fonts.com blog
Archive for September, 2012

by Johnathan Zsittnik

Adobe LogoThe best selection of Web fonts is about to get even better. We’ve teamed up with Adobe to offer hundreds of their typefaces, including the most popular designs from the Adobe Originals catalog, through Fonts.com Web Fonts. Adobe fonts are well known for their quality and artistry and have become resources for design professionals. With many of their families being staples at the top of our list of best selling desktop fonts, we’re proud to offer these designs as Web fonts.

The collection includes hundreds of Web fonts including such design mainstays such as the Chaparral, Minion and Myriad families.  Many of these designs have been optimized for on-screen display.

In the coming weeks, the first batch of these designs will appear directly in our selection of Web fonts with additional releases to follow shortly thereafter. These fonts will be available for use by everyone subscribed to a Fonts.com Web Fonts Standard or Professional plan. Stay tuned. As always, more releases from world-class designers and foundries are headed your way.

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 Ryan Arruda

Room & Board — based in Minneapolis, Minnesota — produces distinct furniture and furnishings for nearly every room in the home. The aesthetics of the company’s website very much reflect the ethos of the products they produce — both are warm, inviting, quietly elegant, and well-crafted.

Utilized in the navigation, subheads, and body copy on the Room & Board site, the Gill Sans family is a modern, legible and genial design. Even when not employed as a headline face, the Gill Sans family acts as an indispensable supporting typeface, reinforcing the infrastructure and clarity of the information presented to viewers.

Available in over 37 styles, widths, and weights – ranging from delicate light to hulking ultra bold weights — the Gill Sans family possesses an essential versatility and grace suited for many arenas of design.

Customer Spotlight: Room & Board

Ryan Arruda
Ryan Arruda is the Web Content Strategist at Monotype Imaging. Ryan holds a bachelor’s degree in film studies from Clark University, and an MFA in graphic design from RISD.



by Johnathan Zsittnik

Introducing the SkyFonts Font Rental ServiceHave you ever eyed a typeface for a specific job but were hesitant to purchase because you knew you wouldn’t have much use for it with future projects or clients? Have you ever been burned by a font purchase because it looked better on the website where you purchased it than it did in your document? A font purchase can sometimes be a big and pricey commitment. So, if it doesn’t seem fair to commit to a typeface that you’re only going to use for a short period of time, or to take the plunge with a font before you try it in your design doc, you may be surprised to hear that we agree. Allow us to introduce you to a revolutionary way to try out and license type.

Meet the SkyFonts service: a cloud-based font rental service made for those who love to try new type. Leveraging patent-pending technology and a catalog of thousands of top name typefaces, SkyFonts lets you try out any font for free. The service activates the actual font data on your machine for a short period so you can try it out in any of your applications. –No images or other hacks. You get the actual font data to experiment with. When you’ve found the right typeface, pay only for as long as you need it. You can rent fonts for a month or as little as a day. Click a button and SkyFonts will activate and synchronize the font on up to five workstations.

SkyFonts Font Rental Service

Browse SkyFonts.com for the font of your choice. Try any font for free, or use credits to rent fonts for a day or a month.

This represents a radical new way to work with type –and for many, a far better way. With broader and more affordable access to fonts, we expect users to be able to create higher quality designs while saving money. Those who design from multiple workstations will also save time by synchronizing their fonts from their SkyFonts account across all their workstations.

Today SkyFonts debuts in beta. Each month of the beta, our participants will receive 110 SkyFonts credits. Use one credit to rent a font for a day. Use three credits to rent a font for a month. All credits issued during beta will expire at the conclusion of the beta so be sure to use them up! We’ll announce pricing for credits at the beta’s conclusion. If you’d like to give it a go, request your beta invitation on SkyFonts.com. We’ll be gradually working our way through our invitation requests over the coming weeks while we collect feedback, so please be patient. In the meantime, you check out the introductory video or learn more by browsing the FAQs from the homepage.

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

Classic Grotesque

“The Classic Grotesque typeface began as a fairly straightforward reinterpretation of the early 20th century Monotype Grotesques,” recalls Rod McDonald, the face’s designer. “While I am delighted with the final results, I had no idea how difficult the design process would be.”

“The trouble was that I spent a lot of time looking at just the early Monotype Grotesques,” McDonald continues. “As a result, that face and its newer rendition, the Arial family, kept creeping into my design.” McDonald’s solution was to broaden his research.

“The Monotype Grotesques had strong influences from two other designs from the same time period: Venus and Ideal Grotesk. Once I began to let all three designs influence my work, I realized that this was what I wanted to do all along – and the problem when away.”Designer Rod McDonald

McDonald’s final product is a family of seven weights, each with a complementary italic, for a total of 14 designs. When asked about the size of the family, McDonald’s response was, “Normally I would not produce seven weights but I realized that I could ‘squeeze’ in an extra weight and it would give graphic designers more choices when reversing type and in dealing with the hierarchy of complex documents.”

In addition to the large suite of family weights, McDonald also drew a number of alternate characters. “I included the alternate characters for two reasons,” says McDonald. “I wanted to give designers more choice, and I wanted to better match the older grotesques which often had different characters (especially the lowercase g) in different weights or styles.”

McDonald wanted to ensure that the family was also versatile and a strong performer in other ways. “High legibility was an important goal,” he says. “I can’t imagine producing a typeface today that doesn’t take into consideration the restrictions of the small screen.”

Classic Grotesque

The complete Classic Grotesque family is available as desktop fonts from the Fonts.com, Linotype.com and ITCFonts.com websites. It is also available as Web fonts.

Click here to learn more about – and to license – the Classic Grotesque family

More information about Rod McDonald and images of Classic Grotesque and its influencers can be enjoyed 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.


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