Font Bureau Blog

There is an interview with me by Taro Yumiba at the new website, typecache.

For more than a decade, the Readability Series of typefaces has been part of Font Bureau’s commitment to the needs of our clients and a response to emerging trends and print technologies. Now, with another wave of technological change and evolving trends, not just in print media, but also online typography and mobile web use, it makes sense for the typefaces of the Readability Series to migrate to our Retail Library for the same licensing options and affordable price.

From Readability to Retail

The new Retail versions are not substantially changed from the original versions in the Readability Library ...

The Star Wars website is using Antenna, thanks to Webtype. I think that makes me a Jedi knight! I feel a great disturbance in the letter spacing in the Star Wars logo…

A portrait of printer/scholar/typographer Daniel Berkeley Updike, drawn during a presentation about him by one of my students.

You may be wondering, ‘why Neue Haas Grotesk when we have Helvetica?’ To offer the best reason, and the one that’s the most interesting, we have to go back quite a few decades, to Switzerland.

Neue Haas Grotesk was the original name given to the typeface that Max Miedinger drew in the 1950s for Haas’sche Schriftgiesserei (Haas Typefoundry) in Switzerland under the direction of Eduard Hoffmann. It was designed to compete with the German-designed Akzidenz Grotesk and others. Shortly after release from Haas, the name was changed at the request of parent company Stempel to “Helvetica” (Latin for ...

Providence’s Cable Car Cinema commissioned me to create a poster for their screening of Orson Welles' revenge flick, Touch of Evil. It’s a big three-color screen print and it’s available from Tiny Showcase.

Many know Cyrus Highsmith as one of today’s most original type designers. He combines an energetic, illustrative approach with enthusiasm for typographic communication, leading to a diverse library of original designs. He has created exquisite scripts, industrial workhorse sans, and dynamic text serifs — all with equal ease and distinction. Highsmith considers himself a draftsman above all, and his work demonstrates a lifelong passion for drawing. In this video, he invites us into the world of his sketchbooks.

What’s better than getting a bunch of comic books in the mail all the way from Spain? When the box has great lettering on the address label.

Insightful, witty, and always entertaining – the geniuses of typography,
now on video. A panel discussion with TDC’s Typeface Design Competition judges, Roger Black, Matthew Carter, Paul Shaw and Erik Spiekermann. Moderated by Maxim Zhukov.