Archive for May, 2012

by Chris Roberts

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

Neue Helvetica
Trade Gothic
DIN Next
Gill Sans
ITC Avant Garde Gothic
Neue Frutiger
Futura T
Trade Gothic Next
New Century Schoolbook
PMN Caecilia
Avenir Next
Neo Sans
DIN 1451
Linotype Didot
ITC Lubalin Graph
Linotype Univers
Frutiger Next
Garamond 3
VAG Rounded
Neue Helvetica Arabic
Harmonia Sans
Monotype News Gothic
Bauer Bodoni
Heisei Kaku Gothic
Soho Gothic
Eurostile LT
Egyptian Slate
ITC Franklin Gothic
Century Gothic
Monotype Grotesque
Neue Helvetica eText
Sackers Gothic
Plate Gothic MT
News Gothic
ITC Officina Sans
ITC Stone Informal
Monotype Modern
Ocean Sans
FB Han Gothic
ITC American Typewriter
Andale Mono
Droid Sans Mono
Frutiger Serif
Eurostile Next
Linotype Feltpen
ITC Garamond
Wiesbaden Swing
Neue Haas Grotesk
ITC Conduit
Monotype Garamond
ITC Kabel
ITC Franklin
Neuzeit Office
Rotis Sans Serif
ITC Legacy Serif
ITC Officina Serif
ITC Caslon No. 224
Neo Tech
P22 Underground
Bodoni LT

by Ryan Arruda

Nearly 160 years old, the YMCA of Greater New York provides programs for children, adults – and every age in between – to promote community as well as inspire healthy living for all its members.

The YMCA of Greater New York’s website features the Cachet typeface family, utilizing the bold and book weights for headlines as well as a myriad of subheads. The site also reflects the most current visual identity of the national YMCA organization, in which Cachet is also employed for the wordmark.

The masthead of the The YMCA of Greater New York’s site features both book and bold weights of Cachet side-by-side. The bright colorways help amplify Cachet’s kindly letterforms, which are strong yet temperate. The tightly tracked, all-capital slogan showcases the robust sturdiness of the face, while the title case book weight text provides a quieter, but quite legible, visual presence. In addition to book and bold weights, the Cachet typeface family is available in a medium weight as well.

While Cachet certainly possesses a modern, geometric DNA, it appears cutting edge without appearing sterile or oppressively mechanical. The typeface is quite apt for an organization like the The YMCA of Greater New York  which has – and continues to – adapt and support the needs of its community with each successive generation.YMCA of Greater New York

by Alan Tam

Designing with Web fonts in Photoshop software has never been easier with the Web Fonts extension. This product was born out of the creative challenge of integrating and designing with Web fonts in your creative process. Having the right fonts available is both critical and a time saver for your creative workflow. You will no longer need to spend countless hours creating various resolutions of text images or resorting to those dreaded, uninspiring Web safe fonts when designing proofs and prototypes.

Easily preview and design with over 20,000 typefaces from Web fonts directly in Adobe Photoshop

Now in beta, the Web Fonts extension is accessible directly within your Photoshop canvas where you can apply font styles to your selected text layer. The extension syncs with the projects and fonts in your account to bring your favorite fonts to your Photoshop environment. You can also browse the font gallery and add new fonts to your project directly within the extension. The extension will automatically sync with your online account to ensure that your projects and fonts are available as well.

Should you need to take your creative development offline, the extension enables you to access and apply Web fonts that have been added to your projects in a disconnected environment!

When your creative proof or prototype is ready for production, simply publish your project from your account online. Best of all, the extension beta is free with your Web Fonts account. Learn how you can get started today!

Help create a better product experience by providing your feedback and input on our product user forum.

by Allan Haley

A Bevy of New Typefaces – And Thomas Wolfe is Proved Wrong.

I was enjoying reading the four issues of U&lc Volume 20 in preparation for writing this blog –  until something on one of the pages caused me to reflect a little more than usual on the publication and my tenure with ITC. It wasn’t something that most people would notice (certainly not today), and probably would not care about. I was, however, a bit taken back.

Volume 20 began with the spring issue of 1993 and ended with the spring issue of 1994. More new ITC typefaces were announced in those 12 months than in any previous time since ITC was founded. Three were brand new designs: the ITC Cerigo family by Jean-Renaud Cuaz, ITC Highlander from Dave Farey and ITC Motter Corpus by Othmar Motter. The remaining typefaces were extensions to existing families and a technology upgrade to ITC’s first, and one of its most important typeface designs.

Adobe extended its PostScript Type 1 format in the 1990s to enable users to customize a font while maintaining the integrity of a typeface design. The technology was called Multiple Masters and provided a design matrix based on one to four predetermined axes. These axes determine the range of possible font variations and could include such aspects as typeface weight, width, style and optical size. A type designer created master designs at each end of a design axis. The user could then interpolate, or generate intermediate variations, between the master designs on demand. ITC Avant Garde Gothic Multiple Masters was released by Adobe as a two-axis typeface incorporating weight and width changes. The dynamic ranges extend from extra light to bold in weight, and condensed to normal in width.

While Adobe’s Multiple Masters technology is no longer a commercial product, you can still license all the weights of the ITC Avant Garde Gothic family from a number of authorized online stores.

Three “handtooled” variations were also announced for the ITC Century, ITC Cheltenham and ITC Garamond typeface families. Handtooled designs are special display versions of type designs that have a distinctive highlight engraved or “tooled” into the left side of the character strokes. While this modification could probably be accomplished relatively easily with current digital design tools, this was not the case in the early 1990s. The analog design talent of Ed Benguiat was, instead, put to good use on this project.

The other additions to the ITC typeface offering were Cyrillic versions for 20 of ITC’s most popular designs. For some time, ITC wanted to make a number of its typefaces compatible with the many Slavic languages. The problem was finding a suitable design team to undertake the challenge. In 1989, ITC had the opportunity to meet principals of ParaGraph International, a Russian-American joint venture based in Moscow and Sunnyvale, California. ParaGraph’s type design group consists of seasoned typeface design professionals who formed a respected type foundry developing Cyrillic fonts and typographic tools for digital imaging.

ITC commissioned the designers at ParaGraph to create Cyrillic characters, which maintain integrity to the original Latin ITC typeface designs while remaining consistent with the Cyrillic type design conventions. Over the years, many more Cyrillic designs were added to ITC’s typeface library.


The thing that caused me to reflect on my years at ITC and contributing to U&lc? I’m not listed in the masthead of issue Number Four. I was gone.

I continued to consult to ITC and contribute to U&lc as an independent writer – but I was no longer an employee of the company. What happened? It’s a long story but, basically, ITC and I changed over the years. We grew apart.

I was saddened by leaving the company – and a little apprehensive about my future – but it was the right thing to do. I also discovered that Thomas Wolfe was wrong – you can go home again. I’m back at ITC – well, back at the company that owns ITC – and I’m doing many of the same things I did while an employee at one of the most influential “type” companies from the early 1970s to the mid-1990s. Sometimes “what goes around, comes around” is a good thing.

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

Low Resolution:

Volume 20–1 (Low Res).pdf (12.9 MB)

Volume 20–2 (Low Res).pdf (10.4 MB)

Volume 20–3 (Low Res).pdf (10.2 MB)

Volume 20–4 (Low Res).pdf (9.7 MB)

High Resolution:

Volume 20–1.pdf (64.5 MB)

Volume 20–2.pdf (45.1 MB)

Volume 20–3.pdf (45.1 MB)

Volume 20–4.pdf (42.5 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 Bill Davis

Hasan Abu Afash

Monotype Imaging continues to add to its non-Latin typeface offerings, providing designers with a wide range of fonts covering global languages. We are pleased to introduce Hiba Studio – a source of fine Arabic fonts.

Hiba Studio was launched in 2007 by Hasan Abu Afash, an Arabic type designer and typographer based in Gaza, Palestine. His type design work includes fonts covering all languages that use Arabic scripts such as Arabic, Persian, Urdu, Kurdish and Pashto. Hasan has worked with a variety of Arabic type designers including Mirjam Somers, Pascal Zoghbi and Dr. Mamoun Sakkkal.

The Arabic fonts from Hiba Studio are all in OpenType and/or TrueType format for use in modern operating systems and software applications that support complex scripts such as Arabic. This includes Microsoft Office for Windows, OpenOffice and Mellel. Adobe InDesign and Illustrator users must have the Middle Eastern version, or a plug-in such as IndicPlus.

Hasan Enas
Hasan Enas fonts
Hasan Enas is an Arabic text typeface designed for reading texts; inspired by the simple lines of Naskh calligraphy with support for Arabic, Persian and Urdu. The characteristic of its design is easily recognizable and very stable for use in extended texts such as magazines, newspapers, books, and other publications.

Hasan Hiba
Hasan Hiba font
Hasan Hiba is an Arabic display typeface based on the simple lines of Fatemic Kufi calligraphy. It won fifth place in Linotype’s first Arabic Type Design Competition. In November, 2008, Hasan Hiba was upgraded by working with Mirjam Somers.

Hasan Alquds Unicode Complete Family Pack
Hasan Alquds font
Hasan Alquds Unicode is an Arabic display typeface, useful for titles and graphic projects where a contemporary, streamlined look is desired. The font is based on the simple lines of Kufi calligraphy, and the uniform slope of its strokes gives it a structured, geometric feel.

View all Arabic fonts from Hiba Studio.

by Allan Haley

It’s not often that you can work shoulder to shoulder with a typographic master. You can, however, if you sign up for the Type Directors Club’s Type Masters Week workshops June 1 through 6. The club is offering the unique opportunity to participate in hands-on workshops with the likes of award winning typographer extraordinaire, Gail Anderson, internationally renown type designer, Henrik Kubel, Bas Jacobs, of Underware fame, and Font Bureau’s David Berlow.

Type Masters Week Schedule

You can spend a long weekend with SVA instructor Gail Anderson and her always-cheerful co-teacher, Josh Hester, and create your own short motion piece in After Effects.

Henrik Kubel will work with participants in his workshop in creating new stencil alphabets in one-to-one tutorials throughout the day, concluding with a mini exhibition and critique of the final designs.

Twenty attendees will work together to create one font, in Bas Jacobs’ workshop, which he promises will be as “electrifying as Sylvester Stallone in a B-movie.”

The day with David Berlow will be equally delightful as attendees of his workshop will make not only fonts – but websites on which to display them. And, as any one who knows David will tell you, a day with Mr. Berlow is – like garage bands and red licorice – a simple pleasure.

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 Ryan Arruda

With products available in over 130 countries, Grohe AG is one of the world’s largest designer-manufacturers of kitchen and bathroom fixtures.

The company’s website is set in Linotype’s Univers® typeface family, itself a watershed milestone of typographic design, crafted by Adrian Frutiger beginning in 1954.

Throughout their site, Grohe utilizes the thin, light, roman, and medium weights of Univers. The use of these specific weights (out of the family’s 44 choices) is quite suited to complement Grohe’s products – both espouse qualities of lightness and clarity, remaining aesthetic without being intrusive.

by Bill Davis

Bomparte's Fonts logoBomparte’s Fonts is a small type foundry that launched in 2006 and features the diverse range of fonts designed by John Bomparte.

Bomparte began his career in type in the 1970’s – the glory days of typesetting – at the legendary Photo-Lettering, Inc. (PLINC). For ten years he worked closely with Ed Benguiat and also had the opportunity to be surrounded by other type design luminaries such as Robert Alonso, Victor Caruso, Vincent Pacella and Tony Stan.

Bomparte’s Fonts continues to add new, original designs along with historic revivals. You’ll find a variety of type styles, ranging from handwriting and calligraphic scripts to both retro and eclectic display fonts.

Capistrano BF font
Capistrano BF

Black Swan BF font
Black Swan BF

Jackie Sue BF font
Jackie Sue BF

Hamptons BF font
Hamptons BF

GrungeBob BF font
GrungeBob BF

Brandy BF
Brandy BF


by Allan Haley

Fast Company’s fourth annual ranking of The 100 Most Creative People in Business identifies some of the most influential executives, artists and impresarios fashioning our culture – and our future. Among this year’s luminaries is Nadine Chahine, who is in charge of all our Arabic-related type design and business development, working from Linotype, our subsidiary in Germany. Past recipients of the recognition have included Conan O’Brien; Microsoft’s Alex Kipman, who led the creation of the Kinect motion sensing input device for the Xbox game console; Oscar-winning costume designer Colleen Atwood; Jim Yong Kim, the president of Dartmouth who is pioneering a new approach to health-care services; and Arianna Huffington, president and editor in chief of The Huffington Post Media Group.

Nadine works on both custom and library projects and coordinates external Arabic designers. She holds a bachelor’s degree in graphic design from American University of Beirut, Lebanon, and a master’s in typeface design from the University of Reading, U.K. Nadine is also currently a Ph.D. arts candidate at Leiden University, in The Netherlands.

Gebran2005 — Custom typeface for Lebanon’s An-Nahar newspaper

It was Samir Sayegh, a master calligrapher who takes letters beyond the formal aesthetic of Arabic calligraphy that opened up the world of typeface design to Nadine. “I took his Arabic typography class, at the American University of Beirut,” she recalls. “It was a powerful introduction to Arabic typeface design. Professor Sayegh would show us the most amazing examples of Arabic calligraphy and contrast this to the low quality of available Arabic typefaces. The glaring disconnect was too hard to miss. He also opened my eyes to the endless possibilities of the Kufi style of Arabic calligraphy.”

“That got me hooked,” she continues, “and two years after graduation I joined the master of arts course at The University of Reading. It was there that I specialized in type design.”

The inspiration for Nadine’s work is unusual among typeface designers – it is not just about visual influences or conceptual theories. “Beirut is at the heart of my work,” she exclaims. “Especially how I want it to be. Beirut is a city with a troubled history, but it is one that has so much energy, beauty and resilience that it’s constantly pulling itself up. It is a city full of life, and type is the voice. I want a Beirut that has a strong voice and a hopeful future. I do not see a distinction between typography and its context. If we work for better typography, then maybe we can affect change on a larger scale.”

Among the new original designs and custom Arabic typefaces Nadine has drawn for multinational clients, she has also collaborated with renowned type designers, Adrian Frutiger and Hermann Zapf. The results are the award-winning Frutiger Arabic, Univers Next Arabic, Palatino and Palatino Sans Arabic typeface designs, Arabic interpretations of some of their most important Latin typefaces.

Adrian Frutiger

“The first book I read about type design, Type Sign Symbol, was written by Adrian Frutiger,” recalls Nadine, “so I had been influenced by his approach to design a long time before our Frutiger Arabic collaboration.”

“My work with Professor Zapf was especially rewarding,” she continues. “We worked together side by side for many hours, and he taught me how to draw calligraphic forms from the Latin alphabet. I learned valuable lessons about how he looks at letterforms.”

Nadine with Hermann Zapf

In addition to her collaborations with Frutiger and Zapf, Nadine’s typeface designs include the Neue Helvetica Arabic, Koufiya, Janna, Badiya and DIN Next Arabic typefaces. Her newest project is a modern design that is part of a large multi-script family. Nadine describes it as “friendly yet professional, and a Kufi style with traces of Naskh.”

DIN Next Arabic — Nadine’s latest typeface release

In addition to the influences of her heritage and the city of Beirut, there is an underlying goal to all Nadine’s work – and it is so much more than just about drawing beautiful letters. “Type, by its nature, is the message bearer of written content,” she says, “and type designers are the ones who craft the vessel for communication. Type designers are craftspeople and citizens. I am citizen first, and designer second. I always try to think of where the typefaces will be used, in real life situations. Type comes to life when it is in dialogue with its environment. It’s not about which curve I prefer over the other, but how the typeface serves the function it is meant for.”

Univers Next Arabic

It is only natural that this world view of typeface design would spill over into Nadine’s Ph.D. studies. “I’m studying the effects of word form complexity on the speed of reading,” she says about her work. “We have varying degrees of complexity in the typefaces available today, yet we do not know which ones are more suitable for reading. I am investigating the process of eye movement in reading and related legibility studies for Arabic scripts.”

Palatino Arabic

In addition to her recognition in Fast Company’s fourth annual ranking of The 100 Most Creative People in Business, Nadine has been honored with the Dean’s Award for Creative Achievement from the American University of Beirut in 2000, along with awards for Excellence in Type Design from the Type Directors Club of New York City in 2008 and 2011.

It is rare that typeface designers achieve worldwide acclaim with the general public – but then, Nadine Chahine is a very rare – and very special person.

You can read more about Nadine’s work here on and view samples of her designs in a SlideShare by clicking here.

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 Ryan Arruda

Employing over 168,000 people across the globe, Sony is a worldwide electronics manufacturer, specializing in computer, video, and audio products for both consumer and professional audiences.

The Sony homepage employs the ITC Avant Garde Gothic typeface family, using book and medium weights for its headlines and subheads. This classic geometric sans is quite appropriate for an electronics purveyor, as its inherent structure projects a demeanor of modernity. However, with its large x-height, ITC Avant Garde Gothic remains grounded and relatable, conferring warmth where other geometric faces might offer colder personalities.

Customer Spotlight: Sony


Great type makes sites stand out