Garage Gothic
For gritty reality and rust-belt appearance, Garage Gothic Regular was derived from numbered tickets given at city parking garages. “Irregular contours and rough alignments found on the lettering were retained in the font, albeit...
font_designer: Tobias Frere-Jones
Epitaph
Drawn at the close of the nineteenth century at the Boston branch of American Type Founders, Epitaph was modeled on a graceful Art Nouveau letterform that was bringing a new vitality to gravestone inscriptions...
Citadel
Weak ovals replace powerful circular forms in the condensed form of most geometric slab serifs. In Citadel, Tobias Frere-Jones follows a stronger alternative, substituting straight strokes for the curved sides of round characters. Flat...
Cafeteria
The irregularities normally found in script can enliven sanserif letterforms. In Cafeteria, Tobias Frere-Jones took special care to balance activity with legibility on the paper napkin that served as his sketchpad, drawing a freeform...
Armada
Tobias Frere-Jones began Armada in 1987. An experiment in algorithmic design, Armada follows the verticals and flat arches so often to be found in the architectural geometry of cast iron and brickwork in nineteenth-century...
Interstate Mono
Familiarity lies at the heart of legibility. Interstate is based on the signage alphabets of the U.S. Federal Highway Administration, letterforms absorbed at a glance everywhere we drive. Interstate Mono is a set of...
Benton Sans
In 1903 faced with the welter of sans offered by ATF, Morris Fuller Benton designed News Gothic, a 20th Century standard. In 1995 Tobias Frere-Jones studied drawings in the Smithsonian and started a redesign....
Grand Central
In 1998, Tobias Frere-Jones designed Grand Central for 212 Associates from late-twenties capitals hand-painted on the walls of Grand Central Station. The design is a distinguished Beaux Arts descendant of the great French Oldstyle...