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NEW TYPE · December 11, 2006

New Custom Fonts: EW Sans and Heroun Sans

December 11, 2006 Boston

Font Bureau is proud to unveil two new families by Cyrus Highsmith, drawn for Entertainment Weekly, and Men’s Health. Both redesigns hit the stands within a week of one another.

EW SANS
Geraldine Hessler commissioned EW Sans and an updated logo to match for her redesign of Entertainment Weekly. The large family marks the magazine’s first significant typographic change in a decade, replacing the long running Bureau Grot. EW Sans visually updates the magazine for today’s age of on-demand content downloaded for portable media players or high definition plasma screens.

HEROUN SANS
Commissioned ...

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August 8, 2006

Family Expansion: Bureau Grot by David Berlow

August 8, 2006. Boston

Font Bureau, Inc. is proud to announce the release of Bureau Grot, an expansion to long-time favorite Bureau Grotesque. The 15 new styles, including heavier weights and new widths, add to the nineteenth-century sans family first developed by David Berlow in 1989.

With the 2006 release, Font Bureau replaces the “numerical” width-weight system of the 1993 FB Grotesque series with “names” instead, as most software programs require. To improve menu access to these longer names, “Bureau Grotesque” has been shortened to the already familiar “Bureau Grot.” The 2006 release will substitute for the corresponding style from ...

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NEW TYPE · May 23, 2006

New Font: Quiosco by Cyrus Highsmith

May 23, 2006. Boston

Font Bureau, Inc. is proud to release Quiosco, an original news text family by Cyrus Highsmith.

Kiosk in Spanish is Quiosco, the name of a text series (after Prensa) designed by Cyrus Highsmith that follows W.A. Dwiggins in deliberately contrasting character outline with the counter shape. Highsmith addresses the narrow news column by bringing new life to the forms of a newspaper text face while adding nothing to character width. Quiosco permits more compact wordspaces with no loss of readability.

Quiosco is the fifth addition to Font Bureau’s Readability Series, a suite of graded ...

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NEW TYPE · February 21, 2006

New Font: Escrow by Cyrus Highsmith

February 21, 2006. Boston

Font Bureau, Inc. is proud to release Escrow, a new display family by Cyrus Highsmith.

When color appeared on the front page of The Wall Street Journal in 2002, it was also newly dressed in Escrow. Highsmith’s scotch roman was heralded as the “spectacular singular element that holds the whole [redesign] together” by Design Director Joe Dizney. Available in five weights and three widths, with accompanying text styles. 44 styles total.

For more information or to request a press kit, please email info@fontbureau.com or call Harry Parker or Robb Ogle at 617 423 ...

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NEW TYPE · November 1, 2005

New Fonts: FB Titling Gothic and Clicker

Font Bureau President David Berlow spent 10 years developing FB Titling Gothic, an immense series of 49 display romans. The seven weights in seven widths add breadth to the headlines of publications like US News and World Report, GQ, Rumbo, and the Detroit News.

Greg Thompson’s original weight of Clicker was drawn in 1992 for TV Guide and has since been the typographic face for the CSI, Pepsi One, and Quicksilver brands. Thompson has expanded the design, initially inspired by machine-readable type, to 44 new styles including italics and small caps.

For more information or to request a press ...

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NEW TYPE · October 8, 2005

New Fonts: FB Truth and Minah

Font Bureau, Inc. is proud to present two new families:

FB Truth, a familiar sanserif originally designed for the screen in 1994, and now available in an array of weights for print resolution by David Berlow.

Minah, A display family reminiscent of broad pen lettering by calligrapher Jacqueline Sakwa.

For more information or to request a press kit, please email info@fontbureau.com
or call Harry Parker or Robb Ogle at 617 423 8770.

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NEW TYPE · March 29, 2005

New Font: Zingha by Xavier Dupré

March 29th Boston — Font Bureau, Inc. is proud to release Zingha, an original family from Xavier Dupré.

Zingha balances “French rhythm and American style” with pointed edges and slinking curves. Dupré drew the sharp and angular letterforms of Zingha to escape his days lettering “sweet and creamy” food packaging in Paris. Traditional roman capitals mix with a unique lowercase and entirely personal italic.

Zingha is engineering behind fashion. Features which are artful in display turn functional in the repetition of text. The family’s 14 styles. Features which are artful in display, turn functional in the repetition of text. The ...

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NEW TYPE · October 29, 2004

New Font: Farnham by Christian Schwartz

October 29th Boston — Font Bureau, Inc. is proud to release Farnham, a transitional family from Christian Schwartz inspired by Johann Fleischman.

In the late 1700’s, Baskerville, Fournier and Fleischman led a dynamic shift in the design of typefaces. Their designs link the oldstyles first cut by Augereau and Garamond to the true moderns of Didot and Bodoni. Johann Michael Fleischman was German, master punchcutter at the Enschedé Typefoundry in Haarlem. He used better tools on finer steel to obtain lighter strokes and sharper curves. His type sparkles on the page, mixing vertical and angled stress with a personal approach ...

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October 28, 2004

Font Bureau in 96

October 2004 — Senior Design Cyrus Highsmith and Matthew Carter are interviewed for Fontshop’s magazine 96, issue #6. Highsmith discusses his Amira and Prensa families while Carter reviews his illustrious career and explains why “traditionalism is of no use.”

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October 7, 2004

Font Bureau presents at Making Faces

October 7th New York — Font Bureau president David Berlow joined Type designers Matthew Carter, Tobias Frere-Jones, Jonathan Hoefler, Ken Barber, and Tal Leming at “Making Faces,” a round table typographic discussion hosted by Society of Publication Designers and FIT. David Matt of Men’s Journal moderated:

  • the difference between type founding and type design
  • which came first: foundries making large type families or designers demanding larger families?
  • how fonts are named
  • custom typography
  • how and when to involve a type designer into a design project
  • designing type for difficult printing conditions
  • the future of OpenType, 1400 ligatures?!
  • sneak previews of ...

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