Advances in Typography: Late Twentieth to Twenty-First Centuries A Historical Sketch (Part 3)

Carl Shank • December 1, 2025

Advances in Typography: Late Twentieth to Twenty-First Centuries

A Historical Sketch (Part 3)

 

Late Twentieth to Early Twenty-First Century: Corporate and Contemporary Digital

Jonathan Hoefler (b. 1970) is an American type designer known for influential typefaces such as Hoefler Text, Gotham, Knockout, and Mercury. Gotham, co-designed with Tobias Frere-Jones, gained international fame through its use in Barack Obama’s 2008 campaign and has since become a staple in corporate and editorial branding.


Born in New York City, Hoefler’s early fascination with everyday typography led him to a self-taught career in type design. In 1989, he founded the Hoefler Type Foundry, quickly earning recognition with Champion Gothic for Sports Illustrated. His partnership with Roger Black and later Tobias Frere-Jones resulted in dozens of widely used typefaces.

Hoefler’s work is characterized by a blend of historical research and modern engineering, shaping digital typography standards. His typefaces are used by major publications, cultural institutions, and corporations worldwide. In 2021, Monotype acquired his company, marking a significant moment in the evolution of digital type design.



Hoefler’s approach has redefined contemporary type design, bridging historical revivals and modern usability. His influence extends across print and digital media, setting new standards for clarity, versatility, and typographic excellence.


Tobias Frere-Jones (b. 1970). Tobias Frere-Jones is a renowned American type designer whose work has profoundly shaped contemporary typography. Born on August 28, 1970, in New York City, Frere-Jones grew up in Brooklyn and pursued graphic design, earning a BFA from the Rhode Island School of Design (RISD) in 1992.


After graduating from RISD, Frere-Jones joined the Font Bureau in Boston, where he quickly became a senior designer. During his tenure, he developed several successful typefaces that contributed to the foundry’s respected catalogue. 

In 1996, Frere-Jones began teaching at the Yale School of Art, helping to develop the typeface-design program. His commitment to education has influenced a new generation of designers.


A pivotal moment in his career came in 1999 when he started collaborating with Jonathan Hoefler. Their partnership, formalized as “Hoefler & Frere-Jones” around 2005, resulted in the creation of typefaces for major clients, including magazines, cultural institutions, and corporations. 


Some of Frere-Jones's most recognized typefaces include Gotham, a widely used and instantly recognizable face, a staple in corporate and civic design, Interstate, rooted in American vernacular lettering, and is favored for its clarity and versatility. Other faces include Whitney, Surveyor, Tungsten, which further showcase his meticulous approach and design strength. 


After parting ways with Hoefler in 2014, Frere-Jones established his own foundry, Frere-Jones Type. The first retail family released under this label was Mallory in 2015, continuing his legacy of innovative and functional type design. Credit for Mallory Book is from https://www.onlinewebfonts.com/icon and is licensed by CC BY 4.0.


Eric Spiekermann (b. 1947) is a German designer, typographer, and educator who championed humanist sans-serifs for modern communication. Co-founder of FontShop and FontFont, he helped build the digital type distribution ecosystem. In 1989 he founded FontShop — one of the first digital font distributors. Over the years he has designed many influential typefaces (or font families / systems) — among them FF Meta, ITC Officina, FF Unit, and corporate or public-system typefaces (signage, wayfinding, corporate identity) for clients like companies, transit authorities, airports. Spiekermann is also an author of influential books and articles on typography, including the widely read Stop Stealing Sheep & find out how type works (original German edition 1982, first English edition 1987). 

Lucas de Groot (b. 1963), a Dutch typographer, studied at the Royal Academy of Fine Arts, the Hague, moved to Berline, working under Erik Spiekermann for a time and left to establish his own firm, FontFabrik, which became LucasFonts. He is especially known for his superfamily Thesis, TheSans, TheSerif, TheMix, TheAntiqua, plus others which is a comprehensive type system. He developed for Microsoft the Calibri and Consolas fonts. He also developed theoretical work on “interpolation” for font design, a method to generate multiple font weights/styles from master designs in a way that preserves optical balance and consistency. 

Akira Kobayashi (b. 1960) is a Japanese typographer known for Avenir Next (with Frutiger), Optima Nova and other Linotype revivals. A central figure at Linotype, Kobayashi has directed many modern reinterpretations of classic typefaces and developed original work widely used in publishing and branding

The Twenty-First Century: Web, UI & Variable Font Era

UI stands for “digital user interface.” A good UI font is known for its legibility, readability and usability. Legibility refers to how well one individual letter or character can be distinguished from another in a typeface.


Legibility is everything, and choosing the right font will significantly impact the overall user experience of your mobile apps. If someone cannot discern between an 0 and an O, or if they’re squinting trying to read a line of text, then it’s a clear sign of incorrect typography. Readability refers to how words and blocks of text are arranged in a design. It’s all about spacing words and sentences to allow the user to easily interpret and understand content in a way that makes sense.


Christian Robertson (b. 1973). Christian completed the BFA program in Graphic Design at Brigham Young University in Provo, UT, and was a partner at Mansfield Design Company in American Fork, UT. He joined Google where he presently works. He is especially known for the Roboto font (2011) and Roboto Slab. He is Google’s flagship system typeface designer.


Roboto was the first typeface was created as the system font for its Android  operating system, and released in 2011. The entire font family has been licensed under the Apache License. In 2014, Roboto was redesigned for Android 5.0. Most variants of Roboto have been licensed or re-licensed under Open Font License —Roboto including the default sans-seriffont), Roboto Condensed,  Roboto Flex,  Roboto Mono,  and Roboto Serif. 

Note that Roboto and Inter are what we call "variable fonts." A variable typeface (or variable font) is a single font file that behaves like many fonts in one. Instead of separate files for RegularBoldCondensedWideLightBlack, etc., a variable typeface contains continuous ranges called axes that allow the designer or user to adjust typography with fine precision. A variable font uses the OpenType Font Variations technology (introduced in 2016). It includes multiple “masters” inside one file and lets you interpolate smoothly between them.


Instead of dozens of static fonts, one variable file reduces page load weight, simplifies family organization, and ensures consistent interpolation across styles. Common axes include weight (wght), from Thin to Black, width (wdth), Condensed to Expanded, optical size (opsz), optimized for small or large text, slant (slnt), italic switching (ital) and grad, indicating stroke contrast or thickness. Some typefaces include custom axes, like serif size, roundness, contrast or ascender length.


Designers use variable typefaces in print materials, fine-tuning weight for better type color on the page, adjusting width for line length control and optical sizing for headings versus captions. In Web formations and UI work, variable type is used for responsive text, accessibility (increasing stroke weight for legibility) and reducing the number of font files loaded. Branding uses include adaptable typographic systems and animated identities.


Rasmus Andersson (b. 1980s) is a Swedish type designer known for the typeface Inter (2017–2020). This face was designed as one of the most popular open-source UI typefaces for contemporary web and app design. Inter is engineered for readability at small sizes on screens. 

Kris Sowersby (b. 1981) is a New Zealander and founder of Klim Type Foundry and one of the most respected designers working today. His work is known for typographic rigor and excellent text faces for editorial environments. He is known for the typefaces Karbon, National, Sohne and Tiempos

Nicole Dotin (b. 1980s) is a partner at Process Type Foundry. She is known for the typefaces Elena, Elena Sans and research-drive faces. Her work is praised for balance, clarity, and nuanced typographic color. Elena is a crisp, modern serif typeface. Designed for extended reading and medium-sized display copy, it avoids the stuffiness of historical text faces and doesn't overreach when it comes to contemporary detailing. It's a balanced, low-contrast typeface with economic proportions and works well in print or on screen. 

Nadine Chahine (b. 1978) is a Lebanese type designer of Arabic type and multiscript typography. Formerly at Linotype; currently at I Love Typography. A major voice in global type design and readability research. She is known for the typefaces Koufiya, Arabic versions of Frutiger, Helvetica and Univers. 

Successful Layout & Design

By Carl Shank April 7, 2026
The King James Bible (KJV), commissioned by King James 1 in 1604 and published in 1611, has been a profound Bible translation and masterpiece of beauty through the ages. It has been one of the most influential English translations of the Bible. Its history combines politics, religion, and literary achievement in early modern England. It has an elevated, poetic style that influenced many later writers. It has been prized for its literary beauty, historical continuity and memorability in public reading and worship (ChatGPT).
By Carl Shank April 6, 2026
Responding to AI and Digital Babylon H. Carl Shank April 4, 2026 Austin Gravley, a former Social Media Manager of The Gospel Coalition, and now the Director of Youth Ministry at Redeemer Christian Church in Amarillo, TX, is writing a book on AI and the digital revolution taking place. He compares this Digital Babylon and its captivity and its exiles to Christians living under the overwhelming influence of an active anti-Christian developing AI. Piecing together his comments with those of many others on the advancing scene of AI on our lives, several themes come to mind. First, AI is not God. While there are some in the Silicon Valley who might wish or see AI as a unifying, ontological force that can shape or rule our lives — the Super Machine —others remind us that this is only technology. And as advanced as AI is and becomes, God is still sovereignly in control of it and our lives. Jason Thacker, professor of philosophy and ethics at Southern Seminary and Boyce College, writes — “We must engage these issues, rather than respond after their effects are widely felt. But we don’t have to face today or tomorrow with fear. God is sovereign and his Word is sufficient for every good work, so we are able to walk with confidence as we apply his Word to these challenges with wisdom and guided by his Spirit.” ( The Age of AI: Artificial Intelligence and the Future of Humanity , Zondervan, 2020) A recent storm that darkened my community and scuttled Internet services reminded me of that. Even AI data centers, growing to over 3,000 in 2025 nationwide, are not immune to power disruptions and total blackouts. AI pundits may claim to have control procedures to keep the Internet and AI running cannot promise it to be so. We need to keep this in mind in the Digital Babylon age, as was needed to be kept in mind by Israel in the Babylonian Empire age in biblical times. Babylon went through many iterations, but will be defeated by God at the end of the day, as noted in Revelation. Digital Babylon will experience the same demise. This is not prediction, just Bible truth. We as believers need to hold on to such truth. Second, AI is still technology. Indeed, advanced and advancing technology, but not human. Matthew Schultz in a recent mereorthodoxy.com article notes— “Technology has existed since the Garden and is an integral component of our cultural mandate. We should also remember that one of the core distinctions between the Creator and his creatures is that we never create matter but merely (!) rearrange it. This becomes clear whether we consider an ancient farmer in Mesopotamia irrigating a plot of soil, a medieval peasant in Northumbria weaving a basket from flax, or a young musician in London taking the raw outputs of machine sound, adjusting its pitch, volume, and length, and incorporating it into a DAW loop. While there are all sorts of important distinctions and qualifications between pre- and post-industrial craft, there is no metaphysical distance between the two.” ( Artificial Intelligence Is A Technology , Feb. 26, 2026). AI may be the harbinger of a new Industrial Age, but though changes will be major and sometimes severe, the human side of the equation cannot be discounted or counted out. Part of my retired status as a pastor and theologian is that of a typographer restoring old type faces and doing a deep dive into the history of type. Two historical typographical truths stand out. Although the Renaissance age brought movable type from Gutenberg and others into the machine age, the typographical flair of those ancient scribes with pen-drawn exquisite type remained a stylistic standard. The second note is that with the Industrial Age, while affecting the quantity and speed of type development and printing, master type craftsmen rebelled against machine driven type for more organic typefaces. This was seen, for instance, in the type movement spawned by William Morris (1834–1896). William Morris was an Arts & Crafts designer who founded the Kelmscott Press (1891), reviving hand craftsmanship in printing. His work influenced the twentieth century private press and type revival movements. Lettering became a vehicle for breaking convention. Led by figures such as Morris, there was a decided reaction against industrialization, seeing machine-made goods as dehumanizing and ugly. Handcraftmanship, honesty in materials and utility fused with beauty made up much of what was called the Arts & Crafts Movement. That movement was rooted in medieval guild ideals and morality in design. (For an expanded history of type development, see “Advances in Typography: A Historical Sketch — Three Parts” in the blogs by CARE Typography, www.caretypography.com , Nov. 8, 2025, Nov. 18, 2025 and Nov. 20, 2025) Third, AI affects everyone everywhere. Austin Gravely, a former Social Media Manager of The Gospel Coalition, raises and answers the query — “’So what?’, you may think. ‘I’m not an Internet technician. I’m not a fan of AI. I’m not planning to change how I use the Internet. Why does any of this matter to me?’ To put it bluntly: you are naive if you think these disruptions won’t directly affect you, or indirectly affect you through the effect they will have on others. If the iPhone, social media, and AI have taught us anything, it is that you are impacted by these events regardless of whether you participate in them or not.” ( The State of the Internet: 2026 , mereorthodoxy.com, March 30, 2026) He goes on to say — “A changing Internet will change you. It will change you in ways you can see and in ways you can’t. It will change those you live with, work with, play with, build with, and fight with. It will change what is possible, probable, permissible, and prohibited in your life, your vocation, your church, your neighborhood, and any other physical space the Internet touches.” I recall my 99 year old mother who passed away a couple of years ago in a nursing facility. She was one of those survivors of the Great Depression and World War Two who dismissed the first moon landing and had her flat screen TV removed from her room for fear the government was watching. She lasted for nine years in the same private room in a modern nursing center. She was attended by doctors and nurses and staff who used AI on their computers and other care devices. She even had a modern digital phone removed from her room and refused to learn it. While she personally rebelled against her AI driven machine age, she could not escape those who used such technology for her care. We cannot isolate ourselves from AI and its advancing development, no matter how isolated we try to be. Fourth, AI can be either a blessing or a curse. Again, Matthew Schultz notes — “Our task is not to develop a unique theology of AI but to catechize our members into a people who can wield this technology without becoming captive to its internal logic. Like alcohol, artificial intelligence will become a test of character, a dangerous good that divides the foolish from the wise.” He says “Yet the greatest danger is both more pervasive and less obvious: AI is much more likely to be deployed as a multiplicative layer that allows ever more efficient micro-targeting of digital services and physical products by industries that already profit from compulsive behavior. The advent of hyper-personalized, real-time engagement strategies will require legislative safeguards, especially if AI leads to video advertisements generated in real time for an exhaustively mapped individual profile.” We must seek to “humanize” AI and employ it “humanly.” We must resist the phenomenological bent toward unbelief in AI development and pressures. We must once again learn to think critically and pervasively and biblically about AI. Our young people must be taught prescriptive critical thinking practices, rather than unwittingly and ignorantly giving in to what their phones and computers spit out. Church and ministry pastors must pastor rather than let AI bots plan, prepare and even give their sermons. We must learn to smartly negotiate with the “Magnificent Seven”— Apple, Microsoft, Alphabet, Amazon, Meta, Nvidia and Tesla — rather than blindly following their lead. Convenience and speed must not be allowed to overtake and overcome careful, sustained and critical thinking and acting. “To give language to this change, we must take the best of Christian thinking regarding the social and political imaginary and apply it to the economic imaginary of life under the glowing shores of Digital Babylon, and that kind of work cannot be done with quick hot takes. It will take slow, deep, and thoughtful meditation to apply the riches of Christian thought to making sense of the companies that got us here and where they are taking us.” (Austin Gravley, The State of The Internet: 2026 ) I am both excited and wary of AI. I have learned to be much more cautious about social media and the videos and photos and information they give. Much of it has been and is being AI produced and tweaked. Spammers use AI technology to wrest thousands of dollars from unsuspecting senior citizens. Schools are requiring students to turn off their cell phones or “bag” them until after school hours because of the insidious nature of AI generated stuff. I value more and more of a face-to-face approach in teaching and learning and mentoring others. And we must adopt a state of “believing is seeing” rather than a non-Christian scientifically sanctioned “seeing is believing” approach to truth and justice.
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