⦿

[AlphaOmega

Typography]
Arts and Crafts This outfit seems to have disappeared. It had four commercial fonts, ca. 2000:
Computer Fonts Syracuse, Arts and Crafts, Greene&Greene, Frank Lloyd Wright. The last one is like
Eaglefeather. [Google] [More] ⦿
Arts and Crafts Fonts Dead link removed. it was an upstart commercial outfit that sold "Handcraft",
"Arts&Crafts", and the gorgeous fat-lettered Vienna Komputer Schrift, ca. 1999.
Willow can be obtained from Esselte. All fonts are artsy, and come with collections of
great borders and geometric patterns. [Google] [More] ⦿
Artype Inc Defunct foundry. [Google] [More] ⦿
Ascender Elk Grove Village, IL-based company established in 2004, which specializes in font
Corporation development, licensing and IP protection. It rose from the ashes of a major fire at
Agfa/Monotype at the end of 2003. Its founders are Steve Matteson (type designer,
formerly with Agfa/Monotype), Thomas Rickner (of Microsoft fame, where he hinted
many Microsoft families), Ira Mirochnick (founder and President of Monotype
Typography Inc in 1989 (where he was until 2000) and a Senior Vice President and
director of Agfa Monotype Corporation (2000-2003), a self-proclaimed expert in font
licensing issues and IP protection), and Bill Davis (most recently the Vice President of
Marketing for Agfa Monotype). Also included in this group are Josh Hadley, Brian
Kraimer, Jim Ford (since 2005), and Jeff Finger (as Chief Research Scientist, since
2006). On December 8, 2010, Ascender was acquired by Monotype for 10.2 million
dollars.
Their typefaces include Endurance (2004, Steve Matteson, an "industrial strength"

Grotesk designed to compete with Helvetica and Arial; it supports Greek, Cyrillic and
East European languages).
In April 2005, Ascender announced that it would start selling the Microsoft font
collection, which is possibly their most popular collection to date. They also started
selling and licensing IBM's Heisei family of Japanese fonts in April 2005: Heisei
Kaku Gothic, Heisei Maru Gothic and Heisei Mincho. Ascender's version of the CJK
font Heiti is called ASC Heiti. Also in 2005, they started distributing Y&Y's Lucida
family.
In October 2005, Ascender announced the development of Convection, a font used for
Xbox 360 video games. Their South Asian fonts cover Bengali, Devanagari, Gujarati,
Gurmukhi, Kannada, Malayalam, Tamil and Telugu, and include Ascender Uni,

Ascender UniDuo and Arial Unicode for general use across all Indic languages, and,
in particular, the Microsoft fonts Vrinda (Bengali), Mangal (Devanagari), Shruti
(Gujarati), Raavi (Gurmukhi), Tunga (Kannada), Kartika (Malayalam), Latha (Tamil)
and Gautami (Telugu). Khmer SBBIC (2011) is a Khmer font at Open Font Library.
It does more type trading and licensing than type creation, although Steve Matteson
has contributed fairly well to their new typefaces. Their brand value took a hit when
they started selling scrapbook, handwriting and wedding fonts under the name
FontMarketplace.com.
Recent contributions: Crestwood (2006, a house face, possibly by Steve Matteson) is

an updated version of an elegant semi-formal script typeface originally released by the
Ludlow Type Foundry in 1937.
In 2009, they started a subpage called GoudyFonts.Com to sell their Goudy revivals.
In 2010, they announced a new collection of OpenType fonts created specifically for
use in Microsoft Office 2010: Comic Sans 2010 (including new italic and bold italic
fonts), Trebuchet 2010 (including new black&black italic fonts), Impact 2010,
Pokerface 2010, Rebekah 2010 and Rebus Script 2010. Ligatures in Comic Sans?
New releases.
View Ascender's typefaces. [Google] [MyFonts] [More] ⦿
Ashendene Press Founded in 1895 at Ashendene, Hertfordshire, England, by Sir C. H. St. John Hornby
[C. H. St. John and moved in 1899 to Chelsea, London. It was a leader (with the Kelmscott Press and
Hornby] the Doves Press) in the 19th-century revival of fine English printing. Its edition of
Dante (1909) is considered an achievement comparable to the Kelmscott Chaucer of
William Morris. The Subiaco type used by the Ashendene Press was designed by Sir
Emery Walker and S. C. Cockerell from an early Italian typeface. The Ashendene
Press, which set all of its editions by hand, issued 40 books in the years from 1895 to
1915 and from 1920 to 1935. Its Ptolemy Roman type was designed based on the
roman lettering of Leonhard Holle used in "Ptolemy" (1482). The Ashendene Press
disappeared in 1936.
The Subiaco type (1902) is now owned by Cambridge University Press. Its punches
were cut by E.P. Prince. It is a humanist typeface with blackletter tendencies, and is
based on the first roman used in Italy for printing, developed around 1464 at Subiaco
by Conrad Sweynheym and Arnold Pannartz. [Google] [More] ⦿

ATF: Online books The American Type Founders specimen books are virtually all on-line now. Here are
the main links:
From Google Books:

ATF 1898 catalog
ATF 1906 catalog
ATF 1909 catalog supplement
From Internet Archive

ATF 1892 catalog (Boston and Central Type Foundries)
ATF 1893 catalog (Cleveland Type Foundry)
ATF 1896 catalog (Pacific Coast Blue Book)
ATF 1897 catalog
ATF 1898 catalog
ATF 1900 catalog
ATF 1903 catalog
ATF 1906 catalog
ATF 1912 catalog
ATF 1923 catalog
ATF 1934 catalog
ATF 1950 descriptive price list
ATF 1953 type index
ATF 1960 Handy type index
BB&S 1907 catalog
[Google] [More] ⦿
ATF typefaces PDF file by David Tribby that lists all ATF typefaces. Text file listing those 1600
typefaces. The Cary Collection at RIT has many matrices, listed here (PDF) and here
(HTML). A google docs spreadsheet with the ATF typefaces, all compiled by David
Tribby. The same in HTML.
Scans of some typefaces: ArtGothic (1897 catalog), Baskerville (1941), Caslon

Oldstyle Roman No. 471, Caslon Oldstyle Italic No. 471, Chaucer, Chessmen (1897
catalog), Childs, Columbian (1897 catalog), Columbus, Culdee, DeVinne Initialen,
Elandkay (1897 catalog), Erratic Outline, Ferdinand, Jenson Italic, Koster (1897
catalog), Laclede, Ronaldson Title Slope (1897 catalog), Santa Claus Initials, Skjald,
Virile Open (1897 catalog), 20th Century, Bodoni Ultra, Clearface, Dietz Text,
European Grotesque No. 2, Goudy Kennerley, Impact, News Gothic Condensed,
Onyx, Palance Script, Palatino, Stymie, Typo Upright, Atlanta Series, Childs Series,
Columbus Outline Initials, Contour No. 7, DeVinne Shaded, Erratck Outline, Johnson
Series, Koster Series, Longefellow Series, McCullagh Series, Mural Series, Quaint
Roman No. 2, Quaint Series, Rubens Series, Samoa Series, Victoria Series. [Google]
[More] ⦿
Autologic Newbury Park, CA-based outfit where Slimbach and Stone worked at one point. Its
staff designed (and in some cases, imported, via Autologic SA in Lausanne,
Switzerland) some nice typefaces in the mid eighties such as the Champfleury family
(1985), Geometrica (1985), Kis-Janson (1985), Media (1976, André Gürtler, Christian
Mengelt and Erich Gschwind), Melencolia (1985), Signa (1978, André Gürtler,
Christian Mengelt and Erich Gschwind) and Trinité (1981, Bram de Does, part Bobst
Graphic, part Autologic). [Google] [More] ⦿
A.V. Haight [MyFonts] [More] ⦿

[Inland Type
Foundry]
BA Graphics
[Robert Alonso]

Bob Alonso (b. Bronx, NY, 1946, d.2007), the founder

of BA Graphics in 1994, was a prolific American type
designer. With 33 years of experience at NewYork's
Photo Lettering, he specialized in calligraphic script
typefaces, but not exclusively so. BA Graphics was
located in Chester, NY, and later in Toms River, NJ,
and now sells its fonts through MyFonts. Many of its
fonts published after Alonso's death in 2007 were
completed by John Bomparte.
John Bomparte wrote this obituary: Throughout his career at the legendary Photo-
Lettering, Inc. (one that spanned four decades), Bob created original typefaces and
tailored type by modifying, revising and filling out families, fashioning pieces of type
for hand-lettered jobs, as well as being involved with the updating of a number of
well-known logotypes. Bob was blessed with natural teaching abilities; and those in
social and professional circles who had the good fortune to know him considered him
not just a type designer but a mentor and a friend. As one such person close to him
put it, he was a "graphic technician... back when computers were not even in site for
graphic arts, he would take on any intricate&complex graphic project that others
would shy away from and come up with a solution that achieved a masterpiece. I'll
always remember someone saying 'this can't be done' and Bob saying let me see it and
a short time later, there it was --done&perfect. I would like to think that attitude
rubbed off on me. Along with this gift for teaching and explaining the complex, Bob
exhibited a level of professionalism that was unsurpassed. A number of years ago
when the need came to make the transition from the traditional to digital way of
creating fonts, he rose to the challenge admirably. Towards the last few years of
Photo-Lettering, Bob played a vital role in the conversion to digital, of many of the
typefaces within the collection, notably those fonts that carry the prefix PL. More
recently, Bob Alonso released several fonts through ITC, Adobe and his independent
foundry, BA Graphics. Bob was on the cutting edge of his best work, and in the
circumstance of his untimely passing, left a measure of unfinished designs. However,
the spirit of his typographic talents and his fine sense of humor lives on through the
many much-loved, and popular fonts he has left us: fonts such as Cookie Dough,
Equate, Elephant Bells and Pink Mouse, to name a few.
Alonso created these typefaces:
Alex (1996). A child's hand script.

Alexandra Script 91996). A beautiful formal wedding / calligraphic script.

Allure.
Alons Antique.
Alons Classic.
Alonso Flair (2008). A flared pants typeface fnished after his death by john
Bomparte.
Angular.
Animated Gothic.
Bad Boy.
Barnboard.
Beaches and Cream (1996). A sans turned into a connected scrip).
Bedrock.
Black Rising (2006). A black military style face.
Blog (2007). A 1890's style display egyptian).
Bodoni Roma 91993).
Brawn.
CEO Roman (2007).
Cabernet Sauvignon (2007). Atake on Didot---I can't believe BA Graphics
trademarked this name!
Cafe Aroma.
Calafragalistic (1992).
California Sans.
Caslon Manuscript (1992).
Cedar Key.
Champ Ultra (1995). A Western billboard font.
Chardonnay.
Chicken Feet (2007).
Chicken Soup (1993).
Chunky Monkey.
Clearmont.
Coffee Black.
Cookie Dough.
Crackers.
Crescent.
Damage Control (1993). Grunge.
Deco Inline.
Deep Rising (2006). Constructivist.
Dime Store.
Down Under.

Elegante.
Elephant Bells.
Ellington Manor.
Equate (1993).
Extreme (1996). A chalk writing font.
Fashion Didot (1994).
Felicity Script.
Flix.
Fools Gold. An inline typeface.
Footloose (2015). A dynamic script typeface that was unfinished when Alonso
died. John Bomparte finished it.
Fraggle.
Freaky Friday Extreme.
French Vanilla.
Galactic.
Geo (2000).
Grandeur.
Granny Smith.
Gusto Black (2003).
Happy Trails.
Hatari.
Headline Gothic.
Hey Dude (2016). Hand-crafted.
High Intensity.
ITC Aftershock (1996). A linocut font.
ITC Outback (1997).
ITC Serengetti (1996).
ITC Ziggy (1997).
Island Sans.
Italian Didot.
Jr High (1994). Sports lettering.
Ka Boink.
Ker Pow.
Key West.
Klingon.
Kresson Black.
Linear Gothic.
Lorraine Script (2000). Originally named Gonzales Jeanette and designed by

Francisco Gonzales for Photo-Lettering in the early 70s. Jeanette was based on
Brandywine. Similar fonts are Italian Script (Bitstream), Gaston, Candice, Julia
Script and Benguiat Charisma.
Malibu Heights.
Manchester.
Mango Gothic (1991).
Mardi Gras.
Mega (1993). A fat mini-spurred didone.
Metro Gothic.
Milano (2004). A didone typeface.
Mission Hills.
National Gothic.
Nightmare.
Nine One One BA (2007). Grunge.
Oh Sweet Pea.
PC Gothic (2005).
Paladium Gothic (2007). A sans typeface.
Pecos.
Pimento (1998).
Pink Mouse (1992). Psychedelic.
Queen Of Hearts (1991). a script typeface.
Radiance Brush (1997). A casual brush script.
Rancho Grande (1995).
Range Gothic.
Ravenwood.
Red Dawg.
Relaxed Fit.
Richmond Hill.
Road Gothic (1996).
Robertson.
Rust Bucket (1994).
S+L Gothic.
Sahara Bodoni (1996). One of his most popular typefaces.
Senegal.
Serendipity (2006).
Shadow Gothic.
Shangrala.
Shazam.

Shooby (1992).
Shore Bodoni.
Sign Gothic Bold Condensed.
Slam Dunk.
Sleepy Hollow.
Sleezy.
Snaggle.
Snip Tuck (1994). A headline typeface.
South Beach.
Spice.
Squat (2011). A stunted black wood style face.
Steel Magnolias (1995). Blackletter.
Steeplechase 91992). A Wild West saloon font..
Sugar Shack (1995). A curly script.
Summer Nights (1993).
Swank Gothic.
Tequila (1992). A bouncy play on Didot.
Thats Amore.
Title Gothic Light.
Torino Modern.
Triple Condensed Gothic.
Triumph Gothic.
Vinchenso Regular (2003).
Wackado.
Waimea (1992). A poster font..
Wall Street Gothic.
Wonka (1996). Named after Willy Wonka..
Yakety Yak (1994).
Zany.
Zipty Do.
FontShop link. Klingspor link.
View Bob Alonso's typefaces. View the BA Graphics typeface collection. An

alphabetic listing of Alonso's typefaces. [Google] [MyFonts] [More] ⦿
Babylon Schrift Commercial German foundry, est. 2000 by Klaus Bartels (1948-2005). BSK also has
Kontor on board Wolfgang Talke, Bernd Pillich, and the type experts René Kerfante and
[Klaus Bartels] Frank Sax. It specializes in major text families, mostly based on fonts from the

Berthold collection. Bartels was previously responsible for the digitization of that
collection at Berthold, so this is a natural progression. Some amount of renaming of
the typefaces seems to have been necessary. Partial list: Adlon Sans BSK, Adlon Serif
BSK, Admira BSK, Albion Script BSK, Albion Script 2 BSK, Alte Schwabacher
BSK, Ancora BSK, Atlantica BSK, Avenue BSK, Babylon Schreibschrift BSK,
Baskerville BSK, Baskerville Text BSK, Bodoni BSK, Bodoni Expert BSK, Bodoni
Condensed BSK, Bodoni Text BSK, Bodoni Text Expert BSK, Carissa BSK, Caslon
Text BSK, Centra BSK, Champion BSK, Cogita BSK, Elega BSK, Fabiana BSK,
Fonica BSK, Francesa BSK, Garamond BSK, Garamond Expert BSK, Herold
Reklameschrift BSK, KG privata BSK, KG privata II BSK, KG vera BSK, KG vera II
BSK, Lettura BSK, Mirage BSK, Mirage Expert BSK, Mirage New BSK, Pintura
BSK, Signal BSK, Standard-Grotesk BSK, Standard-Grotesk Condensed BSK,
Standard-Grotesk Extended BSK, Standard-Grotesk Classic BSK, Standard-Grotesk
Next BSK, SG Next Condensed BSK, SG Next Extended BSK, SG Next Rounded
BSK, SG Next Stencil BSK, SG School BSK, SG School 2 BSK, Story BSK,
Supersonic BSK, T & T Form BSK, T & T Form Condensed BSK, T & T Form Ey
BSK, Tomos-Antiqua BSK, Tomos-Mediaeval BSK, Trump Tower BSK, Unger
Fraktur BSK, Walbaum BSK, Walbaum Expert BSK, Walbaum Fraktur BSK,
Walbaum Text BSK. I have no idea what happened after Bartels' death--the page
disappeared! [Google] [More] ⦿
Barnhart Chicago-based foundry,

Brothers&Spindler which grew out of The
(or: BB&S) Great Western Type
Foundry in 1868 when the Barnhart brothers (newspaper publishers in Iowa who
came to Chicago as advertising agents) bought out the Toepfer family in 1868. They
retained Herman Spindler as the foreman, since he was the only typefounder in the
group. Aggressive in business, BB&S became the largest foundry in Chicago. Book of
type specimens. Comprising a large variety of superior copper-mixed types, rules,
borders, galleys, printing presses, electric-welded chases, paper and card cutters,
wood goods, book binding machinery etc., together with valuable information to the
craft. Specimen book no.9 (1907) is a 1048-page monster catalog (see also here and
here and here). Some pictures from Type Barnhart Type Foundry Co. New York City:
Superior Copper-Mixed Type (1908). BB&S was purchased by ATF about 1911 and it
operated independently until about 1930. Typophile page on them. Text file with a list
of the typefaces in their Catalog 25 (1925). Discussion of some of their typefaces and
digitizations:
Engravers Upright Script, a ronde style alphabet, was revived in 2006 by Nick

Curtis as Bon Mot NF.

Hazel Script, a primary school didactic connected script, digitized in 2006 by
Paul Hunt as P22 Allyson (discussed here).
They made the (sloppy) old-look garalde typeface Fifteenth Century in 1897,
which turned into Caslon Antique (American Type Founders). A digital version
can be had at MyFonts, but who made it? MyFonts also offers Caslon Open
Face (originally, 1915).
One of their best known designers was Oswald B. Cooper who made Cooper
Black (1921) and Cooper Old Style (1919-1924), with characteristically blurred
rounded serifs. He also made Cooper Hilite (shaded), Cooper 570 (fat), Cooper
579 (outline), Cooper Tooled Italic (shaded) and Cooper Black Italic 571.
Delysian NF (2004, Nick Curtis) revives their Greeting Card typeface from the
BBS catalog of 1923.
Lining Gothic No. 71 (1907) is a grotesque typeface with panache. It was
digitized by Nick Curtis as Cerulean NF (2007).
Mazurka NF (2004, Nick Curtis) is a combination of two typefaces from the
same catalog, Swagger Capitals, designed by Carl S. Junge, for the uppercase
and Gothic Novelty Title for the lowercase.
Racine (1903) was revived by Nick Curtis as Kenosha Antique (2004).
Archer (1905) was revived by Nick Curtis as Grand Rapids (2005).
Umbra (1907) was revived by Nick Curtis as Shady Lady NF (2005).
Monotype's Umbra is based on a later metal version by Ludlow though.
One of their blackletter typefaces is Waldorf Text (1914).
Steelplate, a monocase engraved US dollar bill-style face, ca. 1900 at BBS, was
revived by Nick Curtis as Smackeroo NF (2005).
Ernst Lauschke designed the oriental look typeface Dormer in 1888 at the Great
Western Foundry. BB&S renamed it Pekin. HiH digitized it in 2005. Pekin also
is the name of Dan Solo's revival.
Freak (1889, The Great Western Type Foundry) was renamed Bamboo by
BB&S. A digital version by Tom Wallace is also called Freak (2005).
Parsons (1918, Will Ransom) was digitized by Jess Latham.
Clearcut Shaded Capitals (1920s, Will Ransom). Extended to a full font by Nick
Curtis in 2005 as Ransom Clearcut NF).
Dotted Roman (1897, a Victorian typeface) was revived as Miss Dottie NF by
Nick Curtis in 2014.
The decorative wood type typeface French Antique, featured in the 1905
catalog, and originally due to William H. Page. Digital versions by Woodentype
(Jordan Davies) and Nick Curtis (whose version of French Antique Extended is

called Fran Tique NF (2008)).

The wedge-serifed typeface Vulcan (1884) was revived by Nick Curtis in 2014
as Vulkan NF.
Wiki page. List of all BB&S typefaces compiled by the American Amateur Press
Association in 2009. This includes a PDF file and an Excel spreadsheet.
Digital typefaces that descend from Barnhart / BBS. [Google] [MyFonts] [More] ⦿
Bauersche Frankfurt-based foundry started in 1837 by

Schriftgiesserei 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,
1950; 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
(1956), 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). In house samples: AntiquaBrotschriften-
IX-Garnitur, Einfache Kanzlei (ca. 1830), Enge halbfette Zeitungsfraktur, Fette
Gotisch, Moderne halbfette Fraktur, Gotisch. [Google] [MyFonts] [More] ⦿
Bayou Software Name of a now defunct (?) outfit that made fonts such as Blackwoods. No other
information. [Google] [More] ⦿
Ben Bauermeister [MyFonts] [More] ⦿

[ElseWare
Corporation]
Benjamin Krebs German foundry established in

[Benjamin Krebs] 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), Pompadour (1911), 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 [MyFonts] [More] ⦿

[Benjamin Krebs]
Berlingska Stilgjuteri Extinct Swedish foundry based in

Lund, at which, e.g., Karl-Erik
Forsberg published Berling Anitkva
(1951) and Carolus (1954). It
existed from 1837 until 1980.
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 Typefoundry 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] ⦿
Bill Garth [MyFonts] [More] ⦿

[Compugraphic
Corp.]
Bill Garth [MyFonts] [More] ⦿

[Photon Inc]
Bitstream

Founded in 1981 by Mike

Parker, Matthew Carter, Cheri
Cone, and Rob Freedman,
Bitstream is the first digital font
foundry. Not without
controversy, though, as many
claim that the original digital
collection was an illegal copy of
Linotype fonts [Note: I disagree
with that statement--take out "illegal"]. In 1999, Bitstream created MyFonts.com, a
web site for finding, trying, and buying fonts on line. Bitstream was headquartered in
Cambridge, Massachusetts, and led dfior some time by CEO Anne Chagnon.
Bitstream sold a nice 500-font CD for 39 USD around 1996, with all the great text
families. This was a fantastic buy, as proved by this quote from John Hudson: I have
said it before and I will say it again: I think the development of the original Bitstream
library was one of the worst instances of piracy in the history of type, and it has set
the tone for the disrespect for type shown today. (A bit of background: Bitstream
asked Linotype if they could digitize Linotype's library of fonts. Linotype refused, but
Bitstream went ahead anyway.) On this issue, read these pages by Ulrich Stiehl and
Typophile.
Bitstream was offering a 250-font CD. Type Odyssey Font CD (2001). Bitstream has
added Greek, Cyrillic, OldStyle versions to many of its families.
New releases in July 2001: Artane Elongated, Cavalero, Drescher Grotesk BT, FM
Falling Leaves Moon, FM Rustling Branches Moon, Picayune Intelligence (by Nick
Curtis), Raven, Richfont, Rina, Sissy Boy, Stingwire, Tannarin. In November 2001,
Serious Magic entered into a long-term agreement to license 25 Bitstream outline
fonts for its new visual communication products.
Bitstream has been an exemplary corporate citizen, occasionally producing license-

free fonts for the masses, such as their Vera collection.
Bitstream's own overstated blurb about itself: Bitstream Inc. (NASDAQ: BITS) is a
software development company that makes communications compelling. Bitstream
enables customers worldwide to render high-quality text, browse the Web on wireless
devices, select from the largest collection of fonts online, and customize documents
over the Internet. Its core competencies include fonts and font technology, browsing
technology, and publishing technology.

Finally, together with its spin-off, MyFonts, Bitstream was sold to Monotype Imaging
in 2011.
Images of some fonts: Engravers Old English, Staccato 222, Brush 738, Century 751,
Clrendon, Futura, Gothic 720, Humanist 777, Kis, Swiss 721, Venetian 301, Lucian.
Catalog of typefaces [large web page warning]. [Google] [MyFonts] [More] ⦿
Blackfriars Type Type foundry in the early

Foundry 20th century in London.
Their typeface Richmond Oldstyle (1920s) was digitally revived in 2007 by Nick
Curtis as Rowan Oak NF. In 2009, Nick Curtis digitized Whitefriars NF. Novel Fonts
revived Richmond Oldstyle as Valhalla in 1994. [Google] [More] ⦿
Bobst Graphic Swiss photo-typesetting company. Among their typefaces, we find the 1977-1978
effort leading to Signa (by André Gürtler, Christian Mengelt, Erich Gschwind), and
Trinité (1981, Bram de Does, part Bobst Graphic, part Autologic). [Google] [More]
⦿
Bonder & Carnase, A font studio opened by Ronne Bonder and Tom Carnase in the 60s. [Google]
Inc. [MyFonts] [More] ⦿
BoyBeaver Foundry Foundry with one freebie, Irene Frances Italic Caps. All fonts in type 1 and TrueType,
[Ignacio Frances] Mac and PC. Commercial fonts: the great subdued calligraphic Turbayne Collection,
the Morgan and Morgan Sticks display font, and the stylish Deco font Habana Moon
stand out. Other fonts: AbeAbeAbeAbeAbe, Berngard, BoyBeaver Koloss, Granma,
Granma Bones, Runninghand, ZigZagBoy, Randi. I guess all fonts are made by
Ignacio Frances. Irene Frances is Ignacio's mother. [Google] [More] ⦿
B&P Graphics This company sold lots of fonts in the mid 1990s under slightly changed names. In the
1993 truetype collection, I count at least 1003 fonts. There are 1000 fonts in their
1991 type 1 collection. Many names reappear later under the Softmaker label, dated
1996. It is unclear whether B&P Graphics has evolved into Softmaker GmbH and/or
FantasticArts.com. Many of their fonts can be found on free font sites, and indeed, the
collection is in limbo. Uli Stiehl writes: The British font forging company GST
Technology alias Greenstreet Software selling thousands of font forgeries made by
Brendel & Pabst, was sued by Linotype in 2001. And the German font forging
company Brendel & Pabst alias B & P Graphics Ltd. alias Brendel Informatik GmbH
alias The Quick Brown Fox GmbH in Cologne was sued by FontShop in Berlin.
[Google] [More] ⦿

B&P Typefoundry Defunct type foundry in Lausanne, Switzerland, founded in 2005 by Ian Party and
[Maxime Buechi] Maxime Buechi. From 2000 until 2004, Maxime Buechi studied graphic
design&typography at the Ecole Cantonale d'Art de Lausanne (ECAL). His typefaces
include Rhodesia , a private type designed with Aurèle Sack for the book African
Sniper (for NORM) in 2003 (it was not used there, but was used instead in the book
Periferic 7), and a corporate typeface for the Centre for Curatorial Studies
Bard&Hessel Museum, New York (2006, with Ian Party). In 2007, the following BP
fonts saw the light: Neutral BP (Kai Bernau, a supposedly neutral sans family), La
Police BP, Romain BP and Romain BP Headline (as the creator, Ian Parry, states:
Based on the Commission Jeaugeon's models and on Philippe Grandjean's classic
character, the Romain BP celebrates the marriage of geometric rationality and
elegance, of science and craftsmanship. The Romain BP Text is actually closer to the
Commission's model than Grandjean's Romain du Roi. It is more synthetic in its
structure, more radical, and thus, more modern. It is a contemporary text typeface
based on a structure that was created in 1690, not a revival mimicking Greandjean's
shapes.). In 2007, they released Esquire, an upright script headline face. Other fonts
are listed on my site under the various designers' names.
IN 2013, the typefoundry morphed into Swiss Typefaces, which is jointly run by Ian
Party and Emmanuel Rey. Maxime Buechi now mainly runs a big tattoo parlor in
London. [Google] [More] ⦿
Brain Stew Fonts Brainstew flourished around 1999, but has died around 2000. Mike Clayton's free
[Mike Clayton] original TrueType designs: Barbed Type, the grunge font Toothache, the grungy Brain
Stew, the squarish Blockhead, the computer font Digitalema, Barricades, Lizzie, the
handwriting Linda's Lament, Seperated, Shredder, WideGlide, Precision, the double-
focused Astigama Tizm, and Competitor.
Alternate (inactive) URL. Some fonts are here. Fontspace link. Fontspace link. Dafont
link. [Google] [More] ⦿
Bren Burrill [More] ⦿

[Eye Envision
Studios]
Brenden C. Roemich [More] ⦿

[Digital Graphic
Labs]
Brian Horsfall [More] ⦿

[Startype]
Brode Vosloo [MyFonts] [More] ⦿

[Sacred Nipple Type
Foundry]
Brötz and Glock Frankfurt-based foundry established in 1892. Many of its shares were acquired by D.
Stempel in 1919. [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), Weber Fraktur (1860) and typefaces by these designers:
Albert Auspurg: Start (1935).

Julius Kirn: Bison (1954-1955). Well, Hans Reichardt says 1938. This brush
typeface became Brush 738 BT (Bitstream).
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.

C. H. St. John [More] ⦿

Hornby
[Ashendene Press]
Cade Type Foundry Cade Type Foundry is

[Philip Cade] the private foundry of
Philip Cade. He cut his
first (metal) typeface in
1972. Cade published a Specimen book Type Borders Ornaments and Bras Rule in
1976 (Juniper Press, 24 GinnRoad, Winchester, MA).
Typefaces include Jenson Old Style No. 58, Goudy Lanston No. 279, and Caslon Old
Style Italic 3371. [Google] [More] ⦿
California Type San Franciscvo-based foundry, est. 1941 and located at 440 Battery Street, not to be
Foundry (20th confused with a foundry of the same name in the 19th century. California Type
century) Foundry Price List [and] Specimens was published ca. 1947. The typefaces shown are
primarily Lanston Monotype typefaces: 20th Century, Caslon, Coronet, Eden, Flash,
Onyx, Stymie, Swing, Tourist Gothic, Ultra Bodoni and Valiant. [Google] [More] ⦿
Calvin Glenn [MyFonts] [More] ⦿

[NIMX Typefoundry]
Cambridge A rip-off outfit. The Cambridge Fontworks rascals left the original names of the fonts
Fontworks in the "PostScript" name field of the truetype fonts, so it is easy to see what is what. In
most cases, many of the punctuation symbols were also omitted, so this is a pretty
useless collection. At one point, they put old shareware fonts from others on their CD
without the owners' permissions, and changed the copyright to "Cambridge
Fontworks". Included were fonts such as Treefrog and Texas Hero by 3IP. Their
Poverty 5 was CooperCnd-Heavy, and so forth. Some fonts are here (Atari 1,
Deranged). Green Mountain 3 is here. Ashes is here. [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 Kloberg [More] ⦿

[Giesserei Carl
Kloberg]
Carl Volmer [More] ⦿

Nordlunde
[Nordlundes
Bogtrykkeri]
Casady&Greene Casady&Greene, Inc.

(Fluentlaserfonts) started out as two
[Terry Kunysz] separate little
companies, CasadyWare and Greene, Inc. CasadyWare, which was founded by Robin
Casady in August 1984, began producing Fluent Fonts, which were bitmapped
typefaces for the Macintosh. The 1984 set of fonts have copyright lines that mention
Richard A. Ware. As soon as PostScript fonts appeared, CasadyWare got hold of the
first version of Fontographer and produced the first downloadable PostScript fonts,
even beating Adobe, the originators of PostScript, to the punch. These were marketed
as Fluent Laser Fonts (FLF) out of Carmel, CA.
The FLF series includes Abilene (Western), Alexandria (1986, slab serif family),
Black Knight (1991, blackletter), Bodoni FLF (1986), BodoniUltra (1986, a fat
didone), Bonnard (art nouveau), ButtonHighlight, ButtonPlain, Calligraphy (1986),
Campanile (a great didone face), Checkbox, Chicago FLF (free at OFL), Collegiate
(1988, sports lettering), Coventry Script (calligraphic), Cutouts FLF (1992, cargo
stencil), Desperado, Dorovar Carolus (1988, Carolingian), DryGulch, Epoque (art
nouveau), FattiPatti, Fletcher Gothic (1992, art nouveau), Galileo (1987, didone),
Gazelle (1988, calligraphic script), Gatsby (1986, pure art deco), Giotto, Gregorian
(1986, English Gothic style blackletter), Harlequin FLF (1990), Highland Gothic
(1992), Jott, Kasse (1992), Kells (modern round Gaelic font, 1988), KeyCaps, La
Peruta, Meath (modern round Gaelic font, 1988), Michelle (1992, art deco, marquee
face), Micro, MicroExtend FLF (1986, like Microgamma), Monterey (1986,
Peignotian), Moulin Rouge (1992, an art nouveau typeface by Richard A. Ware),

Nouveau (1990, art nouveau), Paladin (1988, blackletter), Pendragon (1991), Phoenix
Script FLF (1990), Prelude (1986, connected script), Regency Script (1986,
calligraphic copperplate script), Right Bank (1986, art deco), Ritz (1986, art deco in
the style of Broadway), Rocko (1992, rounded like VAG Round), SansSerif FLF
(1986, a large geometric sans family), Sedona Script (1990, connected, calligraphic,
semi-psychedelic), Slender Gold (1992, script), Vertigo (1992, condensed monoline
sans), VertigoPlus, Zephyr Script (1986, brush script).
Many fonts were digitized by Richard Ware, and some were designed by Mike
Wright. The contact was Terry Kunysz in Salinas, CA.
On July 3, 2003, Casady&Greene closed it doors permanently. However, one of its

designers, Mike Wright, writes: I believe that all the fonts that were developed by the
company are now in the public domain. Robin Casady and I are thinking of putting up
a site with free downloads of all of the old C&G public domain fonts--mainly as a way
of attracting Mac users to see iData 2.
Robin Casady in 2003: I founded Casady Company in 1984 to publish fonts for the
new Macintosh. The name changed with incorporation to CasadyWare, Inc. Around
this time I met Mike Greene who was looking for a software project to do after
SpellsWell. I talked him into doing a program that became QuickDEX. Later
CasadyWare, Inc. merged with Greene, Inc. and became Casady & Greene, Inc. Over
the years, my role in management reduced as my interests in other areas developed. In
the last ten years I have had no official management duties at C&G. About a year ago
I removed myself from the Board of Directors.
Some fonts can be found at TypOasis. Fontspace link. Fontex link. Font Squirrel link.
Scan of some fonts. Dafont link. [Google] [More] ⦿
Cello-Tak Mfg. Inc. Defunct foundry. [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] ⦿
Ch. Doublet Typefounder and engraver in Paris. His work can be found in Extrait du Spécimen de
caractères de la fonderie Ch. Doublet, graveur (Paris, Gravure et fonderie
typographiques, 60, avenue d'Orléans [1890?]). They also published Spécimen de
caractères d'imprimerie (Paris, Ch. Doublet, ca. 1900, 356 pages). Scan of an art
nouveau face. [Google] [More] ⦿
Chameleon Graphics Fonts by Robert and Nancy Wall (Chameleon Graphics) include the calligraphic
[Nancy Wall] family Alison (1992). [Google] [More] ⦿
CHOMP font CHampions Of the Mac Proletariat. Fonts created by Elliot Weinstein (freeware).
collection Included are many East-European language fonts such as Bryansk, Cracow, and
[Elliot Weinstein] Sverdlovsk. There is also a phonetic font. Other fonts are Chefdijon (with cooking
symbols), Fontana, Fraction Fonts, Newport News and Riverside. Can't find the fonts
any longer.
Elliot Weinstein used to run Devonian International Software Company out of

Montclair, CA. [Google] [More] ⦿
Chr. G. Heucke München-based foundry. [Google] [More] ⦿
Classic Font Outfit that produced a rip-off collection of about 500 fonts in the mid nineties. Not to
Corporation USA be confused with "The Classic Font Company" in the UK, which is involved in
revivals of historical pen-drawn typefaces. [Google] [More] ⦿
Compugraphic Corp. This company existed as Compugraphic and Agfa Compugraphic from 1960-1995.
[Bill Garth] The timeline:
Founded in 1960 in Brookline, MA, by Bill Garth and Ellis Hanson (Chief
Engineer of Photon, Inc). The intention was to apply computer technology to
typesetting. The company would go on to influence the world of
photocomposing with its low cost typesetters.
In 1963, the company relocates to Reading, MA, and introduces its Linasec I
and II, the first general typesetting computers.
In 1967, the company relocates to Wilmingon, MA, forms a Type Group and an
engineering department, and releases its first typeface, Bodoni.
In 1968, Compugraphic introduces the phototypesetters CG 2961 and CG 4961.
In 1969, the 7200 Headliner machine (the first keyboard-operated machine to

set headlines and display type) was added, followed, in 1970, by the Area
Composition Machine (ACM) 9000, in 1971 by the CompuWriter machines, in
1973 by the VideoSetter I and II, in 1974 by Unified Compuser and
ExecuWriter, in 1975 by UniScan and UniSetter, and in 1977 by the EditWriter
7500, the Mini-Disk Terminal, and the Mini-Disk Reader..
The first typeface exclusively developed by Compugraphic, is released, Holland
Seminar. It was created by Hollis Holland in 1973.
1974: The purchase of T. J. Lyons Press, gives Compugraphic the rights to
nearly 2,500 old and antique typefaces.
In 1981 Agfa bought 51% of Compugraphic, increased that to 80% in 1983 and
finally they merged outright in 1989. The new company name is Agfa
Corporation.
In the late eighties, they proposed the scalable format FAIS as an alternative for
type 1 and truetype. This format did not survive long.
In 1992 Miles, Inc (Pittsburgh, PA) bought Agfa/CG. In 1995 Miles changed
name to Bayer Corporation. Agfa is the imaging division of this comnpany.
Finally, in 1999 Agfa (after acquiring Monotype in '97) became independent of
Bayer. They now own the ITC catalog (and, by virtue of that, the former
Esselte/Letraset font catalog too) as well as the others they picked up through
the years.
MyFonts sells Garth Graphic (Compugraphic, and now Agfa/Monotype, by

Constance Blanchard and Renee le Winter, based on earlier sketches of John Matt,
1979) and Phenix American (Agfa-Monotype), and named in honor of Bill Garth.
Noteworthy is the 1988 catalog "The TypeBook".
Images of some typefaces: CG Garamond (now Monotype; see also Garamond

Antiqua and Garamond Kursiv), CG Times (now Monotype).
Timeline at the Monotype Imaging site.
Compugraphic collection of fonts (with CG in the name). [Google] [MyFonts] [More]

⦿
Computer Support Defunct foundry which published a cheap font collection in 1996. Their known fonts
Corporation are listed here. This is a renamed collection: Tekton became Tek, and so forth. The
fonts are now sold by Arts&Letters (in Carrollton, TX) under the name BOSS Fonts.
[Google] [More] ⦿
Continental Continental Type Founders Association was founded by Melbert Brinckerhoff Cary Jr.
Typefounders (1892-1941) in 1925 to distribute foundry type imported from European foundries.

Association Beginning in 1927 Continental also distributed typefaces cast by Frederic Goudy, and
[Melbert Cary] two typefaces for Doug McMurtrie. Doug McMurtie and Frederic Goudy were the
vice-presidents in 1925 and 1927, respectively. At first Goudy's type was cast at his
own Village Letter Foundry, but after 1929 these were cast by the New England
Foundry. Despite imports being virtually cut-off during the war years, Continental
was still issuing Goudy's types as late as 1944 and may have continued functioning
even later. Located at 216 E. 45th street, New York around 1930. They published
Specimen Book of Continental Types in 1929. Cary collected 2300 books about
printing. After his death, the Cary Collection was presented to the Rochester Institute
of Technology in 1969 by the Mary Flagler Cary Charitable Trust as a memorial to
Melbert Cary. Its collection of 20,000 volumes is described as one of America's
premier libraries on the history and practice of printing.
Their typeface Nova Bold was revived by Nick Curtis as Maple Leaf Rag NF (2005).
The European foundries represented by them:
W.H. Caslon, Ltd., England

Caslon Old Face + Italic
Deberny & Peignot, France
Astrée + Italic (1921, Robert Girard)
Sphinx + Italic + Inline (1925, M. Deberny)
Sylvan (1924, Bernard Naudin), known in France as Champlevé.
Bifur (1929, A.M. Cassandre)
Joh. Enschedé en Zonen, Holland
Lutetia + Italic (1925, Jan van Krimpen)
Fundiciòn Richard Gans, Spain
Gloria
Greco Bold + Italic + Adornado (1925)
Gebr. Klingspor, Germany
Kabel + Light Italic + Bold (1927-29, Rudolf Koch)
Zeppelin (1927-29, Koch)
Neuland + Inline (1923, Koch)
Eve + Italic + Heavy + Heavy Italic (1922, Koch), also known as Koch
Antiqua and Locarno
Narcissus (1921, W. Tiemann)
Ludwig & Mayer, Germany
Nicolas Cochin + Bold
La Mercure (an inline version of Cochin)

Erbar (Jakob Erbar)

R.H. Stevens & Co., England
D. Stempel A.G., Germany
Girder (1929, Rudolf Wolf), known in Germany as Memphis.
Metropolis + Bold (1929, Willy Schwerdtner)
H. Berthold AG, Germany
City (1930, George Trump), not sold in US until 1936.
Genzsch & Heyse, A.G., Germany
J.G. Schelter & Giesecke, Germany
Società Nebiolo, Italy
Stephenson Blake & Co., England
[Google] [More] ⦿
Courtney Kent [More] ⦿

Rhodes
[American Greetings
Corporation]
Curwen Press The Curwen Press founded in 1863 by the Reverend

John Curwen concentrated on printing music for the
tonic sol-fa method, but when his grandson Harold (d.
1955) joined in 1908, he broadened their output to
include limited edition books of high quality. It
published a nice specimen book A Specimen Book of
Types & Ornaments in Use at the Curwen Press,
Plaistow, London (1928) and A Working Handbook of
Types in Use at the Curwen Press (1931). The latter book shows an original art deco
era ssan, Curwen Sanserif (+Titling). In the 1980s, it went under. Typefaces related to
Curwen Press:
Colin Kahn designed P22 Curwen in 2005 and says: P22 Curwen Poster is a
digitized version of a rare wood type used by the Curwen Press in England in
the early 20th Century for poster work. P22 Curwen Maxima is a new hyper-
stylized re-interpretation of Curwen Poster.
Ari Rafaeli designed the delicate caps typeface Curwen Initials based on
drawing by Jan van Krimpen in 1925 for the Curwen Press.
Curwen Sans (2018, Keith Bates). A monoline sans based on an in-house sans
of Curwen Press.

[Google] [More] ⦿
Custom Headings Chicago-based film type supplier active in the 1970s. One of its types, the curly art
International nouveau typeface Fantan, was revived and updated as Fantini in 2006 by Patrick
Griffin (Canada Type). [Google] [More] ⦿
C.W. Shortt Type foundry in the early 20th century in London. Gravure (1929), an engraved old
style typeface by them, was digitally revived in 2007 by Nick Curtis as Lateral
Incised NF (2007). [Google] [More] ⦿
D. Stempel (or: Frankfurt-based typefoundry started in 1895 by

Stempel Studio) 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] ⦿
Dale Harris [MyFonts] [More] ⦿

[Utopiafonts]
Dave Lanphear [More] ⦿

[Active Images (or:
Comic Book Fonts,
or: Comicraft)]
Dave Lawless [MyFonts] [More] ⦿

[Tealeaf Digital Type

Foundry]
David Moore [More] ⦿

[Typehouse]
DeLittle In 2014, David Shields researched this British wood type foundry, which was founded
[Robert James in 1888 by Robert Duncan DeLittle as the R D DeLittle Eboracum Letter Factory. The
DeLittle] wood type manufacturer was known for their unique production of White-Letter they
named Eboracum after the Roman name for DeLittle's native city of York, England.
Books by Claire Bolton: DeLittle, 1888-1988: the first years in a century of wood
letter manufacture, 1888-1895 (Oxford: Alembic Press, 1988) and DeLittle: an
English wood-letter manufacturer; including a brief history of the development of
wood-type (Winchester: Alembic Press, 1981). Starting in 1940, DeLittle also cut
wood type for Stephenson Blake, the leading type foundry in the United Kingdom.
DeLittle ceased operation in 1998. Robert James "Jim" DeLittle (b. 1936), the third
and last owner, died in 2014 in Fulford. The Type Museum in London now houses the
archives and machinery of the firm. See also DeLittle's Wood Type Specimens, 1966,
The Cary Graphic Arts Collection at the Wallace Center, Rochester Institute of
Technology.
Digital typeface revivals: Delittle Chromatic (Matt Braun, 2016; a revival of typeface
56/54), Sandbox (2017, Steve Jackaman, based on typeface 260 in DeLittle's catalog).
[Google] [More] ⦿
Dennis Ludlow [More] ⦿

[Sharkshock]
Det danske
Skriftstøberi Harry
Løhr
[Harry Løhr]

Danish foundry in Copenhagen, run by Harry Løhr,

active in the late 1930s. Their fonts include Waterloo,
Falstaff, Skrift and Times. [Google] [More] ⦿
Detroit Type Foundry Extinct type foundry, which published a Specimen Book in 1951. [Google] [More] ⦿
Digital Graphic Labs Brenden C. Roemich's Winnipeg-based foundry. They sold fonts at 10 to 20 USD a
[Brenden C. shot, but made them free starting in 2003, when they quit the font foundry business.
Roemich] The entire collection, mostly dated 1998: ALSScript (knock-off of Shelley Script
Andante by Matthew Carter), Aberration, AngleterreBook, Aramis, AramisItalic,
ChanceryCursive, Dichotomy, Eddie, EnterSansmanBold (heavy serious sans),
EnterSansmanBoldItalic, FLWScript, Fanzine (ransom note face), GlassHouses,
Gunmetal, ILSScript, Incite, KellsUncialBold, KellsUncialBold, LDSScriptItalic,
MICREncoding, Misbehavin', NinePin, NobilityCasual, Overmuch (fat rounded),
PinchDrunk, Protestant, PunchDrunk, RamseyFoundationalBold, RocketPropelled,
SNCScriptItalic (a knock-off of Nuptial Script), ShagadelicBold (psychedelic), Spirit,
StaticAgeFineTuning, StaticAgeHorizontalHold (textured like a bad TV signal),
Symbolix, TempsNouveau, TitleWave, TypeWrong-Smudged-Bold, VinylTile,
VulgarDisplay, Whimzee, WhizKid, alsscripttrial, bitwise (LED face), holyunion,
overmuchtrial.
Direct download. Dafont link. Fontspace link.
Local download. [Google] [More] ⦿
Digital Type German foundry in Hamburg, cofounded by Volker Schnebel and Fritz Renzo Heinze,
Company (or: DTC) where they produced about 450 fonts under the DTC label. MyFonts lists the main
[Fritz Renzo Heinze] 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] ⦿
Digital Type Foundry Digital Type Foundry is James Banner's (extinct) Seattle-based foundry that produced

[James Banner] typefaces such as Angelic, Bamberg-Initials, Bamberg, Burton, Caxton-Initials,

Daggers, Enochian, FetteFraktur, Fraktur, Futhark-Gothic, Futhark, Hebrew,
Hermetica, Titling-Ornaments-1 and Turkish, around 1991-1992. Some fonts can be
downloaded for free at Fontspace. He wrote: I started making fonts in 1988 and still
produce work, although as it became more difficult to upload my work or share it
using the University of Michigan FTP server, I haven't released much. Most recently, I
issued the Geoffroy Tory initial letters as a Type 1 font and separately as EPS files as
Freeware. I've produced 20-30 fonts since the DTF Volume Three bundle package
came out.
The foundry disappeared. The licensing today is unclear.
Fontspace link. Old URL. Defunct URL. [Google] [More] ⦿
Doc Nimbus Fonts Commercial fonts by Doc Nimbus (Eric VanDycke) at the OmegaFrog site:
[Eric VanDycke] MegaMystic Family, Space Hole Family, Pan Collective Family, Spotted Gaspha,
Fractalz (very interesting fractal drawings, 10USD). Page disappeared. [Google]
[More] ⦿
Dong-A Korean tyopefoundry in the metal era which produced, e.g., Choi Myungjo in 1957.
[Google] [More] ⦿
Doves Type Doves Type was from

[Thomas James Doves Press, founded
Cobden-Sanderson] in 1900 by Thomas J.
Cobden-Sanderson (a
disciple of William
Morris) and Emery Walker. They had type based on Jenson. Thomas J. Cobden-
Sanderson threw the typefaces in the Thames when the press closed in 1916 to
prevent anyone from using it again. Ben Archer writes: although William Morris's
Golden Type predated this design, it is thought that the Doves Type was more faithful
to the design of the original Venetian type of the fifteenth century. Punches were cut by
Edward Prince on the instructions of Walker and Cobden Sanderson in a single size
and weight only, and used for printing the Doves Press edition of the Bible. This
celebrated type was used privately for sixteen years and never released to the general
trade. It was lost to history forever when Cobden Sanderson threw the entire font into
the Thames river, provoking a bitter argument with his business partner, the master
printer Emery Walker.
Cobden-Sanderson was born in 1840 in Alnwick, Northumberland, and died in

London in 1922.

Digital revivals:
Doves Press Type (1994, Torbjörn Olsson). A six-font family.

The Doves Type (2013-2015, Robert Green). Green writes: This is Robert
Green's digital facsimile interpretation of the Doves Press Fount of Type,
conceived and commissioned 1899 by TJ Cobden-Sanderson for the Doves
Press, Hammersmith, developed by Emery Walker and Percy Tiffin at Walker
and Boutall, Hammersmith, created and cut by Edward Prince, Islington, and
cast by Miller & Richard Foundry, Edinburgh, 1899-1901. This facsimile was
recreated using printed impressions from Doves Press publications & original
metal sorts recovered by Robert Green from the River Thames, London,
November 2014.
In 2016, Alan Hayward (Lausanne, Switzerland) designed Mebinac, a text
typeface based on Thomas James Cobden's Doves (1900).
Raphaël Verona and Gaël Faure co-designed the commercial typeface Thames
Capsule (2015-2016).
Dr. Boger Photosatz Defunct foundry. [Google] [More] ⦿

G.m.b.H.
Eduard Wilhelm [More] ⦿

Tieffenbach
[Officina Serpentis]
Edward Detyna [More] ⦿

[Electronic Font
Foundry]
Edward Rondthaler [MyFonts] [More] ⦿

[Photo-Lettering
Inc.]
Electronic Font The Electronic Font Foundry (EFF) in Ascot, Berkshire, UK, sold most classical fonts

Foundry at about 15 dollars per weight, and made custom fonts. Established in 1984, the
[Edward Detyna] foundry had 1300 fonts by 2012.
The font designer and owner was Edward Detyna, who died in March 2014. People
are reporting to me that the fonts are in limbo, and that Detyna's family is not replying
to requests for information.
On July 4, 2002, Apostrophe wrote this: I'm currently having a difficult time trying to
predict the past of EFF LondonA, EFF Liz, EFF Eric and EFF Formal, to name a
few. I have a feeling that these folks just happen to be twins with entities that are
currently across the Atlantic from them, namely Adobe Garamond, Cooper Black, Gill
Sans and Copperplate Gothic. A friend of Detyna's writes this: When I met him at
least twenty years ago, Edward and his associates had a font design studio based in
Ascot, near London. He is a mathematician/statistician turned typographer, and was
really on top of type design at the time. There are academic articles published on
mathematical subjects on the internet. He's an old man now, but still a very smart guy.
When he started, with fonts for Acorn RISC-OS (now defunct, but leading-edge British
computer of mid-eighties to -nineties), he had very advanced and sophisticated
algorithms for anti-aliasing and hinting, and his hand-hinting is still better than
almost any other fonts I have used for screen work. He still sells fonts and adapts to
user requirements promptly. I recently asked him to adjust the hinting on a font and he
turns it around in a day.
Jason Koxvold wrote to me in 2017: I knew Edward back in 1990 or so, when I was
13, and he mentored me to a great degree. For a while I worked an internship of sorts
at EFF, and then one day, my mother came to see what I was up to---he gave her the
job of office manager. He was a tremendously helpful and meaningful person to me
then as a very young man with a passion for typography.
Closed captioning fonts for TV, made according to the EIA 708-B specifications,
include EFF Sans Serif CC, EFF Serif CC, EFF Sans Serif Mono CC, EFF Serif
Mono CC, EFF Casual CC, EFF Script CC, EFF Small Caps CC.
EFF also has fonts for Vietnamese, Greek, Hebrew, and Cyrillic.
EFF Primary is a large family of educational fonts.
EFF Utamaru is an oriental simulation font. [Google] [More] ⦿
Elliot Weinstein [More] ⦿

[CHOMP font

collection]
ElseWare Founded by Ben Bauermeister and Clyde McQueen in 1990, former employees of
Corporation Aldus. Based in Seattle, it created for Hewlett-Packard FontSmart (a product that
[Ben Bauermeister] gives users 110 fonts and a font-management technology for HP's LaserJet 5L, 5P and
5Si printers in an innovative and compressed format). It also made FontWorks (a
truetype font generation engine for Windows), Infinifont (a parametric font generation
system), and PANOSE (a fonty classification system). On December 21, 1995, HP
bought the company and that was the end of it. The in-house type designer was Karl
Leuthold. They produced about 340 "clones" of the major typeface styles, including
Albertus, AntiqueOlive, Arial, AugustaEC, BistroEC, BodoniEC, BookAntiqua,
BookmanEC, BookmanOldStyle, CGOmega, CGTimes, CafeEC, CenturyGothic,
CenturySchoolbook, Clarendon, CourierEC, EtnaEC, GaramondEC, GeneraEC,
GillSans, Goudy-Old-Style-EW, GraphosEC, InformaEC, LetterGothic,
LetterSansEC, MentorEC, MetrostyleEC, ModalEC, NewTributeEC, OperinaEC,
Ozzie, SchoolbookEC, StationEC, StriderEC, StylusEC, TerasEC,
TerasMonospaceEC, Univers, VillageOldstyleEC, WilmingtonEC. MyFonts link.
Elsö Magyar Typefoundry in Budapest where Zoltán Nagy published most of his typefaces. These
Betüöntöde include Ungarische Grotesk breitfett (1967), Ecsetiras (18=967) and Reklam Kurziv
(a signage face). [Google] [More] ⦿
Eltra (Allied) The Eltra Corporation was a merger of The Electric Auto-Lite Company and the
Mergenthaler Linotype Company. The majority of stocks were held by the investor
Gurdon W. Wattles. Famous for the 1978 court case of Eltra vs. Ringer. [Google]
[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.
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.
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] ⦿
Eragny Press Private press of Lucien Pissarro, a

[Lucien Pissarro] French type designer, 1863-1944.
Pissarro created Brook Type in 1903
for Eragny Press. Brook Type influenced a 1976 design by Adrian Williams, and that
in turn led to Steve Jackaman's digital typeface Gargoyle. [Google] [MyFonts] [More]
⦿
Ergisto Reggiani [More] ⦿

[Fonderia Reggiani]

Eric VanDycke [More] ⦿

[Doc Nimbus Fonts]
Ernesto Saroglia Italian typefoundry which had a wood type collection in the 1940s. [Google] [More]
⦿
Etablissements Brussels-based foundry operational in the

Plantin early part of the 20th century. (Metal)
typefaces by them include the art deco
beauties created by Dick Dooijes: Carlton
(1932) and Bristol (1932). Further examples of these typefaces: A | B | C | D | E | F | G
| H | I | J | K. [Google] [More] ⦿
Expert Alphabets George Abrams (b. 1919 or 1920, Brooklyn, d. 2001, Manhasset, NY) is the designer
[George Abrams] of the gorgeous font families Augereau, Abrams Caslon and Venetian, at Expert
Alphabets in Great Neck, NY. Abrams taught lettering and typeface design at the
Parsons School of Design, the New School for Social Research and at the Columbia
University Teachers College. He had over 50 years of Madison Avenue experience
designing ads, logos, typography and lettering for Fortune 500 companies and more.
His early typefaces were photo types published by Headliners in New York City. He
died on June 7, 2001 at age 81.
About Augereau: This is the only digitized typeface by George Abrams [in fact, the
digitization is due to Charles Nix, for George Abrams]. Its 28 weights include over
2,000 sorts including expert, OsF,&alts. Augereau is named for Antoine Augereau,
who was a typographer who had a few claims to fame - one was that he was Claude
Garamonds teacher, and two was that he was sentenced to death for heresy in 1544.
Heresy for a typographer in 1544 meant that he printed something that the king or the
Pope didn't like and died for it.
I would like to thank Poul Steen Larsen for clarifying the history of Abrams' Venetian:
The Abrams Venetian was donated to Mr. Poul Kristensen of Herning (in Jutland),
then Printer to the Royal Court (which he has ceased to be in 1995). You are right
about the font being today locked to Poul Kristensen' old Linotron, from which not
even Linotype experts brought in to unlock it, could get it out for conversion into an
up-to-date digital font. So the font will disappear from the type arena when
Kristensens Linotron one day breaks down. You can trust me, for I was the one who
established the contact between George and Mr. Kristensen back in 1986. The font
was first used in 1989 in a book by Martin Lowry, British renaissance historian, with
the title Venetian Printing. George Abrams' chalk drawings of the entire alphabet in
regular and italic were scanned, more precisely vectorised on-screen and downloaded

in Denmark by the Kristensens and therefore, in one sense, could be called the first
Danish complete font. A sample of the first use of Abrams' Venetian. A second sample
from "Venetian Printing". Abrams Venetian was digitized at some point by Jorgen
Kristensen for Poul Kristensen Grafisk Virksomhed Printer.
Apostrophe wrote this about Abrams Caslon: This was actually reviewed by Caflish
and, if I remember correctly, Mark vonBronkhorst, so there are at least 3 or 4 copies
of it out there, other than the Abrams' estate original data. Sumner Stone once said
that this is the best Caslon he has ever seen. At least he has seen it; I haven't.
The typefaces by Abrams (Abrams Venetian and Augereau) are preserved in the New
York City-based Abrams Legacy Collection (see also here).
Klingspor link. [Google] [MyFonts] [More] ⦿
Eye Envision Studios Elite Webdesigns (or: Eye Envision Studios, link died ca. 2004) offered Bren Burrill's
[Bren Burrill] free dingbats: Elite1websets, Elite2webset, Elitebitsnpieces, Elitecircledesigns,
Elitekaleidos, Eliteremotesplashin. These were all made in 2000, and are very useful
as web page icons. Bren Burrill hails from Corsicana, TX, and works as a
photographer. [Google] [More] ⦿
Face Ronchetti Or Mick Chave. Michael Chave was

[Michael Chave] director of Face Ronchetti in London.
Phototypefaces by him include Aetna
1968, Alten Book 1969, Amigo 1972,
Antique schmal 1975, Antique Tuscan
1975, Antique Tuscan Extended 1975, Arnold fett 1968, Bevelled 142 1975, Childs
1969, Cupid 1970, Curly Hairline 1969, Joanna 1969, Marvin 1969 (also at Face
Photosetting), Matra 1971, National 1973, Pipeline 1970, Secession 1976. Digital
revivals of the avant garde typeface Marvin:
Lodestone Pro (2017, Steve Jackaman, Red Rooster).

Marvin Visions (2017, Mathieu Triay).
Marbolo (Page Technology Marketing Inc). A free typeface. Unknown date.
Marbold (1992-1993, Thomas E. Harvey). Stephen Coles writes: In the early
1990s, Thomas E. Harvey did a rather poor digitization named Marbold. See
this thread on Typophile.
[Google] [More] ⦿

Fantazia Fonts In 1994, Fantazia published a 2500-font CD (431MB), with fonts in TTF, T1 formats
[Jackie Piert] for both Mac and PC. The packages changed names over the years---they were called
Fantazia Concepts, and Fantazia Fonts and Sounds at some point. The fonts names are
recognized by their prefix, FZ. The mother company, Fantazia Concepts Inc, used to
be located at PO Box 5142, Willowick, OH 44095 (1-(216)-951-5666, fax 1-
(216)-951-9241). It seems to have disappeared though. [Google] [More] ⦿
Fidel Peugeot [MyFonts] [More] ⦿

[Lomofonts]
Filmhimmel Jens Ziehn (Filmhimmel, aka

[Jens R. Ziehn] Jay R. Zay or JRZ) designed
fonts on the theme of films.
Filmhimmel closed its web doors ca. 2007. The list: 007-GoldenEye, 13th-
Ghostwrite-JRZ, 28-Days-Later, a-bug's-life---debugged, a-bug's-life, AVP,
AVPyramid, Alien-Resurrection, Anatomie-2, Apocalypse-Now, Blade-2, Chocolate-
Factory, Elektra, Goonies, Highlander, Insomnia, Jurassic-Park, Koyaanisqatsi, Mars-
Attacks, Men-In-Black-Credits, Monster-AG, Nightmare-Before-Christmas (a
German expressionist typeface), One-Flew-Over-The-Cuckoo's-Nest, Planet-of-the-
Apes, Road-to-Perdition, Shaun-of-the-Dead, Sin-City, Sleepy-Hollow-3.0, The-
Sixth-Sense, The-Thirteenth-Floor, Van-Helsing, Signs---Zeichen-2.0 (old typewriter
font, and grungy zodiac sign emulation capitals), The-Incredibles, The-Ring
(handwriting), Daredevil, Durchgeknallt, Findet-Nemo, Lost-Highway, Phone-Booth.
He also created Hannibal Lecter, about which we learn this: Officially, Hannibal
Lecter font does not exist because it is an exact copy of P22 Cezanne (that font is
expensive). Some time ago, Mr. Ziehn had a legal issue with the designer who created
Cezanne. After that, he had to remove HL from his site. But since HL was once
claimed as free and there are no terms of use in the font file, it appears here and there
for download until they get a warning from the P22 foundry. The website of Jens R.
Ziehn seems to not exist anymore either. BTW, LD Fierro is also very similar to P22
Cezanne, but it is not a 100% copy and you can obtain it legal way.
Dafont link. Alternate URL. Another URL. Still another URL. And another one. Old
(dead) URL. Abstract Fonts link. [Google] [More] ⦿
Filmotype Sales
Company

Filmotype Sales
Company was located
at 4 West 40th Street in
New York City. In
1955, they published a
catalog entitled Lettering Styles Display Types, from which some samples are shown
in the link. The catalog has no full alphabet specimen and is thus of limited value for
type historians and type revival experts. Frank J. Romano writes here: In 1952, Al and
Beatrice Friedman [the founders of Filmotype] introduced the Filmotype, a simple
manual phototypesetter that was not much bigger than a shoebox and used 2-inch
filmstrips with all glyphs in linear order, with marks below them so that the operator
could position the letter and expose it to the photo paper. The process was blind in
that you could not see the letters as they were exposed. The Friedmans would go on to
introduce the Alphatype phototypesetter. The Sybold Report mentions: Filmotype has
a 35-year history as a supplier of filmstrip headline setters. Its founders later moved
on to start Alphatype Corporation, keeping Filmotype as a subsidiary. In 1987, Harry
and Seta Brodjian, who were Alphatype employees, acquired Filmotype with the
intention of rejuvenating the company. In 1989, the firm began development of a
digital headliner. A year later, it began digitizing its fonts. The company was renamed
Filmotype Corporation. The fonts were at one point sold in packages such as a 30
dollar TrueType Font Package of 100 designer typefaces and an EZ Effects Windows
program. Typefaces were renamed: Clarendon becomes Clarion, and so forth. At that
point, Filmotype had offices in Glenview, IL, and was run by Gary Bunsell. About the
renaming practices, the typophiles mention that Filmotype fonts were given
letters&numbers by VGC when they pirated a substantial number of them. Their
original names were attached by someone going through a dictionary and just picking
arbitrary words for Filmotype fonts that were initially just letters and numbers also.
In 2006, the Filmotype collection was bought by Font Diner. In 2007, Font Diner
started publishing digitizations of the collection: Glenlake (condensed Bank Gothic,
by Mark Simonson), MacBeth (script), Alice (casual script), Zanzibar (calligraphic),
La Salle (brush writing originally by Ray Baker in the 1950s, named after Chicago's
LaSalle Street), Quiet, Ginger (Mark Simonson; masculine headline typeface
genetically linked to Futura), Austin (paintbrush), Brooklyn (hand-printed), Honey
(handlettered script), Jessy (handwriting), Modern (i), Vanity.
In 2010, Stuart Sandler published a book entitled Filmotype by the Letter, in which he
details the company's history. He also set up Filmotype as a foundry in Eau Claire,
WI. Additions to the Filmotype collection in that year include the signage typefaces

Filmotype Kentucky, Filmotype Kingston, Filmotype Harmony and Filmotype

Hamlet, and the geometric sans Filmotype Fashion (orig. 1953). The signage
typefaces were originally made by Ray Baker for Filmotype in the 1950s, and were
digitized by Patrick Griffin and Rebecca Alaccari.
Activity in 2011. Patrick Griffin and Rebecca Alaccari revived the condensed sans
typeface Filmotype Giant (2011) and its italic counterpart, Filmotype Escort (2011),
as well as Filmotype Prima (a sho-card face from 1955). Neil Summerour contributed
Filmotype Horizon after an original signage typeface from 1954. Mark Simonson
created Filmotype Gay, a tall monoline sans originally from 1953. Filmotype Ford
(2011) and Filmotype Jamboree (2012, an informal script based on a 1965 original)
are due to Stuart Sandler. Filmotype Quartz is an inline face.
Activity in 2012. Alejandro Paul contributed two scripts, Filmotype Yukon (based on
Palmer style penmanship) and Filmotype Zephyr (formal italic roman). Later in 2012-
2014, the production took off, with many contributions by Patrick Griffin and Charles
Gibbons (who created Filmotype Zeal in 2013 for example). [Google] [MyFonts]
[More] ⦿
Fonderia Caratteri Italian foundry in Torino, est. 1908 by the merger of Nebiolo (Torino) and Urania
Augusta (Milano). Soon after that, it comprised / absorbed fourteen foundries, Nebiolo, Urania,
Paolo Albé and son, Filippo Fiazza, Carlo Radaelli, Francesco Rizzi, F. Zappa,
Wilmant L., Baccigaluppi&C., Ferdinando Negroni, Rayper&C, Fratelli Alessandri,
Cucco&Gorigli and Dell'Orto. Scan of a specimen book cover, ca. 1914, and ca. 1909.
[Google] [More] ⦿
Fonderia Cisalpina Italian foundry in Milano. Scan of a specimen book cover, ca. 1914. [Google] [More]
⦿
Fonderia Italiana Italian foundryo. Scan of a specimen book cover, ca. 1930, showing the type family
Impero. [Google] [More] ⦿
Fonderia Reggiani Or Fonderia

[Ergisto Reggiani] Tipografica Enrico
Reggiani. Italian
foundry in Milan,
started by Enrico Reggiani in Milan in 1883. The business was taken over by his son
ergisto Reggiani (1888-1964). Reggiani published a bulletin in the 1930s entitled
Tipografia (in which we find contributions of Edoardo Persico and the typographer
Guido Modiano). It shows 44 very modernist typefaces, such as Reggiani, Macchina,
Bodiniana, Jenson, Mascotte, Zaza, Mignon, Tosca, Manon, Mimi, Fedora, Butterfly,

Fanciulla West, Turandot, Norma, Fornarina, Parisina, Isabeau, Fiammetta, Licia,

Gioconda, Beatrice, Laura, Francesca, Asteria, Rosmunda, Minnie, Rossana,
Mirandolina, Saida, D'Annunzio, Sansone, Nerone, Van Dyck, Olimpo, Olimpia,
Olimpionica, Rubria, Ottocento, Pre Italica, Italia Nova, Era Nova, Vittoriale,
Vittoriosa, Eia, Alala, Ardita, and Asse d'Acciao. Standout art deco designs included
Ciclope and Mefistofele.
They published the avant-garde font Triennale in 1933, a typeface that set the tone for
the institutionalized graphics imposed by the Italian fascists. Some of the posters of
that era are here.
A scan of Campionario Caratteri da Stampa e per Contorno (Enrico Reggiani Foundry,

Milan, 1937).
Digital revivals by Now Type (Lucas Franco and Claudio Rocha) include Ciclope and
Mefistofele. TIF Balilla is a custom digital revival for Tipoteca Italiana Fondazione
and not available for licensing. The original was Serie Balilla. [Google] [More] ⦿
Fonderia Tipografica Italian typefoundry located in Naples.

Meridionale Their typeface Adriatico Corsivo is a
Armando De Luca copy of Lettergieterij Amsterdam's ATF
Garamond. [Google] [More] ⦿
Fonderie Ch. Boudin Paris-based foundry operational in the early

part of the 20th century. (Metal) typefaces by
them include Du Guesclin (ca. 1914, art
nouveau), Excelsior (ca. 1914), and Piccady.
Culs de lampe ornaments. [Google] [More]
⦿
Fonderie The timeline of this French

Deberny&Peignot foundry of the 19th century and early 20th century:
Gustave Peignot's typefoundry was taken over by his son Georges Peignot
when Gustave died. Georges's son Charles took it over when Georges and his
three brothers were all killed in The Great War.
1923: The foundry becomes Deberny&Peignot when the Laurent&Deberny
foundry was purchased. Merger with Girard et cie.
1923-1960: Charles Peignot directed the creation of a series of original designs.
Phototype era: Starting in the late fifties, the company prepared the fonts for

Lumitype, European Photon. In the sixties, Charles Peignot invested heavily in

Lumitype, which used up some of the money to buy control of
Deberny&Peignot, and let Charles go.
Deberny&Peignot closes in 1979 (some say 1972...), at which time the designs
passed to the Haas'sche type foundry in Basel/Münchenstein. Haas in turn was
merged into D. Stempel AG in 1985, then into Linotype GmbH in 1989, and is
now part of Monotype Corporation. Starting in 1925, Deberny & Peignot types
were distributed in the United States by Continental Type Founders
Association.
Their collection includes typefaces by:
A.M. Cassandre: Acier Noir (1936), Bifur (1928-1929), Peignot (1937),

Touraine (1947, with Charles Peignot).
Bernard Naudin: Naudin (1911-1924). A set of open capitals that complement
this typeface were sold in France as Champlevé and in the United States as
Sylvan.
Robert Girard: Astrée (1921). The Stephenson Blake version is Mazarin (1926).
Georges Auriol: Auriol (1901-1904), Auriol Laberur, Auriol Champlevé,
Française allongée, Française légère, Robur Pale (ca. 1912; variations are
known as Royal Lining and Claire de Lune).
Marcel Jacno: Chaillot, Film (1934), Jacno (1950), Scribe (1937).
Imre Reiner: Contact (1952), Floride (1939).
Maximilien Vox: Eclair (1935).
Georges and Charles Peignot: Le Garamont (1912-1928). That is to say, from
1912-1914, they directed the development of this Garamond based on Jean
Jannon's roman. The typeface was finished by Henri Parmentier in 1926.
M. Deberny: Sphinx (1925).
Henri Bellery-Desfontaines: Bellery-Desfontaines (1910-1912).
P. Roy and A. Marty: Cochin, Nicolas-Cochin (1912), and Moreau-le-Jeune
(later copied by Ludwig & Mayer as Sonderdruck).
A. Giraldon: Giraldon (1900).
Eugène Grasset: Grasset (1898).
Adrian Frutiger: Égyptienne, Méridien (1957), Ondine (1954), Phoebus (1953),
Président (1954), Univers (1957).
Rémy Peignot: Cristal Initiales (1955).
G. Vidal: Amethyste (1954), Bolide (1954).
They also published Banjo (1930), Baskerville (1916), Calligraphiques Noires (1928,

see also Ludwig&Mayer), Compactes Italiques, Cyclopéen, Firmin Didot, (cut from
the original punches), Fournier-le-Jeune (1913), La Civilit&eacutye;, Olympic (1937,
also known as Slimblack), Pharaon (1933), Polyphème (1926), Romain Ancien (1899,
an Elzevir), Série 16, Série 18, Style moderne (ca. 1903, sold today as Fantastic), the
garalde typeface Ancien, and the didone typeface Gras Vibert [for a digital version of
Gras Vibert, see Vibertus (2007, Latrs Yörnqvist)].
Many specimen books were published by them. For their vignettes, see Spécimen de
vignettes typographiques (Paris, Rue Visconti, 17, près le Palais des Beaux-Arts,
faubourg Saint-Germain. [1870]) and Vignettes typographiques: attributs mélanges
armes, médales (Paris, 1886). Early work is shown in Les créations de la fonderie
typographique Deberny et cie depuis 1878 (1889) and in Les nouvelles creations de la
fonderie typographique Deberny&cie (1895). Fancy type is shown in Les caractères
d'affiches. Extrait du Livret typographique (Paris, 1905). Older fleurons are in
Nouvelle série des fleurons de la fonderie de Laurent et Deberny (ca. 1844). Other
publications by them include Premières épreuves du Caractère Peignot dessiné par A.
M. Cassandre (Paris: 1937).
Digital revivals include Sonderduck Antiqua (2008, Gerhard Helzel). Sphinx (1925)
was revived by Steve Jackaman as Sphinx RR (1925), and by Douglas Olena as FFD
Sphinx (1995).
Peignot foundry genealogy.
View the digital typeface that are descendants of Deberny.
FontShop link.
References: Wikipedia. History of Peignot, by Georges Peignot's grandson Jean-Luc

Froissart. Rochester Institute of Technology: History of Deberny et Peignot [dead
link]. And finally, the book L'or, l'âme et les cendres du plomb. L'épopée des Peignot,
1815-1983 (2004, Jean-Luc Froissart: Paris: librairie Tekhnê). [Google] [MyFonts]
[More] ⦿
Fonderie Française French foundry. Designers of some beautiful often didone typefaces, such as the fat
typeface Liliom. They also produced well-known Victorian decorated capitals under
the names Romantiques No. 1 through 5. The Egyptian typefaces are called just that,
Egyptiennes (Narrow, Bold, Italic). Henry Chaix made the display roman typeface
Editor in 1937.
Revivals include Liliom Pro (2012, Ralph M. Unger). [Google] [More] ⦿

Fonderie French foundry which was started under the simple name Deberny ca. 1828 by
Laurent&Deberny Alexandre de Berny (1809-1881), who had been given the printing business of
Honoré de Balzac by his mother, Mme. de Berny, who was Balzac's first mistress.
Balzac had bought the typesetting firm of Jean-François Laurent in 1827 [funded
partly by money borrowed by his mistress, and incorporated by Balzac with the help
of typesetter André Barbier, who left the business in 1828 after it sank into debt due to
the spendthrift of Balzac], and so, de Berny and Laurent worked together until 1840,
when de Berny bought Laurent out in full. During this time, they made an extensive
type library, and bought the wood-engraved letterstock of Pierre Durouchail. De
Berny changed his business name to Deberny. In 1877, Deberny associated himself
with Charles Tuleu, his illegitimate son (with farmer woman). Tuleu inherited the firm
in 1881 upon the death of Alexandre, and ran it until 1914. He added many fine
typefaces, including a series of ancient Latins, many scripts and neo-elzeviriennes,
and a collection of foreign alphabets. In 1914, a childless Tuleu proposed the merger
of his business with that of the family of his wife, Jeanne Peignot, the sister of
Georges Peignot, who ran Peignot et Cie, a rival typefoundry. Jeanne refused to be
associated with her brother and thus prevented any collaboration between the firms.
Tuleu teamed up instead with an old school friend, Robert Girard. Ownership of the
business passed to Girard in 1921 when Tuleu retired. The firm was renamed Girard et
Cie. Talks were started with Peignot about a merger. Deberny&Peignot was
incorporated on July 1, 1923. Charles Peignot now controlled Deberny's classic
punches and matrices, the Peignot moderns, and two typefounding factories in Paris
and Corneuve. [Google] [More] ⦿
Fonderie Olive Important French

[Roger Excoffon] typefoundry
established in 1836 in
Marseille and
originally headed by Marcel Olive. In the middle of the 20th century, Roger Excoffon
became its major type designer. In 1978 or 1979, the rights to all typefaces were
transferred to Haas, which in turn was taken over by Linotype in 1989. The typefaces
of Fonderie Olive are:
Antique Olive (1959). The modern Bitstream version is Incised 901. There are
also Antigone (Softmaker), Ravenna Serial (Softmaker), Oliva (Autologic), AO
(Itek), and Olive (Varityper).
Banco (1951). By Roger Excoffon. In 1997, Phil Grimshaw created ITC Banco
Light based on this.

Banville.
Calypso (1958). By Roger Excoffon. A digitization of this texture all-caps
typeface was done by Ralph M. Unger in 2005 at Profonts under the same
name.
Chambord (1945). By Roger Excoffon.
Choc (1955). The famous fat brush typeface by Roger Excoffon. Digital
versions besides Choc (Linotype) include Chandler (Softmaker, reved in 2012),
Staccato 555 (Bitstream) and Chalk (Corel). ITC Choc Light was a creation of
Phil Grimshaw.
Diane (1956). By Roger Excoffon. Modern version: See Diane Script (2008,
Mark Simonson), and Diana and Princess by Présence Typo.
Mistral (1953). The ubiquitous connected script typeface by Roger Excoffon,
based on his own handwriting. Digital versions: Mistral (Linotype), Malaga
Pro, Zephyr, Staccato 222 (Bitstream).
Vendôme (1951-1952). By F. Ganeau. Digital version include V691 Roman
(Softmaker), Varennes, and Vendôme (URW, Elsner&Flake).
Fonderie Peignot et French foundry established and run by Georges Peignot

Fils and his son Charles. In 1923 it merged with Girard Et Cie
to become Fonderie Deberny&Peignot. Their collection
includes Nicolas Cochin (1912) and typefaces by:
G. Auriol: Auriol (1903).

G.+C. Peignot: Garamont (1912-1928).
A. Giraldon: Giraldon (1900).
Eugène Grasset: Grasset (1898).
They also published the Garalde typeface Ancien, Série 16 (19050 [digitized as
Seizieme Pro in 2013 by Coen Hofmann], the didone typeface Gras Vibert [for a
digital version of this, see Vibertus (2007, Lars Törnqvist)], and Sphinx (1925) [which
was revived by Steve Jackaman as Sphinx RR, and by Douglas Olena as FFD Sphinx
(1995)].
Many specimen books were published by them. For their vignettes, see Spécimen de
vignettes typographiques (Paris, Rue Visconti, 17, près le Palais des Beaux-Arts,
faubourg Saint-Germain. [1870]). Early work is shown in Les créations de la fonderie
typographique Deberny et cie depuis 1878 (1889) and in Les nouvelles creations de la
fonderie typographique Deberny&cie (1895). Fancy type is shown in Les caractères

d'affiches. Extrait du Livret typographique (Paris, 1905). Older fleurons are in

Nouvelle série des fleurons de la fonderie de Laurent et Deberny (ca. 1844). Peignot
foundry genealogy.
MyFonts hit list for typefaces by Peignot or in the style of Peignot's typefaces.
Compare Peignotian typefaces. [Google] [More] ⦿
Fonderie Plantin Belgian foundry in Antwerp, which was active since the 16th century. They published
"Fonderie typographique Plantin, S. A.; caractères de texte modernes et classiques,
ornements, filets en cuivre, initiales et vignettes. Supplément au catalogue général", a
116-page book, in Brussels in 1935. [Google] [More] ⦿
Fonderie Renault Paris-based foundry operational in the early part of the 20th century. (Metal) typefaces
by them include Denises. [Google] [More] ⦿
Fonderie S. Berthier Foundry in Paris, which made

the celebrated art nouveau
Paris subway font
Metropolitaines in 1905. Also
called Berthier&Durey.
FontShop link.
Digital versions of this

typeface include
Metropolitain EF (1985,
Elsner&Flake) and Metropolitaines P (URW), both all caps typefaces. [Google]
[More] ⦿
Fonderie Turlot Big Paris-based

foundry, with an
extensive factory.
Their work can be found in Caractères de labeurs de la fonderie A. Turlot (rue de
Rennes, 128, Paris [ca.1896?]), Filets (Paris, 128, rue de Rennes, [ca.1898?]),
Spécimen des caractères anciens de la fonderie Turlot (Paris, 1885, and PDF file; see
also this PDF file) and Réglure. Fonderie Ch. Derriey, A. Turlot, successeur (rue de

Rennes, 142, Paris [1880]). See also "Caractères de labeurs de la fonderie A. Turlot"
(1896).
In 1880, they had acquired the Fonderie Charles Derriey. The major specimen book,
Spécimen général de la fonderie Turlot, Henri Chaix, gendre, et cie successeurs (1910,
508 pages) [see also here] seems to indicate that the foundry was sold to Henri Chaix
in 1910. The latter book is comprehensive. The "Néo-Didot" series mentions Fonderie
J.-V. Éon, Turlot, successeur. Other niceties: "signes mathématiques", signes divers,
the "Javanaises" (oriental simulation fonts, p. 103), the gorgeous vignettes (ex.: hibou,
Japonaise, Nénuphar, Galvanos Modernes), and the hilarious "silhouettes reclames".
This book has many illustrations of the start of the art nouveau style. Finally, in 1914,
they published Spécimen Général (1914, Fonderie Turlot, Henri Chaix et cie, Paris:
454 pages).
Scan of the caps typeface Lettrines Renaissance. Scans from the 1885 specimen book:
Elzevir No. 3, Elzevir No. 3, Filets Elzeviriens, Gothiques blanches, Initiales
Elzeviriens. [Google] [More] ⦿
Fonderie Turlot: Berlintypes published the contents of the 454-page Spécimen Général, Fonderie
Spécimen Général Turlot (Henri Chaix et cie, Paris, 1914). By chapter:
2. Elzeviers et Labeurs de Luxe: Elzévier Français, Elzévier Vieux Français,

Elzévier Anglais, Elzévier No 3, Elzévier Plantin, Caractères Louis XV,
Salammbo.
3. Series de Labeurs: Néo-Didot, Néo-Didot Gras. Also: Vieux Style,
Bibliophiles, Caractères pour Labeurs.
4. Caractères pour Journaux: Examples for newspaper typesetting with
references to the types used.
5. Caractères Étrangères: Caractères Russes, Caractères Allemands, 1re Série,
Caractères Allemands, 2me Série, Caractères Allemands, Gras, Caractères
Grecs, Gras, Caractères Grecs, Penchés, Caractères Grecs.
6. Caractères pour Affiches.
8. Caractères de Fantaisie:
Antiques serrées grasses, Antiques simples, Antiques noires, Antiques
grecques, Antiques serrées maigres, Antiques penchées grasses, Antiques
penchées noires.
Egyptiennes effilées, Egyptiennes Etroites, Egyptiennes condensées,
Egyptiennes serrées, Egyptiennes 1re Série, Egyptiennes 3me Série,
Egyptiennes 2me Série, Egyptiennes larges, Egyptiennes grasses,
Egyptiennes penchées noires.

Caractères Louis XV.

Latines larges, Latines noires allongées, Latines noires, Latines noires
larges.
Vignettes Glycine.
Normandes 1re Serie, Normandes 2me Série, Rouennaises, Normandes
larges, Etroites modernes, Allongées demi-grasses, Allongées grasses,
Caractères gras allongés, Condensées, Bretonnes.
Italiennes.
Athéniennes.
Métropolitaines.
Vénitiennes.
Norvégiennes.
Elzévir gras éclairé.
Vignette Légére.
Elzévir Plantin (Romain, Italique).
Salammbo.
Canadiennes.
Chicago, Chicago Large.
Lyonnaises.
Latines penchées.
Vignette Décorative.
Excelsior.
Moscovites.
Transvaaliennes serrées, Transvaaliennes.
Péruviennes.
Phillipines.
Vignettes Chrysanthème.
Pittoresques droites, Pittoresques penchées.
Provençales.
Ondines.
Zodiaques maigres, Zodiaques noires.
Roxanes, Roxanes 4 oeils.
Caractères d'écriture.
Caractère Machine à écrire.
Bâtardes lithographiques.
Filets-Vignettes.
La Taille-Douce Azurée droite, La Taille-Douce Azurée penchée.
Antiques Litho No1, Antiques Litho No2, Antiques Litho No3, Antiques

Litho No4.
Monastiques.
Vignettes Florale.
Initiales Elzévir 1re Série, Initiales Elzévir 2me Série, Initiales Elzévir
3me Série.
Antiques maigres serées, Antiques allongées, Antiques maigres larges.
Initiales Antiques noires, Initiales Antiques Greques, Initiales
Égyptiennes allongées, Initiales Italiennes, Initiales Etroites allongées,
Initiales Bretonnes, Initiales Demi-allongées, Initiales Classiques
allongées, Initiales Classiques, Initiales Modernes.
Romaines droites, Romaines penchées.
Initiales Latines larges, Initiales pour annonces anglaises, Latines
éclairées, Latines blanches.
Romanes.
Parisiennes.
Fantaisies diverses (8 designs, numbered).
Lettrines Renaissance.
Lettres ornées.
Monogrammes.
[Google] [More] ⦿
Fonderie Typefoundry in Paris, founded in 1921 by the

Typographique merger of the firms of Chaix, Marcou, Durey,
Française Huart and Saling. There were several catalogs of
their typefaces such as Fonderie Typographique
Française Catalogue Général (ca 1925, 798
pages). This site shows many samples from this
foundry. The typefaces shown include Amadis
(blackletter), Apollo, Ascot, Atlas (1933, an art
deco typeface by K.H. Schaefer), Bizerte (art
deco), Blanches Saint Germain (pearly caps),
Caravelle (1957, the French name of Folio, a
Helvetica-like typeface by Konrad Bauer and
Walter Baum), Clipper (1951, by Louis Ferrand),
Deauville (a charmer that conjures up Les
Vacences de Monsieur Hulot), Décor (pixelized
and with mosaic effects), Ecriture parisienne

(ronde), Editor (1937, Henri Chaix), Estienne, Excelsior FTF (art nouveau), Flash
(1953, Enric Crous-Vidal), Garamond FTF, Hélios (a shaded titling face), Ile de
France (by Enric Crous-Vidal), Marocaines FTF, Moscovites, Muriel (1950, a script
typeface by Joan Trochut-Blanchard), Normandy, Paris (1953, Enric Crous-Vidal),
Pittoresques FTF (1924, Japanese style art nouveau: revival of Pittoresques penchées
by Yanick Blancho in 2015 as Koëlh), Psitt (1954, by René Ponot), Ramsès (a tall-
legged Egyptian), Stylo (1935, connected script), Swing (art deco), Vulcain (art deco).
Apollo is FTF's reply to Renner's Futura. [Google] [MyFonts] [More] ⦿
Fonderie Fonderie typographique Van Loey-Nouri was Henri Van Loey's foundry in Brussels
typographique Van around 1900. They published Spécimen des caractères (1905). According to some
Loey-Nouri sources, their other book, Spécimen de la Fonderie Van Loey-Nouri dates from ca.
[Henri Van Loey] 1930. One of their art nouveau typefaces from 1900 was digitized by Dan X. Solo as
Welcome 1 (Solotype). [Google] [More] ⦿
Fonderie Belgian foundry. They published a 297-page book called Spécimen (Bruxelles).
Vandeborght [Google] [More] ⦿
Fonderies Centrales Foundry in Limoges. Its work can be

P. Dutreix found in Spécimen des caractères de la
fonderie J. Dutreix&cie (Limoges,
58&60-vieille-route-d'Aixe--58&60
[ca. 1886]). This publication has a few
fantastic border ornaments.
In the 1930s, it published a geometric sans series called Universelles, just a few years
after Renner had reaped success with his Futura. That typeface family was digitally
revived in 2013 by Matthieu Cortat (Nonpareille) as Battling.
Another typeface family, inspired by Nicolas Cochin, is Jean-Jacques. [Google]

[More] ⦿
Font Chop (Lumber About ten original fonts by Takumi Hara. Odeco, Edgy, Step, Cubby and Wao are all
Room) geometric in nature. Dead link. [Google] [More] ⦿
[Takumi Hara]
Font Emporium Lots of free (mostly grunge) late 1990s fonts by Matt Dennewitz. List:
[Matt Dennewitz] AFontForTheComputerPeople, AlmostNormal, BlackflyMambo, BongWater, Broken,
BusinessSuit, ChunkySoup, ComeToFonty, ComingSoon, Condemnation,
Consolidated, CrazyKillers (scratchy hand), Delerium, DietAngst, EclipsedMoon,
EclipsedMoonOutline, FanatikaOne, FanatikaTwo, GasHufferPhat,

GothicAlarmClock, GrungeTastik, IBuriedPaulNormal, IThinkImTurningJapanese,

InkblotBaby, Inspector39, Inversed-Script, MechanicalFun, Misplaced,
ModernConformist, NoBodysHome, NotSoSlimJim, OptionExplicit,
PopWillEatItself, RuggedStencil, SalemErgotism, SaturdayMorningTelevision,
ScaryMonsters, ScrawlOfTheChief, ShadowPuppets, Shadowsaroundus,
SlimJimpartone, Smeared, Styx-&-Stoned, SuperMattBatz, WickedSystem,
WinfaxAteMyBalls, GrandFunk, Stinky Fisty, Shadow Puppets Demo,
InTheYear2000, Digitalle.
Alternate download site. Mac conversions by Jens A. Czaplo. Alternate URL.

Original URL, now defunct. Abstract Fonts link. [Google] [More] ⦿
Fontastic (La Kikita) Defunct. In the 1990s, this archive had many freeware/shareware fonts and further
[Kiki Janson] links. Nice and very useful site. Kikita also has fonts nicely categorized. On the
downside, Kikita played font police on alt.binaries.fonts... Also some original
creations by Kiki Janson such as SpikeCrumbGeiger, LKBois and Bois Regular.
[Google] [More] ⦿
FontBank FontBank was Jerry Saperstein's outfit in Evanston, IL. A sub-project was called
[Jerry Saperstein] Alphabets&Images Inc. At first sight, this company seems to have created a collection
by extrapolation and adjustment around 1992-1994, but that appears not to be the case
(read on). The collection was posted on abf in January 2001, and used to be be
downloadable from the Font Bank Lounge. It seems to have survived as part of Xara.
List of FontBank fonts.
Jerry Saperstein's reply to my original description: Your conclusion with regard to the
original 325 fonts published by FontBank is incorrect. The fonts were not "created a
collection by extrapolation and adjustment." For better or worse, all those fonts were
hand-rendered in a totally legal manner from photographic enlargements of analog
type specimens. In fact, after the Adobe ruling, FontBank received settlements from
other "publishers" who had appropriated our code. (Confidentiality agreements
prohibit me from naming those parties.) Obviously, if FontBank were unable to
establish the original nature of its code, no one would have settled infringement
claims with us. (...) The genesis of Alphabets&Images, Inc. also bears some
explanation. It was not an "alias" for FontBank, Inc. Rather, it was the name of a joint
venture between FontBank, Inc. and Photo-Lettering, Inc. Photo-Lettering, as may
you may know, was the king of display film fonts, hosting such luminaries as Ed
Benguiat. FontBank was their chosen vendor for digitizing their film fonts. The
venture failed when Photo-Lettering went bankrupt. I believe UTC licensed the Photo-

Lettering, Inc. collection thereafter. You would, in fact, be quite surprised to learn
who FontBank did rendering for, but alas, confidentiality agreements prevent me from
disclosing that information as well. Big, big companies seem to insist on clauses like
that. Voilà.
Homework for my readers: can you recognize Bastion, Borealis, Brandish, Colbert,
Coolsville, and Dayton? [Google] [More] ⦿
Formatt Cut-out Defunct foundry. [Google] [More] ⦿

Acetate
FotoStar Los Angeles-based

[Robert Trogman] company that
distributed a 5000+
library of two-inch film
fonts for display typefaces, some of which were original, such as Yagi Double (the
CNN logo font) and Yagi Link Double. It ceased operations in 1985. Trogman
maintains a design studio in Palm Springs, California.
The FotoStar collection includes Blippo (1970), Handel Gothic (by Robert Trogman),
Buxom (a beveled 3-d athletic lettering typeface sold, e.g., by Elsner&Flake as
Buxom SB, Scangraphic) and Embrionic (an ink-trapped typeface family revived by
Claude Pelletier).
Yagi Link Double was revived by Alex Haigh as Miyagi (2008, Thinkdust). Yagi Bold
and Yagi Double were revived in 2010 by Gus Thessalos as Retro Mono Wide and
Retro Stereo Wide, respectively. Gus Thessalos revived Yagi Link Double as Retro
Stereo Thin.
Nick Curtis revived Horse Tank as Feedbag NF (2015), Welling Black as Well Said
Black NF (2014) and Angelica as Vauxhall NF (2014).
Claude Pelletier too revived Angelica: see his free font Angelica CP (2011).
In 2015, Harold Lohner revived Roberta, which Trogman cut based on an art nouveau
sign in a Belgian restaurant in 1962.
FontShop link.
FotoStar is a small web page made by yours truly that showcases some typefaces in
the FotoStar collection taken from their catalog, Film Font Digest FotoStar Graphic
Supply.

Images of some of his fonts. [Google] [MyFonts] [More] ⦿
Fotostar International Defunct foundry. [Google] [More] ⦿
Francesco Simoncini [MyFonts] [More] ⦿

[Officine Simoncini]
Frank Hainze [More] ⦿

[MicroLogic
Software]
Franklin Photolettering foundry in the 1970s, located at 211

Photolettering 43rd Street, New York City 10017. One of my
correspondents explains: Franklin Photolettering was
the smaller film type joints catering to the major
publishing and advertising industries in New York City
in the 60s and 70s. They started out with a few
originals to get into the game, but within a year or so
they started putting out copies or slight modifications
of existing stuff from Photolettering and VGC (you can see how that happens---
someone comes in for some ad copy in Barker Flare, for example, and he asks if they
have something like Eightball, so they say "sure, we can do that"). Even though they
did have a bit of original stuff, they didn't have not enough to stand out like PL,
Mecanorma, VGC or Letraset---also the sheer number of film fonts available on the
market by the mid-70s meant that unless you dumped a lot of money on marketing,
big-time design would ignore you----so not much room was left for smaller film type
houses.
Their catalog is published in binder form in Film Alphabet Compendium Franklin

Photolettering. In 1974, Paul E. Kennedy published Modern Display Alphabets: 100
Complete Fonts Selected and Arranged from the Franklin Photolettering Catalogue
(Dover).
Typefaces by them included
Barker Flare, one of their early 1970s retro typefaces. Digitally revived as
Plywood (2007, Patrick Griffin, Canada Type).
Pinto Flare. Digitized as Jazz Gothic (2005) by Patrick Griffin at Canada Type.
Urban. Rebecca Alaccari (Canada Type) designed Jonah (2005), a hippie
typeface based on Urban.

Viola Flare. Digitized as Omaha Bazoo NF in 2007 by Nick Curtis and in 2005
by Canada Type as Tomato.
[Google] [More] ⦿
Frappe Frappe had free original truetype fonts by Jason Skoog. The list of the fonts: Gnarly,
[Jason Skoog] Mountaintop Milk, Root, 1905, BarfAtTheSupermarket, Brrr, BulletTrain,
Glockenspiel, JumpingRooms, KingOfTheDragonflies, Parasol, Plumbum,
RaspberryRosin, Saz, SourApple, Stopwatch, SwingsetsandSandboxes,
TwilightExpress, VocabularyStudyGuide, FirstAid (2001), Parasol (2001), Pineapple
Drops (2001), Haystack (2001, a very blocky font), Everything (2002), Uppercut
Nursery (2002, a child's handwriting), AMP (2002). [Google] [More] ⦿
Fred Fife [More] ⦿

[.ttf fonts]
Frederic Wesselhoeft [More] ⦿

[Frederic
Wesselhoeft Ltd]
Frederic Wesselhoeft London-based foundry, which published typefaces such as Thor (1930). Thor was
Ltd digitized in 2006 by Nick Curtis as Munchkin Land NF. [Google] [More] ⦿
[Frederic
Wesselhoeft]
Fredrick Ullmer Co London-based typefoundry. One of their alphabets, Memorial, was digitized and
improved by Dan X. Solo in 2004 as Memorial. [Google] [More] ⦿
Friedrich Ludwig Friedrich Ludwig Metzger had worked briefly for the typefoundry of Karl Tauchnitz
Metzger in Leipzig. From 1848 until 1862, he was the leader of a church mission in Agra,
India. In 1863, he set up a typefoundry in Leipzig and bought the typefoundry 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 Pustet

Typefoundry 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] ⦿
Fritz Renzo Heinze [MyFonts] [More] ⦿

[Digital Type
Company (or: DTC)]
Fundición Fundición Tipográfica José Iranzo is a Spanish foundry which published type
Tipográfica José typefaces in the 1940s such as the heavy script font Pulido, the commercial modern
Iranzo typeface Publicidad (1930) and Supertipo Veloz (1942, see Neufville). Located in
[José Iranzo] Barcelona and Madrid. José Iranzo published Catálogos : Tipos (Madrid, 1968).
Catalog in PDF format (thanks to J.R. Penela). [Google] [More] ⦿
Fundición Spanish foundry active in the 20th century, with offices in Barcelona, Madrid and
Tipográfica Nacional Valencia. It made typefaces such as Numantina, Numancia, Hispalis (digitally revived
by Red Rooster as Schiller Antiqua), Grotesca Nacional, Nueva Grotesca, Vigorosa,
Clasico Nacional, Electra, Imperio, Radar (brush script), Romana, Ingles 15, and
Rusinol (C. Winkow).
Catalogo de la Fundicion Tipografica Nacional. [Google] [MyFonts] [More] ⦿
Fundicion The Richard Gans Foundry is a defunct Spanish

Tipografica Richard foundry which existed from 1888-1975. Richard
Gans Gans was the son of a medic from Karlsbad,
[Richard Gans] Austria. He emigrated to Spain in 1874, and died
in 1925. Until 1936 the foundry was led by
Mauricio Wiesenthal, but in 1936, his children,
Ricardo, Manuel and Amalia Gans Gimeno, now adults, took over. Ricardo and
Manuel were assassinated during the Civil War. The foundry was used to make
ammunition, and after the war, Amalia Gans and then Reinaldo Leger Tittel started
anew in run-down buildings. The foundry operated roughly from 1881-1975.
Throughout its existence, types were designed by a number of people from within and
outside the foundry. Designers included José Ausejo Matute (d. 1998), Antonio
Bilbao (who created Escorial in 1960), the son Ricardo Gans, and Carl Winkow. In
the post-war era, Reinaldo Leger and Amalia Garcia Gans made typographic

decisions on which types to produce, and acted as typographic directors. Richard

Gans' grandson, José Antonio Gans García, is still alive today. Manuel Lage informed
me in 2017 that he has inherited the Richard Gans collection.
Six specimen books were published with titles like Fundicion Richard Gans
Muestrario Edicion V. The first and second editions, rare books indeed, were
published between 1883 and 1903. Editions 3 through 6 appeared in the period 1903-
1922. The 1922 edition is here in its entirety (thanks to J.R. Penela). See also here. In
1965, a small catalog was published under the name Tipos Gans. The National
Library in Madrid has Muestrario de Richard Gans (Madrid, Richard Gans, 1903, 410
pages) and Catalogo provisional (Madrid, 1950).
On the web, the most complete discussion of Richard Gans is in the PDF file
Fundicion Tipografica Richard Gans Historia y Actividad 1888-1975 (2004) by Dimas
García Moreno and José Ramón Penela.
Catalog of font names.
Fonts: Until 1925, there were basically no original types. Almost everything in the
specimen books of that era is due to German foundries, principally those of Wilhelm
Woellmer in Berlin and Edmund Koch in Magdeburg. Some of those typefaces in
common with Koch include Grotesca Chupada Redonda, Ronda Universal. Early
types in this category also include Escritura Selecta, Escritura Favorita, Escritura Luis
XV (it is being digitally revived by Manuel Lage), Gótico Globo (blackletter), Gótico
Uncial (blackletter), Nueva Titular Adornada, Tipos de Adorno, Latina Moderna,
Grotesca Ancha, Grotesca and Grotesca Chupada. Many, if not most of these, saw the
light at the end of the 19th century and survived until 1965.
It is fashionable now to revive all the typefaces. Nick Curtis created a few (see
below), and Paulo W (Intellecta Design, Brazil) did many more. Intellecta Designs
revivals include Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada, Gans
Ibarra, Gans Antigua, Gans Antigua Manuscrito, Gans Fulgor, Gans Radio Lumina,
Gans Carmem Adornada, Gans Animals, Gans Italiana, and Gans Titania.
The original Gans types can be categorized as follows:
Aldine.
Anchas Americanas.
Antigua El Greco (+Adornada, Cursiva, Negro, Negro Cursiva, Seminegro,
Seminegro Cursiva, Titular), aka El Greco Antique. Weights include Antigua El
Greco (1924), El Greco Adornado Titular (with Mexican-style sawteeth). Greco

was the inspiration for Melina BT (Nick Curtis, 2003). Curtis' Melina Fancy is
based on Greco Adornado. For a free version of Adornado, see GrekoDeco
(1992, Dave Fabik). Revived as Kifisia Antigua NF in 2005 by Nick Curtis.
Antigua. See the digital family Gans Antigua (2006, Paulo W). The Antigua
series includes weights like Esbelta, Estrecha, Heraldo, Heraldo Cursiva, I, I
Cursiva, I Titular, Mercantil, Negra, Prolongada, Universal, Universal Cursiva,
Universal Negra, Universal Negra Cursiva, Universal Negra Estrecha,
Universal Seminegra, Veneciana, Veneciana Cursiva, Veneciana Cursiva
Fantasia.
Antigua Manuscrito: a semiscript typeface designed by Hermann Delitsch at the
Royal Academy of Graphic Arts in Leipzig. Delitsch was Tschichold's teacher.
Digitized as a family by Paulo W as Gans Antigua Manuscrito (2006).
Antigua Progreso (1923) (+Cursiva, Negra): an interesting serif face. A digital
version called Bellini was made by A. Pat Hickson, 1992. Linotype sells Greco
(DsgnHaus, 1996) which really is Progreso.
Arabe.
Atlántida.
Azures.
Bodoni and Bodoni Redonda.
Carmen, Carmen Adornada, Velázquez, Españolas Adornadas, Antigua
Adornada, Utopian, Tipos de Adorno, Americanas (Tuscan style), Americanas-
Titular, Elzevirianas Adornadas: Late 19-th century style display typefaces.
Paulo W (Intellecta Design) created the beautiful digital family Gans Tipo
Adorno (2006). He also made the family Gans Titular Adornada (2006).
Cartel.
Cursiva Comercial.
Dalia (or Ibarra Vaciada): a two-line display face. Similar to Delphian Open
Titling (Middleton, Ludlow, 1928).
Decorativa. It is being digitally revived by Manuel Lage as Decorativa RGf
and/or Volvoreta in 2017.
Egipcia in weights called Estrecha, Negra and Nueva. Egipcia Progreso (1923,
short ascenders): slab serif styles.
Elzeviriano: Anchas, Adornado, B, B Cursiva, Chupado, Ibarra, Ibarra Cursiva,
Ibarra Titular, Negro.
Escorial: a display typeface with Koch Antiqua influences, designed ca. 1960
by Antonio Bilbao. Additional weights include Cursiva, Seminegra and Titular.
It is being digitally revived by Manuel Lage.
Escritura Juventud (1950, Joan Trochut Blanchard): a great script with lots of

identity and swing. Other Escritura styles: Decorativa (Manuel Lage is working
on a digital revival), Gloria reformada, Isabel, Luis XV, Selecta.
Espanolas.
Etienne Ancha.
Filetes de Bronce, Filetes de Metal.
Fulgor (1930): a connected script face.
Gacela.
Galeria Coruna. Revived by Manuel Lage in 2008 as Galeria Coruna LG. In
2017 Lage was working on a further refinement of this typeface.
Gaviota.
Gloria (already listed above under Escritura), Gloria Reformada (1930): a
connected script family. Gloria was revived by Nick Curtis in 2005 as Pismo
Clambake NF.
Gótico Cervantes (1928): blackletter with regular and ornamental caps.
Gótico Globo: art nouveau style with blackletter influences. Revived by
Intellecta Design in 2007.
Gótico Uncial (blackletter).
Graciosa (+Gris).
Griego.
Grotesca Ancha (+Fina, Negra, Nueva, Vaciada).
Grotesca Antigua.
Grotesca Chupada and Grotesca Chupada Redonda: a rounded sans.
Grotesca Colón.
Grotesca Compacta.
Grotesca Cursiva (+Seminegra).
Grotesca Estrecha Hercules.
Grotesca Mercantil, Grotesca Mercurio, Grotesca Negra Cursiva.
Grotesca Ideal (Negra, Fina, Entrelina), Grotesca Favorita, Grotesca
Reformada.
Grotesca Radio: a geometric no-contrast sans. Styles: Editorial, Estrecha Fina,
Estrecha Negra, Fina, Fina Cursiva, Negra, Negra Cursiva, Seminegra,
Seminegra Cursiva.
Helenica (+Ancha, Ancha Negra, Ancha Seminegra, Cursiva, Seminegra).
Ibarra (1931) and Ibarra Cursiva: a tall ascender garalde family. Ibarra Negra,
Ibarra Negra estrecha, Ibarra Vaciada, Ibarra Redonda. See also under
Elzeviriano above. Iniciales Ibarra.
Imán: a shadow headline all-caps face. This was digitally revived in an
authoritative way by Manuel Lage in 2016 as Iman RG.

Inglesa Excelsior.
Italiana (Cursiva, Titular), 1951, a black caps face. Italienne (Chupada,
Moderna).
Luxor (+Cursiva, Negro, Negro Estrecho).
Manos (manicules, fists).
Maquina de Escrebir.
Maruxa. Manuel Lage is working on a digital version of this script type.
Normanda (Ancha Negra, estrecha Negra).
Nueva Antigua No. 1 and No. 2. Nuevas Titulares Adornadas.
Orlas de Linea.
Preciosa: Showboat-style Western look.
Primavera: a condensed sans. Paulo W digitized a condensed family called
Gans Lath Modern (2006). See also the extension Primavera (2016, Manuel
Lage).
Radio Bicolor: a headline sans family.
Radio Gris. Scans of the Radio catalog of 1930.
Radio Lumina: a display sans. Digitized as Gans Radio Lumina (2006) by
Paulo W at Intellecta Design.
Regina (+Estrecha), Helios, Vulcano (1920s): art nouveau style. Ludlow's
Vulcan Bold is based on Vulcano.
Renacimiento Ancha.
Romana I (+Cursiva, Egipcia, Estrecha, Negra).
Royalty.
Senefelder: engraved look all caps.
Talla Dulce (+Cursiva).
Tipo Sombreado, Tipos Adornados, Tipos de Texto.
Titania (1933): an elegant two-line poster face. See the revival (2006, Nick
Curtis).
Veneziana Negra.
showcase-gans/">View the digital revivals of typefaces by Gans. [Google] [More] ⦿
Funtimod Funtimod (Fundição de Tipos Modernos, est. 1932) was the largest and first industrial
scale type manufacturer in Brazil with national reach. Considered an important
Brazilian type foundry, it used to import matrices from European countries, especially
Germany, to fabricate the modern types. Examples of their typefaces include
Memphis Meio Preto (1960s), which is similar to Rudolf Wolf's iconic slab serif
typeface, Memphis. At ATypI 2015 in Sao Paulo, Isabella Ribeiro Aragao and Priscila
Farias report on their research into Funtimod. [Google] [More] ⦿

G. Italian foundry in Milano. Scan of a specimen book cover, 1897. [Google] [More] ⦿
Commoretti&Figlio
Garcia Fonts&Co Experimental foundry, est. 1993 in Barcelona by Andreu Balius who lives in Santa
[Andreu Balius Maria de Martorelles near Barcelona. It existed for a few years and evolved into
Planelles] Typerware.
Garcia/Typerware offered about 50 fonts, including some very artsy typefaces, such as
Garcia Bitmap (1993), Playtext (Andreu Balius, 1995), Matilde Script (Andreu
Balius, 1994: an embroidery face), Helvetica Fondue (1993-1994), Futuda (1993),
Ozo Type (1994), Tiparracus (1994, dingbats), (Mi mama) Me soba Script (1994),
Parkinson (1994), Garcia Bodoni (1995), Garcia snack's (1993-1995), Juan Castillo
Script (1995, irregular handwriting of an old man, Typerware), and Vizente Fuster
(1995), all by Andreu Balius and Joancarles Casasin, 1993-1995.
The list of typefaces as of 2007: Afligidos deudos (1996, grunge typeface by

Adi&arave; Gual), Alexis (1997, handwriting typeface by Alexis Rom), Alfallufat,
(1998, fun display family by Saíz), Alquimia (1995, grunge typeface by Estudi
Xarop), Ariadna (1988-1989, pixel typeface by Andreu Balius), Braille (1999, by
"Txarly Brown", a Braille simulation face), Bubbles (1996, dot matrix typeface by
Franco Bonaventura), BuckShot (1994, total grunge by Malcolm Webb), Bunghole
(1996, grungy pixel typeface by Michael G. Kippenhan), Calypso (1997, Txarly
Brown), Cartolina (2000, poster stencil typeface by Jordi Fosch), Cero (2001, sans
typeface by Miguel M. Velacoracho), Dinamo (1993, Andreu Balius), Dr. Zaius
(1997, André Nossek), Euroface 80mph ad 100mph (1996, Peter Bilak: a joke
typeface that reads more easily as one speeds up on a highway), Fabrique (1993,
Andreu Balius), Floridax (1997, a stunning stencil typeface by Txarly Brown),
Freddie Frog (1996, Malcolm Webb), Funny (2001, caps for kids, by Jordi Fosch),
Futuda (1993, grunge by Balius and Perez Casasin), Game (2002, by Miguel M.
Velacoracho), Garage (1997, grunge by Fabrice Trovato), Garcia Bitmap (1993,
Balius), Garcia Bodoni (1995, an experimental Bodoni by Balius and Perez Casasin),
Garcia Snack's (1993-1995, snack bar lettering by Balius and Perez Casasin),
Helvetica Fondue (1993-1994, Helvetica with cheese holes; by Balius and Perez
Casasin), Hispana (1996, by José M. Ribagorda), Hokvo (1994, pixel style typeface
by Perez Casasin), Inercia (1996, a rounded sans by Inigo Jerez), Inmaculatta (1997,
grunge by Roberto Saenz Maguregui), Jam Jamie (1996, painted letter simulation
typeface by Malcolm Webb), Janson (1997, grunge by Harald Weber), Juan Castillo
Script (1995, by Balius and Perez Casasin, based on the handwriting of an old man in
Albacete), Joroña (2001, Kafkaesque caps by Jordi Fosch), Kentucky (1997, grune by

André Nossek), Loop Ultra (1996, Franco Bonaventura), Loreakop (1995, irregular
hand by Txarly Brown), Martí Hand Script (1998, Saíz), Matilde Script (1993-1994,
Balius), MCK mono (2005, pixel typeface by Milos Radosavljevic), Mi Mama Me
Soba Script (1994, grunge script by Balius and Perez Casasin), Network (1996, Alex
Gifreu), Ninja type (1995, kana-lookalike by Txarly Brown), Ozó Type (1994, an
overprinted type by Balius and Perez Casasin), Pantacas (1998, grunge by Nicolas
Gallardo), Panxo Pinxo (1996, David Molins), Parkinson (1994, grunge typeface by
Balius and Perez Casasin), Playtext (1993-1996, Balius), Popular (1997, Sergi
Ibañez), Proceso Sans (1996, only crosses, by Pablo Cosgaya), Rocky (1997, grunge
by Harald Weber), Route 66 (1997, Francesc Vidal), Sablon (2005, a stencil typeface
by Marcus Schreiter), Simple (2001, experimental typeface by Romulo Fernandez),
Skupitajo (1998, graffiti letters by Nicolas Gallardo), SoundFiles (1998, totally off-
the-wall experimental typeface by Reto Brunner), Surface (2001, grunge by Jordi
Fosch), Temble (1993, Balius), Tiparracus (1994, dingbats by Balius and Perez
Casasin), Trash (1996, grunge typeface by Matthias Rawald), Vertigo (1996, a
Kafkaesque typeface by Txarly Brown), Visible (handwriting by Fabrice Trovato,
1997), Vizente Fuster (1995, handwriting by Balius and Perez Casasin based on
scripts seen in the Sant Antoni market), Water Knife (1995, a medieval calligraphic
script revival by Laudelino L.Q), Weird (1996, an experimental typeface by Mladen
Balog). [Google] [MyFonts] [More] ⦿
Gasoligne (Dead link.) Foundry est. 2008 in Brest, France, by two brothers, one of them being
Typofonderie Yves Patinec (Roubaix). Their fonts: Urqinoa (2008, sans), Roundabats (2008),
[Yves Patinec] Neborg Sans (2008, organic and techno), Oxea (2008, organic), Abalys (organic sans
family), Korsen (techno), Consortium (Roman all caps titling family), Veeko, Veeko
Wide (informal and organic), Bellila (mini-serifed) and Luvtoner (sales sign script).
Barobats and Practicitymap were in the works. MyFonts link. Very soon after the
start, we read this allegation of cloning: Urqinoa is identical to Logotypia Pro (by Ralf
Herrmann), and Korsen seems like a clone of Aura (by E-lan Ronen, T26, 1998).
About a week after the typophiles discussed the cloning case, Gasoligne disappared
from the radar. [Google] [MyFonts] [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] ⦿

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).
C. O. 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), 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] ⦿
Geographics Inc Defunct foundry. [Google] [More] ⦿

(also: Geotype)
George Abrams [MyFonts] [More] ⦿

[Expert Alphabets]
George Gorton Engraving machine company in Racine, WI. They

Machine Co created several typefaces including Gorton
Normal, Gorton extended, Gorton Moderne,
Gorton Stamp Series, and Gorton Script. Digital
versions of these types include Gordon (URW++)
and Gorton (Josh Krämer). [Google] [More] ⦿
George M. Whiley [More] ⦿

[Whiley Type]
Gerald Giampa [MyFonts] [More] ⦿

[Lanston Type Co]
Gerald Moscato [More] ⦿

[Zipatone]
Giesserei Carl Leipzig-based foundry

Kloberg of Carl (or Karl)

[Carl Kloberg] 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] ⦿
Gilbert Powderly [MyFonts] [More] ⦿

Farrar
[Intertype]
Girard et Cie Robert Girard (b. 1883, d. 1955)

[Robert Girard] was a school friend of Charles
Tuleu, who had inherited
Fonderie Laurent&Deberny in 1881. Tuleu teamed up with Girard in 1914 and they
cooperated until 1921, when Tuleu retired and the business passed to Girard under the
new name Girard Et Cie. Talks were started with Peignot about a merger.
Deberny&Peignot was incorporated on July 1, 1923.
Girard designed Astrée (Fonderie Deberny&Peignot, 1921-1923), a recut of a baroque

face. There were three styles, Astrée, Astré italique and Astrée noire. Punches were
cut by M. Bourreau. Stephenson&Blake's version is called Mazarin (1926). Servane
Vignes did a digital revival in 2017. Henrik Kubel (A2) published its own extension,
A2 Mazarin, in 2017. Klingspor link. [Google] [More] ⦿
GOEMO Another parasite has entered and left the font world. GOEMO is Goetz
[Goetz Morgenschweis's site in Karlsruhe, Germany. He had his own "creations". Yvonne and

Morgenschweis] 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 [More] ⦿
Morgenschweis
[GOEMO]
Google Patent Search Google patent search turns up about 8800 font patents filed with the US Patent Office
in the 19th and 20th centuries. [Google] [More] ⦿
Grafisk Compagni Danish foundry in Copenhagen. Their fonts include Chablon (ca. 1938), a stencil face,
and Blackburn (a Stymie clone). Scan of 12 WS typefaces (1938), which are mostly
heavily inspired by (or identical to) the fashionable typefaces of the era: Blackburn,
Kardinal, Ceylon, Silhouet, Hamlet, Relief, Boston, Salut, Fed Antikva, Fransk
Antikva, Kalanderfast Kursiv, Vogue. [Google] [More] ⦿
Greg Berry [More] ⦿

[Symmetry Specialty
Type Foundry]
Greg Kolodziejzyk [MyFonts] [More] ⦿

[Image Club
Graphics]
Gregory J. Griffin [More] ⦿

[Nght's Place]
Grok Media (was: This outfit used to make fonts: Arcade America, Lil'Howie, MapLinx Corporation
Kozak Design) (corporate font). I think it grew out of Kozak Design Cyber Studio. [Google] [More]
⦿
Grosse Pointe Group The Grosse Pointe

LLC Group LLC is located
[Mark Solsburg] in Westport, CT, and is run by Mark Solsburg, who also owns Group Type, ansd who
was involved in or ran FontHaus and TypoBrand. Under the Grosse Pointe label, we
find a digital font called Stradivarius (1992), named after Imre Reiner's 1938 formal
script font Symphonie (Bauer; renamed Stradivarius in 1945). At Group Type or the
other outfits of Solsburg, we find these fonts: Carpenter (a 1995 revival of an old

connected ATF script by James West), Aquiline (an absolutely wonderful 16th century
script), Bank Gothic (1994, a revival of Morris Fuller Benton's original---see also
Bank Gothic BT), Aries (a 1995 revival of a lapidary by Eric Gill), Schneidler Initials
(a 1995 revival of Friedrich Hermann Ernst Schneidler's Trajan-style typeface),
Raleigh Gothic (a 1995 typeface based on Morris Fuller Benton's design. See also
Raleigh Gothic RR for a different revival), Ovidius Script (a medieval simulation
script, dated 2006, designed by Thaddeus Szumilas; in Light, Demi and Bold
weights), Metro Sans (2006, a great Bauhaus style sans family based on William
Addison Dwiggins' Metro #2), Corvinus Skyline (1991; a revival of a condensed
modern family by Imre Reiner by the same name, 1934), Cloister Initials (2006, a
revival of an illuminated caps typeface by Goudy), Regular Joe (2006, an out-of-place
childish handwriting font), and Caslon Antique (1993; based on an original by Bernd
Nadall). [Google] [More] ⦿
Gustave Mayeur [More] ⦿

[Mayeur Type
Foundry]
H. Berthold AG H. Berthold Systeme AG

was founded in 1858 in
Berlin by Hermann
Berthold, the Berthold
Typefoundry 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), 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), Sebaldus-Gotisch (1926), 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. Leymarie [More] ⦿
[Pelzin et Drevon]
Haas'sche German/Swiss foundry established in 1790 (however, see timeline

Schriftgiesserei 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.
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.
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.
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] ⦿
Hansestadt Letter Foundry which produced typefaces

Foundry like Sachsenwald (1937, Berthold
Wolpe), Rundgotisch and Uhlen Rundgotisch (1937, both by Emil Rudolf Weiss).
[Google] [More] ⦿
Harrild & Sons British printing company

founded by Robert Harrild
(1780-1853) in London. They
published a book with chromatic wood types in 1906. [Google] [More] ⦿
Harry Løhr [More] ⦿

[Det danske
Skriftstøberi Harry
Løhr]
Harsh Patel FinalType (1996-2001) was a free and commercial typeface outfit founded by by
Harsh Patel and Jay David. Final Dingbats v1 was free (Mac and PC). Harsh designed
fonts such as Tosca. Since December 2000, FinalType is dead, but Harsh helps out
Destro at hell.type. This page sells the entire FinalType collection for 200 dollars.
Free fonts include Why We Fight, Mathscratch and Black Letter Day. The commercial
fonts: 540, 701, 850 double, acid8000, airbag, argh, ariel vs lotus, angsty girly music,
aurora, bathysphere, bedroom, brown paper, burton, copsucker, cold jesus beer, choco
script, deth imperial, dynamite, dang, deep arch, driveway, finalfin, final dingbats, flea
circus, firewater, fatcat, godless, girlfriend, gamera, gravity car, heart of darkness, hs
rebels, house anthem, influenza, karen, king, lainie, madonna pinball, marian carey,
millionaire, mint, mello medium, monch gothic, murdo, nina, pigeons, pod, queen of
Italy, reactor, saturday, scripteriatoid remixes, satellite, satellite feed, solar unit, steak,
schlixx, shortwave, skyskraper, tinfoil, state of USA, tosca, 2 swords, transmissions,
trigger, tremor control, vegas, wokka, western ways, yummo.

Today, he works as a freelance designer in Los Angeles,. [Google] [More] ⦿
Hartwig Poppelbaum [More] ⦿

[K. u. K. Hof-
Schriftgiesserei
Poppelbaum]
H.C. Hansen Type Boston-based foundry. [Google] [More] ⦿

Foundry
Headliners Inc. Defunct film type era foundry started in 1954 in New York City. Its 1959 catalog has
458 typefaces, and its 1984 catalog had blossomed to 1319 photo types. George
Abrams started out at Headliners. Headliners is also famous for its release of The
Morgan Press collection of wood typefaces. Headliners moved to the suburbs of New
York City and set the trend for some years with its Neo series in 1979. ITC and
Headliners were then known for their typefaces with large x-height. [Google] [More]
⦿
Heinrich Flinsch
[Schriftgiesserei
Flinsch]

[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.
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] ⦿
Hell GmbH Foundry started by Dr.

[Rudolf Hell] 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] ⦿
Henri Van Loey [More] ⦿

[Fonderie
typographique Van
Loey-Nouri]
Hunt Brothers Walter Bernard "Ben"

[Walter Bernard Hunt (b. 1888,
"Ben" Hunt] Greenfield, WI, d.
1970) was an American artist, outdoor educator and author. His books covered native
American arts, woodworking, scouting, pioneering, jewelry making, metalworking,
and calligraphy. Quoting wikipedia: Hunt was born in Greenfield, Wisconsin and grew
up in a log cabin. He attended Milwaukee's South Division High School, but did not
graduate, dropping out to become lithographic engraver at the Bruce Publishing
Company. Hunt moved to Hales Corners, Wisconsin with his wife, Laura, in 1920. In
1924, Hunt, along with his father-in-law and brother, Edwin C. Hunt, built a log cabin
behind his home. The cabin, a 16x28-foot structure, made of tamarack logs, was the
subject of Hunt's first article, How We Built Our Log Cabin. During the late 1930s,
Hunt began to study the work of Native American artists. As part of his research, Hunt
met with artists and leaders such as Nick Black Elk, Frank Smart (or Chief
Gogeoweosh), and James F. "Buck" Burshears. Hunt shared his knowledge of "Indian
lore" with Milwaukee's boy scout leaders and, in 1942, Hunt started writing articles
for Boy's Life. He became a regular member of its staff, ultimately writing over 1,000
articles. Hunt's work for Boy's Life, led him to serve on the staff of the National Boy
Scout Jamboree in 1950, 1953, 1957, and 1960.
Edwin and Ben Hunt published Fifty Alphabets (1931), Lettering of Today (1935,
revised in 1941), 60 Alphabets (1935, Bruce Publishing), and 101 Alphabets (1954,
1958). Several digital typefaces resulted from those publications. Grouped by type
designer:
Pablo Mateu: HFF Hunts Deco (2012). Based on an alphabet designed by the
Hunt Brothers in Lettering of Today.
Nick Curtis: Moonshine Script NF (2004). A casual connected script patterned
based on 60 Alphabets (Hunt Brothers, Bruce Publishing, 1935).
Dick Pape created 11 fonts in 2012 that are based on 101 Alphabets, all named
HuntBros101Plate followed by a plate number. Plate 02 is a Trajan typeface.

Plate 5 is a Trajan face. Plate 6 is an art nouveau face. Plate 7 is a flared caps
typeface. Plate 10 is a textured poster typeface. Plate 11 is an ornamental caps
face. Plate 13 is a condensed caps face. Plate 14 could be considered as a
Mexican vernicular typeface. Plate 18 is an antique italic face. Plate 25 is an
upright script. Plate 26 Brush is fifties brush signage at its best. Plate 29
(octagonal), Plate 46 (Celtic), Plate 52 (German expressionist), Plate 54
Blackletter, Plate 56 (Lombardic), Plate 62 (uncial), Plate 63 Script, Plate 65
(Victorian ornamental caps), Plate 66 (Western typeface), Plate 74 (Mexican
fiesta font), Plate 68 (Arabic simulation), Plate 71, Plate 76 (architectural
lettering), Plate 77 (inline caps) and Plate 83 (stencil face) complete the
collection.
Download some typefaces based on the latter publication. Flickr site sith images of
101 Alphabets, courtesy of Diane Zerr. Local download of 101 Alphabets. Download
link for Pape's typefaces. [Google] [More] ⦿
H.W. Caslon&Co Ltd H.W. Caslon&Co Ltd was Justin Howes' foundry based in
[Justin Howes] Rushden, UK, with one product, Founders Caslon, in several
optical ranges: 1776, Text and Display are the main
subfamilies (PC and Mac, truetype, type 1 and opentype). Justin Howes' Lino page.
Justin (b. Solihull, 1963; d. London, 2005) was director of the Type Museum until
2005, when he moved to the Plantin-Moretus Museum, and then to Reading for
postgraduate work. He published "Johnston's Underground Type" for the London
Transport Museum in 2000. Justin was a typographer as well as a printing historian.
He was responsible for designing many books. He was chair of the Friends of St.
Bride from 1998-2003. He died in February 2005 at age 42. Obituary. Quote by Nick
Shinn: "Founders Caslon is a trompe l'oeil masterpiece, a carefully crafted amalgam
of subtle judgements as to what will best mimic the desired patina of 18th century
typography." Obituary at St. Bride. Old URL (now occupied by squatters). [Google]
IBS Future Creators of Mongal Thin (1988-1999). [Google] [More] ⦿

Corporation
Icon Design Designers in 1991 of fonts such as HandwriteInkblot. [Google] [More] ⦿
Idzikowski Foundry

Defunct Polish typefoundry. In

1931, it published a slight
modification of Futura called
Paneuropa. The latter typeface
was revived in 2017 by Roch
Modrzejewski as Paneuropa Nova. [Google] [More] ⦿
Ignacio Frances [More] ⦿

[BoyBeaver
Foundry]
Image Club Graphics Image Club Graphics was founded by Greg

[Greg Kolodziejzyk] Kolodziejzyk from Calgary, Alberta, in
1985. ICG sold fonts at about 30 dollars per
typeface around 1992 and became
successful as a font distributor and direct
marketer and software developer. They
issued new catalogs regularly. The most
recent edition of the CD (called Letterpress 7.0) cost $1500 for 890 fonts. They also
had a wide variety of artwork. The ITC on Display CDROM cost 3000 dollars for 375
display fonts.
Greg writes: In 1994 I sold Image Club to Adobe Systems of Mountain View,
California. At that time, Image Club was distributing over 10 million software
catalogs to it's customers world wide. With sales topping $20 million in 1996, Image
Club is very well known in the industry as a successful direct marketer and software
developer. [...] The company still operates in Calgary, but has been purchased back
from Adobe by the manager who I had hired years ago who changed the name to
Eyewire. In 1998, Eyewire was sold to Getty Corporation for a whopping $30 million.
The ICG site said at one point that Image Club no longer exists. As a company, it
ceased to be sometime between our purchase by Aldus in 1994 and our rebranding as
Adobe Studios in 1998.
Until recently, the Image Club Typeface Library and Image Club clip art products
were available at EyeWire. Eyewire then became Veer. The ICG library can now be
bought at MyFonts. List of available ICG fonts. Martin Kotulla states that ICG copied
fonts in an aggressive manner, and finds it ironic that this pirate was bought by
Adobe. Greg Kolodziejzyk's reply: You should add that all fonts "aggressively copied"
by this "pirate" were licensed from the foundries who owned the copyrights to those

fonts. I can't tell you how many 100's of thousands of dollars we paid over the years
to foundries as licensing fees. This statement is false.
Selected typefaces: Eclat (retro signage script), Cariola Script Std (a wide connected
script by James West).
View the Image Club Graphics typeface library. Greg Kolodziejzyk's present blog
about personal fitness. [Google] [MyFonts] [More] ⦿
ImageLine Virginia-based software company which exists since the mid 1990s and "made" a few
thousand fonts (mostly renamed from elsewhere). It is headed by George P. Riddick
III. Occasionally, we can find these fonts nowadays in archives such as DaFont. They
were involved in a lot of litigation on both sides of the fence, and it appears that they
are no longer in the font business. However, they still run a clip art operation and
state: For over 20 years Imageline, Inc. has been one of the Computer Industry's
leading sources for High-Quality Clip Art and other value-added "Graphic Arts
Content", such as templates, logos, and animations. Riddick sues the pants off anyone
who uses any of his clip art things on a web site or in a publication. But he himself
copied thousands of fonts without blinking an eye. May his breath forever smell like a
wildebeest's ass. The fonts:
AberaHam9-SPBold, AberaHam9, AborigianlKite91-SPBold,

AborigianlKite91, AboutFace33-SPBold, AboutFace33, AboutFace33,
AboutFace33Stch, Abracadabra91-Ext, Abracadabra91-SPBold,
Abracadabra91, Abracadabra91SupCon, AdVentura33-Condensed,
AdVentura33-Ext, AdVentura33-SPBold, AdVentura33, AdVentura33,
AdVentura33Stch, AdVentura33SupCon, AdriAnna44-Ext, AdriAnna44-
SPBold, AdriAnna44, AdriAnna44, AdriAnna44, AdriAnna44Stch,
AdriAnna44SupCon, AfterLife113-SPBold, AfterLife113, AfterLife113,
AgainstTheWind49-SPBold, AgainstTheWind49, AlexOne83-Ext, AlexOne83-
SPBold, AlexOne83, AlexOne83, AlexOne83Stch, AlexOne83SupCon,
AlteredStates67-SPBold, AlteredStates67, AncientMariner19-SPBold,
AncientMariner19, AnimalSilenceText122-SPBold, AnimalSilenceText122,
AnitaFlairWay68-SPBold, AnitaFlairWay68, AnnaLisaFont71-Ext,
AnnaLisaFont71-SPBold, AnnaLisaFont71, AnnaLisaFont71Stch,
AnnaLisaFont71SupCon, ArtPursuit117, ArtRecord114-Ext, ArtRecord114-
SPBold, ArtRecord114, ArtRecord114Stch, ArtTimesReg52, ArtisTicMyth-
SPBold, ArtisTicMyth, ArtisTicMythStch, ArtistPursuit117-Condensed,
ArtistPursuit117-SPBold, ArtyTimesReg52-Condensed, ArtyTimesReg52-
SPBold, AtLeisureWorld76-SPBold, AtLeisureWorld76, AuthurFont110-

Condensed, AuthurFont110-Ext, AuthurFont110-SPBold, AuthurFont110,

AuthurFont110, AuthurFont110Stch, AuthurFont110Stch,
AuthurFont110SupCon, AwkWard8-SPBold, AwkWard8
BabyMaker35-SPBold, BabyMaker35Stch, BackScratcher-SPBold,
BackWater52-SPBold, BadhHabit71-SPBold, BadhHabit71,
BadhHabit71SupCon, BadlyChipped66-SPBold, BadlyChipped66,
BaggageMasterText79-Condensed, BaggageMasterText79-SPBold,
BarnYard77-SPBold, BarnYard77, BarneyWay5-Condensed, BarneyWay5-Ext,
BarneyWay5-SPBold, BarneyWay5, BasicClassA156a-SPBold,
BasicClassA156a, BathingBeauty66-SPBold, BathingBeauty66,
BeachComber65-Condensed, BeachComber65-SPBold, BearMarketGear7-
SPBold, BearMarketGear7, BeavertonPlace-Ext, BeavertonPlace, BedFord-
SPBold, BedFord, BelindaType67-Condensed, BelindaType67-Ext,
BelindaType67-SPBold, BelindaType67, BelindaType67, BelindaType67Stch,
BelindaType67SupCon, BestSevenFont77-Ext, BestShotText56-Ext,
BestShotText56-SPBold, BestShotText56, BestShotText56,
BestShotText56Stch, BestShotText56SupCon, BetaTechFont65-Ext,
BetaTechFont65-SPBold, BetaTechFont65, BetaTechFont65,
BetaTechFont65Stch, BetaTechFont65SupCon, BigBrushFont19-SPBold,
BigBrushFont19, BigFictionText-SPBold, BigFictionText, BillionsFont-Ext,
BillionsFont-SPBold, BillionsFont, BillyTheKid65-SPBold, BillyTheKid65,
BlazingHeat9-SPBold, BlazingHeat9, BoastingTextLight116-SPBold,
BoastingTextLight116, BocciText13-SPBold, BocciText13,
BocciWorksBold55-SPBold, BocciWorksBold55, BohemianRap7-SPBold,
BohemianRap7, BoobShellText125-SPBold, BoobShellText125,
BoogieWoogieBold112-SPBold, BoogieWoogieBold112,
BoosterRocketLight83-SPBold, BoosterRocketLight83, BostonLifeToday1-
SPBold, BostonLifeToday1, BottomOutOne104-SPBold, BottomOutOne104,
BounceBackText110-SPBold, BounceBackText110, BoyHoodDrive-SPBold,
BrainChildFont-SPBold, BrainChildFont, BrawnyArmsLight99-SPBold,
BrawnyArmsLight99, BrawnyArmsLight99Stch, BrawnyArmsLight99SupCon,
BrokenArrowDrive-Condensed, BrokenArrowDrive-Ext, BrokenArrowDrive-
SPBold, BrokenArrowDrive, BrushMagicText78-Ext, BrushMagicText78-
SPBold, BrushMagicText78, BrushMagicText78Stch,
BrushMagicText78SupCon, BrushMasterFont12-Condensed,
BrushMasterFont12-Ext, BrushMasterFont12-SPBold,
BrushMasterFont12Stch, BurningFactsText79-SPBold
CanDiceFont35-Ext, CanDiceFont35-SPBold, CanDiceFont35,

CanDiceFont35, CanDiceFont35Stch, CanDiceFont35SupCon,

CanToshaText63-Ext, CanToshaText63-SPBold, CanToshaText63,
CanToshaText63, CanToshaText63Stch, CanToshaText63SupCon,
CapSizeBold-SPBold, CapSizeBold, CarParkText33-SPBold, CarParkText33,
CarnegieWay32-SPBold, CaterPillarDrive72-SPBold, CaterPillarDrive72,
CavilUS115-Ext, CavilUS115-SPBold, CavilUS115, CavilUS115,
CavilUS115Stch, CavilUS115SupCon, CelticBreezeLight80-SPBold,
CelticBreezeLight80, CelticBreezeLight80SupCon, ChamberDoorsOpen99-
SPBold, ChamberDoorsOpen99, ChangeCourseFont56-SPBold,
ChangeCourseFont56, CharkText116-Condensed, CharkText116-Ext,
CharkText116-Ext, CharkText116-SPBold, CharkText116, CharkText116,
CharkText116Stch, CharkText116Stch, CharkText116SupCon,
CheersTypeNorm13-Condensed, CheersTypeNorm13-Ext, CheersTypeNorm13-
SPBold, CheersTypeNorm13, CheersTypeNorm13Stch,
CheersTypeNorm13SupCon, ChildsPlayType64-Condensed,
ChildsPlayType64-Ext, ChildsPlayType64-SPBold, ChildsPlayType64,
ChildsPlayType64Stch, ChildsPlayType64SupCon, ChinaOneDirect47-SPBold,
ChinaOneDirect47, ChristianChicText65-SPBold, ChristianChicText65,
ChristianChicText65SupCon, ChristinaFontLight555-Ext,
ChristinaFontLight555-SPBold, ChristinaFontLight555,
ChristinaFontLight555, ChristinaFontLight555Stch,
ChristinaFontLight555SupCon, CityScapeNorm48-Condensed,
CityScapeNorm48-Ext, CityScapeNorm48-Ext, CityScapeNorm48-SPBold,
CityScapeNorm48-SPBold, CityScapeNorm48, CityScapeNorm48,
CityScapeNorm48Stch, CityScapeNorm48Stch, CityScapeNorm48SupCon,
ClarkNorm107-Condensed, ClarkNorm107-Ext, ClarkNorm107-Ext,
ClarkNorm107-SPBold, ClarkNorm107, ClarkNorm107, ClarkNorm107Stch,
ClarkNorm107Stch, ClarkNorm107SupCon, ClassicBookerFont77-Condensed,
ClassicBookerFont77-Ext, ClassicBookerFont77-SPBold,
ClassicBookerFont77, ClassicBookerFont77Stch,
ClassicBookerFont77SupCon, ClassicFont104-Condensed, ClassicFont104-Ext,
ClassicFont104-Ext, ClassicFont104-SPBold, ClassicFont104, ClassicFont104,
ClassicFont104Stch, ClassicFont104Stch, ClassicFont104SupCon,
ClassicFont104SupCon, CleanCut56-SPBold, CleanCut56, ClearFall54-
SPBold, ClearFall54, ClearFall54SupCon, ClowningWayText-Condensed,
ClowningWayText-Ext, ClowningWayText-SPBold, ClowningWayText,
ClowningWayTextStch, ClowningWayTextSupCon, ClowningWayTextSupCon,
CoastWise67-Condensed, CoastWise67-Ext, CoastWise67-SPBold,

CoastWise67, CoastWise67SupCon, CoinageOfMind-SPBold, CoolHandLuke-

SPBold, CoolHandLuke, CoolHandLukeSupCon, CosmicFlushText8-SPBold,
CosmicFlushText8, CountryLove3-SPBold, CountryLove3, CountryLove3Stch,
CowGirl156a-Condensed, CowGirl156a-Ext, CowGirl156a-SPBold,
CowGirl156a, CowGirl156aStch, CowGirl156aSupCon, CreativePower-
Condensed, CreativePower-Ext, CreativePower-SPBold, CreativePower,
CreativePowerStch, CreativeThoughtText124-SPBold,
CreativeThoughtText124, CrossFireFont-Condensed, CrossFireFont-Ext,
CrossFireFont-SPBold, CrowsFeetLight94-Condensed, CrowsFeetLight94-Ext,
CrowsFeetLight94-SPBold, CrowsFeetLight94, CrowsFeetLight94Stch,
CrowsFeetLight94SupCon, CuteEnvy127-Ext, CuteEnvy127-SPBold
DamselWalkFont71-Condensed, DamselWalkFont71-Ext, DamselWalkFont71-
SPBold, DamselWalkFont71, DanaText66-Condensed, DanaText66-Ext,
DanaText66-SPBold, DanaText66, DanaText66, DanaText66Stch,
DanaText66SupCon, DanceOfTheBrush11-Condensed, DanceOfTheBrush11-
Ext, DanceOfTheBrush11-SPBold, DanceOfTheBrush11,
DanceOfTheBrush11Stch, DancePrancer, DancerPrancer-SPBold,
DancingComfort39-Condensed, DancingComfort39-Ext, DancingComfort39-
SPBold, DancingComfort39, DancingComfort39Stch,
DancingComfort39SupCon, DangerousScript27-SPBold, DangerousScript27,
DangerousScript27SupCon, DarkGray50-Condensed, DarkGray50-Ext,
DarkGray50-SPBold, DarkGray50, DarkGray50SupCon, DeGarThin6-
Condensed, DeGarThin6-Ext, DeGarThin6-SPBold, DeGarThin6,
DeGarThin6Stch, DevotedWorship107-SPBold, DevotedWorship107,
DevotedWorship107Stch, DevotedWorship107SupCon, DisCardedWriting85-
Ext, DisCardedWriting85-SPBold, DisCardedWriting85SupCon,
DisPlacedFont-Condensed, DisPlacedFont-SPBold, DisPlacedFontStch,
DoorKeeper41-Condensed, DoorKeeper41-SPBold, DoorKeeper41,
DoorKeeper41SupCon, DoubleAgent43-SPBold, DownWardSlope77-Ext,
DownWardSlope77-SPBold, DownWardSlope77, DroPcapperType101-Ext,
DroPcapperType101-SPBold, DroPcapperType101-SPBold,
DroPcapperType101Stch, DroPcapperType101SupCon, DroopingPaintText56-
SPBold, DroopingPaintText56, DroopingPaintText56, DropCapsText100-Ext,
DropCapsText100-SPBold, DropCapsText100-SPBold, DropCapsText100,
DropCapsText100, DropCapsText100Stch, DropCapsText100SupCon
EagleType121-Ext, EagleType121-Ext, EagleType121-SPBold, EagleType121,
EagleType121, EagleType121Stch, EagleType121SupCon, EggBeater86-
SPBold, EggShell61-Ext, EggShell61-SPBold, EggShell61Stch,

EggShell61SupCon, ElaineFont81-Condensed, ElaineFont81-Ext,

ElaineFont81-Ext, ElaineFont81-SPBold, ElaineFont81, ElaineFont81,
ElaineFont81Stch, ElaineFont81Stch, ElaineFont81SupCon,
ElasticTrainFont59-SPBold, ElasticTrainFont59, ElectricWave7-Ext,
ElectricWave7-SPBold, ElectricWave7, ElectricWave7SupCon, Elegance104-
Condensed, Elegance104-Ext, Elegance104-SPBold, Elegance104,
Elegance104SupCon, ElvisSaxHorn45-Ext, ElvisSaxHorn45-SPBold,
ElvisSaxHorn45-SPBold, ElvisSaxHorn45Stch, EmPower42-Condensed,
EmPower42-Ext, EmPower42-Ext, EmPower42-SPBold, EmPower42,
EmPower42Stch, EmPower42SupCon, EricBrush21-Condensed, EricBrush21-
Ext, EricBrush21-SPBold, EricBrush21SupCon, EverettText67-SPBold,
EverettText67, ExPertType50-Ext, ExPertType50-SPBold, ExPertType50,
ExPertType50Stch, ExPertType50SupCon, ExplosiveNoise119-SPBold
FairChild85-Condensed, FairChild85-Ext, FairChild85-Ext, FairChild85-
SPBold, FairChild85, FairChild85Stch, FairChild85SupCon, FairTrade53-Ext,
FairTrade53-SPBold, FancyVapor-SPBold, FancyVapor, FarPoint41-SPBold,
FarPoint41, FarPoint41SupCon, FastPardonType32-Ext, FastPardonType32-
Ext, FastPardonType32-SPBold, FastPardonType32Stch,
FastPardonType32Stch, FatBackPlus14-Ext, FatBackPlus14-SPBold,
FatBackPlus14, FatBackPlus14Stch, FatBackPlus14SupCon, FateScriptText29-
SPBold, FeltPointNew35-Ext, FeltPointNew35-SPBold, FeltPointNew35Stch,
FertileMindPlus-SPBold, FinalMandate77-Ext, FinalMandate77-SPBold,
FireWalk36-SPBold, FireWalk36, FireWalk36Stch, FirstHome34-Condensed,
FirstHome34-Ext, FirstHome34-SPBold, FirstHome34, FirstHome34SupCon,
FlatBrush36-SPBold, FlatBrush36, FlowerCapsText1222-Ext,
FlowerCapsText1222-SPBold, FlowerCapsText1222,
FlowerCapsText1222Stch, FlowerCapsText1222SupCon, FluctuantLight37-Ext,
FluctuantLight37-SPBold, FluctuantLight37, FluctuantLight37Stch,
FluctuantLight37SupCon, FlyingDutchMan1-SPBold, FontChordNew62-
SPBold, FontChordNew62Stch, FontFever26-Condensed, FontFever26-Ext,
FontFever26-SPBold, FontFever26, FontFever26Stch, FontFever26SupCon,
FoolHartOld27-Ext, FoolHartOld27-SPBold, FootLoose43-Ext, FootLoose43-
SPBold, FootLoose43, FootLoose43Stch, FootLoose43SupCon,
FooteDragging911-Condensed, FooteDragging911-SPBold, FootenHold-
SPBold, FootenHold, ForeStall-SPBold, ForeStall, FranklinBook49-Ext,
FranklinBook49-SPBold, FreeTimeBold14-Ext, FreeTimeBold14-SPBold,
FreshCapFont120-Ext, FreshCapFont120-SPBold, FreshCapFont120,
FreshCapFont120Stch, FreshCapFont120Stch, FreshCapFont120SupCon,

FuddyDuddy118-SPBold, FuddyDuddy118Stch, FutureType59-Condensed,

FutureType59-Ext, FutureType59-Ext, FutureType59-SPBold, FutureType59,
FutureType59Stch, FutureType59Stch, FutureType59SupCon
GalacticFuss72-Ext, GalacticFuss72-SPBold, GalacticFuss72,
GalacticFuss72Stch, GalacticFuss72SupCon, GambitMoveType103-
Condensed, GambitMoveType103-Ext, GambitMoveType103-SPBold,
GambitMoveType103, GambitMoveType103Stch,
GambitMoveType103SupCon, GanturyFont86-Condensed, GanturyFont86-Ext,
GanturyFont86-SPBold, GanturyFont86, GanturyFont86Stch,
GanturyFont86SupCon, GarDeningTools84-Condensed, GarDeningTools84-
Ext, GarDeningTools84-SPBold, GarDeningTools84, GarDeningTools84Stch,
GarDeningTools84SupCon, GatlingGun24-Condensed, GatlingGun24-Ext,
GatlingGun24-SPBold, GatlingGun24, GatlingGun24Stch,
GatlingGun24SupCon, GeneralMotionFont110-Condensed,
GeneralMotionFont110-Ext, GeneralMotionFont110-SPBold,
GeneralMotionFont110, GeneralMotionFont110Stch,
GeneralMotionFont110SupCon, GhostWriterText-Condensed,
GhostWriterText-Ext, GhostWriterText-SPBold, GhostWriterText,
GhostWriterTextStch, GhostWriterTextSupCon, GidieonType39-Ext,
GidieonType39-Ext, GidieonType39-SPBold, GidieonType39,
GidieonType39Stch, GidieonType39Stch, GidieonType39SupCon,
GiftOfSong14-SPBold, GilBertText61-Ext, GilBertText61-Ext, GilBertText61-
SPBold, GilBertText61, GilBertText61Stch, GilBertText61SupCon,
GiveAndTake18-Condensed, GiveAndTake18-Ext, GiveAndTake18-SPBold,
GiveAndTake18, GiveAndTake18Stch, GiveAndTake18SupCon,
GlobeTrotterPlain20-Ext, GlobeTrotterPlain20-SPBold,
GlobeTrotterPlain20Stch, GoalSetterPlus67-SPBold, GoalSetterPlus67,
GoodMoodExtra31-Condensed, GoodMoodExtra31-Ext, GoodMoodExtra31-
SPBold, GoodMoodExtra31, GoodMoodExtra31Stch,
GoodMoodExtra31SupCon, GoodName74-Condensed, GoodName74-Ext,
GoodName74-SPBold, GoodName74, GoodName74Stch,
GoodName74SupCon, GramMy79-Ext, GramMy79-SPBold, GramMy79,
GramMy79, GramMy79Stch, GramMy79SupCon, GraphLand40-Ext,
GraphLand40-SPBold, GraphLand40, GraphLand40, GraphLand40Stch,
GraphLand40SupCon, GraphicShoesText113-SPBold, GrayBeardPlus112-
SPBold, GrayBeardPlus112SupCon, GreenWich4-SPBold
HackDriverText155-SPBold, HackDriverText155, HandWriting53-Ext,
HandWriting53-SPBold, HandWriting53, HandWriting53, HandWriting53Stch,

HandWriting53SupCon, HandyMan94-Ext, HandyMan94-SPBold,

HandyMan94, HandyMan94Stch, HandyMan94SupCon, HappyLandText27-
SPBold, HappyLandText27, HardBrush-SPBold, HardBrush, HardeHeaded150-
Condensed, HardeHeaded150-Ext, HardeHeaded150-SPBold,
HardeHeaded150, HardeHeaded150Stch, HardeHeaded150SupCon,
HardlyLeft55-SPBold, HardlyLeft55, HauntedEyes-SPBold,
HauntedEyesSupCon, HeartLightBold70-Condensed, HeartLightBold70-Ext,
HeartLightBold70-SPBold, HeartLightBold70, HeartLightBold70Stch,
HeartLightBold70SupCon, HedgeHogFont22-Condensed, HedgeHogFont22-
Ext, HedgeHogFont22-SPBold, HedgeHogFont22, HedgeHogFont22Stch,
HedgeHogFont22SupCon, HelterSkelter83-SPBold, HelterSkelter83,
HereAfter114-SPBold, HiResFont52-Ext, HiResFont52-SPBold, HiResFont52,
HiResFont52Stch, HiResFont52SupCon, HighEmotions47-SPBold,
HighGoal73-SPBold, HighMeaningPlus115-SPBold, HighMeaningPlus115,
HighPurchase113-SPBold, HisQuarry4-SPBold, HisQuarry4,
HistoricalDistortion117-Condensed, HistoricalDistortion117-Ext,
HistoricalDistortion117-SPBold, HistoricalDistortion117,
HistoricalDistortion117Stch, HistoricalDistortion117SupCon, HitOrMiss89-
Condensed, HitOrMiss89-Ext, HitOrMiss89-SPBold, HitOrMiss89SupCon,
HonestStokesLight4-SPBold, HorseManFont66-SPBold, HorseManFont66,
HotFootPlain8-SPBold, HusandCurseType66-SPBold
IdeaBate69-Ext, IdeaBate69-SPBold, ImageMaker25-SPBold, InPlainView76-
SPBold, InPlainView76, InovatorFont-Condensed, InovatorFont-SPBold,
InovatorFont, InterPlayText-SPBold, IronMaidenType84-SPBold,
IronMaidenType84
JabaCaps105-Ext, JabaCaps105-SPBold, JabaCaps105, JabaCaps105,
JabaCaps105Stch, JabaCaps105Stch, JabaCaps105SupCon, JacksonBold72-
SPBold, JapanScript911-Ext, JapanScript911-SPBold, JapanScript911,
JapanScript911Stch, JapanScript911SupCon, JelindaFont52-Ext,
JelindaFont52-SPBold, JelindaFont52, JelindaFont52Stch,
JelindaFont52SupCon, JesaBellFont72-Ext, JesaBellFont72-SPBold,
JesaBellFont72, JesaBellFont72Stch, JesaBellFont72SupCon, JoKer84-Ext,
JoKer84-SPBold, JoKer84, JoKer84, JoKer84Stch, JoKer84SupCon,
JohnJones10-Ext, JohnJones10-SPBold, JohnJones10, JohnJones10Stch,
JohnsonText103-Condensed, JohnsonText103-Ext, JohnsonText103-Ext,
JohnsonText103-SPBold, JohnsonText103, JohnsonText103,
JohnsonText103Stch, JohnsonText103Stch, JohnsonText103SupCon,
JoustPlus99-Condensed, JoustPlus99-Ext, JoustPlus99-Ext, JoustPlus99-

SPBold, JoustPlus99, JoustPlus99, JoustPlus99Stch, JoustPlus99Stch,

JoustPlus99SupCon, JulianWay-Condensed, JulianWay-Ext, JulianWay-
SPBold, JulianWay, JulianWayStch, JulianWaySupCon, JurasakiFontBold83-
Condensed, JurasakiFontBold83-Ext, JurasakiFontBold83-Ext,
JurasakiFontBold83-SPBold, JurasakiFontBold83, JurasakiFontBold83,
JurasakiFontBold83Stch, JurasakiFontBold83SupCon, JustGood72-Condensed,
JustGood72-Ext, JustGood72-SPBold, JustGood72, JustGood72Stch,
JustGood72SupCon, JustStewType3-Condensed, JustStewType3-Ext,
JustStewType3-SPBold, JustStewType3, JustStewType3Stch,
JustStewType3SupCon, JusticePlain112-Condensed, JusticePlain112-Ext,
JusticePlain112-Ext, JusticePlain112-SPBold, JusticePlain112, JusticePlain112,
JusticePlain112Stch, JusticePlain112Stch, JusticePlain112SupCon
KeyLogo34-Condensed, KeyLogo34-Ext, KeyLogo34-Ext, KeyLogo34-
SPBold, KeyLogo34, KeyLogo34, KeyLogo34Stch, KeyLogo34SupCon,
KingsFont125-Condensed, KingsFont125-Ext, KingsFont125-Ext,
KingsFont125-SPBold, KingsFont125, KingsFont125, KingsFont125Stch,
KingsFont125Stch, KingsFont125SupCon, KizerFaxType65-Condensed,
KizerFaxType65-Ext, KizerFaxType65-SPBold, KizerFaxType65,
KlaksonType51-Ext, KlaksonType51-SPBold, KlaksonType51,
KlaksonType51SupCon, KnocksBold-SPBold.
LancasterBold-SPBold, LawAndOrder-SPBold, LawAndOrder, LeapYear113-
SPBold, LeatherBrushExt24-SPBold, LetterPerfect37-SPBold, LetterPerfect37,
LightWave, LightWave114-Ext, LightWave114-SPBold, LightWave114,
LightWave114SupCon, LighteFlair10-SPBold, LightingRod60-Ext,
LightingRod60-SPBold, LightingRod60, LightingRod60SupCon,
LipService90-SPBold, LiquidAssets98-SPBold, LittleSquirtFont13-SPBold,
LittleSquirtFont13, LivingWellText52-SPBold, LogicDisk63-SPBold,
LogicDisk63, LongTeeth61-SPBold, LowGlow95-SPBold, LucyFont95-Ext,
LucyFont95-SPBold, LucyFont95, LucyFont95SupCon
MacBeth79-SPBold, MachineGun23-SPBold, MagNolia38-Ext, MagNolia38-
Ext, MagNolia38-SPBold, MagNolia38, MagNolia38SupCon, Magic117-Ext,
Magic117-SPBold, Magic117, Magic117SupCon, MainPhrase112-SPBold,
MakeShift27-SPBold, MakenWell16-SPBold, ManCalled68-SPBold,
ManChildText69-SPBold, MarketProduct, MarketProduct72-SPBold,
MarketProduct72, MasacellaBold155-SPBold, MasterMind18-SPBold,
MatterOfFact96-SPBold, MeltedText62-SPBold, MetalPenNew113-Ext,
MetalPenNew113-SPBold, MetalPenNew113, MetalPenNew113SupCon,
MidVictorian117-SPBold, MidVictorian117Stch, MideEastFont-Condensed,

MideEastFont-SPBold, MideEastFont, MideEastFontStch, MilkyWayBold53-

SPBold, MillTownBuf64-SPBold, MillTownBuf64, MindSetFont29-SPBold,
MindSetFont29, MisConductFont-SPBold, MisConductFont, MissingLink9-
SPBold, MoHawkLight82-Ext, MoHawkLight82-Ext, MoHawkLight82-
SPBold, MoHawkLight82, MoHawkLight82Stch, MoHawkLight82SupCon,
ModernArt71-SPBold, ModernArt71, MoleHill30-SPBold,
MoneyScapePlus68-SPBold, MoneyScapePlus68, MonkeyPlusBold62-SPBold,
MoonDogText111-Ext, MoonDogText111-Ext, MoonDogText111-SPBold,
MoonDogText111, MoonDogText111Stch, MoonDogText111SupCon,
MorEhouseType97-Condensed, MorEhouseType97-Ext, MorEhouseType97-
SPBold, MorEhouseType97, MorEhouseType97, MorEhouseType97Stch,
MorEhouseType97SupCon, MorganWay89-Ext, MorganWay89-SPBold,
MorganWay89, MorganWay89Stch, MorganWay89SupCon, MuggyNew84-Ext,
MuggyNew84-SPBold, MuggyNew84, MuggyNew84Stch,
MuggyNew84SupCon, MummyLikeNew111-Condensed,
MummyLikeNew111-SPBold, MuseumPieceFont68-SPBold,
MushRoomCloud90-SPBold, MushRoomCloud90, MutualChangeExt-SPBold
NeedFulThings12-SPBold, NeedFulThings12, NeedleWorker86-SPBold,
NeoLith123-Ext, NeoLith123-SPBold, NewModelType127-SPBold,
NewModelType127, NewsMessenger120-SPBold, NormalBrush24-SPBold,
NormalBrush24, NormalBrush24SupCon, NorthernExposure46-Ext,
NorthernExposure46-SPBold, NorthernExposure46, NumbSkull49-SPBold,
NumberTest44-Ext, NumberTest44-SPBold, NumberTest44, NuttyCake88-
SPBold, NuttyCake88SupCon
ObjectDArt71-SPBold, ObjectDArt71, ObjectDArt71SupCon, OfficalTyrant17-
SPBold, OfficalTyrant17, OldeWallStreet54, OldedGeorge1-SPBold,
OldedGeorge1, OldenConnection2-SPBold, OldenConnection2,
OldenWestType69-SPBold, OldenWestType69, OlderEnglishCaps118-Ext,
OlderEnglishCaps118-SPBold, OlderEnglishCaps118, OlderEnglishCaps118,
OlderEnglishCaps118Stch, OlderEnglishCaps118SupCon, OldingSpiriT76-Ext,
OldingSpiriT76-SPBold, OldingSpiriT76, OldingSpiriT76,
OldingSpiriT76Stch, OldingSpiriT76SupCon, OldyStyleType102-Ext,
OldyStyleType102-SPBold, OldyStyleType102, OldyStyleType102,
OldyStyleType102Stch, OldyStyleType102SupCon, OliveOil43-SPBold,
OliveOil43, OmegaType93-Ext, OmegaType93-SPBold, OmegaType93,
OmegaType93, OmegaType93Stch, OmegaType93SupCon, OnTheSpot80-
SPBold, OnTheSpot80, OneChildType15-SPBold, OneChildType15,
OneChildType15Stch, OneChildType15SupCon, OnesOwnFont79-SPBold,

OnesOwnFont79, OnesOwnFont79SupCon, OpenClassicFont74-SPBold,

OpenClassicFont74, OtherView-SPBold, OtherView, OutWorn27-SPBold,
OutWorn27
PackAway35-SPBold, PackAway35, PaddedCell65-SPBold, PaddedCell65,
PaidInFull32-SPBold, PaidInFull32, PaintStroke, PaintStroke58-Ext,
PaintStroke58-SPBold, PaintStroke58, PaintStroke58, PaintStroke58Stch,
PaintStroke58SupCon, PaleFace-SPBold, PaleFace, ParagonView38,
PasserBy41-SPBold, PasserBy41, PathFinderType5-SPBold, PathFinderType5,
PeoplesType121-SPBold, PeoplesType121, PetPeeve61-SPBold, PetPeeve61,
PicketsChargeFont59-Condensed, PicketsChargeFont59-SPBold,
PicketsChargeFont59, PlatoFontNew113-Ext, PlatoFontNew113-SPBold,
PlatoFontNew113, PlatoFontNew113, PlatoFontNew113Stch,
PlatoFontNew113SupCon, PoeticDreamer-SPBold, PoeticDreamer,
PoetryInMotion101-SPBold, PoetryInMotion101, PoliceMan63-Condensed,
PoliceMan63-SPBold, PoliceMan63, PoliceMan63SupCon, PorkBarrelFont-
SPBold, PorkBarrelFont, PortLandType-Condensed, PortLandType-SPBold,
PortLandType, PortLandTypeStch, PortLandTypeSupCon, PositiveNew45-
Condensed, PositiveNew45-SPBold, PositiveNew45, PositiveNew45,
PositiveNew45Stch, PositiveNew45Stch, PositiveNew45SupCon,
PostBoyText60-Condensed, PostBoyText60-SPBold, PostBoyText60,
PostBoyText60Stch, PowerDriverNew20, PowerSymbolPlus-Ext,
PowerSymbolPlus-SPBold, PowerSymbolPlus, PresenterPlus64-SPBold,
PresenterPlus64, PrestoDone38-SPBold, PrestoDone38, PrettyGirl21-SPBold,
PrettyGirl21, PrettyThreatFont69-SPBold, PrettyThreatFont69, ProVisionFont-
SPBold, ProVisionFont, ProVisionFontStch, ProVisionFontSupCon,
PromisedLandPlus21-SPBold, PromisedLandPlus21, PuppyLikeNew32-
Condensed, PuppyLikeNew32-SPBold, PuppyLikeNew32, PutForthNew40-
SPBold, PutForthNew40
QuickJump37-SPBold, QuickJump37, QuickView-SPBold, QuickView
RaceHorse47-Ext, RaceHorse47-SPBold, RaceHorse47, RaceHorse47,
RaceHorse47Stch, RaceHorse47SupCon, RachelNew92-Ext, RachelNew92-
SPBold, RachelNew92, RachelNew92, RachelNew92Stch,
RachelNew92SupCon, ReCallComplete-SPBold, ReCallComplete,
ReMinder106-Ext, ReMinder106-SPBold, ReMinder106, ReMinder106,
ReMinder106SupCon, ReaderShipFinal-SPBold, ReaderShipFinal,
RealBrush49-SPBold, RealBrush49, RealVirtue19-SPBold, RealVirtue19,
RebuffText-Ext, RebuffText-SPBold, RebuffText, RebuffText,
RebuffTextSupCon, ReservedText46-SPBold, ReservedText46,

ReturnToEarth42-SPBold, ReturnToEarth42, ReversalSubject41-SPBold,

ReversalSubject41, RibbonArt68-SPBold, RibbonArt68, RickShaw90-Ext,
RickShaw90-SPBold, RickShaw90, RickShaw90, RickShaw90SupCon,
RiskyBusiness-SPBold, RiskyBusiness, RiverOfDreams-SPBold,
RiverOfDreams, RoaringFire96, RobinHood98-Ext, RobinHood98-SPBold,
RobinHood98, RobinHood98, RobinHood98SupCon, RoseyCapsFinal57-
SPBold, RoseyCapsFinal57, RoughRiderType60-SPBold, RoughRiderType60,
RoyalBaseExt-SPBold, RoyalBaseExt, RoyalBrushNew20-SPBold,
RoyalBrushNew20, RoyalLuster67-SPBold, RoyalLuster67, RoyalSireText50-
SPBold, RoyalSireText50, RuleOfThumb-SPBold, RuleOfThumb,
RumbleSeatFinal-SPBold, RumbleSeatFinal
SargonOne41-Condensed, SargonOne41-SPBold, SargonOne41,
SaucyMozartOne44-SPBold, SaucyMozartOne44, SavorNowText43-Ext,
SavorNowText43, ScentedMintExt47-Condensed, ScentedMintExt47-SPBold,
ScentedMintExt47, ScentedMintExt47Stch, ScentedMintExt47SupCon,
SchoolBoy, SchoolBoyOld80-Condensed, SchoolBoyOld80-Ext,
SchoolBoyOld80-SPBold, SchoolBoyOld80, SchoolBoyOld80,
SchoolBoyOld80SupCon, ScrewBallFinal-SPBold, ScrewBallFinal,
ScriptSongBold15-Condensed, ScriptSongBold15-SPBold, ScriptSongBold15,
ScriptWriterText-SPBold, ScriptWriterText, ScuttleButtNew-Ext,
ScuttleButtNew-SPBold, ScuttleButtNew, SeamStressFnal-SPBold,
SeamStressFnal, SecondNature-SPBold, SecondNature, SelfImage69-Ext,
SelfImage69-SPBold, SelfImage69, SelfImage69, SelfImage69SupCon,
ShaShaText36-Ext, ShaShaText36-SPBold, ShaShaText36, ShaShaText36,
ShaShaText36SupCon, SharpTypeOld-SPBold, SharpTypeOld,
ShelmanFont49-Ext, ShelmanFont49-SPBold, ShelmanFont49,
ShelmanFont49, ShelmanFont49SupCon, SherWoodFont99-Ext,
SherWoodFont99-SPBold, SherWoodFont99, SherWoodFont99,
SherWoodFont99SupCon, ShortMemoryNew-SPBold, ShortMemoryNew,
SingOutNew62-Ext, SingOutNew62-SPBold, SingOutNew62, SingOutNew62,
SingOutNew62SupCon, SketchyIdeaText5-SPBold, SketchyIdeaText5,
SkinTightReal74-Ext, SkinTightReal74-SPBold, SkinTightReal74,
SkinTightReal74, SkinTightReal74SupCon, SlashTankMaker33-SPBold,
SlashTankMaker33, SleepWalkerFinal9, SmallRoseExt45-SPBold,
SmallRoseExt45, SmokeAgent150-SPBold, SmokeAgent150,
SmoothFontNew75-Ext, SmoothFontNew75-SPBold, SmoothFontNew75,
SmoothFontNew75, SmoothFontNew75SupCon, SnowWrite-SPBold,
SnowWrite, SodaJerk19-SPBold, SodaJerk19, SoundStudioBold12,

SpareTimeFont82, SparrowNew119-Ext, SparrowNew119-SPBold,

SparrowNew119, SparrowNew119, SparrowNew119Stch,
SparrowNew119SupCon, SpeakingStyleExt106-SPBold, SpeakingStyleExt106,
SplashFontStyle, StakeWorks108-Ext, StakeWorks108-SPBold,
StakeWorks108, StakeWorks108, StakeWorks108Stch, StakeWorks108SupCon,
StandardBrushFont54-Ext, StandardBrushFont54-SPBold,
StandardBrushFont54, StandardBrushFont54, StandardBrushFont54Stch,
StandardBrushFont54SupCon, StateOfAffairs122-SPBold, StateOfAffairs122,
StatelyTypeStyle77-Ext, StatelyTypeStyle77-SPBold, StatelyTypeStyle77,
StatelyTypeStyle77, StatelyTypeStyle77Stch, StatelyTypeStyle77SupCon,
SteepleChaser71, StickerMade-SPBold, StickerMade, StickerMadeStch,
StoneAge124-SPBold, StoneAge124, StudentTeacher111, StyleBrandFinal61-
SPBold, StyleBrandFinal61, StyleMongerBold73-Ext, StyleMongerBold73-
SPBold, StyleMongerBold73, StyleMongerBold73,
StyleMongerBold73SupCon, SunDownBold98-SPBold, SunDownBold98,
SuperSederNorm2-SPBold, SuperSederNorm2, SuperSederNorm2SupCon,
SuperThinNorm53-Ext, SuperThinNorm53-SPBold, SuperThinNorm53,
SuperThinNorm53, SuperTypeStyle99-SPBold, SuperTypeStyle99,
SuperTypeStyle99Stch, SwashBuckler13-SPBold, SwashBuckler13,
SweetPea16, SweetTime78, SwingDown63, SwishNorm64-Ext, SwishNorm64-
SPBold, SwishNorm64, SwishNorm64, SwishNorm64Stch,
SwishNorm64SupCon, SwishWorks55, SystemTaker52
TabithaType32-Ext, TabithaType32-SPBold, TabithaType32, TabithaType32,
TabithaType32Stch, TabithaType32SupCon, TabithaType32-SPBold,
TabithaType32-Condensed, TadPole-SPBold, TadPole, TailSpin-SPBold,
TailSpin, TakeOver, TearGas25-SPBold, TearGas25, TechnoWorks70-Ext,
TechnoWorks70-SPBold, TechnoWorks70, TechnoWorks70,
TechnoWorks70Stch, TechnoWorks70SupCon, TennisBum64-SPBold,
TennisBum64, TextureCover54-SPBold, TextureCover54, TheHawkFont46-
SPBold, TheHawkFont46, TheSixtyText63-SPBold, TheSixtyText63,
ThrillOfText28-SPBold, ThrillOfText28, TickTock18-SPBold, TickTock18,
TigerFont16-SPBold, TigerFont16, TimeScarred119-SPBold, TimeScarred119,
TombStoneFont60-Ext, TombStoneFont60-SPBold, TombStoneFont60,
TorchHandler56-SPBold, TorchHandler56, TouchDown-SPBold, TouchDown,
TouchTheWind59, TracyTracy68-Ext, TracyTracy68-SPBold, TracyTracy68,
TracyTracy68, TracyTracy68Stch, TracyTracy68SupCon, TransPose95-SPBold,
TransPose95, TriBecca90-Ext, TriBecca90-SPBold, TriBecca90, TriBecca90,
TriBecca90Stch, TriBecca90SupCon, TrickyLake11-SPBold, TrickyLake11,

TrojanFinal87-Ext, TrojanFinal87-SPBold, TrojanFinal87, TrojanFinal87,

TrojanFinal87Stch, TrojanFinal87SupCon, TrueExcess105-SPBold,
TrueExcess105, TurnAbout121-SPBold, TurnAbout121, TurnOil27-SPBold,
TurnOil27, TurningPoint57-SPBold, TurningPoint57, Twiggy86-Ext,
Twiggy86-SPBold, Twiggy86, Twiggy86, Twiggy86SupCon, TwoShakes5-
SPBold, TwoShakes5, TylerFont88-Ext, TylerFont88-SPBold, TylerFont88,
TylerFont88, TylerFont88SupCon, TypeMaker57-Ext, TypeMaker57-SPBold,
TypeMaker57, TypeMaker57, TypeMaker57SupCon, TypeOne9-SPBold,
TypeOne9, TypeTalkBold58-SPBold, TypeTalkBold58
UltiMateText-SPBold, UltiMateText, UnCreative6-SPBold, UnCreative6,
UnDiluted-SPBold, UnDiluted, UnExplored-SPBold, UnExplored, UnSnarl60-
SPBold, UnSnarl60, UnderGround59-SPBold, UnderGround59,
UnderPressure81-SPBold, UnderPressure81, UnderWay69-SPBold,
UnderWay69, UnitedLand, UseFulSpectator123-SPBold, UseFulSpectator123
VageParable39-SPBold, VageParable39, ValueType126-SPBold, ValueType126,
VectorType124-Ext, VectorType124, VectorType124, VectorType124SupCon,
VerticalSmudge94-SPBold, VerticalSmudge94, ViciousCircle-SPBold,
ViciousCircle, VictorianFont64-SPBold, VictorianFont64, VideoCast-SPBold,
VideoCast, VisionThick-SPBold, VisionThick, VoCab54-Ext, VoCab54-
SPBold, VoCab54, VoCab54, VoCab54SupCon, VoldiFinal96-Ext,
VoldiFinal96-SPBold, VoldiFinal96, VoldiFinal96, VoldiFinal96SupCon,
VooDooText-SPBold, VooDooText
WagonMan72-SPBold, WagonMan72, WaistBand, WalkAway-SPBold,
WalkAway, WallWriting34, WasteAwayType79-SPBold, WasteAwayType79,
WasteBasketFont-SPBold, WasteBasketFont, WaterMarkFont-SPBold,
WaterMarkFont, WaveScape48-SPBold, WaveScape48, WayFarer10-SPBold,
WayFarer10, WeekenderType123-Ext, WeekenderType123-SPBold,
WeekenderType123, WeekenderType123, WeekenderType123SupCon,
WeighAnchorFont68-SPBold, WeighAnchorFont68, WellOiled-Condensed,
WellOiled-SPBold, WellOiled-SPBold, WellOiled, WellOiledSupCon,
WheelerDealer-SPBold, WheelerDealer, WhiteWaterRaft27-SPBold,
WhiteWaterRaft27, WhiteWaterRaft27SupCon, WhosItFont42-SPBold,
WhosItFont42, WideEyed44-SPBold, WideEyed44, WildWorldNew62-SPBold,
WildWorldNew62, WisdomWriterOld-SPBold, WisdomWriterOld,
WishingType3-SPBold, WishingType3, WishingType3SupCon,
WordsWorthType12-SPBold, WordsWorthType12, WordsWorthType12SupCon,
WounSockaFinal66-SPBold, WounSockaFinal66, WounSockaFinal66,
WrittenWordsFinal103-SPBold, WrittenWordsFinal103,

WrittenWordsFinal103SupCon
XRayCopy-SPBold, XRayCopy, XanaduFont-Condensed, XanaduFont-
SPBold, XanaduFont, XanaduFontSupCon
YankeeFan-SPBold, YankeeFan, YearBook, YellowJacket-Condensed,
YellowJacket-SPBold, YellowJacket
ZenithBay-SPBold, ZenithBay, ZigSong55, ZipThrough
[Google] [More] ⦿
Imprimerie Edmond French printer, est. Paris, 1618, and in Le Mans in 1751. In 1889, they published
Monnoyer Spécimen des caractères de l'imprimerie Edmond Monnoyer (Le Mans) [Other link].
Picture of Edmond Monnoyer.
Samples: Anglaise, Cover page, Elzevir, latines lithographiqes, Ronde and écossaise,
Ronde and gothique.
Antoine Monnoyer was master printer in Paris in 1618, and ran the print shop until
1634, when (his son?) Pierre Monnoyer took over. There is a historical hole after that,
until Jean Baptiste Monnoyer (b. 1688, d. 1777, Joinville), who was a printer for the
duke of Orleans in Joinville. Charles Monnoyer (b. 1720, joinville, d. 1793, Le Mans)
became the printer of the king and the bishop of Le Mans, where he established
himself in 1751. He headed the business until 1789. Charles II Monnoyer (b. 1758, Le
Mans, d. 1811) was in charge from 1789 until 1811. Charles III Nicolas Monnoyer (b.
1793, Le Mans, d. 1860) headed the firm from 1811 until 1860, and was followed
from 1860 until 1889 by Charles IV Edmond Monnoyer (b. 1829, Le Mans, d. 1899).
Finally, from 1889 until 1932, the firm was in the hands of Charles V Antoine
Monnoyer (b. 1868, Le Mans) and Paul Charles VI Frederic Monnoyer (b. 1903, Le
Mans). [Google] [More] ⦿
Imprimerie Georges Foundry/printer in Liège, rue de la Commune, 15, around 1930. Specimen book
Thone (80p.) printed in 1932 available at the Bibliothèque royale de Belgique in Brussels.
[Google] [More] ⦿
Imprimerie L. Danel Imprimerie L. Danel was founded in 1698, as a successor of Imprimerie Fache, which
existed in Lille since the early 1600s. It has remained a family business, and occupies
two factories, one in Lille, and one in Loos. It appears that some original type was
made by L. Danel over the years, although it cannot be said that such was the focus of
the business. The Livret Typographique L. Danel (Lille, 1935) describes some of its
history and typefaces. [Google] [More] ⦿

Imprimerie Royale The central French national typefoundry from the 17th until the 20th centuries.
Books: Imprimerie Royale. Spécimen typographique de l'Imprimerie Royale (1842,
Paris), Imprimerie Royale. Spécimen typographique de l'Imprimerie Royale (1845,
Paris), Imprimerie Royale. Notice sur les types étrangers du spécimen de l'imprimerie
royale (1847, Paris). [Google] [More] ⦿
Ingrama Ingrama stands for International Graphic Marketing. Defunct foundry in Vevey
[Peter Henninger] (Switzerland) which produced Raleigh (1977, now a Bitstream font family) and
Seagull (1978, Adrian Williams, Bob McGrath; now also a Bitstream font). Raleigh's
story as told by MyFonts.com: Started by Carl Dair. After Dair's death, David
Anderson redrew the design for Typsettra, where it was renamed Raleigh. Adrian
Williams at Fonts added three weights as a display series for Conways, while Robert
Norton drew the text series. Ingrama was run by Peter Henninger out of Vevey,
Switzerland.
Modern digital typefaces based on the original Ingrama types include Raleigh Serial
(SoftMaker), Digital Serial (SoftMaker), Lingwood Serial (SoftMaker), Expressa
Serial (SoftMaker), Pasadena Serial (SoftMaker), Worcester Serial (SoftMaker),
Diamante Serial (SoftMaker), Leamington Serial (SoftMaker: based on Adrian
Williams' Leamington, 1978), Stratford Serial (SoftMaker), Seagull (Bitstream),
Seagull Serial (SoftMaker), Accolade Serial (SoftMaker), Casablanca Serial
(SoftMaker), Helium Serial (SoftMaker), Raleigh (Bitstream). The Softmaker
typefaces were made in 1994.
View surviving Ingrama typefaces. [Google] [MyFonts] [More] ⦿
Inland Type Foundry

[A.V. Haight]

The Inland Type

Foundry in Saint Louis
was established in
1892 by the three sons
of Carl Schraubstadter
(1827-1897), William
A. Schraubstadter
(1864-1957), Oswald
Schraubstadter (1868-
1955) and Carl
Schraubs Jr. (1862-
1947). Carl had run the
Central Type Foundry
in Saint Louis and sold
it to ATF (American
Type Founders) in
1892, and the sons
reacted by setting up
Inland. Until 1911,
Inland was one of the
most successful
foundries in the United
States. In 1911 Inland
was purchased by ATF
and its equipment
divided between that foundry and Barnhart Brothers and Spindler (BBS). A.V. Haight
(Poughkeepsie) designed Rogers (art nouveau) at Inland Typefoundry in 1902. He
also designed Haight. Nicholas J. Werner, who used to work for Central, also created
many designs at Inland. Look for "Specimen book and catalog, a price list of printers'
supplies, showing types and rules in which are embodied all the latest styles ... among
which ... may be especially mentioned the casting of types on standard line and unit
sets." (1902, 464 pages), Specimen Book and Catalog. A Price List of Printers
Supplies, Showing Types and Rules in which Are Embodied all the Latest Ideas that
Enable the Printer to Produce Superior Work in a most Economical Manner Among
which Betterments May Be Especially Mentioned the Casting of Types on Standard
Line and Unit Sets (St. Louis, 1897) (a free copy is here and here) and Specimen
Book and Catalog. A Price List of Printers Supplies, Type, Rules and Accessories of
the Very Latest Designs which Facilitate the Economical Production of Superior

Printing. A Notable Improvement Is the Casting of All Type on Standard Line&Unit

Sets (St. Louis, 1907). MyFonts page.
Scans of some typefaces: Becker (art nouveau), Blanchard Italic [Blanchard was
revived in 2013 by Paulo W as Blanchard Inland], Commercial Script, Edwards (art
nouveau), Inland, Lightface Blanchard, Matthews, Extended Studley, Rogers (art
nouveau), Poster French Oldstyle (1897 catalog), Poster Ionic (1897 catalog), Poster
Latin Antique (1897 catalog), Pacific Bikes (ornaments, 1897 catalog), Recut Caslon
(1907, as taken from the 1923 ATF catalog), Drew (1910, from the 1923 ATF catalog:
a digital version called Droobie NF was created by Nick Curtis in 2014), Title Shaded
Litho (1911), Litho Roman (1907), Gothic No.578 (1898), Pen Print (1911), Blair
(1900), Mtchell (1906, a bold version of the all caps grotesque face Blair; digitally
revived by Nick Curtis in 2015 as Mitchell NF), Comstock (1902), Inland
Copperplate (1901), Shaw Text (1907).
Commentaries by Mac McGrew on some of the typefaces:
Gothic No. 578: Gothic No. 578 was shown as Gothic No.8 by Inland in 1898
as "the latest candidate for the printer's favor; a popular old typeface entirely
recut." It was shown until 1941. It is a bold weight, and is quite similar to
Standard Bold which as an import from Germany was very popular in this
country in the 1950s. It is also similar to Comstock, but without the added
outline. Keystone called it Standard Gothic, although it is not identical to the
German face. As a nineteenth-century gothic, the cap G had no crossbar.
Paragon Gothic is the same design, without lowercase, cast as a title face.
Pen Print: Pen Print and Pen Print Bold were introduced by Inland Type
Foundry in 1911, with the latter thought to have been the last typeface cut by
that foundry before its sale to ATF. Pen Print Open was designed for ATF in
1921 by Morris Benton, and includes open versions of all the characters shown
for the bold. The series has more the appearance of rather crude brush lettering
than pen "printing," but the inclusion of an open version is contrary to the
conception; perhaps it was intended for two-color printing. The letters have a
slight backslant. The bold was also cut by Intertype, in 1927. Compare Dom
Casual.
Blair: Blair was advertised in 1900 by Inland Type Foundry as new and
original, calling it "an exact imitation of the small gothic letter now so popular
with engravers for stylish stationery." Its production was continued by ATF
until the 1950s. It is similar to Copperplate Gothic Light, but without the tiny
serifs of that face. Litho Gothic is the same design but with lowercase. Mitchell

(1906) is the same design but slightly heavier. The condensed version was
produced in 1903 or earlier. Hansen copied Blair as Card Gothic No.2.
Compare Lightline Gothic.
Comstock: Comstock was advertised by Inland Type Foundry in 1902 as "a
striking novelty, our brand new face." It was revived by ATF in 1957. It is a
medium weight conventional gothic, distinguished by a hairline surrounding
each letter. The G lacks a crossbar, typical of many nineteenth-century gothics.
The design was sponsored by A. H. Comstock of Omaha, according to a review
at the time of its introduction. Condensed Comstock was introduced by Inland
in 1905, but patented in the name of William A. Schraubstadter in 1908. It has
no lowercase, but the design is more contemporary. Monotype has copied both
typefaces, but Monotype Comstock Condensed is in 18-point only, without
figures. In both foundry typefaces, there are several sizes on 12-point body;
No.1 is the largest in regular, but No.1 is the smallest in Condensed. In 1911, a
copy of Comstock was issued by Bauer in Germany under the name Astoria,
revived in 1957.
Inland Copperplate: Inland Copperplate is a shaded Old English typeface, first
shown by Inland Type Foundry in November 1901. It is similar to Typo Text
(q.v.). although the specimen here, reproduced from an over-inked showing,
doesn't reveal the shading.
Shaw Text: Shaw Text was introduced by Inland Type Foundry in 1907 as its
"latest novelty," although it is a rather conventional Old English face, a little
heavier than Wedding Text, and a little lighter and fancier than Engravers Old
English. After Inland merged with ATF, Shaw Text continued to be shown until
1954. Compare Plate Text.
Litho Antique (1910). Mac McGrew: Rockwell Antique was a reissue of Litho
Antique, cut by William Schraubstadter for Inland Type Foundry and
introduced in January 1910 when it was advertised as the "newest typeface; one
of our best; closely imitating steelplate and lithography." In the late 1920s
similar typefaces became popular in Europe, and some were imported into the
United States. Morris Benton of ATF added several characters to the old Inland
face, matrices of which were then in ATF's vaults, and it was reissued in 1931
as Rockwell Antique. But Benton saw that something more was needed, and
redrew it as Stymie Bold (q.v.) in the same year. The alternate characters which
were added to Rockwell are the same ones now shown with Stymie Bold.
Monotype copied Rockwell but erroneously called it Stymie Bold in some
literature, and there has been confusion between the two typefaces ever since;
the latter name is often applied to fonts of Rockwell cast on Monotype machines

by secondary suppliers. Indicative of this confusion, Stymie Bold Italic on Mono

is series 1891, corresponding to Rockwell series 189, while Stymie Bold is 790.
English Monotype has several weights of Rockwell, a square serif family which
differs from this typeface and should not be confused with it; see Imports in
Appendix. Antique Shaded (q. v.) is sometimes called Rockwell Antique Shaded.
Herald Extra Condensed (1909). An octagonal typeface.
Extra Condensed Title Gothic No.12.
Intertype Defunct foundry. One of its

[Gilbert Powderly typographic directors was
Farrar] Gilbert Powderly Farrar (1886-
1957), who designed Bert Black.
Intertype's typefaces include
Monterey (1958, Rand Holub, its "version" of Murray Hill; available from Bitstream
now), Imperial (designed by Ed Schaar; now a Bitstream font), Intertype Vogue (ca.
1930, see Am Sans by Volker Busse for a free digital version), Stuyvesant (1940, now
available from Bitstreeam), and Nuptial Script (now an Adobe font).
MyFonts writes: Harris inherited the Harris-Intertype library, made up of the

typefaces cut by Intertype to compete with Mergenthaler from the First World War. A
small group of original typefaces centers on newspaper typefaces and scripts. In the
thirties C.H. Griffith at Mergenthaler believed the linecaster to be unsuitable for the
development of scripts, which led Ed Schaar at Intertype to claim this market as their
own. Intertype became Harris-Intertype ca. 1960, and Harris ca. 1975.
Cyrillic typefaces in their library, ca. 1930. The firm still exists as Harris Corporations
in Melbourne, FL, but is no longer producing fonts.
Leonard Spencer, in his article Linotype / Intertype Linecasting Machines How They
Differ writes: Intertype started as International Typesetting Machine Company in
1911. Many of first machines were rebuilt Linotype bases with improvements patented
by the new company. When World War I broke out, International Typesetting Machine
Company was reorganized as the Intertype Corporation, and by 1917 had three
machines for sale: Model A one magazine, Model B two magazine, Model C three
magazine. Intertype was first in cold type with its Fotosetter in 1950. This machine
continued the circulating matrix principle but had film image instead of the punched
character. Stuart Sandler adds this piece of information: The Harris-Intertype
Fotosetter was the first photo typesetting machine invented. It marks the beginning of

the Cold Type era and is the machine responsible for it . . . Incidentally this is the
machine that inspired the creation of the Filmotype by its inventor Allan Friedman
when he saw it unveiled to US audiences in 1948. Instead of lead slugs, the Intertype
which was a Linotype machine had replaced them with small film negatives and
proceeded to set type as you would imagine the bastardization of a lead type and
photo type machine only could. There are many reasons Cold Type caught on and it
became the standard some time after that period till digital typesetting machines like
the Alphatype came into their own. It wasn't until the release of the first MacIntosh in
1984 when Cold Type was eclipsed by desktop publishing.
Mac McGrew: Ideal (originally called Ideal News) was designed by Herman R.
Freund for Intertype in 1926, for the New York Times. It has much the appearance of
Century Schoolbook, but with shorter ascenders and squattier capitals. The italic is a
little closer to Century Expanded Italic, providing more contrast with the roman.
Sturdy serifs, substantial hairlines, and open loops make it a practical typeface for the
demanding production requirements of high-speed newspaper use. Ideal Bold is
heavier than the Century bold typefaces.
View a few digital typefaces with roots in the Intertype collection.
Another famous type is Cairo. Mac McGrew: Cairo is Intertype's adaptation of

Memphis, originally designed by Rudolf Weiss for Stempel in Germany about 1929,
and first imported into the United States as Girder. Except for Litho Antique, this was
the first of the modern square-serif typefaces, which are revivals of older typefaces
known as Egyptians. The Intertype typefaces appeared in 1933 to 1940. Lining Cairo
features several sizes of caps on 6- and 12-point bodies in the manner of Copperplate
Gothic. Compare Memphis, Stymie, Karnak.
Farrar is also the author of The Typography of Advertisements That Pay (1917, D.
Appleton and Co., New York). Local download. [Google] [MyFonts] [More] ⦿
Istituto Artigianelli Italian typefoundry located in Milan, active in the twentieth century. [Google] [More]
Milano ⦿
Itek Typefoundry and vendor active in the 1970s and 1980s, when it was associated with
International Type Founders (ITC). It was based in Nashua, New Hampshire. John
Schappler was art director at Itek Composition Systems from 1979 until 1984.
[Google] [More] ⦿
J. Bobst et Fils S.A. Defunct foundry. [Google] [More] ⦿

J. G. Francke The typefoundry J. G. Francke in Berlin was purchased in 1872 by Albert Wilhelm
Nachfolger Kafemann and moved to Danzig and renamed Firma J. G. Francke Nachfolger. In
[Albert Wilhelm 1872, Kafemann also bought the typefoundry Christoph Richter which was based in
Kafemann] 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] ⦿
Jackie Piert [More] ⦿

[Fantazia Fonts]
Jahoda&Siegel Viennese foundry whose production can be seen in 75 Schriften gezeigt von der
Offizin Jahoda&Siegel in Wien (1937). [Google] [More] ⦿
James Banner [More] ⦿

[Digital Type
Foundry]
Jan Id'zkowski [More] ⦿

[Jan Id'zkowski
Giesserei]
Jan Id'zkowski Jan Id'zkowski Giesserei was located in Warsaw. The most important type family in
Giesserei its collection was Antykwa Poltawskiego (+Italic, Bold, BoldItalic) designed in 1931
[Jan Id'zkowski] by Adam Jerzy Poltwaski. Other typefaces included Nil (1934ff, a copy of Wolf's
Memphis) and Baccarat (sans). [Google] [More] ⦿
Jan Imken Oldenburg-based printer / typefounder. Catalog from 1989. [Google] [More] ⦿
Lichtsetzerei
Jani'sche München-based foundry. [Google] [More] ⦿

Schriftgießerei
Janusz Marian [More] ⦿

Nowacki
[Odlewnia Czcionek
J. Idzkowski i S-ka]
Jason Fagone [More] ⦿

[Soup.Type]
Jason Skoog [More] ⦿

[Frappe]
Jay David [More] ⦿

[Sound of Print]
Jay Rutherford [MyFonts] [More] ⦿

[Typoart GmbH (or:
VEB Typoart)]
Jens R. Ziehn [More] ⦿

[Filmhimmel]
Jerry Saperstein [More] ⦿

[FontBank]
Jerusalem Type This foundry was founded by Moshe Spitzer and Heinz van Cleef in 1954---it was the
Foundry first typefoundry in Israel. Together with his partners, Moshe Spitzer (1900-1982)
developed the Hebrew typefaces Hatzi Light, Romema and David. Other typefaces
produced by Jerusalem Type Foundry include Peretz (1959). [Google] [More] ⦿
J.G. Leipzig-based foundry started in 1819 by

Schelter&Giesecke punchcutter Johann Schelter and
[Johann Schelter] typefounder Christian Friedrich Giesecke (1793-1850). It evolved in 1946 into
Typoart in Dresden, the official East German government's press.
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), and
Shieldface Combinationpieces (1881, ornamental).
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), 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 (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), Akropolis Ornamente (1907), Patriz
Huber Ornamente (1906, Patriz Huber), Reklameschrift Radium (1906), Schelter
Kursiv (1906), Schelter Antiqua (1906---and its extensions in 1907, Leipziger
Lateinschrift and Tauchnitz-Antiqua), 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 Prescott's New Baldur APT, 1996), 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 typeface
Souvenir is a cuddly soft version of Schelter Antiqua.
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, 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] ⦿
Joh. Enschedé en John Berry reports: "Joh. Enschedé en Zonen was founded in 1703, in the city of
Zonen Haarlem in the Netherlands. It began as a printery, and it is still active as one of the
most important printers in the Netherlands, printing the country's stamps and
banknotes among other things. Enschedé began manufacturing type in 1743, after
buying an existing type foundry, and over the course of more than two centuries, type
founding was one of the most important parts of Enschedé's business. Many of the
most respected type designers, from Johan Michael Fleischman in the 18th century to

Jan van Krimpen in the 20th, worked for Enschedé. But Enschedé, like so many of the
old-line type manufacturers, was severely affected by the changing technologies and
business models of the font business, and in 1990 the type-foundry was moved out of
its historic buildings, and effectively ceased to be a business. The Enschedé Font
Foundry was established in 1991 by Peter Matthias Noordzij, to carry on the
Enschedé tradition in a new form." [Google] [More] ⦿
Johann Andreä Johann Andreä founded the Andreäische Schriftgiesserei und Buchhandlung in
Frankfurt am Main in 1667. It was sold in 18816 (some say 1838) to Benjamin Krebs
but continued until 1892 under the name "Andreäische Schriftgiesserei und
Buchhandlung". After that, it changed its name to August Weisbrod and continued
well into the 20th century. The type-foundry was particular well-known for its many
Hebrew types and the great selection of delightful borders, tail- and headpieces.
[Google] [More] ⦿
Johann Daniel [More] ⦿

Trennert
[Johann Daniel
Trennert&Sohn]
Johann Daniel Typefoundry located in

Trennert&Sohn Altona, Germany.
[Johann Daniel Typefaces issued by
Trennert] 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 Gottfried Leipzig-based typographer who had a foundry and print shop in the late 19th century,
Böttger 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 Schelter [MyFonts] [More] ⦿

[J.G.
Schelter&Giesecke]
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 Wagner Johannes Wagner was born in 1888, 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.
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 Colletti [More] ⦿

[QualiType]
John Schaedler John N. Schaedler was an old school New

York type designer, who had his own studio
in the city. In the 1970s, Schaedler published Swinger, a film type by Ray Cruz.
Around the same time, the psychedelic typeface Loose New Roman was designed. In
2010, Nick Curtis revived the latter typeface as Loo Snoo Roman NF.
Tabasco and Paprika, geometric oddities with Paprika being the bilined variant, were
revived in 2010 by SoftMaker as Tabasco and Tabasco Twin, respectively. Download
Tabasco Twin here.
Hiroshi Yamashita's Alpha Midnight (ca. 1969) was revived by Alan Prescott as APT
New Alpha Midnight. [Google] [More] ⦿
John Stephenson [MyFonts] [More] ⦿

[Stephenson Blake]

José Iranzo [More] ⦿

[Fundición
Tipográfica José
Iranzo]
Joseph Kral [MyFonts] [More] ⦿

[Kral Typefaces]
Julius Klinkhardt [More] ⦿

[Julius Klinkhardt
Schriftgiesserei]
Julius Klinkhardt Julius Klinkhardt

Schriftgiesserei designed typefaces
[Julius Klinkhardt] 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
typefoundry 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 revivcal, see Alan Presott's New
Baldur APT, 1996), 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] ⦿
Justin Howes [MyFonts] [More] ⦿

[H.W. Caslon&Co
Ltd]
J.V. Éon Extinct type foundry in Paris. Ca. 1880, they published Fonderie en Caractères de J.-
V. Éon Spécimen. [Google] [More] ⦿
K. u. K. Hof- Viennese foundry

Schriftgiesserei acquired in 1926 by D.
Poppelbaum Stempel AG (50%) and
[Hartwig H. Berthold AG (50%).
Poppelbaum] Designers of Original-
Schwabacher (before
1925) and Messe-
Gotisch (before 1925).
Kurt Liebing made
Liebing-Fraktur, also some time before 1925. A small timeline of the company:

1858: Benjamin Krebs dies. His son-in-law Gustav Rosalino, partner in

Benjamin Krebs Nachfolger) dies in 1870. That year, the Benjamin Krebs
foundry opens an office in Vienna under the lead of Bernhard Alexander
Poppelbaum. The firm Poppelbaum & Bossow (with Karl Bossow) is set up in
Vienna with five foundry machines.
1880: Karl Bossow dies.
1890: Hartwig Poppelbaum and Karl Gsottschneider, the son and son-in-law of
Hermann Poppelbaum become partners in the company.
1892: Hermann Poppelbaum dies.
1903: Compressa (an Inserat typeface family), Reform and Massiv are finished.
1903: The script typeface Ideal is finished.
1904: Publication of Ridingerschrift (a feather / copperplate script for weddings
and invitations).
1905: Publication of the work horse typeface Rediviva.
1906: Biedermeier (an Inserat cursive) is finished. Frankfurter Buchschrift
(designed by Paul Ed. Lautenbach) follows.
1907: Reklameschrift Komet, and Hohlweinschrift (by Ludwig Hohlwein).
1908: The book typeface Renata-Serie and the Gigantea typeface are published.
1909: Pompadour (an elegant Zirkularschrift after copperplate examples of the
era of Louis XVI in France), Merian-Fraktur (after the typeface of Math.
Merian used in bibles in the 19th century), the Rohrfederschrift Diavolo, the
Rohrfeder-Fraktur are published.
1910: Karl Gsottschneider dies. Hartwig Poppelbaum is now the sole president.
Publication of Katalog-Antiqua (a book face), Brunhilde (a Zirkularschrift),
Federzug-Antiqua and Epoche.
1912: Opening of a shop in St. Petersburg where Cyrillic fonts are produced.
The war brings an end to this project in 1914, and all machines and matrices are
destroyed.
1923: The new leaders are Hartwig Poppelbaum Jr. and Dr. Karl Poppelbaum.
New weights are added to Epoche and Merina Fraktur. New typefaces include
Brentano-Fraktur, Alt-Schwabacher Werkschrift, Latina, Antiqua Firmin-Didot,
Kanzlist (sans), Burokrat (sans), Konigin Luise (sans), All Right (sans),
Schonbrunn (sans), Ideal-Schreibschrift III (sans), Hartwig-Schrift (by Hartwig
Poppelbaum Jr: Hartwig Schrift was digitized by Petra Heidorn in 2005),
Hartwig-Werkschrift (by Hartwig Poppelbaum Jr), Xylo, and Phänomen
(signage script).
1926 or 1927: The foundry is acquired by D. Stempel AG (50%) and H.
Berthold AG (50%).

[Google] [More] ⦿
Karl Klingspor [MyFonts] [More] ⦿

[Klingspor (or:
Gebrüder Klingspor)]
Kate Ferrara [More] ⦿

[Kate Ferrara Design
[was: KFD Digital
Goods]]
Kate Ferrara Design Kate Ferrara (KFD Digital

[was: KFD Digital Goods, Kate Ferrara
Goods] Design, or just KFD) is
[Kate Ferrara] located in Harrisburg, PA.
She created many
commercial fonts, which
she marketed via Creative Market [dead link].
Her typefaces are no longer available after complaints on the Dafont forum. A list of
the typefaces with the equivalences (if any) that were noted by Dafont forum
members:
Avenue (Kate Ferrara Design) = Intro (Fontfabric LLC). See the cut-off corners
of A and V.
Bleacher (Kate Ferrara Design) = New Athletic M54.
Captain.
Chill (Kate Ferrara Design) = RoundedRelief (1992, D. Rakowski) aka
Archer/3D Archer
City.
Craft (Kate Ferrara Design) = Mayonaise.
Ferrara (Kate Ferrara Design) = Coolvetica (1999, Ray Larabie)
House (Kate Ferrara Design) = Overhead BRK.
Illuminate (Kate Ferrara Design) = (slightly modified) Alpin Gothic Cg (Agfa)
Line (Kate Ferrara Design) = AW Conqueror Inline. [An inline sans]
Midwest (Kate Ferrara Design) = Legend M54.
Production (Kate Ferrara Design) = Movie Letters (Bou Fonts). Also see Briem
Akademi and Major Production NF
Quafdrant [A quarter circle-based stencil face]

River (Kate Ferrara Design) = Sedgwick Co

Rounder.
Sale (Kate Ferrara Design) = Yard Sale (2004, Harold Lohner) [Signage script]
Shipment (Kate Ferrara Design) compare with Basically Serif (fonts-lab)
Skinny (Kate Ferrara Design) = Disco.
Slabsketch (Kate Ferrara Design) = Sketch Block.
Slice (Kate Ferrara Design) = MK Stencil Sans Black. (2002, Manfred Klein)
Smooth (Kate Ferrara Design) = Mentone (2008, Jan Schmoege)
Social Circle [Icons]
Squeeze (Kate Ferrara Design) = Gill Sans Bold Extra Condensed
Surf (Kate Ferrara Design) = Sugo / Tes.
Tilt (Kate Ferrara Design) = SF Old Republic/SF New Republic (1999,
ShyFonts)
Winter (Kate Ferrara Design) = Freehand 521. [Connected fat script]
Kate still offers custom typeface design services at Kate Ferrara Design. [Google]
[More] ⦿
Kejak Fonts (was: Alexander S (aka Scott Dieznyik) made (mostly grunge) fonts in Mississauga,
Cheops) Ontario, and ran Kejak (formerly Cheops) Fonts, ca. 1997: his creations included
[Scott Dieznyik] Aadavalus, Honeybomb, This-Emulation, Keoki (not bad!), Lava-Lava (my favorite),
ThisEmulation, Eroded2020, Circuit Scraping, Demun Lotion, Equilibrium,
DustMites (a wonderful connected script based on Adobe's Sho Roman), Reticulan,
Typewise, Bitwise Beta, Chemical Gus, Mechoba and BitwiseAlpha. Alexander is no
longer making fonts. All his sites have disappeared.
Catalog. [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] ⦿
Keystone Type Philadelphia-based foundry, 1888-

Foundry 1917. The history of this short-lived
foundry was told by James Eckmann
in The Keystone Type Foundry, 1888-
1917: a reprint [from]
Printing&graphic arts, volume VI,
number 1, February 1958 (Lunenburg, Vermont: The Stinehour Press, 1958). Their
work appeared in Keystone Type Foundry, 1901 (362 pages), Abridged specimen
book, type: nickel-alloy on universal line comprising a price list of types, borders,
leads and slugs, brass rule, brass galleys; miscellaneous cuts and general supplies for
printers (1906, 636 pages, see also here, here and here), A book of Keystone type
typefaces (2nd ed., Philadelphia, ca. 1920), Catalogue and specimen book. Keystone
products, consisting of type, material, furniture, complete line of miscellaneous
supplies for printers and publishers, machinery and wood goods (Philadelphia, ca.
1910), See also Keystone Products Catalogue and Specimen Book, Consisting of
Type, Material, Furniture, Complete Line of Miscellaneous Supplies for Printers and
Publishers, Machinery and Wood Goods (1915).
Typefaces: Admiral, Ayer (Mac McGrew: Ayer was introduced by Keystone Type
Foundry in 1909, which said it was "named for F. Wayland Ayer, founder of Keystone
Type Foundry and the great advertising agency which bears his name." The non-
kerning italic was added in 1910.), Ben Franklin, Ben Franklin Condensed, Ben
Franklin Open, Bulletin, Caslon Adbold, Caslon Adbold Extended, Caslon Adbold
Extra Condensed, Caslon Bold, Caslon Bold Condensed, Caslon Bold Extended,
Caslon Bold Italic, Caslon Lightface, Caslon Lightface Condensed, Caslon Lightface
Italic, Caslon Title Extended, Charcoal, Charter Oak, Compressed Gothic, Condensed
Lining Gothic, Crayonette, Elite Typewriter, Gothic Condensed No. 3, Gothic No.
102, Gothic No. 114, Harris Italic (1910), Harris Roman (1909), Herculean Gothic,
Italia Condensed (1906), John Alden Decorative Initials (1906), John Hancock, John
Hancock Condensed, John Hancock Extended, John Hancock Outline, Keystone

Gothic, Laureate (1906: revived in 2012 by Isabel Urbina), Lining Antique

[Keystone], New Model Remington Typewriter, Outline, Outline Condensed,
Remington, Remington Typewriter, Round Gothic (1884), Skeleton Lining Gothic,
Skeleton Lining Gothic No. 19, Smith Premier, Title Gothic [Title Gothic No. 9,
Condensed Title Gothic No. 11], Venezia, Washington Text (1902, blackletter),
Washington Text Shaded.
Digital pictures I took from the Specimen Book of Type (1903): Bulletin, Keystone
Bikes, Boldface Cellini, Crayonette Open, Keystone Cyclers, Encore, Lining Antique,
Lining Gothic, Outing Initials, Remington Typewriter, Remus, Ronde Initials, Salem,
Venezia, Victoria Italic, Worcester. Catalog A-C, Catalog C-P, Catalog P-Z.
Digitizations:
The slab serif John Hancock (ca. 1903) and condensed slab serif John Hancock
Condensed (ca. 1917, Lanston Monotype) were digitized as Hancock RR
(1994) and Hancock Pro (2017) by Steve Jackaman (Red Rooster).
The Remington typewriter typefaces (ca. 1905) were digitized as Secret Service
Typewriter RR (2002) by Steve Jackaman (Red Rooster).
Roman TyresRR (1997) was made by Steve Jackaman (Red Rooster).
Poor Richard RR is based on a Keystone design from 1919, namely Ben
Franklin, Ben Franklin Condensed, Ben Franklin Open (named after Benjamin
Franklin's "Poor Richard Almanack"). There is also a free font Poor Richard
(1994, Projective Solutions).
Caslon FB (1992, Font Bureau) comes with this text: Our familiar Caslon Bold
headletters were invented around the turn of the twentieth century in the United
States and were only loosely based on William Caslons romans. The best of the
Caslon Bolds originated at the Keystone Type Foundry of Philadelphia, whose
Caslon Bold Condensed appeared about 1905, probably drawn by R.F.
Burfeind. Jill Pichotta revised his Bold Condensed&drew the Bold Extra
Condensed.
Gibbs Mason designed the art nouveau typeface Vanden Houten (1904) at
Keystone. This typeface was remade by Dan X. Solo as Dutch Treat at
Solotype.
Emerge BF (2009, John Bomparte) is a flare serif typeface that was inspired by
Admiral, c.1900.
Old Softy NF (2010, Nick Curtis) is a soft round typeface based on Round
Gothic (1884).
Commentaries by Mac McGrew:

On Harris Roman: Harris Roman was announced by Keystone Type Foundry in

1909. It was "named in honor of the late Joel Chandler Harris, author of Uncle
Remus." It is a plain modernized roman, somewhat similar to Century
Expanded. In 1910 Harris Italic was added; it was designed to be cast without
kerns. Advertising claimed, "Non-kerning italics will save endless annoyances
and losses resulting from broken letters, and the purchase price is the same as
any other type of our make."
[Google] [More] ⦿
Kiki Janson [More] ⦿

[Fontastic (La
Kikita)]
Kingsley ATF Typefoundry that grew out of ATF, which went bankrupt in 1933. It continued
operations until 1993. A bit of the prehistory: In 1892, twenty-three type foundries
joined together to compete with the new typesetting machine, the Linotype [and later,
the Monotype], to form ATF, which consolidated its type manufacturing facilities in a
new plant in Jersey City in 1903. They were the dominant foundry in America until
1933, when ATF went bankrupt. Its collection remains intact at the American Type
Founders Company Library&Museum at Columbia University in New York. The
Smithsonian possesses most of the original type drawings and many of the matrices,
and a number of other institutions and private individuals own matrices. Interestingly,
despite the bankruptcy, it continued in operation until 1993, when the Elizabeth, NJ
plant was finally liquidated. It was Kingsley's bankruptcy in 1993 that forced the final
closure of ATF. In the early part of the 20th century, ATF was the dominant American
foundry. [Google] [More] ⦿
Klaus Bartels [More] ⦿

[Babylon Schrift
Kontor]
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), 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).
View the Klingspor typeface library. [Google] [MyFonts] [More] ⦿

Kontex International Company in Atlanta, GA, that advertised some blackletter fonts in die deutsche
Schrift in 1993, such as Traditional Fraktur (4 styles). [Google] [More] ⦿
Kral Typefaces Born in Faribault, MN in 1974, Joseph Kral designs and sells his own typefaces. He
[Joseph Kral] lives in Pittsburgh. He founded Kral Typefaces (now defunct), and co-founded the
Test Pilot Collective.
His typefaces: AtariBaby (1998), Braille (1999), OCRJ (1998), OCRK (1998,
monospaced family), Twin Sites, Xerxes (1998), Lakestreet (1998), JoesFoot (1998),
Mechanical (1999), Kaliberuckus (2002, dot matrix), Pyrotechnics (1998), Saarikari
(1998, rounded sans), Quayzaar (2002, a squarish font), Tricon (2002, unfocused pixel
font), Shaolinstyle (1998), Stick26 (1998), Tryptomene (1998).
At GarageFonts around 1996, he made HannahBad, Kindee, Kral, Pooty.
Behance link. Home page. Klingspor link.
View Joe Kral's typefaces. [Google] [MyFonts] [More] ⦿
La Fondografica Typefoundry in Torino,

Italy, with offices in Milano,
Roma, Genova and Napoli.
Their typefaces are all
named after Italian cities
with a few exceptions:
Bassano, Rovigo, Chioggia, Tolmino, Como, Rovereto, Trento, Roma, Velletri,
Viterbo, Bernina, Casale, Garda, Lodi, Piacenza, Modena, Biologna, Remington,
Remington Chiaro. Credit for the images below, taken from their 1929 catalog: Jaime
Henderson. [Google] [More] ⦿
Lange Type Foundry Extinct 20th century foundry in Saint

Petersburg. Their fonts included Placard,
which was an adaptation of Hermes Grotesk
(Wilhelm Woellmer, 1911). [Google] [More]
⦿
Lanston Monotype Extinct but influential foundry from the 19th and 20th centuries. P22, the present
Machine Company owner of the Lanston collection, writes: The Lanston Monotype Company was

[Tolbert Lanston] founded in Philadelphia at the end of the nineteenth century by Tolbert Lanston (d.
1913). In 1887 he received his first patent for a mechanical typesetting device. Later
refinements led to the Monotype casting machine and the emergence of the Lanston
Monotype Company as one of the most renowned type supply companies in the world.
The Monotype caster was revolutionary and along with other automated typesetting
machines helped to usher in a new age of printing technology. Typesetting had, until
this time, remained the same as Gutenberg's first hand-set movable type.
In the late 1800s, Tolbert Lanston licensed his technology to an English sister
company and became a major international force, competing with the Mergenthaler
company, whose Linotype was a slightly different approach to the same problem. Both
cast type from molten lead alloy on demand, fresh for each job, then recycled it. But
whereas the Linotype cast whole lines (or slugs) at a time, the Monotype cast single
letters, composing them into a page with an action that is a joy to behold.
Lanston Monotype grew rapidly with America's pre-eminent type designer Frederic
Goudy as art director from 1920 to 1947. The type library was directed by Sol Hess,
who also designed some of the typefaces.
The Philadelphia-based company eventually parted ways with its English counterpart.
The thriving English Monotype became simply known as Monotype. By contrast
Lanston went through mixed fortunes and lost ground to Mergenthaler. A long-lasting
labor dispute interfered with production and servicing of the Monomatic (an
absolutely incredible typesetting machine) according to the man who would later own
the company, master printer Gerald Giampa. Customers were upset, and the firm was
sold on several times until American Type Founders bought it in 1969. Giampa
continues the story: "They stopped manufacturing casters because they had always
competed with their foundry sales. Then it became a department of Hartzel Machine
Works that also manufactured moulds and re-built casters. Then on to Mackenzie and
Harris, a type foundry in San Francisco, then purchased by myself and re-located in
Vancouver."
Lanston continued supplying the American market for monotype casters until January
21, 2000, when the hot-metal component of Lanston was tragically destroyed by a
tidal wave. After this time Giampa, who was one of the earliest developers of
PostScript fonts, focussed much more on digitization. Under his stewardship,
Lanston's classic typefaces were digitized in a style that was true to the sources, which
are the brass and lead patterns from which the metal type was made. The company
relocated to Finland, then back to Canada.

In November 2004 P22 type foundry of Buffalo, NY acquired Lanston Type. P22
studios will re-master Lanston's fonts, including the classic designs of Frederic Goudy
and Sol Hess, along with newer designs by such contemporary masters as Jim
Rimmer, Dave Farey, and Gerald Giampa himself.
The Monotype specimen book of type typefaces (1922, Philadelphia) is a specimen

book that is now on the web. View the typefaces designed by Lanston. [Google]
Lanston Type Co The Lanston Type Co was based in PEI,

[Gerald Giampa] Canada, moved in 2002 to Vancouver, and
moved later that year to Espoo, Finland. In
2004, Lanston was sold to P22. It has classic
and wonderful offerings such as Albertan,
Bodoni, Caslon, Deepdene (Frederic Goudy,
1929-1934; see D690 Roman on the
SoftMaker MegaFont XXL CD, or URW Deepdene, or Barry Schwartz's Linden Hill
(a free font)), Goudy Oldstyle, Jacobean Initials, Kennerly, Kaatskill, Water Garden
and Jefferson Gothic. Owned by Gerald Giampa (b. 1950, d. Vancouver, 2009), who
wrote me this: Frederic Goudy worked for us for 29 years. We manufactured
Monotype casters and keyboards. The English sister company sold casters to England
and the Commonwealth and we sold to the Americas and wherever else practical.
Tolbert Lanston, our founder, was the inventor of Monotype. We still sell matrices and
were punching them until several years ago. Soon we expect to have the equipment
moved and operational once again. We are placing it into America's largest printing
museum which is in Andover close to Boston. However there is a possibility that it will
end up in Hull Québec. Our previous type director was Jim Rimmer of Vancouver,
noted type designer. He designs, cuts and cast type in lead. Our typeface Albertan was
designed by Jim and is very successful. John Hudson and Ross Mills of Tiro were
directly inspired by our facilities in Vancouver. I encouraged them towards type
design. The beautiful Bodoni 26 (unicase) can be bought at FontShop. Atlantic 35
(1909-1935) is a modern family first used by the Atlantic Monthly in 1909.
The fonts: Albertan No. 977, Albertan Bold No. 978, Albertan Title No. 980,&Inline
No. 979, Bodoni No. 175, Bodoni Bold No. 2175, Bodoni 26 (a Lanston unicase
based on an interpretation by Sol Hess), No. 175, Caslon Old Style No. 337, Caslon
Bold No's 637,&537, Deepdene No. 315, Figures Square No. 132, Flash No. 373,
Fleurons C, Fleurons Granjon Folio, Fleurons Folio One, Forum No. 274, Francis No.
982, Garamont No. 248, Globe Gothic No's 240,&239,&230, Goudy Initials No. 296,

Goudy Old Style No. 394, Goudy Thirty No. 392, Goudy Village (#2) No. 410,
Hadriano Stone-Cut No. 409, Hadriano Title No. 309, Jacobean Initials, Jefferson
Gothic No. 227, Jenson Old Style No. 508, Kaatskill No. 976, Kaufmann (Lanston
Swing Bold) No. 217, Kennerley Old Style No. 268, Metropolitan No. 369, Obelisk
No. 2577, Pabst Old Style No. 45, Pabst Old Style Open, Spire No. 377, 20th Century
No. 605, Vine Leaves C, Vine Leaves Folio One, Vine Leaves Folio Two, Water
Garden Ornaments. P22 writes this about Lanston: In the late 1800s, Tolbert Lanston
licensed his technology to an English sister company and became a major
international force. Lanston grew rapidly with America's pre-eminent type designer,
Frederic Goudy, holding the position of art director from 1920-1947. The
Philadelphia-based Lanston Monotype eventually parted ways with its English
counterpart. English Monotype became simply known as Monotype from that time
forth. Lanston was acquired by American Type Founders in 1969. After a series of
other owners, the company found its way to master printer Gerald Giampa, who
moved it to Prince Edward Island in 1988. During its time of transition, Lanston
continued supplying the American market for monotype casters until January 21,
2000, when the hot-metal component of Lanston was tragically destroyed by a tidal
wave. Giampa was one of the earliest developers of PostScript fonts. After the loss, he
focused on digitization to an even greater extent. Under his stewardship, Lanston's
classic typefaces were digitized in a style that was true to the sources, which are the
brass and lead patterns from which the metal type was made. The past few years have
seen Giampa and Lanston travel from Canada to Finland, and back again. Now,
Lanston has completed another journey back to the United States to come under the
care of a new steward: P22. Giampa is answering the call of the sea. He has traded
his type founder's hat for that of a ship's captain to sail the northern Pacific coast.
During his shore leaves, Giampa will act as typographic consultant to Lanston-P22.
The P22 Lanston collection (2005-2006) was designed wih the help of people such as
Paul Hunt and Colin Kahn. It includes these typefaces:
LTC Archive Ornaments (2014, Richard Kegler and Miranda Roth).

LTC Artscript.
LTC Athena.
LTC Bodoni 175. Digital version by Paul Hunt. This is supposed to be close to
the original Bodoni.
LTC Bodoni 26.
LTC Bodoni Bold.
LTC Broadway. By Sol Hess.
LTC Californian.

LTC Camelot.
LTC Caslon Remix.
LTC Caslon.
LTC Christmas Ornaments.
LTC Circled Caps.
LTC Cloister.
LTC Creepy Ornaments.
LTC Deepdene.
LTC Figures.
LTC Flash.
LTC Fleurons Garamont.
LTC Fleurons Granjon.
LTC Fleurons Rogers.
LTC Forum Title.
LTC Fournier Le Jeune. A decorative all caps combines the font designed by
Simon Fournier for the Peignot Foundry in 1768 with a more elaborate "Vogue
Initials" caps offered by ATF in the 1920s.
LTC Garamont.
LTC Glamour. LTC Glamour was originally released by Lanston Monotype in
1948. It is based on Corvinus, designed by Imre Reiner. P22 designer Colin
Kahn has added some unusual variants.
LTC Globe Gothic.
LTC Goudy Extras.
LTC Goudy Handtooled.
LTC Goudy Heavyface.
LTC Goudy Initials.
LTC Goudy Modern.
LTC Goudy Oldstyle.
LTC Goudy Open.
LTC Goudy Ornate.
LTC Goudy Sans. Goudy Sans Bold was originally designed by Fredric Goudy
in 1922 as a less formal "gothic" and finished in 1929. The light was designed
in 1930 and the Light Italic in 1931. Colin Kahn digitized them in 2006 to make
a 6-style Goudy Sans family at P22/Lanston, which includes a Goudy Sans
Hairline.
LTC Goudy Text.
LTC Goudy Thirty.
LTC Hadriano.

LTC Halloween Ornaments.

LTC Hess Monoblack.
LTC Holiday Ornaments.
LTC Holly Leaves.
LTC Italian Old Style (2007, by Paul Hunt, after Goudy Italian Oldstyle, 1924).
Remastered in 2011 by Paul Grieshaber as LTC Italian Old Style Pro: LTC
Italian Old Style is not to be confused with the English Monotype font also
called "Italian Old Style", which is an earlier design from 1911 based on
William Morris's Golden Type that is based on Nicholas Jenson's Roman face.
Goudy went back to Jenson's original Roman and other Renaissance Roman
typefaces for his inspiration and the result is what many consider to be the best
Renaissance typeface adapted for modern use. Bruce Rogers was one of the
biggest admirers of Italian Old Style and designed the original specimen book
for Italian Old Style in 1924 using his trademark ornament arrangement. These
ornaments are now contained in the pro versions of the Roman styles- Regular
Pro and Light Pro.
LTC Jacobean Initials.
LTC Jefferson Gothic.
LTC Jenson. LTC Jenson Oldstyle was designed by J. W. Phinney of the
Dickinson Type Foundry in 1893 and is based on Morris's Golden Typeface.
This remastered set features a true italic based on the 1893 ATF italic version as
well as a newly digitized Jenson Regular (P22) and Jenson Heavyface (P22)
based on Phinney's design of 1899.
LTC Kaatskill. The italic was completed by Jim Rimmer.
LTC Kennerley.
LTC Keystone Ornaments.
LTC Law Italic (Lanston's digital version from 2006). Mac McGrew: Law Italic
is said to have originated as an imitation of formal styles of penmanship used
for legal documents. The most common of several substantially different
varieties is ATF's Law Italic No. 520, which originated with Marder, Luse about
1870. Several of the capitals are swash-like, while lowercase f and g have
distinctive shapes. It has long thin serifs and sharp contrast between thick and
thin strokes. Inland called the same design Caledonian Italic. Hansen had
Barrister Italic. Monotype's Law Italic No. 23 is a sloped roman, somewhat
similar to Ronaldson. Other Law Italics are obsolete.
LTC Metropolitan.
LTC Nicolas Cochin.
LTC Obelysk Grotesk. A reconstruction of Sol Hess's Spire (1937) (digital

versions first by Gerald Giampa and then by Colin Kahn).

LTC Octic Gothic.
LTC Ornamental Initials. Floriated caps.
LTC Ornaments Animalia.
LTC Ornaments One.
LTC Ornaments Three.
LTC Ornaments Two.
LTC Pabst Oldstyle.
LTC Powell.
LTC Record Title.
LTC Remington Typewriter.
LTC Spire.
LTC Squareface. By Sol Hess.
LTC Swing Bold.
LTC Tourist Gothic. By Sol Hess.
LTC Twentieth Century.
LTC Village No 2.
LTC Vine Leaves.
LTC Water Garden Ornaments.
Fonts can be purchased from MyFonts where all fonts have the prefix LTC. Obituary
of Giampa and links to obituaries.
Catalog of the Lanston typeface library. View the typefaces designed by Lanston. A
more extensive page of Lanston Monotype typefaces. [Google] [MyFonts] [More] ⦿
LaserGo Defunct font producing outfit that was run by Scott Prouty from San Diego. They
produced fonts such as Cherry (1992), Basil, Bramble, Brandy, Buckwheat, Celery,
Chicory, Endive, Flax, Foxglove, Fuschia, Garlic, Geranium, Gourd, Heather,
Hibiscus, Kiwi, Macadamia, Orchid, Oregano, Pansy, Poppy, Sage. The collection is
archived here. [Google] [More] ⦿
Leslie Usherwood [MyFonts] [More] ⦿

[Typsettra]
LetterGraphics Photolettering foundry

[Marc Jones Barry run by Marc Jones
Kimbrough] Barry Kimbrough in
Culver City, CA.

Russell Bean worked for the Los Angeles studio of Lettergraphics International in
charge of lettering, logo design and converting type designs to film fonts. It was at this
time (1973) that the Washington family (digital version at Type Associates, Russell
Bean's present company) was completed. The company ceased operations in the mid-
1980s.
The 1974 catalog of Lettergraphics shown in ULC 1974 includes these typefaces:
House styles: Virginia, Vantage, Grading, Joe, Heritage, Chaparral, Radius,

Nectar, JoJo, Dojo, Harvey, Spatz, Mamoru, Wellington, Sebastian, Belden,
Parquet, Della, Nippy, Hess, Totemic, Ruby, Big Fat, Simoes Classic,
Serendipity, Kiwi, Angelo, Bethany, Right-On Neon, Klein Lined, McGrath,
Fitzner Caps, Skidoo Outline, Plastic.
By Joseph Churchward: Twenties, Churchward Sans, Churchward Roman,
Churchward Lined.
By Marlene Steen: Steen Sans.
By Michael Di Canzio: Di Canzio Sans.
By Donald Carboni: Carboni.
By Patrick Collins: Arlenette.
By Edston J. Detrich: Detrich Sans.
By Martha A. Rowland: Rowland Grotesk.
By John E. Lorish: Lorish Shadow.
By Alfted Guerra: Times Square.
By Reynolds M. Roberts: Roberts Square.
By Peter Solly: Colescombe.
By Robert F. Brightman: Streak, Brightman.
By Robert L. Cooley: La Grange, La Grange Black.
By Herbert L. Frager: Frager Punch.
By Anthony Liliefeldt: Padua.
Ray L. Herness: Herness Script.
Robert E. Gotsch: Botsch Glob, Botsch Toe.
Donald L. Vernon: Chrome.
Digital revivals:
Nudity PB (2018, Phil Bracco) revives Ad Shadow as a layerable font.

Wintermint (2018, Phil Bracco) revives and extends the flared almost
psychedelic typeface Lori.
Boilermaker (2018, Stiggy&Sands) is a revival of the tall condensed sans
LetterGraphicstypeface Flair G100.

The psychedelic (art nouveau inspired) typeface called Cantini (1972) was
digitally revived and expanded by Patrick Griffin as Salome (2007, Canada
Type).
Intrigue is a Lettergraphics film typeface that was digitized, revived and
expanded to a large octagonal / mechanical typeface family, Contraption, by
Phil Bracco (Pink Broccoli).
Scrwby (2013, Phil Bracco) is a revival of Surf.
Virginia (2008, Russell Bean) is a digitization of an old avant garde typeface by
Bean himself from ca. 1970 that won a Lettergraphics typeface competition. It
was extended by two weights and redrawn in 2016 as Virginia Neo.
Rebecca Alaccari (Canada Type) designed Goudy Two Shoes in 2006, an
expansion of the film typeface Goudy Fancy by Lettergraphics.
Good Grief PB (2015, Phil Bracco) started out as a revival of Carmel (or
Karmel).
MardiKrewePB (2015, Phil Bracco) started as a digitization of a (psychedelic)
film typeface called MardiGras by Lettergraphics.
Maile was digitized and extended by Stiggy & Sands as Husk in 2018.
Gene Eidy's Sukiyaki (1968, Lettergraphics) was eventually digitized (without
permission) by Jonathan Smith as Hirosh (1993).
[Google] [More] ⦿
Lettering Inc. Chicago-based company

founded in 1939 by
Edwin W. Krauter, which
created lettertypes from
the 1930s until the 1970s.
In 2010, Stuart Sandler (Font Diner) announced that it intends to digitally revive the
collection. He writes:
Founded in 1939 by Edwin W. Krauter of Chicago, Lettering, Inc. produced its own
patented Photo-Ray process of lettering (US Pat 2165861) in which transparent
letters made from original alphabets were assembled by hand and then placed in a
line (angled or curved if so desired) and then photographed. This "glass setting"
process created flawlessly set headlines and, with multiple character forms to choose
from, the headline looked authentically lettered.
An early competitor of Photo Lettering, Inc, they employed such notable lettering
artists of the time as Oscar Ogg, Ray DaBoll and Ray Baker, among others. At its

height in the late 1960s, Lettering, Inc. had as many as 14 franchises operating in the
US and Canada and was continually producing new alphabet designs. As the market
changed and computer technology evolved, Lettering, Inc. became less of a supplier
of type to the ad agencies and became more involved as a supplier of high-end
graphics and type to the big Detroit auto makers. Today, from its Southfield, Michigan
office, Lettering, Inc. continues to provide various graphics services to a diverse
group of customers.
Each Lettering, Inc. alphabet was originally designed with nearly 3-4 alternate glyph
forms for every character and ligature pair, many with well over 300 Latin characters
alone. Stuart Sandler, President of Font Diner, Inc. intends to release the Lettering,
Inc. library in OpenType format so the original designs can be fully realized with a
dynamic feature set including every alternate glyph forms and automatic substitutive
ligature as it was designed by the original artists. "We're also thrilled to be working
from the original ink drawings on board by the original Lettering, Inc. artists that
have been in the Lettering, Inc. archives since the 1930s." says Sandler.
"We are very happy to work with Font Diner to once again make these beautiful and
unique typefaces available to the public." says Karin Krauter of Lettering, Inc. "So
much of this wonderful collection has never been seen before and we're pleased to
honor and revive the work of these highly-skilled and talented lettering artists from
the heyday of lettering to be appreciated and enjoyed by modern designers again",
explains Sandler.
An illustrated history of Lettering, Inc. is currently being researched and written by

Sandler with the assistance of many current and former Lettering, Inc. employees. His
work will accurately re-tell the evolution of Lettering, Inc., its founder Ed Krauter and
the significant contributions of Lettering, Inc. to the typographic industry. A re-release
of the original Lettering, Inc. catalogs is also planned.
Sample. Another sample. And another one.
In 2012, production started with Feather Script (Patrick Griffin).
In 2013, the large advertising headline sans family Directors Gothic (Neil
Summerour) followed. [Google] [MyFonts] [More] ⦿
Lomofonts
[Fidel Peugeot]

Lomofonts were made by Fidel Peugeot in

1997-1999. They are pixel/grid fonts at all
possible pixel sizes (Mac T1 format):
LomoWall (53 font weights), LomoWeb
(8 font weights), LomoSamples (4 font
weights), LomoCopy (18 font weights), LomoAS(ActionSampler) (50 font weights).
The following fonts made in 1999 became part of the Linotype Taketype 5 collection
in 2003: LomoCopy LT Std Black, LomoCopy LT Std Butt, LomoCopy LT Std Lite,
LomoCopy LT Std Medium, LomoCopy LT Std Mezzo, LomoCopy LT Std Midi,
LomoCopy LT Std Regular, LomoCopy LT Std Sall, LomoCopy LT Std Zigg,
LomoSamples LT Std 1, LomoSamples LT Std 2, LomoSamples LT Std 3,
LomoSamples LT Std 4, LomoWallChart LT Std 50, LomoWallDot LT Std 50,
LomoWallGrid LT Std 50, LomoWallMinus LT Std 50, LomoWallOutline LT Std 100,
LomoWallOutline LT Std 50, LomoWallOutline LT Std 55, LomoWallPixel LT Std 0,
LomoWallPixel LT Std 100, LomoWallPixel LT Std 50, LomoWallRiokan LT Std 50,
LomoWallStrip LT Std 0, LomoWallStrip LT Std 100, LomoWallStrip LT Std 50,
LomoWebPixel LT Std 4, LomoWebPixel LT Std 5, LomoWebPixel LT Std 6,
LomoWebPixel LT Std 7, LomoWebPixel LT Std 9, LomoWebStrip LT Std 4,
LomoWebStrip LT Std 5, LomoWebStrip LT Std 6, LomoWebStrip LT Std 7,
LomoWebStrip LT Std 9.
The site disappeared after a few years. The Lomo font collection of 37 fonts can now
be purchased from Linotype. [Google] [MyFonts] [More] ⦿
Los Angeles Type Extinct type foundry. They published Type specimen book for Los Angeles Type
Founders Founders (early 1970s). [Google] [More] ⦿
Lubalin Burns and Defunct foundry from the 1970s. [Google] [More] ⦿
Co.
Lubalin, Smith, Foundry prominent in the photolettering period featuring fonts by Herb Lubalin and
Carnase Tom Carnase. The typefaces have the acronym LSC in their names, such as LSC
Book. The company evolved into Lubalin, Burns and Co, which in turn evolved into
ITC, which was set up in 1970 by Herb Lubalin, Aaron Burns and Edward
Rondthaler. [Google] [More] ⦿
Lucien Pissarro [MyFonts] [More] ⦿

[Eragny Press]
Ludlow

[Robert Hunter Foundry in Chicago

Middleton] run by Robert Hunter
Middleton.
Myfonts.com states
The type library was largely derivative, with some original scripts. After Middleton's
death, and Ludlow's demise, most of the typefaces from the Ludlow library were
licensed exclusively to International TypeFounders, Inc., (ITF) and are part of the Red
Rooster collection. Fonts by Middleton at Ludlow include Bodoni Campanile, Bodoni
(see Bodoni D Black by URW, and Bodoni Campanile Pro (2017) by Steve
Jackaman), Coronet, Mandate, Lafayette (now sold by Font Bureau), Tempo (see
Tempo by Monotype), and Umbra (now sold by Bitstream and Monotype).
Ludlow house typefaces revived by Steve Jackaman include Caslon RR Extra

Condensed, Chamfer Gothic (the original being from ca. 1898), and Gothic Medium
Condensed.
A renewed Ludlow was established in 2001 and is run from the UK. Current (2002)
catalog: Admiral Script (Robert H. Middleton's formal script, 1953: see the digital
revival by Ralph Unger in 2005), Adrian VGC (2003), Annonce Grotesque
(Wagner&Schmidt, 1914), Delphian Open Title (Robert H. Middleton), Flair
(connected writing, 40-50s style), Franklin Gothic ExCnd Title, Founders Garamond
(based on the Berner type specimen of 1592), Lotther Text (blackletter based on an
alphabet of Melchior Lotther, 1535), Ludlow Ornaments (2001), Ludlow Stygian (art
deco, which inspired Nick Curtis' 2009 font Kharon Ultra NF), Maxim (Peter
Schneidler, hand-printed font from 1955), Orplid (Hans Bohn), Samson (Robert H.
Middleton), Speedball Roman, Ludlow Stencil (1937, Robert H. Middleton; a digital
revival includes Jeff Levine's Favorite Stencil JNL (2015)), Tempo MedCond (Robert
H. Middleton), Theda Bara (great titling type), Vulcan Shaded (based on the design of
the Richard Gans Foundry in Madrid), Karnak Black (Egyptian slab serif originally
designed by Robert Hunter Middleton in 1930), Oriana (blackletter font based on a
design of the Imprimerie Nationale, Paris), Ludlow Square Gothic
(revival/modernization of a 1920s font by Robert Wiebking for Ludlow), The Hardy
Arcade (like Umbra), Ogre, Vulcan Bold (a display font inspired by a 1925 design of
the Richard Gans Foundry, Madrid), Walbaum. Crestwood (2006, Ascender) is an
updated version of an elegant semi-formal script typeface originally released by the
Ludlow Type Foundry in 1937.
View a list of digital typefaces derived from the metal typefaces at Ludlow.
Ludlow Foundry: List of some digital fonts. [Google] [MyFonts] [More] ⦿

Ludwig Wagner Leipzig, Germany-based foundry with

Schriftgiesserei 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, for ads), 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), Allright (1936), Altenburger

Gotisch (1928), 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), 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)
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)
MacKellar, Smiths Philadelphia-based foundry, which evolved in 1860 from the Johnson Type Foundry,
and Jordan which in turn evolved from Binny&Ronaldson. The proprietors were Thomas
[Thomas MacKellar] MacKellar (1812-1899), John F. Smith, Richard Smith, and Peter A. Jordan.
MacKellar became one of the foundries merged into ATF in 1892. Faces cut by them
include the garalde Ronaldson Old Style (1884), named after James Ronaldson, one of
its founders, and Campanile (1879). Monotype issued its own version of this typeface
in 1903 with short ascenders and capitals the size of these ascenders. Jim Spiece did a
revival of a classic Victorian typeface and calls it Zinc Italian SG (2002). The
Victorian decorative typeface Ornamented No.5 (1888) was digitized and extended in
2007 by Nick Curtis as Vidalia Sunshine NF. Hermann Ihlenburg was one of their
main punch cutters and type designers. Michael Hagemann made a blackletter
typeface Spanish Main (2009) after an 1896 typeface called Sloping Black. The 1882
blackletter typeface Borussian was digitized by Nick Curtis and is called McKellar
Borussian NF (2009). Hickory (2009, Michael Hagemann) is a revival of an unnamed
ornamental Western font dating back to 1852 and was sold through a few different
type foundries including Bruce, MacKellar Smiths&Jordan and James Conner's Sons.
Monastic (see the1892 book Compact Specimen Book, page 280) was digitized by
Toto as K22 Monastic (2010).
Specimen books include Specimens of original printing types cast by the patentees
MacKellar, Smiths&Jordan co (ca. 1890), Specimens of printing types: ornaments,
borders, corners, rules, emblems, initials, &c (1892, Philadelphia), Specimens of
Printing Types (1890), 20th edition of the Compact Specimen Book (1892), Specimens
of printing types, borders, cuts, rules, &c. MacKellar, Smiths&Jordan (1868),
Specimens of printing types ornaments, borders, corners, rules, emblems, initials, &c.
(1892), and Specimens of printing types made by the MacKellar, Smiths&Jordan co.,
type founders and electrotypers (1889). Also worthy of exploration is 1796-1896: One
hundred years, Mackellar, Smiths and Jordan foundry (1896).
Study and listing of their typefaces by yours truly. [Google] [MyFonts] [More] ⦿

Madras Type Type foundry from the early part of the 20th century, located in Madras, India.
Foundry [Google] [More] ⦿
Magic Fonts This used to be be a great kiwi professional font service site run by Marvin Wong out
[Marvin Wong] of Auckland. Our professional services feature a wide range of expertise in Image
Fonts, Picture Fonts, Logo Fonts, Signature Fonts, Symbol Fonts, Handwriting Fonts,
and Multiple Language Fonts. Several truetype sample fonts could be downloaded.
Prices varied from 10USD (one signature) to 120USD (full connected handwriting
font). Fonts: MFpad4, MFpatent, MFrings2, MF-hint, MF-pic, MF_bankcheck (MICR
font), MF_boats, MF_sig, MFbmw5b, MFbmwZ8, MFcareCA, MFcareJP, MFrings,
MFrky6. It disappeared ca. 2004 after only a handful of years. [Google] [More] ⦿
Marc Jones Barry [More] ⦿

Kimbrough
[LetterGraphics]
Mark Solsburg [More] ⦿

[Grosse Pointe Group
LLC]
Marvin Wong [More] ⦿

[Magic Fonts]
Matt Dennewitz [More] ⦿

[Font Emporium]
Maurice Ollière et cie Paris-based foundry. Their work can be found in Extrait du spécimen des caractères
de la fonderie typographique de Maurice Ollière&cie, successeurs de
Lespinasse&Ollière (Paris, 25, rue Julie, 25, Paris [1901?]) [This small booklet has no
full character sets], and Spécimen: gravures&vignettes, filets&sujets (Paris :
Gravure&fonderie typographiques de Maurice Ollière&Cie, 252 pages).
The company designed Garamond Ollière in 1914, a typeface that was at the basis of
Garalda designed in 2016 by Xavier Dupré at TypeTogether. [Google] [More] ⦿
Maxime Buechi [More] ⦿

[B&P Typefoundry]
Mayeur Type
Foundry
[Gustave Mayeur]

The Mayeur Type

Foundry was based at
21 Rue de
Montparnasse in Paris
and operated from
1882 until 1919 under
the direction of
Gustave Mayeur.
Mayeur's work can be found in Spécimen-album de la fonderie Gve Mayeur,
Allainguillaume&cie, succrs. Labeurs&journaux, initiales&caractères variés de
fantaisie, vignettes, ornements, etc (Paris, 1895, and later revisions) and Nouvelle
collection des anciens types du XVIIe siècle imités par la Fonderie Gustave Mayeur
(Paris, Fonderie typographique Gustave Mayeur, 21--rve dv Mont-Parnasse, 1883)
(1888 edition). A major publication is Spécimen-album de la fonderie Gve Mayeur,
Allainguillame&cie, succrs. Labeurs&journaux, initiales&caractères variés de
fantaisie, vignettes, ornaments, etc (Paris, rue du Montparnasse, no 21-VIe
arrondissement [1897], 343 pages, a comprehensive specimen book) (1900 edition,
288 pages, 1903 edition, 329 pages). Most of these books are simply magnificent, if
only for the splendid use of frilly ornaments and borders, initial caps, Normandes
(heavy didone titling typefaces), Italiennes (Western or Egyptian style), and emblems
(such as the Armoiries des villes de France). Somehow, Fonderie Mayeur evolved (in
an unclear manner, to me at least) from l' ancienne Maison Battenberg, created in
1843 by Battenberg, graveur and fondeur, located in rue du Dragon, 20, Paris.
Battenberg's gorgeous engravings include vignettes du moyen age, vignettes raisins,
vignettes grimpantes, vignettes rubans, vignettes treillage, tetes de chapitre, culs de
lampe, fleurons, titling ornaments and initials. Their specimen books have many
jewels, such as this Mauresques Noires (1898). Gustave Mayeur is credited with the
Wedding Plate Script typeface. [Google] [More] ⦿
Mecanorma French graphics lettering company

initially involved in instant lettering
(made by Trip Productions), and some
original typeface designs. From 1989 until 1994, Mecanorma worked with another
Dutch company Visualogik to create digital versions of their typefaces, all having MN
in their names. Monotype licensed and digitized some of Mecanorma's typefaces. In
1995, Mecanorma got out of graphics and stepped into home decoration. In 1999, Trip
Productions, a Dutch Company located in Lisse, purchased the Mecanorma brand and
what was left of the company. In 2004, International TypeFounders from Cedars, PA,
licensed the typefaces from Trip Productions and released them as the Mecanorma

Collection.
Their collection includes some great fonts: Access, Artdeco, Artworld, BalloonMN,
Brio, BusoramaMN, Campus, CardCamio, Carplate, CaslonAntiqueVL, ChocMN,
CircusMN, ComicStripMN, DynamoMN, Galba, Globe-Gothic-Outline, Glowworm,
Jackson, LibraMN, MtPlacard, Ortem, Renault, RoslynMN, Sayer, SayerScriptMN,
SquashMN, Sully-Jonquieres, Watch-Outline. You can also buy through Atomic Type.
Projected new URL, which I am afraid will never be activated because in 1999, the
company was bough by the Dutch company Trip Productions.
MyFonts sells these typefaces: Access, American Uncial, Anatol, Arnold Bocklin (art
nouveau), Artdeco, Artworld (an embossed font), Aster, Balloon (brush font), Blippo
Black, Brio, British Inserat, Brush, Bulletin Typewriter, Caligra (blackletter), Campus
(athletic lettering), Cardcamio, Carplate, Caslon Antique, Celtic (in the style of
University Roman), Chicago (dot matrix / marquee typeface), Chinon, Choc (brush
script), Circus (Western font), Classic Script (a copperplate calligraphic script), Comic
Strip, Commercial Script, Contest, Cooper Black, Dubbeldik, Dynamo, Egyptienne,
Estro (Western font), Eurostile, Forelle, Fumo Dropshadow MN, Galba (Trajan
typeface), Globe Gothic, Glowworm (a bubblegum font), Gothique (blackletter),
Hansson Stencil, Hillman, Hotel (multilined art deco), Isonorm, Jackson, Jubilee
Lines (an engraved money font), Latina, Leopard, Libra (uncial), Michelina
(anthroposophic), Milton, Mistral, Normalise Din, Old Style, Olive, Orator, Organda,
Ortem, Polka (a brush typeface), Renault, Rondo (retro script), Roslyn, Sayer
Interview (old typewriter font), Sayer Script, Sayer Spiritual, Squash, Stencil, Stop
(stencil typeface), Studio, Swaak Centennial (pure art nouveau), Tzigane, Viant,
Vivaldi, Voel Beat (beveled), Watch Outline (LED font), Windsor, Zambesi (African
look font).
Designers include Albert Boton, J.H. Crook, Jan van Dijk, J. Dresscher, Roger
Excoffon, U. Fenocchio, L. Fumarolo, William Gillies, N. Glason, Lennart Hansson,
B. Jaquet, K. Kochnowicz, J. Larcher, C. Mediavilla, José Mendoza y Almeida, L.
Meuffels, Aldo Novarese, Georges Renevey, F. Robert, Manfred Sayer, M. Schmidt,
J.P. Thaulez, J. Werner and Bogdan Zochowski.
The Western slabby font Figaro MT (2004) is ascribed to Mecanorma.
A list culled from the web: AccessMN-Bold, AccessMN-Medium,

AmericanUncialMN, AnatolMN, ArnoldBocklinMN, ArtdecoMN, ArtworldMN,
AsterMN-Demi, AsterMN-Roman, BalloonMN-Bold, BalloonMN-ExtraBold,
BlippoBlackMN, BrioMN, BritishInseratMN, BritishInseratMNCondensed,

BrushMN, Bulletin-Typewriter, BusoramaMN-Bold, CaligraMN, CampusMN,

CardcamioMN, CarplateMN, CaslonAntiqueVL, CelticMN-Bold, CelticMN-Italic,
CelticMN, CenturyMNCondensed-BoldItalic, CenturyMNCondensed-Bold,
CheltenhamMN-Book, CheltenhamMN-BookItalic, CheltenhamMN-Ultra,
ChicagoMN, ChinonMN, ChocMN, CircusMN, ClassicScriptMN, ComicStripMN-
Italic, ComicStripMN, CommercialScriptMN, ContestMN, Cooper-Black-Italic,
Cooper-Black-Outline, CooperBlackMN, CushingMN-Book, CushingMN-Heavy,
CushingMN-HeavyItalic, CushingMN-Medium, DubbeldikMN, DynamoMN-Bold,
DynamoMN-Medium, DynamoMN-Shadow, EgyptienneMNCondensed-Bold,
ElanMN-Extended, ElanMN-Light, ElanMN-Medium, EnrouteVL, ErasMN-Book,
ErasMN-Demibold, ErasMN-Ultra, ErasMN, EstroMN, EurostileMN-Extended,
EurostileMN-ExtendedBold, EurostileMN-Medium, FidelioMN, FolioMN-Bold,
FolioMN-Extrabold, ForelleMN, FranklinGothicMN-Book, FranklinGothicMN-
BookItalic, FranklinGothicMN-Heavy, FrizQuadrataMN-Bold, FrizQuadrataMN,
Fumo-DropshadowMN, FuturaBlackMN, GalbaMN, Gillies-Gothic-Bold, Gillies-
Gothic-Light, Gillies-Gothic-Ultra-Shadow, Gillies-Gothic-Ultra, GlobeGothicMN-
Bold, GlobeGothicMNCondensed-Bold, GlobeGothicMNOutline, GlowwormMN,
GlowwormMNCompressed, GorillaVL-Bold, GothiqueMN, HanssonStencilMN-
Bold, HanssonStencilMN, HillmanMN, HillmanMNCondensed, HotelMN,
IrishUncialVL, IsonormMN, Italia-Bold, Italia-Book, Italia-Medium, JacksonMN,
JubileeLinesMN, LatinaMN, LeopardMN, LibraMN, MRunic-Condensed,
MSwingBold, MachineMN-Bold, MachineMN, MichelinaMN, MiltonMN-Demibold,
MistralVL, MtPlacard-Condensed, NormaliseDinMN, OklahomaState,
OliveCompactMN, OliveMNBold, OliveNordMN, OratorMN, OrgandaMN-Bold,
OrgandaMN, OrtemMN, PascalMN, PolkaMN-Bold, PolkaMN, PopplExquisitMN,
PopplExquisitMN-Alternative, RenaultMN, RenaultMNBold, RondoMN, RoslynMN-
Bold, RoslynMN-Bold, RoslynMN-Outline, RoslynMNMedium, SaphireMN,
SayerMN-Interview, SayerScriptMN-Black, SayerScriptMN-Bold, SayerScriptMN-
Light, SayerSpiritualMN-Italic, SayerSpiritualMN, SloganMN, SquashMN-Outline,
SquashMN, StencilAntiqueMN, StencilAntiqueVL, StencilMN, StencilMNOutline,
StopMN, StudioMN, SullyJonquieresMN-Bold, SullyJonquieresMN,
SwaakCentennialMN, Syntax-Bold, Syntax-Roman, ToucheVL, TziganeMN,
ViantMN-Bold, VivaldiMN, VoelBeatMN, WashSymbolVL-Light, WatchMN-
Outline, WindsorMN, WindsorMNElongated, ZambesiMN.
MyFonts link.
View Mecanorma's typefaces. [Google] [MyFonts] [More] ⦿

Media Wrench Type All the fonts at this outfit were created by Sean Tejaratchi of Craphound Magazine.
[Sean Tejaratchi] Shut down in April 1999. [Google] [More] ⦿
Megalomanic At typOasis, we had the PC versions of the original Mac fonts by Xplo Eristotle of
[Xplo Eristotle] Megalomanic Type (now defunct): AmazonEngineer, ChinaDigital,
ChirurgeonPerversion, GangAbacus, GangCuneiform, GangZiggurat,
KaevmannPhrolicke, MegalomanicraticAmbassador, PfaereePhrolickeSample,
ShiirElectricApocalypse, ShiirElectricGrunge, SlickBones, SlickCity, TurbinadoFlare.
Well, change of plans: Xplo asked typOasis to remove the converted fonts, because
he/she only wants the world to get Mac versions. And now Xplo also removed the
original Mac fonts from his/her site. At least, some people (like myself) have them
now. If anyone wants them, drop me a line. [Google] [More] ⦿
Melbert Cary [More] ⦿

[Continental
Typefounders
Association]
Mergenthaler The Mergenthaler company was formed in 1886 to develop and market Ottmar
[Ottmar Mergenthaler's (1854-1899) invention of the linecaster. Under Chauncey Griffith's
Mergenthaler] 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] ⦿
M.G.D. Graphics Defunct foundry. [Google] [More] ⦿

Systems
MGI Software MGI Software used to sell some fonts. In 1997, they released renamed/reworked fonts
such as Antigoni, Aucoin, Bedini (like Bodoni), Eurostar (like Eurostile), Gourmand
(like Garamond), MGIArchon, MetroNouveau, Palladius (like Palatino), Peinaud (like
Peignot), Schindler [see also here and here], Vianta (a formal script face). Alternate
URL. Eurostar can be found here. These are all rip-offs: Gourmand is Garamond,
Eurostar is Eurostile, Palladius is Palatino, and so on. In January 2002, MGI Software
was acquired by California-based Roxio Inc. MGI Software is famous as a leading
global provider of digital photo and video editing software. I could not find the fonts
at Roxio, so I propose that someone start offering the fonts for free. If Roxio does not

react within a reasonable period, then it's too late, and all those (low quality) goodies
can be traded and exchanged without any fear of reprisals. Update on my remark from
2003: Microsoft now offers Schindler for download, how about that? Fontica link.
[Google] [More] ⦿
Michael Chave [More] ⦿

[Face Ronchetti]
MicroLogic Software Frank Hainze (Emeryville, CA) used to sell typefaces such as Adorable, Artisan,
[Frank Hainze] Celebrity, Crescent, Duchess, Elegance, Formal, Heather, Imperial, ImperialBold,
ImperialBoldItalic, ImperialItalic, Legend, MajesticBold, MasonBook,
MasonBookOblique, MasonDemi, MasonDemiOblique, Opera, Salsa, Samurai,
Victorian (blackletter, 1994), Wedding.
No longer in business. The fonts are still out there, however. For example, check
Samurai here.
Ulrich Stiehl documents all forged fonts on the PrintMaster CD and reports that the
quality is remarkably good. Examples: Advantage = ITC Avant Garde Gothic,
Architect = Adobe Tekton, Editor = ITC American Typewriter, Enchanted = ITC
Korinna, Fantasy = ITC Tiffany, Gallery = ITC Galliard, Geneva = Linotype
Helvetica, Gourmand = ITC Garamond, Imperial = ITC New Baskerville, Manuscript
= Linotype Palatino, Mason = ITC Lubalin Graph, Mirage = ITC Benguiat, Optimum
= Linotype Optima, Tiempo = Monotype Times. [Google] [More] ⦿
Mike Charness [More] ⦿

[WSI: Weatherly
Systems Inc]
Mike Clayton [More] ⦿

[Brain Stew Fonts]
Miller&Richard Founded by William Miller in

[William Miller] Edinburgh in 1809. The
company became
Miller&Richard in 1838, and
closed in 1952, when the designs became the property of Stephenson Blake. They are
best known for innovative type design, including hits such as the Miller&Richard
Oldstyle (and its boldface, nowadays called Old Style or Century Oldstyle), and
Antique Old Style, or Bookman. Specimen book from 1884. In 1974, Bloomfield
Books (Owston Ferry Lincs) published a facsimile of Miller&Richards Typefounders

Catalogue for 1873. Scans: Cuban, Grange, Ludgate, Teutonic, Tudor Black.
From the 1912 catalog: Grotesque No4, Grotesque No4 Italic, Grotesque No7,
Grotesque No7.
Scans: Grotesque Capiutals, Old Style Antique No. 7, Old Style Italic, Sans Serif No.
7.
They also created Le Naudin.
Nick Curtis offers a few digitizations: his Millrich Moravian NF (2010) revives
Bohemian (1918, a jugendstil face). Millrich Grange NF (2015) revives Grange.
Millrich Reading NF (2010, Victorian) revives a 1918 Miller&Richard typeface (by
the same name, I presume). Millrich Olivian NF (2014) revives Olivian. Habana
Sweets NF (2012) is a Victorian typeface modeled on Cuban (1873).
Canada Type too started digitizing some families: King Tut (2011, Kevin Allan King)
is a restoration and expansion of the original Egyptian Expanded (1850).
Wood Type Revival Matt Braun) revived the arts and crafts typeface Teutonic (1909)
as WTR Roycroft (2015). [Google] [MyFonts] [More] ⦿
Monotype A major type foundry, set up in 1887 by Tolbert Lanston. The Monotype
Typography Inc. Corporation, based in Redhill, Surrey, was an independent English company
that originally shared patents with the Lanston Monotype Company in Philadelphia.
In the first half of the twentieth century, F.H. Pierpont and Stanley Morison built up
the best type library of its time, and Monotype came to be leaders in European book
printing. After the Second World War, Monotype continued to offer printing
machines, entering the photocomposition era with the Monophoto in 1955, and
pioneering laser technology in printing with the LaserComp in 1976. In 1992 the
company was split up. The hardware side was purchased by the IPA Group. The type
department, continued as Monotype Typography.
In July 1998 Agfa acquired Monotype Typography and became Agfa Monotype. In
2000, Agfa acquired ITC. In 2004, TA Associates purchased a majority interest in
Agfa Monotype from Agfa Corp and the company was renamed Monotype Imaging
Inc, with headquarters in Woburn, MA
Monotype history.

Monotype Imaging in turn went on a spending spree: it acquired Linotype (in 2006),
Ascender Corporation, Berthold (unconfirmed), Bitstream (in 2011) and MyFonts (in
2011). They also own China Type Design Ltd, Fontwise, iType, Planetweb,
WhatTheFont, and WorldType.
The Monotype specimen book of type typefaces.
A complete catalog of matrices made for use with the Monotype composing machine
and with type&rule caster (1922, Philadelphia) is freely available on the web. See also
here and here.
Catalog at the most popular typefaces available via MyFonts. Full catalog of
Monotype's typefaces [large web page warning]. [Google] [MyFonts] [More] ⦿
Morrison&Gibb Foundry operational in the 1930s. [Google] [More] ⦿
N. Tetterode Foundry in Amsterdam, set up in 1851 by Nicolaas Tetterode (1816-1894). Nicolaas'

[Nicolaas Tetterode] oldest son, also called Nicolaas, expanded the firm until his death in 1912. In 1914,
the firm baecame Lettergieterij Amsterdam, which remains active until today.
Tetterode's extensive type and printing library, De Typografische Bibliotheek van
Lettergieterij 'Amsterdam' v/h N. Tetterode was donated in 1971 to the University of
Amsterdam. [Google] [More] ⦿
Nancy Wall [More] ⦿

[Chameleon
Graphics]
National Type Foundry in Pittsburgh, active in the first part of the 20th century. [Google] [More] ⦿
Foundry
Nebiolo In 1878, Giovanni Nebiolo bought a foundry

from Giacomo Narizzano. In 1889, the Levi
brothers joied this venture to form
Nebiolo&Co. After 1899, several other foundries were absorbed by Nebiolo, and for
some time, the company was called Società Augusta Torino, but it reverted to
Nebiolo&Co in 1917. Based in Turin, type design started in the 1930s, first under the
direction of painter Giulio da Milano, then from 1936 under Alessandro Butti, and
from 1952 under the guidance of Aldo Novarese. It was Italy's premier foundry of the
20th century. It closed its typography department in 1975, and went bankrupt in 1978,
when Fiat took over. In 1990, the foundry was taken over by Fruttiger AG in
Münchenstein. Their most famous font families include Eurostile (1962),
Microgramma (1952), Torino (1908) and Stop (1971). Others worth mentioning are

Neondi (1935, da Milano), Resolut (1937, Brünnel), Landi Echo (1939, Butti), Veltro
(script, 1931), Veltro Nero, Scritto a Lapis (script). Americana (ca. 1945) was a great
flowing script later revived by Rebecca Alaccari as Pendulum (2005, Canada Type).
Canada Type is doing further digitizations including Bella Donna (Rondine, 1948),
Gala (Neon from 1935-1938) and Swanson (Cigno, 1954). Nebiolo was not averse to
copycat design. Christian Schwartz writes: The Etruschi from the Nebiolo specimen is
an exact copy of Schelter&Giesecke's Grotesk, specifically the Halbfette weight (what
we would call Medium). This typeface first appeared in the late 1890s and was shown
in S&G's specimens at least until 1918.
Caratteri Nebiolo (ca. 1956) is one of their last specimen books--we list all the types
found in it. Specimen book from 1928: Societa Nebiolo Torino Caratteri e Fregi
Tipografici.
This file by Klingspor shows all the types ever made by Nebiolo.
Catalog of digital typefaces that were made by various foundries based on Nebiolo
designs. Another digital catalog of commercial Nebiolo typefaces. Another page with
digital typefaces based on Nebiolo. [Google] [MyFonts] [More] ⦿
Nebitype Defunct foundry. [Google] [More] ⦿
Neon Type Foundry Typefounders of Chicago (or: Castcraft) acquired the Neon Type Foundry (Pittsburgh)
in 1959. The Neon Type Division of Typefounders of Chicago (Castcraft) published a
specimen book in 1962 which can be downloaded from Archive.Org in two 1 GB
parts: Part I, Part II. See also here and here. [Google] [More] ⦿
Nepfont Digital Hungarian type designer who studied at MOME, Moholy-Nagy University of Art &
Foundry Design, Budapest, Hungary, BA and MA, Communication Design, 1995-2000. Oszkár
[Oszkár Boskovitz] Boskovitz ran Nepfont Digital Foundry, and at some point, ca. 2009, changed its name
to Fontbistro (dead link). He digitized the award-winning typeface family Pannon
(2001) made by Edit Zigány in 1972. He is working on a book that will summarize
Hungarian type in the 1970s and 1980s. His repertoire:
Experimental typefaces: Balek (2005), Cassius (2001), Tubyfex (2005).

Stencil: Syrup (2005), Digital Sherpa (2002), Tilos (2002, rough stencil family),
Wagon (2001, another rough-edged family).
Brush style: Ecsetirás (2001, based on a typeface of Zoltán Nagy, 1967).
Techno: Krax (2001, free), Konwektor (2001), Moab (2002, family), Shrapnel
(2004, octagonal family).
Signpainting: Thaifun (2003).

Simple monospaced fonts: Monostar (2002).

Unicase: Troppauer (2005, many weights).
Text families: Pannon Antiqua (2001, based on a family by Edit Zigány (1972).
Testosterone enhanced typefaces: Pluto (2006).
[Google] [More] ⦿
Neue Didot Defunct foundry. [Google] [More] ⦿

Schriftgiesserei
Nght's Place Page off-line. The alphading and dingbat fonts made by Nght in 2001 include
[Gregory J. Griffin] 1011Dad, 101AllAmerican, 101AnutherPictoBet, 101AshleighsDolly,
101AshleighsOtherDolly, 101AwardsWon, 101B10Jr, 101Badges, 101Beaker,
101BirdsNest, 101BookofShadows, 101BrightIdea, 101BunnyHug, 101BunnySayZ,
101CandleZ, 101CelticKnotDeco, 101Chalice, 101ClockFace, 101CloserInspection,
101ClownZBeanie, 101ClowninAround, 101Compass, 101DadGoesFormal,
101DadsKeyZ, 101December141991, 101DecoType1, 101DovesHeart, 101EXTRA,
101EtchASketch, 101FancyTexanStyle, 101FieldGoal, 101FireSafety,
101FloralCorners1, 101FloralCorners2, 101FloralCorners3, 101FloralCorners4,
101FloralDesigns1, 101FloralDesigns2, 101FloralDesigns3, 101FloralDesigns4,
101FloralDesigns5, 101FloralDesigns6, 101FloralDividers1, 101FloralDividers2,
101FloralFrames1, 101FloralFrames2, 101FloralSignet, 101Garaged, 101Gift,
101GoneGlobal, 101HeartDeco, 101HeartFramed, 101Hearts, 101IPledgeAllegiance,
101ISurrender, 101IdLike, 101IfMyHeartHadWingZ, 101InMyPocket, 101InMyYard,
101InkBottles, 101IntheShroomZ, 101JoshsClownBuddy, 101JoshsSpeedster,
101KandyKorn, 101KimmysKowboyHat, 101KrystalBall, 101Laid, 101LeakyFaucet,
101LettersHatchin, 101LilMikesPup, 101LootBagZ, 101MadHatter,
101MagiciansHat, 101MagikLamp, 101MamasRose, 101MardiMask,
101MariasLoveNote, 101MelvinsBedtimeStory, 101Merlin, 101MomsBrooch,
101NoPeas, 101OntheHomeFront, 101OntheTube, 101PandasDance, 101PartyHorns,
101PictoBet, 101PierrePelican, 101PigTailZ, 101Pillow, 101PokerFaceClubZ,
101PokerFaceDiamondZ, 101PokerFaceHeartZ, 101PokerFaceSpadeZ, 101Polka,
101Postmarked, 101PressRelease, 101PunkinPie, 101RedCross,
101RefereeRonsWhistle, 101RoseCards, 101RoutetoFontville, 101Rx, 101SWAK,
101SayCheeZ, 101SeaHorseZ, 101ShootingStarZ, 101SkullBoneZ, 101SliceofCake,
101SnailsPace, 101SpringTrainin, 101StarLitNght, 101StarStudded, 101Stranded,
101StrawberryDelight, 101SweetDreams, 101TeddieZStocking, 101TennisClub,
101TexanStyle, 101TrinityInset, 101TripleMoonHollow, 101TripleMoonSolid,
101TulipZ, 101Volcanic, 101WalkinHeart, 101Ween, 101WitchesHat,

101YourFontZAreServed, 101ZebraPrint.
Fontspace link. Dafont link. [Google] [More] ⦿
Nicholas Fabian [MyFonts] [More] ⦿

[Alien Typefaces]
Nicholas Fabian [MyFonts] [More] ⦿

[Type Designs by
Nicholas Fabian]
Nicolaas Tetterode [More] ⦿

[N. Tetterode]
NIMX Typefoundry Display and dingbat fonts from a foundry in Dallas, TX. Denny Driver made the
[Calvin Glenn] dingbat font MonkeysTail. Calvin Glenn (the principal?) made the multiple master
font Steelhand, Tekno (1993, Monotype), Jacoby (1995, Monotype), and NIMX
Jacoby (1995, in the Image Club collection). Other fonts include Jitterbug and
Jitterbats (jointly by NIMX and Laurie McCanna, 1994), NIMX Quirks (1994,
dingbats), and NIMX Robust (1994).
FontShop link. Klingspor link. Defunct URL. FontShop link. [Google] [MyFonts]
[More] ⦿
Norddeutsche Berlin-based foundry established in 1921 by Johannes Wagner together with his
Schriftgießerei brother Ludwig and his brother-in-law Willy Jahr. That business moves to Ingolstadt
in 1949. Their metal types included Krystal-Grotesk, 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] ⦿
Nordlundes Danish typefoundry run by Carl Volmer Nordlunde (b. 1888). Nordlunde published
Bogtrykkeri Letter from a Danish typographer (1967, New York, The Typophiles). Other
[Carl Volmer publications include type specimen books for specialty types such as Janson and
Nordlunde] Bembo. [Google] [More] ⦿
Normagraphics Defunct foundry. [Google] [More] ⦿
Norstedt Tryckeri Stockholm-based foundry, est. by P.A. Norstedt. The managers of the typefoundry

[Per Adolf Norstedt] include C. and J. Riis (Denmark) (1817, under Lindh--1849, under Norstedt), Thomas
Christian Ebbesen (1849-1869), Axel Kock (1869-1920s), Ernst Jonasson (1920s-
1950), and Rune Wennborn (1950-1980). A timeline:
1821: Per Adolf Norstedt, a magistrate in Örebro, acquires Johan Pehr Lindh's
business in Stockholm, and founds P.A. Norstedt & Söner in Stockholm in
1823. Lindh had been typefounding since 1816 at Mariedal outside Stockholm,
and continued on until 1832, when it was amalgamated with the Norstedt
printing works at No. 6 Riddarholmen, where Norstedt remained until it closed
down. In the 19th century, many German and French matrices were imported,
but after that, Norstedt became self-sufficient.
1833: Norstedt became Printer to the King. Because of this, the business
boomed and expanded.
1846: Acquisition of Lars Johan Hierta's Stockholm typefoundry.
1916: Art historian and designer Akke Kumlien joins Norstedt, and will remain
art director until the 1950s.
1950s: Karl-Erik Forsberg, whose type designs include Berling Antikva, the
first entirely Swedish typeface since van Selow's in the XVIIth century,
becomes art director.
1973: Norstedt closes down. Esselte Norstedt donated its entire collection of
matrices in 1973 to the Nordiska Museet in Stockholm.
1983: Publication of Type Studies The Norstedt Collection of Matrices in the
Typefoundry of the Royal Printing Office (Norstedt Tryckeri, Stockholm, 1983),
by Christian Axel-Nilsson. This book details all metal typefaces in the
collection of the Norstedt foundry.
From the Norstedt collection: Roessjor, Cicero Pragisk Fraktur No. 4, Cicero Fraktur
No. 5, Cicero Fraktur No. 7, Cicero Fraktur No. 9, Korpus Gammal Schwabach,
Cicero Gammal Schwabach, Hiertas Mittel Antikva No.1, NS89a, Grov Mittel
Antikva, Mittel Antikva, Text Antikva, Text Antikva, Mittel Utsirade Versaler (ca.
1750), Mittel Utsirade Versaler (ca. 1750).
View Norstedt's digital legacy. [Google] [More] ⦿
Norton Photosetting Oxford, UK-foundry of Robert Norton (1929-2001). It produced Else NPL (1982).
Ltd [Google] [MyFonts] [More] ⦿
[Robert Norton]

NovelFonts This company used to sell fonts ca. 1994. A partial list: Adriatic, Ajile, Alexina,
Alpist, AlpistPrimer, AltastGreeting, AltastGreeting, AmammaInline, Ammonite,
Amossa, Amphora, AmphoraOpenface, AquaticHeavy, AquaticOutline,
AquaticOutline, Artista, Auralle, Baltane, BankenScriptBold, Banque, Barber,
Barston, Basquerole, Beanstalk, Beanstalk, Beanstalk, Belton, Benjamin,
BenjaminSupplement, Berman, Bethany, BisteckBold, Bonhomi, Booster,
BostonianUltra, BrintonCondensed, Brunella, Bursten, Calliope, Camanetti, Carlotta,
Carolissa, Carpens, Catullus, Cecily, CentarraNova, Cetan, Chamois, Chapell,
Chatten, Cheever, Chichester, Cincin, Circuit, Claritan, Claustrum, ConsidineShadow,
Cortege, Crinoline, Danton, Debut, Delmonica, DeltaicItalic, Deroon, Destiny,
Deweese, Dispando, Distance, Divinity, Dolmen, Dommono, Dragoon, Dryad,
Easterly, Ecstatic, Eddmond, EddmondBold, Edifice, Eglentine, Eider, Elspeth,
Energetic, Engine, Epworth, Evangel, Famoose, Fansilla, Fanzine, Fascinate,
FascinateSpecialBoldItalic, Faysie, Fleece, Fluorine, Folderol, Foster, Frabbel,
Framina, Frieze, FuseeBold, Galina, Galton, Gamina, Gasteur, Gautane, Girth,
Gittani, Gleeson, Greenwood, Grettin, Guernsey, Hassan, Hostel, Houghton, Houston,
Huckleberry, Ignatius, Immediate, Issabella, Ittery, Izzard, Jacquard, Jenkins, Johnson,
Justine, Keeple, Kingman, Kisstelle, Kollman, Koloss, Korilly, Lagniappe, Lapidary,
Latiara, Lattinum, Laurell, Leagus, Lender, Lentule, Lesline, Lichten, Litelle,
Lorrenne, Lufton, Macklen, Madama, Malloy, MansourContour, Marpelli, Marsdale,
Mazurka, Mearschaum, Mearschaum, Micheline, Microlla, Mirth, Modellen,
Montague, Montague, Naushen, Navinno, Newsel, Novella, OakenShaded, Obbsidda,
Opalone, Paliard, Passtine, Paxolla, Penki, Phaeton, Phineas, Picott, Pillsdon,
Plastone, Powhatten, Prancer, Precipice, Presscon, Professor, Purcell, Quantum,
Quotidien, Raffia, Rickover, Rodding, Roskell, Rostrina, Rublof, Sanctus, Sanderson,
SandersonShaded, Scythe, Scythe, Sentian, Shantung, Shattuck, Shonnen, Simmissa,
Spinoza, Spoleto, Standle, Stillen, Stillen, Swanson, Sylph, Tamago, Theodora,
Valhalla, Vantage, Ventura, Voltaire, Wasserman, Windewood, Xebec, Yonkers,
YvesScript, Zapotec, Zirkon.
Most (all?) fonts are revivals of other typefaces. Examples: Amossa = Amati (1951,
Georg Trump), Baltane = Biltmore (in Rookledge Typefinder; Yanega thinks Baltane
is the only existing digitization), Brunella = Brudi Mediaeval (1953-1954, Walter
Brudi), Cheever = Chesterfield (1977, Alan Meeks, Letraset), Elspeth = Elizabeth
(1937, Elizabeth Friedlander, FTN, and 2006, Elizabeth by Jim Rimmer), Fascinate =
Favrile (1985, Tom Carnase, WTC), Justine = Wolf Antiqua (1966, Hans-Juergen
Wolf, VGC), Madama = Magna Carta (1974, Vladimir Andrich, Alphatype), Naushen
= Nova Augustea (1951, A. Butti and A. Novarese, Nebiolo), Paliard = Packard

(1913, Oswald Cooper, ATF; see also Varityper and Photo-Lettering), Parsnip =
Parsons (1918, Will Ransom and 1994, Inna Gertsberg, A*I), Sentian = Serlio
(Linotype), Valhalla = Richmond Oldstyle (1920s, Blackfriars). [Google] [More] ⦿
Odlewnia Czcionek Polish foundry in Warsaw active in the early part of the 20th century. At e-foundry,
J. Idzkowski i S-ka Janusz M. Nowacki extended and digitized one of their high-contrast typefaces, and
[Janusz Marian called it Cyklop (2008). Free downloads here. Nowacki explains: The Cyclop typeface
Nowacki] was designed in the 1920s at the workshop of Warsaw type foundry "Odlewnia
Czcionek J. Idzkowski i S-ka". This sans serif typeface has a highly modulated stroke
so it has high typographic contrast. The vertical stems are much heavier then
horizontal ones. Most characters have thin rectangles as additional counters giving
the unique shape of the characters. The lead types of Cyclop typeface were produced
in slanted variant at sizes 8-48 pt. It was heavily used for heads in newspapers and
accidents prints. Typesetters used Cyclop in the inter-war period, during the
occupation in the underground press. The typeface was used until the beginnings of
the offset print and computer typesetting era. Nowadays it is hard to find the metal
types of this typeface. The font was generated using the Metatype1 package. Then the
original set of characters was completed by adding the full set of accented letters and
characters of the modern Latin alphabets (including Vietnamese). [Google] [More] ⦿
Officina Serpentis Eduard Wilhelm Tieffenbach was born in Königsberg (1883) and died in Berlin
[Eduard Wilhelm (1948). He ran a private letterpress in Berlin around 1900 called Officina Serpentis.
Tieffenbach] 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] ⦿
Officine Simoncini Francesco Simoncini (d.

[Francesco 1967) founded Officine
Simoncini] Simoncini foundry in
Bologna. The typefaces
originating from that
foundry:
The garalde family for book and newspaper work called Aster (1958). Aster
Simoncini is also at Ludwig&Mayer (1958). See also URW++ Aster (by Ralph
M. Unger), Austin (SoftMaker) and Dutch 823 (Bitstream).
New Aster (1958). New Aster was made in 1982 by Mergenthaler, Linotype,
Stempel.

Armstrong (1970).
Delia (1962) was specially developed for small print in classified ads.
Life (originally Ludwig&Mayer, 1965, done with W. Bilz), available from
Elsner & Flake, Scangraphic, Linotype, Bitstream (first at Dutch 806, later as
Life), Softmaker (as Lyon and L730 Roman), URW++ (URW++). There was
also Fredonia by Varityper.
Simoncini Garamond (1958-1961). Done with Wilhelm Bilz, it is now available
at Linotype, Adobe, Scangraphic and elsewhere under that name. The
Scangraphic version is called Garamond Simoncini SB. The Elsner&Flake
version is Garamond Simoncini EF. The Bitstream version is called Garamond
Italian, Italian Garamond, and Aldine 525. A very related typeface is Garamont
Amstrerdam EF (2004, Elsner & Flake). See also Garamond No. 9 by URW++.
FontShop link. Klingspor link.
MyFonts catalog. Digital typefaces based on Simoncini's fonts. [Google] [MyFonts]

[More] ⦿
OPD Polish foundry, which existed from 1969-1976. Its history was told by Adam
Twardoch: 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. 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. [Google] [More] ⦿
Orell, Gessner, Typefounders in Zürich since the mid 18th century. One of its founders was the artist
Fuessli&co Johann Caspar Füssli, 1706-1782. Their work can be found in Épreuves des caracteres
de la fonderie de Orell, Gessner, Fueslin&compagnie. A Zuric (Zurich, 1781). This
book already shows some didone influences, but its main typefaces are all Fraktur,
with sizes in Sabon, Grosze Missal, Kleine Misaal, Grosze Canon, Kleine Canon,
Mignone, Garmond and Petit. It offered a Garmond Schwabacher too.
The company still exists today, and specializes in cartography as Orell

FüssliKartographie AG. [Google] [More] ⦿
Ossip I. Lehmann Foundry in St. Petersburg in the late 19th

Type Foundry century, est. 1854. Their typefaces include
Renata (1901), Gasetny Chorny (Newspaper
Black), Black Grotesk (1874), Yelisavetinsky
(1904-1907, a didone family for Baltic,
Cyrillic and Latin with shapes that go back to
the Russian Academy of Sciences in the 18th
century, after designs by Alexander Leo; for a
free digital revival, see Elisabethische (2018)
by Oleg Matison), Obiknovennaya (1940s) and Obiknovennaya Novaya (1940s).
Revivals include Standard Poster (a Paratype font by V. Yefimov, 1992, which was
based on a design from 1986 at Polygraphmash, and which in turn was inspired by the
fat didone styles of the Ossip Lehmann type foundry), Chekhovskoy (2017, by Marath
Salychow), and Elizabeth (Paratype)
In 2013, Vasily Biryukov published the Peignotian typeface Romanovsky at Paratype:

Romanovsky is a font developed on the base of samples from the catalogue of Ossip
Lehmann foundry in Sankt Petersburg. Original Latin design that was used for
Romanovsky can be found in Feder Grotesk by Jacob Erbar. The current digital font is
not a scanned version of Lehman's samples but a newly drawn typeface that differs
from the original in many details.
In 2018, Albert Kapitonov and Dmitry Kirsanov revived the early 20th-century
typeface Lehmann Egyptian from the Berthold and Lehmann type foundries in St.
Petersburg, and published it at Paratype. [Google] [More] ⦿
Osterreichische Österreichische Staatsdruckerei is the Vienna-based state foundry and press around
Staatsdruckerei the start of the 20th century. Designers included R. Junk (who made Junk-Fraktur) and

M. Schmid (who made Schmid-Fraktur). [Google] [More] ⦿
Oszkár Boskovitz [More] ⦿

[Nepfont Digital
Foundry]
Othmar Motter [More] ⦿

[Vorarlberger
Graphik Studio]
Ottmar Mergenthaler [MyFonts] [More] ⦿

[Mergenthaler]
Otto Kaestner Typefounder in Krefeld, Germany, who was active around 1905. [Google] [More] ⦿
Otto Weisert [More] ⦿

[Schriftgiesserei Otto
Weisert]
P. Ribadeau Dumas French printer from the early 20th century. His work is shown in Spécimen :
caractéres, vignettes, filets, sujets (Paris : P. Ribadeau Dumas, 192?, 271 pages).
[Google] [More] ⦿
Page Technology Also called Page Tech Inc. San Diego-based outfit that produced a package of
Marketing (renamed?) fonts in 1991-1994: Alamo (Western font), Announce, Articulate, Aurora,
Baxter, Bethel, Bockloo, Calculator, Calico (stencil font, +Cyrillic), Campfire,
Centurion, CheckStub (MICR font), Excellence, Freedom, Graduate, Indio, LaCosta,
Maryland-Italic, Maryland, Merced, Mettler, Miami (Broadway?), NovaScript,
Oakland, Oxford, Palomar, Parker, Parsec, Quincy, SanDiego, Shadow, Silicon,
Springer, Sunnyvale, TopHat. [Google] [More] ⦿
Patty King Californian graphic and type designer who claimed to be influenced by the
impressionists. Patty King died in 2002, just after submitting ITC Bette. Check ITC's
Women in Type. Her mostly calligraphic typefaces:
ITC Bette (2002, ITC).

ITC Blaze (1995, ITC),
ITC Kick (1995, ITC). A fine calligraphic brush script.
Montana (1996).
ITC Skylark (1995, ITC).
ITC Spirit (1995, ITC).

ITC wrote this after her death, about her last font, ITC Bette: Known to her friends as
Patty and her family as Trisha, King grew up in northern California. Though she
displayed artistic inclinations at an early age, it wasn't until her mid-twenties that she
decided to pursue her talent and returned to college to study graphic design. Patty
gravitated easily to calligraphy, lettering, and then typeface design. Over the
succeeding years, a diverse list of clients commissioned her services. Sadly, this is the
last typeface design ITC will license from Patty King. She succumbed to a prolonged
illness just prior to completing the design. At her request, all royalties from the sale of
this---and all her other ITC fonts---will be donated to the charity she identified before
her passing.
FontShop link. Klingspor link. Patty King at MyFonts. View Patty King's typefaces.
Paul Hayden [More] ⦿

Duensing
[The Private Press
and Typefoundry]
Payvers&Bullens Ltd British foundry, active in the early part of the 20th century. [Google] [More] ⦿
Peace Graphic Japanese outfit, which started in 2001 and stopped in 2005. Designers of Vacarely
Foundry (or: fuck Shell, sold at Font Pavilion. Other fonts: TubeClock, Fatty, Biscuit, OD, UD,
me!) Loopline, all for the Mac. I never learned the name of the type designer there.
[Google] [More] ⦿
Pelzin et Drevon Printer in Lyon from the 18th century until 1810, when it became A.M. Pelzin (1810-
[H. Leymarie] 1828), then Cl. J. Pelzin (1828-1833) and then L. Boitel (1833-1852). Léonard (or
Léon) Boitel (b. 1806, Rive de Gier, d. 1855, Irigny) published some specimen books.
In an 1846 book, he showed a roman alphabet that was designed by H. Leymarie and
engraved on wood by Brevière. Laurent Hippolyte Leymarie (b. 1809, Lyon, d. 1844,
Saint-Rambert en Bugey) was a painter, illustrator and engraver. Louis Henri
Brevière, b. 1797, Forges les Eaux, d. 1869, Hyères) was an illustrator and wood
engraver in Rouen and then in Paris.
Boitel's printing enterprise was left to A. Vingtrinier (1852-1876), which was then
passed to A. Waltener (1880-1894), and on to P. Legendre (1894-1932), to finally
become Etablissements Legendre in 1932, still in Lyon. [Google] [More] ⦿
Per Adolf Norstedt [More] ⦿

[Norstedt Tryckeri]
Pete McCracken [MyFonts] [More] ⦿

[Plazm Fonts]
Peter Bain [MyFonts] [More] ⦿

[Peter Bain Design
(was: Incipit)]
Peter Bain Design Incipit, or Peter Bain Design, was Peter Bain's type and graphic design studio in
(was: Incipit) Brooklyn, New York. It closed down gradually between 2007 and 2010.
[Peter Bain]
Peter Bain received his M.F.A. in Design: Visual Communications from Virginia
Commonwealth University. He was type director at Saatchi&Saatchi Advertising in
New York, and taught at Parsons/The New School for Design and Pratt Institute in
New York. After Saatchi, and before Incipit, he was freelancing. After Incipit, he
relacted briefly to Virginia to attend VCU and then went on to Mississippi, where he
was Assistant Professor of Art, Graphic Design at Mississippi State University. He
lived then in nearby Starkville, MS. He is currently located in Birmingham, AL.
He is best known for his wonderful book Blackletter: Type and National Identity
(1998, with Paul Shaw).
His photocomposition display typefaces were reedited and available in reproduction

proofs (for a short time). The photocomposition display typefaces are in two-inch film
format, as formerly used on machines such as the Typositor and Filmotype. They are
being held in storage, and are no longer listed for that reason. PDF format list. Text
format of Bain's file. Bain says he built this from the Typositor type libraries formerly
offered by Techni-Process Lettering and Pastore DePamphilis Rampone, which he
bought at an auction. Report on his talk in London on blackletter type (2003).
MyFonts sells the 4-weight Josef Albers-inspired stencil family Gridiot (2003-2011).
His thoughts about the art of Albers: Remember, any idiot can design a typeface on a
grid: Gridiot.
Speaker at ATypI 2006 in Lisbon. Speaker at ATypI 2013 in Amsterdam. MyFonts

link. Behance link. Peter Bain Design. [Google] [MyFonts] [More] ⦿
Peter Fraterdeus [MyFonts] [More] ⦿

[Alphabets Inc (or:
Fontsonline.com)]

Peter Henninger [MyFonts] [More] ⦿

[Ingrama]
Phil Martin [MyFonts] [More] ⦿

[Alphabet
Innovations
International --
TypeSpectra (Was:
MM2000)]
Philip Cade [More] ⦿

[Cade Type Foundry]
Photo-Lettering Inc. New York based photocomposition, lettering and digital type business active from
[Edward Rondthaler] 1936-1997, cofounded by Harold Horman and Edward Rondthaler in 1936 (in 1928,
but only open for business in 1936). Its designers included Bob Alonso, Vincent
Pacella, Vic Caruso, Herbert Post, Holly Goldsmith, and Ed Benguiat. It sold type
drawn by the likes of Herb Lubalin, Milton Glaser, Seymour Chwast and many others.
It was one of the earliest and most successful type houses to utilize photo technology
in the production of commercial typography and lettering, employing over 200 people
at its peak. It folded ca. 1990. Ed Benguiat: The alphabet styles in this collection,
many of which took over 200 hours to complete, were drawn with pen and ink to
exacting standards by veteran lettering artists. I know....during my 35 years employed
by Photo-Lettering I produced over 500 complete fonts. In all, 6500 fonts were
produced. A partial time line was offered by Peter Bain (italics are quotes from Bain):
World War II: Photo-Lettering was a combination of aesthetic, technical and

marketing efforts. Horman was a competent letter designer, Rondthaler an
experienced typographer; both they and the other staff shared a keen interest in
mechanical devices. Photo-Letterings initial client, advertising agency J. Walter
Thompson, was brought in by their corporate parent. It was the Rutherfords
always freshly exposed characters, precision variability, and consistency that
kept the agency as a client. The firms initial stock of typefaces was built both by
Horman and by photographing existing metal designs. During World War II the
firm supplied headlines for wartime posters. The full capabilities of the process
became steadily realized. The ability to italicize, reproportion, outline, and add
weight to type increased the attractiveness of Photo-Letterings service.

1944: In 1944 Tommy Thompson, perhaps the pre-eminent New York lettering
designer of the day, approached Photo-Lettering. He had been asked by The
Saturday Evening Post, a national weekly, to furnish hand-drawn lettering in a
consistent, distinctive style for their headlines and bylines. The volume made a
compelling case, and a royalty agreement, the first with an outside artist, was
made. From this beginning, the type library at Photo-Lettering tapped into a
pool of lettering artists who ordinarily would not have had their work become
type.
1946: Publication of a catalog with 979 alphabets called Photo-Lettering's Basc
979 Alphabets. Most of the original designs were by Harold Horman, including
the ten-weight Photo-Futura Condensed (based on a Bauer typeface). Other
early designers included J. Albert Cavanagh and M. M. (Dave) Davison (who
made Spencerian types).
1950: The 1950 catalog features the Pete Dom series in three weights, Twixt,
Husky and Darky. Bain comments: Peter Dombrezian's highly skilled, informal
brush-written type was furnished with numerous alternates. There were at least
three versions of each capital and lowercase letter, and two sets of figures for
the Twixt weight alone. The restricted number of alternates offered by metal
typefounders, combined with the handmade competition, may well have
encouraged early display phototype families to be as expansive as possible. In
the case of ATFs Dom Casual, completed in 1952, the more reserved letters
from the Twixt were chosen for metal type. Other designers mentioned in the
catalog include Alfred Bosco, Hollis Holland, Oscar Ogg and Tony Stan. The
catalog lists 1631 typefaces.
1960: Publication of Alphabet Thesaurus Nine Thousand. This catalog has over
700 pages.
1965: A 970-page catalog with 5474 typefaces is published. Of these, 146
appear to be exclusive.
1970: Ed Rondthaler cofounds ITC with Herb Lubalin and Aaron Burns. Bain:
Ed Benguiat, a longtime letterer and type designer at Photo-Lettering, became
known for his renovation of The New York Times masthead, and for his
typefaces released by ITC. The growing success of computerized composition
offered stylistic and financial incentives for new typefaces that could be used for
display as well as text. ITC was well positioned to exploit that opportunity
worldwide. This connection with ITC leads to many ITC typefaces with roots in
Photo-Lettering.
In 2003, the entire collection was bought by House Industries. Its fonts included ITC

Flatiron (a very wide caps typeface published by ITC in 1997), BenguaitCharisma

(1993), FourthOfJuly (1992), Swinger (1992), Parchment (1993), ITC Musica (1996,
which was Bel-Canto at Photo Lettering in 1968), and ITC Static (1996; called
Bounce at Photo Lettering).
Photo-Lettering Collection Revival link at MyFonts.
View their typeface library. More images of digital typefaces based on the Photo-
Lettering collection. [Google] [MyFonts] [More] ⦿
Photon Inc Company in Wilmington, MA, founded by William Garth. MyFonts writes: In the
[Bill Garth] 1950s, 1960s and 1970s, Photon, under Billy Garth, built a large and rambling
library of low quality typefaces, original in nothing but scripts. A group of higher
quality material created at Deberny&Peignot for Lumitype - Photon's European arm -
under Higgonet and Moyroud was added when the younger Higgonet closed
Deberny&Peignot. After Photon went out of business, the library was passed through
Dymo (1975) to Itek (1979), and then to Unitex (1983), itself later acquired by Chorus
Data Systems of New Hampshirer. [Google] [MyFonts] [More] ⦿
Photoscript Ltd. Photo-era foundry located in London. Their house fonts include Blackfriars, Chin
Century 2000 (computer simulation family in Nr 1, 2 and 3 versions), De Vinne
Ornamented, Granby Elephant, Mexico Olympic (multilined op-art font) and Nova.
Fonts are shown in Berthold Headlines E3 (1982). [Google] [More] ⦿
Photovision Defunct foundry. [Google] [More] ⦿
Pixel Print This is the now defunct foundry of Boris Mahovac in Zagreb that produced a number
of knock-off fonts between 1992 and 1995, such as Addressans_PP, Baskwille_PP,
Candidate_PP, Cavalier_PP, Centrepiece_PP, FuturSans_PP.ttf GarantiquaBlack_PP,
Garantiqua_PP, Handy_Script_PP, HelveticaHeavy_PP, Lubaline_PP, OptiMistik_PP,
Pixies_PP, RomanExtraPP, Universans450_PP, Universans570_PP, and
Universans670_PP. Since that episode, Boris Mahovac became a member of
TypeRight, an organization that has as its goal the protection of typefaces (including, I
guess, protection against knock-offs). [Google] [More] ⦿
P.K. Offenhuber [More] ⦿

[screen-screen]
Plazm Fonts Portland, OR-based company. Its timeline:

[Pete McCracken]
Plazm magazine started as a free zine in 1991. The founding partners were Pete
McCracken, Joshua Berger and Niko Courtelis.
Plazm Fonts was founded in 1993 by Pete McCracken and Joshua Berger.

McCracken lead the effort to create the foundry and is the director and sole type
designer there.
Plazm incorporated into Plazm Media, Inc. in 1995.
McCracken buys all of the assets of the type design portion of the company in
2006.
In 2010, the branding and type design business that was Plazmfonts become the
Portland Type Co. Plazm continues as a design company not involved in type
design, led by creative director Joshua Berger.
The typefaces, by designer:
Marcus Burlile: Stelefont (1993), Widows (1994), Flytrap (1995), GhostTown

(1995), Ablefont (1993, of Harry Potter fame), Anvil (1993), Autumnull
(1995), Colony (1993), Pilgrim (1993), Reckon (1996), Sillbat (1994),
Spiderust (1995), Thistlem (1995), Kitsch (1993), COLONIST.
Andrew D. Taylor: Avenatha (1995).
Robert James Foley Jr: Blitso-funk (1995).
Angus R. Shamal: CensorSans (1994), CensorSerif (1994), Credit (1995),
Epilogue.pfa (1995), Humain-Graphica (1995), Humain-Synthetica (1995),
Platrica (1994), Roscent (1995).
Ermin Mededovic: Centrifuga (1996), Board (1995).
Marty Bee: Cibola (1995), ThreeRivers (1994), WetandWilde (1994).
Don Synstelien: Derision (1995), NudE (1995), SlickDog (1995).
Dave Henderleiter: DizzySpell (1995).
Opulux Fonts (Dave Henderlieter): DoeMan (1995), DogboySplitHome (1995),
Pulsitallia (1995).
Pete McCracken: Erosive (1993), Facsimiled (1994), INKy-black (1994),
Mtvpe (1997), NeoDeko (1993), Petescript (1992: based on Pete's handwriting,
this font was used on Aerosmith's album Big Ones), PresidentNixon (1994),
Altered (1993).
Jim Marcus: EscalidoGothico (1994), EscalidoStreak (1994).
Stephen Farrell: Flexure (1993).
Christian Kusters: Hadrian (1996), Retrospecta (1994), Unzialis (1994), Hybrid
(1996), Interface One (1996).
Garland Lyn: Milk (1994).
Paul Bissex: Pscruf (1995), Rufnu (1994).
Robert Selby: Selbezi (1994), NewHamburger (1993).
Charles Wilkin: Velvet (1995).
Roland Hess: Capitalis Pirata.

Riq Mosqueda: Codesigner of Mtvpe (1997)

Elliott Peter Earls: Subluxation (1994).
Scott Yoshinaga: Grunge (1994).
Travis A. Waage: Belch (1994).
Pablo A. Medina: Vitrina, Cuba.
Other fonts: CarPlatesCarPlates, NorthBergen, PHatFont, Pilgrim, RocketScience-1,

Twiggy, Victory (2002-2004, an Avenir-Futura style geometric sans family custom
made for Nike. The typographers at Typographicom are blasting this typeface. Marc
Oxborrow writes: It seems that the less original the work, the more overblown and
pretentious the description.).
Write-up at Fontnews. Fonts also sold by Mindcandy.
Bio of McCracken by ATypI: Pete McCracken is a type designer, designer, artist,

musician and educator in Portland Oregon. He owns and runs Plazm Media with
business partner Josh Berger. Current projects include 20+ custom typefaces for Nike,
the recently published book "XXX The Power of Sex in Contemporary Design", and
an extensive branding project for Pierce Brosnan. He also owns and runs Crack Press
producing music and custom artwork using silkscreen and letterpress. Current
projects include a 43 color commissioned screen print of the Last Supper; Heavy
Grass, a metal bluegrass band; and a cd of various compositions called Crack
Tracks. He also teaches in the design programme at PNCA.
Plazm link. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿
P.M. Shanks&Sons London-based foundry in the early 20th century. Fonts include
Ivanhoe (1912, Edward Shanks), copied in 1915 by Keystone Type Foundry.

Bloomsbury (1920s), an awkward blocky typeface, digitized in 2007 by Nick
Curtis as Keynote Speaker NF.
[Google] [More] ⦿
Pressuregraphics Defunct foundry. [Google] [More] ⦿
Prestype Defunct foundry. [Google] [More] ⦿
Projective Solutions Henry Pinkham's company in New York that published fonts like Poor Richard in
1994. Poor Richard is based on the Ben Franklin typeface by Keystone Type Foundry,
ca. 1919. Possible download site for Poor Richard. The company was still active

around 1996, but probably disappeared soon after that. [Google] [More] ⦿
Prototype Font Australian foundry started by Terence Bergagna in 1992, which came out of a larger
Design commercial studio called CasaForte. It folded some time between 2001 and 2004. The
[Terence Bergagna] fonts included many handwriting, grunge, futuristic and dingbat fonts. It had some
very original dingbats such as Mugshots. [Google] [More] ⦿
Protype Inc. Defunct foundry. [Google] [More] ⦿
QualiType Southfield, MI-based

[John Colletti] company founded in
1991 by John Colletti. The 150-strong collection of their fonts was created in 1992, a
few years after the Bitstream/Corel collection. Their web page stated: Founded in
1991 as a digital type foundry and developer of leading font management software
tools for Windows, QualiType Software has been a pioneer in Windows font
management technology with their FontHandler software and the patented QualiType
Font Sentry system for Automatic Font Management. In 2000, the company entered
into an agreement with Extensis Group at CreativePro.com, which grants Extensis the
exclusive rights to market and develop future versions of QualiType FontHandler.
This was a de facto takeover.
In 2009, Colletti agreed to let me host the collection for free download. The Qualitype
font package from 1992 was rejuvenated in 2009 and repackaged with OpenType
versions.
Downloads:
All 151 fonts in truetype format.

All 151 fonts in opentype format.
All 151 fonts in type 1 format.
In addition, we have the same fonts as above with the original (shorter, Windows
DOS 8.3) file names: truetype, opentype, type 1.
For those interested in lists and encyclopedic information: the font names are
QTAbbie, QTAgateType-Bold, QTAgateType-Italic, QTAgateType, QTAncientOlive-
Bold, QTAncientOlive, QTAntiquePost, QTArabian, QTArnieB, QTArtiston,
QTAtchen, QTAvanti-Italic, QTAvanti, QTBasker-Bold, QTBasker-Italic, QTBasker,
QTBeckman, QTBengal-Bold, QTBengal, QTBlackForest, QTBlimpo, QTBodini-
Bold, QTBodini-Italic, QTBodini, QTBodiniPoster-Italic, QTBodiniPoster,
QTBookmann-Bold, QTBookmann-BoldItalic, QTBookmann-Italic, QTBookmann,
QTBoulevard, QTBrushStroke, QTCaligulatype, QTCanaithtype, QTCascadetype,

QTCaslan-Bold, QTCaslan-BoldItalic, QTCaslan-Italic, QTCaslan, QTCaslanOpen,

QTCasual, QTChanceryType-Bold, QTChanceryType-Italic, QTChanceryType,
QTChicagoland, QTClaytablet, QTCloisteredMonk, QTCoronation, QTDeuce,
QTDingBits, QTDoghaus, QTDoghausHeavy, QTDoghausLight, QTDublinIrish,
QTEraType-Bold, QTEraType, QTEurotype-Bold, QTEurotype, QTFloraline-Bold,
QTFloraline, QTFlorencia, QTFraktur, QTFrank, QTFrankHeavy, QTFrizQuad-Bold,
QTFrizQuad, QTFuture-Italic, QTFuture, QTFuturePoster, QTGaromand-Bold,
QTGaromand-BoldItalic, QTGaromand-Italic, QTGaromand, QTGhoulFace,
QTGraphLite, QTGraveure-Bold, QTGraveure, QTGreece, QTHandwriting,
QTHeidelbergType, QTHelvet-Black, QTHelvet-BoldOutline, QTHelvetCnd-Black,
QTHelvetCnd-Light, QTHelvetCnd, QTHoboken, QTHowardType,
QTHowardTypeFat, QTImpromptu, QTJupiter, QTKooper-Italic, QTKooper,
QTKorrin-Italic, QTKorrin, QTKung-Fu, QTLautrecType, QTLetterGoth-Bold,
QTLetterGoth-BoldItalic, QTLetterGoth-Italic, QTLetterGoth, QTLinoscroll,
QTLinostroke, QTLondonScroll, QTMagicMarker, QTMerryScript, QTMilitary,
QTOKCorral-Cnd, QTOKCorral-Ext, QTOKCorral, QTOldGoudy-Bold,
QTOldGoudy-Italic, QTOldGoudy, QTOptimum-Bold, QTOptimum-BoldItalic,
QTOptimum-Italic, QTOptimum, QTPalatine-Bold, QTPalatine-Italic, QTPalatine,
QTPandora, QTParisFrance, QTPeignoir-Lite, QTPeignoir, QTPiltdown, QTPristine-
Bold, QTPristine-BoldItalic, QTPristine-Italic, QTPristine, QTRobotic2000,
QTSanDiego, QTSchoolCentury-Bold, QTSchoolCentury-BoldItalic,
QTSchoolCentury-Italic, QTSchoolCentury, QTSlogantype, QTSnowCaps,
QTStoryTimeCaps, QTTechtone-Bold, QTTechtone-BoldItalic, QTTechtone-Italic,
QTTechtone, QTTheatre, QTTimeOutline, QTTumbleweed, QTUSA-Uncial,
QTVagaRound-Bold, QTVagaRound, QTWeise-Bold, QTWeise-Italic, QTWeise,
QTWestEnd. [Google] [More] ⦿
Raimondi&Zucca Italian foundry located in Milan.

Their work is shown in
Raimondi&Zucca, fonderia caratteri
(Milano, Raimondi&Zucca, 193?,
179 pages). [Google] [More] ⦿
Ralph du Carrois [More] ⦿

[Seite4]
Reichsdruckerei Berlin-based state foundry and press. Designers there included

Berlin
Paul Voigt: Voigtsche Gotisch (ca. 1900).
Georg August Eduard Schiller (imperial punchcutter): Borussia (1900,

blackletter), Germania (1900, blackletter).
[Google] [More] ⦿
RGB107,6 RGB is Radio Galibasel. The site carried DIE GUTE FUER ALLE font collection by
Fidel Peugeot (Vienna), Karl Rottweiler (Basel), Peggy Boon, Robi Watt, Hermine
Demoriane, Quentin Magnus, Christian Anders, Betti Sauter, Feit F. Stauffer, Nadja Z,
Cosima v. Gestern and the RGB107,6 crew (Vienna-based outfit): nice handwriting
fonts for general use. It seemed like it was a free collection, but the download page
was not operational. All this is moot now, as the original font site disappeared.
The list of typefaces: Omen (Karl Rottweiler) is great, Gabel (by Fidel Peugeot) is a
grunge font, Stukkie (by Peggy Boon) is normal handwriting, Ling (by Fidel Peugeot)
is curly handwriting, Cuisinette (by Hermine Demoriane) is childish handwriting,
Kanguruh (by Robi Watt) is hurried, HerrKlee (by Fidel Peugeot) is for graffiti,
Mokka (by Fidel Peugeot) is for 8-year olds, the Waldmeister family (by Veit F.
Stauffer) is for writing with chalk on trees, Sticker (by Christian Anders) is a disaster,
Quentin Magnus der Wilde (by Fidel Peugeot) is so-so, Pirona (by Babette) is open
and inviting hand-titling, BettisHand (by Betti Sauter) and Dr. R (by Dr. R) are
regular handwriting fonts, Erdbeere (by Cosima von Gestern) is a doodling food-
based dingbat font, Nadja's Trolle is so-so, and Trompete is Fidel Peugeot's Trumpet
dingbat font. [Google] [More] ⦿
R.H. Stevens [MyFonts] [More] ⦿

[Stevens Shanks &
Sons Ltd]
R.H. Stevens London-based designer at Steven Shanks who made the slab serif typeface Clarence
Condensed ca. 1910. Around 1904, he made the Gaelic modern angular font Stevens
Celtic (or: Later Figgins Bold). The latter typeface resurfaced in a similar form as
Monotype Series 85, ca. 1906. R.H. Stevens started R.H. Stevens&Co. [Google]
[More] ⦿
Richard Gans
[Fundicion
Tipografica Richard
Gans]

[More] ⦿
Riegerl, Creators of the blackletter typefaces Lipsia Fraktur (1906, H. Berthold), Halbfette
Weißenborn&Co Lipsia Fraktur (1907, H. Berthold) and Fette Lipsia Fraktur (1908, H. Berthold)
[Google] [More] ⦿
Riscatype British printer and typefounder. British Letterpress writes: In 1878 Thomas Yendall
[Thomas Yendall] took over a printing business started by John Taylor eight years earlier. The firm
became a limited company in 1911. By 1925 type casting had started under the name
Riscatype. Ten years later printing stopped and Yendall concentrated on the
manufacture of type. In 1984 Yendall and Co. went into voluntary liquidation. The
firm had cast type using Monotype machines, housed in a cramped green metal
building in Risca, South Wales.
Pictures of the 1938 Riscatype Catalogue of the Yendall&Co. of London. I can't detect
any original types in that catalog. [Google] [More] ⦿
Rob Roy Kelly A study collection, with extensive specimens, held by the Design Division of the
American Wood Department of Art and Art History at The University of Texas at Austin. This is one
Type Collection of the most, if not the most, extensive web presence for wood type. The collection, as
of mid 2009:
VW&Co., 18 Dutch Street, N.Y. 1864-1867

Vanderburgh, Wells&Co., New York 1867-1890
J. G. Cooley, New York 1859-1868
Page&Co., Greenville, Ct. 1857-1859
Wm. H. Page&Co., Greenville, Ct. 1859-1870
Page&Co., Greenville, Ct. "Patented" 1870
Wm. H. Page&Co. 1870-1876 Page W. T. Co. 1876-1891
Patented Dec, 20, 1887 "Page" 1887 American W. T. Co. (Tubbs) 1878-1883
American W. T. Co. So Windham CT (Tubbs) 1883-1902
No imprint (Hamilton confirmed manufacturer) 1881
The Hamilton Mfg. Co., Two Rivers, Wis. 1889
The Hamilton Mfg. Co, Chicago&Two Rivers 1889-1891
Hamilton, Two Rivers, Wis. 1891-1950s

American Wood Typ Co. Unconfirmed dates
[Google] [More] ⦿
Robert Alonso [MyFonts] [More] ⦿

[BA Graphics]
Robert Girard [More] ⦿

[Girard et Cie]
Robert Hunter [MyFonts] [More] ⦿

Middleton
[Ludlow]
Robert James [More] ⦿

DeLittle
[DeLittle]
Robert Norton [MyFonts] [More] ⦿

[Norton Photosetting
Ltd]
Robert Trogman [MyFonts] [More] ⦿

[FotoStar]
Robyn Phillips [More] ⦿

[Skeldale House
Treasures]
Roger Excoffon
[Fonderie Olive]

Roman Scherer Designer in Luzern,

Switzerland, who ran
Holztypenfabrik Roman
Scherer, possibly the only
wood type manufacturer in Switzerland. He created Bananatype (ca. 1910). One of
their catalogs, ca. 1920, is entitled Schriften in Holz & Hartmetall Einfassungen
Vignetten. Scherer died in 1922. [Google] [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] ⦿
Rudhardsche German foundry

Gießerei 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:
By Peter Behrens: Behrens Schrift (1901-1902), a Jugendstil font. It was

digitized by Intecsas (as Sprecher Gothic), Dan X. Solo, Ralph M. Unger for
URW++ (2007, as Behrensschrift D), Ingo Zimmermann (2008, as Behrens
Schrift), and Klaus Burkhardt)
Eckmann Schrift: the prototypical art nouveau typeface by Otto Eckmann. This

Munch Jugendstil style typeface from 1900-1901 is often simply called

Eckmann or Eckmann Schrift, Rudhardsche Initialen, or Fette Eckmann (1902).
Digital versions of it exist at Linotype, Delbanco, Ralph Unger
(Schmuckinitialen, 2009, and Initials RMU One, 2012), Bitstream (where it is
called Freeform 710), Elsner&Flake (Eckmann EF), URW, Brendel/Softmaker,
and Dieter Steffmann (an excellent free font called Rudelsberg; Steffmann has
an accompanying Jugendstil Ornamente).
Offenbacher Schwabacher (1900) by Kurt Wanschura. The idea for this type
came from Gustav Ruprecht. Revivals at Delbanco (as DS-Offenbacher-
Schwabacher) in 1996.
Walthari, a mix between art nouveau and blackletter, designed in 1899 by Heinz
König. Walthari Initialen.
Behrens Initialen. Also by Peter Behrens.
Schwabacher Initialen.
[Google] [More] ⦿
Rudolf Hell [MyFonts] [More] ⦿

[Hell GmbH]
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] ⦿
Sacred Nipple Type Founded in 1996, Sacred Nipple Type Foundry was a South African foundry located
Foundry in KwaZulu-Natal, located at this dead link. The main designers were Brode Vosloo,
[Brode Vosloo] Lyall Coburn, Stephen Embleton and Scott Dukes.
They had grungy fonts such as the great graffiti font StarSalon, Sloth (1996), Albino
(Brode Vosloo), Belch (Clint Vosloo), and Spiked Soda (Lyall Coburn and Cock
Vosloo). The Vosloo brothers and Coburn are originally from Zaire. Brode Vosloo is
also the [T-26] designer of AfroDisiac (dingbats, 1997, with Garth Walker, William
Rea and Lisa King), Slicka (2002), FreeLine (a techno face, T-26) and ShoeRepairs (a
dadaist and 3d family made in 2000, T-26). Their own designs include interesting

African fonts such as MrCV Joint, and Shoe Repairs (2000, family).
Newest fonts: ErrorType8 (2000, Brode Vosloo), IZulu-Outline (2000, Brode Vosloo),
IZulu-Regular (2000, Brode Vosloo), PleineStr (2000, Brode Vosloo), Rural (2000,
Brode Vosloo), Biltong, BirthRiot, Caslonostrate, Cynic, Ejectile, EjectileItalic,
Fondle, Fuel, FuelItalic, GrossAkzidentFucked, Hole, Holier, IAlfabhethi,
IZuluOutline, Lymphatic, Propane, PropaneRounded, PropaneSmallCaps, Scrapt,
ScripteriaCola, ScripteriaGummy, ScripteriaToid, Slick69, StyleLiner.
Since 2004, Brode Vosloo works (not sure if he still does today) for Iron Fist Design.
Another URL. Dafont link. Klingspor link. [Google] [MyFonts] [More] ⦿
Sam Ardell [More] ⦿

[Techni-Process]
Samhwa Korean tyopefoundry in the metal era which produced, e.g., Choi Myungjo in 1958.
[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] ⦿
ScanVec Outfit which made many font families in 1990, including these: American-Classic,
Artcraft, Auburn, Autopista, Avenue, Belwe, Bengel, Bengi, Bloom, Booty, Branding,
Broadway, Brophy, Brush, CG-Bodoni, CG-California, CG-Century, CG-Clearface,
CG-Cloister, CG-Frontiera, CG-Mellinza, CG-Nashville, CG-Omega, CG-Palacio,
CG-Pontiflex, CG-Poster, CG-Trade, CG-Trade, CG-Triumvirate, CG-Trump,
Callistyle, Camelot, Carolina, Carolina, Caslon-540, Ccrige, Charlotte, Circular,
Claredon, Commercial, Compressed, Computer, Cooper, Copperplate, Crest, Deco,
Dom, Domino, Doron, ETC, Egyptian, English, Estelle, Europa, Expo, Extend,
Exway1, Exway2, Fancy, Fancy, Fleer, Forecast, Fortune, France1, France2, France3,
Franklin, Frieze, Futura, Garamond, Garth, Gem, Gothic, Goudy, Highway, Hobo,
Hotdog, Journal, Klass, Laddy, Lilt, Lubo, March, Microstyle, Mon_1, Mon_2,
Mon_3, Mon_4, Mon_5, Mon_6, Mon_7, Mon_Block, Mon_BlockShadow,
Mon_Gothic, Moon, Murray, Musketer, News, Nuevo, Old, OldEnglish, Park, Quill,
Raphael, Roven, Sabon, Sans, Scene, Scripta, Shady, Shape, Shot, Signature, Stymie,
Superior, Tarry, Transport, Tropez, Typewriter, Uncial, Velvet, Wide, Windsor,
Yearbook, Zarana. The link has a full list of the font names. Download link. [Google]
[More] ⦿
Schriftgiesserei A. Leipzig-based typefoundry, est. 1885 by Adam Numrich (who was employed by C.
Numrich \& Co Kloberg at the time), taken over by Bauersche Giesserei in 1912 (or 1927?). Its first
[Adam Numrich] 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, 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. Image of Romana Initialen by Numrich.
[Google] [More] ⦿
Schriftgiesserei Foundry in Frankfurt am Main.

Flinsch House typefaces include Enge
[Heinrich Flinsch] 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).
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 Stuttgart-based foundry run by Otto Weisert. Their publications and specimen books
Weisert have dates between 1875 and 1922. Faces produced there include Nürnberger
[Otto Weisert] 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] ⦿
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: (an ad),, 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,

Ramona, Paralament, 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] ⦿
Scott Dieznyik [More] ⦿

[Kejak Fonts (was:
Cheops)]
screen-screen Screen-screen is a (defunct) Viennese foundry with commercial fonts by P.K.

[P.K. Offenhuber] Offenhuber. These include Euree, a stylish Latin font family, with plenty of currency
symbols. Euree Currency is free. [Google] [More] ⦿
Sean Tejaratchi [More] ⦿

[Media Wrench
Type]
Seite4 Berlin-based design company, est. 2003, run by Ralph du Carrois and Jenny Horn. It
[Ralph du Carrois] 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] ⦿
Setzmaschinenfarik Creators of typefaces such Teutoburg (1935, blackletter). [Google] [More] ⦿

Typograph
Sharkshock Free and commercial

[Dennis Ludlow] fonts by Dennis
Ludlow (Sharkshock Productions, Raleigh, NC), such as Hot Pizza (2001), Hawaiian
Punk, Royal Acidbath, Little Caesar, Subway, Holiday India, Mobsters, Dallas
Cowboys (Western look, 2004), Dark Crystal, Queen of Camelot (2015), Green Eggs
and Spam (2015), Ludlow Strong Ale (2015, German beer label font), Space Angel
(2014), Electrox, Cowboys, Dolphins, Viking Stencil, Lexust (2002), Padaloma
(2002), Fujita Ray (2002), Willy Wonka, Hursheys, Grinched (a Halloween or beatnik
font), Honda, Busch Gardenz, Holiday India (2000), Simpsons, Blockbusted, IHOP,
Chicken Fool A, Playtoy, Cowboys (2001), Dreamscar (2001, has a Cyrillic version),
Mr. Goodbaur, Dr. Peppers, Oreos, Air Millhouse, Fruitopia, Raiders, TGI Friday,
Jolly-Raunchy, Mouser, Pirate-Keg, Fujita Ray (2015), Modeccio (2015, art deco),
Wendyville (2015, Western), Vonique 64 (2015, avant-garde style), Your Royal

Majesty (2015, a unique blackletter-inspired vampire script), Hackney Block (2015),

Thunder Lord (2015, an outlined variant of Raiderfont), Republica Minor (2015),
News of the World (2015: a news headline font), TH3 Machine (2015), Funkrocker
(2015, inky, grungy), Tiki Tropic (2015: a tiki font), TypoGraphica (2015, a strong
geometric sans), Vonique 92 (2015, circle-based fashion sans), Reisenberg (2015, a
black titling sans; v2.0 dates from 2018). There is also a medium-sized categorized
archive, with subsections such as cartoon fonts and movie fonts.
Typefaces from 2016: Twiddlestix, Konigsberg (rounded sans), Wicked Mouse

(looney tunes typeface), Heathergreen (a tall condensed sans), Wonderbar
(psychedelic), College Block (athletic lettering), Death Star, Ring of Kerry (uncial
style), Blockletter (octagonal), Café Françoise, Cronus (round monoline sans),
Suissnord (a wide sans display typeface), Grinched 2.0 (an update of Grinched), Red
Seven (futuristic), Enchanted Land (derived from the blackletter genre), Freakshow
(ornamental ransom note font), Deutschlander (a condensed sans for movie credits
and similar applications).
Typefaces from 2017: Lemonade Stand, Dark & Black, Hennigar (a heavy compact
sans in the spirit of Impact), Durango Western, Banbury (a heavy display didone),
United Kingdom (techno), Goldoni, Kingsmen.
Typefaces from 2018: Stupid Meeting (an all caps display typeface), Medusa Gothic,
Carson (tall grotesque), College Block 2.0 (octagonal), Medusa Gothic, Royal
Crescent (sans), Praetoria, Papaya Sunrise, Helmswald Post (blackletter).
On August 28, 2001, Dennis announced that he would stop producing fonts, forever.
Abstract Fonts link. [Google] [More] ⦿
Signus Limited Typefoundry in the UK active in the 1990s. It later became AIT. Type designers
employed by them include Philip Kelly, David Quay and Freda Sack. The latter two
made the New Johnston (or: NJ) family in 1992 that is used on the London Transport.
They founded The Foundry. Some other foundries have taken their shots at designing
their own emulations, such as ITC Johnston, P22 London Underground, Device
English Grotesque, Jonathan Paterson's London Tube and the freeware font
Paddington. Other Signus fonts include VanDerLeckAT (1993) and
VandoesburgatPlain (1993), the last one being a pixel font. [Google] [More] ⦿
Singer Graphic Defunct foundry. [Google] [More] ⦿

Systems

Skeldale House This site used to have shareware dingbats by Missi (Robyn Phillips from Cascade,
Treasures Montana). For a short while, it was a commercial site featuring 246 fonts on one CD
[Robyn Phillips] for 49USD. And some time after that, it shut down altogether. However, the fonts will
forever be floating around in cyberspace. Fontspace link.
The font names start with Ryp or ryp, and with that prefix omitted, we have: Abctrain,
Animal, Aquatic, Bars 1, Birds 1, Buildings, Butterfly 1+2, Button 1-4, Caps Fonts
(60 typefaces !), Cartoon Bugs, Cats 1 + 2, Children 1-3, China Art (11 typefaces),
Christmas 1-4, Christmas Bells, Christmas Caps, Deco 1-20, Element 1+2, Evil 1,
Facets 1, Fat 1, Fiesta 1+2, Floral 1-11, Frames 1+2, Geometrics, Greek Vases 1+2,
Halloween 1, Hats 1+2, Hearts 1, Jewels 1-4, Keys 1+2, Kokopelli Flute, Ladies Hats
1+2, Leaves 1, Lighthouse 1, Nature 1, Nymphic, Old Wood Cuts 1-6, 10-14, Old
World Art 1-4, Ornate 1-7, Pipes 1+2, Quilt 1-10, Real Bugs, Ropes 1+2, Santa 1+2,
Scarey, Snowflake 1-8 (image of Snowflake 1 and of Snowflake 3), Silhouette 1-20,
Thanksgiving, Transportation 1-3, Trees, Victorian 1-3.
Dafont link. [Google] [More] ⦿
Société Belgian foundry in the nineteenth century. Specimen des caracteres letters de
Typographique Belge fantaisie, vignettes, fleurons et ornaments typographiques (1846) is their catalog.
[Google] [More] ⦿
Societa Uranio Italian typefoundry located in Rome. Its typefaces include Caesar (an imitation of
Nebiolo's Nova Augustea) and Pubblistyle (an imitation of Nebiolo's Slogan).
[Google] [More] ⦿
Software This outfit released many fonts around 1992-1994, some with the letters FLF in the
Complement name (similar to the letters used by FluentLaserFonts). We find BayNetworksLogos-
regular, BayNetworksPeople, HancockParkBoldLaser, HancockParkLaser,
HancockParkLightLaser, KasseFLF-Bold, KasseFLF, KasseUltraFLF, LaPerutaFLF-
Bold, LaPerutaFLF, LaPerutaUltraFLF, MichelleFLF-Bold, MichelleFLF, RockoFLF-
Bold, RockoFLF, RockoUltraFLF-Bold, RockoUltraFLF. [Google] [More] ⦿
Soldans&Payvers British foundry, active in the early part of the 20th century. [Google] [More] ⦿
Foundry
Sound of Print Free fonts made by Jay David and Bradford Cox at the Sound of Print during the
[Jay David] height of the grunge font era: Sacchrine Trust, Plastic Lasso and the odd Heroin Sheik
by Bradford Cox, Tanline and Copsucker by Jay David, Spacesuit by Bradford Cox,
and the old typewriter font Metalic Avacodo (sic) by Bradford Cox, all free fonts. On
a nearby page, they were selling a few fonts at 15 dollars a shot.

Font list: 850doublebumperalley, AcousticBass, AcousticLight, B-Blade, Bachelor,

BirthRiot, BootyScratch, Copsucker, CountryFeedback, Dang, DeepRed, Dentist,
Driveway, Firewater, Freecityrhyme, Freekitten, GrossAkzidentFucked, Heliosphan,
Heroinchic, Hole, Holier, HoneyEggirregular, Lymphatic, MetalicAvacodo, Ob,
PlasticLasso, Polaroid22, Primagrosa, Reznor, Sacchrinetrust, Satellite, Shirt,
Shortwave, Sondub, Sopolar, Spacesuit, SugarCube, Tanline, Theamericanflag (1998,
Bradford Cox), Thetransmissions, Trigger, Tshirt, VersusCloser, VintageNo1,
WalkieTalkie, WashingMachineCloser. [Google] [More] ⦿
Soup.Type Now defunct foundry. It had free fonts by Jason Fagone of Penn State University.
[Jason Fagone] They include Monko (handwriting), Monko Blocky, Pianissimo, Blade, Young
Zaphod, Velour, Velodrome, Electric Circus, Trapped Family, Font4TheDumped,
Torpedo, BachelorPad, 4Decibels and Falling (handwriting of Andy Wagner).
[Google] [More] ⦿
Southern Software Port Charlotte, FL-based company owned by the infamous Paul Eric King (pastor of
Inc. (SSi) Harborview Christian Church in the same city, b. Stormlaks, IA, 1954), who has
reengineered most of Monotype's and Adobe's fonts in the 1990s. For example, their
Just My Type CD ($29.95) had 3360 fonts. It was not a foundry, but copied fonts. The
Key Fonts Pro 3003 for Macintosh has the same old rip-off fonts found on the older
1555 Key Fonts Pro CD, plus a few new fonts ripped off from new victims.
Incredibly, the Postscript versions came without AFM files and were thus useless.
Apparently, the kerning present in the TrueType versions or the IBM PostScript
versions is the pits, so the whole set is worthless, and proves that King, who is being
sued by Adobe, knows nothing about fonts and does not care about quality. Paul King
ignored my email regarding the kerning/AFM matter. The kerning pairs on the 1555
Key Fonts Pro CD in contrast were much better. Also, all his fonts can be extracted
from the PDF files if you convert these files to PS.
Paul King was condemned in court in February 1998 for violation of copyright.
King's legal troubles continued on another front: he was arrested on July 2, 2001, for
allegedly paddling a child so hard he left bruises. In all, he faced eight accusations of
alleged child abuse. The trial started in August 2002. He was convicted in November
2002 and was sentenced on December 30, 2002. Relevant web sites: crime record,
Sun Herald (select "Search News Archives", respond "YES" that you are a subscriber,
enter "Paul King" for the search keywords (don't use quotes), click Begin Search),
Herald Tribune (select Archives (in the left column under Services), enter keywords
"paul king" (you must use quotation marks)), NBC, ABC, Booking document (click
on Case Number, enter "01000534F", click on Documents). On December 31, 2002,

Paul King was sentenced to three months of jail term (see also here).
SSi ceased operations. [Google] [More] ⦿
Sprint Software Sprint Software (Niall Ginsbourg, Australia) used to sell a rip-off CD under the name
Super Oz Shareware Fonts from 1994-1996. It ceased to exist then, but Niall
Ginsbourg continued with other companies and products. It had about 3000 truetype
fonts, from Linotype, Agfa, Monotype, URW and so forth, often using original names,
and it also contained many shareware fonts by artists such as David Rakowski. Ulrich
Stiehl's font by font analysis. [Google] [More] ⦿
Stanhope Press The Stanhope Press, founded by F.H. Gilson in 1878, was named after Charles, third
Earl Stanhope, the inventor of the stereotyping process. In 1906, this Boston-based
company published a 452-page book: "The book of specimens / Stanhope Press"
(Boston : F.H. Gilson Co). [Google] [More] ⦿
Star Division Star Division from Hamburg sold a collection of renamed fonts around 1995, which I
guess were part of its StarOffice free software package. Star Division was acquired by
Sun Microsystems. A partial list of their fonts: Americano, Andorra, Arcus, Armada,
ArtA, ArtB, ArtC, ArtD, ArtE, Artefakt, Avance, Aventure, Bahama, Baikal,
Banberry, Baroness, Bavaria, Bavaria, Beda, Benelux, BeneluxCaps, BeneluxHeavy,
Brequet, CadillacCaps, Camarco, Cephyr, CephyrCaps, CephyrCondensed, Chelsea,
Cleo, Domo, EnriqueCaps, Erato, Eriva, Farny, Flavius, FlaviusHeavy, Frantic,
FranticHeavy, Gamins, Gero, Goncourt, Helmet, HelmetCondensed, HelmetLight,
Houdon, Kiddy, Korinth, KorinthHeavy, LarmaCaps, Miplex, MiplexHeavy, Murnau,
Nuance, NuanceHeavy, Opera, OperaHeavy, Pakira, Proto, Rocco, Sega, Slim, Solo,
SoloLight, Styx, Symco, Timida, TimidaCaps, TimidaHeavy, Timmons, Tintin,
Uncorpo, Undine, UndineCondensed, UndineExtraCondensed, UndineHeavy, Usage,
Veltina, Wassily, Zazie. [Google] [More] ⦿
Star Graphic System Defunct foundry. [Google] [More] ⦿

Inc.
Startype British Letterpress writes: Startype based in Birstall, West Yorkshire used Monotype
[Brian Horsfall] machines to cast type and advertised that they were contractors to HM Government
and Overseas Governments. The casting machines were modified to work at higher
temperatures with a different mix of type metal meaning that they could produce type
suitable for hot foil work on a composition caster. The firm closed in the late 1980s.
Some machines and the expertise continue with Brian Horsfall who casts type under
the name Supertype. [Google] [More] ⦿
Stephen Deken [More] ⦿

[Typearound]
Stephenson Blake Founded in 1819 in

[John Stephenson] Sheffield by toolmaker
John Stephenson (died
in 1864), silversmith William Garnett and financier James Blake, initially largely
based on the purchase of the foundry of William Caslon III and IV in 1819. In 1829
Garnett left to become a farmer. The company was renamed Blake&Stephenson in
1830, but Blake died soon after. It became Stephenson, Blake&Co. in 1841. John
Stephenson died in 1864, the year after he handed control to his son Henry. The
company grew by acquiring most British typefoundries: Fann Street Foundry (1906);
Fry's Type Street Letter Foundry; H.W. Caslon&Sons (1937); Miller&Richard (1952).
The matrices and other old typographic equipment to Monotype and can be seen in
the Type Museum of London. MyFonts provides this update: Members of both the
Stephenson and Blake families still sit on the board of the present company. In 2001,
according to managing director Tom Blake, the foundry was still producing some type
in zinc, but by 2005 the company was wound up. There are plans to turn the former
premises into an apartment complex.
In 1996, all remaining materials (punches, matrices, specimen books) were sold to
Justin Howes' Type Museum. The information in The Ancestry of British
Typefounding and the complete list of the Stephenson-Blake typefaces comes from
Roy Millington's Stephenson Blake The Last of the Old English Typefounders, The
British Library, London, 2002. Today, Stephenson Blake continues in manufacturing
only.
Partial typeface list: Algerian (URW), Brittanic (Linotype), Baskerville Old Face
(URW), Carlton (1910s, digitized by Letraset in 1983; some say the original is F.H.
Ehmcke's Ehmcke Antiqua, 1909), Chisel (an engravers typeface done in 1939 by
Robert Harling; digital version at URW), Consort [the Stephenson Blake version of
Clarendon], Doric Bold (Adobe), Fry's Ornamented No. 2 (many digitizations exist,
e.g., Beffle (1991, David Rakowski)), Grotesque No 9 (URW), Impact (Linotype,
Adobe), Latin (URW), Latin Wide (1940), Latin Antique (1880s; a woodish typeface
revived by Nick Curtis in 2011 as Indubitably NF), Old Town No 536 (Western face,
see Linotype), Playbill (a 1939 western saloon typeface by Robert Harling; digital
versions at Bitstream, Linotype, and URW), Tea Chest (1939, an all-caps stencil
typeface revived in 2011 by Nick Curtis as East India Company NF; Sigrid Claessens
and Günther Flake revived Tea Chest Stencil in 1999 for Apply Interactive),
Thorowgood, Verona (1923), Vivaldi (now at Linotype), Windsor (Bitstream, URW,

Linotype, after a 1903 original by Sir William Kirkwood at Stephenson Blake), Wood
Indexes (fists), Marina Script (1936, a copperplate script), Parisian Ronde (acquired
from the Inland Type Foundry in 1905), Imperial Script (late 1800s formal script not
unlike Firmin Didot's Anglaise, 1809), Bologna (script face, 1946), Glenmoy (script
face, 1932, digitized and expanded in 2005 by Alejandro Paul as Mousse Script
(Sudtipos) and in 2007 by Nick Curtis as Glengary NF, and in 2012 by Vernon Adams
as Norican at Google Web Fonts), Francesca Ronde (1948), Granby (1930, a humanist
sans family based on Edward Johston's types; revivals include one by Steve Jackaman
and Ashley Muir called Granby Elephant (2011), and the main digital revival, from
2011, by Elsner and Flake called Granby EF), Recherché (revived by Nick Curtis as
Plus de Vagues NF (2006)), Youthline Script (1952, a copperplate script for the
banking and insurance industry, digitized and extended into a 7-weight family in 2005
by Rebecca Alaccari and Patrick Griffin as Sterling Script (2005)).
Some type specimen, and a discussion of some typefaces, by yours truly.
Scans of some old typefaces: Britannic Italic (1906), Flemish, Freehand Script,
Olympian.
A few scans from Henry Taylor Wyse's book of 1911, showing types owned jointly by
Stephenson Blake and Sir Charles Reed of Sheffield: AntiqueRoman, Athenian,
Baskerville, Black No. 3, DeVinne, DeVinne Italic, Hallamshire Old Italic, Italian Old
Style, Italian Old Style, Italian Old Style Italic, Lining Modern No. 20, Lining Old
Style No. 5, Lining Westminster Old Style, Winchester Bold, Winchester Old Style,
Winchester Old Style Italic.
View digital typefaces that descend from the Stephenson Blake collection. [Google]
Stevens Shanks & Stevens, Shanks & Sons Ltd. was an English type foundry formed in 1933 by the
Sons Ltd merger of the Figgins Foundry with P. M. Shanks (Patent Type Foundry) to form
[R.H. Stevens] Stevens, Shanks. Sometime after 1971 the foundry ceased operations and all materials
(including Figgins's punches and matrices) went to St. Bride's Printing Library.
British Letterpress writes: Stevens, Shanks & Sons Ltd was based in Southwark,
London SE1. During the 1950s they used Monotype equipment, with a modified
heating unit and harder alloy to make their type more hard-wearing. In 1971 they
moved from 89 Southwark Street to 22 Coleman Fields where they continued to cast
type until the mid-1980s. They revived some very old typefaces, and held some ancient
founders matrices. They did not use Monotype Thompson Casters for this work, so
must have modified the matrix holders on standard Monotype machines.

David McMillan notes: Millington notes that in 1928 P. M. Shanks and Sons Limited
[Patent Type Foundry] discussed the sale of their company to Stephenson, Blake. No
sale occurred, after four years of discussion. Millington notes that at the end of that
discussion P.M.Shanks and Sons Ltd. "amalgamated" with R. H. Stevens Limited [the
Figgins foundry]. The new firm was "Stevens, Shanks and Company". Moseley, Howes
& Roche (p. 30) identify the date of the merger of R. H. Stevens and P. M. Shanks as
1933. They give the name of the resulting company as "Stevens Shanks & Sons Ltd".
They also note that R. H. Stevens (the person) was the grandson of Vincent Figgins I,
thus identifying R. H. Stevens Ltd. with the Figgins foundry. Moseley et. al. note that
the firm moved in 1971, so it must have been in operation at least until then. Finally,
Moseley, Howes & Roche also note that the Stevens Shanks & Sons. Ltd. materials
(including Figgins' punches and matrices) went to the St. Bride's Printing Library on
the dissolution of the foundry (but give no date for that).
According to Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson's The

Encyclopedia of Type Faces (Blandford Press Lts.: 1953, 1983), these types were
made by Stevens Shanks:
Bessemer (1936, Dennis Morgan)

Bristol (1925, Gans Type Foundry). For a digital revival, see Bristol (1994,
Group Type).
Clarence Condensed (c. 1910, R.H. Stevens)
Expanded Antique (c. 1880) originally cast by the Figgins Foundry.
Extra Onamented 2
Extended 3
Figgins Condensed No. 2 (c. 1870) originally cast by the Figgins Foundry.
Figgins Shaded (1815) originally cast by the Figgins Foundry.
Gresham (1925) originally cast by the Figgins Foundry (c. 1796).
Rosart (1925, Gans Type Foundry)
To this list, one can add Memorial (1865), Robur, Antique No. 3 (ca. 1860, taken over
from the Figgins Foundry), Antique No. 6 (ca. 1860, taken over from the Figgins
Foundry) and Antique Old Style (ca. 1860). [Google] [MyFonts] [More] ⦿
Stirling H. Alexander [More] ⦿

[AcuteType]
Studio Hollenstein Albert Hollenstein is a Swiss type designer, b. Luzern, 1930, d. Vernazza, 1974. He
[Albert Hollenstein] ran Studio Hollenstein, which specialized in photographic display typefaces. It closed

ca. 1978.
Hollenstein designed Pointille (1975, VGC), Siris (Hollenstein Phototypo, 1972), Tivi
(Hollenstein Phototypo, 1968), Brasilia (ABM Hollenstein, 1960, with Albert Boton),
Primavera (ABM Hollenstein, 1963, with Albert Boton), Rialto (ABM Hollenstein,
1960, with Albert Boton). With Albert Boton, he designed ITC Eras (1976). ITC Eras,
a weird high x-height and open-bowled-a fashion victim of the 1970s, was
inexplicably copied by many: Ennis (Infinitype), E820 Sans (Softmaker), Incised 726
(Bitstream), ER (itek), Erie (Corel).
Catalog of the serif typefaces at Hollenstein Phototypo. Hommage by Peter Gabor.

FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿
Sunita Type Foundry Type foundry from the early part of the 20th century, located in Bombay, India.
[Google] [More] ⦿
Symmetry Specialty Obscure foundry active in the 1990s. I have come across a font family by them
Type Foundry entitled New World WinMac (1995), which has this notice: 1995 Dr C. Buck Religion
[Greg Berry] Millikin University Decatur IL 625222084 (C)1995 Symmetry Specialty Type
Foundry. Code: Greg Berry. [Google] [More] ⦿
Tactype Inc. Defunct foundry. [Google] [More] ⦿
Takumi Hara [More] ⦿

[Font Chop (Lumber
Room)]
Tealeaf Digital Type Tealeaf Digital Type Foundry (or: Little Red Circles) was a Manchester, UK-based
Foundry foundry, which existed from ca. 2000 until ca. 2004. Designers included Carl Seal,
[Dave Lawless] Dave Lawless, Tony Howell, Jon Ratcliffe and Kyle Seal. There were about 30
commercial Mac fonts and about 25 free PC/Mac fonts in truetype. By designer:
Dave Lawless: 3d Blox, Architext, AU79, Breathe, Bubblewrap, Optimistic,

Typeone.
Mark Bradley: Phobia.
Tony Howell: Yuleo.
The other designers made BaskerSans 4, Bitmapbreakfast, Bull, Butter, Calliglession,

Calligruffy, Carl Seal, Chewy, Crushedtalc, DuoGypsy, EasyLino, Forma, Geek,
Grivant, Growbag, Gypsy, Inbreed, Index, Instamatik, Kyleaged5, Kyleaged5half,
Ladyboy, Leavingglassvegas, Litrecs, Matrix, Mend, Metis Rota, Mr.fish, Munch,
Next, NuChina, Nudgeashak, NuEngland, NuJapan, Number, Passion, Print is dead,
Raygun, Reop-sans, Rupture, Scritch, Shakasonik, Shati, SheMale, Skript, Something,

Stamp, Synsis, Timig, Tweak, Underworld, Unruly Cucumber, Unstuklino, Untitled,

User-unknown, Whanted, Yatta, Yuleo, Basker Sans 4, Optimistic, Phobia, Typeone.
Freebies: Skript, Tweak (Mac and PC, truetype).
Dave Lawless now runs Fontmill Foundry (also called Studio Liddell Ltd Graphic
Design), and sells his fonts via MyFonts. Carl Seal set up Little Red Circles and took
most of the fonts to that site, where they can be downloaded for free. [Google]
Techni-Process Foundry in the film type era, est. in the late 1940s by Sam Ardell. Its 1957 catalog
[Sam Ardell] shows 408 film types and its 1967 catalog has 1016 typefaces. Some of these types are
missing from their 1984 catalog. Peter Bain (Incipit) bought the remaining typefaces
in 1994, and they are now in Bain's Incipit collection. [Google] [More] ⦿
Tegra Foundry from the phototype days. [Google] [More] ⦿
Terence Bergagna [More] ⦿

[Prototype Font
Design]
Terry Kunysz [More] ⦿

[Casady&Greene
(Fluentlaserfonts)]
Tetterode Nederland Aka Typefoundry

(was: Lettergieterij Amsterdam, foundry in
Amsterdam) the Netherlands, operating 1851-1988. A lot of the material about Tetterode can now
be found in the University of Amsterdam. Among the many typeface families
produced under its aegis, we cite Batak (1855), Gracia (1927, script face), Amazone
(by Leonard H. D. Smit, 1958), Hercules (1926---a fat upright scriptish typeface with
bunny ears, digitized in 2011 by Nick Curtis as Herkimer Bunrab NF), Orator,
Promotor, Arsis (1938, by Gerry Powell, who created the identical didone font Onyx
at ATF in 1937), Mercator (1959, by G.W. Ovink and Dick Dooijes, this typeface was
known as "the Dutch Helvetica"), Libra (by Sjoerd Hendrik de Roos, 1938), Reiner
Script (Imre Reiner, 1951). Their webpage is useless. Lettergieterij Amsterdam played
a large role in Dutch typography. [Google] [MyFonts] [More] ⦿
The Font Company Dan Barthell's Phoenix, AZ-based foundry, was

founded in 1988. It produced about 400 fonts. It was
merged into Precision Type Foundry in 1993. Its fonts can now be bought via URW or
Ascender.

Stuart Sandler (The Font Diner) explains: Dan Barthel was the owner of The Font
Company out of Phoenix, AZ and now lives in Ft Myers, FL . . . I have his phone
number if you wanted to REALLY get all the inside scoop . . . Generally speaking, he
was among the first groups along with a handful of young employees he trained to
scan and digitize fonts from filmstrips and did a number of conversions for Harry
Brodjian of Alphatype typefaces in the late 1980s. Among those included were Parade
and Contemporary Brush Bold which were eventually licensed by Robert Norton for
Microsoft . . . I'm certain they used the Ikarus system to make their digitizations . . .
The Font Company eventually went on to digitize a good amount of typefaces and
nearly all of them were distributed by the Precision Type Company until it closed its
doors in the mid-2000s . . . Get your hands on one of those catalogs to see the entire
library they released . . . At some point in the 1990s Dan decided to close up shop and
tossed all the assets digital or otherwise and start over in another business but walked
away from the font business all together regardless . . .
The fonts: Abbey, Accolade, Adelon (patterned after Albertus MT), Adroit,
Advertisers, Aggie, Amanda, Amber, American, Annual, Apache, April, Art Gothie,
Artcraft, Ashley, Atrax, Avalon, Avon, Baker Signet, Ballantines, Balloon, Balzac,
Baucher Gothic (a headline, tall and geometric typeface designed by URW Studio in
1995 according to some sources---unclear where it originated), Bauer Topic, Beacon,
Beale, Bee, Benjamin, Bernhard, Bible, Bluejack, Boa Script, Brittany, Bulmer,
California Grotesk, Cartel, Cartoon, Casablanca, FC Caslon, Century Expand, Charter
Oak, Chevalier, Chinat, Cloister, Contemporary Brush, Continental, Cooper Old
Style, Corporate, Corvinus Skyline, Craw Modern, Criterion, Danmark, FC
Deepdene, Diamante, Didoni, Digital, Din 16, Disco, Egizio, Elaine, Erbar, Expressa,
Fanfare, Firmin Didot, Florentine, Frency, Gatsby, Geshexport, Glamour, Glasgow,
Globe, Gorden, Harem, FC Heldustry, Helenic, Helium, Helserif, FC Highway
Gothic, Hildago, Hobo, Holly Script, Howland, Hudson, Huxley Vertical, Impact,
Introspect, Inverserif, Japanette, Jay Gothic, Kelles, Kennerley, Kenneth, Koloss,
Largo, Leasterix, Legothic, Lightline Gothic, Lucida Type, Marcato, Martin Gothic,
Martinique, Mr Big, Napoli, Nashville, Newport Land, Novel Gothic, Neuland,
Ondine, Organ Grinder, Ornitons Heavy, Paladin, Pandora Black, Parade, Pasadena,
Pekin, Permanent Headline, Philly Sport, Pinnochio, Plakat, Polonaise, Precis,
Pretoria, Promoter, Publicity, Quratz, Quint, Racer, Radiant, Regency, Reiner,
Rochester, Roger, Rolling Stone, Roman Shaded, Roman Stylus, Roman Solid,
Ronda, Roundest, San Serif, Scenario, Sevilla, Shotgun, Siegfried, Souvenir Gothic,
Spire, Stanza, Stark, Thor, Ticonderoga, Timbre, Toledo, Torino, Umbra, Veracruz,
Viant, Viking Gothic, Village, Vixon, Woodcut, Wordsworth, Yorkshire, Zanzibar and

Zola. Other fonts: AGBuch, AGrotesk, Accent-Normal, Aggie-Normal,

AlternateGothic, AmericanGothic, AntiqueOlive, Apache, BAVGarde, BOSGoudy,
BakerSignet, Bauer Topic (1999-2002), BernhardModern, BrodyNormal,
CaslonC224, CaslonC37, CaslonC637, Centaur, CenturyExpanded, Cochin,
DisneyPrint, ECBGill, Exquisit, Flash, Folio, GaramondM, Grotesk, IceAge,
ImpactCondensed, Imprint, Jenson, Latin, Laudatio, Lynton, MagicSymbols,
MBrighton, Michelangelo (a roman caps typeface based on Hermann Zapf's
Michelangelo from 1950), NewportLand, NovelGothic, Nueland, Panache, QuaySans,
RealtyExecutives, Roman, SpiritCraw, Univers, Venus. In 2009, the elegant
transitional---almost modern--- high-legged typefaces Roman Solid and Roman Stylus
(outlines) are shown as part of the URW++ collection.
Ascender sells these fonts: Accent, Amber, Amber Italic, Amelia, American Text,
American Uncial Regular, April, Artcraft Pro, Avon, Balloon Bold, Balzac, Baucher
Gothic, Bernhard Gothic Light, BoaScript, Cartoon, Chinat, Contemporary Brush,
Cowgirl, Devinne, Digital, N 16, Erbar, Expressa, Fanfare, Florentine, Geshexport,
Glasgow ExtraBold, Handel Gothic, Hastings, Hobo, Hobo Bold, Holly Script,
Hudson, Koloss, LeAsterix, Nashville, Novel Gothic, Nueland, Nueland Inline,
Opportunity, Pasadena Family, Philly Sport, Pretoria, Quartz, Reiner, Resonance,
Souvenir Gothic, Stanza, Thor, Ticonderoga, Umbra, Viant, Woodcut, Zanzibar, Zola.
[Google] [More] ⦿
The PAP Major Greek typefoundry, est. 1956, which reached its peak in the mid 1960s. Part of
Typefoundry its 1964 type specimen catalog was republished in Hyphen (vol. 4(1)), 2003. They
[Theod. made 176 different Latin alphabets and even more Greek character sets. It was located
Paraskevopoulos] in Athens and run by Theod. Paraskevopoulos. There are nice selections of Greek
stone-cut style typefaces, script typefaces (Kerkyraika, Olympiaka), modern type
(Neukro 1960, Perfekt), Egyptian typefaces, sans typefaces (Korinthiaka, Nettas,
Iphigeneias), brush typefaces (Arcadia III), text typefaces (Pelasgika, Elzevir), fun
display type (Byzantina, Aiolika Stena, Astoria, Orpheus, Greco 1100B), Western
type (Epidaurou), caps display type (Nikes, Olumpic Leuka, Ioulias, Rodiaka,
Bersaliana Stena), unicase (Athenaika) and typewriter type (Makedonika Leuka).
[Google] [More] ⦿
The Pensword Type Foundry run by L. Theodore Ollier from Austin, TX. It disappeared. Its fonts have the
Foundry PTF prefix, not to be confused with the PTF commonly used now by the Porchez
Typefoundry. [Google] [More] ⦿
The Private Press and Paul Hayden Duensing (1928-2006) was a typographer and type designer who ran
Typefoundry The Private Press and Typefoundry, in Vicksburg, MI. Designer of Sans Descender,

[Paul Hayden Chancery Italic (1966), Rustica Sixteenth Century Roman, Quadrata II, Janson Open
Duensing] (experimental), Van Krimpen Open Capitals (numerals only; designed by Will Reuter
and cut by Duensing), Octavian Caps, Unciala, and Dartmouth (designed by Will
Carter, cut by Duensing). In 1990, he published a gorgeously hand-set booklet entitled
"Deutsche Druckschriften", in which he says: "The present portfolio attempts no
campaign for Fraktur; rather it makes only a quiet appeal for consideration of a great,
if neglected, calligraphic typeface." The blackletter types shown there are, I presume,
made by him: Heinzemann No99M, Heinzemann No100M, Dürer No.256, Wallau,
Jessen, Kasseler No. 40 Teutonic Text, Theuerdank No. 392, Wilhelm-Klingspor-
Schrift, Blücher No. 387 and Koch Initials. He was a generous man, who in the last
year of his life donated his typefounding machines, matrices and effects to young
people.
Mac McGrew explains Andromaque's genesis: Andromaque is a cursive form of

uncial letter, mixing Greek forms of aeklmnstz with Roman forms of the other letters,
yet retaining legibility and harmony. The original size was cut by Victor Hammer and
cast in France. The 14-point size was begun by Hammer, but left unfinished at his
death. The font was completed by his long-time friend, R. Hunter Middleton, in the
early 1980s, and cast by Paul H. Duensing. Paul Baker did a digital version of
Andromaque in 1995.
Duensing died on November 9, 2006.
Klingspor link. [Google] [More] ⦿
The Village Press and Frederic Goudy's foundry based in New York [2 East 29th Street] published a
Letter Foundery delightful little specimen book, A Novel Type Foundry (1914), which is about type in
general, and presents Village Press borders, florets and ornaments, as well as type
designs by Frederic Goudy such as Kennerley and Forum Title. [Google] [More] ⦿
Theod. [More] ⦿
Paraskevopoulos
[The PAP
Typefoundry]
Thomas James
Cobden-Sanderson
[Doves Type]

Thomas MacKellar [MyFonts] [More] ⦿

[MacKellar, Smiths
and Jordan]
Thomas Yendall [More] ⦿

[Riscatype]
Tipografia Alba Spanish foundry that published its catalog Catálogo de tipos : 1974 in Madrid in 1974.
[Google] [More] ⦿
Tolbert Lanston [MyFonts] [More] ⦿

[Lanston Monotype
Machine Company]
Toronto Type Toronto-based foundry, located on Bay Street. It was active in the late 19th century,
Foundry and published a specimen book on wood type: "Wood Type" (1897). It went out of
business in 1967 and was taken over by Howard Graphic Equipment. [Google]
[More] ⦿
Total Distortion Type Designers of the comic book font Kablam, NoControl, and MaxwellSmart. The outfit
disappeared.
Töpfer und Kahle Weimar-based foundry. Acquired in 1918 by H. Berthold AG. [Google] [More] ⦿
.ttf fonts About 30 original free truetype fonts by Fred Fife (Perth, Australia) were at this now
[Fred Fife] defunct site (.ttf), which operated from about 1998 until about 2001. They include
mostly grungy typefaces: Coketail, Sixty, BacktoBay6Regular, CityContrasts, Lead
Coat, Grasping, Fast 99, Asman, City Contrast, Froufrou, Enervate, Morse 2050,
Wash 99, Sewer Sys, Pixel Shift, FlushOut, Type-Simple (old typewriter), 80
Decibels, Diager, Colour Brush, Back To Bay Six, Broke, Molten (neat!), One Way,
Outwrite, OldFax, Comicate, Horrendous (grunge font), Milit, MyPager (dot font),

Stocky.
Type Designs by The informative home page of Nicholas Fabian, who died in April 2006. Check out
Nicholas Fabian his gorgeous fonts, like Fabius Art Deco and Fabius Durer. Also nice discussions of
[Nicholas Fabian] typographical issues such as TrueType versus PostScript. And pages on the history of
type. He also sold Ugarit fonts. Early masters of type design. Alternate URL.
Type Founders of Foundry, est. Chicago in 1936. It moved from Hubbard Street in Chicago to a suburb
Chicago (or: after a few decades---to Skokie and/or Niles. The name changed to Castcraft [3649 W
Castcraft) Chase Ave Skokie, IL 60026], and then to Castcraft Software Inc. It owned a
comprehensive library of fonts, all with extended character sets for multi-language
typography. OptiFont is a trademark filed in 1990 by Fredric J. Kreiter of Castcraft.
Castcraft sold a CD-ROM Type Library Volume 1 at 200 USD. Its entire font
collection was sold for 1000 USD. It also made some custom fonts. Most post-1990
fonts have the prefix OPTI. For example, OPTI-Peking is an oriental simulation font.
OPTI-Favrile is a copy of Tom Carnase's Favrile (WTC).
A visitor warned me that there is absolutely zero security when you order from this
outfit, so you are warned--this is a dangerous site! It seems that Manny Kreiter (d.
2005) was the last President&CEO, and that his family (Abe, Harry and Ned Kreiter)
have been at it since the days of metal type (1936) starting as Type Founders of
Chicago. I found this on their pages: Castcraft has licensing [sic] the entire 20,000
TypeFaces from "Type Films of Chicago" and the entire "Solotype Alphabets"
collection. Mike Yanega claims that most of their fonts are clearly not original any
more than most of Bitstream's are original, and like them they re-name many of their
fonts to avoid copyright issues. Their fonts all appear to be a 'dead collection' of
copies of relatively old designs that have already appeared in many other collections
from the likes of WSI and SSi.
In 2010, John Brandt reports: Castcraft, aka Type Founders of Chicago, moved
decades ago from Hubbard St in Chicago to a close-in suburb (Skokie? Niles?) and
was still operating within the past few years when I happened to drive by. I failed to
find any current incarnation, but they used several names even years ago as a
prominent pirate. Besides pirated fonts (Typositor to later, generally poor digital),
they were a big metal vendor (I have a partial metal set of Helvetica gifted as they left
downtown in the 1970s), and also had a guy (whose name escapes me) who did
fabulous high-end signage, from sand-blasted glass to the created-on-building

inscribed metal logo for a well-known Michigan Ave mall. Longtime owner Manny
Kreiter died in 2005, but whether Boomie or any of the others who may still be around
kept it going is unknown. Aside from simply having ANY version of their many
offerings, most would consider their collection worthless. Anyone who has a digital
"OPTIfont" and a font editor can readily view the problems, including usually several
times too many Bezier points within any character. I counted 78 control points on a
minimal character, for instance, that should have had less than a dozen.
Listing of Castcraft fonts (compiled by myself). The 802 fonts listed here are all dated
between 1990 and 1994. I know there are at least 1,000 digital fonts made by them, so
my list is incomplete.
Typophile discussion of Castcraft. OPTI Castcraft equivalence list by Philippedada

[last update May 2012].
Some download links: i, ii. A revival includes Dick Pape's free font Bon Aire (2011),
which revives Castcraft's Bon Aire.
OPTI Fonts Archive. List of equivalences of Castcraft names. List of Castcraft

typefaces as of July 2014. [Google] [More] ⦿
Type Testing Center Home site for two different foundries, JoeFont and DamnFine. Seems to have
disappeared. [Google] [More] ⦿
Typearound The Typearound site was created and run by Stephen Deken, but closed its doors in
[Stephen Deken] February 2002. The fonts are being kept alkive at the TypOasis site. Stephen Deken
made these high quality fonts: BacklogNormal, BlockNineNormal, Boma-Normal,
ClearSnowSect, FontLogic-Normal, HijinxNormal, HorridNormal,
InfidelityAbnormal, Inspiration, IsotopicNormal, JokerNormal, MousePutNormal,
NameThisFontNormal, ParityDemiBold, PenStitchingNormal,
RunicComplationNormal, SeriousDoubtsNormal, ShaveNormal, StephenNormal,
StrumbelflumbleNormal, SuckfontNormal, FlimsyStave, ThingamabobNormal,
UnitedStates, WitchcraftNormal, PhysicsAlpha, PhysicsBeta, FidelityNormal,
FinalsWeekNormal, RushJobNormal, Clothes-Peg, I-am-Nervous. CabeenCondensed.
Isabelle Trolio (Solar Sister) made these: Asha Regular, Asha Outline, Worm, Wibble,
Bernie, BoxTop, ChangandEng, Chubb, ChunkNorris, CurlysCurls, Ginko (oriental
simulation), Kirby, Kriesler, SolarCeltic, Wira, JumpStart, MartiniOlive. Johan
Waldenström made 5cent. Paul Genberg designed Lou (2001).
Obsolete URL. Dafont link. [Google] [More] ⦿

Typehouse Type foundry that was active during the photo composition era. Creators of typefaces
[David Moore] at VGC, such as Moore Computer (1968, an LED face) and TH Alphabet Soup (1975,
a VAG Rounded style face).
Moore Computer and Moore Swash are both attributed to David Moore. Zach Whalen
on Moore Computer: The minimal aesthetic properties of E-13B saw extended
influence in a number of type designs created in the late sixties and early seventies,
and many of these MICR-based typefaces saw extensive use in relation to videogames.
The typesetting and printing industries were undergoing rapid and dramatic changes
during this period, adapting to new technologies like photo- and CRT-based
compositors, so a number of companies and design studies were going out of business
or changing hands. In addition, the decorative typefaces echoing the style of E-13B
were often seen as novelty products, so records about several of these typefaces and
fonts are cursory may be unreliable. Nevertheless, the evidence indicates that the first
full alphabet based on E-13B was a font called Moore Computer, published by the
Visual Graphics Corporation (VGC), possibly as early as 1968. [Google] [More] ⦿
Typeworx Short-lived Toronto-based commercial foundry (2002-2003). The fonts included:

Plumero Script (2002, a sublime connected handwriting font by Diego Giaccone).
Reflex (2002, a unicase techno-style font family by Alejandro Paul), Domingo and
DomingoAlternates (2002, a funky sans serif pair by Ariel Garofalo) and Frisco
(2002, a gorgeous fat didone typeface by Fredrick Nader). Freddy Nader continued
for some time his general advertising and graphic design work at Hardcover
Communications [dead link]. [Google] [More] ⦿
Typoart GmbH (or: Dresden (East Germany)-

VEB Typoart) based font studio that
[Jay Rutherford] 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 Ralp 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.
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.
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] ⦿
Typolis (Belgian Not to be confused with the German Typolis site, Typolis was a Belgian group of type
version) design students with exemplary web pages. It sold fresh fonts made by young Belgian
typographers. Typolis was set up by design students from the Karel De Grote
Hogeschool in Antwerpen, but its site disappeared in 2004. The designers included:

Els Bauwelinck, Tom Besters, Kurt Cornelis, Marieke Deckers, Caroline de Pont,
Stijn Druyts, Yves Faes-Dupont, Niko Geens, Eve Kuypers, Corinne Lavaerts, Els
Leclercq, Evi Leuridan, Kim Matthé, Arne Meganck, Saskia Neirinckx, Steven Soers,
Dominic Somers, Kristophe Swaans, Mart Van Elzen, Katleen Vander Waeren,
Katrien Van de Vyver, Veronique Verbraeken, Griet Welters. [Google] [More] ⦿
Typsettra Typesettra was the Toronto-based type house and foundry run by one of the most
[Leslie Usherwood] famous of all Canadian type designers, Leslie Usherwood (1932-1983). Usherwood
studied at the Beckenham School of Art, and practiced as a lettering artist in the
commercial art field for 15 years. According to many contemporaries, Usherwood did
not really design type. Typesettra was created in 1968, and had more than four type
designers in the early eighties. In 1977, Typsettra began designing original typefaces
for Berthold, Letraset and ITC. Other designers associated with Typsettra included
David Anderson. [Google] [MyFonts] [More] ⦿
Upgrade Systems Connie Cheng's corporation in Naples, FL, that produced fonts in the early nineties
Corp such as GreekSenatorUS, MysticalUS, TolouseUS, ZalenskiCapsUS. Probably no
longer in business. [Google] [More] ⦿
Urania Little-known foundry in Milan, active in the early part of the 20th century. I wonder if
this company is the same as the ones which produced the lettering for the Urania
typewriter in 1926. [Google] [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. [Google]
USA Type This was a short-lived outfit that was part of the "Swank Army". It's motto: "We make
grunge fonts because they are messy". [Google] [More] ⦿
Utopiafonts Dale Harris (from Bendigo, Victoria, Australia; was: Dale Thorpe) created some fun
[Dale Harris] typefaces at Utopiafonts. The list of his typefaces: 42 (1998), A Blick for All Seasons,
A Font for Erin, Avatar, Avatar Drawn, Avatar Serif, Azrael, Babelfish (1998),
Bazaronite (1998), Bearpaw (multilined hand-printed), BearpawBats, Beware (2000),
Birdman (2002), Chubble (1999 at Chankstore), Crayon, Dael (semi-calligraphic), der

Damonschriftkegel (scribbly), Distortia, Empyra (at Chankstore), Everyday Formula,

Font in a Red Suit, Frazzle (sketched font), Fred, Freya Neu, Harper, I hate Comic
Sans (like Comic Sans, a very funny typeface dingbat font), Instant Soup Mix, Irrep,
Korunishi (2002, tech font), Leningrad Disco, Loki Cola (a coca-cola style font; Dale
calls himself "loki"), Luxo (neat handwriting), Made in China (oriental simulation
font), Mael (vampire font), Nerve Tonic, Netherworld, Ninja Penguin, Octavio,
Phoenix Sans (2002), Pigae, Pixel, Plain-o-matic, Playdough, Samba is Dead,
Seraphim, Supersoulfighter, The Beautiful People, The Cowboy Font, The Guru Font
(scribbly), The Monkies Ate My Soul (sans serif display), The Blick Font, Tolo
(outline), TurbulenceRIPIkarus (grunge), Valkyro, Water Torture, Wentelteefje,
Whutevur (at T26).
Alternate (older) URL. Link at 1001 Fonts. Link at Chankstore. Interview. Some files
can be found here and here, but otherwise, Utopia is gone. Dafont link. Old URL.
Studio Ink: Based in Bendigo, Victoria with a range of clients locally, nationally and
internationally, Studio Ink is a small dedicated team, Directors Leah Hartley and
Dale Harris strive to deliver a complete suite of creative, branding and graphic
design services and expertise combined with attentive personal service. [Google]
Van Fos Typefoundry Typefoundry located in Philadelphia, PA,

which published Specimen Booklet of
handy Low Priced Type Fonts. [Google]
[More] ⦿
Veer Past-vendor of Adobe, Alias, Red Rooster, Shinn Type, Letraset Fontek and Device
fonts. Shinn Type's Morphica was exclusively there.
In October 2003, Veer acquired Jason Walcott's Jukebox Type Foundry, and adds it to
the Test Pilot Collective Foundry whose typefaces it also sells exclusively. One of the
founding members is Calgary-based type designer Grant Hutchinson. One of the sub-
collections is called Umbrella. In 2004, they added a few typefaces from Fountain and
Font Bureau. New type announcements.

In 2007, Veer was bought by Corbis, a Bill Gates company. Typographers predicted
that Veer would disappear soon after that, but this did not happen.
On January 2, 2012, we learned that Veer will not be acquiring and selling licences for
new typefaces. The collection will be frozen in time. Veer has been acquired by iStock
(Visual China Group) and/or Getty Images, and closed down on March 31, 2016.
[Google] [More] ⦿
Vincenzo Lubrano Italian typefoundry located in Naples, active in the twentieth century. [Google] [More]
Foundry ⦿
Visual Graphics Foundry from the phototypesetting era, located on 138 NE 125th Street in North
Corporation (or: Miami, FL, with designers such as Ron Arnholm, Arthur Baker, Ray Baker, Stan
VGC) Biggenden, Stan Davis, Ernst Friz, Louis Minott, John Russell, L. Scolnik, Dave
Trooper and Ernst Volker. The company changed its name to VGC Corp. and became
a subsidiary of VRG Group N.V.
Inventors of the Photo Typositor.
List of typefaces and designers as compiled by Tim Ryan. This list has errors, as
pointed out in this discussion on typophile.
My own list of typefaces. Typefaces in our list whose creators still need to be
identified include Bubble (1982) and Rodin (ca. 1974).
The 450-page book Visual Graphics Alphabet Library (1985) shows all of its
typefaces. PDF version of their 1972 catalog.
There are two components to the VGC collection, one is the standard collection of
typefaces everyone must have (knockoffs, really), and the other one is the collection
of originals. Freddy Nader explains: The reason for the VGC/Typositor catalog
showing so many standards is this: in photo type days, every type house had to have a
basic set of what was known as the "foundry types". These were your basic
Garamonds, Baskervilles, Clarendons, etc. They simply did that in order to compete.
Back then, the type house worked closely with the person designing the artwork (who
usually worked for the publisher or the ad agency), and they were charging per word
for display, and per page for text. So the type houses wanted to maintain a kind of
continuity with their clients, and tried their hardest to be the exclusive supplier for a
number of agencies. The very first photo type house, Photo-Lettering Inc, survived for
the longest time on one client (J. Walter Thompson in NYC). As a side note, book
publishers tried their best to stay away from photo type because of its very expensive
prices. It was a hell of a lot cheaper to stick to metal type than pay the type house per

page of layout. So if you look back at the mass paperback industry, it was still using
metal type until late into the 1970s. They only switched to film type when competition
between type houses became so fierce that the type prices dropped considerably. But
film type was used in book for only a short time, then desktop publishing as we know it
made it all obsolete.
View some digital typefaces that are derived from the VGC library. Another digital
catalog. [Google] [MyFonts] [More] ⦿
Vorarlberger Graphik Othmar Motter's Austrian studio, founded by him in 1951 in the town of Hard am
Studio Bodensee (Lake Constance). He specialized in poster design, and in the late 1960s,
[Othmar Motter] early 1970s, he turned to logo and type design. [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] ⦿
Wagner&Schmidt German foundry establshed in 1888 by Theodor Robert Arthur Schmidt and Ludwig
Wagner in Leipzig. In 1902, Ludwig wagner calls it quits and founded

Gundelach&Ebersbach (first founded in 1897) also in Leipzig, and opens his own
foundry, Ludwig Wagner. Schmidt stops in 1932, and 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 upright semiscript
Mirabelle (1926, which was digitized and extended by Nick Curtis as Anna Nicole NF
(2007)), 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. [Google] [More] ⦿
Walter Bernard [More] ⦿

"Ben" Hunt
[Hunt Brothers]
Ward Technologies Around 1994, Ward Technologies (run by Mike Ward) had a CD with a number of
fonts. Partial list: PT-BananaSplit, PT-Bandstand, PT-Blockhead, PT-BroadTip, PT-
Cadenza, PT-Capone, PT-CaponeCondensed, PT-CaponeExtended, PT-Cargo, PT-
CargoCompressed, PT-ChinaBeach, PT-ChocolateDip, PT-CookieCutter, PT-Cozy,
PT-CozyCondensed, PT-CozyOutline, PT-Dandelion, PT-DigiCaps, PT-Diner, PT-
DinerShadow, PT-Dog-ear, PT-Doodads, PT-Eclectic, PT-Erin, PT-EyeChart, PT-
Fineline, PT-Finesse, PT-Flattop, PT-Footlocker, PT-Freeloader, PT-FrightNight, PT-
FruitBasket, PT-GIJoe, PT-Groovy, PT-HAL, PT-HandLabel, PT-High-rise, PT-
HighJack, PT-Hobbes, PT-ImpressiveBold, PT-Ivy, PT-Jot, PT-Kirkwood, PT-Klaus,
PT-Lampoon, PT-LetterSweater, PT-Letterbook, PT-Lohengrin, PT-Longbranch, PT-
Lullaby, PT-Mapmaker, PT-MaskingTape, PT-Moda, PT-Oktoberfest, PT-
OldFashioned, PT-OrchidBold, PT-OrchidLight, PT-OrchidMedium, PT-Penscript,
PT-Persia, PT-PlainJane, PT-Playhouse, PT-PlayhouseShadow, PT-Quill, PT-RSVP,
PT-Ragtop, PT-RegulaCaps, PT-RegulaLarge, PT-RegulaSans, PT-RegulaScript, PT-
Robinhood, PT-Saigon, PT-Sasparilla, PT-Schoolhouse, PT-SchoolhouseInline, PT-
Signboard, PT-Sitcom, PT-SlimJim, PT-SquarePeg, PT-TajMahal, PT-Tassel, PT-
Technobop, PT-Toothpaste, PT-Unisyms, PT-Whatsits, PT-Whimsy. The company has

disappeared. [Google] [More] ⦿
Warnery Frères Foundry in Paris that

succeeded P. Digney. It
was founded in 1857 in
Saint-Germain-en-Laye by Digney who used to be director of the Fonderie Générale
in Paris. Its work can be found in Spécimen de la Fonderie de caractères et de blancs
Warnery frères (Paris, Usine et bureaux: 8, rue Humboldt, maison de vente: 6, rue Des
Forges (place du Caire), June 1882 [1884]). A similarly-titled specimen was also
published in 1899. More than half of their 1922 catalog consists of vignettes. In 1934,
they published Catalogue Général.
The Musé de l'imprimerie de Lyon lists specimens of these typefaces: Antiques

Warnery, Cyrano, Didot, Egyptienne Warnery, Elzévir Warnery, Fantasques Warnery,
Gauloises, Goliath, Gras Warnery, Humboldt, Jenson, Machine à Écrire, Mammouth,
Mozart, Ophelia (art deco), Papyrus (rounded script), Ronsard, Récamier, Stridon,
Universelles Warnery, Vautour, Vignettes Warnery, Vénitiennes, Zéphyr. [Google]
[More] ⦿
Werner Affolter [More] ⦿

[Affolter und
Gschwind AG]
Westcott & Photo-type era company in Philadelphia located on 1027 Arch Street. I located an
Thomson, Inc. for image of their typefaces that are lookalikes/i> (by their own admission) of famous
Fotosetter or typefaces: Biretta is Bembo, Elegane is Palatino, Galaxy is Uniers, Laurel is
Fototronic Caledonia, Medallion is Melior, Plantina is Plantin, Vega is Helvetica, and Zenith is
composition Optima. [Google] [More] ⦿
Whiley Type Geo M. Whiley Ltd was a company in Middlesex, England, that made some type from
[George M. Whiley] toughened bronze. Their book "Catalogie of Whiley Type" shows some fonts by them:
Devon, Kent, York, Lincoln, Warwick and Rutland. [Google] [More] ⦿
Wilhelm Gronau [More] ⦿

[Wilhelm Gronaus
Schriftgießerei]
Wilhelm Gronaus Wilhelm Gronau was a German typographer who ran the
Schriftgießerei Wilhelm Gronaus Schriftgießerei in Berlin-Schöneberg
[Wilhelm Gronau] 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 Woellmer Wilhelm Woellmer is a blackletter and

script 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. 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 (1920s),
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; revived by 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), Fette Globus (1898, blackletter), Reuß-Schrift, Uncial-Gotisch (ca.
1900). 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.
The main specimen book of the foundry is Muster-Sammlung von Wilhelm

Woellmer's Schriftgiesserei und Messinglinienfabrik (Berlin, 1896 or 1898).
In 2004, Dan Solo published Marshall Normal, an art nouveau typeface that he
attributes to Woellmer, ca. 1900.
FontShop link. [Google] [More] ⦿
William Miller [MyFonts] [More] ⦿

[Miller&Richard]
William Simmelkiær [More] ⦿

[William Simmelkiær
Skriftstøberi]
William Simmelkiær In 1873, William Simmelkiær (1849-1922) founded the type foundry William
Skriftstøberi Simmelkiær Skriftstøberi, Galvanoplastik og Clichéfabrik in Copenhagen, Denmark.
[William William had learned the craft of type founding during a vist of Schelter&Giesecke in
Simmelkiær] Leipzig. In 1904 he acquired the foundry Frieses Skriftstøberi, Copenhagen
(established in 1837 by Heinrich Berling), and in 1909 a little unknown foundry in
Lyngby.
Their 1912 specimen book entitled Skriftprover confirms that the foundry was quite
active. [Flickr site for that 1912 specimen book. Another pic of that book. And
another one. And another one.]
After William's death in 1922, his son Svend Simmelkiær (1892-1939) took over the
foundry. In 1923, Svend established Grafisk Compagni as a sales company. The old

foundry continued to cast type under the original name, but now as a part of Grafisk
Compagni. The main business of Grafisk Compagni was the sale of equipment to the
graphic trade---types from Genzsch&Heyse, presses from F.A.G., Vandercook,
Miehle and Albert Frankenthal, and typesetting machines from Linotype. After
Svend's death, the company became an Inc/ Ltd in 1940. In 1982 the company closed
down. All the rights to their types were acquired by Haas'sche Schriftgießerei and all
mats, machines, archives and so forth were destroyed. They only cut one original face,
the brushy Stafet. The typeface was designed by Kai Plet in 1937 and was only cast in
36, 48 and 60 point. The rest of their type holding were from foreign type foundries
such as ATF, Berthold and Bauersche Giesserei [see, e.g., Corps 48 or Dana Bodoni].
The typeface Simmilkiær Grotesk is a special Danish version of
Polar/Kristall/Saxo/Rund Grotesk cut by Wagner&Schmidt, Leipzig (1930-1937).
Simmelkiær Grotesk is not 100% identical to any of the German and Swedish
versions though. [Google] [More] ⦿
Wizardworks Group Creators in 1993 of Arabia, an Arabic simulation typeface in the style of Schneidler's
Legend from 1937. Download site. [Google] [More] ⦿
WSI: Weatherly Mike Charness's Huntsville, AL-based foundry used to offer a huge number of
Systems Inc handwriting fonts, and thousands of other fonts at rock bottom prices, in all font
[Mike Charness] formats. It stopped selling fonts to end users or licensing fonts for redistribution in
2003, but continues OEM work.
Lists of font names:
Robert Long discussed the fonts, and mentioned in some cases the original
fonts they were modeled after (read: copied, tweaked and renamed).
A partial list found in internet archives and corrected by Character is here. A list
annotated by Robert Long and kindly sent to me by Richard George, is here.
Michael Yanega published a list of the WSI Hand names and their equivalences
on the ClickArt Handwritten Fonts CD.
Ulrich Stiehl provides a further list and explanations: Anastasia is Anna, Avian
is Avant Garde, Basset is Baskerville, Bastian is Buster, Boston is Bodoni,
Bulletin is Flyer, Aladdin is Legende, Palisade is Palatino, and so forth.
WSI had barcode fonts, MICR fonts (such as CheckNums-MICR), some foreign
language fonts, and many dingbats. The full collection could at one point be
downloaded here. The handwriting font collection (known as WSI Hand) was
downloadable from here, here and here. Apparently, these whandwriting fonts ere
obtained by first selling a handwriting font service, and then selling a CD with the

created fonts.
WSI is no longer selling fonts and has this ironic line: WSI's fonts are not freeware,
but are commercial software protected by copyright. Now, how did WSI start up its
business? I quote from this archived page: We don't sell directly to end users, but
rather provide fonts to software publishers who sell our fonts under their own labels.
Current and past licensees include PowerUp, Spinnaker, SoftKey, Wayzata, Canon,
Fuji, Epson, Serif, Borland, Novell, Maxis, Cosmi, Xoom, Dynamix/Sierra Online,
Synergistic Software, Expert Software, IMSI, Parsons Technology, MySoftware,
Abstract Software, Dunlop Corp., Case Inc., GraphicCorp, CAI, Creative Wonders,
The Learning Company, Current Inc., Pierian Springs Software, Lookout World,
Palladium Interactive, Philips Publishing, AIG, Asymetrix, Media Graphics,
Knowledge Adventure, WIZ Technology, Paper Direct, Sanctuary Woods Multimedia,
GST/GSP, Baudville, Zedcor, and many others.
Xplo Eristotle [More] ⦿

[Megalomanic]
Yves Patinec [MyFonts] [More] ⦿

[Gasoligne
Typofonderie]
Y&Y Past foundry of

Charles Bigelow, Kris
Holmes, and Berthold
Horn, which ceased operations near the start of the 21st century. They have the
following font sets: Galilei, XY_Pic fonts (Nine ATM compatible fonts in Adobe
Type 1 format for use with Ross Moore and Kristoffer Rose's XY Pic drawing
package for TeX), Y&Y American Mathematical Society (AMS) fonts (Computer
Modern, Euler), Y&Y European Modern (EM) fonts, Y&Y Lucida fonts (1996),
LucidaBrightAstro, Lucida Bright Expert, LucidaConsole, Lucida Fixed Narrow,
Lucida Greek, Lucida Latin, Lucida Sans Cyrillic and Latin 2, Lucida Sans Hebrew,
Lucida Sans Linedraw, Lucida Sans School, Lucida Sans Unicode, Y&Y MathTime
1.1 fonts, Y&Y MathTime Plus fonts, Y&Y TeX Pi fonts, Alan Jeffrey Geometric
Sans Serif Blackboard Bold, Ralph A. Smith Formal Script typeface (based on R.
Hunter Middeleton), Jeremy Gibbons and Alan Jeffrey St. Mary's Road Symbolic
Logic, Roland Waldi extension of LASY symbol --- version 2.0, APL (free), Crufty

(free old typewriter font), Finger (free finger dingbats), MarVoSym (free).
The Lucida collection (Lucida Blackletter, Lucida Bright, Lucida Bright Math, Lucida
Calligraphy, Lucida Casual, Lucida Console, Lucida Fax (1985), Lucida Handwriting,
Lucida Sans, Lucida Sans Typewriter, Lucida Typewriter, and Lucida Unicode) is
being distributed by Ascender Corporation from 2005 onwards. There is also a
dedicated commercial site, Lucida Fonts. [Google] [More] ⦿
Zipatone Defunct foundry in Hillside, IL, which was a competitor of Letraset. They used dry
[Gerald Moscato] transfer sheets for lettering. Some fonts were created by them, including. For
example, Chic was created by lettering artist and calligrapher Gerald Moscato.
[Google] [More] ⦿

Extinct 20th Century Foundries

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Extinct 20th century foundries 18/10/18 00:14

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Extinct 20th century foundries

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8pxbus, 9px2bus, 9px3bus, 9pxbus. It used to be here: http://ziz.pekori.to/. [Google]

View the typefaces made by FontHaus / 2 Rebels. [Google] [MyFonts] [More] ⦿

A. Haase Prague-based foundry. Acquired in 1907 by H. Berthold AG. [Google] [More] ⦿

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Adam Numrich [More] ⦿

Affolter und Werner Affolter ran a

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Agfa Monotype The company was established as

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Designer profiles. History of the company by Lawrence W. Wallis (dead link).

In November 2004, TA Associates purchased a majority interest in Agfa Monotype

Aktiengesellschaft Foundry in Offenbach, Germany. Their main specimen book

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Albert Hollenstein [MyFonts] [More] ⦿

Albert Wilhelm [More] ⦿

Allain Guillaume Typefounder in Paris, ca. 1900, whose production included

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Interview. Bye Bye Blackbird performed by Phil Martin in Largo, Florida.

Phil Martin's digital typefaces.

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

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Founded in 1906 and based in Cleveland, American Greetings Corporation no longer

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of 1977, and is principal of Courtney Rhodes Design since 1980.

Their specimen books are classics:

Specimens of Printing Types (1897, New York).

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Pages 301-622 of the ATF 1923 specimen book (PDF file).

A brief history of ATF by Carol Van Houten. Reference books.

Amsterdam Typeface importer and vendor and foundry

A Handbook of Types (PDF catalog).

Andreas Vossinakis [More] ⦿

Andreu Balius [MyFonts] [More] ⦿

Andreu Balius Born in Barcelona in

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At ATypI 2005 in Helsinki, he spoke on Pradell and Super-Veloz. Speaker at ATypI

FontFont link. Linotype link. Behance link.

Garcia/Typerware offers about 50 fonts, including some very artsy typefaces,

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[Google] [MyFonts] [More] ⦿

Armando Grimaldi Italian typefoundry. [Google] [More] ⦿

Arthur Baker [MyFonts] [More] ⦿

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Artype Inc Defunct foundry. [Google] [More] ⦿

Their typefaces include Endurance (2004, Steve Matteson, an "industrial strength"

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Recent contributions: Crestwood (2006, a house face, possibly by Steve Matteson) is

View Ascender's typefaces. [Google] [MyFonts] [More] ⦿

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From Google Books:

From Internet Archive

BB&S 1907 catalog

Scans of some typefaces: ArtGothic (1897 catalog), Baskerville (1941), Caslon

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A.V. Haight [MyFonts] [More] ⦿

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Bob Alonso (b. Bronx, NY, 1946, d.2007), the founder