Interstate font family
Designed by Frere-Jones in 1993-1994
Tobias in 1993-1994
Linotype welcomes Font Bureau Foundry
|Setup in 1989 by David Berlow and Roger Black, Font Bureau has built its reputation on quality fonts crafted by world-renown type designers, for use in innumerable applications. Whether its eminently legible and readable fonts for books, magazine and newspapers, like Whitman and Farnham; display type like Interstate or Benton Sans; or sumptuous scripts like Sloop and Biscotti, Font Bureau has them all.
Here is a small selection of some great Font Bureau typefaces:
|Interstate by Tobias Frere-Jones. Inspired by road signage, this exceptional sans serif is very clear, very legible. A great choice even for extended texts. Its numerous weights lend it added versatility, making it a sound choice for newspapers, magazines, and the screen. Be sure to check out Tobias’ other great sans, Benton Sans (produced with Cyrus Highsmith).|
|Antenna is a very accomplished and stylish sans serif family drawn by Cyrus Highsmith. Coming is an amazing 56 styles – comprising condensed and compressed styles – and numerous weights, this type is ideal for editorial and corporate use.|
|Agenda by Greg Thompson is a fine alternative to contemporary ‘Swiss-style’ sans serifs. Sharp corners mixed with fluid curves, true italics, and dozens of weights and styles. A humanist sans with a little geometric sans and grotesk showing through in the caps. A very fine all-purpose sans that could be used in just about any situation. Other major designs from Greg Thompson include Bodeda Sans and Bodega Serif as well as the popular Clicker font family.|
|Hermes from Matthew Butterwick. Inspired by Heinz Hoffmann’s 1908 design, Hermes is a solid, industrial-looking grotesk. However, its contrast, chipped corners and numerous stylistic alternates rid it of the sterility that plagues many fonts of this genre. Matthew Butterick, together with David Berlow, also designed Berlin Sans, a well-equipped font family which is based on a design from the late 1920s.|
|Agency by Font Bureau’s co-founder David Berlow. Based on Morris Fuller Benton’s 1930s titling font, Agency’s non-nonsense square forms are available in many weights and styles, including condensed, compressed, and extended versions.|
|Miller from type legend Matthew Carter. A so-called Scotch Roman, Miller is a stylish and sturdy workhorse text face that has found its way into newspapers and magazines around the globe. Be sure to take a look at Carter’s Rocky too.|
|Amplitude by Christian Schwartz. With its deep cuts (normally reserved for agate types – types designed for reproduction at very small sizes) it is very legible at small sizes; at larger sizes those exaggerated lacerations bring life and character to the letters and word-forms. A very versatile and classy sans serif family, beautifully spaced and with a very even colour on the page. And, of course, be sure to take a look at Christian Schwartz’s serif masterpiece, Farnham.|
|Sloop by Richard Lipton. A very rhythmic and elegant script inspired by the hand of calligrapher Raphael Boguslav. A broad variety of swashes and curls make this the perfect choice when seeking something with style, flare and elegance. Richard Lipton also developed Avalon, an interesting script with alternative letters for ascenders.|
|Magneto by type designer and author Leslie Carbarga. A confident streamline script that shouts mid-century, and references the chrome-plated logos of that era. If you’re looking for something similar, but with a little more contrast, then take a look at Carbaga’s Streamline.|
|Proforma by Petr van Blokland. A beautiful old style serif text face, that has all the right ingredients in all the right places. A really wonderful text faces that comes with all the styles and weights you’ll ever need for setting extended text beautifully. Petr van Blokland furthermore developed Productus, which as a Sans Serif font became the counterpart to Proforma.|
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