· Behind the Scenes
· New Type
· Parker Type History
· Seen and Noted
· Type Design
· Web Fonts
· David Berlow
· Sam Berlow
· Font Bureau
· Stephen Coles
· Carrie Gee
· Cyrus Highsmith
· Kent Lew
· Mary Louise Marino
· Mike Parker
· David Jonathan Ross
· Dyana Weissman
Join the FB News List
FB RSS Feed
March 28, 2003
Font Bureau’s senior designer, Cyrus Highsmith will join Matthew Carter, Jonathan Hoefler and Tobias Frere-Jones in a panel discussion on type design as part of the Graphic Design “Exposed” Lecture Series presented by The University of the Arts in Philadelphia.
Thursday, April 3 at 6:30pm
Solmssen Court, Hamilton Hall
320 South Broad St
For more information click here:
NEW TYPE ·
March 10, 2003
March 10, 2003 Boston — The Font Bureau, Inc., an independent digital type foundry, completes the family Nobel, an alternative to Futura. What began as a six styles, in 1995, has been extended into an eighteen style family. All are high quality and fully compatible PostScript® Type One fonts for Macintosh™ and Windows™.
In 1929 Sjoerd Hendrik de Roos, painter, designer and for thirty-five years artistic head of the Amsterdam Type Foundry, turned his hand to the problem of creating a geometric sans serif family and designed Nobel. Tobias Frere-Jones appreciated the play of de Roos’ traditional subtlety against the bones ...
February 28, 2003
The exhibition is scheduled to open at the National Design Center in New York on March 27 and runs through May 30.
NEW TYPE ·
November 11, 2002
In July, 2002, El Universal, a leading Mexico City daily, launched a dramatic redesign. The styling is the work of Eduardo Danilo, a principal of Danilo Black of Monterrey, Mexico, and features text & display series of original typefaces from the hand of Font Bureau’s Cyrus Highsmith. Nicholas Kis’ seventeenth century romans provide the inspiration for Highsmith’s new Universal Display. “It gives our new design the energetic character of Mexico City itself” said Danilo.
The Universal text series, roman, italic and small caps was developed in the Font Bureau office in Boston. For inspiration Highsmith found himself studying an ...
NEW TYPE ·
November 10, 2002
November 10, 2002 Boston — The Font Bureau, Inc., an independent digital type foundry, introduces two series: Matthew Carter’s Miller Daily, a newspaper bodycopy version of the already popular Miller family, with Miller Headline for display. For a typographic evaluation of Miller we can do no better than quote the words of James Mosley, of St. Bride’s Printing Library, London: “Matthew Carter’s Miller is not a facsimile of Miller’s Scotch Roman, any more than his Galliard was a facsimile of any one type by Robert Granjon. What it has done is to capture the good color, and ...
NEW TYPE ·
October 14, 2002
Boston, October 13 , 2002 — On October 13 the columns of The Los Angeles Times appeared in a solid new Ionic, LA Text, with a series of new display designs centering on LA Headline. Improving typography within Times tradition is the work of Design Deputy Managing Editor Joe Hutchinson, designer Roger Black, and FontBureau’s David Berlow. For LA Headline, Black turned to a seventeenth century design, the romans of Nicholas Kis. “The brilliance of these classical types provides dynamic contrast with the text, the spark that illuminates the design,” said Hutchinson.
The LA Times emphasizes the character of different departments ...
Boston, May 3, 2002 — When color appeared on the front page of The Wall Street Journal, it was also newly dressed in Wall Street Journal Scotch from The Font Bureau, Inc. Sharpening appearance within Journal tradition is the work of Design Director Joe Dizney, design consultant Mario Garcia, and Font Bureau’s Cyrus Highsmith. Monotype’s 1908 Scotch No. 36 provides the basis of Highsmith’s new Scotch series. “It is the spectacular singular element that holds the whole thing together,” says Dizney.
The Journal is one of a handful of newspapers distinguished by a dominant typographic style. Scant use ...
NEW TYPE ·
February 18, 2002
February 18, 2002 Boston — The Font Bureau, Inc., an independent digital type foundry, introduces Stainless™, a 12-font family for textand display applications. All are high quality and fully compatible PostScript® Type One fonts for Macintosh™ and Windows™.
Serif and sanserif pairs are rare, but Dispatch™ has a new sanserifed alternative — Stainless™ by Font Bureau’s Cyrus Highsmith. In both, taut curves signal action as they build compact word shapes. Their letter forms originate in typescript, on engineering blueprints and on shipping labels. They bring surprise, power and an energetic excitement, foursquare typefaces with a syncopated beat. Both offer a full ...
September 5, 2001
September, 2001 Boston — The Font Bureau, Inc., an independent digital type foundry, introduces its newest publication, Font Bureau Type Specimens Third Edition, an invaluable resource for type users and type lovers.
Font Bureau approached this new specimen book as more than an expanded version of 1997’s Second Edition, opting instead to rework the book from the ground up, reorganizing and adding many features to make a more useful resource, while keeping the popular specimen format.
Like the previous editions, Font Bureau Type Specimens Third Edition showcases Font Bureau’s ever-expanding Retail Library, the most comprehensive collection of digital typefaces ...
NEW TYPE ·
September 1, 2001
September 1, 2001 Boston — The Font Bureau, Inc., an independent digital type foundry, introduces its twenty-sixth retail font issue. All are high quality and fully compatible PostScript® Type One fonts for Macintosh™ and Windows™.
Making his London Underground-inspired sans serif family infinitely moreflexible for publication and corporate design use, Greg Thompson increasesthe range of Agenda® with several new weights, extremely narrow styles, anda full set of italics. Designer Jill Pichotta adds new weights for displayand corresponding text styles to the classically beautiful FB Garamond™, anunusually delicate take on this popular oldstyle. Setting out to create acompatible humanist sans for his ...