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 American cityscapes.
In 1994, Tobias Frere-Jones completed Hightower for the Journal of the American Institute of Graphic Arts.
For as long as he had drawn letters, he had wrestled with the problems posed by any modern rendition of the fifteenth-century Venetian roman.
Stereo was designed by Karlgeorg Hoefer and built with an unusual understanding of the play of casual form in building a fictional third dimension. A powerful exercise by a master of figure-ground relations, Stereo can fool the eye at any size, defining shape and suggesting depth. Its playful success brings laughter to the lips of admiring users.
Of W. A. Dwiggins’ wartime experiments, the most successful was Eldorado, released by Mergenthaler in 1953. With unusual fidelity, he followed an early roman lowercase, cut in the 16th century by Jacques de Sanlecque the elder, aer Granjon.