fonts.com blog
Archive for the ‘Type for Print’ Category

by Johnathan Zsittnik

Fonts.com Web Fonts

At Monotype, we believe that type is the foundation of good design and that this principle holds true whether you’re designing for the Web, print or any other medium. With the aim of providing the tools necessary to deliver great typography for all media, today we proudly unveil a major enhancement to our Fonts.com Web Fonts subscriptions: desktop fonts. Led by our new Master subscription which includes unlimited downloads from our selection of 7,000+ desktop fonts, we now offer plans that provide everything you need to deliver incredible typography for digital and print design through one convenient subscription.

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Boundless experimentation. Limitless expression.
Our new Master subscription includes all of the amenities of our Professional plans such as our Typecast design app and the ability to self-host, with the new benefit of desktop fonts. Subscription options start at $100 per month or a little bit cheaper if you sign up for an annual or three year plan. If you’re on a Professional plan with 2.5M pageviews or more and are already paying this much, we have good news for you. Your subscription has automatically been upgraded to Master, meaning you’ll enjoy unlimited desktop fonts. You won’t have to pay more, you’ll just get more.

With the following components, our Master subscription delivers a complete typographic solution for digital and print design:
•    Millions of pageviews – The base plan includes 2.5M pageviews. Add more as needed.
•    Typecast – a seat of our powerful, browser-based app for designing with Web fonts.
•    Mockup fonts – desktop versions of your Web fonts that can be used for creating mockups of your websites.

We believe the Master subscription provides an incredible value – particularly for those who consume a lot of type or with high traffic websites. However, if you have lesser demands, we’ve also made notable enhancements to our other plans. Most notably, our Standard subscription has been bolstered with a selection of mockup fonts while our Professional subscription includes an allowance of mockup fonts and desktop fonts. Here’s a closer look at the contents of each plan.

Fonts.com Subscription Plans and Pricing

Powered by SkyFonts
Released last year to much acclaim, our SkyFonts platform uses patent-pending technology to temporarily install fonts and synchronize them across multiple workstations. We’re very excited to broaden the reach of this powerful tool by bringing it to Fonts.com. SkyFonts can be used to install mockup fonts and desktop fonts included with your subscription. You can also use SkyFonts to try most fonts available through the Web font service for free for five minutes. Even free plan subscribers can use SkyFonts for this purpose. More on this in tomorrow’s post, but Google Fonts users will be pleased to know they can now use SkyFonts to install desktop versions of Google Web fonts.

If customer requests are any indication, font trials, mockup fonts and desktop fonts will be a welcome addition to our plans. When paired with Typecast, we believe we offer a typographic solution that will cover your type needs throughout your entire digital or print workflows. If you’re in the market for a type solution, we encourage you to try a free plan. And for those already working with Fonts.com Web Fonts, consider ‘graduating’ to a Master subscription.

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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 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 Fonts.com 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 Fonts.com 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 Allan Haley


Xenois

There are common themes that run through each of Erik Faulhaber’s typeface designs: breadth of family size, applicability to a wide range of uses, and a search for character perfection. His Generis design is a system of four compatible families of slab serif, serif, sans serif and a “simple” sans in the spirit of American gothic typefaces. Faulhaber’s goal for Generis was to develop a suite of “generic” designs that could be used for a variety of design projects.

Generis was followed by the Aeonis family; a very large collection of typefaces inspired by Greek lapidary inscriptions and modern industrial design. Again, minimalist character construction and a variety of weights and proportions provide for typographic versatility. The newest offering from Faulhaber, his Xenois design, is the beginnings of a large super family of typefaces aimed at solving a diversity of typographic problems.

According to Faulhaber, “I melded the basic design characteristics of Generis and Aeonis to create the foundation for the Xenois family. The result is a typeface collection that is sufficiently large enough to be used in a multitude of design projects, distinctive in its individual character designs – yet minimalist in structure.”

The sub-families within the Xenois series interrelate perfectly. Proportions and underlying character shapes are completely compatible within all the designs. They have a common and obvious design bond, yet each is able to stand on its own as a distinct typestyle.

Simple shapes, a large x-height and squared shoulders, mark Xenois. Each sub-family is comprised of five weights from light to heavy, and all have companion italics. Xenois Sans is a design reduced to its simplest character shapes. Xenois Serif has serifs – but they are small, and only the most essential to ease of reading have been included in the design. Xenois Semi echoes the shapes and proportions of Xenois Sans but stroke weights have been modulated.

The complete Xenois family is available as desktop fonts from the Fonts.com and Linotype.com websites. It is also available for online use through subscriptions to the Fonts.com Web Fonts service.

Click here to learn more about – and to license – the Xenois 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 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

With over 20 million active users, Spotify is an emerging leader in the field of streaming music services. With a robust collection of companion apps available, Spotify music can also be accessed through a litany of digital devices — from computers, to smartphones, to tablets.

The Spotify website features utilizes Linotype’s Neue Helvetica typeface family quite extensively — the site’s navigation is set small in the stout, bold weight of the design, while body text is set in the extremely legible light style.

Customer Spotlight: Spotify

The site employs visually impressive parallax scrolling — full screen photographs contrast nicely when alternated with quiet swaths of white space and nicely set type.

Headlines set the thin weight of the Neue Helvetica family provides a nice balance of scale and proportion in relation to the other type elements on the site. Additionally, setting the headlines in a bright lime green reveals that even supposedly humorless neo-grotesque typefaces can, indeed, possess a more ebullient spirit.

The Neue Helvetica family is an indispensable tool for all designers, and is available in over 50 styles — from ultra light to black weights, as well as regular, condensed, and extended widths.

The Neue Helvetica collection is available through the Fonts.com Web Fonts service, and for desktop licensing as well.

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 Johnathan Zsittnik

Fonts.com 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 Fonts.com: 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 Fonts.com homepage in German

The next time you visit Fonts.com, 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 Fonts.com Web Fonts service is available in both German and Japanese. This includes the Fonts.com 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.

Fonts.com's Manage Web Font Page in Japanese

A peek at the Web Fonts homepage on Fonts.com 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 Fonts.com 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 Allan Haley

Rounded sans serif typefaces carry the authority and clarity of typical sans – and add a sense of approachability. They are not “cute” – but they are amiable. Rounded sans also maintain all the legibility of their more traditionally designed brethren while being more personable.

Sans serif typefaces have been the mainstay for branding, signage, wayfinding, and advertising for well over a century. While the story is told that early designs were called “grotesques” because they were perceived as, well, ugly; sans serifs have firmly established themselves in the typographic pantheon as straightforward, no-nonsense graphic communicators. Recently, however, rounded sans have become popular alternatives as more friendly – more human – typographic spokespeople. Everything from logos to ad campaigns have benefited from these affable designs.

Creating a rounded sans serif typeface, however, is not an easy task. It entails much more than rounding off the edges of stroke terminals. In some instances stroke lengths must be lengthened to look correct, while in other cases they must be shortened for the same reason. Small parts of characters, like the ear of a ‘g’ or flag of an ‘r,’ may also need to be adjusted. The list goes on.

Designed by Akira Kobayashi, Avenir Next Rounded is the third generation of Adrian Frutiger’s Avenir typeface. Although a consistently popular and exceptionally versatile design, Kobayashi saw the potential for a new, softer interpretation of the Avenir Next characters. The rounded terminals he incorporated into the design infuse it with a more complex – and genial – quality. Kobayashi has maintained the modified geometric structure of Frutiger’s original design, and added to it a softness that transforms the typeface.

As an additional benefit, you can save over 75% on the entire Avenir Next Rounded family until January 15th. Be one of the first 1000 customers to purchase and you can get the entire Avenir Next Rounded for only $99. Make sure to take advantage of this promotion before it expires or sells out!

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 Darren Glenister

Today, we are excited to commercially release SkyFonts – the first of its kind font rental service. As we say goodbye to a beta period that spanned more than 3 months and provided us with invaluable insight into your interests surrounding a new way of discovering and using fonts, we welcome a handful of new aspects of the SkyFonts experience that we’re confident you’ll enjoy.SkyFontsAs part of the release, we are revealing the full details of the SkyFonts credit system. As our beta participants know, credits are used in SkyFonts to rent fonts. A single credit is used to rent a font for a day. Three credits will allow you to rent a font for a month (30 days). Credits are available in packs of 15 or more at a price of $3 per credit – a price that was determined in part by your feedback. For short term projects that will be completed in a day or a month, we think that paying $3 — $9 to use a font is a nice alternative to paying for a perpetual font license. You can save a little on SkyFonts credits if you purchase them in larger quantities.

SkyFonts

Utilize the SkyFonts website to browse thousands of quality typeface families

Unlike the ‘beta credits’ which expire after 30 days, any credits purchased can be used for one year before expiring. The entire SkyFonts inventory will be available for free trial. Simply select the ‘try for 5 minutes’ option for access to the actual font data.

Once you’ve loaded up your account with credits, we’ve got plenty of options for you to spend them on. The SkyFonts catalog now boasts a selection of more than 8,000 fonts. You’ll discover designs from a broad range of top sources including our own Monotype, Linotype, ITC, Ascender and Bitstream foundries in addition to many of our foundry partners such as Mark Simonson, TypeTogether, Laura Worthington, Typodermic, the Chank Company, Yellow Design Studio, Emboss Fonts, Bean and Morris, Type Associates and Mint Type.SkyFonts

So what’s next for SkyFonts? We’re currently working on some additional enhancements to the website that will make it easier to explore the inventory. We’re also exploring options to allow you to browse and activate fonts in other places including design applications and other websites and services from Monotype.

As a thank you to the valuable feedback you’ve provided, we’ve topped off the accounts of our beta participants with 110 beta credits which can be used for the next 30 days. For those that haven’t signed up, we have something for you as well. Create your free account now and receive 10 free credits (good for one year). But do so quickly. This introductory offer won’t last.

 


by Ryan Arruda

Founded in Southern California nearly four decades ago, Mongoose is a recognized authority in the biking world. With an extensive collection of rugged mountain, BMX, and street bikes in their product line, it’s fitting that the company’s website is indeed peppered with a distinctly kinetic and visceral visual spirit.

Bold, prominent typography contrasts seamlessly with imagery overlaid with bright, saturated colors. The site’s top navigation features the DIN 1451 typeface for its main elements, as well as the stocky, bold weight of the ITC American Typewriter family for secondary items.

The body of the site follows in a similar vein — headlines are generously set in the EngSchrift style of DIN 1451, while subheadings and body copy are set in the bold and medium varieties of ITC American Typewriter, respectively. The friendliness of the ITC American Typewriter family is an especially nice foil to the seemingly pragmatic demeanor of DIN 145.

DIN 1451 is available in both a regular and condensed weight. ITC American Typewriter is available in three weights — light through bold — and features matching italic designs as well as three condensed styles. Both designs are available through subscriptions to the Fonts.com Web Fonts service.

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 Johnathan Zsittnik

When we announced our SkyFonts font rental service just over two months ago, we promised to continually expand the service’s selection of typefaces. Those participating in the beta have hopefully noticed that we’ve kept to our word. Our most recent release more than doubles our original inventory, providing access to over 5,000 fonts. From Avenir to Zapfino, the selection includes an array of design standards from premium sources such as Monotype, Linotype, ITC, Ascender and Bitstream.

But perhaps you’re thinking, “I know those typefaces inside and out. The real benefit of a font rental service is the access to designs that I haven’t worked with before.” Well then, you’ll be pleased to hear that we’re by no means finished adding to the inventory. Stay tuned, as thousands of more designs including those from many other sources are headed your way.

SkyFonts New Releases

A handful of recommended typefaces to try through our SkyFonts font rental service. From left to right: Levato, Neue Haas Grotesk, Classic Grotesque, Akko, Biome, Neue Aachen and DIN Next.

For now, here are a few recommendations (pulled from the Fonts.com New Best Sellers list) that you may not have gotten your hands on before: Levato, Neue Haas Grotesk, Classic Grotesque, Akko, Biome, Neue Aachen, and DIN Next. Each design is available on SkyFonts allowing them to be tried for a few minutes for free, or rented for a day or month using credits. Credits are free during the beta, so if you haven’t signed up yet, join us at skyfonts.com.

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.


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