In 1997 Cyrus Highsmith graduated with honors from Rhode Island School of Design and joined the Font Bureau. As Senior Designer, he concentrates on development of new type series. As faculty member at RISD, he teaches type design in the department of Graphic Design. He lectures and gives workshops across the United States, Mexico and Europe. Eye Magazine called Highsmith “one of the truly original new voices in American type design.”
p 57 / P 120–124 Font: GOLD FontMesa, Naperville IL (USA) fontmesa.com Interview: 10 × 10
to see a Museo Slab (2008) that logically completed the suite. The sturdy slab serifs com bine well with the family’s friendly geometry, resulting in a readable, versatile typeface. Jos Buivenga is very passionate about different things like painting, trying to make the best espresso and listening to music but nothing challenges and rewards him more than designing type. If he would ever strand on a deserted island he would still draw alphabets in the sand even if there was no one else to see it. He is the founder of the Dutch one-man exljbris Font Foundry through which he releases and offers his typefaces. For 15 years, his online friends and fans could follow the development of his typefaces and download the results at no cost. In 2008, while still working as an art director at an advertising agency, he released his first commercial typeface Museo with several weights offered for free. That strategy paid off and Museo became a huge bestseller. A few typefaces and one bankrupt employer later, he now calls himself a full time type designer.
p 57 Michael Hagemann The Gold font family (2011) started out as a multi-weight version of the Bruce type foundry Gold Rush font with the shadow lines removed however after release the font didn’t favor well with the customers. I put an additional four months work into the design redrawing it into a font that people would like, which included, a large set of over eight hundred alternate letters that give the font user the ability to create a more custom look to their page design. Before designing type fonts I worked in my family’s swimming pool construction company, in the winter months I was a commercial photographer in the Chicago area and also produced photos for Automobili Lamborghini where I built a temporary photo studio at the Lamborghini factory in Italia along with photographers Richard Galvan and Ugo Seattone. I’m a self taught type designer and became interested in type design as a hobby, I continued my studies and later turned type fonts into a business.
p 57 / P 120–124 Font: Museo Slab exljbris Font Foundry, Neede (NL) exljbris.nl Interview: 10 × 10
Font: Suomi Slab Serif Suomi Type Foundry, Helsinki (FI) type.fi
Tomi Haaparanta type.fi I made Suomi Slab Serif (2009), when a friend of mine complained that all typewriter types are rounded, and especially American Typewriter has an almost too slick an appearance. Suomi Slab Serif has the glyph shapes similar to typewriting, but the serifs, terminals and connections are crisp and sharp. Tomi Haaparanta was born in Finland in 1967. He has studied Graphic Design at the University of Industrial Arts in Helsinki, and also at the National College of Art and Design in Dublin, where he discovered type design during a short course held by Phil Baines. He still holds a grudge against Baines for that. Tomi Haaparanta has been making typefaces for the past twenty years. He has considerable experience working as an Art Director for several agencies. Tomi has also worked as a type designer in HEL, where he designed typefaces for many Finnish and international clients.
Jos Buivenga The Museo super family started out as a semiserif and branched out into the sans-serif genre with a clean sans. When I was working on Museo Sans I also did first tests with slab serifs. After the sans was finished I started working on the slab and when that was ready I was happy Sl a nt e d 20 — Index
People and Projects
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p 57 Font: Bandera Pro AndrijType, Berdyansk (UA) myfonts.com/foundry/AndrijType
Andrij Shevchenko andrij.com.ua This square serif typeface (2011) is a real work-horse. It is a modern tool for text design: extremely legible, pan-european multilingual (Latin, Greek and Cyrillic), well shaped. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Bandera is Spanish for “flag.” And Bandera is a symbol of Ukrainian fighting for freedom for many years. The typeface was chosen by MyFonts as Text Family of January 2012 and selected as “Best Of” at Ukrainian National design contest in September 2012. Andrij Shevchenko was born and still lives in Berdyansk on the Azov seaside. He worked as a programmer, designer, calligrapher and then started to design fonts. He’s very interested in the Cyrillic past and hopes in a great Cyrillic future. He always loved to exhibit, to discuss and to teach at Ukrainian typography festivals. One year ago his Oksana super-family won the 1st prize from an Ukrainian type contest. Interview at myfonts.com/newsletters/cc/201202.html.
p 58 Font: Stanzer FaceType, Vienna (AT) facetype.org
Igor Labudovic typehouse.at Stanzer (2012) first started as part of our diploma 2010 (it was called Stanley at that time). The basic idea behind this typeface is that it is fully stencil usable, and, unlike other stencil fonts, does not require any bridges (except for the O and Q). Almost every letter can be sprayed without inserting planks. However, Stanzer also offers the display weight Block, which is only suitable for print or online usage. Igor Labudovic is an Austrian graphic & type designer. He studied graphic- and communi cation design at the Graphische in Vienna. During the final year at school, he started his typeface Brilliant, which he later published trough the type foundry FaceType. Continuing with the masterclass at the Graphische, he worked on several projects and his second typeface Vendetta. Besides school, he worked as an intern at bauer concept & design.