Acropolis

Designed by
Jonathan Hoefler

With contributions from
Eric Siry

Special thanks to Gail Anderson

The Acropolis typeface was designed by Jonathan Hoefler in 1992. Acropolis is a design in the ‘grecian’ style, a genus of slab serif characterized by chamfered corners, which emerged in the late Georgian period and flourished in the United States of the mid-nineteenth century. A part of The Proteus Project, the typographic theme-and-variations based on related Regency styles, Acropolis was the first grecian type family to include a companion cursive italic. Acropolis was created for Rolling Stone, in whose pages the typeface first appeared in 1993.

Archer

Designed by
Jonathan Hoefler

With contributions from
Tobias Frere-Jones, Jesse Ragan

Additional material by
Jordan Bell, Andy Clymer

Special thanks to Gael Towey and Barbara de Wilde

The Archer typeface was designed by Jonathan Hoefler in 2001. While rooted in the ‘geometric slab serif’ style that emerged in the early nineteenth century (and reached full flower a century later), Archer’s many liberties with the style include its uncharacteristic application of ‘ball terminals’ to capital letters such as ‘C’ and ‘S,’ a detail traditionally found only in the lowercase alphabet. Archer was created for Martha Stewart Living, in whose pages the typeface first appeared in 2001.

Cesium

Designed by
Jonathan Hoefler

Based on
Vitesse by Hoefler&Co.

With contributions from
Sara Soskolne, Colin M. Ford, Troy Leinster

The Cesium typeface was designed by Jonathan Hoefler in 2020. An energetic inline adaptation of Hoefler’s broad-shouldered Vitesse Black typeface (2000), Cesium is named for the fifty-fifth member of the periodic table of the elements, a volatile liquid metal that presents as a scintillating quicksilver.

Champion Gothic

Designed by
Jonathan Hoefler

Special thanks to Steve Hoffman and Peter Herbert

The Champion Gothic typeface was designed by Jonathan Hoefler in 1991. A collection of six sans serifs related by width instead of weight, Champion was inspired by the sundry American wood types that were once used indiscriminately by nineteenth century poster printers, creating the riotous aesthetic that is identified with Americana. Champion Gothic was created for Sports Illustrated, in whose pages the typeface first appeared in 1991.

Chronicle

Designed by
Jonathan Hoefler

Based on
Chronicle Text by Hoefler&Co.

With contributions from
Tobias Frere-Jones, Jesse Ragan; Sara Soskolne

Additional material by
Colin M. Ford

Special thanks to Lucie Lacava

The Chronicle Display typeface was designed by Jonathan Hoefler in 2002, as a display-size counterpart to Chronicle Text. Chronicle is an update to the ‘scotch’ genre of typefaces, which emerged at the end of the eighteenth century, and remains one of typography’s most enduring and serviceable styles of letter. Chronicle Text was created for The Toronto Star, in whose pages the typeface first appeared in 2002.

Chronicle Text

Designed by
Jonathan Hoefler

With contributions from
Tobias Frere-Jones, Jesse Ragan; Sara Soskolne

Special thanks to Lucie Lacava

The Chronicle Text typeface was designed by Jonathan Hoefler in 2002, as a text-size counterpart to Chronicle Display. Chronicle is an update to the ‘scotch’ genre of typefaces, which emerged at the end of the eighteenth century, and remains one of typography’s most enduring and serviceable styles of letter. Chronicle Text was created for The Toronto Star, in whose pages the typeface first appeared in 2002.

Cyclone

Designed by
Jonathan Hoefler

Based on
Knockout by Hoefler&Co.

With contributions from
Joshua Darden

The Cyclone typeface was designed by Jonathan Hoefler in 1999. A decorative inline face, adapted from Hoefler’s Knockout No. 67 (1994), Cyclone is a ‘biform’ alphabet featuring lowercase letters drawn to the height of the capitals. A ‘chromatic’ typeface, Cyclone includes the two styles Background and Inline, designed to be set in different colors and superimposed in register.

Decimal

Designed by
Jonathan Hoefler and Sara Soskolne

With contributions from
Jordan Bell, Colin M. Ford, Troy Leinster

The Decimal typeface was designed by Jonathan Hoefler and Sara Soskolne in 2019. Inspired by the markings on wristwatches, whose open gestures and dilated corners help create clear shapes at small sizes, Decimal was designed to preserve a vanishing and recognizable quality of horology driven nearly to extinction by digital fonts. Decimal first appeared in 2019, in an episode of the Netflix documentary ‘Abstract: The Art of Design’ devoted to Hoefler and his work, and in 2020 became the signature typeface of both the Biden–Harris campaign and the Biden White House.

htf Didot

Designed by
Jonathan Hoefler

Special thanks to Fabien Baron and Liz Tilberis

The htf Didot typeface was designed by Jonathan Hoefler in 1991. A design in the ‘modern’ genus, whose rationality and precision suggests engineering rather than penmanship, htf Didot pays homage to the French neoclassical typefounder Firmin Didot (1764–1836) whose work epitomizes the style. Designed for Harper’s Bazaar, in whose pages the typeface first appeared in September 1992, htf Didot was one of the first digital typefaces designed with a schedule of ‘optical sizes’ that preserve the fonts’ delicate hairlines at any size. htf Didot is in the permanent collection of the Museum of Modern Art in New York.