fonts.com blog
Archive for July, 2011

by Johnathan Zsittnik

First Financial Bank has provided financial services for nearly 150 years and now offers more than 100 banking centers across the United States. Despite its status as a major financial institution, First Financial aims to provide the dedication and perspective of a community bank.

Among the financial institution’s latest investments are Web fonts. Visitors to the First Financial website, bankatfirst.com, will note generous use of the Avenir® typeface. The popular geometric sans family adds a warm tone to headlines and the navigational text that is revealed upon rolling over the various elements of the homepage feature.

First Financial Bank uses 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 Johnathan Zsittnik

Vodafone McLaren Mercedes is the Formula One® racing team of McLaren Racing Limited. The UK-based team remains one of the oldest and most successful racing teams, with numerous drivers’ championships and constructors’ championships to its credit.

Visitors to the McLaren website are treated to an up close look at a McLaren MP4-26 racecar and can also learn more about the team’s schedule and drivers. With its structured and rigid appearance, the site exudes a sense of engineering  and works nicely with the Soho® Gothic typeface from the Monotype® collection.

Vodafone McLaren Mercedes F1 Racing Team 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

Volume Ten of U&lc was very important to me. Volume Ten Number One announced the results of the first typeface project I worked on for ITC, and Volume Ten Number Three was the first time an article with my byline appeared in the publication.

The story behind the ITC Berkeley Oldstyle™ typeface began in 1977, almost seven years before it was announced in Volume Ten of U&lc. It began at a company called Compugraphic, a manufacturer of phototypesetting equipment.
At one point the Compugraphic type library had more typefaces by Frederick Goudy than any other type supplier. Why so many? Because I liked Goudy’s designs, and my job at Compugraphic in the late 1970s allowed me to have a certain amount of control over what faces were added to its type library. Truth is, I had total control; but if other, more senior, managers realized this, my power would have been severely curtailed. So I had to be careful in how I “suggested” which faces to be developed.

A Goudy Favorite

The University of California Old Style typeface, the basis for ITC Berkeley Oldstyle, was one of Goudy’s favorite designs. In 1937, a friend asked Fred Goudy if he would consider drawing a face for the exclusive use of the University of California Press at Berkeley. Goudy accepted the task gladly and produced the foundation for the new type family a little over a year later.

I had admired the University of California Old Style design for many years, and made it part of my personal “Goudy Design Program.” As much as I liked the design, however, it was not to be first on my priority list. It was too obscure, and I was concerned that pushing it too soon would call attention to the design, and jeopardize, my grand plan. So Goudy’s favorite was relegated to somewhere around sixth on my list. When it moved closer to the top, I began to gather specimens to be used as the basis for the revival process, had enlargements made from the metal type specimens, and began preliminary discussion with a designer to work on the project.

But then something happened. Aaron Burns offered me a job at ITC: an opportunity that wasn’t turned down. Knowing that I was not going to be able to start, let alone finish, the University of California design project, I filed the specimen material, the photo-enlargements, and the design notes I had made, in a large manila envelope and stored it in my attic.

Berkeley Hibernates

It sat there for a couple of years. My early responsibilities at ITC provided no opportunities contribute to the company’s typeface release plans. It took some time to establish the credibility required to suggest a new design. I may have been the “senior type person” at my former employer, but that only translated to “the kid from Compugraphic” at ITC.

Finally, I got my chance when a type designer notified ITC that he would be late in delivering artwork, producing an opening in the release schedule. There was, however, just enough time for an accomplished designer to create a revival typeface design. I felt like the second-string high school quarterback who, after spending much of the season on the bench, sees the first-string hero sustain an injury in the big game. The phrase “put me in coach” kept coming to mind as I tried to convince Aaron Burns that my idea for the revival of The University of California Old Style was worthy of an ITC release.

My Big Chance

Burns finally capitulated and called Tony Stan to asked him if he would be willing to work on a project with me as the design director. Stan, in addition to being a world-class type designer and someone who knew a great design project when he saw it, was also a kind, gentle man who would have no trouble working with someone of half his age and possessing a third of his talent. The collaboration was one of the most rewarding of my life.

The name “Berkeley Old Style” was chosen because the design isn’t really a direct copy of the University design, but close enough that we wanted to give credit where it is due.

Additional Releases

ITC also announced two additional new typefaces in Volume Ten: the ITC Weidemann™ family, based on a custom design Kurt Weidemann did for the German Bible Society, and the ITC Usherwood™ family, released posthumously after the death of its designer, Leslie Usherwood.

The First Article

While I had been writing for U&lc for some time, the first article that carried my byline also showed up in Volume Ten. It was about Morris Fuller Benton, and was the first of many biographical sketches in the “Typographic Milestones” series. There is a backstory here too. Maybe I’ll write about it in a future post.

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

Low Resolution:

Volume 10–1 (Low Res).pdf (15.0 MB)

Volume 10–2 (Low Res).pdf (13.6 MB)

Volume 10–3 (Low Res).pdf (14.8 MB)

Volume 10–4 (Low Res).pdf (14.6 MB)

High Resolution:

Volume 10–1.pdf (73.5 MB)

Volume 10–2.pdf (69.1 MB)

Volume 10–3.pdf (69.7 MB)

Volume 10–4.pdf (73.4 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 Julie Strawson

Having globe-trotted from Hamburg, I arrived in New York City to a hail of thunderstorms to hold the third meeting of the Brand Perfect Tour. My goal was to join brand managers, creative directors, Web designers and developers to debate the future of branding in the digital space.

Hosted by Lee Aldridge, chief brand officer at Young & Rubicam Group, who introduced me, I began by recapping previous Brand Perfect forums in London and Hamburg. Themes had emerged from these events, such as “kill the logo,” and the “brand book is dead.” There were also questions about whether the traditional notion of brand consistency matters. What would New York bring?

Lee Aldridge set the context for discussion. His session focused on the shift in brand values toward social media, culture and responsibility. He made the point that digital goes way beyond the Web, and as screens surround consumers both at home and at work, there are more and more opportunities for brand presence and interaction. This is a mass market phenomenon, not restricted to a privileged demographic, and the secret to success is knowing why the consumer should want to engage, what to deliver that is contextually relevant and how to maintain the dialogue. Brand authenticity depends on the action taken to a communication in real time – the here and now. Organizations must support this throughout their structure. Getting attention is harder than ever, and brands must think more creatively about how to engage. Giant holographic images of products such as sneakers and juicy pizza were cited as one way to do this.

Charles Bigelow, the Melbert B. Carey professor at New York’s Rochester Institute of Technology, followed with a fascinating study on the emotional values that typefaces were shown to purport, based on an analysis conducted by R.I.T.  on 18 to 25-year-olds. The study showed that some typefaces have brand personalities, and choosing a typeface that reflects the tone of your message and indeed your own brand personality can help to carry the voice of your communication more effectively. The study found that Web-safe fonts afford fewer connotations in communications than non-Web-safe display fonts.

Charles Bigelow

The Brand Perfect New York panel discussion featured Paul Owen, executive creative director, Landor Associates New York, Johannes Schardt, co-founder of precious, a Hamburg–based design and development agency, and Dennis Michael Dimos, newly hired creative director of Monotype Imaging.

Paul Owen made the point that technology has only just started to catch up to enable where brands want to be. “We are in constant beta mode,” he said, and keeping up with technology is a bigger task than ever for brands and their agencies. Technology trends can lead brands down tracks that aren’t appropriate. Highlighting the iPhone® device, Johannes Schardt mentioned that he constantly asks, “Why do brands want an i-Phone app? Usually it’s not the best solution.” There was a lot of discussion about brand guidelines and the need to evolve these to suit the environment. “Read the book and then throw it away,” was the advice from Dennis Michael Dimos.

Paul Owen, Johannes Schardt, Dennis Michael Dimos and Lee Aldridge

Steve Matteson, creative type director at Monotype Imaging and the designer of the Droid™ typefaces, then talked about the way that a typeface becomes the voice of your brand. People associate with it in the same way they become familiar with other visual attributes. Similarly, type can be a very versatile way to change the tone of voice for a large corporate brand that wants to appeal to a different demographic in a different tone. He gave the example of Microsoft and its XBox® video game console.

The final presentation of the morning was delivered by John Oswald, business design lead at Fjord London. John posed the question, “Do we over-communicate, and are we driving consumers away with the continual push-marketing tactics employed in traditional channels that just don’t work in the digital space?” Focusing on designing very much for context with the individual at the heart of the thought process, John emphasized the need for visual recognition anywhere, authentic interaction and expected performance.

The Brand Perfect New York master classes were conducted by Rietje Gieskes of Landor Associates who looked at the value of creating bespoke typefaces to suit a brand. Daniel Rhatigan delivered a detailed class showing how to deliver richer communications with Web typography using Web fonts, including how to select fonts and manage layout across different platforms and browsers. The afternoon concluded with a highly interactive class on multi-screen design by Christophe Stoll and Johannes Schardt from precious, Hamburg, which was very well received.

Mark your calendars. The next stops in the 2011 Brand Perfect Tour are London on Oct. 4 and Berlin on Oct. 27.

The call for speakers is open! Would you like to contribute either a keynote presentation or a master class at the next Brand Perfect events? E-mail your suggestions to brandperfect@monotypeimaging.co.uk for consideration. Call closes 31st August.

Delegate places are now available – just e-mail brandperfect@monotypeimaging.co.uk stating the location you wish to attend to reserve your seat.


by Matt Brinkerhoff

We’ve been hard at work adding new fonts to Fonts.com Web Fonts. Thanks to some new additions, the tally now exceeds 12,000 Web fonts. Here’s a rundown of what’s new.

Our latest foundry additions include Omnibus, Emboss and Tour de Force. Contributions from Omnibus include the Vega™ family, a group of designs that are equally at home in headings as they are in body text.  Designer Franko Luin sought to capture the details of 16th and 17th century text while creating a design that is as timeless as it is current.

The addition of the Emboss font foundry brings us 42 typefaces from Stephen Boss – typefaces inspired by linoleum cuts and comic books.  His Crossell™ typeface provides a perfect example of these stylistic elements.

Slobodan and Dusan Jelesijevic’s Tour de Force foundry adds 47 modern display typefaces, including slab serifs. The Oblik™ family contains modern serif and sans serif designs for a variety of applications.

The Vesta™ and Big Vesta designs by Gerard Unger are among the newest families in our Linotype® collection. Originally designed for signage during Rome’s “Jubliee 2000” celebration, Vesta features a wide variety of stroke widths while remaining economical on space.  One designer went as far as to call it “the missing link between serif and sans-serif.”

Also from Linotype and available for the first time in a digital format, the Neue Haas Grotesk™ family by Christian Schwarz is a revival of Linotype’s original hand-set metal face. The predecessor to Linotype’s iconic Helvetica® design, Neue Haas Grotesk boasts additional features that were left behind during Helvetica’s many digital adaptations.

We’re constantly adding new foundries and typefaces to both Fonts.com and Fonts.com Web Fonts in our quest to provide the most comprehensive collection of typefaces in the world. Check back soon as plenty more are on their way.

Matt Brinkerhoff
Matt Brinkerhoff holds a bachelor’s degree in E-Business from Champlain College and has experience in user experience, multivariate testing, design and Web development. Through his work as a freelance designer, Matt developed an affinity for typography years before joining the team.



by Johnathan Zsittnik

Chocolate, mountains, diplomacy, tiny utility knives and fonts. Ah Switzerland. How can a country so small be synonymous with so many things?

MyToblerone.com shines a light on two of Switzerland’s most famous exports: The Toblerone® candy bar and the Helvetica® typeface. The site allows visitors to celebrate everything they love about the confection by uploading video clips, pictures or stories. Each contribution adds a trademark triangular chunk to an already massive candy bar on the front page. Headlines and body copy appear in Helvetica Condensed.

To date, the site has received more than 1,200 contributions. Celebrate Switzerland by adding yours today. Then grab a tiny utility knife and cut yourself off a triangle!

MyToblerone 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 Saad D Abulhab

Web fonts for Arabic and related Arabetic scripts has been, and still is, a matter of desperately needed functionality. For many small, historical and endangered non-Latin scripts, offering Web fonts is a matter of survival! It is certainly a more affordable and effective alternative to developing full-fledged software packages. One can compare this to bringing wireless phone services to world regions that would otherwise need to wait decades before implementing the expensive infrastructure needed for wired phone networks.

Since first becoming involved with Arabic typography and computing in 1992, I have witnessed sadly how users of Arabic, Persian, Urdu and other Arabetic scripts have had to watch from the sidelines, for years, the flourishing Latin-based Web. It took almost a decade for Microsoft’s Internet Explorer® platform and other browsers to support the ability to read Arabic on the Web (thanks to the much needed and now indispensable Unicode™ Standard).

Writing Arabic on the Web is an entirely different story. The pioneer Arabic Web mail service, Maktoob, now offered on Yahoo, went through a lot of “Java stitching” to bring Arabic users to the world of Web mail. Even today, many Web font solutions concentrate mainly on display, not dynamic functionality such as forms and Web application development. This problem is magnified when taking into consideration other Arabic-related Web programming shortcomings, such as the lack of support for complex scripts by many libraries. Just recently, we tested a great text-to-image PHP function only to discover that it doesn’t support complex scripts (i.e.  Arabic and Hebrew). On the other hand, standardized Web fonts, such as those offered by Fonts.com Web Fonts, inherently support full Web programming and applications development. Eager to allow users to test and try our Arabetics fonts on the Web, a few years ago we created a dynamic, Java-based Web fonts application, after giving up on major Web platforms, such as Adobe’s Flash® platform.

The world is awakening to the need for high-quality Web fonts for non-Latin scripts. We’re excited to be a part of the revolution – to finally see the Web truly support the world’s writing systems and live up to its name as the World Wide Web.


by Alan Tam

Greetings! I thought I’d start my first blog post here at Monotype Imaging with one that shares a unique and exciting opportunity for Web fonts and HTML. It’s a bit of a read, but I wanted to provide some initial background for those who may not be as familiar with HTML before getting to the subject matter.

But before I begin, a quick introduction of myself – I’m the new guy, Alan Tam. I’ve just joined Monotype Imaging as the Director of Product Marketing for Fonts.com Web Fonts. Most recently, I led the product marketing efforts at Adobe where I managed and drove the strategic marketing and launch efforts around Flash® Lite, Flash Player and Adobe AIR® technology for mobile phones, tablets, TVs and other consumer electronic devices.

During my tenure at Adobe, and especially working on the Flash platform team, it was impossible not to be involved and excited with the ongoing debates of Flash and HTML5. However, being in the center of it all gave me a broad perspective and enabled me to fully understand the discussions. It’s important to first understand that the issue is not Flash vs. HTML5, but rather Flash AND HTML5. In fact, Flash has always co-existed with HTML – Flash may not have existed without HTML. Flash has always enabled developers to deliver richer, more engaging experiences on top of HTML. Flash is NOT an HTML5 replacement and HTML5 is NOT a Flash replacement. The introduction of HTML5 is a validation that Flash has delivered the right level of capabilities to evolve the Web all along.

Some of the new elements introduced in HTML5 such as video, audio, offline and canvas support have all been available in Flash technologies for a number of years, but it also includes some capabilities that are not available in Flash as well. With HTML5, the standards are being raised and new capabilities are being introduced that will continue to drive further innovation on of technologies built on top of it like Flash. Flash and HTML will continue to co-exist and developers looking to deliver premium experiences above and beyond what HTML offers will do so with proprietary technologies. It is also important to understand that the HTML5 specification is still in a working draft and has not been ratified by the W3C at the time of this blog post (you can learn more about the current state of the HTML5 specification here: (http://www.w3.org/TR/html5/).

Not only does HTML5 open a whole new spectrum of use cases and application for development across platforms and devices, but it also has garnered tremendous industry support from leading technology , platform and tool providers including Google, Microsoft, Yahoo, Apple and Adobe. HTML5 offers opportunities for developers to explore existing and new applications and use cases using new methodologies and techniques to deliver functionality that was not previously possible with HTML. This is extremely exciting because of the potentially broad reach of HTML5, which includes platforms that do not support Flash today, such as Apple’s iOS® platform.

One potential HTML5 application that I’d like to explore today is digital advertising. Specifically, I’d like to discuss how Web fonts can allow advertisers to create ads that deliver more engaging experiences for a broader audience that spans across multi-screen environments. Some key advantages of using HTML and Web Fonts for digital ads include:

  • More expressive typography. With a virtually unlimited palette of typefaces to choose from, advertisers can pick designs that support the message of their ad.
  • Brand unity: Organizations can keep their communication “on-brand” by implementing their corporate or branded fonts they use in other forms of visual communication.
  • Scalable text is a requirement for location or personalized based ads (unpredictable text) when combined with a branding mandate for a specific font.
  • Search engine friendly ads. Though Flash has made some progress with SEO text and video, these changes remain still in their infancy and have limited support today.
  • Support on iOS apps and devices.
  • Broader set of authoring tools available.
  • HTML5 ads can not be “turned off” by removing the Flash Player plug-in.

We decided to try it out for ourselves and created an experimental HTML5 ad to be deployed on Google’s Ad Network. We took the following approach:

  • Created a Flash-based ad with a simple animation through Google Display Ad Builder utility;
  • Recreated the ad in HTML as close as possible using a combination of HTML, CSS and our Fonts.com Web Fonts service with the Futura® and Gill Sans® typefaces. Fonts were loaded through Google’s WebFont Loader.

Take a look at the two ads we experimented with here:

(The HTML5 ad is on the left and the Flash ad is on the right. You can view the interactive versions here: http://wfp.devbridge.com/html5/ — the above images are viewed through the Google Chrome™ browser ver. 12.0.742.112. Since HTML5 has not passed ratification with the W3C, this sample ad will vary in appearance depending on which browser you choose to view them with.)

Here are the key findings from this experiment:

  • While we are able to replicate some aspects of the original Flash-based ad, neither the appearance nor the animations of the HTML ad are a one-to-one match.
  • The ad actually relies more heavily on CSS3, than it does HTML.
  • Gradients and animations are triggered via CSS3 and usable in HTML5, XHTML or even HTML4.
  • HTML5 and CSS do offer some advanced and unique capabilities for advertisers. For instance, ads built with HTML5, CSS and Web fonts keep ads light, scalable, machine-readable and compatible for mobile platforms. HTML5 and CSS also address specific use cases such as zooming and predictive text input for dynamic ads.
  • We are reminded that HTML5 is inconsistently implemented across browsers today as it has not passed final ratification with the W3C. In fact, analysts like Gartner Group projects that the complete rollout of HTML5 across browsers will not be achieved until 2022 (http://www.scribd.com/doc/56875409/Gartner-html5-and-the-Future-of-Adobe-Flash).
  • HTML5 is not a complete replacement for Flash. Flash is dominant and pervasive for ads and other branding elements because of its richness and consistency across a matrix of operating systems and browsers. HTML5 cannot ensure this level of consistency yet. Furthermore, there are Flash capabilities that can’t yet be replicated in CSS and HTML5. For example, it is not possible to replace all the Flash-based Ad Builder templates with HTML5-based templates.

Although we are in the early stages, HTML5 ads are already being developed and deployed. We are submersing ourselves into HTML5 because we see Web fonts and, our broad collection of widely-used typefaces, in particular as supporting technology that will help HTML5 advertising take off (our existing Web fonts EULA on Fonts.com includes supports HTML5 display ads today).

I’d love to hear what you are doing with HTML5 and Web fonts. Are you working on ads? What are some of the other use cases and applications you see fitting for HTML5 and Web fonts?


by Rebecca Schalber

We were more than overbooked for the second event on the Brand Perfect Tour – and when I took a look around the fully occupied rows, it seemed that everyone managed to make it!

Alexander Schröder, Landor Associates

Alexander Schröder from Landor Associates opened the event by talking about brand strategies for digital media.  Today the communication of brands is a public affair that’s no longer under the control of the owner of the trademark. Holistic brand management means to manage the brand experience in terms of communication, structure and behavior which demands corporate engagement from the top down and engineering throughout the organization, not just in the marketing department. Read more from Alexander at his blog.

Phillip Clement from bemoko (multi-platform software and Web development) then took the platform to talk about the challenges of fragmentation where brands only function on certain devices. He mentioned the Financial Times app which works just fine on the iPad® device but not on the iPhone® device. Twenty percent of customers are okay with that, but most aren’t, so the brand experience is damaged. We learn that “dead ends,” which are rarely found on the Web, are still normal in the mobile domain.  Although there is a focus on the iOS® and the Android™ operating system, in addition to a few other major platforms, we’re unable to control to which extent operating systems and appliances penetrate the market. It’s always a moving target.  Also the number of browsers is increasing…

Nadine Chahine’s talk about type and usability in new media started with a focus on brand interaction which is essential for the user and therefore essential for the brand’s reach. Superbrands or “love marks” work on an emotional level, but how do you get there? Apple, for instance, stimulates the same part of its “disciples’” brains as religious images do in the brains of their believers. The answer is through distinctiveness, unity, simplicity, design, authenticity and being the fastest to get attention.

And what role does typography play in all of this? Typography is the voice with which everything is being communicated. If you mess this up, you risk rupture between what you’re trying to say and the way you’re saying it. In the worst case, bad typography can give you a headache…The consistency of a brand’s personality is exuded through typographic consistency…“You don’t change horses in the middle of the race!” says Nadine. Every typeface has a personality, and you should choose the personality which fits best to the brand.

Dan Reynolds, Linotype, at panel

Dan Reynolds, Linotype, at panel discussion

Johannes Schardt, Dan Reynolds, Louisa Heinrich and Alexander Schröder took part in the panel debate.

How important is interaction in the brand’s theme?

Alexander Schröder:  – “BMW is a good example – the average driver of the BMW 7-Series is suddenly no longer 70 but 49 years old – the original target group was lost as it was now only buying Mercedes! Ergo: You can no longer rest on what you used to know; you continuously have to adapt your brand to the present circumstances.”

The lion’s share of a brand identity consists of its color and type. If these remain consistent, they help the brand become very familiar. But a brand is an experience. A cool logo doesn’t help when a company appears to be, for example, unethical.

“The graphic game with the personality of the brand plays an important role but it isn’t everything,” says Dan Reynolds. After that came the heretical question, whether a logo in the Verdana® typeface would then be okay: “The question isn’t whether Verdana is good or bad but whether we still need it today or whether we want to focus our attention on other typefaces,” says Dan.

The conclusion is: It’s important to question your brand’s (digital) presentation constantly for appropriateness every day.

Louisa Heinrich from Fjord then delivered her take on “where the brand breaks.”

“Today the brand has come home via mobile appliances and is no longer controllable, thanks to Facebook and Co. Stop stressing out about consistency – start thinking about context around your brand, because only 10 percent of a conversation is coming from what I say. The other 90 percent are coming from my body language or the color of my eyes. So for me personally, context is also the business of my friends to which I’m linked, the place I’m at, what I need, where I’ll be going. Technologically speaking, it’s the appliance, the operating system, the access point…”

People want to have control; there’s a lot of static noise in the world. All day long, we’re considering which content seems relevant to us. And we no longer read everything. Whatever we find exciting, we share with our network. If you’re doing it right as a brand, you’re supporting this current phenomenon. But many brands which are using, for example, Facebook, are the equivalent to the so-called “party buggers” who are eavesdropping on the door and then come in yelling “but that’s not right!” It’s also important that the digital brand experience goes with the brand: If a brand like BMW, which is associated with fast cars does something digitally slow, the brand loses its authenticity.

Louisa’s conclusion is: 1. design for context; 2. design for a brand in action; 3. design digital DNA.

After lunch delegates joined three master classes.

Working in small groups in a workshop, “strategies for multiscreen interaction,” led by the Hamburg design studio, precious, the delegates got involved in designing a customer Journey for the family Reifberger. How were they going to organize their holiday? What inspires them? What needs do they have when being on holiday and what is happening after the holiday?

Subsequently, delegates developed a new digital travel service together called the “Travel Butler.” The Travel Butler is discreet, always there when you need it, competent, elegant and sophisticated. Which applications and features does the Travel Butler offer? How can you integrate at least three different devices in a holiday cycle? What makes sense on a smartphone, on a personal computer, on a tray or on TV? Which needs are being met with the application, which problems are being solved with it? And how does the application work? What could the interface look like?

Dan Reynolds explained the different challenges we face using type on the Web and the practical considerations for applying typography in different environments. Using a tool to quickly show how selecting a different typeface can completely change the balance and tone of a Web page, delegates experienced Web fonts first hand. You can try too at www.webfontspreview.com.

Fran Gruber & Alexander Polzin (left to right), Fork Unstable Media

Frank Gruber & Alexander Polzin (left to right), Fork Unstable Media

The final class was “Times New Romance” – typo diversity in the Web.  Alexander Polzin and Frank Gruber of Fork Unstable Media asked the question, “Do you only want to watch or program with us?” (The answer was watching…) was a trip into the world of Web fonts that illustrated the clear advantages of applying fine typography to communications and the challenges different rendering environments pose.

On to New York City next…

 


by Johnathan Zsittnik

Yellow Media Inc., with its network of companies that includes Yellow Pages Group (YPG), Trader Corporation and Canpages, is a leading provider of Internet services as well as media and marketing solutions. Yellow Media is also among the latest major companies to dial up Web fonts.

YPG.com builds an immediate sense of familiarity through use of its recognizable Yellow Pages logo and its trademark shade of yellow. The site also turns to the ITC Franklin typeface to deliver headlines and complement the logotype. Good call!

 

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.