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Font Bureau was founded in by publication designer and media strategist Roger Black and internationally known type designer David Berlow, initially to serve the emerging needs of microcomputer-based magazine and newspaper publishers seeking unique typographic identities. The company remains small and privately held, with independent designers providing infusions of creativity.

David Berlow entered the type industry in as a letter designer for the respected Mergenthaler, Linotype, Stempel, and Haas typefoundries. He joined the newly formed digital type supplier, Bitstream, Inc. Over the years, she has divided her time between various retail, custom, and OEM projects.

Currently, she is the Custom Type Director at Type Network, where she manages and creates large families in traditional static and variable font formats. Her approach to work is influenced by humanity itself: She aims to make genuine connections with clients, and believes that the most memorable designs are endearingly imperfect.

She stretches her other creative muscles by writing for Typographica and Alphabettes, taking photographs, and promoting independent film. She stretches her literal muscles by hiking as often as she can. Kent Lew began a career in graphic design back in the s while supporting himself through college.

After completing his studies in painting and art history, he continued to practice design on and off. In between, there were stints as an art store manager, a baker, a product development director, and even some time spent living in an ashram, before he returned to the work he enjoys most.

Now, Kent is a freelance book designer, type designer, and would-be type historian, working out of his home in the Berkshires of western Massachusetts. Coming from a family of writers and editors, it seems inevitable that he would gravitate toward the design of words and text. His primary interest lies in text typeface design, drawing heavily on his own experience specifying and setting type, and he is greatly influenced by the work of midth century designers like Dwiggins, Ruzicka, and Blumenthal.

In Chauncey Griffith, Linotype sales rep in Kentucky, wrote to management criticizing the new specimen book. He proposed that only the best version of each design should be used as a model, and cut in a complete set of sizes and characters. After a two-day meeting management gave him control of the factory. He promptly introduced his standards, but barely survived the morning when management came to work and discovered that he had scrapped the secondary faces that he considered junk, the bulk of the old library.

By he was Assistant to the President, and before long he was pricing all the machines. He wasted little time in reorganizing newspaper text letting, first with Ionic No. In , he introduced Corona, champion of the teletype era, the most popular textface in newspaper history.