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Eagle (Font Bureau) is based on Eagle Bold, the iconic all-caps display typeface Morris Fuller Benton drew for the National Recovery Administration in 1933. David Berlow and Jonathan Corum updated the design and expanded the family. Eagle is geared at strong display typography like headlines, banners or splash pages. The geometric letterforms lend themselves to all-caps settings, bringing out the distinct pointy apexes in characters like A, G, N and Q. Available in 4 styles: Light, Book, Bold and Black.
Brando (Bold Monday) is a new contemporary serif by Mike Abbink, exploring the balance between mechanical and egyptian forms. The light styles act like a humanist slab-serif while the heavier styles feature just the right amount of contrast to give them a harmonious texture in text. The fine gradation of weights make Brando fit for display settings as well as long body copy. Great for editorial and identity design work and complex sites that need typographic distinction and flexibility. Available in 16 styles: 8 weights with italics.
With Big Moore (Carter & Cone, Font Bureau) Matthew Carter presents a classic transitional design in new splendor. While previous adaptions of typefaces by John Baskerville, Isaac Moore or Joseph Fry featured shortened descenders and historically less appropriate lining figures, Big Moore remedies these deficiencies. Elegant full-length descenders, old-style figures and beautiful Italics have finally been reintroduced. Available in 2 styles with many OpenType features such as ligatures and swash caps.
Custer RE by David Berlow is the latest addition to Font Bureau’s Reading Edge series of fonts especially designed for small sizes on screen. It is based on a 19th century typeface Berlow saw in an architecture book and found particularly readable and robust. Custer RE is broad and approachable with a tall x-height to maximize its apparent size. The minimal stroke contrast and hefty serifs keep it clear down to a font-size of 9 px. Like all members of the Reading Edge series, Custer RE is intended to work well as a small-sized companion with various “normal-sized” type families. Available in 4 styles: 2 weights with italics.
The Parkinson display family (Font Bureau) was designed in 1976 by Jim Parkinson for Rolling Stone magazine. Roger Black, back then its art director, was looking for an edgy, woodtype-like style. “I think of it as Nicholas Jenson on acid.” says Parkinson. It is a peculiar venetian oldstyle full of character. Though optimized for sizes down to 14 px, its charming, sometimes wonky details best come into picture at display sizes. Available in 10 styles: 4 weights with italics and condensed.
Tick and Tock (Font Bureau) are two stencil display faces by Cyrus Highsmith — individual but related. Tick was born on a casually lettered book cover design by Highsmith while Tock later grew out of lively Tick. It is more restrained and regular, recalling vernacular industrial stencils, but an equally cool choice for informal display text, splash pages and banners. We put together a fun webfont specimen using CSS text masks to demonstrate some of the unique talents of these affable stencil cousins. Available in two designs.
Not to be missed: our brochure site about Jeremy Mickel’s type families Shift and Fort, demonstrating some fun interactive CSS effects.
We’re continuously adding webfont specimens like this. See also the sites for Georgia and Verdana, The Reading Edge Series, Serge, The Harriet Series, The Monokrom Catalog, Helsinki, and most recently Tick & Tock.
What better choice could Tobias Frere-Jones make for his new personal site and blog than two of his most iconic type families? The site features entertaining and witty observations on typography by one of the most eminent typeface designers today.
Greenland Melting is a splendid art-directed article on Rolling Stone, making us aware of the dangers of climate change with stunning photography, short videos and bold typography.
Knight Lab, an initiative by the Northwestern University, promotes quality journalism on the internet. David Jonathan Ross designed a custom logo for them based on his typeface Turnip. Read more about the design on our blog.
See more examples of Webtype in use in the Webtype Gallery.