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NEW TYPE · November 1, 2005

New Fonts: FB Titling Gothic and Clicker

Font Bureau President David Berlow spent 10 years developing FB Titling Gothic, an immense series of 49 display romans. The seven weights in seven widths add breadth to the headlines of publications like US News and World Report, GQ, Rumbo, and the Detroit News.

Greg Thompson’s original weight of Clicker was drawn in 1992 for TV Guide and has since been the typographic face for the CSI, Pepsi One, and Quicksilver brands. Thompson has expanded the design, initially inspired by machine-readable type, to 44 new styles including italics and small caps.

For more information or to request a press ...

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NEW TYPE · October 8, 2005

New Fonts: FB Truth and Minah

Font Bureau, Inc. is proud to present two new families:

FB Truth, a familiar sanserif originally designed for the screen in 1994, and now available in an array of weights for print resolution by David Berlow.

Minah, A display family reminiscent of broad pen lettering by calligrapher Jacqueline Sakwa.

For more information or to request a press kit, please email
or call Harry Parker or Robb Ogle at 617 423 8770.

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NEW TYPE · March 29, 2005

New Font: Zingha by Xavier Dupré

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 ...

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NEW TYPE · October 29, 2004

New Font: Farnham by Christian Schwartz

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 ...

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NEW TYPE · May 18, 2004

New Styles of Interstate

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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NEW TYPE · July 17, 2003

New Font: Whitman by Kent Lew

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 ...

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NEW TYPE · June 10, 2003

New Font: Amplitude by Christian Schwartz

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.

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NEW TYPE · May 6, 2003

New Font: Prensa by Cyrus Highsmith

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

Font Bureau Announces The Completion of FB Nobel

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 ...

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NEW TYPE · November 11, 2002

Font Bureau Announces New Type for El Universal

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 ...

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