Archive for March, 2012

by Allan Haley

Aaron Burns passed away in 1991. In addition to being one of the founders of ITC, Burns was the heart, soul – and driving force behind the company. As I wrote in his memorial in U&lc, Volume Eighteen, Number Three, “Burns dedicated his career to the typographic arts. His ceaseless mission was to improve the quality of typographic communication and to provide graphic designers with a rich palette of typefaces from which to choose. ITC’s success was, in a large part, due to Aaron’s uncompromising dedication to excellence, his unerring sense of ethic, and his commitment to provide meaningful educational resource to the graphics community.”

Burn’s passing was a profound loss to all who had the good fortune to know him. This was especially true for those of us who worked at ITC. The company, however, continued to build upon his legacy and U&lc continued to publish articles that inspired and delighted graphic communicators.

While ITC had the well-earned reputation as the most successful type-marketing firm for many years, like all companies, it made missteps from-time-to time. Such was the announcement of a new brand in Volume Eighteen, Number One of U&lc. The brand was ITC Typographica, “a resource of typefaces intended for larger sizes …faces which have been created to attract attention, create a mood or make a statement” (basically, display typefaces). Four additions to the ITC Typographica series were announced in 1991, the ITC Mona Lisa Recut, ITC Studio Script, ITC Beesknees and ITC Anna designs. All are still in use today. And while ITC continued to add new designs to the ITC Typographica offering for some time – typefaces that would also become staples of display typography – the brand had a very short shelf life. What ITC forgot was that its typefaces and company name were the most important brands – and that another brand name was superfluous.

The ITC Mendoza Roman family was also announced in Volume Eighteen of U&lc, as were additions to the ITC Franklin Gothic and ITC Garamond families – the latter having an interesting backstory. In the mid 1980s, Apple adopted a digitally condensed version of ITC Garamond as its brand typeface. The face’s proportion fell somewhere between the regular weights of ITC Garamond and ITC Garamond Condensed. Like most digital distortions, however, it lacked the refinement of a typeface developed by a type designer or lettering artist. Apple used the typeface in all its advertising and corporate literature for several years before approaching ITC and Bitstream, the first digital type foundry, to develop a properly designed version of the face. This was to become ITC Garamond Narrow.

The “Felix The Cat” cover of U&lc Volume Eighteen Number Three, added more collectability to a publication that was already horded by graphic designers. It was printed as a series of three, each with the same “Felix” image, but with a different background color: florescent pink, orange and green. We’ve provided the pink cover in this series of PDFs. True collectors of U&lc have all three covers.

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

Low Resolution:

Volume 18–1 (Low Res).pdf (10.2 MB)

Volume 18–2 (Low Res).pdf (temporarily unavailable)

Volume 18–3 (Low Res).pdf (11.2 MB)

Volume 18–4 (Low Res).pdf (13.2 MB)

High Resolution:

Volume 18–1.pdf (52.7 MB)

Volume 18–2.pdf (temporarily unavailable)

Volume 18–3.pdf (56.5 MB)

Volume 18–4.pdf (62.4 MB)

Editorial footnote: At the time of (original) posting we do not have PDFs available for the second issue of volume 18. Don’t worry, we do have this issue in our archives and we plan on posting PDFs at a later date.

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 Alan Tam

One of the best things about my job is being able to engage with all of you, our customers and partners, to better understand your business and how we at Monotype Imaging can deliver not only the IP, but also the technology to help you succeed. One trend that has really taken off the past few months is the extension of branded digital content, especially dynamic and context aware content, to mobile platforms and multiple languages. However, this creates new challenges for both your development and delivery workflows.

By now, most of you have (hopefully) heard about our patent-pending dynamic subsetting technology that helps brands improve the performance and user experience when using Web fonts. Initially developed to reduce the larger file sizes of Chinese, Japanese and Korean fonts, dynamic subsetting automatically detects and delivers a Web font containing only the characters needed to render the page, thus dramatically reducing font file size. Smaller font files translate to faster speeds, performance and load times of your content which in turn results in superior customer experiences – especially when that content is delivered to mobile devices over mobile networks.

While Web Fonts has used dynamic subsetting for all of our East Asian fonts since its inception in 2010, we’d like to explore implementing the technology for other languages and use cases including mobile targeted content, dynamic branded content, social apps or rich media ads. With that, I’d like to extend to you a cordial invitation to check out our new dynamic subsetting demo site at

P.S. – For an even more dramatic experience, try it out on your tablet or mobile phone!

by Allan Haley

The David Hadash™ family is as beautiful as it is ageless. This even-textured, clear – and truly beautiful typeface is a painstaking digital revival of Ismar David’s iconic early 1950s designs. Scholars, historians, and just about anyone who sets or reads Hebrew script will delight in this new release from Monotype Imaging.

Ismar David envisioned something special when he designed the David typeface in the early 1950s: a Hebrew family of type in three styles – upright, italic and sans serif – with each in three weights. David’s design was the antithesis of early twentieth century Hebrew typeface styles, which tended to be heavy and ornate. His work revived the essential components of ancient Hebrew letters and modernized them with subtle curves and clearly differentiated forms.

In 1954, the original typeface, David, was licensed as two styles, upright and italic, to Intertype as a hot-metal typeface. Each style was made available in two weights only. In 1984, the same two designs were licensed to the Stempel Foundry for use on its phototypesetting machines. When Linotype GmbH purchased Stempel, it also acquired the license to David. In spite of the advent of digital font technology, David, however, was never reissued in new format. Although unauthorized versions have abounded over the years, none has ever covered the intended breadth of styles.

The David Hadash™ (“New” David) typeface family, as originally intended by Ismar David, is now available from Monotype Imaging through an exclusive license with the designer’s estate. Helen Brandshaft, who had worked with Ismar David for many years, painstakingly restored the iconic family of type. She comments, “His work is unmistakable, lively, exciting to look at, endlessly varied and timeless.”

The David typeface was a ground-breaking typeface in 1954. Ismar David distilled the essence of Hebrew letterforms and characterized them with his own sense of design. Yes, the original David is an historically important typeface, but few would find a need for the original two typefaces. What is important about David Hadash is that it restores the beauty & quality of the original David Hebrew design and adds the rest of the styles and weights – and Bibical marks.

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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