Archive for the ‘Type for Print’ Category

by Ryan Arruda

Located in Two Rivers, Wisconsin, The Hamilton Wood Type Museum is an exceptional collection of printing history. Including over a million pieces of wood type in its care, the museum features a fully functioning studio not only for printing with wood type but also for creating it as well.

However, the museum is unexpectedly being forced from its present home. Perhaps needing to vacate its space in less than three months, this is both a monumental physical and financial feat – your help is urgently needed to assure the museum can continue its mission as a bulwark of typographic history.

One of the many delights the archive provides is that it is indeed a living museum; not simply host to relics to be looked upon, the museum fosters a deeper understanding of the forebears of contemporary type by conducting workshops for artists and scholars alike. Such opportunities of hands-on, tactile experimenting with type cultivates not only an appreciation for the true craftsmanship involved in type design, but also a respect for those vibrant analog methods of making.

Whether you are a designer, a typographic enthusiast, or simply intrigued by printing history, please consider supporting the Hamilton Wood Type Museum in its time of need. Your donations will help to assure that the museum can preserve its rich artifacts, and safely relocate to a new home. More importantly, your donation will help to further facilitate the study, appreciation, and utilization of wood type, a true treasure of design history and practice. Click here to donate and learn more.

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 three decades, Timberland has been a premier designer of foot and outdoor wear. Employing over 5,000 people, Timberland products are sold in specialty stores worldwide, including through their own retail locations.

The company’s website features an excellent implementation of display typography: overlaid upon photographs, a rotating carousel of large headlines are set in the bold weight of the ITC Lubalin Graph family, while supporting text employs the Bold Condensed No. 20 weight of the Trade Gothic collection.

Both faces are exceptionally structural in their design, yet quite complementary. ITC Lubalin Graph – with roots in the Herb Lubalin–inspired ITC Avant Garde Gothic family – possesses an overt kindly charm.

Subheadings are set in Trade Gothic Bold Condensed No. 20. Despite being a slightly more stoic typeface, the diminutive use of the family on the Timberland site prevents it from undoing ITC Lubalin Graph’s cheerful disposition.

ITC Lubalin Graph is available in 18 styles, from a delicate extra light weight, to a industrial strength bold. A condensed width featuring the same weights round out this versatile collection. The Trade Gothic family is available 14 styles, and is comprised of  both regular, condensed, and extended widths. In addition to online use, both type families are available for desktop licensing through 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 Allan Haley

Jovica Veljovic was living in the former Yugoslavia when Aaron Burns, the president of ITC, met him in the mid 1980s. 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 has gone on to develop typefaces for Adobe and Linotype – as well as ITC. Although he spends much of his time today teaching typography and type design near his home in Hamburg, Veljovic has continued to draw new typeface designs. All started out as brush and pencil sketches.

None of Veljovic’s designs were first imagined as constructed outline drawings. It was only after the basic shapes and proportions were finalized in brush form, that Veljovic would construct letters as digital outlines.

Early Sketches for Agmena

“For me, it is important to begin a new typeface by drawing with a brush or pen,” says Veljovic. “This is especially true when I am making a new text typeface. The first text faces grew out of calligraphic writing and I think it is important to maintain this tradition.”

Agmena Swash Italic Sketches

The Agmena family, announced this week, is no exception. The first sketches for the design were roughed-out by Veljovic with a broad-edged brush. These became the basis for more refined drawings, which were then transferred to the computer for yet further development. The end result is a distinctive family of four weights – each with complementary italics – based on calligraphic, Renaissance “old style,” design traits and proportions.


The complete Agmena family is available as desktop fonts from, as well for Web use through the Web Fonts Service.

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

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.

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