Archive for the ‘Type for Mobile’ Category

by Alan Tam

I’m pleased to announce a collection of typefaces specifically crafted for high-quality e-reading experiences, particularly for content displayed at smaller text sizes.

Intended for Web and digital content publishers and device manufacturers, the suite offers some of the most widely used typefaces traditionally used for print that have been designed and tuned for ease of readability and optimized performance on the Web and across devices. Classics like the Monotype Baskerville, ITC Galliard and Sabon designs were redrawn to improve their readability in various screen environments.

Our typeface designers worked to impart a richer contrast, an even color and slightly taller lowercase characters, all while ensuring that the typefaces appear as unmistakable cousins of their original print designs. The designs also include small caps and old style figures for professional-quality publishing design. These typefaces are available now through our Web Fonts subscribers for use on the Web.

eText Fonts

All typefaces in the collection have also been hand-hinted to display as clearly as possible across mobile devices from smartphones to tablets and e-readers. For device manufacturers, these fonts also take advantage of Monotype’s Edge™ tuning technology, enabling publishers to create and deliver high-quality, readable text across your device platforms and formats, including E Ink screens. The fonts look and perform best with devices that use Monotype’s iType font engine.

We intend to release more  fonts on an ongoing basis as part of our Monotype Portfolio for Digital Publishing, one of our value-added suites of typefaces and technologies designed to meet the requirements of customers in specific market segments. Our Monotype Portfolio for Digital Publishing addresses the needs of customers who are developing and delivering content for immersive reading on e-readers, tablets and other devices.

Our initial offering includes these popular designs:

Amasis eText (4 weights)

ITC Galliard eText  (4 weights)

Malabar eText (4 weights)

Monotype Baskerville eText (4 weights)

Neue Helvetica eText (4 weights)

Palatino eText (4 weights)

PMN Caecilia eText (4 weights)

Sabon eText (4 weights)

Ysobel eText (4 weights)

You can view the eText fonts here.

The Monotype eText typefaces can be licensed as Web fonts through our Web Fonts subscriptions. They are also ideal choices for e-book/publication titles, desktop publishing or as system fonts that are embedded in consumer electronics devices. Please contact Monotype for licensing details.


by Johnathan Zsittnik serves a global audience. As such, we feel it’s important that our website ‘speaks’ more than just English. Today, you may have noticed the addition of two new languages to German and Japanese. Both are among the most commonly spoken languages of our customer base and represent two of our fastest growing customer segments.

A look at the homepage in German

The next time you visit, if the language preference of your browser is set to German or Japanese, you will automatically be redirected to the German or Japanese version of the site. You can also use the language dropdown menu in the site’s upper right hand navigation to manually switch between languages. While the entire site has not yet been translated, just about everything you need  to browse fonts, purchase fonts or use our Web Fonts service is available in both German and Japanese. This includes the home page, the typeface family and product pages, the browse fonts pages, the Web fonts homepage, the Manage Web fonts page and the shopping cart. Content that has not yet been translated remains available in English, even when surfing in other languages.'s Manage Web Font Page in Japanese

A peek at the Web Fonts homepage on displayed in Japanese.

Over the coming weeks, we’ll continue to roll out many of the content pages in German and Japanese. If you’re wondering if additional languages will be added down the road, well, we’re considering that, too. For now, we invite our German and Japanese speaking friends to explore in their native language. We hope you enjoy this enhancement. But if you notice something doesn’t look quite right, please let us know.

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

For nearly 80 years, MGM has been a staple of motion picture creation and distribution. Founded in 1924, Metro-Goldwyn-Mayer Inc.’s oeuvre has spanned not only generations of moviegoers, but also the gamut of film genres; the company is responsible for seminal Hollywood classics such as Gone With the Wind and The Wizard of Oz,  as well as contemporary releases, such as the upcoming James Bond installment – Skyfall – which it co-produced.

The MGM website features the Albertina typeface family: the medium weight for main navigation, as well as the typeface’s bold weight for sub navigation. Originally designed by Chris Brand as a metal type offering, designer Frank E. Blokland utilized Brand’s original drawings as the cornerstone of this digital interpretation of the family. As a dignified old style design, Albertina is a befitting typeface for a company with such a rich cultural heritage as MGM.

Albertina is available through the Web Fonts Service in regular, medium, and bold weights, each with a matching italic design. For desktop licensing, Albertina is also available as a suite of complementary small caps designs.

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

U&lc ceased print publication in the fall of 1999. Over its almost 27 years in hardcopy form, it inspired, informed and delighted readers. In the process, U&lc won over 100 awards for design and typographic excellence from the AIGA, Society of Publication Designers, Type Directors Club, and many other prestigious organizations.

U&lc’s tenure was marked by powerful – sometimes brash and always stirring – typographic design. The publication bristled with life and energy. The graphic design community – in addition to illustrators, photographers and calligraphers – eagerly anticipated each issue. However, even though U&lc was celebrated for its strength and dynamism, it was also fragile.

U&lc was dependent upon the understanding and financial support of someone who truly understood the value of the publication. Aaron Burns, one of the co-founders of ITC and the genius behind U&lc, was that person. Burns was also a savvy and gifted marketer. Decades before terms like “pragmatic marketing” and “buyer persona profiles” became popular, he understood that the best way to market a product or service was to reach out in an engaging and personal way to the ultimate consumers of those products and services. ITC licensed typeface designs to font providers – but Burns knew that his ultimate customers were graphic designers. Burns also knew that not all good marketing efforts can be directly linked to bottom line profits. At over one million dollars a year (in 1970s and 1980s money) U&lc was expensive to produce – and it’s advertising sales didn’t come close to paying for the publication. Burns, however, understood the true business value of U&lc and was fond of saying, “We don’t make money with U&lc – we make it because of U&lc.”

When Burns sold ITC in the late 1980s, its new owners presented themselves as smart business people. Maybe they were, but they were clueless about the value of U&lc. All they saw were its costs – and diligently sought to eliminate them. Over the next few years, this led to reducing the publication’s page count, then to downsizing from U&lc robust tabloid dimensions to a modest 8.5 X 11 inches, and ultimately to the cessation of publication.

U&lc was a vehicle to announce new ITC typefaces and showcase old ones, in addition to serving as a palette for virtuoso typography from the likes of Herb Lubalin, B. Martin Pedersen, Ellen Shapiro, Roger Black, Push Pin Studio, Pentagram and Why Not Associates, just to name a few. U&lc rejoiced in exceptional typographic design. Although there have been many attempts, no publication as been quite like it. To this day we continue to receive requests to provide back issues and re-publish particularly exceptional articles – which is why we scanned the issues we had, and undertook this series of blog posts.

Unfortunately, we do not have every issue of U&lc. We’re missing a couple. We are, however, getting those that are missing, and will add them to the PDFs we have already made available.

It has been a joy for me, these last couple of years, to walk down U&lc’s memory lane with you. I hope that you have enjoyed receiving the issues and reading the posts, as much as I have enjoyed bringing them to you.

The illustrations accompanying this post are the covers of the last big issue of U&lc and the first small one.

Click the PDFs below to find out what is in our remaining collection of U&lc issues.

Low Resolution:

Volume 24–1 (Low Res).pdf (6.6 MB)

Volume 24–2 (Low Res).pdf (19.5 MB)

Volume 24–4 (Low Res).pdf (4.7 MB)

Volume 25–1 (Low Res).pdf (5.0 MB)

Volume 25–3 (Low Res).pdf (5.6 MB)

Volume 25–4 (Low Res).pdf (6.1 MB)

Volume 26–2 (Low Res).pdf (5.6 MB)

High Resolution:

Volume 24–1.pdf (34.5 MB)

Volume 24–2.pdf (96.4 MB)

Volume 24–4.pdf (19.2 MB)

Volume 25–1.pdf (18.3 MB)

Volume 25–3.pdf (21.5 MB)

Volume 25–4.pdf (25.6 MB)

Volume 26–2.pdf (23.3 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 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 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

New Fonts – Lots Of New Fonts – And A Leap Into The Digital Age

Volume 23, Number 2 of U&lc asks the question, “Is the availability of 50,000 to 60,000 digital fonts too many?” That was in the fall of 1996. In the 16 years since then, that number has probably quadrupled – and new fonts are still being released daily. While the desktop revolution of the mid 1980s democratized the making of fonts, it was the Internet that made it practical. Prior to the Internet and Web font stores, it would have simply been impossible to display, market, and sell this many fonts. ITC added their share of new typefaces (over two dozen) in the pages of U&lc, Volume 23.

ITC Kallos, by Phill Grimshaw, was announced in Volume 23, Number 1. Grimshaw was passionate about both disciplines of letterform creation: calligraphy and typeface design. Although he drew many display typefaces, ITC Kallos was his first design aimed at both text and display uses. He went on to design ITC Klepto, ITC Obelisk, ITC Rene Mackintosh and several other typefaces before his untimely death in 1998.

The revival of Eric Gill’s Golden Cockerel typeface family was announced in Volume 23, Number 2, along with a suite of six display typeface designs from Phill Grimshaw, Jill Bell, Frank Marciuliano and J.R. Cuaz. (The preceding links will take you to showings of all the typefaces from these designers.)

U&lc Volume 23 Number 3 was the “auteur” issue; a term applied to cinema directors who had strong signature styles that usually emerged from taking complete control of a project, from authoring the screenplay to overseeing the final edit. This concept has been broadened to denote an artist in any medium whose particular style and conceptual control make the work distinctive and influential. The auteurs covered in this issue were Pablo Picasso, Saul Bass, Philippe Starck, Peter Greenaway, Fred Woodward and Richard McGuire. The articles, though somewhat dated, are excellent views into the lives of six exceptionally creative artists.

ITC continued to add to its display typeface offering by announcing 13 new designs in Volume 23, Number 3: ITC Aftershock, ITC Belter, ITC Braganza, ITC Freddo, ITC Juanita, ITC Kokoa, ITC Lennox, ITC Musica, ITC Out of the Fridge, ITC Riptide, ITC Static, ITC Temble, ITC Vintage and a bevy of dingbats and symbols in its “DesignFonts” collection.

In providing these posts – and the PDFs – we’ve discovered that we are missing a couple issues. Volume 18, Number 2, was the first. However, thanks to Simón Cherpitel, who kindly donated his copy, we will make this issue available soon – along with Volume 23, Number 4, which is missing from today’s post.

This will be the penultimate post in this series about U&lc. At the end of Volume 24, U&lc was downsized from its tabloid format to a more, in the words of its editor, “conventional 8.5 x 11 inches.” The downsizing was done for several reasons – most of them financial. The problem was that in doing so, U&lc also became more conventional. Previous issues of U&lc were powerful design statements that bristled with energy. The small issues – not so much.

Click the PDFs below to find out what else was in (most of) U&lc Volume 23.

Low Resolution:

Volume 23–1 (Low Res).pdf (8.6 MB)

Volume 23–2 (Low Res).pdf (18.2 MB)

Volume 23–3 (Low Res).pdf (5.9 MB)

Volume 23–4 (Low Res).pdf (currently unavailable)

High Resolution:

Volume 23–1.pdf (42.3 MB)

Volume 23–2.pdf (95.2 MB)

Volume 23–3.pdf (30.3 MB)

Volume 23–4.pdf (currently unavailable)

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

New Fonts – Lots Of New Fonts – And A Leap Into The Digital Age

Prior to 1995, ITC released about four new typeface families per year. From the summer of 1995 to the spring of 1996, nearly 40 new ITC families became available, along with a suite of Cyrillic extensions to existing designs, swashes and ornaments for the ITC Bodoni family, and a bevy of symbol fonts – all in the pages of U&lc, Volume 22. Articles on Web and video typography also peppered the pages of Volume 22, and the designers of a couple of issues had fun playing with the U&lc logo on the cover.

In addition to announcing six new display typeface designs, Volume 22, Number 1 contained two articles about books on CD (the beginning of e-publishing) and a roundup of early websites for children. It also featured the first ad for the Creative Alliance, an endeavor by the Type Division of Agfa (the precursor to Monotype Imaging) to build its own exclusive typeface library. Many of the typefaces in the Creative Alliance have since found their way into the ITC and Monotype typeface libraries. Oh, and on page 48, there is an ad for Graphic Solutions, a newsletter that I published for about three years – and that taught me how difficult the publishing business can be.

Volume 22, Number 2, continued to address the issues of publishing in a digital age and provided some guidance in designing with HTML – this was when the Times New Roman and Courier typefaces were considered the basic text designs. Chip Kidd also wrote about designing the cover of Nicholas Negroponte’s book, Being Digital, an analog solution for a hardcopy book on the future of digital technology, which is now online. Announcements for 21 new ITC typefaces (10 typeface families) filled many of the remaining pages of Volume 22, Number 2.

Volume 22, Number 3 was dedicated to “Graphics and the Cinema.” The issue also ushered in over 20 new ITC display typefaces, Cyrillic fonts for the ITC Franklin Gothic, ITC Korinna and ITC Flora typeface families, the ITC Humana super family, and a collection of swash and ornament characters for the ITC Bodoni family. ITC continued to look to the future of typography in several articles about type in film and video.

Volume 22, Number 4 focused on education and contained a wide range of articles, from advice for schools on preparing students to create meaningful digital content to a story about four educators in Japan who used experimental methods to teach students about sensitivity to the elements of design. New typeface releases included six new single-weight display typefaces, two new families and three ITC Goony ’Toons image fonts.

Click the PDFs below to find out what else was in U&lc Volume 22.

Low Resolution:

Volume 22–1 (Low Res).pdf (9.9 MB)

Volume 22–2 (Low Res).pdf (10.6 MB)

Volume 22–3 (Low Res).pdf (11.1 MB)

Volume 22–4 (Low Res).pdf (9.5 MB)

High Resolution:

Volume 22–1.pdf (48.3 MB)

Volume 22–2.pdf (58.5 MB)

Volume 22–3.pdf (58.8 MB)

Volume 22–4.pdf (50.8 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 Allan Haley

New Fonts, New Technology and Predictions For The Future

The pages of U&lc Volume 21 ushered in a typeface family extension, two new complete families, four single-weight display designs, eight Cyrillic family additions and a suite of fonts that took advantage of a new technology. Volume 21 also predicted the future of typeface design, and announced ITC Design Palette, a digital distribution center that preceded the Internet – but not by enough.

Friz Quadrata was used by graphic designers for almost 30 years before Thierry Puyfoulhoux drew its italic complement that was announced in Volume 21. Two typeface families, ITC Bodoni and ITC Edwardian Script, were also announced in the same Volume. The latter, by Ed Benguiat, found influence in the flowing character shapes drawn with a steel-point pen. Varying the pressure on this writing instrument – rather than the angle of the nib – produces thick and thin strokes.

ITC Bodoni was one of the most carefully researched and accurate interpretations of Bodoni’s typefaces ever attempted. The process involved two trips to Parma, Italy; hundreds of hours of research; and thousands more hours carefully designing fonts using one of the original copies of Bodoni’s 1818 Manuale Tipografico as a benchmark for accuracy. The complete story is told in Volume 21, Number 2. It’s worth a read.

Cartoon graphics from the 1960s influenced David Sagorski’s ITC Snap and ITC Juice typefaces, while Michael Stacey’s ITC True Grit and ITC Wisteria were revivals of designs found in an old lettering book.

The Cyrillic typefaces were a second edition of designs from ParaGraph, and included designs for both text and display applications. ParaGraph continues to provide ITC with new Cyrillic designs to this day.

ITC announced the availability of twelve fonts that took advantage of Apple’s new TrueType platform called “TrueTypeGX.” Heralded as “smart fonts,” GX fonts were predicted to revolutionize graphic communication. ITC’s offering included small caps, fancy initial letters and a bevy of biform, swash and other alternate characters. Some of these are still available today in OpenType fonts.

The 8-page feature, “Timeless Typefaces,” in Volume 21 Number 2, collected the opinions and predictions of 21 type design luminaries. The predictions – and photos of the starts of the typographic community from 18 years ago – are great fun.

The idea behind ITC Design Palette was that it would make design tools like fonts, photographs, Iine-art and design software plug-ins available “24–7” at a click of a button. Sounds like the Internet, doesn’t it?

Trouble was, ITC Design Palette had nothing to do with the Internet. It was a box containing over a hundred CDs that sat on a designer’s desk. The CDs’ content could be browsed through an interface and downloaded to the designer’s computer desktop. When the content was licensed, ITC Design Palette would send a message over phone lines to a billing center that sent out monthly invoices. It seemed like a good idea at the time, but the growth and scope of the Internet made ITC Design Palette obsolete before any devices were delivered.

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

Low Resolution:

Volume 21–1 (Low Res).pdf (9.6 MB)

Volume 21–2 (Low Res).pdf (12.3 MB)

Volume 21–3 (Low Res).pdf (10.3 MB)

Volume 21–4 (Low Res).pdf (8.7 MB)

High Resolution:

Volume 21–1.pdf (45.8 MB)

Volume 21–2.pdf (59.1 MB)

Volume 21–3.pdf (49.6 MB)

Volume 21–4.pdf (41.3 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 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!

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