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Last week Fortune magazine unveiled a bold new look, spearheaded by creative director John Korpics. To herald the new direction, Korpics commissioned Cyrus Highsmith to draw a new logo for the nameplate.
Now entering its 80th year, Fortune magazine has had an illustrious history, often noted for its journalism and photography. A new logo needed to be distinguished, to demonstrate boldness, and to signal success.
March 11, 2010
Web Fonts Panel
Saturday March 13, 9:30am, Ballroom B
Font Bureau’s David Berlow and Roger Black will be joined by Typekit’s Jeffrey Veen, Stephen Coles of FontShop/Typographica, and Bert Bos of W3C in what will surely be an engaging conversation about what we’ve all been waiting for. The time has come for web fonts.
Web Fonts Party
Sunday March 14, 6-9pm
Join the party at Shangri-la with our co-hosts Typekit, FontShop, and Webtype for chats on fonts, the web, and the future of of it all. We’ll have demos, a DJ, and drinks are on us (while tickets last)!
February 26, 2010
[Excerpted from HOW magazine's February 2010 issue, used with permission from the author and publisher.]
Who says the serif is dead? Type expert Allan Haley bucks the sans serif trend, with a look at seven versatile new serif fonts you can add to your type wardrobe. One of them is David Jonathan Ross's Trilby.
Reversed-Stressed Slab Serif
David Jonathan Ross has had a long-standing affinity for the French Clarendon type style. One of his earlier designs, Manicotti, takes the style to its extreme. He said he reveled in exaggerating the "wagon-rut" tracks of horizontal weight distribution. In his ...
January 19, 2010
Today, Matthew Carter is overseeing the re-working and expansion of the Verdana and Georgia font families, with David Berlow of The Font Bureau leading the effort ... read more at macworld.com.
January 11, 2010
I will be in America’s dairyland on the 14th to give a talk, sponsored by Design Madison. They suggested that I come in March when it’s warmer but I said no way I grew up in Wisconsin, I am coming in January. Doncha know.
December 15, 2009
Our December newsletter’s holiday greeting of spreading hope in any language features Richard Lipton’s Sloop WGL. Allan Haley writes about the story of David Berlow’s Hutch for Rolling Stone. Adding to the buzz about fonts for the web is David Berlow’s interview on FontFeed, and Cyrus Highsmith draws an original scripty masthead for Rhode Island Monthly.
If you missed our November newsletter featuring decorated letters and more, view it here.
November 23, 2009
PARIS BEAUTY MEETS A ROLLING STONE
Hutch, from Font Bureau, is a modern interpretation of Cochin, another French typeface. Cochin was first released in about 1915 by the Peignot type foundry in Paris and was based on the lettering of late eighteenth-century French copperplate engravers.
Metal and phototype versions of Cochin were used in some of the first issues of Rolling Stone magazine. When Joe Hutchinson, the magazine’s current art director, approached famed publication designer Roger Black about creating a display typeface for the publication, Black immediately suggested Cochin.
David Berlow, Font Bureau founder, and Jim Parkinson, who drew ...
That was the tweet at least — a tweet being a Twitter or Twitster writing a headline and delivering it globally at text size, accompanied by a big picture of themselves or something.
But what am I saying — I’m doing it again: Writing a blog. Writing a blog on web fonts. Writing a blog on web fonts for an audience so mixed that I have a choice of confusing some of you all the time, all of you some of the time, and time itself (which I lost a couple times this past week) all the time.
I tell people ...
Last week the venerable Washington Post unveiled its new design, eight months in the making. More a “tweak” than an extreme makeover, the redesign was accomplished by an in-house team in collaboration with Roger Black and his studio. Charles Apple presents a very thorough review of the newspaper’s structural and design changes on his Visual Editors blog, including ample links to other sources and a PDF of The Post’s own special section detailing the changes.
The obvious change to The Post’s body copy font gets noted in several articles. But some of the more subtle changes in ...
October 20, 2009
The offbeat charm of Trilby abounds in our October newsletter; FB speaks from the heart of the letter at ATypI Mexico City; Interlínea is now available for free download; Cyrus Highsmith shares How We Read; and a handful of our typefaces are represented in UnderConsideration’s Graphic Design, Referenced.