Hoefler & Frere-Jones

Jonathan Hoefler and Tobias Frere-Jones are two of the leading typographers of this generation. Since 1989, the pair has created more than one thousand typefaces. Their distinct style is classy, sharp letterforms, including Gotham, which was most recently in the news because of its use in the Obama campaign. Their typefaces are all deeply thought through and well designed. With clients such as Wired magazine and The Wall Street Journal, it is no wonder Hoefler and Frere-Jones are one of the leading typography creators today.

Taking a look at their typefaces as a whole, one can see how much time and effort is put into each individual letterform. Each letterform sits beside another as if it were meant to. Each typeface reflects a calm and even temperament, constructed intelligently, with great thought. With an almost equal amount of serifs and san serifs, Hoefler and Frere-Jones show the design world their versatility in creating both. The positive and negative relationships between letters are so well balanced; it is hard for the viewer to imagine them any different. Coming from a couple of the most type-obsessed designers in the business, it is easy to see why that is characteristic of every typeface in their library.

Gotham is one of the most popularized typefaces today, next to Helvetica, and with it’s similarities to it, one can see why that is so (see Addendum A). Gotham is more rounded and wide when compared to Helvetica. Gotham is an evenly distributed typeface, which can be kerned either tightly or loosely. It is a multipurpose type that is useful in communicating clear instructions or creating a minimalistic connotation in a poster design. It conveys a feeling of comfort and sophistication, telling the viewer that because Gotham was used, the product, company, or band it is indicating will be one of substance and importance.

Another san serif made by Hoefler and Frere-Jones is Hoefler Titling (see Addendum B). As a serif typeface, it shows great versatility in the different weights and variations of it. This typeface would be useful in long bodies of text, manuscripts, or advertisements. Because it has swashes and serifs, it conveys a classy and dependable heir about it. If used in logo design, it would be extremely useful in designing for an investment firm or literary publication. One concern that some may have is why the miniscule “f” and “l”, when placed beside one another kern so tightly. This is obviously a stylistic choice, but some may feel that it is cramping to the flow of the letterforms.

Yet another typeface is Whitney (see Addendum C). Whitney is a san serif face with a blockier construction than Gotham. With its modern feeling and simple lines and curves, it would be perfect to use as a title, in an advertisement, or minimalistic layout design. This typeface is one of the many in the library of Hoefler and Frere-Jones that is clear without being boring or over simplified. It has enough character to stand on its own as a contemporary face. Whitney gives viewers a comfortable feeling because each letter fits so well together, leading them easily from one to the next, despite it not being a serif. Because of the vertical backbones to the miniscule letterforms and the roundedness of the curves, the eye flows from each curve to each line with ease.

Every typeface designed by Jonathan Hoefler and Tobias Frere-Jones is distinctly modern and stylistic. They all flow together as if they were birds flying through the sky. They all have even positive and negative shapes to fit each letterform together like single pieces to a larger puzzle. Each word formed from these faces looks as if they were meant to look the way they do once typed. Clarity and sophistication are two adjectives to describe their typefaces as a whole. No matter what face is being examined or used in a design, it is guaranteed to be legible and intriguing.

Addendum A

Addendum B

Addendum C