Jonathan Hoefler

Hoefler speaking in 2014.

Hoefler Text, a serif typeface designed by Hoefler in 1991.

Jonathan Hoefler (born August 22, 1970^[1]) is an American typeface designer. Hoefler (pronounced “Heffler”) founded The Hoefler Type Foundry in 1989, a type foundry in New York. In 1999 Hoefler began working with type designer Tobias Frere-Jones, and from 2005–2014 the company operated under the name Hoefler & Frere-Jones until their public split.^[2]

Hoefler has designed original typefaces for Rolling Stone Magazine, Harper’s Bazaar, The New York Times Magazine, Sports Illustrated, and Esquire and several institutional clients, including the Solomon R. Guggenheim Museum and alternative band They Might Be Giants. Perhaps his best-known work is the Hoefler Text family of typefaces, designed for Apple Computer and now appearing as part of the Macintosh operating system.^[3] He also designed the current wordmark of The Church of Jesus Christ of Latter-Day Saints.

In 1995, Hoefler was named one of the forty most influential designers in America by I.D. magazine,^[4] and in 2002, the Association Typographique Internationale (ATypI) presented him with its most prestigious award, the Prix Charles Peignot for outstanding contributions to type design. Hoefler and Frere-Jones have been profiled in The New York Times,^[1] Time Magazine,^[5] and Esquire Magazine,^[6] and appearances on National Public Radio and CBS Sunday Morning.

Hoefler's work is part of the Cooper-Hewitt, National Design Museum's permanent collection.^[7]

Typefaces

Jonathan Hoefler's types include:

Gestalt, 1990 Champion Gothic, 1990 Hoefler Text, 1991 Ideal Sans, 1991 Ziggurat, 1991 Leviathan, 1991 Mazarin, 1991 HTF Didot, 1992 Requiem Text, 1992 Saracen, 1992 Acropolis, 1993 NYT Cheltenham, 1993 Knox, 1993 Historical Allsorts, 1994 Knockout, 1994 Fetish, 1994 Neutrino, 1994 Quantico, 1994 Oratorio, 1994 Troubadour, 1994 William Maxwell, 1994

Deseret, 1995 Jupiter, 1995 Pavisse, 1995 Verlag (formerly Guggenheim), 1996 Giant (formerly They Might Be Gothic), 1996 New Amsterdam, 1996 Hoefler Titling, 1996 Plainsong, 1996 Kapellmeister, 1997 Numbers (with Tobias Frere-Jones), 1997–2006 Mercury, (with Tobias Frere-Jones) 1997 Radio City, 1998 Vitesse (with Tobias Frere-Jones), 2000 Deluxe, 2000 Cyclone, 2000 Topaz, 2000 Lever Sans (with Tobias Frere-Jones), 2000 Archer (with Tobias Frere-Jones), 2001 Chronicle, (with Tobias Frere-Jones) 2002 Sentinel, (with Tobias Frere-Jones) 2002

Notes

1. Dunlap, David W (October 19, 2004). "2 Type Designers, Joining Forces and Faces". The New York Times. Retrieved 2007-10-17.
2. Hoefler & Frere-Jones#Conflict between Hoefler and Frere-Jones
3. Heller, Steven. "Jonathan Hoefler on type design". Design Dialogues. Retrieved 2 August 2016.
4. “The I.D. Forty,” I.D. magazine, Jan/Feb 1995.
5. Casey, Susan (2000-09-07). "Way Beyond the Basic ABCs". Time. Retrieved 2007-10-17.
6. “Letters from the Street: Agents of Influence,” Esquire magazine, The Genius Issue, December 2005. Text online
7. "Biographies". Hoefler & Frere-Jones. Retrieved 2007-10-17.

References

• Hoefler & Frere-Jones
• Friedl, Frederich, Nicholas Ott and Bernard Stein. Typography: An Encyclopedic Survey of Type Design and Techniques Through History. Black Dog & Leventhal: 1998. ISBN 1-57912-023-7.
• Macmillan, Neil. An A–Z of Type Designers. Yale University Press: 2006. ISBN 0-300-11151-7.
• “The I.D. Forty,” I.D. magazine, Jan/Feb 1995.