Type is ubiquitous.
Type Associates designs beautiful, functional typefaces for use in print and on the web.
The current library of 40 font families, comprising 132 fonts, includes popular revivals of old foundry fonts, hand lettered poster styles and scripts, modern sans and serif styles, as well as favourites from our early days in headline typesetting. The library is available through the major font vendors: MyFonts.com, Monotype Imaging, Linotype, Fontspring Paratype and You Work For Them.
In addition to its “off-the-shelf” library, Type Associates also consults directly to designers, advertising agencies, publishers and other print professionals to meet their bespoke requirements. With more than 25 years experience in the digital arena and nearly 50 years in the analog field, we can assure our customers a wealth of experience no matter what their font needs. Look at Type Associates’ Fonts.
Type Associates’ principal is Russell Bean, a typography professional who started his career at an early age in an advertising agency as production junior whilst studying publication typography, hand lettering and illustration at evening college.
Upon grasping a handle on print and press production and finished art procedures from the agency’s artist and production manager his next career move came as the art director for a group of regional stores within an electrical appliance chain designing ads and managing type specs and images.
This was followed by management of the “cold type” or headline division of a trade typesetting house. Still in his early twenties it was during this time that he designed his five weight Virginia family which won the inaugural Lettergraphics International Typeface Design Competition and a job in their Los Angeles studios.
As film font producer and chief lettering artist this was a great opportunity to rub shoulders with some of LA’s advertising nobility: people like Saul Bass, Gary Burden, David Geffen and the cream of the music and movie scenes soon came knocking on the door. Lettering projects included album covers for famous groups: The Eagles, America, Crosby Stills Nash & Young, The Doors, singers Jackson Browne, Neil Young and Frank Zappa. One memorable project was an outdoor poster displayed above a record store on Hollywood’s Sunset Boulevard for Diana Ross.
His foray in sunny Southern California, was followed by a return to his home town of Sydney, Australia to resume his previous position as manager of the trade typesetting house.
With the kudos of his US trip fresh in the minds of Sydney’s creatives, he soon teamed up with a long time client to form a headline setting and production studio catering for a large slice of Sydney’s advertising agencies, publishers and designers.
After several successful years the partners went their separate ways – Russell continued with the headline service and eventually acquired a small, fully staffed and functioning electronic typesetting firm and added full production art services.
The success of his typesetting studio was rewarded with positions on the executive committees of the Australian Type Directors Club and its successor – the Australian Graphic Design Association.
The introduction of the Macintosh gradually saw clients becoming competitors and the studio faltered. But Russell could see the future role that the Mac would play in his career and determined that his path could not exclude it. One day a colleague presented him with a beta release of Altsys Fontographer and he set about the steep learning curve that was to follow, designing typefaces and converting some of the collected archive of headline faces to Postscript fonts.
Following a brief excursion to Hong Kong where he managed the production facility of a Japanese font maker, Russell started another studio providing digital printing, inkjet output and other graphic services from a shop-front on the Sydney city fringe.
This was the time to step up to FontLab and his font production went full tilt submitting his growing library of fonts to the world’s major vendors.
The rest is history.