Designer Dick Jones created the fonts Crillee™ (1980, 1981) and Princetown™ (1981).
Crillee is a font whose slight lean to the right and geometric forms create a feeling of power and speed. Crillee should be spaced closely in word settings and is perfect for anything which should have a cool, modern appearance.
Princetown is an all caps typeface with strong, geometric letterforms. The design was inspired by college and university sportswear with its blocky forms and heavy outline. Princetown
[...]The designer Peter O’Donnell created the fonts Crillee™ (1986/87, with Vince Whitlock, original font created by Dick Jones in 1980/81), Demian™ (1987, original font created by Jan van Dijk in 1986), Odessa™ (1988) and Van Dijk™ (1986, original font created by Jan van Dijk in 1982).
Designer Vince Whitlock created the following fonts: Academy Engraved™ (1989), Crillee™ (with Peter O’Donnell, 1986/1987), Equinox™ (1988), Gillies Gothic extra bold shaded (with Philip Kelly, 1982), Lexikos™ (1990), Quixley™ (1991), Retail Script™ (1987), Strobos™ (1990), Tropica Script™ (1988).
Australian designer and art director Wayne Thompson created the fonts ITC Django™, ITC Panic™ and ITC Don´t Panic™.
Wayne Thompson based ITC Django on the handwriting of an acquaintance – “a fellow I know who writes and illustrates children's books and is also a commercial artist” - who called himself Django, after the jazz guitarist Django Reinhardt. “I felt that that name Django suited the funky, lively feel of the face,” says Thompson. But he adds, “Django has a split personality: it
[...]Jim Marcus was on born March 22nd, 1966 in Chicago, USA.
He created the following fonts: ABS, Acetone, Aeos, Aerator, Airflo, AreteMono, Axiom, Bon Guia, Calculus, Coaxial, Digital, Django, Eraser, Eremaeus, Escalido, Fedorov Anglo, Fgroove Eighty, Fgroove Seventy, Geist, Glue, Grenoway, Helter Skelter, Hypercell, IDE, Ingredients, Iso Opto, Julie, Kode, Konvexist, Kurusu, Lassigue Dmato, Lexigraph, Magyar Posta, Maxigroove, Milagro, Octopus, Opaque, Phlax, Polytone, Prophecy, Pulsar, Quad,
[...]Background on my projects
“I started designing type in the 1980s. My interest in type began in my first year of school in New Zealand, at age five. On the wall was the alphabet in Paul Renner’s Futura®. I still remember the lowercase j not having a traditional terminal, and how that was different to what I had been taught. In 1979 I remember The Lettering Book became available through a school book club, though it was too expensive by my reckoning, at $5. It was probably just as
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