Archive for February, 2013

by Johnathan Zsittnik

Our Web Fonts service has always provided great typefaces. Now it’s even easier to create great typography – thanks to the addition of the Typecast  design tool.

Subscribe or upgrade to a Professional subscription now.


New Professional subscriptions from $40/month Web Fonts Professional PlanExcellent news: We’ve redefined our Professional subscriptions to make them more affordable, plus we’re including a free Typecast subscription (worth $29 per month) with every Professional plan. From new fonts and our most popular fonts hand-tuned for the Web, to new technology such as OpenType feature support and new services like Typecast, we’re always adding more to our Web Fonts subscriptions and will continue this trend going forward.

Our new Professional plans start at just $40 per month and include 1M pageviews per month, but you can add additional pageviews as needed. Like before, Professional plans also include the self-hosting option and desktop fonts for creating website mockups. If you’re currently subscribed to a Professional plan or a 1M, 1.5M or 2M pageview Standard plan, we’ll upgrade your account automatically to make life easy.

Create better Web typography with less hassle

Just as exciting is the free Typecast subscription you’ll get with your Pro plan. This tool could completely reshape the way you build websites.

3_color palette

Typecast is a powerful, browser-based design app that takes the pain out of designing with Web fonts. It lets you view, pair and compare Web fonts in the browser on full-length text without having to create screenshots, assemble comps or hand-code your CSS. Sliders, drop menus and simple inputs make it easy to set text in precise detail, and because you’re designing in the browser, you’re able see changes in real time and make better, faster decisions about quality, style and rendering.

As you design, standards-compliant HTML and CSS is produced behind the scenes, allowing you to quickly share Web-ready designs with developer colleagues and get more accurate prototypes in return. In the video below, Typecast’s Creative Director Jamie Neely offers you a look at the app in action:

Typecast — Experiment with Type from Typecast on Vimeo.

Typecast + Web Fonts: the perfect type pairing

Best of all, and Typecast work great together. You can design with every one of our 20,000 Web fonts in Typecast. Your account is linked to Typecast, so getting your design’s Web fonts onto your website is simple. When you’re ready to export your designs and start prototyping, Typecast will determine which fonts to serve up and provide an embed code that includes them. Going forward, you can continue to use Typecast to manage the font selections in your projects.

We want to play a part in reshaping typography on the Web, and feel this combination will help you make sound typographic decisions and refinements with the typefaces you know and love. To our new and current subscribers, we hope you enjoy Typecast. We sincerely believe it will help you create far better designs. We also believe it makes Web Fonts a far better offering and remain committed to growing these plans  with additional great services like Typecast as your needs evolve.


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

Italics are the aristocrats of type: elegant, beautiful, and dignified. Their history can be traced back to a time before there were fonts of type, when only scribes and the most educated communicated with the written word.

Traditional typographic history would have us believe that italic types were invented by Aldus Manutius in the late 15th century as a space saving device. The story is told that Manutius hired Francesco Griffo da Bologna to develop a cursive type for a new series of small books that he was planning to produce. It is said that Manutius’ goal was to reduce paper costs and thus make his publications less expensive. Then, as now, paper was expensive, but saving paper was not the goal in the creating of italic type – and Manutius never sold an inexpensive book.

Mantika Sans Italics

Printers of the time spoke of “writing” a typeset page as if it were a letter to a friend. As this somewhat unusual terminology implies, the typeface provided a much closer link between printer and reader than it does today. Certain styles of type were reserved for specific groups of readers. Manutius was not so much trying to save space with the development of his italic, than he was appealing to the educated, worldly, and wealthy readers of the early Italian Renaissance (who’s handwriting style the italic type mimicked). As for the books’ size, Aldus’ goal was to sell books that were portable.

Jürgen Weltin also had something special in mind when he drew the italics for his Mantika™ Sans typeface family. The characters are inclined at only 4.5° (the usual angle for italics is between 10° and 12°) and, as a result, appear to be almost upright. In contrast to this, character shapes are quite fluid and reminiscent of brush-drawn scripts. The overall effect is enhanced by the script-like terminals. “Within the variety of forms of the italics there are many contrasting elements that create dynamism,” Weltin explains. “The result is a pleasant, but distinctive, interaction between the rounded and almost upright forms.” Mantika Sans Italic, in addition to being a perfect complement to the Roman designs, can also be used on its own to set display headlines and short text passages.

Mantika Sans is available in two weights; regular and bold, both of which have corresponding italics sets. It has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on line length or layout consistency.

Click here to learn more about – and to license – the Mantika family

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 Web Fonts’ top 100 most used Web fonts for January 2013:

Neue Helvetica
Gill Sans
Trade Gothic
DIN Next
Neue Frutiger
Avenir Next
Linotype Univers
ITC Avant Garde Gothic
PMN Caecilia
Trade Gothic Next
Century Gothic
News Gothic
Monotype News Gothic
Neo Sans
DIN 1451
ITC Franklin Gothic
Linotype Didot
Univers Next
New Century Schoolbook
ITC Lubalin Graph
ITC Garamond
ITC Conduit
Neue Haas Grotesk
News Gothic No.2
ITC Century
Frutiger Next
Eurostile LT
VAG Rounded
ITC Officina Sans
Soho Gothic
Twentieth Century
ITC Fenice
Trade Gothic Next Soft Rounded
Garamond 3
Harmonia Sans
Neue Helvetica Arabic
Gill Sans Infant
Bauer Bodoni
Neue Helvetica eText
Sackers Gothic
Frutiger Serif
Eurostile Next
Sassoon Sans
ITC Officina Serif
Museo Slab
Helvetica World
Futura T
ITC Franklin
ITC Bodoni Seventytwo
Compatil Text
ITC American Typewriter
Georgia Pro
Rotis II Sans
Monotype Garamond
ITC Stone Sans
Museo Sans
Neuzeit Office
ITC New Baskerville
Heisei Kaku Gothic
Corporate S
Egyptian Slate
Basic Commercial

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.


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