Type Representatives

The Font Bureau, Inc. established 1989 by Roger Black and Davide Berlow. They combined their talents of publication design and type design to focus on the design of newspapers and magazines. The foundry’s output has ballooned to more than 1,500 typefaces today.
On the retail side, Font Bureau boasts an extensive and well-rounded collection of typefaces and type families from traditional serifs to dingbats; proprietary work is added to the growing list upon expiraiton of its exclusivity.
Font Bureau has fonts such as:
Garamond was commissioned for a Traveler magazine by Conde Nast. Douglas Crawford McMurtrie, type historian, and type designer Robert Hunter Middleton collaborated at Ludlow in 1929 to design a light oldstyle roman and italic, then released them light-heartedly under the name of “Garamond”. Jill Pichotta digitized them both, adding additional weihts with italics to the series. Graffiti designed by Leslie Cabarga in the late seventies. He collected samples of writing from walls across New York City in search for common trends in style to unite the otherwise conflicting energy of the graffiti. The designs were unused for ten years until Macintosh provided a tool to create a coherent typeface.
Pouty: Commercial lettering artist Michael Clark found that italics and light classical scripts, in their many forms, were more popular for his purposes than more formal styles. A light chancery, the fifteenth-century writing hand of the Vatican, Pouty is accompanied by a set of ligatures and alternate characters that complement a sweetly elegant cursive. Named for his daughter Jennifer, this script offers such an opportunity; FB 2000
(Pouty) (example of work)

FontShop International
Founded in 1989 by Jan Spiekermann and Erik Spiekermann FontShop International (FSI) was the first mail-order distributor of digital fonts. Since its launch, a handful of independent FontShops around the world license the premise from FSI. Although one of their main objectives was to nurture and grow the FontFont foundry-established in 1990 by the Spiekermanns along with Neville Brody-FontShop retails fonts from more than 50 other foundries around the world. In addition, FSI provides a range of publications for designers: in 1991, FontShop published the first editoin of FontBook, a massice sampler and reference guide of digital typefaces; in 2001 it began publishing Font, a print publication on typography and design from 1990 to 2000, it published the experiemental FUSE magazine and accompanying fonts, sponsoring the namesake conferences in 1995 and 1998.
The company created fonts such as; Breuer, Novel, Maurea, Photina, Beton, and Solaris. Those are some of the most popular fonts used. They carry thousands of founts from both major vendors and indie foundries. It is carefully selected for technical and design quality.
(Novel)
(Maurea)
(Breuer)
Christian Schwartz
FontHaus released Christian Schwartz’s first typeface, Flywheel, in 1992 when he was only 14 years old. A design graduate from Carnegie Mellon University, Schwartz briefly worked at MetaDesign in Berlin and Font Bureau in Boston, Massachusetts, before venturing forth as a freelance type designer in 2001. Thriving on collaborative work, Schwartz then partnered with Roger Black to create type families for the Houston Chronicle (2003) and with Paul Barnes for The Guardian (2005), as well as his previous boss, Erik Spiekermann, on corporate faces for Bosch (2004) and Deutsche Bahn (2005). While working onthese proprioetary type families, Schwartz aslo worked independently on typefaces he released through FontFont, Village, Emigre, and House Industries. In 2006 he established Schwartzco, Inc., a studio and foundry, where his reputation for speed and attention to detail continue to thrive in his personal work and evolving partnership. His website has a list of each typeface he created at each company. One of his fonts that I personally like is Giorgio Sans. It was commissioned by Chris Martinez at T, the New York Times sunday style magazine. Schwartz was awarded the prestigious Prix Charles Peignot in 2007, given every four or five years to a designer under 35 who has made "an outstanding contribution to the field of type design" by the Association Typographique Internationale.
The first set is "Stag" 2005-2008. Commissioned by David Curcurito and Darhil Crooks at Esquire. Thin Dot and Bold Dot commissioned by Benjamen Purvis at Las Vegas Weekly.
The second image shows "Giorgio sans" 2009. Commissioned by Chris Martinez at T, the New York Times Sunday style magazine. Available directly from Commercial Type and soon through Village.