fonts.com blog
Archive for March, 2011

by Allan Haley

“I would describe the Harmonia Sans™ typeface as a contemporary approach to the geometric sans genre,” says type designer Jim Wasco about his most recent release. “The family contains a broad range of weights, widths, and language support, which makes it an excellent solution for just about any design project.”

Indeed, many of the sales of the typeface, made available just a few months ago, have been for the complete family. As a special offer endorsed by Wasco, two fonts from the Harmonia Sans family will be given away in the month of March with any purchase of fonts from Fonts.com.

Traditionally, Fonts.com has given away a free font with purchases – but never two fonts, and never fonts from a brand new design. This is a pretty special gift of a very special typeface. With the purchase of any other fonts, semi bold and semi bold Italic OpenType™ fonts of the Harmonia Sans family will be automatically added – at no charge – to your shopping cart.

The complete Harmonia Sans family includes a total of 17 typefaces. Each of the five weights‚ ranging from light to black‚ has a companion cursive Italic. In addition‚ Wasco has drawn condensed designs for the regular‚ semi bold and bold weights. He has also designed four monospaced faces. The proportional weights are available as a suite of OpenType Pro fonts‚ allowing for the automatic insertion of old style figures‚ arbitrary fractions‚ tabular figures‚ proportional figures‚ discretionary ligatures and stylistic alternates. OpenType Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages.

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 Johnathan Zsittnik

On its website, the Delta Faucet Company states goals of pairing thoughtful features that will delight the customer with beautiful, inspirational design. While the company certainly had its premium line of elegant and functional faucets in line when setting these lofty goals, Delta Faucet also delivers on these aspirations on deltafaucet.com.

Beautiful photography and video clips showcase the company’s catalog of kitchen and bathroom hardware while Web fonts are used to present the text. Copy flows through the Trade Gothic® typeface family, appropriately lending a modern industrial touch to the text.

Delta Faucet website

Johnathan Zsittnik
Johnathan Zsittnik is the eCommerce Marketing Manager at Monotype Imaging. Johnathan holds both a bachelor’s degree in marketing and a master’s degree in business administration from Bentley University.



by Julie Strawson

Brand managers tell us the ideal scenario for a brand is to deploy consistent, pristine communications across all media: print, Web, mobile, TV, even into the home. But there are so many challenges for a brand to overcome to deliver a seamless journey that few are succeeding at present.

Once print was the principle platform to design for. Brand guidelines were created based on the requirements for printed material.  Now there are a plethora of digital platforms, browsers, tools and display formats and a different technical design ecosystem combining graphic designers, user experience designers and developers with little guidance on how to interpret their brand in these environments.

Reading Vincent Steer’s book Printing Design and Layout (first edition circa 1934) it strikes me that we’re at a similar inflexion point in the type industry now as it was then. In the 1930s competitive forces in the publishing industry and the growth of the advertising industry led to increased demand for different typeface designs. Printing technology demanded close attention to the then new art of typography to produce effective communications and increase sales.

The role of a typographer is to layout the message for optimum performance depending on the printing platform being used and the nature of the communication.

Today we have many different digital platforms to deal with and few typographers in the mix creating content. Achieving interactivity with a customer depends a lot on the discipline of typography.

Since font provision and support for typography varies so much on digital platforms taking brand typography forward is in itself a challenge. Web fonts have freed brands from the tyranny of system fonts giving yet system fonts still rule the fragmented mobile world.

While scratching the surface of the mobile market with the iPhone® device is relatively simple, capitalizing on the remaining 90 percent of the opportunity requires meticulous attention to detail in terms of planning language support and QA. It needs a truly global approach to development that begins with a consideration for typographic performance at the very start of a project, in the brand manager’s office, to be successful.

In the home, too, white goods are becoming the deepest consumer touch points yet. Whether deploying a digital user guide or relaying the latest TV commercial, there’s another opportunity here to delight and engage customers using light, on-brand content.

When considering brand consistency, consider all your touch points not each one in isolation.