2 April, 2008
Just a quick note to let Londoners know that the Editorial Design Organization will be hosting an evening of editorial typography, featuring Janet Froelich of the New York Times Magazine, and Jonathan Hoefler of H&FJ. Free to EDO members, £20 for non-members, £5 for students.
American Night at the EDO
Wednesday, April 9, 6:00-9:00pm
Rootstein Hopkins Space
London College of Fashion
20 John Princes Street, W1G 0BJ
Inquiries to Gill Branston, 020 8906 4664
1 November, 2007
The Timeless Typography of Harper’s Bazaar
ASME has announced its winners for Best Cover of 2007, and we're thrilled to see that of the six covers that feature typography, five are clients of H&FJ. You'll see Chronicle on the cover of O, and our forthcoming Sentinel font on the cover of Texas Monthly. But especially gratifying is the 2007 award for Best Fashion Cover, which went to Harper's Bazaar: it was Bazaar who commissioned our H&FJ Didot typeface in 1992, and fifteen years later, they're still winning awards with it.
The flagging magazine that Liz Tilberis and Fabien Baron reinvented in 1992 has earned a place as one of the most significant redesigns in modern history. It debuted with an iconic cover that ASME ranks as one of the top ten covers in history, memorable not only for its striking portrait of Linda Evangelista, but for its arrestingly simple typography: in a font commissioned to be as crisp as possible, there appeared the single headline "Enter the Era of Elegance." In an age when it's not uncommon to run the entire table of contents on the cover, this was a brave and startling move. It's telling that this same strategy is still serving Bazaar after all these years, and it speaks to the strength of the magazine's editorial vision and the thought that went into its typography. So thanks to Stephen Gan and Glenda Bailey for including us in your continuing tradition, and to Fabien Baron and Liz Tilberis for making us a part of this extraordinary institution. —JH
10 October, 2007
Rocky Mountain Type High (.9186 inch)
A quick invitation for everyone who's coming to Denver this weekend for Next: the AIGA Design Conference: Jonathan and Tobias will be speaking on Friday at 2:15, discussing how recent changes in the profession have brought about what might be the end of historical typography, and what this means for designers going forward. (They'll also be offering a rare sneak preview of some projects that will debut in 2008.) A conference schedule appears here — come and join the conversation!
8 September, 2007
A Typographic Walking Tour
More than fonts, it's lettering that contributes the dominant flavor to New York City's typography. More often than not, these one-off inscriptions and signs, handmade by artisans in a variety of media, were rendered in styles unconnected with the business of typography, which refers only to the practice of creating alphabets for printing. But the advent of digital type has made it easier than ever to use a mere font for architectural lettering as well. Combined with the building boom that's transforming the city faster than ever, the grand inscriptions and humble signboards that constitute our alphabetic inheritance are vanishing fast.
In preparing the Gotham typeface, which celebrates just one of New York's unmistakable typographic themes, Tobias Frere-Jones assiduously photographed tens of thousands of signs throughout the metropolis. On Saturday, September 29 at 11:00, Tobias will be leading a typographic walking tour for AIGA/NY, which promises two and a half hours of the city's most unexamined — and imperiled — typographic treasures. Space is limited, so book early. Don't forget your camera, and a snack. Sold out! — JH