Archive for August, 2011

by Johnathan Zsittnik

Goodwin Procter is a recognized law firm with a growing presence across the United States and abroad. The firm was founded in Boston in 1912. Nearly a century later, their corporate headquarters remain in Boston, not far from Monotype Imaging’s center of operations. Good kids. Local kids.

The firm calls on the Trade Gothic® Condensed family to establish hierarchy within their website. The type’s distinctiveness sets headlines apart from body copy, helping to organize the content and direct the eye.

Upon further examination, we find design to be attractive, beyond a reasonable doubt. We’ve also concluded that Goodwin Proctor may be just the team to help us with that cease and desist on use of Web-safe fonts.

Goodwin Proctor 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 Alan Tam

Face it – the explosion of rich multimedia, social networks and mobile applications have left you up in arms in establishing a consistent brand, let alone an identity, across a vast and fragmented digital medium. The abundance of rich video content, the extensive and complex array of mobile apps across mobile OS and marketplaces, and the proliferation of social media and networks (like Facebook and Twitter) have made it increasingly challenging to establish a cohesive and consistent, yet distinctive identity and brand online.

With the introduction of HTML5, organizations are presented with a plethora of new and exciting opportunities to address and tackle the challenges. One of the most simple, prominent and elegant components that will be supported in HTML5 is Web fonts via @font-face with CSS3. Web fonts are already supported in browsers today via @font-face with CSS (to learn more about the history and current implementations of @font-face, click here). Web fonts are by far one of the easiest and most crucial elements that can help organizations achieve a consistent brand online across platforms and devices. If fact, if you distill the essence of a brand or identity down to its most basic level, it starts with the typeface. The type builds the name, the type builds the logo, the type builds the brand and identity.

While delivering a consistent brand across mediums in the non-digital world has been achieved through hundreds of years of technology and development, the same cannot be said for the digital medium – yet. HTML5 will be the first vehicle that will standardize the proliferation of Web fonts via the @font-face CSS across digital mediums, across all devices and platforms. Through @font-face, Web fonts will enable brands to establish and deliver a consistent identity online that extends from the desktop to tablets to mobile devices in various use cases that can include the following:

In addition to broad and consistent reach across devices, the adoption of Web fonts also brings the following benefits to the use cases:

  • Full searchability by Find (ctrl/command-F)
  • Accessibility to assistive technologies like screen readers
  • Text is translatable, through in-browser translation or translation services
  • CSS has full ability to tweak the typographical display: line-height, letter-spacing, text-shadow, text-align, and selectors like ::first-letter and ::first-line

While HTML5 nears final ratification, it can be assured that the surge of innovation will drive accelerated adoption and implementation of the new standard by Web browsers, leading first with mobile and tablet platforms and followed shortly by the desktop. This will be one of the first, if not the first, web standard that will be driven from mobile to desktop as consumer engagement with digital content shifts (or has shifted) more toward tablet and mobile devices than the desktops, creating an even a greater sense of urgency for businesses to develop and extend a consistent brand and identity across the fragmented mobile environment.

Monotype Imaging has been on the forefront of delivering desktop and Web fonts to brands, enabling them to extend their trusted identity consistently across digital and non-digital mediums and across a variety of use cases. Take a look at some of the market leading brands who are already leveraging Web fonts today:

Honda CR-ZHonda CR-Z
Coke and PepsiCoke & Pepsi
Historic Hotels of AmericaHistoric Hotels of America

And many more!

To learn more about how Web fonts can help your business or to choose the Web fonts best for you, please visit

by Allan Haley

Volume Eleven of U&lc is chock full of great examples of typographic design, calligraphy and illustration. In addition, the first commercial typeface of Jovica Veljovic was announced in Volume Eleven Number One and ITC released its first typeface that was the result of a collaboration of artistry and technology in Volume Eleven Number Four.

Jovica Veljovic was living in the former Yugoslavia when Aaron Burns, the president of ITC, met him. Upon seeing the young calligrapher’s work, Burns immediately realized that he was in the presence of exceptional talent and encouraged Veljovic to take up typeface design. The ITC Veljovic™ typeface family was first of many he drew for ITC. In his storied career, Veljovic went on to develop typefaces for Adobe and Linotype. Although he spends much of his time today teaching typography and type design near his home in Hamburg, Veljovic continues to add to his body of work. Monotype Imaging has recently made his newest designs, the ITC New Esprit™, Libelle™ and Veljovic Script™ typefaces, available.

The release of the ITC Leawood™ family was another milestone for ITC. It was the first ITC typeface design where software technology played an important role in the development process. Canadian designer Leslie Usherwood had drawn only a few italic and roman characters for Leawood before his fatal heart attack in 1983. Designers at Usherwood’s studio, however, were able to complete a basic character set in light and bold weights of the family. ITC turned these renderings over to URW, a German firm that developed one of the first digital font production technologies. With close design direction by ITC, URW’s technicians, using the company’s Ikarus™ software, finalized the four-weight family of ITC Leawood.

With articles on William Dwiggins, Frederic Goudy, Eric Gill and John Baskerville, my “Typographic Milestone” series was also in full swing in Volume Eleven. During the next few years, over a dozen more biographical sketches of significant contributors to the typographic arts were added to the series.

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

Low Resolution:

Volume 11–1 (Low Res).pdf (14.3 MB)

Volume 11–2 (Low Res).pdf (13.8 MB)

Volume 11–3 (Low Res).pdf (19.6 MB)

Volume 11–4 (Low Res).pdf (15.1 MB)

High Resolution:

Volume 11–1.pdf (76.9 MB)

Volume 11–2.pdf (50.2 MB)

Volume 11–3.pdf (88.7 MB)

Volume 11–4.pdf (70.8 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 Jason Pamental

In my last article I talked about the importance of font fallbacks when using Web fonts – though truth be told, it’s important no matter what. But simply adding fallbacks to your CSS leaves a lot of loose ends lying about that are just waiting to trip up you and your users. Here we’ll go through exactly what to do, how to do it and why it’s important to address getting your fallback embedding and styles sorted out and just a bit more complete.

Adding the JavaScript code to your page to add the fonts is a one-line affair – but utilizing Font Events requires a few more. Then you have to ensure you’re making use of those Font Events in your CSS in order to mitigate the vagaries of how browsers render the page during the font loading process – which may be nearly instant, but often will still be noticeable and even a bit jarring. What’s more, while increasingly infrequent, lack of JavaScript (JS) support does occur — and if you don’t account for that with a ‘<noscript>’ option to load your Web fonts, all your efforts will be for naught. All this may seem daunting at first, but fear not! It’s not really that much extra effort and we’re about to go through it, sample code and all.

So let’s review what happens when a page is requested, how it loads and where the pitfalls occur.

  1. A user requests a page from your site
  2. The page begins to load, including a reference to a JavaScript file to embed the fonts. One of two things happens when the script loads:
    1. JS is enabled, so the script runs –OR
    2. JS is not enabled, so nothing more happens (unless you have cleverly inserted something in a '<noscript>' block below)
  3. Next, one of three things occur:
    1. If JS has run, fonts are loading and Font Events are firing. CSS classes such as ‘wf-inactive’ are being inserted dynamically into your page and you, as a clever designer and/or developer have added to your CSS classes and declarations to help ensure that your text is rendering well both during and after the loading occurs.
    2. If JS has not run but you are indeed clever, the '<noscript>' block containing a link to a CSS file is taking care of loading your fonts and while no Font Events will help mitigate display oddities during the loading process, in a moment or two all will be loaded and displaying according to your design.
    3. If JS has not run but you have not included the '<noscript>' block, while no kittens will be harmed, you will have doomed your users to a far more pedestrian experience likely filled with poorly letter-spaced text set in Arial. You can do better!

Now in the above sequence of events you’ll notice that not only have we accounted for fallbacks should the fonts not load but we’ve even created a fallback scenario for JavaScript not functioning and added a link to CSS that will load the fonts anyway. Very clever indeed. Your mother would be proud. (Unless you have fallen into that last case – but you still have time to redeem yourself!)

For our demonstration I’ve selected a lovely passage from Moby Dick – a tremendous work which also happens to be unencumbered by copyright restriction and therefor an ideal candidate for our use. The PMN Caecilia® and ITC Obliqua™ typefaces made for a nice pairing of headers and body copy, even while imparting a slightly more modern feel juxtaposing the vintage of the text itself. We’ll now dispense with the preliminaries and get down to the business end of things.

Demonstration Page, Fonts Loaded:

Fallback fonts demo - Web fonts on

In order to finish our preparations it’s necessary to accumulate a few bits and bobs of code. You’ll need to log in to your Web Fonts account, go to your project (or create one using this sample one!), navigate to the ‘publish’ tab and copy the two strings presented under ‘Option 1: JavaScript’ and ‘Option 2: Non-JavaScript’. (You will need a Standard or Professional subscription in order to access the Non-JavaScript publishing method). They will look something like this:

<script type=“text/javascript” src=“”></script>


<link href=“” rel=“stylesheet” type=“text/css” />

While you’re there, you may as well grab the sample font declarations to use in your CSS:

font-family:‘Obliqua ITC W01’;
font-family:‘Obliqua ITC W01 Italic’;
font-family:‘Obliqua ITC W01 Bold’;

(We’ll work out how to best use this in just a bit)

Finally, you should have a look at this sample code page showcasing the code required to use the WebFont Loader with Web Fonts. While what is presented there will certainly work, my preference is to keep all JavaScript ensconced in the ‘<head>’ section of the page, and it all seems to work there just swimmingly, like so:


<link href=“style.css” type=“text/css” rel=“stylesheet”><!– Our CSS file –>
<script type=“text/javascript” src=“” ></script>
<!– Loads the webfont loader –>

<script type=“text/javascript”>
        monotype: {
          projectId: ‘fcd5b553-f7b9-4b45-9093-4e202e2538dd’
           // replace this with your Web Fonts projectId — don’t forget to          do so below as well


<!– Use this in as a fallback to no JavaScript being available –>
   <link href=“” rel=“stylesheet” type=“text/css” />

With that we’ve done several things: we’ve embedded the code to trigger the WebFont Loader, given it your Web Fonts project ID to load, and included the aforementioned clever little bit of ‘<noscript>’ code to load the fonts via CSS should JavaScript not be available. That’s actually all that’s necessary in the page itself. Not so bad, right? Our sample page does have some extra bits in it but those are there to allow us to experiment without CSS and see just how it will look in action. The rest is all in our CSS file. (Well, except for the bits we’ve added for our demo that allow us to turn Web fonts on and off, which is invaluable when you want to ‘tune up’ your fallback fonts. But more on that later.)

Before we dive in to that CSS though, let’s take a moment to more clearly explain why we’re taking the trouble to go through this exercise. Without trying to be flip, it’s important to point out that fonts differ from each other in more ways than simple appearance. Spacing can vary widely, which is why I recommend selecting fallback fonts that more closely match the horizontal scale of your chosen web fonts as much as possible. (For example, the Helvetica® and Verdana® typefaces vary greatly in width.)

Sample Text:

Font comparison

The problem you’ll find is that while the Web fonts are loading, either no text will display at all or it will show in the fallback font and probably reflow your text quite a bit. This is exaggerated further when the Web font selected is drastically different in size. This will cause a jarring redraw of the page once the web font loads fully and the browser updates the user’s window with the re-rendered page. By using Font Events to introduce new CSS written specifically to address the display of the fallback fonts we can adjust with the CSS letter-spacing and font-size declarations to minimize or even eliminate the reflow of text on the page. There is also the nascent declaration of ‘font-size-adjust’ but it’s very unevenly implemented as of yet. (Great exploration of that here:

Demonstration Page, Fonts Not Loaded (with no CSS correction in place):

Web fonts off, uncorrected

Since we have added Font Events, we can now dive into our CSS. We’ll start with the basic styles for text on the page based on how we want the page to render with our selected Web fonts:

body, caption, th, td, input, textarea, legend, fieldset {
   font-family:“Obliqua ITC W01”, Helvetica, “Lucida Sans”, “Lucida Grande”,   “Lucida Sans Unicode”, sans-serif;
   font-size: 1em;
   letter-spacing: normal;
   line-height: 1.4em;

This will be the base, and is applied either once the Font Event ‘loading’ classes are removed or when JS is disabled and the fonts are loaded via CSS instead. However — we want to leverage the Font Events when possible, so we then list this alternate style that is called once the WebFont Loader has inserted the class indicating that Web fonts are loading but not yet active (‘wf-inactive’):

.wf-inactive body,
.wf-inactive caption,
.wf-inactive th,
.wf-inactive td,
.wf-inactive input,
.wf-inactive textarea,
.wf-inactive legend,
.wf-inactive fieldset {
   font-family: Helvetica, “Lucida Sans”, “Lucida Grande”,   “Lucida Sans Unicode”, sans-serif;
   font-size: 1em;
   letter-spacing: –0.015em;
   line-height: 1.4em;

Notice a few key things between the first set of declarations and the second: when ‘wf-inactive’ is added, we set the fonts without the Web font listed and adjust the letter-spacing. We could also alter the font-size and increase the line-height at this point. These adjustments were easy to make with our demo page because we’ve added a toggle link to turn the Web fonts on and off. If you give our demo page a look and try it out, you’ll see that it’s quite close – but likely not exact in our goal of ‘no reflow in any browser.’ You may be shocked to hear this, but apparently a pixel is not quite a pixel when it comes to implementing letter-spacing – despite it having been around since CSS1. I know, hard to believe. So we have to fiddle with the fallback values of the second block and test it out in a number of browsers until we are close enough. Mark it down along with horseshoes as one of the few places where ‘close enough’ still scores you points. I’ve done the same in our demo with H1, H2 and H3 headers as examples, but you’ll have to adapt this to your own workflow an CSS in order to ensure that you’ve covered all your bases. Then test, test test! You’ll find that some browsers render letter-spacing smaller, some larger.

Demonstration Page, Fonts Not Loaded (but with CSS correction in place): (image)

Web fonts off, corrected

While one could argue that in order to properly address the page from a progressive enhancement point of view you should actually have your base CSS be the ‘fallback-tuned’ version, but since with Web Fonts you can address the lack of JS with CSS-only embedding wrapped in a standard ‘<noscript>’ block, I would say that this is indeed the proper base writeup, and since it relies upon JS to enable the Font Event classes at all, that the ‘fallback-corrected’ CSS would actually be the ‘enhanced’ bits and therefore should be added only when the Font Events are actually present.

So to put this in practice yourself, follow the samples above and while you’re developing your HTML and CSS, include the handy toggle code from the demo so you can test your adjustments, and simply remove it when you’re done. If you’re developing in Drupal you could even add the toggle as a block with all the necessary code and simply turn it on whenever you need it. The entire demo is available to download – just substitute your own project ID and fonts to give it a try. It’s not too hard, and the benefits will be noticed (or better yet – not noticed) with every page load. Tune away!

View the Demo (tuned the closest in FF, but works in all the browsers I’ve tested)

Experiment on your own! Download the fallback font demo files.

by Johnathan Zsittnik

Historic Hotels of America is an exclusive collection of American hotels that have retained their historic integrity, architecture and ambiance, providing an authentic travel experience for guests to enjoy. These classic properties enjoy one modern amenity: Web fonts. Sabre Hospitality Solutions elected to break free from the restraints of “Web-safe fonts” or the inelegant implementation of Flash® text replacement in preference for the rich palette of Web fonts available from Web Fonts.

The member hotels vary wildly in age, from the 1600s to the more contemporary period of the 1960s. The Sabon® typeface was chosen for its classic form, practicality and suggestion of literary and historical pedigree, allowing it to work with hotels from any of the historical periods featured within the collection. “The Web fonts from were a vital piece of our design strategy, allowing us to broaden our vision to encompass fonts beyond those that have been the traditional mainstay for Web design until now,” said Tavis Tucker, website development manager at Sabre Hospitality Solutions.

Thanks Tavis for the kind words and for being so “accommodating” in the creation of this spotlight on Historic Hotels of America.

Historic Hotels of America 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 Chris Roberts

Here’s a ranked listing of Web Fonts’ most used Web fonts for July 2011:

Neue Helvetica® 87 Condensed Heavy
Administer BookItalic
Helvetica® Condensed Bold
Garamond 3 Regular
Garamond 3 Italic
Neue Helvetica® 45 Light
Neue Helvetica® 77 Condensed Bold
Univers® 57 Condensed
Sackers™ Gothic Heavy
Sackers™ Gothic Medium
Futura® Bold
Neue Helvetica® 57 Condensed
Avenir® 85 Heavy
Trade Gothic® Bold
Neue Helvetica® 35 Thin
Avenir® 65 Medium
Futura® Medium
Bauer Bodoni® Black Italic
Rockwell® Bold
ITC Legacy® Serif Bold Italic
Futura® Book
Avenir® 35 Light
Trade Gothic® Condensed Bold 20
Neue Helvetica® 47 Condensed Light
Neue Helvetica® 55 Roman
Rockwell® Regular
Avenir® 95 Black
Neue Helvetica® 37 Condensed Thin
Neue Helvetica® 67 Condensed Medium
Neue Helvetica® 75 Bold
Monotype Grotesque® Condensed
Futura® Bold Condensed
VAG Rounded™ Black
Helvetica® Condensed Bold, Ext
Futura® Medium Condensed
Trade Gothic® Roman
ITC Avant Garde Gothic® Book
Futura® Heavy
PMN Caecilia® 75 Bold
PMN Caecilia® 85 Heavy
PMN Caecilia® 76 Bold Italic
Neue Helvetica® 67 Condensed Medium, Ext
Avenir® 55 Roman, Ext
Neue Helvetica® 45 Light, Ext
Neue Helvetica® 63 Extended Medium
Neue Helvetica® 53 Extended, Ext
Neue Helvetica® 73 Extended Bold, Ext
Linotype Univers® 420 Condensed
Felbridge™ Regular
Linotype Univers® 620 Condensed Bold
Frutiger® 65 Bold
Frutiger® 55 Roman
Eurostile® Next Regular
Eurostile® Next Extended Regular
Eurostile® Next Extended Bold
Trade Gothic® Condensed Bold #20, Ext
Neue Helvetica® 65 Medium
Eurostile® Next Extended Semibold
Neue Helvetica® 75 Bold, Ext
Linotype Univers® 320 Condensed Light, Ext
Neue Helvetica® 55 Roman, Ext
Trade Gothic® Light
Eurostile® Next Semi Bold, Ext
Neue Helvetica® 77 Condensed Bold, Ext
Univers® 47 Condensed Light Oblique, Ext
Helvetica® Roman, Ext
ITC Avant Garde Gothic® Demi
Neue Helvetica® 65 Medium, Ext
Avenir® 45 Book
Trade Gothic® Extended Bold
VAG Rounded™ Bold
Helvetica® Bold, Ext
Trade Gothic® Next Regular
Neue Helvetica® 57 Condensed, Ext
Helvetica® Condensed, Ext
ITC Avant Garde Gothic® Medium
ITC Avant Garde Gothic® Bold
Helvetica® Light, Ext
Neo® Sans Regular, Ext
Avenir® 35 Light, Ext
Trade Gothic® Next Condensed Bold
Trade Gothic® Condensed 18
Helvetica® Condensed
Helvetica® Rounded Condensed Bold
Futura® Extra Bold
DIN Next™ Regular
ITC Lubalin Graph® Book
Neue Helvetica® 25 Ultra Light
Neue Frutiger® Regular
Helvetica® Narrow Bold, Ext
Univers® 67 Condensed Bold Oblique
Frutiger® 45 Light
Helvetica® Narrow Regular, Ext
Soho® Gothic Light
Frutiger® 45 Light, Ext
VAG Rounded™ Light
Futura® Light
Helvetica® Light
Avenir® 55 Roman
Neue Frutiger® Light

by Mark Larson

Steve MattesonPlease join us Tuesday, Aug. 16, at 4:00 p.m. eastern time for a presentation from renowned type designer Steve Matteson. Steve serves as our creative type director and may be best known for typefaces he has designed for Microsoft and Google.

Typefaces are a critical tool for creating a brand voice. Used properly, type will maintain a positive connection between a product and a user – particularly in an interactive setting. Steve will discuss why type is important, the type design process and challenges faced in creating typefaces for electronic media.

Steve had the honor to give this presentation at the recent InHouse Managers Conference in Chicago, and has been asked by HOW to deliver an encore.

The presentation will begin at 4:00 p.m. (EDT) on Tuesday, Aug. 16. Register here.

by Bill Davis

Room & Board is a national retailer that provides handcrafted, American-made furniture. For more than 30 years, the company has focused on the simple idea that good design should be beautiful, affordable and long lasting. Room & Board’s attention to detail can be seen in fine typography throughout its stores, in print and on its website.

The website features Monotype’s Gill Sans® fonts in menus, headlines and titles. Like many other websites it previously used images to control its typography. But thanks to Web fonts this is quickly changing. The Room & Board Web team is upgrading the site to switch from images to text by using Web fonts. This change will enhance the site with better performance, accessibility and indexability. Using Web fonts instead of images saves time and reduces the need to manually generate graphics using programs like Adobe® Photoshop® applications. website featuring web fonts from Monotype

by Johnathan Zsittnik

Today we’re excited to take the wraps off a program we’ve been trialing for several months now: the Web Fonts agency program. This new program allows design agencies to obtain benefits of paid subscriptions to our Web Fonts service at no cost. Participants in the program can access our complete selection of fonts (currently over 12,000) for use on up to 25,000 page views per 30 days with no requirement to display the Web Fonts advertising badge. Use your subscription as long as you like.

The agency program distinguishes itself from the service’s free plan which is available to the general public by offering access to the complete inventory of fonts and waiving the badge requirement.

The reason we’re doing this is simple. Design agencies represent some of our best customers. Not just for our Web font service but for our entire end user business. Some of our relationships with design agencies date back decades. Agencies have been instrumental in the long term success of our typefaces by instilling them in major corporate design projects and establishing them as the centerpieces of brands. When we introduced Web Fonts a little more than a year ago, design agencies immediately latched on to the service, leveraging our vast selection of celebrated typefaces to expand the creativity of their Web designs. Agencies have been turning to us to bring brand unity to clients looking to use their corporate typefaces on the Web for the first time.

We want to make it as easy as possible for agencies to use Web fonts. The program makes it exceptionally easy for agencies to do just that.

Participants can experiment with different typefaces in comps without the risk of committing resources before the client has approved the design. Once the design has been approved, the next step depends largely upon if the agency or client will be maintaining the site going forward. If the agency will be maintaining the site on the client’s behalf, the agency can modify their subscription to a standard or professional plan that offers sufficient page views to cover the traffic of the client site. Since we allow our customers to use their account on unlimited domains, the standard or professional subscription plan can then be used for creating comps for future projects and clients. Agencies that transition websites to their clients to maintain can export their Web Fonts project to the client to import upon subscribing to the service. The agency can continue to use their “agency account” for creating comps.

Now, after piloting the program for several months with dozens of agencies, we’re ready to open the door to everyone. To get started, you’ll need to first subscribe to our free plan if you haven’t already done so. Next, you can request admission into the program by filling out a brief submission form on the agency program page. (Tip: you can easily get back to this page by clicking the agency program link in the footer). Once we’ve verified your candidacy, we’ll upgrade your subscription from the free plan – and you’re in!

If you’re a design agency – big or small – we’d love for you to give our service a shot. We’re confident that our typefaces will help you create better, more inspirational and brand consistent Web designs and that you’ll find the service to be straightforward, reliable and easy to use. Our agency program is just one more reason why we believe that Web Fonts offers the best workflow solution of any Web font service.

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

ITC Weber HandAn extension to the ITC Weber Hand™ family was announced on earlier this week. Actually, ITC Weber Hand wasn’t a family until the announcement was made. It was just a single-weight display design.

Among all the other single-weight, handwriting fonts, why was ITC Weber Hand chosen for further development?

Most handwriting fonts (typeface designs drawn to look like quickly written letters or spontaneous calligraphy) are single-weight, standalone products. When Monotype Imaging introduced the FlipFont™ application that enabled switching out fonts on mobile devices, it also made a suite of fonts available to support the application. Several of these fonts were of the handwriting variety. Perhaps in defiance to the “structured” sans serif fonts that are normally part of a mobile device’s operating system, the quirky, “all too human” handwriting fonts became some of the most popular fonts to “flip.”

Seeing this, we realized that a handwriting font with bold and maybe condensed family members might not only prove useful in supporting mobile device operating systems, but also in a variety of other graphic communication environments.

ITC Weber Hand was chosen because it has been a consistently popular design since it was first released in 1999, and because Lisa Beth Weber, the typeface’s designer, was more than agreeable to having more designs added to her original family.

Adding the new designs was a collaborative project between Weber and the type development team here at Monotype Imaging. A new bold weight and two condensed variations were drawn, based on the original typeface. Now, as a family of four designs, Weber Hand can be used in brochures, advertisements, logotypes, periodicals, package design and – perhaps – even mobile devices. Weber comments, “Thanks to Monotype Imaging’s support, ITC Weber Hand has grown into a suite of warm, friendly designs that are well-suited to a wide range of applications.”

Click here to learn more about ITC Weber Hand

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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