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MOTE, a black-a-licious type.

Mote is the first typeface from Latinotype, a small new foundry based on latinamerican culture & local vernacular lettering.

Mote, a black-a-licious type is a modern interpretation of latinamerican lettering founded in Santiago de Chile “Mote” drink store.
The “Mote with Huesillos” is a traditional Chilean drink of sugary teaish water with a dried peach and bulgar wheat. We take this drink as a lovely chilean icon to represent our “Muy Delicious” lettering tradition in yummy tasty letters.

- A unique & friendly black typeface


Indices : Terminology : Squooshed

A term used to describe type that has been horizontally or vertically stretched or condensed using graphic design software. Glyph scaling in this manner is almost always inadvisable and is often a sure sign of amateur typography. Space is best saved by reducing the type size or using a condensed (or extended) version of the font professionally drawn by a type designer.

“Squooshed™” is a trademark of Miss Tiff Industries, Inc.

See also faux formatting.

External Links

FF Danubia

Indices : Typefaces : FF Danubia

Viktor Solt-Bittner for FontFont, 2002

The starting point for FF Danubia were typefaces of the 18th century. Viktor Solt-Bittner was experimenting with the typical elements of classicistic type (like the abrupt change from hairlines to thicker lines) developing them further and redrawing them. At times he departed from these models, for instance in the basic forms of the italic letters.

The lower case letters s, v, w and x of many didones are actually smaller upper case letters. By the form of their upstrokes and endings Viktor has tried to adjust them to the other lower case letters.



Inspiration per se can of course lead to utterly original work in Type. Much Type design however, needs to relate closely to work that has come before, and this close resembalance can and has caused confusion and arguements. Especially for a Type designer starting out—it can be hard to understand where inspiration ends, and, to put it in inflamitory terms—stealing begins.

John Downer has made a serious attempt to distiguish between kinds or flavors of inspiration (or lack of it) in his article ‘Call It What It Is’. The article is often cited and has been influential. Maybe you will find it helpful as well. The text of the article has been put in the typowiki with the kind permision of John Downer & Emigre.

Call It What It Is

Jürgen Weltin

Indices : Designers : Jürgen Weltin

Jürgen Weltin (born 1969) is a graphic designer specializing in type design, logos and logo lettering. He started his first typeface Finnegan in 1995 as a student, which was later published by Linotype in 1997.

He worked as an employed graphic designer in Germany and later as type designer for The Foundry in London. After deciding to settle in Germany he began working in his own studio.

In 1999 he was awarded the D&AD award for the telephone book typeface Yellow for British Telecommunication plc. which he started in February 1998 for The Foundry and that needed to be finished in only three months. In 2001 he received Certificates of Excellence in Type Design both for Linotype Finnegan and Yellow by bukva:raz! international type design competition.

Colin Banks

Colin Banks (1932-2002) co-founder of Banks & Miles, designers and typographers, founded in London in 1958 with partner John Miles. Major clients included the Consumers Association, the Post Office, British Telecom and London Transport, for whom they redesigned Edward Johnston’s famous Underground Sans (as New Johnston). Banks would later design a limited edition book for the organisation as a tribute to Johnston.

An influential designer, his Telecom (T) identity, created for British Telecommunications when it was instituted in 1981, spawned many imitators. Its replacement by Wolff Olin’s BT ‘piper’ was received with much derision in 1991. He received a prestigious RSA/BBC Design Award in 1990, for the paper-saving redesign of the UK’s Phonebook. Banks designed the UK Post Office’s distinctive ‘double-line’ alphabet.


Wiki Categories: 

Indices : Typefaces : FF DIN

Albert-Jan Pool, Achaz Reuss, 1995-2002

After re-working and expanding OCR-B to include three weights for the FontFont 14 release (FF OCR-F), Pool began working on his second FontFont, the famous DIN Mittelschrift. This face has not only dominated the traffic signs and public buildings in Germany, but with its technical orientation and straightforwardness it has also found many friends internationally. FF DIN has been expanded to a family of five weights. For each weight there is an Alternate cut with old style figures, circular i-dots and full points and oblique terminals on some characters.