Type Network + Font Bureau

Font Bureau is a founding member of Type Network, a new model for type design, development, licensing, and use. Owned and operated by type designers, Type Network features a common catalog and shopping cart offering fonts from Font Bureau and other member foundries.

Font Bureau’s current licenses, with no changes to existing terms, are now served through Type Network.


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PARKER TYPE HISTORY · August 3, 2010

Mike Parker’s Story of Type: Gutenberg

This is the second installment of Mike Parker’s Story of Type, a continuation of the first chapter, I. Roots of Western Letterforms & Typography. In the previous installment, we started in Mesopotamia to add context for the development of the alphabet, and then on to Constantinople where we saw the beginnings of the characters we use today. Now we leap to the 15th century, with Gutenberg’s invention of movable type.

Blackletter: Johann Gutenberg (German, 1394–1468)

Gutenberg (originally Gensfleich) is credited with the invention of the typefounders’ mold between 1440 and 1450. The Bible printed circa 1455 by Gutenberg with Johann Fust and Peter Schoeffer was the first complete book printed in the first effective typeface to be cast in metal — the start of the medium that limited, then broke, the dominance of the church and opened the door to the modern commercial world.

The first typefaces appeared in forms of blackletter, the letterform of the church, all but illegible to our present-day eyes. The elements of lettering that distinguish blackletter characters from each other are the same elements that repeat and hold the roman form together, and vice versa. Fifteen years were to pass before the beginnings of our present roman and italic first appeared in Venice.

A single example of the simplest form of typefounders’ mold, a reflection of Gutenberg’s invention, survives with a set of 15th-century Parisian blackletter matrices in a case at the Plantin-Moretus Museum, Antwerp, Belgium. The museum, comprising an entire city block, preserves intact the leading press of the 16th century with all of its gear, records, and library, all open to the public. It should be visited when possible by anyone with a concern for the history and development of our trade.

The dominant sighting of blackletter in the U.S. is in its prevalence among newspaper mastheads, from the Chicago Tribune and the Los Angeles Times to smaller publications, such as St. Petersburg Times and The Virginian-Pilot. Font Bureau has worked with these and many other publications on the typography of their redesigns, including custom typeface design; but we go directly to the expert when it comes to redesigning newspaper mastheads: Jim Parkinson of Parkinson Type Design.

According to Parkinson:

Blackletter was first used for a newspaper nameplate in England in about 1680. It was probably adapted as an easily accessible way to distinguish the name of the newspaper from the text, which was commonly set in roman type. The first ornamented blackletter nameplate (an inlined letter) was introduced by the British printer John Bell in 1787.

Blackletter still has connotations of formality, authority, dignity, and tradition; and for those reasons, it continues to be used for many newspaper nameplates to this day.

My professional experience with nameplates suggests that about half are blackletter and half roman. This is not a formal poll, but merely an accounting of the nameplates that have crossed my desk.

NEWS · July 26, 2010

SPD: Roger Black on Ready Media

As Robert Newman writes, “A post earlier this week on the SPD [Society of Publication Designers] site about the new Ready-Media project...was the most controversial item we’ve ever published. It attracted passionate and articulate comments, both pro and con...” In a follow up, Newman asks Roger Black to answer some questions about Ready-Media and here’s what he had to say.

NEWS · July 20, 2010

Announcing Ready-Media.com

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SKETCHES · July 9, 2010

red & black

SKETCHES · June 25, 2010


Someday, grunge type will make a comeback and I will be ready.

BEHIND THE SCENES · June 18, 2010

Another May. Another Year.

It was that familiar time of year again: the first weekend in May, when we all descend on Martha’s Vineyard for yet another offsite meeting. This year’s gathering included more than twenty of us — Font Bureau designers and staff, consultants, and type board.

There are two reasons why we have offsites — to socialize and to work. Since we’ve become a distributed work environment, it’s a chance for us to reconnect face-to-face with co-workers and to keep connected as a company. We review what we did in the past year, strategize where we’re going, and calibrate ...

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Mike Parker’s Story of Type

We often hear “Why do we need more fonts?” One might also ask, “Why write another history of type?” Mike Parker suggests that Rookledge’s International Directory of Type Designers* has 90 percent of everything one needs in terms of factual information about type throughout history; but it lacks a narrative story of type and doesn’t connect the influences throughout type’s organic evolution.

Mike Parker was exposed firsthand to type history as an evolving story over the centuries when he worked at the Plantin Moretus Museum in Antwerp in the mid 1950s, where he was charged with cataloging ...

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NEWS · June 15, 2010

Typographic Goings-on in Denver

Nick Sherman, who recently joined Font Bureau spent some time in Denver and reported on the goings-on there. Apparently it’s been a hotbed of activity related to typography and letterpress printing this month. The Pressed exhibit was a highlight, the documentary Typography was screened, and he was invited to speak on a panel discussing letterpress, type, and design. Check out his blog post on Woodtyper for more.

SKETCHES · June 11, 2010

drowning in italics

SEEN AND NOTED · June 9, 2010

Alumni After RISD XYZ

Rhode Island School of Design's new alumni magazine, RISD XYZ, just launched. The publication showcases the inspiring stories and accomplished work of RISD's alumni community. Chriswell Lappin of WellNow Design led the design, along with other contributing alumni, to give it not only a vibrant new look but also an exciting direction.

Best of all, much of the type is set in Antenna and Receiver, both designed by Cyrus Highsmith, a RISD alum himself (97 GD) and faculty member. The sans serif Antenna is the earlier design; Receiver is closely related, but with clear-cut slab serifs. His forthcoming ...

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