Interstate
Specimen Book Typeface: Interstate Typeface Designer: Tobias Frere-Jones, 1993. This specimen book was published in 201.5. Edited and designed by Ana Norambuena. Bibliography Twentieth Century Design. Tony Seddon. The Anatomy of Type. Stephen Coles http://www.fontbureau.com/ http://www.fontinuse.com http://www.fonts.com/ http://www.frerejones.com/
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USAGE
& An A at lph H o a In Des isto my 04 te ig ry Fu rs ne nc 0 Te ta r tio 06 5 xt te n 0 & Sc ure 08 7 Us al ag e 10 e 12 14
n
tio
as sif ica
Cl
ALPHA
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ANATOMY
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CONTENTS HISTORY
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TEXTURE
10
SCALE
12
DESIGNER
07
08
INTERSTATE
NEXT EXIT
Sans Serif Neo Grotesque
Welcome to Interstate Light ¬ R e g u l a r 24 p t Bold Black
Light Condensed ¬ R e g u l a r C o n d e n s e d 24 p t Bold Condensed Black Condensed
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
1234567890 !@#$%^&*()
1234567890 !@#$%^&*()
4
A CH Q M V •LOWER CROSSBAR •LOW CONTRAST
•BIG APPERTURE
•TAIL GOES BELLOW THE BASELINE
•DIAGONAL ARMS CONVERGE TO BASELINE
•SHARP WAIST
G •NO SPUR ON G •TERMINAL IN 90˚
An tomy Short ascenders
capline x-height
baseline
Black 100pt
EF ◊ •SMALLER MIDDLE ARM LENGHT
a •ROUNDED BOWL •ANGLED TERMINAL
f •SIMMETRICAL ARMS
•SPECIAL GLYPH FOR ARROWS
g •NO EAR, NO LOOP •SINGLE STORY •ANGLED TAIL
j •ROUNDED TITTLE •ANGLED DESCENDER
Short descenders
Regular 100pt
K
R W O
•LEG CONNECTS TO UPPER ARM FAR FROM STEM
•INNER DIAGONAL ARMS CONVERGE TO CAPITAL HEIGHT
•STRAIGHT LEG
t
•OVAL COUNTER •VERTICAL AXIS
p Œ æ
•ASSIMETRICAL ARMS •ANGLED ASCENDER
•ROUNDED BOWL •ANGLED DESCENDER
x
y
•NO CONTRAST •NO HAIRLINE
•SHORT DESCENDER BENDED TO THE LEFT
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•SPECIAL GLYPH FOR “OE”
¬ •SPECIAL GLYPHS FOR ARROWS
•SPECIAL GLYPH FOR “ae”
ƒ •SPECIAL GLYPH FOR “f”
INTERSTATE LIGHT 11/16
Take a drive and you’ll see the designs that inspired Tobias FrereJones to draw the Interstate™ typeface family. It’s absorbed at a glance everywhere we drive. Interstate is a neo-grotesque sans serif typeface based on the signage alphabets of the U.S. Federal Highway Administration. Clean, simple and easy on the eyes, few jobs are outside the range of the Interstate family. Created by Tobias Frere-Jones, the Interstate font family has grown
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since its introduction in 1993. With the assistance of Cyrus Highsmith, the Interstate typeface has been expanded into a versatile range of text and display designs that now includes 40 fonts. The Interstate typeface offers compressed, condensed and regular widths and weights that range from hairline to ultra black. Also available is a series of pi fonts featuring symbols inspired by traffic signs.
TOBIAS LIGHT 11/16
FRERE-JONES
Tobias Frere-Jones is the founder of Frere-Jones Type. He is widely recognized as one of the world’s leading type designers, and has created some of the most popular typefaces in use today, including Interstate, Poynter Oldstyle, Whitney, Gotham, Surveyor, Tungsten and Retina. Frere-Jones received a BFA in Graphic Design from the Rhode Island School of Design in 1992. He joined the faculty of the Yale University School of Art in 1996 and
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has lectured throughout the United States, Europe and Australia. His work is in the permanent collections of the Victoria & Albert Museum in London and the Museum of Modern Art in New York. In 2006, The Royal Academy of Visual Arts in The Hague (KABK) awarded him the Gerrit Noordzij Prijs for his contributions to typographic design, writing and education. In 2013, he received the AIGA Medal in recognition of exceptional achievements in the field of design.
––––– MAXIMUM
SPEED
IL
Get you
Interstate MOTEL
8
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ur Kicks
HIGHWAY
*
garage
te
end of the trail
O N ROUT E
Å
9
CA
BOLD & LIGHT 8/10
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text.
BOLD & LIGHT 8/12
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text.
BOLD & LIGHT 8/14
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text.
BOLD & LIGHT 10/12
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text.
BOLD & LIGHT 10/14
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text.
BOLD & LIGHT 10/16
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text.
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TEXTURES BOLD & LIGHT (CONDENSED) 10/11
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text.
BOLD & LIGHT (CONDENSED) 10/12
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text.
BOLD & LIGHT (CONDENSED) 10/14
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text.
BLACK & REGULAR (CONDENSED) 11/12
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text.
BLACK & REGULAR (CONDENSED) 11/14
BLACK & REGULAR (CONDENSED) 11/16
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text. As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text.
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1â „2
F
E CONDENSED LIGHT CONDENSED 12pt
Get your kicks on route 66.
14pt
Get your kicks on route 66.
18pt
Get your kicks on route 66.
24pt
Get your kicks on route 66.
3
REGULAR CONDENSED 12pt
Get your kicks on route 66.
14pt
Get your kicks on route 66.
24pt
Get your kicks on route 66.
Get your kicks on route 66.
2
18pt
Get your kicks on route 66.
14pt
Get your kicks on route 66.
18pt
Get your kicks on route 66.
24pt
Get your kicks on route 66.
1
BOLD CONDENSED 12pt
12pt
Get your kicks on route 66.
14pt
Get your kicks on route 66.
18pt 24pt
0
BLACK CONDENSED
Get your kicks on route 66.
Get your kicks on route 66. 12
0
100
F
180
220
230
REGULAR
ËšF
LIGHT
5
4
Get your kicks on route 66.
14pt
Get your kicks on route 66.
18pt
Get your kicks on route 66.
6
24pt
Get your kicks on route 66. REGULAR
12pt
Get your kicks on route 66.
14pt
Get your kicks on route 66.
18pt 24pt
Get your kicks on route 66.
Get your kicks on route 66.
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SCALE
12pt
BOLD
Get your kicks on route 66.
14pt
Get your kicks on route 66.
18pt
Get your kicks on route 66.
24pt
Get your kicks on route 66.
8
12pt
BLACK
0 0 0 4 9 03
Get your kicks on route 66.
14pt
Get your kicks on route 66.
18pt 24pt
9
MILES
12pt
Get your kicks on route 66.
Get your kicks on route 66. 13
FUNCTION & USES Start garden website: ≈ Titles and body text.
¬ Touristic campaign for Great Britian: Advertisement
∆ Magazine: Titles for cover page
¬ Lamborghini website: Titles and body text.
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¬ Roxy Watches: Advertising and Identity. ≈
¬ Citibank logo and branding: based on Interstate, with a modified ‘t’ to better suit the umbrella handle and a circular ‘c’ in place of the typeface’s oblong letter.
∆ Highway: Traffic signs
¬ Transformation project: Logo and Identity. Ω No Tech-Zone is a disruptive art project and emulates San Francisco’s parking signs.
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