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New Release

Heron Sans & Serif

“The idea was to make an industrial, tough-looking sans for headlines, so we examined things like license plate lettering and other clunky machine-made type,” recalls Cyrus Highsmith about the early development of Heron Sans with art director Joe Heroun of Men’s Health. That was in 2005. Later, in 2008, Heroun commissioned a new version to work well at smaller sizes also, to replace the earlier version. At one point, a serif version was discussed and started, but nothing came of it at the time. Still, something about the idea appealed to Highsmith; so he picked it up again and developed Heron Serif, the companion typeface.

Within the genre of industrial, engineer-made sans serifs, Heron is positioned on the warmer side, with more personality and fewer quirks. There is a touch of liveliness in the way Highsmith handles the terminals of the ‘a c e s,’ offsetting the squareness with a slight springiness. Stylistic alternates provide plenty of opportunity to subtly alter the look of Heron. In both sans and serif designs, there are both one- and two-story forms of ‘a’ and ‘g’. The distinctive Highsmith ‘u’ is present as an option, the lowercase drawn without a tail. In Heron Sans, alternate forms of ‘l’ and ‘y’ have slightly curved tails, adding further distinctive possibilities to the typeface’s palette.

Heron Sans and Serif can be likened to the American steel-worker, tough as nails and steadfast on the job, but loose enough get a little dirty and tell a tall tale.

20 Styles Each: Light, Regular, Medium, Semibold, and Bold, all with Italics, in Normal and Condensed Widths.

Heron Sans and Heron Serif are available as full-featured OpenType fonts with tabular figures, arbitrary fractions, stylistic alternates, and extensive language support

More Heron Sans & Serif: http://www.fontbureau.com/fonts/HeronSans/
and http://www.fontbureau.com/fonts/HeronSerif/

NEWS & NOTEWORTHY

 

Neue Haas Grotesk

“I’ve come to think that Helvetica was never intended to be the cold, perfect, rational typeface people portray it as,” explains Christian Schwartz. So, he went back to early sources & specimens to undo the compromises and recapture the original personality. Now available from Font Bureau, the newly restored Neue Haas Grotesk provides a digital version finally attuned to its intended design and finely tuned to the needs of designers.

More: http://www.fontbureau.com/nhg/

 

The Inside Scoop on Inside Paragraphs

Cyrus Highsmith has a book coming out! The idea originally grew out of a series of lectures that he developed for a basic level typography course he teaches at RISD. Highly visual, with Highsmith's signature graphic-novel style, the book illustrates how we read and how type works. Matthew Carter sums it up: “He takes the lid off a paragraph of type and shows its inner workings.” Coming soon from Font Bureau. Stay tuned for updates on how to get your very own copy.

 

Online Availability of Readability

More than 15 years ago Font Bureau undertook a project with The Poynter Institute for Media Studies to develop a new text face that would address the specific issues of newspaper typography and readability. Poynter Oldstyle Text was born, and many others soon followed. Once only available by request and at a higher price point, the classic Readability Series of typefaces is now becoming available online, with the same licensing options and affordable prices as our Retail Library.

More: http://www.fontbureau.com/help/readability/

 © 2012 The Font Bureau, Inc.