When Hoefler and Frere-Jones began their collaboration, it was reported by The New York Times. The two have been profiled in Time Magazine, Esquire, Wallpaper, and Wired, and throughout the design press on five continents. They have made radio, television, and even motion picture appearances; their work has been exhibited internationally, honored by professional organizations, and included in the permanent collections of both the Smithsonian and the V&A. They have received two of typography's highest honors, the Prix Charles Peignot and the Gerrit Noordzij Award.
Pull Quotes
"Hoefler and Frere-Jones create fonts that stand out with the clarity, elegance, and durability of a well-cut diamond.... An H&FJ typeface is always exquisitely legible without sacrificing high style."
"Their fonts lend a sense of history and place to the pages where they are displayed, which may explain why, in this age of standardization, their work is so damn popular."
— Esquire
"One of the defining factors of a typeface designed by the duo is the rigor of their research and development process. H&FJ have designed very visible typefaces that have had lasting cultural impact."
See also our FAQ for journalists.
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Articles Look Sharp, Live Smart, Impress the Delegates. GQ, May 2008. Just Go to Helvetica, by Jessica Bennett. Newsweek, April 7, 2008. Brand Obama, a winner in the image war, by Alice Rawsthorn. The International Herald Tribune, April 6, 2008. To the Letter Born, by Steven Heller. The New York Times, April 2, 2008. The Character Issue, by Adam Tschorn. The Los Angeles Times, March 30, 2008. Playing to Type, by Virginia Postrel. The Atlantic Monthly, February 2008. Fonts of Inspiration, by Andrea Chalupa. Portfolio, December 26, 2007. Typeface Designers Mix Art, Engineering, by Erin McClam. The Associated Press, September 15, 2007. Jonathan Hoefler and Tobias Frere-Jones: Everything you always wanted to know about typefaces, but were afraid to ask, by Thierry Somers. 200%, Issue No. 2, 2007. About Typeface, by Alice Rawsthorn. T: The Style Magazine of The New York Times, February 26, 2006. Agents of Influence: How Jonathan Hoefler and Tobias Frere-Jones are Changing the World a Letter at a Time, by Tim Heffernan. Esquire ("The Genius Issue") December, 2005. H&FJ Skapar Rubriker, by Per Torberger. Cap & Design, February 2005. [Swedish] Making the Cut, by Tom Vanderbilt. Print, January-February 2005. Forensic Types, by Alice Twemlow. Eye, No. 54, Vol. 14, Winter, 2004. Gotham — Eine Schrift und ein Symbol, by Volker Feuerstein. Fuldaer Zeitung, November 13, 2004. [German] Public Lives: Two Type Designers, Joining Forces and Faces, by David W. Dunlap. The New York Times, October 19, 2004. Acceptance Letters, by Steven Heller. The New York Times, August 29, 2004. A 9/11 Cornerstone, Chiseled With a New York Accent, by David W. Dunlap. The New York Times, July 8, 2004. Hoefler & Frere-Jones Typography, by Ellen Shapiro. Communication Arts, May/June 2004. Hoefler & Frere-Jones, by John D. Berry. Graphis, March/April 2004. Reader-Friendliness is Everything, by Charlotte Janischewski. Newspaper Techniques, The Monthly Publication of IFRA, June 2003. Authority Figure, by Heather Corcoran. How, February 2003. Public Typography, by Antje Dohmann. Page, October 2002. [German] Is Gotham the New Interstate?, by Dmitri Siegel. The Morning News, August 2002. Old Meets New Meets Magazine, by Allan Haley. Step, July/August 2002. Tobias Frere-Jones. Kak, No. 23/24, 2002. [Russian] Keeping It Quiet, by Tom Vanderbilt. Print No. 56:3, 2002. Bell Epoque, by Andrew Yang Metropolis, October 2001. Hoefler & Frere-Jones, an interview with Naoko Nishiguchi. +81 Magazine (Tokyo), Autumn 2001. [Japanese] The Persuaders, by Sian Phillips. Virgin Atlantic Hot Air, January-March 2001. Way Beyond The Basic ABCs, by Susan Casey. Time Magazine, July 17, 2000. A Rare Font Specimen, by John Berry. CreativePro, July 7, 2000. Sans Script, by Jonathan Ringen. Metropolis, July 2000. Didot: Fransk Elegance, by Henrik Birkvig. Digital Design #14 (Copenhagen), April 2000. [Danish] A tipografia no mundo digital, by Paulo Moretto. Projeto Design No. 240 (São Paulo), February 2000. [Portuguese] Type in the Future Tense, by Mark Eastman. Communication Arts, January/February 2000. Designing a Restoration, and Words to Describe It, by David W. Dunlap. The New York Times, Wednesday December 29, 1999. The Faces Behind the Faces, by Terri Stone. Publish Magazine, November 1999. Post-Industrial Sans Types, by Mark Eastman. Communication Arts, August 1999. Inspiration in the Everyday, by Bryn Mooth. IdN Magazine No. 4 (Hong Kong), 1999. The Search for Designer's Gold, by Eric Diamond. Digital New York Magazine, 1999, No. 1. Review by Jeffrey Keedy, James Montalbano & Robert Slimbach. Critique #11, Spring 1999. Just My Type, by Christopher Stocks. Wallpaper* Magazine, October/November 1998.
Interview with Tobias Frere-Jones, by Chris MacGregor. Internet Type Index, June 1998. Stylemakers of Boston. Boston Magazine, May 1998. Tobias Frere-Jones, a profile by Patrick Burgoyne. Creative Review, January 1998. Jonathan Hoefler, by Paul Barnes. Baseline Magazine, No. 23, 1997. Face the Future, by Helen Walters. Creative Review, September 1997. Character Matters, by Richard Folkers. U.S. News & World Report, September 22, 1997. Family Man, by Laurie Brian. Glossy, Spring 1997. Typeface Review by Nick Shinn. Design: The Journal of The Society of Newspaper Designers, Spring 1997. Custom Typefaces: Creating a Signature Style, by Allan Haley. How, February 1997. Interview with Jean-François Porchez. Étapes Graphiques, February 1997. [French] Copping an Attitude (passim) by John Downer, Emigre No. 38, Summer 1996. Pushing Boundaries, With an Eye on Tradition, by Steven Heller. Print, March 1996. Inspiring Type, by Bryn Mooth. How, February, 1996. The I.D. Forty: Jonathan Hoefler, by Steven Heller. I.D., January/February 1995. The I.D. Forty: Tobias Frere-Jones, by Rick Poynor. I.D., January/February 1995. The year Mozart and Sid Vicious shared an office in New York, by Douglas Cooper. Wired, March 1995. The Hype on Type: Is illegibility the new language of a visually literate audience?, by Veronique Vienne. Metropolis, March 1, 1995. Hoefler Condensed, by Aileen Rosen. I.D., September/October 1994. Typographic Harmonies, by Kathleen Tinkel. Step-by-Step Graphics, September/October, 1994. New Type on the Block, by Leslie Sherr. The Art Director's Club, 1994. If the Face Fits, by John Belknap. Eye, No. 11, Vol. 3, November, 1993. Putting Multiple Masters to Work, by Kathleen Tinkel. Publish Magazine, September 1992. New Faces in Typography, by Nichole J, Vick. Aldus Magazine, March/April 1992. Digital Typography: Bane Or Boon? How Magazine, April 1992. Jonathan Hoefler, by Paul Allman. Graphics International, No. 10, 1991. Tobias Frere-Jones, profile by Margaret Richardson. U&lc, August 1987. Books dot-font: Talking About Type by John Berry. Mark Batty Publisher, 2007. dot-font: Talking About Design by John Berry. Mark Batty Publisher, 2007. An A-Z of Type Designers, by Neil Macmillan. Yale University Press, 2006. The Thames & Hudson Dictionary of Graphic Design and Designers. Thames & Hudson, 2003. Designing Typefaces, by David Earls. RotoVision SA, 2002. Becoming a Graphic Designer, by Steven Heller and Teresa Fernandes. John Wiley and Sons, 1999. Design Literacy (Continued), by Steven Heller. Allworth Press, 1999. Typology: Type Design from The Victorian Era to the Digital Age, by Steven Heller and Louise Fili. Chronicle Books, 1999. Less is More: The New Simplicity in Graphic Design, by Steven Heller and Anne Fink. North Light Books, 1999. Typography: An Encyclopedic Survey of Type Design and Techniques Through History, by Frederich Friedl, Nicholas Ott and Bernard Stein. Black Dog & Leventhal, 1998. Hot Designers Make Cool Fonts, by Allan Haley. Rockport Publishers, 1998. Design Dialogues, by Steven Heller and Elinor Pettit. Allworth Press, 1998. The Digital Designer, by Steven Heller. Watson-Guptill, 1997. Faces on the Edge: Type in the Digital Age by Steven 0Heller and Anne Fink. Van Nostrand Reinhold, 1997. Cool Type, by Spenser Drate. North Light Books, 1997. Mixing Messages: Graphic Design in Contemporary Culture by Ellen Lupton. The Cooper-Hewitt National Design Museum and Princeton Architectural Press, 1996. Careers in Art: An Illustrated Guide, by Nancy Bedau. Davis Publications, 1995. The Verbum Book of Digital Typography, by Michael Gosney. M&T Books, 1991. Writing & Compositions Pairing Fonts, by Jonathan Hoefler. Communication Arts, May/June 2006. Experiments in Type Design, by Tobias Frere-Jones. Texts on Type: Critical Writings on Typography, edited by Steven Heller and Philip B. Meggs Allworth Press, 2001. Trip / Tenthprime / Lighthouse / Octave / Demand / Asymptote. Six audio compositions for cellular phones, by Tobias Frere-Jones. Ringtones compilation, Touch Records, 2001. Drugstore Travelogue, by Tobias Frere-Jones. Sex Appeal: The Art of Allure in Graphic and Advertising Design, edited by Steven Heller. Allworth Press, 2000. F-Hz (#190736, 1996), Audio composition by Tobias Frere-Jones. T_ZERO_0 compilation, Touch Records, 2000. Alphabet City, by Jonathan Hoefler and Peter Hall. I.D., January/February 1999. On Classifying Type, by Jonathan Hoefler. Emigre No. 42, Spring 1997. Notes on the Design of HTF Didot, by Jonathan Hoefler. MUSE No. 1, The Specimen Book of The Hoefler Type Foundry, April 1997. Beware of Falling Standards and Crap Shoot, by Tobias Frere-Jones. AIGA Journal, Vol. 15, No. 3, 1997. Type Over Time, by Tobias Frere-Jones. AIGA Journal, Vol. 14, No. 1, 1996. Towards The Cause of Grunge. by Tobias Frere-Jones. Zed, Virginia Commonwealth University, 1994. Reprinted in Looking Closer 2: Critical Writing on Graphic Design, Allworth Press, 1997. |
Movies Helvetica, a film by Gary Hustwit. A Swiss Dots production. 2007. Television To a "T". Profile on CBS Sunday Morning, produced by Reid Orvedahl. May 21, 2006. Radio Design Matters with Debbie Millman. VoiceAmerica, January 27, 2006. The Art and Science of Setting Fonts, Interview with Scott Simon. Weekend Edition Saturday, National Public Radio. September 18, 2004. Lectures The American Association of University Presses. Chicago, Illinois, May 9, 2008. Discovering Typographic Treasures to Spur Creative Thinking. The Fuse Conference, New York, April 13, 2008. American Night at the EDO. The Editorial Design Organization. London, England, April 9, 2008. An Evening with Jonathan Hoefler. The Typographic Circle at Pentagram. London, April 8, 2008. What's Next in Typography. NEXT: The AIGA National Design Conference. Denver, October 12, 2007. Postopolis! New York, May 29, 2007. Design Indaba 10. Cape Town, South Africa, February 23, 2007. Nice, Different, Unusual. Monash University, Melbourne, Australia, October 2006. Magasinkonferanse Oslo. Oslo, Norway, November 3, 2005. Magasindesign konferencen 2005. Copenhagen, Denmark, November 1, 2005. Historical-Experimental Type Design, Continued. Berghs School of Communication, Stockholm, Sweden, October 27, 2005. City & Regional Magazine Association Conference. Las Vegas, May 16, 2005. AIGA/NY: Small Talk. The American Institute of Graphic Arts, New York, May 4, 2005. Typophilia Conference. Cooper-Hewitt National Design Museum, New York, April 20, 2005. The Grolier Club. New York, April 4, 2005. Making Faces. The Society of Publication Designers, New York, October 7, 2004. Society of News Design Conference. San Jose, September 30-October 2, 2004. Pentagram Lectures. Pentagram San Francisco, September 30, 2004. More Than Just a Love of Letters. American Institute of Graphic Arts, San Francisco, September 29, 2004. Typography Through the Looking Glass. Society of News Design Scandinavia Conference. Copenhagen, September 2-4, 2004. Better Living Through Typography. Schrift: TypoBerlin 2004, Berlin, May 2004. The Design Experience. New York, March 2004. Type Directors Club Salon. New York, November 2003. Sustainable Typography. AIGA 2003: The Power of Design. The Biennial National Design Conference of the American Institute of Graphic Arts, Vancouver, October 2003. Newspaper Typography. Society of News Design, Washington, September 2003. Typography 2004 Society of Publication Designers, New York, May 2003. Graphic Design "Exposed" Lecture Series. University of The Arts, Philadelphia, April 2003. Type and The Unreasonable Editor. Society of News Design Conference, Savannah, November 2002. Insights Lecture Series. The Walker Art Center, Minneapolis, March 2002. Looking Closer: AIGA Conference on Design History and Criticism. New York, February 2001. AIGA/NY: Small Talk. The American Institute of Graphic Arts, New York, 2000. SPF 30. Times Mirror Art Directors' Summit. Casa de Campo, Dominican Republic, 2000. Pentagram Lectures. Pentagram New York, 2000. The American Vernacular. The annual congress of the Association Typographique Internationale (ATypI), Boston, October 1999. Reviving Kis. The annual congress of the Association Typographique Internationale (ATypI), Boston, October 1999. Typos: The Lost Art of Local Color. AIGA 1999: America: Cult & Culture. The Biennial National Design Conference of the American Institute of Graphic Arts, Las Vegas, October 1999. Lather, Rinse, Repeat. Meta Design, San Francisco, July 1998. Latest Installment. Fuse 98, San Francisco, May 1998. Visual Arts Alliance. Iowa City, February 1998. Historical-Experimental Type Design, Continued. Lahti Institute of Design, Lahti, Finland, 1997. AIGA/NY: Fresh Dialogue. The American Institute of Graphic Arts, New York, 1997. Blowing a Fuse. AIGA 1997: Jambalaya: The Biennial National Design Conference of the American Institute of Graphic Arts, New Orleans, November 1997. Smorgasbord AIGA 1997: Jambalaya: The Biennial National Design Conference of the American Institute of Graphic Arts, New Orleans, November 1997. The Poynter Fonts: Riposte. Society of Newspaper Designers (SND) Annual Conference. San Diego, October 1997. Font Talk '97. AIGA/Orange County, Los Angeles, 1997. The Poynter Fonts: Research & Development. The Poynter Institute For Media Studies. St. Petersburg, Florida, November 1996. Learning from the Old Guys. Typo Berlin 96, Berlin, 1996. Seven Years of Interstate. The annual congress of the Association Typographique Internationale (ATypI), Den Haag, October 1996. Typeface Design. 1996 How Design Conference, Monterey, 1996. Type and Technology: Meditations on Moholy-Nagy. The Fashion Institute of Technology, New York, 1996. Jonathan Hoefler: Typeface Designer. The How Design Workshop, Miami, 1996. Typeface Design. Society of Newspaper Designers (SND) Annual Conference. Barcelona, 1995. Type Design and the Avant-Garde. Fuse 95, Berlin, November 1995. The New York Seminars. The Art Directors Club, New York, 1995. Atmosphere. Universidad de las Americas (Puebla) "Narrativa Visual" Conference. Puebla, Mexico, February 1995. TDC Luncheon: Jonathan Hoefler. The Type Directors Club, New York, 1994. Experimental. Fuse 94, London, November 1994. Type and Artificial Intelligence. The annual congress of the Association Typographique Internationale (ATypI), San Francisco, October 1994. Type Talk. California Institute of the Arts (CalArts), Valencia, California, 1993. Historical-Experimental Type Design? The annual congress of the Association Typographique Internationale (ATypI), Budapest, October 1992. Type and Stereotype. Vicom/Multimedia 92, Toronto, 1992. Then and Now: Historical Revival in Contemporary Type Design. Rutgers University School of Art, New Brunswick, 1992. AIGA/NY: Small Talk on Type. The American Institute of Graphic Arts, New York, 1991. Jonathan Hoefler's Holistic Macintosh Type Workshop. Type-90: The annual congress of the Association Typographique Internationale (ATypI), Oxford, October 1990. Designing Typefaces for Magazines. The Folio:Show, New York, 1990-1993. Exhibitions National Design Triennial: Inside Design Now. Curated by Ellen Lupton. The Cooper-Hewitt National Design Museum (Smithsonian Institution), New York, 2003-2005. 365: AIGA Annual Design Exhibition 24. American Institute of Graphic Arts National Design Center. New York, 2003-2004. US Design 1975-2000. The Denver Art Museum, 2001. Mix-Up. Lehmann-Maupin Gallery, New York, July 1999. Blackletter: Type and National Identity. Curated by Paul Shaw and Peter Bain. March-April 1998. The Next Word. Curated by Johanna Drucker. Neuberger Museum of Art at SUNY Purchase, 1998. Word As Image. University of Memphis, January 1997. Permanent Collection, Smithsonian Institute, New York: Didot and Gestalt typefaces and posters for Julie Holcomb Printers, 1995, both by Jonathan Hoefler. Mixing Messages: Graphic Design in Contemporary Culture. Curated by Ellen Lupton. The Cooper-Hewitt National Design Museum (Smithsonian Institution), 1996. Permanent Collection, Victoria & Albert Museum, London: Reactor typeface and poster for Fuse #7, 1993; Fibonacci typeface and poster for Fuse #10, 1994, both by Tobias Frere-Jones. Typorium. The Houghton Library, Harvard University, 1993. Masters Of War. Ammo Gallery, New York, February 1985. Awards The Gerrit Noordzij Award, awarded to Tobias Frere-Jones. Koninklijke Academie van Beeldende Kunsten (KABK), Den Haag, 2006. Three awards for the Archer, Retina and Sterling typefaces in AIGA 365. The American Institute of Graphic Arts (AIGA), 2004. The Prix Charles Peignot, awarded to Jonathan Hoefler. The Association Typographique Internationale (ATypI), Rome, 2002. Six awards for the Gotham, Verlag, Knockout, Mercury, Requiem and Retina typefaces in Bukva:Raz!, the contribution to the United Nations' Year of Dialogue among Civilizations. The Association Typographique Internationale (ATypI), 2001. TDC2. The Type Directors Club (TDC), 1998. Bronze Medal, The Morisawa Awards, awarded to Jonathan Hoefler for the Ideal Sans typeface, 1996. The I.D. Forty featuring Tobias Frere-Jones. I.D., 1995. The I.D. Forty featuring Jonathan Hoefler. I.D., 1995. Three awards, AIGA Graphic Design USA 13. The American Institute of Graphic Arts, 1992. First Place, Publish Fifth Annual Design Contest. Publish Magazine, 1992. Three awards, Typography 13. The Type Directors Club, 1991. Silver Medal and Design Award, SND Annual, 12th Edition.The Society of Newspaper Design, 1990. |
(What's New in Typography) by Teiji Fujii, IDEA 270 (Tokyo), 1998-9.