Archive for the ‘Type for Mobile’ Category

by Allan Haley

There were only three issues of U&lc in Volume Fourteen but, from cover to last page, each was packed with great content for lovers of type, lettering and typography.  New typefaces were announced, more “families” were written about, antique crafts were celebrated, and an illustrator – soon to become a type designer and illustrator – was introduced to the readers of U&lc.

The Cover of U&lc Volume Fourteen, Number One, is the result of a three-month labor of love. The accompanying feature on the work of Ray Morrone should be a delight for lovers of type, lettering, and Spencerian scripts. What he produced with a Gillott® 290 pen was pure magic. An article on antique type specimen books and the annoucement of the ITC Pacella™ typeface family also make this issue a great read.

The illustrations of Daniel Pelavin are showcased in Volume Fourteen, Number Two. The next time Pelavin is written about in U&lc is when his first commercial typeface, the ITC Anna™ family, was announced. Pelavin continues to draw alphabets and create dynamic illustrations today.

Volume Fourteen, Number Three, carried the first U&lc cover designed by me. OK, the terrific illustration is from painter, Robert Heindel whose exceptional work is synonymous with the world of ballet; but the little typography in the upper right corner of the page is mine. The ITC Tiepolo™ family from Cynthia Hollandsworth and Arthur Baker also made its debut Volume Fourteen, Number Three. They drew many more typefaces. I didn’t do any more U&lc covers.

The dancing d’Amboises, Brothers Grim and hockey’s Gordie Howe and sons were featured in the Families to Remember series in Volume Fourteen – along with the ITC Eras®, ITC Benguiat® and ITC Korinna® typeface families.


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

Low Resolution:

Volume 14–1 (Low Res).pdf (14.3 MB)

Volume 14–2 (Low Res).pdf (12.1 MB)

Volume 14–3 (Low Res).pdf (14.5 MB)

High Resolution:

Volume 14–1.pdf (64.1 MB)

Volume 14–2.pdf (58.3 MB)

Volume 14–3.pdf (71.0 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

ITC announced three new typeface families in the issues of Volume Thirteen of U&lc. In addition, four new additions to the Families To Remember series were published and the Milestones series continued with a feature article on Monotype’s Stanley Morison. Examples of great illustration also continued to enliven the publication.

The ITC Goudy Sans®, ITC Gamma® and ITC Slimbach® typefaces made important debuts in the pages of U&lc. With the announcement of ITC Slimbach, ITC introduced a new typeface designer – as well as a new typeface family – to the graphic design community. Robert Slimbach’s self-stated goal in drawing his first commercial typeface was “to design a contemporary text typeface with a progressive look; a typeface which was a balance of innovation, clarity and legibility.” From this beginning, Slimbach has become one of the luminaries of the craft of type design. He has won many awards for his typefaces, including the rarely awarded Charles Peignot Award from the Association Typographique Internationale, and repeated TDC2 awards from the Type Directors Club.

ITC Gamma takes its name from the third letter of the Greek alphabet. Coincidentally (or not), ITC Gamma is the third ITC release from the type designer Jovica Veljovic. His earlier ITC Veljovic® and ITC Esprit® typefaces were based on classic roman letterforms. Such is the case with ITC Gamma, but the crispness and obvious calligraphic influences of Veljovic’s previous typefaces have been replaced with softer, more studied, shapes.

One of the most original and distinctive sans serif typefaces of the early 20th century was drawn by Frederic Goudy. In 1929, the Lanston Monotype Company challenged Goudy to create a sans serif different from the norm. Drawing from Roman lapidary inscriptions, Goudy crafted a type design that was less formal than existing sans serifs, with a cursive italic rather than the more common obliqued roman.

In many ways, Goudy’s sans serif was more modern than the geometric designs of the time. Well-known typographer and typographic historian Robert Bringhurst wrote, “ITC Goudy Sans is the spiritual father of several recent sans serifs, including Erik Spiekermann’s FF Meta® and ITC Officina™ Sans typefaces – and like them, it is not quite as sans as the name suggests.”

The ITC Goudy Sans family has had four distinct “growth spurts” over the years. Goudy originally created the three designs of heavy, light, and light italic for metal typesetting. Many years later, Compugraphic Corp. revived Goudy’s original work for photocomposition. Several improvements were made to the original design, and three more faces were added to the family. In 1986, ITC re-released the design under a license agreement with Compugraphic, and the family was enlarged again to its present size of four weights and corresponding italics.

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

Low Resolution:

Volume 13–1 (Low Res).pdf (16.3 MB)

Volume 13–2 (Low Res).pdf (16.2 MB)

Volume 13–3 (Low Res).pdf (16.2 MB)

Volume 13–4 (Low Res).pdf (14.5 MB)

High Resolution:

Volume 13–1.pdf (69.9 MB)

Volume 13–2.pdf (70.9 MB)

Volume 13–3.pdf (77.3 MB)

Volume 13–4.pdf (69.7 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

Attention all design professionals in the Chicago area! Monotype Imaging is proud to be a co-sponsor of “The New Web Typography” — an evening seminar to be held this Thursday, Oct. 6. It promises to be an inspiring and educational session to explore the world of Web fonts and typography on the Web.

Hosted by AIGA Chicago, this event will feature a panel discussion moderated by Bill Davis of Monotype Imaging with Jackson Cavanaugh of Okay Type, Erik Vorhes of VSA Partners, David Demaree of Typekit and Nick Sherman of The Font Bureau.

This event will be held at The McCormick Tribune Campus Center on the campus of the Illinois Institute of Technology in Chicago from 6–10 p.m. on Thursday, Oct. 6, 2011.

AIGA Chicago web fonts event on October 6, 2011

For more information visit:

by Allan Haley

Ed Gottschall’s editorial column in Volume Twelve number One of U&lc stated, “… As ITC moves through its 15th year, it is appropriate to consider how the world of typography has changed since 1970 and where we believe it is heading by the year 2000.” Gottschall goes on to write about how he believes that millions of people in offices around the world will be using typefaces like the Helvetica® or ITC Garamond™ designs, instead of typewriter faces. While Gottschall was correct about that prediction, he could not have known that Monotype Imaging would also acquire ITC in 2000.

In Volume Twelve Number Four, Gottschall provided an additional view into the future in his “ITC’s Technology Update.” In the article, he writes about over two-dozen companies that were on the cutting-edge of technological change in graphic communications. Of these, only six are still in business. Apple® was one of the six – but it was only given four lines of copy in the 1985 article.

Three new typefaces were also announced in the pages of Volume Twelve, the ITC Mixage™, ITC Élan™ and ITC Esprit™ designs. They are all around today.

Steven Heller, who was recently awarded Smithsonian Institution’s National Design Award for “Design Mind”, and attended the White House luncheon hosted by Michelle Obama, along with fellow NDA winner – and Lifetime Achievement recipient – Matthew Carter, was one of the contributing writers to Volume Twelve. Heller continued to contribute to U&lc for many more years.

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

Low Resolution:

Volume 12–1 (Low Res).pdf (15.3 MB)

Volume 12–2 (Low Res).pdf (16.7 MB)

Volume 12–3 (Low Res).pdf (16.1 MB)

Volume 12–4 (Low Res).pdf (17.0 MB)

High Resolution:

Volume 12–1.pdf (69.3 MB)

Volume 12–2.pdf (77.1 MB)

Volume 12–3.pdf (73.8 MB)

Volume 12–4.pdf (76.3 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

Face it – the explosion of rich multimedia, social networks and mobile applications have left you up in arms in establishing a consistent brand, let alone an identity, across a vast and fragmented digital medium. The abundance of rich video content, the extensive and complex array of mobile apps across mobile OS and marketplaces, and the proliferation of social media and networks (like Facebook and Twitter) have made it increasingly challenging to establish a cohesive and consistent, yet distinctive identity and brand online.

With the introduction of HTML5, organizations are presented with a plethora of new and exciting opportunities to address and tackle the challenges. One of the most simple, prominent and elegant components that will be supported in HTML5 is Web fonts via @font-face with CSS3. Web fonts are already supported in browsers today via @font-face with CSS (to learn more about the history and current implementations of @font-face, click here). Web fonts are by far one of the easiest and most crucial elements that can help organizations achieve a consistent brand online across platforms and devices. If fact, if you distill the essence of a brand or identity down to its most basic level, it starts with the typeface. The type builds the name, the type builds the logo, the type builds the brand and identity.

While delivering a consistent brand across mediums in the non-digital world has been achieved through hundreds of years of technology and development, the same cannot be said for the digital medium – yet. HTML5 will be the first vehicle that will standardize the proliferation of Web fonts via the @font-face CSS across digital mediums, across all devices and platforms. Through @font-face, Web fonts will enable brands to establish and deliver a consistent identity online that extends from the desktop to tablets to mobile devices in various use cases that can include the following:

In addition to broad and consistent reach across devices, the adoption of Web fonts also brings the following benefits to the use cases:

  • Full searchability by Find (ctrl/command-F)
  • Accessibility to assistive technologies like screen readers
  • Text is translatable, through in-browser translation or translation services
  • CSS has full ability to tweak the typographical display: line-height, letter-spacing, text-shadow, text-align, and selectors like ::first-letter and ::first-line

While HTML5 nears final ratification, it can be assured that the surge of innovation will drive accelerated adoption and implementation of the new standard by Web browsers, leading first with mobile and tablet platforms and followed shortly by the desktop. This will be one of the first, if not the first, web standard that will be driven from mobile to desktop as consumer engagement with digital content shifts (or has shifted) more toward tablet and mobile devices than the desktops, creating an even a greater sense of urgency for businesses to develop and extend a consistent brand and identity across the fragmented mobile environment.

Monotype Imaging has been on the forefront of delivering desktop and Web fonts to brands, enabling them to extend their trusted identity consistently across digital and non-digital mediums and across a variety of use cases. Take a look at some of the market leading brands who are already leveraging Web fonts today:

Honda CR-ZHonda CR-Z
Coke and PepsiCoke & Pepsi
Historic Hotels of AmericaHistoric Hotels of America

And many more!

To learn more about how Web fonts can help your business or to choose the Web fonts best for you, please visit

by Allan Haley

Volume Eleven of U&lc is chock full of great examples of typographic design, calligraphy and illustration. In addition, the first commercial typeface of Jovica Veljovic was announced in Volume Eleven Number One and ITC released its first typeface that was the result of a collaboration of artistry and technology in Volume Eleven Number Four.

Jovica Veljovic was living in the former Yugoslavia when Aaron Burns, the president of ITC, met him. Upon seeing the young calligrapher’s work, Burns immediately realized that he was in the presence of exceptional talent and encouraged Veljovic to take up typeface design. The ITC Veljovic™ typeface family was first of many he drew for ITC. In his storied career, Veljovic went on to develop typefaces for Adobe and Linotype. Although he spends much of his time today teaching typography and type design near his home in Hamburg, Veljovic continues to add to his body of work. Monotype Imaging has recently made his newest designs, the ITC New Esprit™, Libelle™ and Veljovic Script™ typefaces, available.

The release of the ITC Leawood™ family was another milestone for ITC. It was the first ITC typeface design where software technology played an important role in the development process. Canadian designer Leslie Usherwood had drawn only a few italic and roman characters for Leawood before his fatal heart attack in 1983. Designers at Usherwood’s studio, however, were able to complete a basic character set in light and bold weights of the family. ITC turned these renderings over to URW, a German firm that developed one of the first digital font production technologies. With close design direction by ITC, URW’s technicians, using the company’s Ikarus™ software, finalized the four-weight family of ITC Leawood.

With articles on William Dwiggins, Frederic Goudy, Eric Gill and John Baskerville, my “Typographic Milestone” series was also in full swing in Volume Eleven. During the next few years, over a dozen more biographical sketches of significant contributors to the typographic arts were added to the series.

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

Low Resolution:

Volume 11–1 (Low Res).pdf (14.3 MB)

Volume 11–2 (Low Res).pdf (13.8 MB)

Volume 11–3 (Low Res).pdf (19.6 MB)

Volume 11–4 (Low Res).pdf (15.1 MB)

High Resolution:

Volume 11–1.pdf (76.9 MB)

Volume 11–2.pdf (50.2 MB)

Volume 11–3.pdf (88.7 MB)

Volume 11–4.pdf (70.8 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 Mark Larson

Steve MattesonPlease join us Tuesday, Aug. 16, at 4:00 p.m. eastern time for a presentation from renowned type designer Steve Matteson. Steve serves as our creative type director and may be best known for typefaces he has designed for Microsoft and Google.

Typefaces are a critical tool for creating a brand voice. Used properly, type will maintain a positive connection between a product and a user – particularly in an interactive setting. Steve will discuss why type is important, the type design process and challenges faced in creating typefaces for electronic media.

Steve had the honor to give this presentation at the recent InHouse Managers Conference in Chicago, and has been asked by HOW to deliver an encore.

The presentation will begin at 4:00 p.m. (EDT) on Tuesday, Aug. 16. Register here.

by Allan Haley

The Rotis® II Sans typeface family was announced today. While the design has been exceedingly popular almost since the original Rotis family was released in 1988, it is also one of the typefaces that some designers “love to hate.” Erik Spiekermann even went so far as to claim that it isn’t even a typeface. According to him, “(Rotis) has some great letters, but they never come together in one typeface.” But then, Spiekermann is one of the designers that doesn’t like the Helvetica® typeface either – although for different reasons.

So, why was a Rotis II developed?

First, because even though some designers may not like the design, many, many more do. Rotis has been used successfully in myriad branding programs, advertising campaigns, and design projects. And graphic designers who use Rotis have continually requested that more weights be made available – especially in the sans serif range of the family.

So, why weren’t new weights added sooner? Because, up until recently, the typeface was made available through a license from a large printing firm in Germany (for which Rotis was originally designed) and the company would not allow any changes or additions to the family. When another firm acquired the printing company, the “no change” policy was relaxed.

In addition, the weight range of the original Rotis is such that a new weight could not be easily slotted between two existing fonts. If new weights of Rotis were to be created, the complete family had to be restructured.

Finally, although the Rotis family was first made available as digital fonts, it was developed on the cusp of that technology. Many improvements have been incorporated into the way digital fonts are developed since Rotis was drawn and digitized. Some of its character outlines would benefit from subtle reworking, spacing of the original is good – but could be improved, and kern tables would profit from adjustment.

While Rotis II Sans may inherit its predecessor’s approval rating – both good and bad – I’m delighted that the design has been invigorated as a versatile suite of typefaces that will find their way into a multitude of design projects.

Click here to learn more about Rotis II Sans.

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

Volume Ten of U&lc was very important to me. Volume Ten Number One announced the results of the first typeface project I worked on for ITC, and Volume Ten Number Three was the first time an article with my byline appeared in the publication.

The story behind the ITC Berkeley Oldstyle™ typeface began in 1977, almost seven years before it was announced in Volume Ten of U&lc. It began at a company called Compugraphic, a manufacturer of phototypesetting equipment.
At one point the Compugraphic type library had more typefaces by Frederick Goudy than any other type supplier. Why so many? Because I liked Goudy’s designs, and my job at Compugraphic in the late 1970s allowed me to have a certain amount of control over what faces were added to its type library. Truth is, I had total control; but if other, more senior, managers realized this, my power would have been severely curtailed. So I had to be careful in how I “suggested” which faces to be developed.

A Goudy Favorite

The University of California Old Style typeface, the basis for ITC Berkeley Oldstyle, was one of Goudy’s favorite designs. In 1937, a friend asked Fred Goudy if he would consider drawing a face for the exclusive use of the University of California Press at Berkeley. Goudy accepted the task gladly and produced the foundation for the new type family a little over a year later.

I had admired the University of California Old Style design for many years, and made it part of my personal “Goudy Design Program.” As much as I liked the design, however, it was not to be first on my priority list. It was too obscure, and I was concerned that pushing it too soon would call attention to the design, and jeopardize, my grand plan. So Goudy’s favorite was relegated to somewhere around sixth on my list. When it moved closer to the top, I began to gather specimens to be used as the basis for the revival process, had enlargements made from the metal type specimens, and began preliminary discussion with a designer to work on the project.

But then something happened. Aaron Burns offered me a job at ITC: an opportunity that wasn’t turned down. Knowing that I was not going to be able to start, let alone finish, the University of California design project, I filed the specimen material, the photo-enlargements, and the design notes I had made, in a large manila envelope and stored it in my attic.

Berkeley Hibernates

It sat there for a couple of years. My early responsibilities at ITC provided no opportunities contribute to the company’s typeface release plans. It took some time to establish the credibility required to suggest a new design. I may have been the “senior type person” at my former employer, but that only translated to “the kid from Compugraphic” at ITC.

Finally, I got my chance when a type designer notified ITC that he would be late in delivering artwork, producing an opening in the release schedule. There was, however, just enough time for an accomplished designer to create a revival typeface design. I felt like the second-string high school quarterback who, after spending much of the season on the bench, sees the first-string hero sustain an injury in the big game. The phrase “put me in coach” kept coming to mind as I tried to convince Aaron Burns that my idea for the revival of The University of California Old Style was worthy of an ITC release.

My Big Chance

Burns finally capitulated and called Tony Stan to asked him if he would be willing to work on a project with me as the design director. Stan, in addition to being a world-class type designer and someone who knew a great design project when he saw it, was also a kind, gentle man who would have no trouble working with someone of half his age and possessing a third of his talent. The collaboration was one of the most rewarding of my life.

The name “Berkeley Old Style” was chosen because the design isn’t really a direct copy of the University design, but close enough that we wanted to give credit where it is due.

Additional Releases

ITC also announced two additional new typefaces in Volume Ten: the ITC Weidemann™ family, based on a custom design Kurt Weidemann did for the German Bible Society, and the ITC Usherwood™ family, released posthumously after the death of its designer, Leslie Usherwood.

The First Article

While I had been writing for U&lc for some time, the first article that carried my byline also showed up in Volume Ten. It was about Morris Fuller Benton, and was the first of many biographical sketches in the “Typographic Milestones” series. There is a backstory here too. Maybe I’ll write about it in a future post.

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

Low Resolution:

Volume 10–1 (Low Res).pdf (15.0 MB)

Volume 10–2 (Low Res).pdf (13.6 MB)

Volume 10–3 (Low Res).pdf (14.8 MB)

Volume 10–4 (Low Res).pdf (14.6 MB)

High Resolution:

Volume 10–1.pdf (73.5 MB)

Volume 10–2.pdf (69.1 MB)

Volume 10–3.pdf (69.7 MB)

Volume 10–4.pdf (73.4 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

Greetings! I thought I’d start my first blog post here at Monotype Imaging with one that shares a unique and exciting opportunity for Web fonts and HTML. It’s a bit of a read, but I wanted to provide some initial background for those who may not be as familiar with HTML before getting to the subject matter.

But before I begin, a quick introduction of myself – I’m the new guy, Alan Tam. I’ve just joined Monotype Imaging as the Director of Product Marketing for Web Fonts. Most recently, I led the product marketing efforts at Adobe where I managed and drove the strategic marketing and launch efforts around Flash® Lite, Flash Player and Adobe AIR® technology for mobile phones, tablets, TVs and other consumer electronic devices.

During my tenure at Adobe, and especially working on the Flash platform team, it was impossible not to be involved and excited with the ongoing debates of Flash and HTML5. However, being in the center of it all gave me a broad perspective and enabled me to fully understand the discussions. It’s important to first understand that the issue is not Flash vs. HTML5, but rather Flash AND HTML5. In fact, Flash has always co-existed with HTML – Flash may not have existed without HTML. Flash has always enabled developers to deliver richer, more engaging experiences on top of HTML. Flash is NOT an HTML5 replacement and HTML5 is NOT a Flash replacement. The introduction of HTML5 is a validation that Flash has delivered the right level of capabilities to evolve the Web all along.

Some of the new elements introduced in HTML5 such as video, audio, offline and canvas support have all been available in Flash technologies for a number of years, but it also includes some capabilities that are not available in Flash as well. With HTML5, the standards are being raised and new capabilities are being introduced that will continue to drive further innovation on of technologies built on top of it like Flash. Flash and HTML will continue to co-exist and developers looking to deliver premium experiences above and beyond what HTML offers will do so with proprietary technologies. It is also important to understand that the HTML5 specification is still in a working draft and has not been ratified by the W3C at the time of this blog post (you can learn more about the current state of the HTML5 specification here: (

Not only does HTML5 open a whole new spectrum of use cases and application for development across platforms and devices, but it also has garnered tremendous industry support from leading technology , platform and tool providers including Google, Microsoft, Yahoo, Apple and Adobe. HTML5 offers opportunities for developers to explore existing and new applications and use cases using new methodologies and techniques to deliver functionality that was not previously possible with HTML. This is extremely exciting because of the potentially broad reach of HTML5, which includes platforms that do not support Flash today, such as Apple’s iOS® platform.

One potential HTML5 application that I’d like to explore today is digital advertising. Specifically, I’d like to discuss how Web fonts can allow advertisers to create ads that deliver more engaging experiences for a broader audience that spans across multi-screen environments. Some key advantages of using HTML and Web Fonts for digital ads include:

  • More expressive typography. With a virtually unlimited palette of typefaces to choose from, advertisers can pick designs that support the message of their ad.
  • Brand unity: Organizations can keep their communication “on-brand” by implementing their corporate or branded fonts they use in other forms of visual communication.
  • Scalable text is a requirement for location or personalized based ads (unpredictable text) when combined with a branding mandate for a specific font.
  • Search engine friendly ads. Though Flash has made some progress with SEO text and video, these changes remain still in their infancy and have limited support today.
  • Support on iOS apps and devices.
  • Broader set of authoring tools available.
  • HTML5 ads can not be “turned off” by removing the Flash Player plug-in.

We decided to try it out for ourselves and created an experimental HTML5 ad to be deployed on Google’s Ad Network. We took the following approach:

  • Created a Flash-based ad with a simple animation through Google Display Ad Builder utility;
  • Recreated the ad in HTML as close as possible using a combination of HTML, CSS and our Web Fonts service with the Futura® and Gill Sans® typefaces. Fonts were loaded through Google’s WebFont Loader.

Take a look at the two ads we experimented with here:

(The HTML5 ad is on the left and the Flash ad is on the right. You can view the interactive versions here: — the above images are viewed through the Google Chrome™ browser ver. 12.0.742.112. Since HTML5 has not passed ratification with the W3C, this sample ad will vary in appearance depending on which browser you choose to view them with.)

Here are the key findings from this experiment:

  • While we are able to replicate some aspects of the original Flash-based ad, neither the appearance nor the animations of the HTML ad are a one-to-one match.
  • The ad actually relies more heavily on CSS3, than it does HTML.
  • Gradients and animations are triggered via CSS3 and usable in HTML5, XHTML or even HTML4.
  • HTML5 and CSS do offer some advanced and unique capabilities for advertisers. For instance, ads built with HTML5, CSS and Web fonts keep ads light, scalable, machine-readable and compatible for mobile platforms. HTML5 and CSS also address specific use cases such as zooming and predictive text input for dynamic ads.
  • We are reminded that HTML5 is inconsistently implemented across browsers today as it has not passed final ratification with the W3C. In fact, analysts like Gartner Group projects that the complete rollout of HTML5 across browsers will not be achieved until 2022 (
  • HTML5 is not a complete replacement for Flash. Flash is dominant and pervasive for ads and other branding elements because of its richness and consistency across a matrix of operating systems and browsers. HTML5 cannot ensure this level of consistency yet. Furthermore, there are Flash capabilities that can’t yet be replicated in CSS and HTML5. For example, it is not possible to replace all the Flash-based Ad Builder templates with HTML5-based templates.

Although we are in the early stages, HTML5 ads are already being developed and deployed. We are submersing ourselves into HTML5 because we see Web fonts and, our broad collection of widely-used typefaces, in particular as supporting technology that will help HTML5 advertising take off (our existing Web fonts EULA on includes supports HTML5 display ads today).

I’d love to hear what you are doing with HTML5 and Web fonts. Are you working on ads? What are some of the other use cases and applications you see fitting for HTML5 and Web fonts?

Great type makes sites stand out