Bureau Grotesque / Specimen
Designed by David Berlow
1989
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Bureau Grotesque
Bureau Grotesque reintroduces the tooth and character of the nineteenth-century sans. Developed in 1989 for Roger Black, The Tribune Companies, and Newsweek, the first Grotesques met with immediate success. Further weights were designed for Entertainment Weekly and Madrid daily El Sol - a family of twelve fonts by 1993. David Berlow & Font Bureau found their models in Stephenson Blake grotesques from the 1800s.
Bureau Grotesque Typeface
BU REAU Bureau Grotesque Three-Five
Bureau Grotesque One-Three
The Font Bureau, Inc. or Font Bureau is a digital type foundry based in Boston, Massachusetts, United States. The foundry is one of the leading designers of typefaces, specializing in type designs for magazine and newspaper publishers.
Font Bureau was founded in 1989 by Roger Black and David Berlow. Before founding Font Bureau, Roger Black was an established publications designer and consultant. David Berlow is a noted type designer. The New York Times Magazine, Newsweek, Esquire Magazine, Rolling Stone and the Wall Street Journal rank among Font Bureau’s client list. Apart from Black and Berlow, other prominent designers at Font Bureau have included Tobias Frere-
Jones, now of Hoefler & Frere-Jones, and Cyrus Highsmith. Matthew Carter has been a frequent collaborator with the foundry. In October 2009, news sources reported that Font Bureau was “suing NBC Universal for at least $2 million over the entertainment company’s use of its fonts.” Font Bureau claimed NBC broke its license agreement in its use of the fonts Antenna, Bureau Grotesque and Interstate in marketing material.
GR Bureau Grotesque One-Seven
By David Berlow
OTESQUE
Bureau Grotesque Five-Three
Bureau Grotesque One-One
David Berlow entered the type industry in 1978 as a letter designer for the respected Mergenthaler, Linotype, Stempel, and Haas typefoundries. He joined the newly formed digital type supplier, Bitstream, Inc. in 1982. After Berlow left Bitstream in 1989, he founded The Font Bureau, Inc. with Roger Black. Berlow is a member of the New York Type Directors Club and the Association Typographique International, and remains active in typeface design.
David Berlow Designer
BUREAU GROTESQUE ONE-ONE
abcdefghijklmnopqrst uvwxyzABCDEFGHIJKL MNOPQRSTUVWXYZ 0123456789!"#$%'() *+,-./:;=><?[\]^_` {}|~¡¢£¥§¨©ª® ÁÀÂÃÄÅÆÇÈÉÊËÌ ÍÎÏÐÑÒ ÓÔÕÖØÙÚ ÛÜàáâãäåæè é êëìíî ïòóôö õùúûü Character set
BUREAU GROTESQUE ONE-THREE
abcdefghi jklmnopqrs tuvwxyzABCDEF GHIJK LMNOPQRSTUVWXYZ 0123456789!"#$%'() *+,-./:;=><?[\]^_` {}|~¡¢£¥§¨©ª® ÁÀÂÃÄÅÆÇÈÉÊË ÌÍÎÏÐÑ ÒÓÔÕ ÖØÙÚÛÜàáâãäåæ èéêëìíîïòóôöõùúûü Character set
BUREAU GROTESQUE ONE-FIVE
abcdefghijklmnopqrst uvwxyzABCDEFGHIJKL MNOPQRSTUVWXYZ 0123456789!"#$%'() *+,-./:;=><?[\]^_` {}|~¡¢£¥§¨©ª® ÁÀÂÃÄÅÆÇÈÉÊËÌ ÍÎÏÐÑ ÒÓÔÕÖØÙÚ ÛÜàáâãäåæ èé êëìíî ïòóôö õùúûü Character set
BUREAU GROTESQUE ONE-SEVEN
abcdefghijklmnopqrs tuvwxyzABCDEFGHIJK LMNOPQRSTUVWXYZ 0123456789!"#$%'() *+,-./:;=><?[\]^_` {}|~¡¢£¥§¨©ª® ÁÀÂÃÄÅÆÇÈÉÊËÌ ÍÎÏÐÑ ÒÓÔÕÖØÙÚ ÛÜàáâãäåæ èé êëìíî ïòóôö õùúûü Character set
BUREAU GROTESQUE THREE-ONE
abcdefghijklmnopqrstu vwxyzABCDEFGHIJKLMN OPQRSTUVWXYZ 0123456789!"#$%'()*+ ,-./:;=><?[\]^_` {}|~¡¢£¥§¨©ª® ÁÀÂÃÄÅÆÇÈÉÊËÌ ÍÎÏÐÑÒ ÓÔÕÖØÙÚ ÛÜàáâãäåæèé êëìíî ïòóôö õùúûü
Character set
BUREAU GROTESQUE THREE-FIVE
abcdefghijklmnopqrst uvwxyzABCDEFGHIJKLM NOPQRSTUVWXYZ 0123456789!"#$%'()* +,-./:;=><?[\]^_` {}|~¡¢£¥§¨©ª® ÁÀÂÃÄÅÆÇÈÉÊËÌ ÍÎÏÐÑÒ ÓÔÕÖØÙÚ ÛÜàáâãäåæèé êëìíî ïòóôö õùúûü
Character set
BUREAU GROTESQUE THREE-SEVEN
abcdefghijklmnopqrs tuvwxyzABCDEFGHIJKL MNOPQRSTUVWXYZ 0123456789!"#$%'()* +,-./:;=><?[\]^_` {}|~¡¢£¥§¨©ª® ÁÀÂÃÄÅÆÇÈÉÊËÌ ÍÎÏÐÑÒ ÓÔÕÖØÙÚ ÛÜàáâãäåæè é êëìíî ïòóôö õùúûü
Character set
BUREAU GROTESQUE ONE-SEVEN
a b c d e f g h i j k l m n o p q r s t u v w x y z A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 0 1 2 3 4 5 6 7 8 9 ! " # $ % ' ( ) * + , - . / : ; = > < ? [ \ ] ^ _ ` { } | ~ ¡ ¢ £ ¥ § ¨ © ª ® Á À Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ð Ñ Ò Ó Ô Õ Ö Ø Ù Ú Û Ü à á â ã ä å æ è é ê ë ì í î ï ò ó ô ö õ ù ú û ü Character set
ONE-ONE
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 ONE-THREE
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 ONE-FIVE
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 ONE-NINE
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 Weights
THREE-FIVE
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 THREE-SEVEN
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 FIVE-THREE
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 SEVEN-NINE
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789
Weights
HOD
nop Bureau Grotesque One-Seven
Bureau Grotesque One-One
I have a specific method. Logos and projects with limited styles to draw can require a different method. But usually, I start with H-O-D and then n-o-p, and then all the lowercase of the lightest and blackest styles of roman and italic from a to z.
David Berlow Designer
SEVEN-NINE 6/8
THREE-SEVEN 6/8
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and culturally motivated inventions and revivals to peer through for inspiration. And of course, with the physically vacant nature of type’s modern form, all of the pieces of the past that were used to make and use type, even the rottenest old job case, are
THREE-FIVE 6/8
ONE-SEVEN 6/8
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and culturally motivated inventions and revivals to peer through for inspiration. And of course, with the physically vacant nature of type’s modern form, all of the pieces of the past that were used to make and use type, even the rottenest old job case, are fascinating to me as well. I think viewers in many cultures have reactions to types from different times and
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and culturally motivated inventions and revivals to peer through for inspiration. And of course, with the physically vacant nature of type’s modern form, all of the pieces of the past that were used to make and use type, even the rottenest old job case, are fascinating to me as well. I think viewers in many cultures have reactions to types from different times and places that infuse some of the cultural soul from those places, to the new places in which the type is
ONE-FIVE 6/8
ONE-THREE 6/8
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and culturally motivated inventions and revivals to peer through for inspiration. And of course, with the physically vacant nature of type’s modern form, all of the pieces of the past that were used to make and use type, even the rottenest old job case, are fascinating to me as well. I think viewers in many cultures have reactions to types from different times and places that infuse some of the cultural soul from those places, to the new places in which the type is used. In your example, the slightly decorative uses of type in the world that preceded Helvetica, had roots in
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and culturally motivated inventions and revivals to peer through for inspiration. And of course, with the physically vacant nature of type’s modern form, all of the pieces of the past that were used to make and use type, even the rottenest old job case, are fascinating to me as well. I think viewers in many cultures have reactions to types from different times and places that infuse some of the cultural soul from those places, to the new places in which the type is used. In your example, the slightly decorative uses of type in the world that preceded Helvetica, had roots in the 19th century, and I, being inclined towards Anglo-American tastes quite a bit, made Grotesques, Egyptians and Industrial sans in response, because lots of people between me and the viewer
THREE-ONE 6/8
ONE-ONE 6/8
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and culturally motivated inventions and revivals to peer through for inspiration. And of course, with the physically vacant nature of type’s modern form, all of the pieces of the past that were used to make and use type, even the rottenest old job case, are fascinating to me as well. I think viewers in many cultures have reactions to types from different times and places that infuse
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and culturally motivated inventions and revivals to peer through for inspiration. And of course, with the physically vacant nature of type’s modern form, all of the pieces of the past that were used to make and use type, even the rottenest old job case, are fascinating to me as well. I think viewers in many cultures have reactions to types from different times and places that infuse some of the cultural soul from those places, to the new places in which the type is used. In your example, the slightly decorative uses of type in the world that preceded Helvetica, had roots in the 19th century, and I, being inclined towards Anglo-American tastes quite a bit, made Grotesques, Egyptians and Industrial sans in response, because lots of people between me and the viewer wanted to take the viewer to a slightly more soulful place, perhaps.
SEVEN-NINE 8/10
THREE-SEVEN 8/10
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed.
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then
THREE-FIVE 8/10
ONE-SEVEN 8/10
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and culturally motivated
ONE-FIVE 8/10
ONE-THREE 8/10
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and culturally motivated inventions and revivals to peer through for inspiration. And of course, with the physically vacant nature of typeâ&#x20AC;&#x2122;s modern form, all
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and culturally motivated inventions and revivals to peer through for inspiration. And of course, with the physically vacant nature of typeâ&#x20AC;&#x2122;s modern form, all of the pieces of the past that were used to make and use type, even the rottenest old job case, are
ONE-THREE 8/10
ONE-ONE 8/10
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and culturally motivated inventions and revivals to peer through for inspiration. And of course, with the physically vacant nature of typeâ&#x20AC;&#x2122;s modern form, all of the pieces of the past that were used to make and use type, even the rottenest old job case, are fascinating to me as well.
SEVEN-NINE 10/12
THREE-SEVEN 10/12
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several
THREE-FIVE 10/12
ONE-SEVEN 10/12
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having
ONE-FIVE 10/12
ONE-THREE 10/12
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we
ONE-THREE 10/12
ONE-ONE 10/12
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries
What is fascinating to me about the types of the past is that they take me to a particular place and time where a type was required to solve some problem. The solution, quite often, then became visually associated with the person, publication or place where the solution was needed. Then, if the design was still cool several decades or centuries later, the design was revived for new technologies. Having the first one happen over 400 or so years ago, and then the second one 150 years ago to 50 years ago, we now have several layers of technologically and
SEVEN-NINE 12/13
THREE-SEVEN 12/13
Unless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a specific method. Logos and projects with limited styles to draw
Unless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a specific method. Logos and projects with limited styles to draw can require a different method. But usually, I start with H-O-D and then n-o-p, and then all the lowercase of
THREE-FIVE 12/13
ONE-SEVEN 12/13
Unless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a specific method. Logos and projects with limited styles to draw can require a different method. But usually, I start with H-O-D and then n-o-p, and then all the lowercase of the lightest and
Unless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a specific method. Logos and projects with limited styles to draw can require a different method. But usually, I start with H-O-D and then n-o-p, and then all the lowercase of the lightest and blackest
ONE-FIVE 12/13
ONE-THREE 12/13
Unless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a specific method. Logos and projects with limited styles to draw can require a different method. But usually, I start with H-O-D and then n-o-p, and then all the lowercase of the lightest and blackest styles of
Unless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a specific method. Logos and projects with limited styles to draw can require a different method. But usually, I start with H-O-D and then n-o-p, and then all the lowercase of the lightest and blackest styles of roman and italic from a to z.
THREE-ONE 12/13
ONE-ONE 12/13
Unless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a specific method. Logos and projects with limited styles to draw can require a different method. But usually, I start
Unless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a specific method. Logos and projects with limited styles to draw can require a different method. But usually, I start with H-O-D and then n-o-p, and then all the lowercase of the lightest and blackest styles of roman and italic from a to z.
Unless there is a logo involved, and assuming a whole typeface Unless there is a logo involved, and assuming a whole typeface family is required with all the Unless there is a logo involved, and assuming a whole typeface family is required with all the characters, I Unless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a speUnless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a specific meUnless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a speUnless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a specific method. Logos and projects Unless there is a logo involved, and assuming a whole typeface family is required with all the characters, I have a specific method. Logos and projects with limited styles to draw can 18/20
SEVEN-NINE 24pt
THE FIRST NUMBER IND THREE-SEVEN 24pt
THE FIRST NUMBER INDICATES WIDTH, AND THREE-FIVE 24pt
THE FIRST NUMBER INDICATES WIDTH, AND TH ONE-SEVEN 24pt
THE FIRST NUMBER INDICATES WIDTH, AND THE ONE-FIVE 24pt
THE FIRST NUMBER INDICATES WIDTH, AND THE SECO THREE-ONE 24pt
THE FIRST NUMBER INDICATES WIDTH, AND THE ONE-THREE 24pt
THE FIRST NUMBER INDICATES WIDTH, AND THE SECOND NUM ONE-ONE 24pt
THE FIRST NUMBER INDICATES WIDTH, AND THE SECOND NUMBER WEIGHT
SEVEN-NINE 36pt
Unless there is THREE-SEVEN 36pt
Unless there is a logo in THREE-FIVE 36pt
Unless there is a logo invol ONE-SEVEN 36pt
Unless there is a logo involve ONE-FIVE 36pt
Unless there is a logo involved THREE-ONE 36pt
Unless there is a logo involve ONE-THREE 36pt
Unless there is a logo involved, and a ONE-ONE 36pt
Unless there is a logo involved, and assuming
ďż˝ Bureau Grotesque Three-One, ligature
I take inspiration FROM THE TREES AND LANDSCAPE
If you look closely YOU CAN SEE THE
ECHOES of their shapes and forms
IN MY DESIGNS
MY CUSTOMERS DON’T WANT TO SEE ANYTHING LESS
Than A Font
AND THAT’S WHAT I SEND THEM
TO EVALUATE What is fascinating to me
ABOUT THE TYPES
of the past is that they take me to a
PARTICULAR PLACE AND TIME
Type design is pretty much infinite, and all it takes is a letter you've never seen before to incite learning. Bureau Grotesque Three-One 60/60
Type design is pretty much infinite, and all it takes is a letter you've never seen before to incite learning. Bureau Grotesque One-Seven 60/60
Specimen Alberto Bolzonetti
Design della comunicazione
Henrik Kubel
ISIA URBINO
Mai 2011
B