“In 1998, Tobias Frere-Jones designed Grand Central
for 212 Associates from late-’20s capitals hand-painted on the
walls of Grand Central Station. The design is a distinguished Beaux
Arts descendant of the great French Oldstyle originated by Louis
Perrin in Lyons [sic] in 1846, known across Europe as
Elzevir and in the United States as De
Vinne. Lettering from different areas was combined for
Light; Bold was designed for more distant signs. —Font Bureau,
2000.
“[D]esigned during the renovation of Grand Central Terminal to
keep new signage in harmony with the existing American beaux-arts
lettering style and also comply with the Americans with
Disabilities Act of 1990.” –
Cooper More…
“In 1998, Tobias Frere-Jones designed Grand Central for 212 Associates from late-’20s capitals hand-painted on the walls of Grand Central Station. The design is a distinguished Beaux Arts descendant of the great French Oldstyle originated by Louis Perrin in Lyons [sic] in 1846, known across Europe as Elzevir and in the United States as De Vinne. Lettering from different areas was combined for Light; Bold was designed for more distant signs. —Font Bureau, 2000.
“[D]esigned during the renovation of Grand Central Terminal to keep new signage in harmony with the existing American beaux-arts lettering style and also comply with the Americans with Disabilities Act of 1990.” – Cooper Hewitt
Transferred from Font Bureau to Frere-Jones Type in 2020; available directly from Frere-Jones Type starting in 2025.
