Benton Sans, already the largest Font Bureau family, now boasts a full spectrum of widths from Extra Compressed to the new Benton Sans Wide. This makes a total of 80 styles — the 5 widths, each with 8 weights and corresponding italics. And that will make designers with complex typographic needs very happy. Combine this group with Benton Sans RE for small screen use, or pair it with Benton Modern as a serif companion, and there isn’t a typographic task too large, too small, or too complex that the comprehensive expanded family can’t handle.
On this Valentine’s week, we are pleased to announce another labor of love by our master of the calligraphic script, Richard Lipton. With typefaces like Avalon, Sloop, and Tangier, Lipton continually transforms the elegance of pen-on-paper into beautiful, functional fonts. His latest is Savanna Script.
Just a few days after we released Serge, the fonts are already being used by the premier purveyor of personal propulsion, Le Jet! Peruse the dynamic online catalog of this retro-forward-thinking enterprise, revel in the clever copy rendered entirely in webfonts from Webtype, and (if you’re using a modern browser like IE 10, Chrome 22 or Firefox 4 or later) delight in the OpenType swash caps.
Can’t get enough of this ultra moderne technologie? Cyrus Highsmith is posting more of his original Le Jet graphics on his personal blog, Cyrumblr.
Already available on newsstands everywhere, so to speak — Quiosco, designed by Cyrus Highsmith, is now part of our Retail library and available for licensing and download.
While initially conceived for newspaper text, Quiosco has also found gainful employment in a variety of magazines — Sports Illustrated, TV Guide, Outside, and The Hollywood Reporter, to name-drop just a few.
As our tech gent once commented, this is the time of year when we hear from brides and the mothers of brides. That is to say, it’s wedding season and all of a sudden, script typefaces are just as important as the cake.
Sometimes, it helps having a friend who’s a type designer lend a hand, or in this case, a face. Dyana Weissman’s script-in-progress graces the invitations of her friends’ wedding.
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 ...
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 ...
Many know Cyrus Highsmith as one of today’s most original type designers. He combines an energetic, illustrative approach with enthusiasm for typographic communication, leading to a diverse library of original designs. He has created exquisite scripts, industrial workhorse sans, and dynamic text serifs — all with equal ease and distinction. Highsmith considers himself a draftsman above all, and his work demonstrates a lifelong passion for drawing. In this video, he invites us into the world of his sketchbooks.