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September 12, 2011
From Reykjavík for ATypI, to San Francisco for Brand New, Boston for the SND@ONA Meetup, then St. Louis for SND, Font Bureau and Webtype will be there as conference sponsors and speakers.
Roger Black, Cyrus Highsmith, Jill Pichotta, and Nick Sherman travel to Iceland where the letterform ð (eth) is part of the national identity. Roger and Cyrus take the audience on a non-technical adventure while Nick advocates matters of type and terminology.
Sam Berlow, Harry Parker, and Stephen Coles head to the West Coast for a gathering of designers and aficionados to report on all that is Brand ...
As a little girl, I often perused my brother’s comics. X-Men, Tales from the Crypt, and MAD Magazine were just a few. One of my favorite pieces in MAD was Spy vs. Spy, where the Black and the White spies found interesting ways to kill each other. Cartoonish violence aside, I was always fascinated by their creativity. And I always rooted for the Black Spy.
“I know this may look insane, but it works for me.”
It’s been three years since we printed our Third Edition One-Line Type Specimens booklet and it was about time we did something similar again. So we made a supplement, which presents the very latest additions to Font Bureau’s retail library and also includes Webtype and Reading Edge web fonts prepared for the rigors of the web.
We went on press a couple of weeks ago, to the fine folks at Kirkwood Printing.
Meet Robert Brown, who could shepherd any print job even with his eyes closed.
And our stellar pressmen, Steve Toomajanian and Jim McLaughlin.
Harry with a ...
July 15, 2011
[Excerpted from the article “Sans-sational” by Allan Haley, HOW Magazine, Type and Color issue, July 2011. Used with permission from the author and publisher.]
Although new sans serif designs are released almost daily, those that are truly unique are tough to find...Condor is among those to pay close attention.
Drawn by David Jonathan Ross, the Condor typeface family finds its roots in earlier designs. “Condor is a modern take on the thick-and-thin lettering style,” Ross says. “These letterforms first caught my attention on a cross-country road trip. At about the same time, I found myself admiring Art Deco inscriptions ...
Every year for many years, probably ever since Font Bureau started, we’ve had offsites. They started out as a once-a-year weekend gathering to some non-Boston locale to determine which fonts we’d be releasing in the coming year. We still gather once a year, usually now to Martha’s Vineyard, but do more than just look at fonts. We still do look at a lot of fonts, though.
June 3, 2011
I'll be at Cooper Union next week to give a lecture and workshop as part of the mighty Type Masters Week NYC, brought to you by the Type Directors Club and Font Bureau. If you are closer to Spain, I am doing a 3-day workshop in July.
May 26, 2011
“If influence can be measured in the quantity of typewritten words produced, then the most powerful wordmonger in history may be Matthew Carter,” writes Julie Lasky in her New York Times article. Carter was honored with the 2011 National Design Award for Lifetime Achievement on Thursday at the Smithsonian’s Cooper-Hewitt National Design Museum in New York City. Congrats Matthew, for an extraordinary year of awards!
Cyrus Highsmith designed Salvo Sans & Salvo Serif (originally called Boomer Sans & Boomer Serif) as one series for AARP. It’s been called “hopeful, informative, alive, embracing and delightful.” We couldn’t agree more.