Age, Biography and Wiki

Tobias Frere-Jones was born on 28 August, 1970 in New York City, New York, US, is an American type designer (born 1970). Discover Tobias Frere-Jones's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 53 years old?

Popular As N/A
Occupation Type designer
Age 53 years old
Zodiac Sign Virgo
Born 28 August 1970
Birthday 28 August
Birthplace New York City, New York, US
Nationality United States

We recommend you to check the complete list of Famous People born on 28 August. He is a member of famous designer with the age 53 years old group.

Tobias Frere-Jones Height, Weight & Measurements

At 53 years old, Tobias Frere-Jones height not available right now. We will update Tobias Frere-Jones's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
Body Measurements Not Available
Eye Color Not Available
Hair Color Not Available

Who Is Tobias Frere-Jones's Wife?

His wife is Christine Annabelle Bateup (m. 2006)

Family
Parents Not Available
Wife Christine Annabelle Bateup (m. 2006)
Sibling Not Available
Children Not Available

Tobias Frere-Jones Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Tobias Frere-Jones worth at the age of 53 years old? Tobias Frere-Jones’s income source is mostly from being a successful designer. He is from United States. We have estimated Tobias Frere-Jones's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income designer

Tobias Frere-Jones Social Network

Instagram Tobias Frere-Jones Instagram
Linkedin
Twitter Tobias Frere-Jones Twitter
Facebook
Wikipedia Tobias Frere-Jones Wikipedia
Imdb

Timeline

1970

Tobias Frere-Jones (born Tobias Edgar Mallory Jones, August 28, 1970) is an American type designer who works in New York City.

He operates the company Frere-Jones Type and teaches typeface design at the Yale School of Art MFA program.

1990

Several of Frere-Jones' designs in the 1990s, notably Reactor, were highly expressive in the "grunge typography" style of the period; some were created for Neville Brody.

1992

After receiving a BFA in 1992 from Rhode Island School of Design, Frere-Jones joined Font Bureau in Boston, becoming Senior Designer.

He created a number of the typefaces that are Font Bureau's best known, among them Interstate.

1994

However, he commented in a 1994 article that "grunge has firmly dated itself and many are already tired of it."

1996

He joined the Yale School of Art faculty in 1996, and teaches type design there alongside Matthew Carter and Nina Stössinger.

1999

In 1999, he left Font Bureau to return to New York, where he began working with the company of Jonathan Hoefler, renamed Hoefler & Frere-Jones in 2005.

While working together, the two collaborated on projects for The Wall Street Journal, Martha Stewart Living, Nike, Pentagram, GQ, Esquire, The New Times, Business 2.0, and The New York Times Magazine.

2006

In 2006, Frere-Jones received the Gerrit Noordzij Prize, an award given by the Royal Academy of Art (The Hague) to honor innovations in type design.

Frere-Jones married Christine Annabelle Bateup in 2006.

2008

Among his typefaces are Gotham which was used by the Obama 2008 presidential campaign, and Archer which has been used by Martha Stewart Living and Wells Fargo.

Frere-Jones grew up in Brooklyn and became interested in letter design while attending Saint Ann's School.

He is a son of Robin Carpenter Jones, who wrote for advertising agencies, and his British wife, the former Elizabeth Frere, daughter of Alexander Stuart Frere.

His brother is music critic Sasha Frere-Jones and his great-grandfather was writer Edgar Wallace.

2012

A 2012 review by Christopher Hamamoto described Frere-Jones' later work as generally based on "formality and practicality", and a Businessweek article commented that Frere-Jones' later type design generally preferred "a cleaner style based on historic typefaces".

Frere-Jones' popular font family Gotham was based on lettering on New York public buildings, and his later sans-serif family Mallory was intended to be conceptually "autobiographical", referring to his British family and intended to amalgamate characteristics of British and American typography.

In a podcast interview, Frere-Jones described his order of work:"I think of a typeface's design as being less about the specific letters. It doesn't begin with thinking that the bowl on the lower-case 'g' ought to look like this, or the tail on the 'q' ought to do this…it's more about the theme that runs through all these shapes, the kind of strategy that helps them work with one another…I think secondly, for a typeface designer the alphabet is not a linear sequence…it's a bunch of, almost like little tribes of, like-minded things...the first three letters that we often draw are the capital 'H', as a representative from the camp of square things, the capital 'O', as obviously something round, and then the capital 'D', as something that's a kind of hybrid form. And just in those three letters there are all kinds of decisions to make about how heavy things are, how much contrast they have and the difference between heavy and light within a single shape, how wide they are.

If there are serifs in there, what kind of shape and length that they have, and also how much space is allotted to each side of these shapes.

Because that's a really critical part of making a typeface work, is not just drawing the shapes but drawing and designing the space in between the shapes, and also inside them.

So it's not uncommon to spend the whole day or several days on just these first three letters and to come back to these first three letters and try something differently and see what the implications are.

That would often be followed by a corresponding trio of letters in the lower-case…'n', 'o' and 'p', the same idea of something square, something round, something mixed.

And after those three get coordinated with each other, it's then time to get the caps to work in some consistent way with the lower-case…and then from there I build out the character sets on the lines of these initial camps of square and round and diagonal…I try to get onscreen as soon as possible because so much of the strategy and so much of the success of the design is in how successfully these shapes can combine with one another, and if they're digital I can rearrange these shapes in any order."

2013

In 2013 he received the AIGA Medal and won the National Design Award for Communication Design from the Cooper Hewitt, Smithsonian Design Museum in 2019.

2014

In 2014 Frere-Jones ended his work with Hoefler and filed a lawsuit against him which was resolved in an out-of-court settlement later that year.

In 2014 German type designer Erik Spiekermann, who published Frere-Jones' first typeface, described him as "one of the two or three best type designers in the world".

Tobias Frere-Jones' typefaces include:

2015

He then established his own company, Frere-Jones Type, which released its first retail family, Mallory, in 2015.

2019

Many of Frere-Jones' typefaces are extremely large families designed for professional users, for instance Mallory which as of 2019 had 110 styles.

Organisations that commissioned work from Frere-Jones have included GQ magazine, the Whitney Museum, The Wall Street Journal, Martha Stewart Living and the Essex Market.