Archive for April, 2012

by Ryan Arruda

Owens Corning is a worldwide manufacturer of building and construction products; known for their iconic pink fiberglass insulation, the company produces a wide gamut of construction products used in both residential and commercial projects.

The Owens Corning website features the Gill Sans typeface family, employing both light, book, and medium weights. The humanistic strokes of Gill Sans projects approachability, while the light weight used in the headline provides touches of clean, architectural modernity and soundness. The multiple weights of Gill Sans in play on the Owens Corning site not only delineates product content, but provides aesthetic stability and balance as well. Owens Corning Website

by Allan Haley

Four Sets of Designers, Six New Typeface Families, A New Font Technology from Apple – and an Apology

U&lc Volume 19 is a feast of world-class typographic design. Each issue is a tour-de-force created by a different studio or designer. WBMG Design (Walter Bernard, Milton Glaser, and Frank Baseman) designed Volume 19, Number One. The work of Alexander Isley, Seymour Chwast and Paul Davis followed in succeeding issues.

An update to Apple’s TrueType font platform was heralded in the pages of Volume 19, as akin to having a typographer living inside your computer. Maybe you’ve heard of the technology…

The updated TrueType platform was called “TrueTypeGX” and it allowed users the ability to automatically access a variety of typographic tools. The technology was unique in that it was integrated in Apple’s operating system as well as in the fonts themselves. The “GX” part was additional tables in the “sfnt” font file format that was part of QuickDraw GX. This offered powerful extensions in two main areas. First was font morphing, (allowing fonts to be smoothly adjusted from light to bold or from narrow to extended). Second was Line Layout Manager, a technology that provided for automatic insertion of alternate characters, such as small caps, ligatures and swash letters. (Sounds a little like OpenType, doesn’t it?)

Unfortunately, the lack of user-friendly tools for making TrueType GX fonts limited their development to no more than a handful of these “smart” fonts – primarily from ITC, Linotype, and Bitstream. Much of the technology in TrueTypeGX, including morphing and substitution, however, lives on as AAT (Apple Advanced Typography) in Mac OS X.

The calligraphic ITC Syndor family, from Hans Edward Meier, was announced in Volume 19, Number One. This was followed, in Volume 19, Number Two, by condensed designs to complement the earlier released ITC Lubalin Graph family. The display designs of ITC Ozwald and ITC Mona Lisa Solid, in addition to a phonetic character suite for the ITC Stone family, were announced in Volume 19, Number Three. The first of what was to become the very large – and very popular – ITC Legacy typeface family, by Ron Arnholm, was announced in Volume 19, Number Four.

Volume 19 also contained the first apology from ITC for potentially offensive content in the pages of U&lc. Can you find it?


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

Low Resolution:

Volume 19–1 (Low Res).pdf (12.1 MB)

Volume 19–2 (Low Res).pdf (8.3 MB)

Volume 19–3 (Low Res).pdf (10.6 MB)

Volume 19–4 (Low Res).pdf (10.3 MB)

High Resolution:

Volume 19–1.pdf (60.3 MB)

Volume 19–2.pdf (39.3 MB)

Volume 19–3.pdf (51.9 MB)

Volume 19–4.pdf (45.8 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 Chris Roberts

Here’s a ranked listing of Web Fonts’ top 100 most used Web fonts for March 2012:

Trade Gothic
Neue Helvetica
DIN Next
Trade Gothic Next
Gill Sans
New Century Schoolbook
Neue Frutiger
PMN Caecilia
ITC Avant Garde Gothic
DIN 1451
ITC Lubalin Graph
Avenir Next
Neo Sans
Futura T
Heisei Kaku Gothic
Linotype Didot
Monotype News Gothic
VAG Rounded
Harmonia Sans
Garamond 3
Soho Gothic
Frutiger Next
FB Han Gothic
Bauer Bodoni
Linotype Univers
Neue Helvetica eText
Eurostile LT
Sackers Gothic
ITC Franklin Gothic
Egyptian Slate
News Gothic
Gill Sans Infant
Charlotte Sans
Ocean Sans
Century Gothic
Plate Gothic MT
ITC Officina Sans
Eurostile Next
Monotype Grotesque
URW Franklin Gothic
ITC American Typewriter
ITC Franklin
ITC Bailey Sans
Wiesbaden Swing
ITC Kabel
Neuzeit Office
ITC Adderville
ITC Conduit
Fette Engschrift DIN 1451
ITC Officina Serif
Monotype Modern
Basic Commercial
Rotis Sans Serif
Neo Tech
ITC Stone Sans
Georgia Pro
ITC Caslon No. 224
Alternate Gothic
New Caledonia
Neue Haas Grotesk
Monotype Garamond

by Bill Davis

Monotype Imaging is pleased to have two of its type specialists speaking at the Reading Digital Symposium on April 27–28, 2012 at the Rochester Institute of Technology.

Web fonts and e-publishing tools bring a vast array of typographic choices. But how do you effectively harness type and typographic controls that were once the domain of book designers and print publishers?

Meet experts who will help you make the right choices. Monotype Imaging’s Steve Matteson and Tom Rickner go “under the hood” with type for the screen:

Steve’s presentation, titled “Type, Tech, and Tools to Change the Way We Read” will cover business, technology and design issues that impact typography in the new and exciting medium of e-books. As creative type director for Monotype Imaging, Steve is a designer of typefaces for brands such as the Microsoft Xbox video game console and the Google Android operating system, for which Steve designed the Droid fonts. Steve will discuss why type is important, what goes into the type design process and what the challenges can be when creating typefaces for electronic media.

Tom’s presentation, titled “Hints about Hinting — the Achille’s Heel of Type on Screen” will equip the attendee with an overview of the concerns impacting the functionality and the perceived aesthetic quality of the final font product used in delivering e-book content. Tom is a technology expert for type on screen and has hinted custom typefaces for such companies as Apple and Microsoft.

E-books represent a different set of challenges and opportunities compared to the design, production and distribution of printed books. Factors that particularly influence the success of e-books include e-book format, screen size, display technology and the impact of typeface selection in regard to legibility on small screens. During the symposium, Steve and Tom will explore the various technologies and emerging standards that are shaping the evolution of e-books.

About Steve Matteson
Steve Matteson Steve Matteson is the creative type director for Monotype Imaging. A 1988 graduate of the School of Printing at Rochester Institute of Technology, Steve found his passion for type and typography among the historic collections of books, metal type, type-casting equipment and printing presses. In 1990, Steve was hired by Monotype Typography as a contractor to aid in the production of Microsoft’s first TrueType fonts. Having already spent more than two years mastering the hinting algorithms of a similar technology for another company, TrueType was an easy transition. He produced fonts for customers such as Apple, Hewlett-Packard and Microsoft. Working on the technical aspects of type has helped Steve fuel his ambition to design new typefaces. One of his early projects was a revival of Frederic Goudy’s Truesdell design, completed in 1993. These were quickly followed by the Andalé screen font design for mainframe terminal emulation, in addition to the Blueprint, Fineprint and Goudy Ornate typefaces, as well as user interface fonts for the original Xbox, the Windows Vista platform and Android OS. Some of Steve’s more recent creations include Endurance, Miramonte and Bertham designs.

About Tom Rickner
Tom RicknerTom Rickner has developed font software for over 20 years, producing custom font solutions for companies such as Adobe Systems, Apple Computer, Hewlett-Packard, IBM, Lexmark, Lotus, Microsoft and Nokia for implementation in nearly every imaging environment. A graduate of School of Printing at the Rochester Institute of Technology, he is recognized for the highly regarded TrueType production and hinting of Matthew Carter’s Georgia, Verdana, Tahoma and Nina typeface families, commissioned by Microsoft. His experience with non-Latin scripts is broad, having designed fonts for Greek, Cyrillic, Hebrew, Thai, Thaana and Cherokee scripts. His original type designs include Amanda, Buffalo Gal, and Hamilton, and his newest typeface, Rebekah Pro, is a wonderful revival and expansion of Morris Fuller Benton’s Piranesi Italic.

by Ryan Arruda

Geek Squad are technology professionals who help clients with all their electronic conundrums. Whether through home visits, by telephone, or even remotely, Geek Squad agents are available 24/7 to assist with the digital computing needs of consumers.

The Geek Squad UK website uses the DIN Next typeface extensively, achieving balanced hierarchy by employing both heavy, bold, and regular weights. The typeface presents both authority and affability, much in line with the image of the Geek Squad agents. The judiciously rounded curves of DIN Next nicely hint at the technological foundation of Geek Squad’s services.

Who ever thought that a squad of geeks would be so typographically hip?Geek Squad website using Web fonts


by Bill Davis

We are pleased to introduce the Armasen type foundry, a new source for inspirational fonts from young type designers based in Brazil. The first releases include Caturrita Display and Caturrita Extra. Both are designed by Bruno Mello.

Caturrita Display is a versatile family with a sense of strength and a refined calligraphic touch. The Display version has large contrast in the heavy weights to give it extra expression. Caturrita has five weights and a wonderful range of OpenType typographic features.

Caturrita Extra is a redesigned four weight family with several adjustments in features including a dynamic set of capitals and ligatures. Caturrita Extra also has fine adjustments in the bold and light versions.

by Johnathan Zsittnik

With literally tens of thousands of typefaces to choose from, finding the right one can be frustrating – particularly when you’re deep in the middle of a design project. The Internet is littered with font search and preview tools to help designers wade through the sea of typographic options. Yet there’s simply no substitute for seeing how a typeface behaves in the document you’re working on.

This was the inspiration for FontGazer™ – a free plug-in that allows you to preview thousands of fonts directly in your Adobe® InDesign® document. Using FontGazer, you can experiment with the entire inventory of more than 150,000 fonts. Search for fonts by keyword, category, usage or theme. Click the ‘try’ button next to any font result and your InDesign text block will display using that typeface.


But as much fun as experimenting with new type can be, we understand that when you’re in the middle of a project, purchasing fonts can be an unwanted distraction. With this in mind, we’ve built a simple cart and checkout process into FontGazer. So when you do find the perfect font, you can purchase, download and install it without ever leaving InDesign.* Before you know it, you’ll be back on the road to productivity.**

Sound good? Head on over to to download FontGazer for InDesign CS 5 and 5.5  for free. We think you’ll find FontGazer to be a handy tool that helps you “find your type” faster than ever before. Once you’ve had a chance to try it out, we’d love to hear what you think. We’re introducing the plug-in through a beta knowing that there’s room to go from here. We aim to add new features and support for other applications. But you can help us make FontGazer even better by sharing your feature requests, raves, gripes, or other thoughts in the FontGazer feedback forum.

*This feature is currently only available in the Mac version of FontGazer. FontGazer for Windows adds products to a cart and directs users to to complete their transaction.
**assuming you want to be productive. We’ll do our best to keep this from your boss and your clients.
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

“I would like to say that it was a straight-lined, well-thought-out process, but to be honest, it was the opposite,” says Felix Bonge, about his Levato typeface design. “Actually Levato was my first ‘real’ typeface and I had to learn everything in a hands-on manner.”

Levato started out to be a personal study on the part of Bonge; it was not his intention to develop into a typeface family.  “It took me almost four years, a myriad of changes, adaptions and fresh starts to finish my work and be satisfied with it. Though without my professor, Jovica Veljovic, the design would have ended as the personal study as I originally intended,” recalls Bonge. “Professor Veljovic continually pushed me to take the design to the next step.”

Over time, the personal exploration evolved into a typeface family of five weights from light to black, plus matching italics and many OpenType software features, including ligatures, discretionary ligatures, swashes and alternate characters, ordinals, fractions, superscript and subscript. The result is a design that is ideally suited to advertising headlines in all media, distinctive blocks of display copy and lively magazine spreads.

“The harmony of the design and organic strokes are most satisfying to me,” says Bonge. “I like the tension between serious, almost rigid shapes on the one hand and playful, naive letters on the other. These give the design a special character.”

The Levato family is available as desktop fonts from the, and websites. It is also available as Web fonts from

Click here to learn more about Levato.

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 Matt Brinkerhoff

From hand-carved glyphs, to the printing press, to the Web…typography has breached many new frontiers throughout history. These innovations allowed language and knowledge to spread throughout the world. While significant, none of these innovations have had such a profound effect on personal style & expression. For the first time, and Tattly are combining forces to bring fine typography to the human body.

We met the Tattly team during a visit to the Studiomates workspace in Brooklyn.  It was there we met Tina Roth Eisenberg, who originally founded Tattly because “Temporary children tattoos are often hideous looking…I was ready to put designy, cool, typographic tattoos on my daughter’s arm”. Tattly has since evolved to include carefully-curated temporary tattoos from over 40 artists . When the idea to simultaneously release a new typeface as a Tattly tattoo was mentioned, we knew that we had to make it happen!

“Being a designer first and foremost, nothing makes me happier than typographic Tattlys. I think our Levato Tattly does a great job of capturing the beauty of the typeface and the playfulness of Tattly.” Says Tina. We couldn’t agree more — it was great meeting and working with Tattly!

The release of Felix Bonge’s beautiful new serif Levato provides the perfect opportunity for this collaboration.  With today’s release of Levato, temporary tattoo pioneers Tattly have simultaneously released a custom-designed Levato tattoo sheet on  Levato’s custom ligatures and swash characters provided a smorgasbord of material for Tattly’s designers, and the result is a sheet of words and phrases expertly set in Levato. Enjoy!

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 Bill Davis

WOBURN, Mass., April 1, 2012 – Monotype Imaging Inc. today announced the results of a 22-year study into font choices used by political campaigns throughout the United States. Originally started by Monotype in 1990 in conjunction with the South Henrietta Institute of Technology, the exhaustive study analyzed the fonts used in more than 314,169 municipal and state elections, with the goal of identifying fonts and typographic trends in the winning political campaigns.

“We were surprised not only by the wide choice of typographic styles used in campaigns across the country but also the clear advantage of certain fonts to help their candidates win elections,” said Idee Claire, director of political graphic studies at the South Henrietta Institute of Technology. “This study debunks the myth that it’s all about using red, white and blue colors – it’s far more important to match the right font to the candidate’s position they are seeking.”

The study found these fonts resulted in a minimum 62.5 percent margin of victory when used in a campaign for the following offices:

Rabenau font
Mayoral font: Rabenau™

ITC Weber Hand font
Dog Catcher font: ITC Weber Hand™

Akko font
Judge font: Akko™

School Board font: School Script Lined

Treasurer font: Carter Sans™

Elegy font
Attorney General fonts: Elegy™ and Goudy Forum Pro

Francker font
Sanitation District font: Francker™

ITC Chino font
Coroner font: ITC Chino™

Great type makes sites stand out