fonts.com blog
Archive for July, 2010

by Allan Haley

Comic Sans™ is the “smiley face” of type. It’s cute, overused, and pretty much hated by the cognoscenti of graphic communication. While I’m reasonably sophisticated when it comes to type, I don’t hate the little guy. I do think, however, that it’s about time to move on and find a new typeface that is friendly, and maybe charming, but that does its job without upsetting typophiles.

Which is why last week’s announcement about the availability of a “brand new version” of Comic Sans with italic designs and a bevy of ligatures, swash and alternate characters smacks of trying to make a silk purse out of, well, something that it is not.

Comic Sans was never intended for greatness – or to spark controversy. (Some people actually love the typeface.) It was ushered into the world of fonts as a support character for a Windows® application that had a need for type in speech bubbles. From there it was picked up as part of a package of fonts offered with the Windows 95 operating system and eventually fell in with the other Windows default fonts. Comic Sans has tumbled through life performing with loyal service when called upon.

The new, tarted up, Comic Sans was announced, along with ten other new fonts, with “enhanced OpenType features that showcase the advanced typographic features new to Microsoft Word 2010 and Microsoft Publisher 2010.” Comic Sans with ligatures and swash characters?  A really “brand new” design surely would be more appreciated by type users than a remake of something that does not need it. (Talk about answering the question that no one asked…)

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.



by admin

Nadine Chahine discusses her proudest achievements, favorite typefaces, sources of inspiration, web fonts and the future of typography.


by Allan Haley

Two graphic designers, Matthew Robinson and Tom Wrigglesworth, decided that they wanted to find out which typeface was the most “earth friendly.” Their collaboration, called “Measuring Type,” took several popular typefaces and determined how much printer ink each consumed.

I’m suspect.

The study involved the Brush Script™, Comic Sans®, Cooper Black, Courier, Garamond, Helvetica®, Impact and Times New Roman® typefaces. The comparison was supposedly done by drawing out large-scale renditions of the typefaces using ballpoint pens, “allowing the remaining ink levels to display the ink efficiency of each typeface.”

Cute concept, but not exactly scientific. First, drawing a rendition of a typeface is not an accurate way to determine how much ink the actual typeface consumes. Second, if you’ve used a ballpoint pen, you know that you can do an awful lot of writing (certainly more than a half-dozen big letters) before any appreciable loss of ink is noticeable.

Then, there are the results. According to the study, Garamond used the least amount of ink, followed by Courier, Brush Script, Times New Roman and then Helvetica. Comic Sans, Cooper Black and Impact were deemed the ink-gluttons of the pack.

While I’m sure that Robinson and Wrigglesworth had the best of intentions with their study, it also ignores one of the main tenets of typographic communication: legibility. As I wrote in an earlier post, legibility is measure of how easy it is to distinguish one letter from another – a pretty important aspect when it comes to reading.

Garamond is generally considered to be a very legible typeface. Courier, because of its mono-width letters, however, is not. It is also less legible than the fourth place Times New Roman and the fifth place Helvetica. Because it is a script, the same holds true for the third place Brush Script.

If you want to save ink, the results of the Measuring Type study may be helpful. If, however, your goal is to make it easy for your readers to assimilate your content the study is a few points short of an em-quad.

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.



by admin

Akira Kobayashi discusses his proudest achievements, favorite typefaces, sources of inspiration, web fonts and the future of typography.

Great type makes sites stand out