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July 17, 2003 Boston — The Font Bureau, Inc. announces the retail release of Whitman from Kent Lew, a new text face in the American type tradition of Dwiggins and Gill. Whitman features classical design traits treated with a Spartan finish to create this award-winning face, honored in 2002 by the Type Directors’ Club of New York.
At the time of its creation, book and type designer Kent Lew “Designed Whitman as a Modern for those of us who don’t like Moderns. It has that rationality and balance and symmetry, but I tried to avoid the cold, brittle contrast and ...
June 10, 2003 Boston — The Font Bureau, Inc. announces the retail release of Amplitude from Christian Schwartz, an extensive new sans serif series for text and display inspired by functional type seen every day in phone books and newspapers. Ink wells carved out of the juncture of strokes give it a distinctive appearance in headlines while compensating for ink spread at small sizes.
Amplitude offers an appropriate solution for nearly any corporate or publication design problem. Weighing in at 35 styles, with 7 weights in 5 widths, it is one of Font Bureau’s largest and most flexible families.
May 6, 2003 Boston — The Font Bureau, Inc. announces the retail release of Prensa, a major new serif series for text as well as display by Cyrus Highsmith. Until now it has only been available to a few designers; it has appeared in various incarnations in magazines from Martha Stewart Living to MensHealth, and newspapers from El Universal in Mexico to La Prensa Gráfica in El Salvador. In 2002, Prensa was awarded a citation of excellence from the international type competition, Bukva:Raz!. Its success has led Font Bureau to add it to its retail library.
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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 ...
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 ...
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 ...