Interstate Typeface Book Project

INTERSTATE Tobias Frere–Jones

INTERSTATE Tobias Frere–Jones

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Interstate Efficient and gruff, Interstate has become a favorite for branding, packaging, publications, and more. The family is a reinterpretation of Highway Gothic, which has been the official typeface for American highway signage for decades. Its design is ultimately based on signage alphabets developed in the late 1940s by Dr. Theodore Forbes, assisted by J.E. Penton and E.E. Radek. The family was expanded to include full supportfor Central and Eastern Europe languages, as well as Cyrillic and Greek. — Adobe Fonts (fonts.adobe.com)

Tobias Frere–Jones Frere-Jones Type is an independent type design practice in New York City, founded and led by Tobias Frere-Jones. With twenty-six years of experience in print and digital environments, we create original typefaces for retail licensing and client commissions. We believe that type exists to solve problems, and beauty is always part of the solution. — Adobe Fonts (fonts.adobe.com)

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Hairline

Hairline Italic

Thin

Thin Italic

Extra Light

Extra Light Italic

Light

Light Italic

Italic

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Bold

Bold Italic

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Black Italic

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Ultra Black Italic

Interstate Interstate Interstate Interstate Interstate Interstate Interstate Interstate Interstate Interstate Interstate Interstate Interstate Interstate Interstate Interstate

White on Color

Interstate Highway

Interstate Ultra Black 16pt

As on a crowded Interstate the drivers in boredom or irritation speed ahead or lag (taken with suddenenthusiasms for seventy-five), surging ahead a little by weaving between lanes but still staying pretty much even, so too the seeker in language ranges ahead and behind--exiting and rejoininga rushing multitude so closely linked that, if seen from above, from the height of the jet now descending, we present onestasis of lights: feeling our freedom thoughwhen seen from above, in the deepening twilight, the pattern we bead is constant.

So we have traveled in time, lying down and waking together, moved illusions, each cubicle withtables and chairs, beds where our cries arose lost in the surging engines.

Interstate Extra Light 9pt

Yet the roomlight where we made our love still cubes us in amber. Out of the averaginglikeness, Pavlovian salivation at the bellof a nipple, our lives extract their time-thread, our gospel-truth. While Holiday Inn and Exxon populate the stretch between Washington and Richmond with lights, I rewrite our pasts in this present: recalling your waking, dear wife, to find a nipple rosier, we not yet thinking a child though impossibly guessing her features the feathery, minutely combed lashes the tiny perfect nails, though not yet the many later trees at Christmas. NowI know only backwardly, inscribing these signings that fade as the ink dries.

Interstate Italic 6pt

Remembering the graphlike beading of darkness,I recall the ways that time once gave us travelers, heavy with ourselves defining the gift that bodies carry, lighting the one, inner room, womb forour daughter. Seeing from above, I read this love our child embodies.

— James Applewhite, 1935

Black on White

Interstate Bold 12pt

Interstate Highway As on a crowded Interstate the drivers in boredom or irritation speed ahead or lag (taken with suddenenthusiasms for seventy-five), surging ahead a little by weaving between lanes but still staying pretty much even, so too the seeker in language ranges ahead and behind--exiting and rejoininga rushing multitude so closely linked that, if seen from above, from the height of the jet now descending, we present one stasis of lights: feeling our freedom though when seen from above, in the deepening twilight, the pattern we bead is constant.

Interstate Thin 8pt

So we have traveled in time, lying down and waking together, moved illusions, each cubicle withtables and chairs, beds where our cries arose lost in the surging engines.

Yet the roomlight where we made our love still cubes us in amber. Out of the averaging likeness, Pavlovian salivation at the bell of a nipple, our lives extract their

time-thread, our gospel-truth. While Holiday Inn and Exxon populate the stretch between Washington and Richmond with lights, I rewrite our pasts in this present: recalling your waking, dear wife, to find a nipple rosier, we not yet thinking a child though impossibly guessing her features the feathery, minutely combed lashes the tiny perfect nails, though not yet the many later trees at Christmas. Now I know only backwardly, inscribing these signings that fade as the ink dries.

Remembering the graphlike beading of darkness,I recall the ways that time once gave us-travelers, heavy with ourselves defining the gift that bodies carry, lighting the one, inner room, womb for our daughter. Seeing from above, I read this love our child embodies.

— James Applewhite, 1935

Interstate Light 7pt

Header

Subheader

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Interstate Ultra Black 72pt

Interstate Bold 30pt

Interstate Regular 10pt

Interstate Light 8pt

Interstate Bold 48pt

Interstate Italic 23pt

Interstate Thin 10pt

Interstate Ultra Light 9pt

Header

Interstate Regular 30pt

Subheader

Interstate Light 14pt

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Interstate Extra Light 8pt

Interstate Hairline t 10pt

Why is typography important?

Typography is so much more than just choosing beautiful fonts: it’s a vital component of user interface design. Good typography will establish a strong visual hierarchy, provide a graphic balance to the website, and set the product’s overall tone. Typography should guide and inform your users, optimize readability and accessibility, and ensure an excellent user experience.Let’s delve a little deeper into why typography is so important.

Typography builds brand recognition Not only will good typography enhance the website’s personality, but your users will subliminally begin to associate the typeface featured on your site with your brand.

Unique, consistent typography will help you establish a strong user following, build trust with your users, and help to carry your brand forward.

Typography influences decision making Typography has a profound effect on the way that users digest and perceive the information conveyed by the text.Eye-catching type is much more persuasive than weak fonts that don’t reinforce the message of the text.

Typography holds the attention of the readers Good typography could be the difference between someone staying on your website for one minute or half an hour.It’s important that your website is visually stimulating and memorable, and typography plays a huge role in this process — By Jaye Hannah, CareerFoundry.com

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Interstate by Tobias Frere–Jones Type Specimin Booklet by Era Mahoney Academy of Art University Type Compositions // Spring 2023

I nterstate I N terstate InTerstate Int E rstate Inte R state Inter S tate IntersTate Interst A te InterstaTe Interstat E

Interstate is based on the font colloquially known as Highway Gothic, the official typeface of the American Federal Highway Administration, designed by Ted Forbes in 1949. Forbes was an engineer not a typographer, and the letterforms in the original Highway Gothic typeface are quirky—the awkward and incongruous descender of the lowercase g is a good example. "It's very American in that way—just smash it together and get it up there," Frere-Jones has said of Highway Gothic. Interstate was carefully designed as homage to Highway Gothic, its naïveté intentional. Interstate has a familiar and recognizable feel, conveying the aesthetic of the American road and the excitement associated with the new interstate highway system of the Eisenhower era. —MoMA.org

Ty p e S p e c i m i n B o o k l e t D e s i g n e d b y E r a M a h o n e y