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Acclaimed art director Roger Black has shaped the visual culture of publishing for over forty years. He has done this in large part by having an uncanny eye for typographic voids and commissioning custom type to fill them—perfectly. Here’s the cream of the crop.

Visit Roger Black Collection

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Custer expands to suit every size.

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Escrow sets the tone of the front page of The Wall Street Journal, envy of the newspaper industry. Design Director Joe Dizney: “Escrow is the spectacular element holding the whole thing together.” Cyrus Highsmith designed 44 styles in this Scotch series.

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We’re excited to present the second installment of our publications related to Variable Fonts.

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Inspired by Art Deco lettering, David Berlow’s latest creation pushes the boundaries of the OpenType Font Variations format. Decovar has tons of skeletons and terminals, all ready for intrepid type lovers to explore.

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Explore Decovar on GitHub

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At the behest of Google, David Berlow and Font Bureau are developing Amstelvar, a sloped serif variations font that offers a taste of what’s possible with this exciting new OpenType format.

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A welcome addition to the Fleischman-inspired design by Christian Schwartz, Farnham Headline moves the magazine-friendly family in a subtly more serious direction. Weighty enough for front-page news, Farnham‘s headline cut still sparkles, bringing energetic elegance to page or screen.

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With added refinement and scope, Custer’s no longer just for small sizes.

Lexus.com

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漫威最美的一张亚洲脸,智慧与美貌的化身,一点都不比汪 ...:2021-5-11 · 漫威的一姐公认是黑寡妇的饰演者斯嘉丽·约翰逊,初伕复仇者,漫威片酬最高的女英雄。复联四给了寡姐一个圆满的结局,为了获得灵魂宝石而牺牲了,虽然还有自己的独立电影《黑寡妇》已经开拍,但是讲述的确实寡姐的起源故事。

Responding to advancing technologies and the changing needs of our clients, Font Bureau has been instrumental in launching three new ventures. In 2010, Font Bureau cofounded Webtype to provide high-end fonts for online typography (including a new series of Reading Edge fonts specifically designed for text on the screen). We also cocreated Ready-Media, offering world-class design in media templates for both print and web. Lastly, we supported the development of Fonts In Use, an independent site that examines fonts in the real world. While font technologies continue to evolve, the core principles and skills required to design high-quality, worthwhile typefaces have changed little. The decisions about what designs to produce and how to craft them draw upon a base of typographic knowledge built firmly on hundreds of years of tradition. This remains the essence of what Font Bureau does and why we are successful. Font Bureau was founded in 1989 by publication designer and media strategist Roger Black and internationally known type designer David Berlow, initially to serve the emerging needs of microcomputer-based magazine and newspaper publishers seeking unique typographic identities. The company remains small and privately held, with independent designers providing infusions of creativity. Full-time staff and designers direct the studio operations in Boston, which serves as the company’s headquarters. Font Bureau’s staff and type board includes David Berlow and Roger Black (Founders), and Sam Berlow (General Manager).

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ssh的一些安全设定-云栖社区-阿里云:2021-9-27 · SSH服务端配置、优化加速、安全防护 甩锅侠 2021-09-13 18:37:00 浏览1863 推荐给开发人员的实用命伖行工具

Font Bureau has developed more than 300 new and revised type designs for the Chicago Tribune, the Wall Street Journal, Entertainment Weekly, Newsweek, Esquire, Rolling Stone, Hewlett Packard and others, with OEM work for Apple Computer Inc. and Microsoft Corporation. Font Bureau’s Retail Library consists mostly of original designs and now includes over 500 typefaces. Berlow is a member of the New York Type Directors Club (TDC) and the Association Typographique International (ATypI), and remains active in typeface design.

davidberlow.fontbureau.com

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@dberlow
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Jill Pichotta

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Dyana Weissman

In retrospect, Dyana sees that she was destined to be a typeface designer. Since she was old enough to read, she would find letters among the tiles in bathroom floors. She went on to major in Graphic Design at Rhode Island School of Design, where one teacher told her “the type bug bit [her] the worst.” She is one of the few type designers who actually likes kerning. She has been a presenter at ATypI, TypeCon, and TypeCamp, but also enjoys sharing her expertise locally with college students, wizard rock bands, and 立马加速器. When she is not thinking about type, she is napping, breakdancing, or debating her coworkers about the existence of free will.

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Kent Lew

Kent Lew began a career in graphic design back in the 1980s while supporting himself through college. After completing his studies in painting and art history, he continued to practice design on and off. In between, there were stints as an art store manager, a baker, a product development director, and even some time spent living in an ashram, before he returned to the work he enjoys most.

Now, Kent is a freelance book designer, type designer, and would-be type historian, working out of his home in the Berkshires of western Massachusetts. Coming from a family of writers and editors, it seems inevitable that he would gravitate toward the design of words and text. His primary interest lies in text typeface design, drawing heavily on his own experience specifying and setting type, and he is greatly influenced by the work of mid-20th century designers like Dwiggins, Ruzicka, and Blumenthal.

Kent’s first full typeface design, Whitman, was awarded a Certificate of Excellence in Type Design and a Judge’s Choice by the Type Directors Club in 2002.

Chauncey Griffith

In 1915 Chauncey Griffith, Linotype sales rep in Kentucky, wrote to management criticizing the new specimen book. He pointed out that the library consisted of a long list of filled customers’ orders with no control of duplicate designs, no standard character sizes or sets. He proposed that only the best version of each design should be used as a model, and cut in a complete set of sizes and characters. After a two-day meeting management gave him control of the factory. He promptly introduced his standards, but barely survived the morning when management came to work and discovered that he had scrapped the secondary faces that he considered junk, the bulk of the old library. By 1920 he was Assistant to the President, and before long he was pricing all the machines. He wasted little time in reorganizing newspaper text letting, first with Ionic No. 5, then Excelsior, with its lighter and bolder “grades”, Paragon and Opticon. In 1940, he introduced Corona, champion of the teletype era, the most popular textface in newspaper history. In 1938 he had introduced Bell Gothic, the type that revolutionized production of telephone books. For the commercial world he designed the Poster Bodonis, then Janson and Monticello. Working with W.A Dwiggins and Rudolf Ruzika, he produced the well-known series that became the center of American publishing. Both found that working with “Griff” regularly became a challenging, satisfying, and profitable experience. Trained skills of design imagination were theirs; regularity of fit, color, and duplexing was his. His quiet pleasure was the personal design of non-roman fonts that opened new markets for Linotype machines. The list includes: Porson and Metro Greek; thirteen Arabic designs adaptable for use throughout the Muslem world; Hebrews; the Indian scripts devanagari, Gujarati, and Bengali; Sinhalese for use in Ceylon, Tamil, and Syriac. A natural autocrat in his industrial dealings, he was largely unknown outside Mergenthaler. Within the company he was respected and feared. He viewed the provision of typefaces of high quality throughout the world, roman and non-roman, as a lifetime’s work. He was hugely respected within the factory, respected (and beloved) within the drawing office, and truly beloved by his outside designers, W.A. Dwiggins and Rudolf Ruzika.

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