JOMC222:  Visual Communication and Web Design

Updated:  02/02/05

Jonathan Hoefler

Who is Jonathan Hoefler?

Jonathan Hoefler (born 1971) is one of the leading typeface designers of his generation.  Hoefler's major works includes development of font families for:

•  Magazine:   Rolling Stone, Martha Stewart Living, Sports Illustrated, Harper's Bazaar

• Newspaper:  New York Times,

• Digital:  Apple Computer.

Jonathan Hoefler is president of Hoefler & Frere-Jones in New York City. 

Philosophy of Design

“How did I learn to design a typeface?” he asks rhetorically. “By figuring it out myself. I liked to draw letters and always did it.”

Originally published in Communication Arts May/June 2004

"These fonts will be around, not as artifacts but in use, for centuries after we're gone."

Time Magazine

“We want shapes that cooperate,” says Hoefler. “When a face sells in Helsinki or Budapest, we want designers there to be able to use it.” The software also allows the designers to build custom tools, like those that streamline repetitive tasks such as adding drop shadows and shading.

Originally published in Communication Arts May/June 2004

Hoefler and his design partner, Tobias Frere-Jones are the forces behind the work of their studio.  Ellen Lupton of the Cooper-Hewitt National Design museum said in Communication Arts (May/June 2004) that "Between the two of them, they may know everything there is to know about type." 

Their work is noted for:

• modern interpretation of historical styles (Renaissance, Egyptian, Baroque).

• avoidance of novelty typefaces

• a distinctive New York sophistication.

Hoefler emerged as a luminary on the digital scene in 1992 during  Apple Computer's GX project which introduced Hoefler Text.  The objective of this project was to display the technical reach of Apple's TrueType GX operating system.   Specifically, font was needed that addressed 2 key technical areas:

• Morphing:  maintaining clarity when changing font properties (bold, for example)

• Substitution:  enables spellchecker and search capabilities while supporting the use of ligatures.

 

A ligature is used when 2 or more text characters are replaced by one, usually in the interest of visual design.  Common ligatures include Fl character.

 How did Hoefler's design techniques support this innovation?  Why was this important in the field of digital design? 

1. Hoefler designs contain huge arrays of characters to go with his font families.  This supported Apple's need for an immense variety of quality fonts to support the graphical needs of the large desktop publishing community. 
2. The prolific variety of font enabled the design users to support a wide variety of visual "stories". 
3. Hoefler's designs are solidly rooted in historical types.  Meticulously researched, exquisitely engineered for proportion, balance, rhythm and readability, the fonts have a beauty that transcends 'lettering'.

Here is an example of the variety and beauty in Hoefler Text.

“There is no better way to create a unique identity than to use a unique typeface. A distinctive identity is as powerful as the message it communicates, remaining forever linked in the imagination with the place it first appeared.”         

Jonathan Hoefler quoted by  Emily King  

Rolling Stone (Alanis Morissette)
Magazine, 1995, offset lithograph
Art director: Fred Woodward (b. 1949)
Designer: Geraldine Hessler
Photographer: Frank Ockenfels

The collaboration with Rolling Stone is representative of the influence that Hoefler has had in the magazine industry.  Working with the Artistic Director, Fred Woodward, Hoefler designed a complete suite of type that clearly conveyed an updated, bohemian flavor to the magazine. 

This font package - The Proteus Project - is a design of 4 font families based on the 19th century designs.  Each character is based on a standard width so that the editor can easily interchange them without sacrificing visual unity - a technique known as quadrupelxing. 

Character Set Proteus Project;  Acropolis:  Black

Exemplary Work

The Gestalt typeface is just wonderful. 

A character standing alone is not recognizable, it is only when viewed in the context of the word that its meaning becomes clear. 

Example:  What letter is this?  Click the image to find out.

The character forms use line repetition to establish rhythm and motion.  It is a very scintillating and bubbly font with a lot of personality (sounds like a fine champagne, and it is!). 

Hoefler's font catalog on the Hoefler & Frere-Jones website provides fabulous visual stories that vividly illustrate the designer's intent.  Here is the character set for Gestalt:

Conclusion

Jonathan Hoefler is a pioneer in the design of typeface using digital technology.  Programmer, designer, graphic artist, historian and typographer -- his work is noted for precision, infinite variety, reliance on historical references and a vision for the marketability of fonts.  His work:

• Supports client brand identity.  Image is established though effective use of typeface that underscore theme and consumer message. Magazine sales can be measured and quantified in direct relation to changes in format.

• Technology based. Hoefler designs using technology.  His product is deployed on a technology platform.  The art and design cannot exist without this component. 

• Utilizes effective business model.  Hoefler's influence is felt not just through his pioneering design, but through a business model that has brought him success for over 15 years.  The concept is simple - contract with clients for customized type families, license the use of that font for a specific term.  Upon expiration, the font reverts back to the design firm where it can be sold to the public.

Can you tell now what the letter is?

Bibliography

Hoefler & Frere-Jones, Limited edition letterpress poster for Julie Holcomb Printers, September 1995. Designed by Jonathan Hoefler, produced in an edition of 750

Casey, Susan.  Way Beyond the Basics of ABCs, Time Magazine Article

King, Emily  New Faces: type design in the first decade of device-independent digital typesetting (1987-1997); http://www.typotheque.com/articles/EK_PhD_chapter3.html

http://www.walkerart.org/archive/E/B373719AD3EE9EE46173.htm

http://www.creativepro.com/story/feature/6863.html

http://www.daidala.com/07feb2003.html

http://www.daidala.com/26jun2004.html

http://www.findarticles.com/p/articles/mi_m3065/is_11_31/ai_94012304

http://www.designwritingresearch.org/essays/woodward.html

http://www.creativepro.com/story/feature/7271.html?origin=story

http://ndm.si.edu/EXHIBITIONS/mixingmessages/essay/publish/p_b.L3.3.html