More about Morris Sans (in French, too)

Morris Sans: Your Bank Gothic fonts for the 21st century.

It has been about a year since Linotype released Morris Sans, an update and expansion to its old digital version of ATF’s Bank Gothic typeface. This month’s LinoLetter contains an article detailing the differences between ATF’s metal Bank Gothic, Linotype’s first digital Bank Gothic, and the current Morris Sans.

I’ve recapped the English text and images here. But if you’d prefer, you can read the piece in German or in French at (which is now a tri-lingual website)!

Bank Gothic was a typeface released in 1930 by the American Type Founders. Morris Fuller Benton, ATF’s chief designer, created the family. ATF Bank Gothic was a family of five types: Light, Medium, Bold, Condensed Light, and Condensed Medium. These were cast in metal for hand composition, and remained in use for decades.

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Four Reading designers in STEP

STEP spread 1

I received my copy of the January–February 2008 issue of STEP Inside Design while I was away for the holidays. Inside is an article by Allan Haley entitled “type… four more emerging talents.” This profiles the work of Alice Savoie, Tim Ahrens, myself, and Sandra Winter. I’m studying at Reading now, while the other three designers are graduates of the classes of 2007 and 2006.

The article is a great introduction to our work. Alice and Sandra exhibit the typefaces they designed in Reading. Tim displays his Rapture, and I’m in with Morris Sans. Lapture is a revival of Albert Kapr’s Leipziger Antiqua, and Morris Sans is a Bank Gothic with lowercase that is named after Morris Fuller Benton – Bank Gothic’s designer at ATF.

Plus, the University of Reading’s MA Typeface Design program gets mad props in the article. Worth a read, in any event!

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Awesome readers, keep buying Mountain!

The Mountain fonts are great, and still available!

Yesterday I received my quarterly report from Volcano Type in Karlsruhe. Volcano is a great, independent type foundry from the same award-wining design team behind Slanted, a German-language design blog and magazine. Last year, as part of the Bastard Project, I released a tiny display family via their label, Mountain. Learn more about Mountain here and here,

Anyway, as luck would have it, some of you out there in the ether have been licensing Mountain. If I knew who you were, I’d thank each of you personally. For those of you who haven’t licensed the fonts yet, I’m sure that the servers or hard drives at must have a few copies left somewhere.

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Morris Sans released

Morris Sans, two of the weights
Designed by Dan Reynolds for Linotype GmbH.

From the Linotype website: Morris Sans™ is a newly revised and extended version of a small geometric family of typefaces originally produced by Morris Fuller Benton in 1930 for ATF. His initial design consisted of an alphabet of squared capital letters with a unique twist that characterized its appearance: corners with rounded exteriors and right-angle interiors. The types were intended for use in the fine print found on business cards, banking or financial forms, and contracts. But over the ensuing decades, this design became a popular element in all sorts of design environments, and several foundries revived the typeface in digital form. Since digital fonts are bicameral, with slots for both upper and lowercase letters, new cuts of the type opted filled the lowercase slots with small caps.

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Very condensed serif sketch

V-Test-Web typeface teaser

Back in May, a Romanian designer posted a Type ID query on Typophile for a series of beautiful condensed and serifed letterforms from the 1950s. The letterforms seem to have been hand-drawn, and I fell in love with them immediately. The samples provided were just all caps, so I fleshed out digital outlines for a few of the letters, and posted them on the forum. Then, the normal business that characterizes my working hours got the better of me, and I forgot about the project.

Recently, I rekindled my old flame of passion for these forms. I completed the uppercase letters, and began working on the lowercase. In a few days, I’ll post a PDF of my progress to the Typophile critique forums.

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Alois Numbers

Alois Numbers
Close-up of a photo taken at St. Marx Cemetery in Vienna with digital lettering superimposed.

As of this writing, there are a number of projects sitting on my hard drive that I’ve meant to upload here for about a year. In 2005, while still studying in Offenbach, I was in a type design course entitled Zeichen zeichnen. We drew numbers.

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From Teutonia to Mountain

Buy this font at!

I’ve wanted to post this online for a while now. In September, I designed a small family of display typefaces for MAGMA Brand Design GmbH & Co. KG to use in Bastard: Choose My Identity. I post irregularly on their typography blog, Slanted, and somehow I became invited to include a typeface in the Bastard project. That was flattering to say the least; I’ve been working in typography for a few years now, but hadn’t released any fonts (commercially or for free). When I agreed to submit, I had no idea what I would end up sending them.
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Blumen für Südasien

Die englische Zeitschrift Building Letters, in Zusammenhang mit der Society of Typographic Aficionados’ Font Aid Kampaigne, hat am 6. Januar Designers weltweit angesprochen. Zehn Tage nach der Todesflut in Südasien und Ostafrika haben Schriftgestalter eine Basisaktion zur Unterstützung des Wiederaufbaus der Region begonnen. Schriftgestalter in aller Welt haben die nächsten Wochen benutzt, Schriftornamente zu zeichen. Diese werden von Font Aid in einen Font zusammengebastelt, den man jetzt bei kaufen kann. Der Font wird in der nächsten Ausgabe des Building Letters Hefts zu sehen. Die Erträge werden dem langfristigen Wiederaufbau der Region gespendet. TypeOff hat an diesem Projekt teilgenommen und hat neun Ornamentzeichen produziert.

First Three Fleurons in a Row
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