fonts.com blog
Archive for the ‘Uncategorized’ Category

by Allan Haley

Carl Crossgrove’s new Burlingame® family is a classic example of the subtlety type designers bring to typeface design. At first glance, Burlingame appears to be square sans design with understated humanistic overtones. A closer look, however, reveals myriad details that define the typeface.

BurlingameOne of the primary goals behind the Burlingame design is legibility. “Overall design traits, individual character shaping and even letterspacing were carefully considered in the design process,” says Crossgrove, senior type designer at Monotype. “While these considerations are part of every typeface I design, they took on an increased importance in Burlingame.”

Burlingame

The impetus for Burlingame was a branding proposal for a major gaming platform – which meant that the design had to perform well on a small screen. While it was not incorporated into a video game, Burlingame was eventually licensed for use in human-machine interface displays for automobiles. The process of fine-tuning Burlingame for its new home, however, imposed new legibility issues for the design.

“I modified the original Burlingame renderings based on findings from automotive user interface legibility research Monotype undertook previously,” explains Crossgrove, referring to an exploratory study sponsored by Monotype and conducted by the Massachusetts Institute of Technology (MIT) AgeLab and the New England University Transportation Center, which examined the role typeface design may play in minimizing glance time – the time a driver takes away from watching the road to interact with in-vehicle displays.

Burlingame

Crossgrove carefully introduced design traits, such as the triangular cuts where strokes join, flat tips on sharp counters, and character bowls that he describes as “superelliptical” to improve character legibility. He also applied generous character spacing to enable clearer character definition. In addition, Crossgrove incorporated character designs from the German DIN 1450 initiative for barrier-free legibility. “There are characters such as the footed l and t, open c and s, and simple bowl and tail g,” says Crossgrove. “I included these, and many other traits into the Burlingame design, intending that they would aid in character recognition and easy reading.”

To help ensure legibility at small sizes and in modest resolution digital environments, Crossgrove made Burlingame’s proportions almost extended. Realizing, however, that there are many instances where economy of space (in addition to legibility) is required, he also drew a series of slightly condensed designs.

Burlingame

The Burlingame family is comprised of 36 typefaces – nine weights from thin to extra black with condensed counterparts – each with an italic complement. The designs are available for desktop licensing, as well as Web fonts through all Fonts.com Web Fonts paid subscription plans. As a special introductory offer, a sampling of the Burlingame family (Burlingame Light and Burlingame Condensed Black) is available at no charge. Simply load them into your shopping cart and check out. Want all 36 fonts of this great new design? Until May 7th you can get the complete Burlingame family for 50% off!

Learn more about – and license – the Burlingame family today.

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

Here’s a listing of the top 100 most used fonts from the Fonts.com Web Fonts service for March 2014:

Neue Helvetica
Trade Gothic
Avenir Next
Univers
Avenir
Proxima Nova
Frutiger
Gill Sans
Futura
Helvetica
Museo Sans
Linotype Univers
Museo Slab
DIN Next
Century Gothic
Chaparral
Klint
ITC Avant Garde Gothic
Eurostile LT
Arial
Rockwell
Myriad
Univers Next
ITC Lubalin Graph
ITC Legacy Serif
ITC Caslon No. 224
Neo Sans
ITC Century
VAG Rounded
Motoya Birch
Gill Sans Infant
Optima
Soho Gothic
ITC Legacy Square Serif
Linotype Sketch
Neue Frutiger
Amasis
ITC Franklin Gothic
Swiss 721
Trade Gothic Next
Azbuka
Frutiger Next
PMN Caecilia
ITC Charter
Neue Helvetica eText
Swift
ITC Officina Serif
Bodoni LT
Bookman Old Style
ITC Officina Sans
Bembo
ITC Conduit
Lexia
Calibri
Humanist 777
Linotype Didot
Rotis II Sans
Auriol
Helvetica World
ITC Eras
Rotis Sans Serif
Adobe Garamond
Trade Gothic Next Soft Rounded
Brandon Grotesque
ITC American Typewriter Hellenic
Soho
ITC American Typewriter
C Hei 2 PRC
M Elle PRC
ITC Stone Informal
C Hei PRC
M Lady PRC
M Stiff Hei PRC
Delima
Glypha
Novecento
Droid Sans Mono
Aachen
Monotype News Gothic
Francker
Adobe Caslon
Egyptienne F
Orator
ITC Fenice
Clarendon Text
Baskerville Classico
Caslon Classico
Monotype Goudy
Droid Serif
Perpetua
Slate
Twentieth Century
Comic Strip
Clarendon
Bodoni
Oron
Neue Helvetica Arabic
Droid Sans
Plantin
Rotis Semi Sans


by Ryan Arruda

Fonts.com Big Script Sale

Here at Fonts.com we’re excited to kick off our Big Script Sale, a three-day promo event where you can save up to 80% on leading script typefaces. Running through Friday, we’ve got 60 script designs from a dozen leading foundries, so you’re sure to find a typeface that’s perfect for your next design project.

Waza

60 Great Families to Choose From

Selections run the gamut, from formal scripts — such as ITC’s Elegy and Canada Type’s Maestro — to more expressive, playful designs like Laura Worthington’s Hummingbird and Sudtipos’ Affair collection. There’s also handwriting inspired faces, like Monotype’s Julietrose family, and Steinweiss Script from Alphabet Soup.

Be sure to check out our Big Script Sale page on Fonts.com to see all the discounts we’re offering through our event. And make sure to take advantage of these deals now, because they’re only available for three days!

Win Prizes

Spread the Word and Win

Win typographically themed prizes when you tell the world about your Big Script Sale experience. Just tweet @Fontscom with hashtag #bigscriptsale. We’re giving away professional lettering supplies from our friends at Sakura of America, and even an original piece of lettering art by one of the Big Script Sale’s talented type designers. See all the official giveaway details on our Big Script Sale page on Fonts.com.

Ryan ArrudaRyan 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

Silica Blog

Fonts.com takes a fresh look at the Silica™ typeface this month. In its honor, we wanted to look back at the family’s typographic heritage.

Slab serif, or Egyptian, typefaces first appeared in 1815, developed in response to the fledging advertising industry’s appetite for heavy, attention-getting alphabets. Slab serif designs were intended to be display typefaces of the highest order.

The slab serif typestyle was introduced about the same time as sans serif typefaces. Interestingly, both originated in England and were initially only available as cap-only designs. Coincidentally, William Caslon IV, who produced the first commercial sans serif, called his design “Egyptian,” the term also used to designate slab serif typefaces.

Also interesting is that the first slab serif typefaces were generally maligned by the intelligentsia of the typographic community.

A prominent typographic critic of the time described the new slab serif style as “a typographical monstrosity.” And well into the 1920s, The Fleuron, the famed British journal about typography and book arts, ignored the typefaces altogether. Daniel Berkeley Updike, the great type historian of the period, went so far as to refer to the design style as one of the plagues of Egypt.

And yet, despite its many detractors, the slab serif typestyle flourished. Advertisers, for whom these designs were originally intended, loved their commanding power and straightforward, no nonsense demeanor. Slab serif typefaces were the “flavor of the day” until the first part of the 20th century, when newer designs eclipsed their popularity.

Slab serif typefaces fell into disuse for almost 30 years, until they were revived as text designs by several German type founders. (Actually the Boston Breton family, one of the first revivals, was released by American Type Founders in 1900, but it didn’t attract much interest until the German slab serif designs began to be imported to North America.)

The Memphis® typeface, from the Stempel foundry, is credited with starting the slab serif revival in 1929. It was followed by the Bauer foundry’s Beton, the City® family from Berthold, and Luxor from Ludwig & Mayer – all German companies. Other European foundries followed suit: the Nilo and Egizio typefaces were released in Italy, Monotype’s Rockwell® and the Scarab designs in Britain.

Sumner Stone’s Silica typeface family is an important – and particularly handsome – addition to the lineage of slab serif typefaces. It also perpetuates the Egyptian typestyle tradition of versatility and candor.

The complete Silica family is available for desktop licensing from Fonts.com, as well as for online use through subscriptions to the Fonts.com 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

Here’s a listing of the top 100 most used fonts from the Fonts.com Web Fonts service for February 2014:

Trade Gothic
Avenir Next
Neue Helvetica
Univers
Proxima Nova
Avenir
Gill Sans
Frutiger
Futura
Helvetica
Museo Sans
Linotype Univers
Museo Slab
DIN Next
Century Gothic
Klint
Chaparral
ITC Avant Garde Gothic
Myriad
Rockwell
Arial
ITC Legacy Serif
Univers Next
ITC Century
Eurostile LT
Brandon Grotesque
Neo Sans
VAG Rounded
ITC Caslon No. 224
Motoya Birch
Optima
ITC Lubalin Graph
Gill Sans Infant
Amasis
ITC Franklin Gothic
Soho Gothic
ITC Legacy Square Serif
Neue Frutiger
Trade Gothic Next
Swiss 721
Neue Helvetica eText
Linotype Sketch
Oxygen
ITC Charter
ITC Officina Serif
Bree
Frutiger Next
PMN Caecilia
Swift
ITC Conduit
Lexia
Bodoni LT
Azbuka
ITC Officina Sans
Linotype Didot
Bookman Old Style
Calibri
Soho
Humanist 777
Rotis Sans Serif
Delima
Trade Gothic Next Soft Rounded
ITC American Typewriter
ITC American Typewriter Hellenic
Adobe Garamond
Auriol
Helvetica World
Caslon Classico
Bembo
Glypha
Neue Helvetica Arabic
ITC Fenice
Monotype News Gothic
ITC Stone Informal
Egyptienne F
Copperplate Gothic
Novecento
C Hei 2 PRC
M Elle PRC
C Hei PRC
M Lady PRC
M Stiff Hei PRC
Adobe Caslon
Perpetua
Monotype Goudy
Francker
Baskerville Classico
ITC Eras
Droid Serif
Bodoni
Orator
Droid Sans Mono
Twentieth Century
Rotis II Sans
Sackers Gothic
Comic Strip
Monotype Garamond
Inform
Museo
Akko


by Allan Haley

Mike ParkerMike Parker passed away earlier this week. For decades, Mike was instrumental in building the type community we enjoy today. Under Mike’s leadership as Director of Type Development at Linotype in late 1950s into the early 1980s, over 1,000 typefaces were added to the Linotype Typeface Library – at a time when creating new typefaces was a much more arduous and time-consuming task than it is today. Mike was responsible for bringing the Helvetica®, Optima® and Palatino® typefaces to North America. In addition, he was the person behind Linotype’s design relationships with Matthew Carter, Adrian Frutiger and Hermann Zapf.

Mike was also a pioneer with digital type. He was responsible for the first typographic fonts made available for laser printers and was a co-founder of Bitstream, the first independent digital typeface foundry.

Mike’s intelligence, drive, ambition, stature, and booming voice, all helped to give him a bigger than life presence. And Mike was controversial – and, at times, a rascal. There are hundreds of stories about Mike, his accomplishments, ventures – and misadventures. When I sent my condolences to Harry Parker, Mike’s son, I received the following reply.

“Thank you for your kind thoughts. My dad will be missed. He recently shared with me that he felt his life was lived to the fullest, that his time was near, and that he had no regrets. While I am filled with loss and sadness at his passing, I know that he would prefer we celebrate his life. If you find yourself talking with someone else who knew him, please just tell your best Mike story. It is what he would have wanted.”

I have my share of Mike stories. If you have good one, tell it to someone.

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

Lately it seems that every new typeface release is either a sans serif or a script. What has become of the stalwart, straightforward – or even quirky and delightfully fancy – serif typeface? Happily, the serif’s back in town.

Take a look at Jovica Veljović’s Agmena™ typeface family. The design – first announced a little over a year ago – quickly became a “New Best Seller” on Fonts.com. It’s now risen to become the first traditional serif typeface on the “All Best Sellers” list – albeit below a bevy of sans serif and a couple of slab serif families. The Agmena collection also won recognition in the Type Directors Club Typography Competition in 2013 as well.

Agmena

Veljović based Agmena’s design on calligraphic letterforms, his primary intention being the setting of long – and beautiful – blocks of text copy. (Old timers might refer to Agmena as a “book face.”) To this end, Agmena is available in four weights: book, regular, semibold and bold, each with a complementary italic. The book and regular weights provide an optical balance between various point sizes – with the more robust regular being well suited for small sizes­. Designers can also choose the best weight for different paper stocks. The regular holds up remarkably well when printed on paper with a bit of “tooth,” while the book is ideal for smooth “calendered” stock.)

Agmena’s extensive character set makes setting refined text copy a pleasure. Each weight of the family offers small caps, old style and lining figures, a throng of ligatures, swash characters and even a suite of dingbats. Not stopping there, Veljović also designed Cyrillic and Greek versions of the Agmena alphabet.

While designed for publications, Agmena has also been welcomed into advertising, branding, and even online environments.

The complete Agmena family is available as desktop fonts from the Fonts.com and Linotype.com websites. It is also available as Web fonts.

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

Here’s a listing of the top 100 most used fonts from the Fonts.com Web Fonts service for January 2014:

Trade Gothic
Neue Helvetica
Avenir Next
Univers
Avenir
Proxima Nova
Gill Sans
Frutiger
Futura
Helvetica
Linotype Univers
Museo Sans
Museo Slab
DIN Next
Century Gothic
Klint
Bree
Chaparral
Myriad
Rockwell
ITC Avant Garde Gothic
Arial
Univers Next
ITC Caslon No. 224
Eurostile LT
ITC Century
VAG Rounded
ITC Legacy Serif
Neo Sans
ITC Franklin Gothic
Neue Helvetica eText
ITC Lubalin Graph
Gill Sans Infant
Amasis
Optima
Motoya Birch
ITC Legacy Square Serif
Neue Frutiger
Swiss 721
Trade Gothic Next
ITC Officina Serif
ITC Charter
Soho Gothic
Sabon Next
Helvetica World
Frutiger Next
Linotype Sketch
Azbuka
ITC Officina Sans
Lexia
Bodoni LT
PMN Caecilia
ITC Conduit
Linotype Didot
Calibri
ITC Fenice
Bookman Old Style
Humanist 777
Delima
Trade Gothic Next Soft Rounded
Caslon Classico
ITC American Typewriter
Auriol
Monotype News Gothic
ITC American Typewriter Hellenic
Rotis Sans Serif
Adobe Garamond
Soho
Tempo
Bembo
ITC Stone Informal
Droid Sans Mono
Swift
Glypha
Neue Helvetica Arabic
Praxis
Brandon Grotesque
Novecento
Adobe Caslon
Sackers Gothic
Egyptienne F
Perpetua
Francker
Monotype Goudy
Baskerville Classico
ITC Eras
Droid Serif
Serpentine
Orator
Rotis II Sans
C Hei 2 PRC
Clarendon
Bodoni
M Elle PRC
C Hei PRC
M Lady PRC
M Stiff Hei PRC
Comic Strip
Inform
Gibson


by Allan Haley

Stefan Claudius designs type, but this has not been his only profession. “Type design is currently my main occupation,” he says, “but I have spent more time as a typographer and graphic designer.” Claudius also teaches typography and typeface design at several German colleges and design schools.

“Teaching has considerably broadened my horizons,” he continues. “I have had to research things that I previously knew little about, to ensure that I provide my students with the best information.”

Yalta Sans

Claudius also acknowledges learning a great deal about the process of typeface design while developing his Yalta Sans family.

From his first trial sketches in 2005 to the official announcement of Yalta Sans eight years later, Claudius was as much a student of typeface design as he was a typeface designer. His first drawings were basically experimentations – pushing characters to their limits, discovering how subtle, and not so subtle, modifications might change the demeanor of the design.

“Fortunately, typeface design is a field in which things don’t move all that rapidly,” Claudius observes. “Although, of course there are always fashions and fads. The most positive aspect for me is that I have matured along with the typeface.” Thanks to breaks in the development process, Claudius was able to cast a fresh critical eye over his work.

Yalta Sans

As it happened, the most challenging part of the design development came almost at the end of the process. “When I first showed the typeface to Monotype, I thought it was more or less complete,” Claudius reflects. “However, it turned out that additional intermediate weights were required. And the personality of the typeface needed to be made more consistent across the various members of the family.”

These realizations meant that Claudius would need to redraw the entire family (with the help of an intern designer and digital design tools) and then completely revise the italic styles to complement the new romans. The final result is a strikingly handsome design that blends diverse sensibilities into a remarkably versatile and extremely legible typeface family.

Click here to learn more about – and to license – the Yalta Sans 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

Happy New Year everybody!

As we march into 2014, we wanted to look back at some of our favorite releases from last year. Our most recent newsletter presents a roundup of designs that really knocked our typographic socks off. As a bonus, many of the families feature 30% off their complete family packs until January 10th. So you have to act fast!

Charcuterie

Charcuterie

Laura Worthington’s delightfully expansive Charcuterie collection — this family features a bevy of complementary styles and ornaments, 22 in total. It’s a great choice for adding a vintage, eclectic, and charming edge to your designs.

Metro Nova

metro_nova_04

The expertly crafted humanist sans Metro Nova family — Toshi Omagari’s expert update to a classic W.A. Dwiggins design released by Linotype.

Xenois

Xenois

The Xenois superfamily designed by Erik Faulhaber; consisting of 6 distinct styles — each with five weights and matching italics — this collection provides a comprehensive typographic system, at ease with tackling the most demanding branding or publication design projects. Save 30% off each of the complete subfamily packs: Xenois Sans, Xenois Serif, Xenois Slab, Xenois Semi, Xenois Soft, and Xenois Super.

We’re also featuring 30% off discounts on the complete family packs of the Avenir Next Rounded, Espuma Pro, Excritura, Grey Sans, Capita, Ciutadella families too!

These discounts will only last until this Friday, January 10th. Be sure to check them out and take advantage of some awesome deals!

Great type makes sites stand out