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Working with W.A Dwiggins and Rudolf Ruzika, he produced the well-known series that became the center of American publishing. For the commercial world he designed the Poster Bodonis, then Janson and Monticello. In 1938 he had introduced Bell Gothic, the type that revolutionized production of telephone books. In 1940, he introduced Corona, champion of the teletype era, the most popular textface in newspaper history. 5, then Excelsior, with its lighter and bolder “grades”, Paragon and Opticon. He wasted little time in reorganizing newspaper text letting, first with Ionic No. By 1920 he was Assistant to the President, and before long he was pricing all the machines.
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. After a two-day meeting management gave him control of the factory. 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. 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. In 1915 Chauncey Griffith, Linotype sales rep in Kentucky, wrote to management criticizing the new specimen book.
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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. 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. Coming from a family of writers and editors, it seems inevitable that he would gravitate toward the design of words and text. 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. 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. After completing his studies in painting and art history, he continued to practice design on and off. Kent Lew began a career in graphic design back in the 1980s while supporting himself through college. Full-time staff and designers direct the studio operations in Boston, which serves as the company’s headquarters.įont Bureau’s staff and type board includes David Berlow and Roger Black (Founders), and Sam Berlow (General Manager). The company remains small and privately held, with independent designers providing infusions of creativity. This remains the essence of what Font Bureau does and why we are successful.įont 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.
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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. While font technologies continue to evolve, the core principles and skills required to design high-quality, worthwhile typefaces have changed little. Lastly, we supported the development of Fonts In Use, an independent site that examines fonts in the real world. We also cocreated Ready-Media, offering world-class design in media templates for both print and web. 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). Responding to advancing technologies and the changing needs of our clients, Font Bureau has been instrumental in launching three new ventures.
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