List of typefaces designed by Tobias Frere-Jones
The following is a list of typefaces designed by Tobias Frere-Jones.
This list is not exhaustive, and is likely to exclude many fonts created on private commission not publicly released.[1][2]
For FontFont
- Dolores (1991) - casual slab serif.[3] Originated as a logo for his brother's band.[4]
For Font Bureau
- Armada (1987–94) - geometric sans-serif, similar to gaspipe lettering. Project begun in high school.[4]
- Hightower Text (1990–94) - a "Venetian" old-style serif inspired by the work of Nicolas Jenson. Initially used by the journal of AIGA.[5]
- Nobel (1991-3) revival of the Lettergieterij Amsterdam geometric sans-serif.[6][7] One of several revivals of this design; another exists by the Dutch Type Library. Used by Ineos.
- Garage Gothic (1992) - somewhat distressed, blocky sans-serif with rounded corners, loosely inspired by parking ticket receipts.[4][8]
- Archipelago (1992)[6]
- Cafeteria (1993) - casual sans-serif similar to hand lettering.[9]
- Epitaph (1993) - decorative sans-serif inspired by an Art Nouveau typeface issued by American Type Founders.[9][10]
- Reiner Script (1993) - script font.[9]
- Stereo (1993) - relief slab serif.[9]
- Eldorado (1993-4) - revival of Dwiggins' Eldorado (1953), itself based on a 16th-century font by Jacques de Sanlecque the Elder. Designed with David Berlow, Tom Rickner and Jane Patterson.[11]
- Reactor (1993-6) - distressed sans-serif, an example of the “grunge typography” style of the 1990s.[12][13] Created for Neville Brody's Fuse magazine, one of several drawn by Frere-Jones that appeared in Fuse in this period.[4]
- Interstate (1993-2004) - inspired by the Highway Gothic series of alphabets for the FHWA.[14] Many styles released, including condensed and monospaced versions.
- Niagara (1994) - Art Deco-influenced display typeface with minimal serifs, similar to Onyx or a lighter version of City. With an inline style.[9]
- Asphalt (1995) - bulging casual sans-serif, somewhat similar to Antique Olive Nord and Ad Lib.[9]
- Benton Sans (1995 onwards) - grotesque sans-serif loosely inspired by sans-serif typefaces designed by Morris Fuller Benton of American Type Founders, especially News Gothic. Commissioned by Martha Stewart Living magazine and originally called "MSL Gothic"; many styles released in following years.[15][16]
- Citadel (1995) - Art Deco-influenced slab serif, similar to City but with an inline style.[9]
- Pilsner (1995) - blocky sans-serif, inspired by a beer label.[9]
- Benton Modern (1997-2001) - revival of the Century type family, a large Didone body text family by Morris Fuller Benton of American Type Founders. Originally for the Boston Globe.[9]
- Poynter Old Style (1997-2000) - inspired by the high-contrast, slightly condensed old-style serifs of the Low Countries, in particular those designed by Hendrik van den Keere.[9] Text and display optical sizes. Some styles drawn by Cyrus Highsmith.[17]
- Poynter Gothic (1997–99) - grotesque sans-serif loosely inspired by sans-serif typefaces designed by Morris Fuller Benton of American Type Founders, including News Gothic and Franklin Gothic. Intended to harmonise with Poynter Oldstyle.
- Griffith Gothic (1997-2000) - revival of Bell Gothic by Chauncey H. Griffith.[9]
- Phemister (1997)[6]
- Grand Central (1998-2000) - wedge-serif “Latin” capital alphabet, inspired by a Beaux Arts alphabet used for signs at Grand Central station, New York.[9]
Hoefler & Frere-Jones
Frere-Jones' typefaces from 2000-2014 were credited collaboratively as joint work with Jonathan Hoefler.[18][19][20][21]
This list is incomplete; you can help by expanding it.
- Whitney - humanist sans-serif.[22] Originally created for the Whitney Museum of New York.[23]
- Gotham - wide geometric-influenced sans-serif, inspired by architectural lettering on inter- and post-war buildings in New York.[24] Similarities to Avenir and Nobel. Originally commissioned by GQ; famously used by the Obama presidential campaigns.[25][26] Very large range of styles released, including a rounded version.[27]
- Retina (2000) - a small-size sans-serif for the Wall Street Journal.[28]
- Surveyor - Didone serif design inspired by engraved maps with optical sizes.[29][30] Commissioned by Martha Stewart Living magazine along with Archer.[31]
- Verlag (2006) - geometric sans-serif; expansion of a design originally created for the Guggenheim Museum.[32] Influenced by Ludlow Tempo and Intertype Vogue.
- Archer (2008) - slab serif with ball terminals.[33] Originally commissioned by Martha Stewart Living magazine along with Surveyor.[34][35]
- Ideal Sans (2011) - sans-serif influenced by hand-drawn lettering.[36][37]
- Idlewild (2012) - wide, all-caps alphabet[38]
Frere-Jones Type
- Exchange (2007) - small-size serif created for the Wall Street Journal.[39]
- Mallory (2015) - Sans-serif with 1920s and 30s influences.[40] Released with a “micro-plus” optical size intended for small-print use, with wider spacing.[41][42] Similarities to Dwiggins’ Metro and Gill Sans.[43][44]
References
- ↑ Whitman, Sarah. "Do You See What I See? The Illusion of Typeface Mechanics". Print. Retrieved 22 June 2016.
- ↑ Fagone, Jason. "A Type House Divided". New York. Retrieved 22 June 2016.
- ↑ "FF Dolores". FontFont. Retrieved 22 June 2016.
- 1 2 3 4 Lupton, Ellen. "Interview, Ellen Lupton with Tobias Frere-Jones, November 1, 1995". Ellen Lupton. Retrieved 22 June 2016.
- ↑ Riechers, Angela. "3 Major Designers Confess Their Biggest Mess-ups and Do-overs—and What They Learned". Eye on Design. AIGA. Retrieved 22 June 2016.
- 1 2 3 Jason Tselentis; Allan Haley; Richard Poulin; Tony Seddon, Gerry Leonidas, Ina Saltz, Kathryn Henderson, Tyler Alterman (1 February 2012). Typography, Referenced: A Comprehensive Visual Guide to the Language, History, and Practice of Typography. Rockport Publishers. p. 87. ISBN 978-1-61058-205-6. Cite uses deprecated parameter
|coauthors=(help) - ↑ "Nobel FB". MyFonts. Font Bureau. Retrieved 22 June 2016.
- ↑ Lupton, Ellen (1 September 1996). Mixing Messages. Princeton Architectural Press. pp. 35, 61. ISBN 978-1-56898-099-7.
- 1 2 3 4 5 6 7 8 9 10 11 12 Berlow, David. "Tobias Frere-Jones at the Font Bureau". Font Bureau. Retrieved 22 June 2016.
- ↑ 1897 Specimen Book (PDF). American Type Founders. 1897. pp. 207–8.
- ↑ "Eldorado FB". MyFonts. Retrieved 22 June 2016.
- ↑ Lupton, Ellen. "Typography in the 1990s". Print. Retrieved 22 June 2016.
- ↑ Hamato, Chris. "Fuse 1-20 (book review)". Typographica. Retrieved 22 June 2016.
- ↑ Yaffa, Joshua. "The Road to Clarity". New York Times. Retrieved 22 June 2016.
- ↑ Steven Heller; Teresa Fernandes (19 February 2010). Becoming a Graphic Designer: A Guide to Careers in Design. John Wiley & Sons. p. 315. ISBN 978-0-470-14868-6.
- ↑ "An Evening with Tobias Frere-Jones". Triad NC. Retrieved 22 June 2016.
- ↑ Middendorp, Jan. "Space and Rhythm". Eye. Retrieved 22 June 2016.
- ↑ Dunlap, David. "2 Type Designers, Joining Forces and Faces". New York Times. Retrieved 22 June 2016.
- ↑ Cohen, Noam. "Typography Partners Part Ways in Money Fight". New York Times. Retrieved 28 September 2014.
- ↑ "The world's biggest typeface lawsuit just settled". Sep 29, 2014. Retrieved Feb 10, 2015.
- ↑ "Font Feud Finished: Hoefler & Frere-Jones Part Ways". Oct 2, 2014. Retrieved Feb 10, 2015.
- ↑ Siegel, Dmitri. "Tobias Frere-Jones, type designer". Typotheque. Retrieved 22 June 2016.
- ↑ The Best of Newspaper Design 28. Society for News Design. 1997. p. 384. ISBN 978-1-61059-544-5.
- ↑ Dunlap, David. "A 9/11 Cornerstone, Chiseled With a New York Accent". New York Times. Retrieved 22 June 2016.
- ↑ Bryony Gomez Palacio; Armin Vit (1 December 2011). Graphic Design, Referenced: A Visual Guide to the Language, Applications, and History of Graphic Design. Rockport Publishers. p. 378. ISBN 978-1-59253-742-6.
- ↑ Brady, Will. "Obama's media campaign - branding our consciousness". The Guardian. Retrieved 22 June 2016.
- ↑ "Gotham Rounded: Corners Cut by Popular Demand". Typographica. Retrieved 22 June 2016.
- ↑ Shaw, Paul. "Ten Typefaces of the Decade". Print. Retrieved 22 June 2016.
- ↑ Twemlow, Alice. "Forensic Types". Eye Magazine. Retrieved 6 October 2014.
- ↑ Fagone, Jason. "A Type House Divided". New York. Retrieved 6 October 2014.
- ↑ McNaughton, Melanie. "Martha Stewart's Graphic Design for Living". Academia.edu. Retrieved 7 October 2014.
- ↑ "Verlag, the Latest Pre-War Modernist Sans". Typographica. Retrieved 22 June 2016.
- ↑ Adams, Lauren. "Is Archer's Use on Target?". AIGI.
- ↑ Earls, David John. "Archer (review)". Typographica. Retrieved 22 June 2016.
- ↑ "Archer, the elegant slab serif". i love typography. Retrieved 22 June 2016.
- ↑ Rawsthorn, Alice. "Typeface Designers Wrestle With the World of Pixels". New York Times. Retrieved 22 June 2016.
- ↑ Lupton, Ellen. "Ideal Sans". Typographica. Retrieved 22 June 2016.
- ↑ Moll, Cameron. "Idlewild (review)". Typographica. Retrieved 22 June 2016.
- ↑ Schwartz, Christian. "Exchange (review)". Typographica. Retrieved 22 June 2016.
- ↑ Steven, Rachael. "Mallory: a new typeface from Tobias Frere-Jones". Creative Review. Retrieved 22 June 2016.
- ↑ Walker, Alissa. "Do digital typefaces really need to be different than print?". Gizmodo. Retrieved 22 June 2016.
- ↑ Stinson, Liz. "Tobias Frere-Jones' New Typeface 'Mallory' Has British Looks, American Irreverence". Wired. Retrieved 22 June 2016.
- ↑ Coles, Stephen. "New Arrivals: December 2015". Identifont. Retrieved 22 June 2016.
- ↑ Carey Smith, Elizabeth. "Mallory review". Typographica. Retrieved 22 June 2016.
This article is issued from Wikipedia - version of the 10/4/2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.