Archive for June, 2011

by Allan Haley

Herb Lubalin’s name is missing from the masthead of U&lc Volume Nine. He art directed all the previous issues up through the first in Volume Eight and lent a hand with the second – but passed away while it was being printed. Lubalin was a brilliant, iconoclastic advertising art director. Typography was always at the center of his work. It is where you start with Lubalin and what you eventually come back to. “Typography,” however, is not a word Lubalin thought should be applied to his work.

“What I do is not really typography,” he said. “I think of typography as an essentially mechanical means of putting characters down on a page. I design with letters. Aaron Burns calls it, ‘typographics,’ and since you’ve got to put a name on things to make them memorable, ‘typographics’ is as good a name as any for what I do.”

Lubalin was followed by a series of luminary “guest” designers who built on his powerful foundation, adding their own chapters to the story of U&lc. B. Martin (Marty, to friends) Pedersen was the first. His design brought newfound grace and elegance to the pages of U&lc. Pedersen also used color for the first time in the publication. It’s pretty amazing, when you think about it, that a publication about type, typography, calligraphy, photography and illustration could get by for eight years just printed in black and white. The cost of color printing was the obstacle, but as more and more articles cried out for color, aesthetics (and the persistence of Pedersen) won out in Volume Nine Number One.

Pedersen’s feature article “The Dream of Flying,” in Volume Nine Number One, is a design and typographic tour de force. If you look at no other article in the four issues of Volume Nine, spend some time with this one.

Four typeface families were also announced in the pages of Volume Nine: the ITC Cushing™, ITC Modern No. 216™, ITC New Baskerville® and ITC Caslon No. 224™ designs. ITC Cushing and ITC Modern No. 216™ are revivals of early twentieth century typefaces, the former from American Type Founders and the latter from the British foundry, Stephenson Blake. ITC New Baskerville was originally a Linotype® typeface but was licensed to ITC on an exclusive basis, and ITC Caslon No. 224 was designed as a text companion to the very successful ITC LSC Caslon No. 223™ display design.

Click the PDFs below to find out what else was in U&lc Volume Nine.

Low Resolution:

Volume 9–1 (Low Res).pdf (13.9 MB)

Volume 9–2 (Low Res).pdf (15.3 MB)

Volume 9–3 (Low Res).pdf (14.8 MB)

Volume 9–4 (Low Res).pdf (15.9 MB)

High Resolution:

Volume 9–1.pdf (72.9 MB)

Volume 9–2.pdf (74.0 MB)

Volume 9–3.pdf (72.7 MB)

Volume 9–4.pdf (73.3 MB)

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

The Powerade® line of sports drinks is designed to hydrate and refuel your body and keep you performing at your best for longer. In addition to highlighting the brand’s line of beverages, Powerade’s UK website provides an informative series of hydration guidelines to consider when exercising.

The site gets a lift from British track and field athlete and Powerade “Ambassador” Jessica Ennis. Web fonts also play a starring role in the site. Headlines are refreshing thanks to a glow effect and the DIN 1451 Engschrift™ design. The type looks great, but between us, we think they should have considered the Quench™ typeface.

Powerade UK site using Web fonts


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 Vikki Quick

The New York arm of The Brand Perfect™ Tour is taking place on June 22 at The Ney Center at Young & Rubicam Group, 285 Madison Avenue, from 8:30 a.m. to 5 p.m.  Launched in May, The Brand Perfect Tour is a series of global forums hosted in London, then Munich and now in New York City, which bring together brands, brand managers, directors, designers and developers in a unique exchange of communication and discovery. The Brand Perfect Tour is not a singular company, a specific brand, or any one profession or organization – it’s ALL of that. It’s an open exchange of ideas, strategies, processes and technologies designed to improve brand consistency and the user experience in the rapidly evolving digital landscape.  

Join us in New York to share knowledge and discuss the collective challenges of building, maintaining, growing and delivering a unified customer experience. A task made increasingly more complex and demanding by real-time technological advances, multi-channel interactions and the unpredictable fluidity in consumer trends and “click-thru” behavior.

More information on the event and speakers can be found here. Reservations for the Brand Perfect Tour can be made at

Speakers include:

Chuck Bigelow, Rochester Institute of Technology

Dan Rhatigan, Senior Type Designer

Dennis Michael Dimos, Monotype Imaging

Doug Wilson, Film Director

John Oswald, Fjord

Julie Strawson, Monotype Imaging

Lee Aldridge, Young & Rubicam Group

Paul Owen, Landor Associates, New York

Rietje Gieskes, Landor Associates, New York

Steve Matteson, Monotype Imaging

Mike Lundgren, VML

by Johnathan Zsittnik

Join us for a casual evening of drinks and typographic talk next week in Chicago. Meet the Monotype Imaging team of typographic aficionados (Spanish for font geeks) for informal conversation about Web fonts, font management and new typeface releases. We’ll be at Sweetwater Tavern & Grill at 8:00 p.m. on Saturday, June 25.

Sweetwater is just blocks from the HOW Design Live Conference where we’ll also be exhibiting and presenting three sessions. Conference badges are not required, so feel free to drop by even if you’re not attending the show. How will you know who we are? Just look for the most attractive people in the bar! We’ll be right next to them, chatting them up on the latest slab serif released to the Linotype® library. While your there, be sure to request a Monotyp-ini. Or try an ITC-breeze. Or how ’bout a Text on the Beach? See you there!

Sweetwater Tavern & Grill
225 North Michigan Avenue
Chicago, IL 60601
(312) 698‑7111

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 Bill Davis

It was 100 years ago that Monotype introduced its first custom font, and 100 years later as Monotype Imaging, we remain actively involved in the design and development of custom and bespoke fonts for a wide range of clients!

Veronese - Monotype's first custom font produced in 1911Veronese, Monotype’s first custom font

In 1911, Monotype introduced the font “Veronese” at the request of the publisher J.M. Dent & Sons Ltd. Veronese was a Venetian style serif typeface drawn in the spirit of William Morris’s version of Nicolas Jenson’s fifteenth-century roman type known as Italian Old Style. The Veronese custom font was first used for a limited edition book of Lorenzo de Medici’s poems printed by Ballantyne Press for Dent in 1912. This was the first of many custom typefaces designed by Monotype for use with its hot metal typecasting machines to address the needs of its customers.

Custom and bespoke fonts by Monotype Imaging for The Daily Telegraph and Waitrose

Even though technology has changed dramatically over the past century, our rich tradition of designing custom fonts remains vibrant. Today the Monotype Imaging team of talented type designers and font software engineers are actively creating a wide range of custom fonts for use in printed publications, corporate branding, on-screen reading, software applications and hardware devices.

Droid and Xbox Custom and bespoke fonts by Monotype Imaging

You can find examples of Monotype Imaging’s custom font development efforts in everything from mobile phones and e-reading devices to airport check-in terminals, publications and product packaging. We have helped customers solve a gamut of challenges, from extending the language support in existing fonts to creating entirely new font families and then tuning them for crisp display in everything from PowerPoint® slide shows to websites and product user interfaces.

Goodyear Custom Fonts

One recent project that we had fun working on was a custom font for Goodyear. The Monotype team worked with GSD&M, an Austin, TX based advertising agency to develop a full alphabet based on the letterforms in the iconic Goodyear logo. This custom font was used in the new Goodyear “More Driven” campaign and saved countless hours of hand lettering by the agency. The custom Goodyear font was used in engaging way with simple, bold statements over aggressive imagery with Goodyear® tires put to the test in a variety of situations.

Read more about Monotype Imaging’s custom font services.

by Ed Platz

On May 31, Drupal Gardens announced support for Web Fonts. This instantly gives all Drupal Gardens site owners free access to more than 3,000 high-quality Web fonts. Use them to make your site classy – or sassy! In this entry, I’ll show you how.

For starters, you must enable the “Font management” module. Do this by selecting “Modules” and scrolling down to the “Other” group. Find “Font management,” check its box, and click the “Save configuration” button:

Enabling the Font Management module

Select “Configuration” and now you’ll find “Font management” in the User Interface section:

Drupal Gardens Font Management Configuration Entry

Next you register – or authenticate – your Web Fonts account. Don’t have one yet? Not a problem. The message below the text box explains where to find your key once you’ve set yourself set up with a free account. It even provides a handy link to Web Fonts site where you can create your account.

If you’re new to Web Fonts, setting up a project is as easy as 1–2-3:
1.    Create a new project, name it after your site, and enter your site’s domain.
2.    Choose the fonts you want to use and add them to your project.
3.    Publish your project by following the instructions that pop up. Easy!

OK, back to Drupal Gardens. Once you’ve entered your authentication key, your newly created project will show up in the drop-down list. Select the project associated with your Drupal Gardens site (I cleverly named mine DrupalGardens), make sure the “Enable Web Fonts” checkbox is checked, and hit the “Save Configuration” button.

Drupal Gardens Web Fonts Config

Sweet! Now when you are editing your pages and you’re in the Appearance > Styles > Font screen, the Font list box will contain your selected fonts. Assign them to your elements, publish, and let the compliments roll in!

Drupal Gardens font list with Web Fonts

by Chris Roberts

It’s that time again. Here’s a ranked listing of Web Fonts’ most used Web fonts for May 2011:

Neue Helvetica® 87 Condensed Heavy
Administer BookItalic
Helvetica® Condensed Bold
Garamond 3 Regular
Garamond 3 Italic
Neue Helvetica® 77 Condensed Bold
Neue Helvetica® 35 Thin
Sackers™ Gothic Heavy
Sackers™ Gothic Medium
Univers® 57 Condensed
Neue Helvetica® 57 Condensed
Trade Gothic® Bold
Neue Helvetica® 45 Light
Futura® Bold
Futura® Medium
Avenir® 85 Heavy
Avenir® 65 Medium
Neue Helvetica® 67 Condensed Medium
ITC Legacy® Serif Bold Italic
Futura® Book
Trade Gothic® Condensed Bold 20
Neue Helvetica® 47 Condensed Light
Trade Gothic® Roman
Neue Helvetica® 57 Condensed, Ext
Neue Helvetica® 55 Roman
Avenir® 45 Book
Neue Helvetica® 67 Condensed Medium, Ext
Neue Helvetica® 37 Condensed Thin
Helvetica® Condensed Bold, Ext
Monotype Grotesque® Condensed
Neue Frutiger® Light
DIN Next™ Regular
Neue Helvetica® 77 Condensed Bold, Ext
Trade Gothic® Next Regular
Neue Frutiger® Medium
Neue Frutiger® Regular
Rockwell® Bold
VAG Rounded™ Black
Neue Helvetica® 75 Bold, Ext
DIN Next™ Light
Felbridge™ Regular
Helvetica® Roman, Ext
DIN Next™ Medium
Neue Helvetica® 65 Medium
Neue Helvetica® 75 Bold
Alternate Gothic No 1
Helvetica® Bold, Ext
Futura® Light Oblique
Avenir® 35 Light
DIN 1451 Engschrift
ITC Avant Garde Gothic® Book
Trade Gothic® Next Condensed Bold
Trade Gothic® Light
DIN Next™ Bold, Ext
Helvetica® Condensed, Ext
Helvetica® Narrow Regular, Ext
Trade Gothic® Condensed Bold #20, Ext
Frutiger® 55 Roman
Helvetica® Narrow Bold, Ext
Futura® Bold, Ext
Neue Helvetica® 55 Roman, Ext
Neue Helvetica® 65 Medium, Ext
Eurostile® Next Semi Bold, Ext
Trade Gothic® Extended Bold
Eurostile® Next Regular
Eurostile® Next Extended Semibold
Eurostile® Next Extended Regular
Eurostile® Next Extended Bold
Frutiger® 65 Bold
ITC Avant Garde Gothic® Medium
Neue Helvetica® 47 Condensed Light, Ext
ITC Franklin™ Light
VAG Rounded™ Bold
ITC Franklin™ Bold
Neue Helvetica® 45 Light, Ext
Futura® Heavy
Neo® Sans Medium
Neo® Sans Regular
Futura® Bold Condensed
Calisto Regular
Linotype Feltpen™ Medium
ITC Avant Garde Gothic® Bold
Avenir® 95 Black
Helvetica® Condensed
Neue Frutiger® Book
Neue Helvetica® 86 Heavy Italic
Futura® Medium Condensed
Soho® Gothic Light
Frutiger® 45 Light
Neue Frutiger® Bold
Trade Gothic® Condensed 18
Avenir® 35 Light, Ext
Neo® Sans Regular, Ext
Helvetica® Light, Ext
PMN Caecilia® 55 Roman
ITC Avant Garde Gothic® Demi
Neuzeit® Office Soft Rounded Regular, Ext
Jump™ Regular, Ext
Helvetica® Rounded Condensed Bold
PMN Caecilia® 75 Bold

by Johnathan Zsittnik

HOW Design ConferenceThe HOW Design Live Conference, a mega-gathering of thousands of designers, freelancers, in-house managers and packaging designers, begins June 24 in Chicago. If you’re attending, see our Web Fonts service in action at our booth (212) and the latest version of our FontExplorer X® font management tool. Sunday, June 26 will be a busy day for us. We’ll be presenting three sessions between the HOW Design Live and InHOWse Managers Conferences:

“Don’t let Your Fonts Manage You” – Tobias Meyerhoff, senior project manager for Monotype Imaging, will discuss how successful font management can improve your daily workflow. June 26, 9:00 a.m.

“Cheap Type Tricks” – Allan Haley, director of words & letters at Monotype Imaging, will provide a bevy of type tricks for creating great typographic communication and explore real-world examples of great typography done on the cheap. June 26, 2:00 p.m.

Googley Fonts, Custom Type Design as Brand Touchpoint – Steve Matteson, creative type director at Monotype Imaging who has designed fonts for Google and Microsoft, will  demonstrate custom type as an integral part of corporate branding programs. This presentation will take place at the InHOWse Managers Conference, to be held in conjunction with the HOW Design Live Conference.  June 26, 12:00 p.m.

If you have not yet registered for the HOW Design Live Conference, we’re pleased to offer you a special $100 (U.S.) discount on the individual full-conference registration rate. Just use discount code HSPON when registering. We hope to see you in Chicago!

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 Johnathan Zsittnik

Scotts is well known for their offering of gardening and lawn care products. The company’s German website showcases a portfolio of crop protection, plant care, household insecticides, fertilizers and other offerings. Headlines flourish in the Neue Helvetica® Bold Condensed typeface.


Scotts website using Web Fonts

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 Allan Haley

The Helvetica® typeface didn’t start out with that name – or with the design it now has. The Helvetica story started in the fall of 1956 in the small Swiss town of Münchenstein. This is when Eduard Hoffmann, managing director of the Haas Type Foundry, commissioned Max Miedinger to draw a typeface that would unseat a popular design offered by one his company’s competitors.

Miedinger, who was an artist and graphic designer before training as a typesetter, came up with a design based on Hoffmann’s instructions, and by the summer or 1957, produced a new sans serif typeface which was given the name “Neue Haas Grotesk.” Simply translated this meant “New Haas Sans Serif.”

The Stempel type foundry, Haas’s parent company in Frankfurt, decided to offer the design to their customers in Germany. Stempel, however, felt that they would be unable to market a new face under another foundry’s name and looked for one that would embody the spirit and heritage of the face. The two companies settled on “Helvetica” which was a close approximation of “Helvetia,” the Latin name for Switzerland. (The “Helvetia” was not used because Swiss sewing machine and insurance companies had already taken the name.)

The original design of Neue Haas Grotesk for handset metal composition has also been modified several times since it was renamed Helvetica. Originally, Neue Haas Grotesk was produced for typesetting by hand in a range of point sizes from five to 72-point, but Helvetica soon also became a Linotype® machine-set typeface which led to changes to the design to simplify production. This, however, was at the expense of aesthetic nuances. For example, the regular and bold weights were redesigned for duplexing on two-letter matrices for linecasters. The result was a regular that spaced a little too open and a bold that was more condensed than the original. Machine-set Helvetica has also always been a “one-size-fits-all” design, whereby the same fonts were used to set type from very small text copy to headlines on billboards.

The subsequent phototype and digital fonts of Helvetica continued to incorporate several design revisions. The new digital version of the Neue Haas Grotesk™ typeface, however, takes Helvetica back to its origins.

Click here to learn more about the new, old Helvetica.

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.
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