fonts.com blog
Archive for October, 2012

by Allan Haley

We are pleased to be a platinum sponsor of ATypI Hong Kong 2012, the annual conference presented by ATypI (Association Typographique Internationale), Oct. 10–14. Several of our resident type experts from around the world will be sharing their knowledge and skills. Come by and join us as we take a look at Web fonts, Japanese typographic history, new automotive type trends and so much more:

  • Robin Hui, a typographer at Monotype Imaging in Hong Kong, together with Kenneth Kwok, will present “Ideographic Type Design and Production.” There are many challenges when designing and producing Chinese, Japanese and Korean ideographic fonts. Robin and Kenneth will discuss how to maintain design consistency and tranquility using traditional techniques and design methodologies.
    Thursday, Oct. 11 at 9:30 a.m. (workshop)
    Sunday, Oct. 14 at 3:30 p.m. (presentation)
  • Toshi Omagari, a typeface designer at Monotype Imaging, will examine “Web Fonts for Non-Latin Scripts.” While Web fonts are gaining popularity in Latin typographic communities, the domain of non-Latin Web fonts remains relatively unexplored. Toshi will address how to work with specific browsers and scripts when implementing non-Latin Web fonts.
    Thursday, Oct. 11 at 11:50 a.m.
  • Linotype’s type director Akira Kobayashi will present “Rounded Sans in Japan.” In Western countries, sans serif letters are frequently the default choice for public signs. Very few Latin rounded sans serif types were available until very recently. In Japan, rounded sans serif letters were the default choice for public signs. He will discuss why historically rounded sans were so popular in Japan and why they are being replaced with square sans today.
    Saturday, Oct. 13 at 9:00 a.m.
  • Vladimir Levantovsky, senior technology strategist at Monotype Imaging, will discuss “Evaluating Fonts Legibility in Automotive Environment.” Vladimir will report on the new findings from a study that links typeface style with reduced driver distraction risk. He’ll discuss why using typefaces optimized for the driver’s short glance patterns reduced average duration of glance time per subject. Full results of the study are available in an MIT AgeLab white paper, in addition to a video that highlights the research and its findings.
    Saturday, Oct. 13 at 9:50 a.m.
  • Florian Wittig, a font engineer at Linotype, will present “漢語拼音之父 – Zhou Youguang, the father of Pinyin.” He will talk about the life and work of linguist Zhōu Yǒuguāng, who turned 106 this year. His most famous creation, the Hanyu Pinyin system, serves as the most frequently used input method for Chinese characters on computers and mobile devices. He will discuss how the Pinyin works, its advantages over other transcription methods and why it has never replaced Chinese characters.
    Saturday, Oct. 13 at 5:35 p.m.
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

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

Neue Helvetica
Futura
Trade Gothic
Neue Frutiger
Avenir Next
Gill Sans
Avenir
Univers
Frutiger
DIN Next
Helvetica
ITC Avant Garde Gothic
Neo Sans
PMN Caecilia
Linotype Univers
Trade Gothic Next
New Century Schoolbook
Linotype Didot
Arial
Century Gothic
Monotype News Gothic
Frutiger Next
ITC Garamond
Times
Garamond 3
ITC Century
Twentieth Century
VAG Rounded
Neue Helvetica Arabic
ITC Officina Sans
News Gothic No.2
Eurostile LT
Memo
Rockwell
ITC Lubalin Graph
ITC Franklin Gothic
Harmonia Sans
Frutiger Serif
Bauer Bodoni
Soho
DIN 1451
Soho Gothic
ITC Conduit
Yakout
Compacta
Biome
Optima
Sackers Gothic
Slate
Eurostile Next
Glypha
Georgia Pro
ITC American Typewriter
Trade Gothic Next Soft Rounded
Calibri
Laurentian
Clarendon
Cachet
Akko
Heisei Kaku Gothic
Bembo
ITC Officina Serif
Iridium
Amasis
Monotype Grotesque
ITC Legacy Serif
Egyptian Slate
News Gothic
Monotype Garamond
Janson Text
Plantin
Adelle
Neue Helvetica eText
Univers Next
Agilita
Neuzeit Office
Aachen
Klint
Museo Slab
Museo Sans
Plate Gothic MT
Aeris
ITC Fenice
Futura T
Basic Commercial
Bodoni LT
Abadi
Neue Haas Grotesk
Serifa
M Hei Simplified Chinese
M Hei Traditional Chinese
Franklin Gothic
TB Kaku Gothic
FB Cham Blue
Azbuka
Camphor
ITC Franklin
ITC Stone Sans
ITC Bodoni Seventytwo
P22 Underground

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 Allan Haley

Want to know more about the factors involved in creating a good e-reading experience? Join Monotype’s type director, Dan Rhatigan, and e-book designer, Baldur Bjarnason, at the Tools of Change (TOC) Frankfurt Conference 2012 on Tuesday, Oct. 9 at the Frankfurt Marriott Hotel, Hamburger Allee 2.

 The theme of this year’s conference is “From Transition to Transformation — The New Publishing Ecosystem.” TOC Frankfurt returns for a fourth year on the eve of the Frankfurt Book Fair (Oct. 10–14), gathering the best and brightest in the global publishing and technology community for a full day of intriguing keynotes, sessions, and networking.

Monotype’s Dan Rhatigan, and e-book designer, Baldur Bjarnason, will present “The Importance of Design and Typography in E-Reading,” on Tuesday, Oct. 9, from 11:25 a.m. to 12:15 p.m. They will discuss the factors involved in creating a good e-reading experience, and how fonts and technology can help improve the reader’s experience:

  • Book features that still make sense for the screen
  • Different kinds of screens display type
  • Key factors that influence type selection
  • Ways to use fonts effectively on the screen
  • Latest changes in the EPUB and CSS specifications that enable rich typographic features

Dan and Baldur will also examine how the user experience can be impacted by the current state of inconsistently applied standards in the e-reading ecosystem. The presentation will provide publishers with the typography and design information they need to enable better overall digital reader experiences.

TOC has provided us with a discount code you can use to save 20 percent off full price conference registration (it’s good for both TOC Frankfurt and the TOC Metadata workshop on Thursday): TOCPartner20TSpeaker

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 Allan Haley

Rod McDonald was clearly concerned. The designer of the newly released Classic Grotesque typeface family called me the other day about what he thought could be a problem. “I just went to a web site a friend told me about,” he told me, “and it is using Classic Grotesque for the text copy.”

“Not that this is a problem,” McDonald continued, “but I also went to a bunch of other sites – and they are all using Classic Grotesque.” McDonald’s concern was that, somehow, unauthorized versions of his new typeface were finding their way into a wide variety of web sites.

A little sleuthing revealed that the sites were calling for a sans serif text typeface and that the desktop version of Classic Grotesque, on McDonald’s computer, was providing the default font. After his initial concern was alleviated, McDonald became quite happy with his discovery. “The surprise I got when Classic Grotesque turned up as the default on my browser opened my eyes to the fact that the design is pretty darn good as a screen face,” he exclaimed. “I’ve since discovered more sites that also default to Classic Grotesque and I am very pleased with what I’m seeing – and these are just the desktop fonts.”

What McDonald meant by “just the desktop fonts,” was that the Web fonts of Classic Grotesque will look even better in on-screen environments. Classic Grotesque, like all fonts available through the Fonts.com Web Fonts service, underwent special work to ensure that it was optimized for on-screen use. This means that Classic Grotesque will be as commanding a communicator on screen as it is in hardcopy. Click here to learn more about Classic Grotesque Web Fonts.

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 Allan Haley

It’s not often, but there are times when you see something that is so striking, so elegantly beautiful, that it takes your breath away. It hasn’t happened to me in a very long time. But, yesterday, there it was – a Tumblr post of a new series of book covers from Penguin Books.

A colleague pointed me to this site, and there it was: drop to your knees, gorgeous typographic design from Jessica Hische and the very design savvy folks at Penguin Books. The two were previewing a new series that appear to be reissues of classic novels: Jane Austen’s Pride and Prejudice, Charlotte Brontë’s Charles Dickens’ Great Expectations, etc., each with cover art that is an extraordinary “drop cap” (technically, an initial letter – but no matter) drawn by Hische. If you love books, or type – or just things that are extraordinarily beautiful, this is a treat that you should not miss.

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.


Great type makes sites stand out