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I sent Brent Barson an email to tell him how much I enjoyed the opening titles for the fifth Typophile Film Festival made by him and his students. It happens to feature Scout and Dispatch but for me that was just a bonus. The animation is really amazing. Barson replied that it turns out Scout and Dispatch were just asking to be cut out of wood, metal, and plexiglass. Who knew? Christian Schwartz’s handsome Farnham also shows up, among others.
Scout also shows up in the inimitable Laurie Rosenwald’s animated chaos. Keep your eyes peeled for Loupot, me ...
October 20, 2009
The offbeat charm of Trilby abounds in our October newsletter; FB speaks from the heart of the letter at ATypI Mexico City; Interlínea is now available for free download; Cyrus Highsmith shares How We Read; and a handful of our typefaces are represented in UnderConsideration’s Graphic Design, Referenced.
October 7, 2009
Font Bureau unveiled Interlínea, its new Spanish-language promotional piece designed by DaniloBlack Inc., at this year’s SND conference in Buenos Aires. This 12-page tabloid features articles by Roger Black, Cyrus Highsmith, and Ariel Garofalo. It also includes project profiles of prominent publication designers, examples of recent custom typefaces, and new and upcoming typeface releases.
Download a PDF of Interlínea (4.8 MB)
September 24, 2009
Highlights of our September newsletter include the new release of Starling; the unveiling our new Spanish-language promotional piece Interlínea at SND in Buenos Aires; Sam Berlow and Kent Lew at TypeCon in Atlanta; Matthew Carter’s lecture series, Genuine Imitations; and Font Bureau’s contribution in the new reference book, 1000 Fonts.
If you missed the July newsletter you can still view it here. The highlights included the new release of Juliana; Palm Pre’s launch with fonts by Font Bureau; Cyrus Highsmith profiled in MyFonts’ Creative Characters; and Dyana Weissman interviewed in the popular design blog Speak Up.
A common maxim among type designers is that drawing a typeface isn’t about drawing beautiful letters: drawing a typeface is about making beautiful words. A typeface is a collection of separate parts that have to work together in every possible combination to form unified words.
Words can be very different from each other. A word can be as short as a single letter, or a word can be incredibly long. A word can be all lowercase letters, or a word can be all uppercase letters. A word might be a combination of both upper and lowercase letters. A word ...
Elk Grove Village, IL — September 8, 2009 — Ascender Corporation, Carter & Cone and The Font Bureau, Inc. announced today that they are working on a project in conjunction with Microsoft to extend the Georgia and Verdana typeface families. This project began more than a year ago, and the first of the new typefaces are expected during the first quarter of 2010.
More details at Ascendercorp.com
The history of the Times New Roman typeface
By Joel Alas
“The release of Starling in June presented not just a new font, but a challenge to the accepted history of one of the most widely used typefaces in the world. And after a lifetime spent in typography, Parker was well aware of the controversy he was getting involved in: typography may present a genteel exterior, but it’s an art form punctuated by bitter rivalries and rampant plagiarism.” Read more...
July 15, 2009 - Boston
With 1994’s foundation of the World wide Web and the release of the first graphical web browsers, and until 2006, unique typographic identities on the web could only be attained by converting, or rendering, outline font data into graphics, and posting the graphic. Browser developers set the default fonts of their products to fonts found on the OS each browser was made for, and this combination of pre-rendered and OS-rendered default fonts was how web typography was done. The OS, though they can handle all the fonts required for any design purpose, have been counting ...