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NEW TYPE ·
March 29, 2005
March 29th Boston — Font Bureau, Inc. is proud to release Zingha, an original family from Xavier Dupré.
Zingha balances “French rhythm and American style” with pointed edges and slinking curves. Dupré drew the sharp and angular letterforms of Zingha to escape his days lettering “sweet and creamy” food packaging in Paris. Traditional roman capitals mix with a unique lowercase and entirely personal italic.
Zingha is engineering behind fashion. Features which are artful in display turn functional in the repetition of text. The family’s 14 styles. Features which are artful in display, turn functional in the repetition of text. The ...
NEW TYPE ·
October 29, 2004
October 29th Boston — Font Bureau, Inc. is proud to release Farnham, a transitional family from Christian Schwartz inspired by Johann Fleischman.
In the late 1700’s, Baskerville, Fournier and Fleischman led a dynamic shift in the design of typefaces. Their designs link the oldstyles first cut by Augereau and Garamond to the true moderns of Didot and Bodoni. Johann Michael Fleischman was German, master punchcutter at the Enschedé Typefoundry in Haarlem. He used better tools on finer steel to obtain lighter strokes and sharper curves. His type sparkles on the page, mixing vertical and angled stress with a personal approach ...
Interstate, one of the archetypal font families of our time, has grown due to the constant request for more.
Font Bureau is proud to release Interstate Monospaced, adapted for situations where the luxury of proportionally spaced characters aren’t an option or inappropriate. Character width for Interstate Monospaced Black, Bold, Regular, and Light meet the international standard.
New Interstates do not stop there, four Condensed Italics (Black, Bold, Regular, and Light) were drawn for emphasis within tight copyfit situations.
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For a press kit or more information, please email firstname.lastname@example.org or call Harry Parker or Robb ...
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 ...