Using the wrong typography terms doesn’t just make you look silly or inexperienced; it doesn’t just irritate the nitpicky nerds; it deprives you from getting the most from typography. Knowing the right words can help you understand and describe, design and build. So here are some of the commonly confused typographic terms I see tossed around, along with simplified definitions.
Forma is a neo-grotesk typeface by the Italian type foundry Nebiolo. It was designed in 1965–68 by a team of eight designers, spear-headed by Nebiolo’s art director, Aldo Novarese. This is the story of its revival.
Roger Black first saw Forma at the Nebiolo stand during the Drupa exhibition in 1977. He’s loved it ever since. To him it was the answer to monotonous Helvetica, which, by the mid-’70s, was already overly familiar and overused. Like Times Roman, it became “ground into the dirt by one-size-fits-all masters,” said Roger, when included ...
As our tech gent once commented, this is the time of year when we hear from brides and the mothers of brides. That is to say, it’s wedding season and all of a sudden, script typefaces are just as important as the cake.
Sometimes, it helps having a friend who’s a type designer lend a hand, or in this case, a face. Dyana Weissman’s script-in-progress graces the invitations of her friends’ wedding.
For more than a decade, the Readability Series of typefaces has been part of Font Bureau’s commitment to the needs of our clients and a response to emerging trends and print technologies. Now, with another wave of technological change and evolving trends, not just in print media, but also online typography and mobile web use, it makes sense for the typefaces of the Readability Series to migrate to our Retail Library for the same licensing options and affordable price.
From Readability to Retail
The new Retail versions are not substantially changed from the original versions in the Readability Library ...
Many know Cyrus Highsmith as one of today’s most original type designers. He combines an energetic, illustrative approach with enthusiasm for typographic communication, leading to a diverse library of original designs. He has created exquisite scripts, industrial workhorse sans, and dynamic text serifs — all with equal ease and distinction. Highsmith considers himself a draftsman above all, and his work demonstrates a lifelong passion for drawing. In this video, he invites us into the world of his sketchbooks.
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.
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.
Several weeks ago, David Jonathan Ross and I spoke on a panel at the cherished Brattle Theatre in Harvard Square. Following a screening of the documentary Helvetica, we talked about our experiences as typeface designers. The event was coordinated by GLIMPSE journal, a captivating, beautifully designed publication that examines the art and science of seeing.