[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 ...

The month of January typically sees many “Best Of . . .” reflections on the year just past. John Boardley over at the I Love Typography blog has recently added his own personal Favourite Fonts of 2009 to the mix. Heading up his list is FB’s Trilby by David Jonathan Ross.

There’s no actual significance to the order, but we’re pleased to have landed a top spot anyway. And Trilby is in good company: It’s a wonderfully eclectic and tasteful gathering of fonts.

Read more by John Boardley.

On its recently redesigned website, the Society for News Design (SND) asked FB co-founder Roger Black to talk about what’s ahead for visual communication in the 2010s. They present his observations in both transcript and video webcast format. Read/watch the interview at snd.org.

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.

“At ATypI in Mexico City Stephen Coles broached the topic of kerning with Dyana Weissman of The Font Bureau, one of the few type designers who claims to actually enjoy the tedious task of assigning thousands of kern pairs to each font. She explains the difference between kerning and spacing, why it should be done by hand, and the mystical concept of flow.”

Watch it here on The FontFeed.

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.

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 ...

“ATypI ambitiously billed this year’s Typ09 conference as the discussion epicenter for the future of fonts on the Web... The loudest — and often the most inter­esting — of these voices was unarguably David Berlow’s.” Read more by Stephen Coles...

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.

Font Bureau unveiled Interlínea, its new Spanish-language promotional piece designed by DaniloBlack Inc., at this year’s SND conference in Buenos Aires. This 12-page tabloid features articles by Roger Black, Cyrus Highsmith, and Ariel Garofalo. It also includes project profiles of prominent publication designers, examples of recent custom typefaces, and new and upcoming typeface releases.

Download a PDF of Interlínea (4.8 MB)