NEWS · May 14, 2012
BEHIND THE SCENES, NEWS · April 25, 2012
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 ...More ...
NEW TYPE, NEWS, TYPE DESIGN · April 2, 2012
You may be wondering, ‘why Neue Haas Grotesk when we have Helvetica?’ To offer the best reason, and the one that’s the most interesting, we have to go back quite a few decades, to Switzerland.
Neue Haas Grotesk was the original name given to the typeface that Max Miedinger drew in the 1950s for Haas’sche Schriftgiesserei (Haas Typefoundry) in Switzerland under the direction of Eduard Hoffmann. It was designed to compete with the German-designed Akzidenz Grotesk and others. Shortly after release from Haas, the name was changed at the request of parent company Stempel to “Helvetica” (Latin for ...More ...
NEWS · April 2, 2012
Providence’s Cable Car Cinema commissioned me to create a poster for their screening of Orson Welles' revenge flick, Touch of Evil. It’s a big three-color screen print and it’s available from Tiny Showcase.
NEWS · December 7, 2011
Few major publications have yet been able to do what The Boston Globe did recently – mirror their brand typography in both print and digital editions. Stephen Coles’s recent post on Fonts In Use details the typography of the new BostonGlobe.com and the newspaper’s emphasis on maintaining the newspaper’s identity through its typography. At the heart of the design is the use of the screen versions of their brand fonts, Benton Sans and Miller Headline via Webtype. The result? The Globe still feels very much like the Globe. Read on...More ...
NEWS · November 29, 2011
Typsnittstecknaren Cyrus Highsmith is giving a talk in Stockholm this Friday.More ...
NEWS · November 11, 2011
I'm excited to announce a new print for sale at Tiny Showcase. This one is a 2 color silkscreened edition of 100 printed by The Head Light Hotel. There are only about 20 left. There are also a few letterpress alphabet prints left too.
Georgia and Verdana rule the web. Starting today, Georgia Pro and Verdana Pro are now revised and expanded families, enabling more versatile use both on screen and on paper. The expansion includes three new weights and a Condensed width, OpenType layout features, WGL pan-European character set, added kerning, and extensive hinting.
Georgia and Verdana entered the scene fifteen years ago. They were created for Microsoft and adapted from proven typographic models by world-renowned type designer Matthew Carter, assisted by master hinting engineer Tom Rickner. Now, a partnership between Font Bureau, Carter & Cone, and Monotype Imaging led the effort to create ...More ...
NEWS · October 20, 2011
Letter.2 is the second Type Design Competition of the Association Typographique Internationale. The juried competition received 561 submissions from around the world of typefaces completed between 2001 and Aug 2011. There were no limits to the number of submissions so we submitted the range of our best and brightest stars from the past decade. The judges met in Buenos Aires and had the impressive task of selecting just 53 typefaces based on their design excellence. Tangier by Richard Lipton and Rocky by Matthew Carter & Richard Lipton were among the winners. Congratulations to you both!More ...
NEWS · September 28, 2011