Hoefler & Frere-Jones, or H&FJ, is a type foundry based in New York, NY. The collaborative effort of Jonathan Heofler and Tobias Frere-Jones, the existing foundry was born out of the Hoefler Type Foundry in 2004.
Both founders were born in New York in August 1970. In the earlier stages of life they both found type engaging. Hoefler drew a comparison between his affinity for codes, ciphers, and visual systems with typography in his adolescense. Primarily self-taught, he founded the Hoefler Type Foundry in 1989 and designed typefaces such as Hoefler Text, which is featured in Apple operating systems.
Jonathan Barnbrook is a British artist famous for his typography, graphic design, and film-making, currently living in London. He is also known for his fonts with controversial names, such as Bastard, Moron, Sarcastic, and Shock & Awe. His aim is to use “design as a weapon for social change.”
Life and Education
Dana Tanamachi was born and raised in Texas, though she currently resides in Brooklyn. After receiving her Communication Design degree from the University of North Texas, Tanamachi’s career started with designing Broadway posters for SpotCo. She then went on to work under renown designer Louise Fili. After working for Fili, she opened Tanamachi Studio.
Tanamachi is know for her hand lettered chalk typography. Her design work is primarily featured on large-scale installations, book and magazine covers, and packaging. Her process of creating her chalk art installations is also thoroughly documented in time-lapse videos.
Brody Neuenschwander was born in 1958 and grew up in Houston, Texas. He now currently lives in Bruges, Belgium with his wife, Nadine Le Bacq and their daughter Clara. Brody Neuenschwander is best known for his work with calligraphy. Continue reading
Doyald Young was a teacher at the Art Center College of Design as well as a typeface designer. He was born in Texas in 1926 and passed away in February of 2011 due to a complicated heart surgery. Young spend many years of his life teaching a variety of typography courses, but he is most well know for not only his logo and type designs, but how he created them.
Young was taught to create everything he made by hand, which back in the day had to be done due to the lack of computers, but even as he continued working into the modern era, he still created all his work by hand with only paper, pencils, and rulers. He was able to hand-draw perfect, small-scale letterforms with ease. Continue reading
See Jesse Ragan’s Portfolio here
Jesse Ragan was originally from North Carolina, where he began designing letterforms as a child. He graduated from Rhode Island School of Design in 2001 with a BFA in Graphic Design. In 2001, Ragan began his career at Hoefler & Frere-Jones. He contributed to the designs of Gotham, Archer, Mercury, Sentinel, and a handful of other typefaces while working there. During that same year, Ragan became a typeface design intern at the Font Bureau in Boston.
Jessica Hische was born in Charleston, South Carolina; raised in Northeastern Pennsylvania; and went to school at Temple University‘s, Tyler School of Art. She currently goes between living in Brooklyn, New York and San Francisco, California where she does her work.
Marian Bantjes is a Canadian born typographer, designer, illustrator, and writer currently living and working from an island off the west coast of Canada near Vancouver.
Jan Tschichold was born in Leipzig, Germany, in 1902. His career ended with his death in 1974. Tschichold was exposed to the idea of type early into his childhood, seeing as his father was a designer and painter of letters. He further continued this knowledge of art/type by taking classes and studying calligraphy. His interest began in old typefaces, such as ones from the 17th century. At the age of 21, in 1923, Tschichold visited the Bauhaus Exhibition and left as a changed man. After sitting on the new modern ideas from the Bauhaus, Tschichold created Die Neue Typographie (A New Typography) in 1928. This became the first of it’s kind, it was manual of typography for designers rather than a manual for printers.
Tschichold’s manual was all about what was new and modern. Set in a sans-serif typeface, this book brought to life the ideas of asymmetry and different page proportions (1:1:2:3). He was a fan of the idea of sans serif, lowercase typefaces. He later went on to design Classical Garamond, Sabon, Iwan Reschniev, Cern, and Vaud.