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Portuguese designer and typographer.
Designer of SurfPortugal and editora Fenda's periodicals, which use almost exclusively typefaces designed by him.
Distributes his typefaces through Feliciano Type Foundry.Feliciano represented Portugal at the Association Typographique International in England and started publishing his fonts at Adobe. In 1999 he became Iberia's representative for Enschedé Font Foundry, 2 years after launching his first typefaces at Chicago Foundry T26.
Fonts distributed by Feliciano Type Foundry:
Douro (project for Expo 98)
Considered of one his finest type designs, Frederic W. Goudy designed Californian as a private commission for the University of California at Berkeley in 1939. Californian was later released by Lanston Monotype for general use by designers and printers.
The history of Bookman, or Bookman Old Style, begins with the introduction of a typeface named Old Style Antique by the Scottish foundry Miller & Richard, designed by A.C. Phemister as a boldface pairing for that foundry's Oldstyle about 1858. The design became popular and was soon replicated by other foundries, with MacKellar, Smiths & Jordan copying the design as early as 1869. When several smaller foundries combined to form American Type Founders in 1892, their libraries of typefaces had to be consolidated. ATF chose to issue the Bruce Foundry version of Oldstyle Antique, which they had called Bartlett Oldstyle. ATF added some special swash characters and logotypes and rechristed the new design as "Bookman Oldstyle."
Volcano Type is a independent font foundry based in Karlsruhe, Germany.
The first course: a fast food youthfulness that was served for the first time in 1996. An earthy dish, created by chance, with thirteen organic fonts. Quickly whisked up and devoured. It rarely took more than a few days from sketch to use/digestion by the project. Uncouth forms, erupted from the bowels of the earth. Shattered letters, branded, stressed, humiliated. In order to produce arrogant fonts, far too expressive to last on a page of copy text. Quite indisputably from nature. Still roughly hewn. Raw. Imperfect.
Rui Abreu studied Communication Design at FBAUP, where he graduated in 2003. he has been working has a new media designer in different design/advertisement agencies.
T-26 designer of Tirana (2006, sans family), Cifra (2006, a ten weight sans family), Salto Alto (2006, avant garde sans family), and Forma (2006, stencil font).
Ray Cruz is a graphic artist, consultant and custom lettering designer. For over three decades his diversified skills have allowed him to work with advertising agencies, publishers, package design firms, branding firms and corporate clients. Designing new and custom typefaces is his favorite endeavor. Ray has received over 30 graphic and type design awards from TDC, AIGA, ADC and other art associations. Currently, he is an adjunct professor at FIT and Kean University teaching type design and drawing with Adobe Illustrator.
The Satura Suite (2010), released by Fountain.
Meadow Condensed (2010), released by Fountain.
Heroine (2009), released by Fountain.
Meadow (2009), released by Fountain.
Flieger (2008), released by Fountain.
Indices : James Craig
James Craig is the author of a number of books on graphic design and typography. Among the better known titles are Designing with Type: A Basic Course in Typography, Production for the Graphic Designer, Thirty Centuries of Graphic Design, and Graphic Design Career Guide.
He teaches typography at the Cooper Union School of Art.
Late Old Style type style of the baroque period. Like the Venetian types, this style is based on calligraphic principles, including modulated stroke, oblique axis, adnate serifs and modeled terminals, and moderate aperture. The Garalde italics are closely associated with their corresponding roman fonts and are designed to be used together with them in a subordinate role.
See also Garalde Typefaces.
Early Old Style of the Renaissance period, also called Humanist. Letterforms are based on calligraphic principles, including modulated stroke, humanist axis, lachrymal terminals, large aperture. The single most distinctive letter to distinguish Venetians from their cousins is the slanted crossbar in the miniscule 'e'. The Venetian italics were designed separately from roman fonts and were used independently.
The archetypal Venetian font is that of Nicholas Jenson, as used in the 1470 Evangelica Praeparatione by Eusebius. In fact, it is Jenson's city, Venice, that gives this family its name. The Eusebius was an absolute masterwork of printing, and is widely considered to be the first appearance of our entirely modern Roman letterforms.
FF Screen Matrix was originally designed for the Visualize The Future exhibition at the Parco Gallery in Tokyo. A set of posters imitating displays of cash dispenser machines prompted the viewer with a set of statements and questions about his/her lifestyle. The font was initially designed to imitate an existing LCD display and has now been redesigned and extended by Stephan Müller.
Released by FontFont, 2000
For their work in cell phone advertising, the three designers (Maik Ignaszak, Stefan Kisters, and Astrid Scheuerhorst ) were constantly in need of display type for phones from Nokia, Motorola, Siemens, etc. As PostScript versions of these fonts weren't commercially available, either from the companies themselves or from various type libraries, they decided to make their own. The result is FF Call, a package of over 70 fonts from a dozen brands of cellular phones. Each design comes in three versions: Regular, Italic and Negative, plus Expert Sets.