Wired.com gives away all our trade secrets. Oh well...More ...
SEEN AND NOTED · March 18, 2008
SKETCHES · March 17, 2008
As a letter drawer, my main materials are black and white. I don’t get many opportunities to work in color. That’s ok with me but a little change is also nice once in a while. I was happy to see some color around my desk this last week. Above is a detail from a drop shadow treatment for a logo I have been working on that included red, black, plus not just one but two shades of yellow. My eyes are confused but I think they like it.
NEW TYPE · March 6, 2008
March 6, 2008. Boston
Font Bureau is excited to announce the release of two major new typefaces from our drawing studio - Scout and FB Moderno.
A fresh new sans serif, something always useful, Scout (and a related logotype) was drawn by Cyrus Highsmith, a senior type designer at Font Bureau, for Geraldine Hessler’s 2006 redesign of Entertainment Weekly. The 24 style family marks the magazine’s first significant typographic update in a decade. Scout created a new typographic identity for the magazine with a design that derives structural elements from both new and old: DIN, Venus, and Cairoli ...More ...
INTERVIEWS · February 25, 2008
The fonts that presidential candidates select for their campaign logos reflect an important act of political branding. Sam Berlow of The Font Bureau Inc. says the logos all speak volumes about the candidates they represent.More ...
SKETCHES · February 19, 2008
NEWS · January 29, 2008
The Boston Globe asked us to write a small article on the design of the 2008 presidential candidates’ logos. Sam Berlow and I took a stab at it. I use the word ‘stab’ because looking at most of them is like stabbing needles into your eyes. Well, maybe not that bad.
Personally, I am surprised at how restrained Giuliani’s logo is. I was expecting something set maybe in this typeface with little airplanes crashing into it.
You can see the Globe’s version of the article here.More ...
TYPE DESIGN · January 9, 2008
The em is an important and basic thing in typography, but its definition can be quite tricky. If you ask a type designer, a typographer, and a software engineer to define the em, you will probably get three different answers. The answers will not necessarily contradict each other; they are just from different points of view.
the typographer’s em
Let’s start with probably the most common usage of the term ‘em’, what I will call the typographer’s em. You probably encountered it early on in your typographic education.
The typographer’s em, a horizontal space, is equal ...More ...
SKETCHES · December 3, 2007
SKETCHES · December 1, 2007
TYPE DESIGN · September 8, 2007
“The bas-relief was a rough rectangle less than an inch thick and about five by six inches in area; obviously of modern origin. Its designs, however, were far from modern in atmosphere and suggestion; for although the vagaries of cubism and futurism are many and wild, they do not often reproduce that cryptic regularity which lurks in prehistoric writing. And writing of some kind the bulk of the designs seemed certainly to be; though my memory, despite much familiarity with the papers and collections of my uncle, failed in any way to identify this particular species, or even to hint ...More ...