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Archive for the ‘Type for Mobile’ Category

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 Allan Haley

The Massif typeface family, designed by Steve Matteson, is rugged yet refined – and distinctly organic. “It’s my response to the uniformity and neutrality of so many sans serif typefaces being released today,” says Matteson.

Matteson’s inspiration for Massif came from the rocky features found throughout the Sierra Nevada Mountains. Glacial activity both polishes and erodes fissures, which contrast in texture creating distinct patterns of light and shadow. His initial drawings for the design include sketches of Half Dome in Yosemite National Park. “I tried to capture the Sierra Nevada terrain in two dimensional letterform designs,” he recalls.

“The heavy weights have the most character about them,” Matteson continues, “but I was surprised at how the light weights have their own delicate, twig-like feel. My daughter drew a little fairy balanced on the letter ‘a’ and it surprised me how sensible it looked.”

With 12 designs, Massif’s range of usage is deep and wide. its distinctive design traits, large family size, and extensive character-set make the design an excellent choice for a variety of branding, advertising and publication design projects.

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

To learn more about Massif check it out on fonts.com or new.fonts.com!

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

Four Sets of Designers, Six New Typeface Families, A New Font Technology from Apple – and an Apology

U&lc Volume 19 is a feast of world-class typographic design. Each issue is a tour-de-force created by a different studio or designer. WBMG Design (Walter Bernard, Milton Glaser, and Frank Baseman) designed Volume 19, Number One. The work of Alexander Isley, Seymour Chwast and Paul Davis followed in succeeding issues.

An update to Apple’s TrueType font platform was heralded in the pages of Volume 19, as akin to having a typographer living inside your computer. Maybe you’ve heard of the technology…

The updated TrueType platform was called “TrueTypeGX” and it allowed users the ability to automatically access a variety of typographic tools. The technology was unique in that it was integrated in Apple’s operating system as well as in the fonts themselves. The “GX” part was additional tables in the “sfnt” font file format that was part of QuickDraw GX. This offered powerful extensions in two main areas. First was font morphing, (allowing fonts to be smoothly adjusted from light to bold or from narrow to extended). Second was Line Layout Manager, a technology that provided for automatic insertion of alternate characters, such as small caps, ligatures and swash letters. (Sounds a little like OpenType, doesn’t it?)

Unfortunately, the lack of user-friendly tools for making TrueType GX fonts limited their development to no more than a handful of these “smart” fonts – primarily from ITC, Linotype, and Bitstream. Much of the technology in TrueTypeGX, including morphing and substitution, however, lives on as AAT (Apple Advanced Typography) in Mac OS X.

The calligraphic ITC Syndor family, from Hans Edward Meier, was announced in Volume 19, Number One. This was followed, in Volume 19, Number Two, by condensed designs to complement the earlier released ITC Lubalin Graph family. The display designs of ITC Ozwald and ITC Mona Lisa Solid, in addition to a phonetic character suite for the ITC Stone family, were announced in Volume 19, Number Three. The first of what was to become the very large – and very popular – ITC Legacy typeface family, by Ron Arnholm, was announced in Volume 19, Number Four.

Volume 19 also contained the first apology from ITC for potentially offensive content in the pages of U&lc. Can you find it?

 

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

Low Resolution:

Volume 19–1 (Low Res).pdf (12.1 MB)

Volume 19–2 (Low Res).pdf (8.3 MB)

Volume 19–3 (Low Res).pdf (10.6 MB)

Volume 19–4 (Low Res).pdf (10.3 MB)

High Resolution:

Volume 19–1.pdf (60.3 MB)

Volume 19–2.pdf (39.3 MB)

Volume 19–3.pdf (51.9 MB)

Volume 19–4.pdf (45.8 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 Bill Davis

Monotype Imaging is pleased to have two of its type specialists speaking at the Reading Digital Symposium on April 27–28, 2012 at the Rochester Institute of Technology.

Web fonts and e-publishing tools bring a vast array of typographic choices. But how do you effectively harness type and typographic controls that were once the domain of book designers and print publishers?

Meet experts who will help you make the right choices. Monotype Imaging’s Steve Matteson and Tom Rickner go “under the hood” with type for the screen:

Steve’s presentation, titled “Type, Tech, and Tools to Change the Way We Read” will cover business, technology and design issues that impact typography in the new and exciting medium of e-books. As creative type director for Monotype Imaging, Steve is a designer of typefaces for brands such as the Microsoft Xbox video game console and the Google Android operating system, for which Steve designed the Droid fonts. Steve will discuss why type is important, what goes into the type design process and what the challenges can be when creating typefaces for electronic media.

Tom’s presentation, titled “Hints about Hinting — the Achille’s Heel of Type on Screen” will equip the attendee with an overview of the concerns impacting the functionality and the perceived aesthetic quality of the final font product used in delivering e-book content. Tom is a technology expert for type on screen and has hinted custom typefaces for such companies as Apple and Microsoft.

E-books represent a different set of challenges and opportunities compared to the design, production and distribution of printed books. Factors that particularly influence the success of e-books include e-book format, screen size, display technology and the impact of typeface selection in regard to legibility on small screens. During the symposium, Steve and Tom will explore the various technologies and emerging standards that are shaping the evolution of e-books.

About Steve Matteson
Steve Matteson Steve Matteson is the creative type director for Monotype Imaging. A 1988 graduate of the School of Printing at Rochester Institute of Technology, Steve found his passion for type and typography among the historic collections of books, metal type, type-casting equipment and printing presses. In 1990, Steve was hired by Monotype Typography as a contractor to aid in the production of Microsoft’s first TrueType fonts. Having already spent more than two years mastering the hinting algorithms of a similar technology for another company, TrueType was an easy transition. He produced fonts for customers such as Apple, Hewlett-Packard and Microsoft. Working on the technical aspects of type has helped Steve fuel his ambition to design new typefaces. One of his early projects was a revival of Frederic Goudy’s Truesdell design, completed in 1993. These were quickly followed by the Andalé screen font design for mainframe terminal emulation, in addition to the Blueprint, Fineprint and Goudy Ornate typefaces, as well as user interface fonts for the original Xbox, the Windows Vista platform and Android OS. Some of Steve’s more recent creations include Endurance, Miramonte and Bertham designs.

About Tom Rickner
Tom RicknerTom Rickner has developed font software for over 20 years, producing custom font solutions for companies such as Adobe Systems, Apple Computer, Hewlett-Packard, IBM, Lexmark, Lotus, Microsoft and Nokia for implementation in nearly every imaging environment. A graduate of School of Printing at the Rochester Institute of Technology, he is recognized for the highly regarded TrueType production and hinting of Matthew Carter’s Georgia, Verdana, Tahoma and Nina typeface families, commissioned by Microsoft. His experience with non-Latin scripts is broad, having designed fonts for Greek, Cyrillic, Hebrew, Thai, Thaana and Cherokee scripts. His original type designs include Amanda, Buffalo Gal, and Hamilton, and his newest typeface, Rebekah Pro, is a wonderful revival and expansion of Morris Fuller Benton’s Piranesi Italic.


by Allan Haley

Aaron Burns passed away in 1991. In addition to being one of the founders of ITC, Burns was the heart, soul – and driving force behind the company. As I wrote in his memorial in U&lc, Volume Eighteen, Number Three, “Burns dedicated his career to the typographic arts. His ceaseless mission was to improve the quality of typographic communication and to provide graphic designers with a rich palette of typefaces from which to choose. ITC’s success was, in a large part, due to Aaron’s uncompromising dedication to excellence, his unerring sense of ethic, and his commitment to provide meaningful educational resource to the graphics community.”

Burn’s passing was a profound loss to all who had the good fortune to know him. This was especially true for those of us who worked at ITC. The company, however, continued to build upon his legacy and U&lc continued to publish articles that inspired and delighted graphic communicators.

While ITC had the well-earned reputation as the most successful type-marketing firm for many years, like all companies, it made missteps from-time-to time. Such was the announcement of a new brand in Volume Eighteen, Number One of U&lc. The brand was ITC Typographica, “a resource of typefaces intended for larger sizes …faces which have been created to attract attention, create a mood or make a statement” (basically, display typefaces). Four additions to the ITC Typographica series were announced in 1991, the ITC Mona Lisa Recut, ITC Studio Script, ITC Beesknees and ITC Anna designs. All are still in use today. And while ITC continued to add new designs to the ITC Typographica offering for some time – typefaces that would also become staples of display typography – the brand had a very short shelf life. What ITC forgot was that its typefaces and company name were the most important brands – and that another brand name was superfluous.

The ITC Mendoza Roman family was also announced in Volume Eighteen of U&lc, as were additions to the ITC Franklin Gothic and ITC Garamond families – the latter having an interesting backstory. In the mid 1980s, Apple adopted a digitally condensed version of ITC Garamond as its brand typeface. The face’s proportion fell somewhere between the regular weights of ITC Garamond and ITC Garamond Condensed. Like most digital distortions, however, it lacked the refinement of a typeface developed by a type designer or lettering artist. Apple used the typeface in all its advertising and corporate literature for several years before approaching ITC and Bitstream, the first digital type foundry, to develop a properly designed version of the face. This was to become ITC Garamond Narrow.

The “Felix The Cat” cover of U&lc Volume Eighteen Number Three, added more collectability to a publication that was already horded by graphic designers. It was printed as a series of three, each with the same “Felix” image, but with a different background color: florescent pink, orange and green. We’ve provided the pink cover in this series of PDFs. True collectors of U&lc have all three covers.

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

Low Resolution:

Volume 18–1 (Low Res).pdf (10.2 MB)

Volume 18–2 (Low Res).pdf (temporarily unavailable)

Volume 18–3 (Low Res).pdf (11.2 MB)

Volume 18–4 (Low Res).pdf (13.2 MB)

High Resolution:

Volume 18–1.pdf (52.7 MB)

Volume 18–2.pdf (temporarily unavailable)

Volume 18–3.pdf (56.5 MB)

Volume 18–4.pdf (62.4 MB)

Editorial footnote: At the time of (original) posting we do not have PDFs available for the second issue of volume 18. Don’t worry, we do have this issue in our archives and we plan on posting PDFs at a later date.

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

One of the best things about my job is being able to engage with all of you, our customers and partners, to better understand your business and how we at Monotype Imaging can deliver not only the IP, but also the technology to help you succeed. One trend that has really taken off the past few months is the extension of branded digital content, especially dynamic and context aware content, to mobile platforms and multiple languages. However, this creates new challenges for both your development and delivery workflows.

By now, most of you have (hopefully) heard about our patent-pending dynamic subsetting technology that helps brands improve the performance and user experience when using Web fonts. Initially developed to reduce the larger file sizes of Chinese, Japanese and Korean fonts, dynamic subsetting automatically detects and delivers a Web font containing only the characters needed to render the page, thus dramatically reducing font file size. Smaller font files translate to faster speeds, performance and load times of your content which in turn results in superior customer experiences – especially when that content is delivered to mobile devices over mobile networks.

While Fonts.com Web Fonts has used dynamic subsetting for all of our East Asian fonts since its inception in 2010, we’d like to explore implementing the technology for other languages and use cases including mobile targeted content, dynamic branded content, social apps or rich media ads. With that, I’d like to extend to you a cordial invitation to check out our new dynamic subsetting demo site at www.fontsubsetter.com.

P.S. – For an even more dramatic experience, try it out on your tablet or mobile phone!


by Allan Haley

The four issues of U&lc, Volume Seventeen, were published in 1990; a year that presented graphic designers with unanswered questions about the future of typographic communication – and one that marked ITC’s twentieth anniversary. Among a great crop of articles on everything from Japanese kites to the Vigeland Sculpture Park, two new typeface families were announced in Volume Seventeen and the lives of a pair typographers that changed the course of British typographic history were explored.

In Volume Seventeen, Number Three, U&lc approached a wide range of creative specialist with  the question, “Can fine typography exist in the 90’s?” The introduction to the article sets the stage for their answers. “The question is not so easily answered. From different perspectives the response can be a resounding “yes,” or a qualified “no.” Electronic typesetting and type designed for a computer and on a compute have made type lovers anxious. Yet other fastidious and committed type users have found working with type in this electronic age a compelling challenge.” The answers may surprise you.

ITC celebrated its twentieth anniversary in U&lc Volume Seventeen, Number Four. However, rather than provide a history of the company or its accomplishments, the six-page “tribute” featured the reflections of 20 luminary designers (from Art Chantry to Hermann Zapf) on images which influenced or inspired them over the previous two decades.

The ITC Quay Sans™ design was announced in the pages of Volume Seventeen – as was the ITC Officina™ family. Even thought the goal for the latter was to “create a small family of type ideally suited to the tasks of office correspondence and business documentation,” ITC Officina went on to become a stable for all manner of graphic communication.

The QuarkXPress™ 3.0 software for IBM computers running Microsoft Windows® 3.0 or OS/2® was also announced in the pages of Volume Seventeen – as was the availability of the now ubiquitous PowerPoint® application.

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

Low Resolution:

Volume 17–1 (Low Res).pdf (12.2 MB)

Volume 17–2 (Low Res).pdf (11.0 MB)

Volume 17–3 (Low Res).pdf (12.2 MB)

Volume 17–4 (Low Res).pdf (11.2 MB)

High Resolution:

Volume 17–1.pdf (61.2 MB)

Volume 17–2.pdf (54.0 MB)

Volume 17–3.pdf (63.3 MB)

Volume 17–4.pdf (57.2 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

You may notice something different in the last two issues of U&lc Volume Sixteen. The table of contents, that normally ran on page one of each issue, is moved back several pages to make way for advertising. Letraset, primarily known as the premier provider of dry transfer lettering the 1970s and 1980s, had acquired ITC just a couple of years earlier – and the ads were for the company’s new line of design software and plug-ins.

I remember the general manager of Letraset in North American at the time telling me that fonts were a “mature” product with little hope for growth. “The future,” he said, “is in software. ITC’s main function will be to serve as a conduit to provide graphic designers with Letraset design software.” He didn’t realize that fonts were also quickly becoming software available to a much wider audience than he imagined. Which is why the folks that founded Monotype Imaging purchased ITC, and its typefaces, in 2000, even though it was abandoned by Letraset and reduced to a shell of its former self. Today, new typefaces are added to the ITC Library on a regular basis and it’s fonts are seen in everything from websites to smart phones – in addition to traditional hardcopy environments.

Along with the increase in advertising, U&lc continued its tradition of announcing new ITC typefaces. After many years and very many requests, a suite of italic designs was announced for the ITC American Typewriter™ family. Two new scripts, the ITC Flora™, and ITC Isadora™ designs by Gerard Unger and Kris Holmes respectively, were also announced in the same issue. The ITC Giovanni™ family, from Robert Slimbach, was first shown in Volume Sixteen Number Three, and a revival and extension of William Morris’ Golden Type by a team of young designers, Helge Jorgensen, Sigrid Engelmann, Bildende Künste and Andy Newton, as the ITC Golden Type™ family was announced in Volume Sixteen Number Four.

Also featured in the pages of Volume Sixteen were articles on the lettering artist, Michael Doret, a retrospective by Steven Heller of the Broadway caricaturist Al Hirschfeld – and a piece that provided insight into the Japanese love of Roman letters.

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

Low Resolution:

Volume 16–1 (Low Res).pdf (12.9 MB)

Volume 16–2 (Low Res).pdf (11.4 MB)

Volume 16–3 (Low Res).pdf (12.1 MB)

Volume 16–4 (Low Res).pdf (12.5 MB)

High Resolution:

Volume 16–1.pdf (62.5 MB)

Volume 16–2.pdf (60.9 MB)

Volume 16–3.pdf (62.7 MB)

Volume 16–4.pdf (65.2 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

After 14 years of issues in just black and white, in 1988, color finally appeared on the pages of U&lc. It was only used on the first and last four pages of the publication, and its implementation was pretty timid – but it was a start. There were also four typeface release announcements in U&lc’s Volume Fifteen and a coterie of articles bejeweled with exceptional typography and brilliant illustrations.

After years of requesting, negotiating and downright pleading, we were finally given the OK to use color in the pages of U&lc. While we reveled in the ability to finally use more that just black ink, the first implementation of color could only be described as sedate. Future issues of U&lc, however, would take full advantage of the new capabilities.

The first of the “Letter” series, which traced the history of the letters in the Latin alphabet, appeared in Volume Fifteen, Number One, and the ITC typeface review board was announced in the following issue. Actually, ITC had a review board to help determine what typefaces were added to its typeface library from the very beginning but, because of growing reader inquiries about how ITC determines what typefaces to produce, we thought that it would be good to introduce the board members and explain the review process to the readers of U&lc.

Four sets of typefaces were also announced in the pages of Volume Fifteen: the ITC Panache®, ITC Jamille® and ITC Stone® families from Vince Pacella, Mark Jamra and Sumner Stone; and a suite of the first ITC Arabic typefaces from Mourad Boutros. Sumner Stone and Mourad Boutros continue to design typefaces for ITC and Monotype Imaging.

While U&lc featured the work of many illustrators in its pages, the drawings of Murray Tinkelman tended to show up with marked frequency. This was because Tinkelman is not only a terrific illustrator but also drew on some particularly intriguing topics for his work. His drawings of fellow illustrators, graphic designers, for the “Varoom, Varoom, Varoom, Varoom. Pussycats on Bikes?” article in the first issue of Volume Fifteen, is a case in point.

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

Low Resolution:

Volume 15–1 (Low Res).pdf (13.9 MB)

Volume 15–2 (Low Res).pdf (14.3 MB)

Volume 15–3 (Low Res).pdf (13.9 MB)

Volume 15–4 (Low Res).pdf (12.7 MB)

High Resolution:

Volume 15–1.pdf (61.9 MB)

Volume 15–2.pdf (69.1 MB)

Volume 15–3.pdf (65.0 MB)

Volume 15–4.pdf (61.2 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

Axel Bertram’s Rabenau™ typeface family – over 20 years in the making – masterfully combines neoclassical, baroque and calligraphic design traditions. Rabenau is harmonious, versatile and rich in typographic refinement.

Bertram has developed alphabets for magazines, television, branding – and even typewriters. However, none of these designs has been available commercially, as all of them are custom typefaces drawn for specific projects or corporate clients. In the mid 1990s, in addition to his on-going freelance projects, Bertram began work on a personal venture, which has culminated in the Rabenau typeface family.

Gestation, Evolution, Collaboration

Initially, Bertram intended simply to create a typeface for his own use in book design and related projects. Over several years, as he used the typeface, Bertram continued to refine character shapes and proportions, subtly adjusting individual letters. He reconsidered the structure of every detail, from counters and stroke terminals to serifs, in the interest of making the design appealing for a wide range of applications.

Well into the project, Bertram began working closely with calligrapher and type designer Andreas Frohloff, a collaboration that ultimately expanded Rabenau into a family of 16 designs – completing the transformation from a labor of love, to personal statement, to commercial product.

A Family For All Seasons

Bertram and Frohloff have given Rabenau a broad repertoire of weights and styles. The regular, book, semibold and bold weights each have italic complements. Four condensed designs, in addition to three very bold “poster” weights and a “shadow,” give the family remarkable versatility. Pronounced stroke contrast is maintained throughout the heavier weights, providing a distinctive sparkle, even at large sizes. Rabenau’s large x-height, bracketed serifs and ample proportions also ensure exceptional performance at small sizes.

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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