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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

Twitter

@dberlow

Jill Pichotta

uu加速器送守望先锋，领到的的玩家不会感谢你，领不到的只 ...:上月月底前，我听到了UU加速器要送《守望先锋》的新闻，其实上月月中苏宁易购有个活动也是白嫖守望先锋，我本人是畅玩版预购用户，抽到之后送给我朋友了，我当时也不由得为游戏环境担忧。到了月底，好家伙，直接白给了。畅玩版升级典藏版，没有的领畅玩版。

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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.