Archive for the ‘Type for Print’ Category

by Ryan Arruda

One of the goals we had when the new debuted in May was to make visiting the site a truly engaging visual experience. In addition to providing typical type specimens, we wanted to also incorporate expressive typography at the heart of the homepage.

As you’ve probably noticed, each month features four new images on its masthead, all showcasing a different typeface available on the site. These large main graphics – known as hero images – are meant to expressively present the character and nuance of not only our new releases, but best-selling and hidden gem type families.

In addition, another goal of the new site design is to celebrate the type and design community across the spectrum – each month we feature guest designers providing their interpretation of one specific type family. Whether established pros, or up-and-coming young guns, we wanted the opportunity to inspire our customers with typographic compositions from folks creating some of the most well-crafted design work today.

We’re happy to announce that we’ve created an archive of all 28 hero images which have debuted on so far this year. This will be a living collection, constantly updated with information on which typefaces are featured, links to purchase them, as well as links to the sites of the talented designers who we’ve had the pleasure to work with.

The image used as this post’s header was designed by Monotype Imaging’s Creative Director – Dennis Michael Dimos – and is the hero offering for Linotype’s handsome new Agmena family. On the homepage you’ll also find image designs from Nancy Harris Rouemy – who showcased the flowing, graceful flair of the Reina family – as well as John Passafiume, who crafted an amazing drawn version of the stately ITC Edwardian Script collection. Rounding out November’s designs, Alex Perez presents a dimensional treatment of the robust, slab serif Lexia family.

We hope you enjoy and are inspired by all of the hero images we post – keep an eye out for more as we debut four fresh designs each month!

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 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 Johnathan Zsittnik

By now, you may have heard of our SkyFonts service. If not, SkyFonts is a first-of-its-kind font rental service that allows you to try fonts for a few minutes for free, or rent fonts using credits for a day or a month. SkyFonts was created with two primary goals. First, we wanted to provide designers with a better way to experiment with type before making a purchase. Second, we wanted to introduce a rental model that would allow designers to pay for type only as long as they needed it.

SkyFonts debuted in private beta last month and the feedback has been incredibly enthusiastic and positive. You’ve expressed interest in both trialing and renting fonts through SkyFonts and we’re excited to unveil new features and font releases that will improve both aspects of the service. We’ve accepted over 1,000 participants into the beta – just a fraction of the applicants. We’ve kept the test group small to allow us to keep up with the feedback. But if you’re still waiting to get in, good news awaits! We’re preparing to open the proverbial floodgates on the beta. Stay tuned to your inbox. Your invite isn’t far off.

Rent Avenir fonts on SkyFontsWe have even better news for those already participating in the SkyFonts beta. We’ve just released over 350 fonts to the service giving us a selection of more than 2,000 quality fonts. We pulled some of the biggest names from our Monotype and Linotype collections, so you’ll see some familiar faces. Highlights include Monotype’s Abadi, Neo Sans, Rockwell and Soho families and Linotype’s Avenir, Eurostile, Frutiger and Univers designs.

Visit to sign up for the free beta and to try your hand at renting fonts.

Allan Haley
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 Johnathan Zsittnik

At, we’ve always prided ourselves on the vast selection of fonts we offer. Today that selection improves with the fonts of one of our closest and longest standing partners. We’re very pleased to announce the release of Adobe fonts to our Web Fonts service.

Adobe Web FontsThis initial batch includes the most recognizable designs from the Adobe Originals collection including the Chaparral, Minion, Myriad and Adobe Caslon families among others. Over the years, these families have served as the typographic foundation for countless brand identities and design projects. Now our customers can easily extend these brands and projects to the Web.

Adobe Garamond Web FontEach of these fonts has been hand-tuned for optimal screen quality by Adobe’s team of type experts, ensuring they’ll look every bit as good on screen as they do in print. More Adobe fonts are on their way. If you’d like to see the release of a particular family prioritized, let us know in the comments section.

Adobe Caslon Web FontYou can browse the selection of Web fonts from the Adobe foundry page by clicking the ‘WEB FONTS’ tab. They are also available in our inventory of hand-tuned fonts adding to a selection of more than a thousand of our highest quality designs. These typefaces are available immediately to all our Standard and Professional plan subscribers. So what are you waiting for? Go ahead and add one to your project.

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

First established in 1958 as International House of Pancakes, IHOP is a national restaurant chain known for their food, friendly atmosphere, and iconic blue A-frame buildings. While their namesake pancake dishes and breakfast specialties are perhaps most well-known, IHOP serves all manner of fare in over 1,500 restaurants — with locations in all 50 states.

The IHOP website extensively features the Helvetica Rounded Bold designs. While the Helvetica family consists of typefaces normally heralded as being beautifully neutral, the rounded strokes of its compatriot transform the otherwise unemotional design into one bursting with jovial liveliness. Headlines and subheads are set in the regular width of the typeface, while the site’s top navigation employs the condensed version. The use of white Helvetica Rounded Bold type upon a bright blue background provides the site additional levity – echoing the family friendly atmosphere of its locations, both type and image render the IHOP website warm and inviting. features six rounded styles of Helvetica — bold, black, and bold condensed, each with a matching oblique. The entire breadth of the Helvetica family is available in 34 styles for Web use through the 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 Ryan Arruda

For over 25 years lettering artist Rob Leuschke has produced a wide array of elegantly crafted typefaces; from stately formal scripts to more expressive handwriting-based designs, Rob’s calligraphic acumen is evident throughout the typographic oeuvre released through his TypeSETit studio. Having both taught calligraphy across the world, as well as created over 200 fonts over his career, Rob recently shared with us some insight into his practice:

Personal design luminary
I have several; John Stevens, Michael Clark, Hermann Zapf, to name a few.

Favorite era of design history
For typographic design, the classic faces of the 18th century comes to mind, but I think present day is the most exciting with all the diverse work coming forward.

Learned to design type
Having more of a hand-lettering background, I’m self-taught using computer software.

Design mentors
My graphic design professor at Mizzou, William Berry. He saw my potential and love for calligraphy and pushed me into hand lettering even though I wanted to be a graphic designer. Berry passed away in 2010.

Longest a typeface has taken to design
It’s been 3.5 years on a font family that still isn’t finished. It’s a book face with which I am less adept. I may never release it.

Shortest time to design a typeface
Babylonica took me about 2 days. That’s because I did the work on watercolor paper, scanned the images in and had few adjustments to make on the glyphs. Most fonts take weeks.

Favorite typographic resource
It used to be publications like U&lc. But really, there is so much to see on the web. The Type Studio, for example. Or just do a search, it’s all there.

Habitually challenging glyphs to design
I often have trouble with the uppercase J because it seems to lack character for me, but it really depends on the font.

Favorite pursuits outside of type design
I play a lot of Texas Hold ‘Em, but I’m not very good, so I don’t play for money. I also like to cook (and I AM good at that, but haven’t found a way to make money at it). I recently began brewing my own beer; some brews are good, and others are not so much. I’m sure there’s no money in it for me [laughs].

Typefaces folks might know you for
Corinthia, MonteCarlo, Allura, Waterbrush, Inspiration, Love Light, Passions Conflict.

Favorite type classification to design
If you know my work, you know I’m most comfortable with calligraphic designs and contemporary scripts.

Percent of type design that’s art vs. percent that’s science
Certainly mathematical science plays a part, especially in traditional book designs, but personally, I rely on the hand-lettering-design side for my work. If I had to give percentages for my work: 10% science, 90% art.

Your typeface families that pair especially well
I think you can take nearly any of my calligraphic scripts and pair them with a very Roman serif like Gideon. MonteCarlo is also quite nice with any sans serif face.

Most underrated letterform or glyph
For me, it has to be the ampersand. There are so many design possibilities, from the simple “et” to crazily swashed treble clef.

Aspiring type designers should possess
It helps to be OCD [joking]. You absolutely must have patience, extreme attention to detail, and a complete love for letter forms.

What typeface classifications should they study?
I think it’s best to study the historical forms first. Go all the way back to the ancients to learn why or how forms evolved.

Favorite medium to see your typefaces
It’s fun to see my work on television. York Peppermint Patty uses Ambiance for its slogan, “Get the sensation!”

Endeavors which hone type design skills
Gosh, that’s an interesting question. I’m not sure how it really translates, but I like to watch well made films. I enjoy trying to understand how or why a director did a shot a certain way. I suppose that falls under the category of style, or attention to detail.

Most egregious typographic error in common practice today
Since I do mostly scripts, I think it’s important not to overwork swashes, and keep in mind that the end-user may not use the same character sets for which you are designing a swash. Ascenders and descenders can often crash into other characters if you are not careful.

Also, I think curves should be smooth and elegant rather than contain pinches or abrupt changes in direction. A form should look like it was drawn with a french curve, without forced changes in direction. The exception is when ALL of the curves have these anomalies, which makes them an intentional design decision.

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 Ryan Arruda

With nearly 600 locations across the Mid-Atlantic, Wawa is a chain offering not only typical convenience store staples, but also assortments of freshly made sandwiches, soups and salads.

Wawa’s website features the ITC Officina Sans family exclusively for its display typography. Headlines, subheads, and navigation are set in the typeface’s bold weight, while the website’s footer and breadcrumb trail utilize the book weight.

Designed by Erik Spiekermann, ITC Officina Sans is a friendly sans serif typeface; warm and genial, Spiekermann’s design conveys information clearly without appearing too mechanical or didactic.

ITC Officina Sans is available for desktop licensing, as well as for Web use through the Web Fonts service. In addition to book and bold weights, ITC Officina Sans is also available in medium, extra bold, and black styles.

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 Bill Davis

American Printing AssociationSteve Matteson, Monotype Imaging’s creative type director, will present “Discovering the Goudy Legacy” at the 2012 APHA Conference – the 37th annual conference presented by The American Printing History Association (APHA), Oct. 12–13, at Columbia College Chicago, Center for Book and Paper Arts.

Frederic W. Goudy was a prolific American book and type designer. He is famous for his prodigious output, designing more than 100 typefaces between 1896 and 1941, which was considered the golden age of printing. His wife, Bertha M. Goudy, a self-taught book designer and compositor, was one of America’s pre-eminent female graphic designers. On Nov. 6, 1933, Time Magazine published “Art: Type Couple,” on the growing influence of the Goudys in typography and design. In “A Tribute to Bertha M. Goudy,” written by Frederic Goudy and composed by Matteson, Goudy wrote that his wife “enabled me to attain a measure of success which I could not have achieved without her.”

Matteson’s presentation will explore the impact this duo had on the state-of-the-art of graphic communications, printing, type design and typography. He’ll discuss how they lived, entertained and worked together. Matteson has an extensive background in the history of typography, design and printing. His work can be found everywhere from Android mobile products to e-readers such as the Barnes & Noble Nook device. He lectures frequently about the Goudy legacy and has created numerous Goudy revivals including the Friar Pro, Bertham Pro, and Goudy Ornate MT typefaces.

Saturday, Oct. 13 at 11:00 a.m.
Columbia College Chicago, Center for Book and Paper Arts
Register online or download the registration form.

by Ryan Arruda

With more than a 100 locations across the United States, Ruth’s Chris Steak House is known for its premium culinary offerings. The restaurant’s website features large, dramatic photographs showcasing their decidedly well-composed dishes.

However, also interesting is the site’s restrained use of of typography; this aspect is not simply an oversight, but a quiet counterpoint to the image-laden layout of the website. The navigation of the site is set in the Novecento family, designed by Jan Tonellato for Synthview. Top navigation is set in the family’s medium weight of Novocento Wide, while the side nav is set in demibold. This entire sans serif family (it also is available in regular, condensed, and narrow widths, too) has a certain friendliness to it — in contrast to the overtly neutral letterforms of, say, grotesque typefaces.

When the site’s side navigation expands, secondary text is set in Linotype’s Trade Gothic Next Soft Rounded family, designed by Akira Kobayashi. As its namesake implies, the Trade Gothic Soft Rounded designs feature more tempered letterforms than its original Trade Gothic forebears. However, the Trade Gothic Next Soft Rounded family still retains a composed demeanor and subtle sense of authority. Within the content of the site, the same complementary format is present—Novocento for headlines, Trade Gothic Next Soft Rounded for body copy.

The Novecento designs are available in 32 styles, and the Trade Gothic Next Soft Rounded in 9, all through the 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.