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by Steve Matteson

Monotype recently announced a collection ‘eText typefaces’, designed to facilitate the best on-screen reading experience. These typefaces extend the palette of text choices available for Web and EPUB designers and developers. Our eText typefaces are part of the Monotype Portfolio for Digital Publishing, tailored for high-quality immersive reading on e-readers, tablets and other devices.

eText Fonts

Our first update to the eText collection features four new families:

GeorgiaPro — The GeorgiaPro design includes 20 weights and styles (including light, black and condensed weights), making GeorgiaPro an ideal choice for rich typographic pages where performance and readability are key across a variety of screen resolutions and technologies. Georgia Pro also includes small caps and OpenType features for setting full-height figures in addition to the figures which range above and below the baseline (old style figures). The extensive character set covers Greek, Russian and Eastern European languages.

VerdanaPro – The Verdana typeface has been a standard in screen legibility for 18 years. This release continues to improve upon the performance and readability of the design across both screens and languages.  With 20 weights added to the family, Verdana is now more versatile than ever. Light to black and condensed styles of Verdana will offer new capabilities for hierarchical typographic layouts. The extensive character set covers Greek, Russian and Eastern European languages.

Dante eText — Already shipping in some OEM reader products, the Dante eText family has brought old-world charm to immersive reading on screen. Originally designed by Giovanni Maerdersteig for fine book printing, Dante eText now brings the artistic touches of a great printer and book designer to the e-publisher’s toolbox.

Linotype Didot eText — The world of high-fashion publications would not be complete without the high-contrast thick and thins of a Didot-styled typeface. Toshi Omagari revisited the classic Didot family to make it possible to use at screen sizes. The elegance of the original is not lost in the Linotype Didot eText design, which stands up to screen display, unlike many modern serif styles.

 

 


by Ryan Arruda

Here’s a ranked listing of Fonts.com Web Fonts’ top 100 most used Web fonts for July 2013:

Neue Helvetica
Trade Gothic
Proxima Nova
Futura
Gill Sans
Helvetica
Avenir
Univers
DIN Next
Avenir Next
Neue Frutiger
Frutiger
Linotype Univers
ITC Avant Garde Gothic
Trade Gothic Next
Frutiger Next
Humanist 777
ITC Franklin Gothic
Arial
Adobe Caslon
Century Gothic
Museo Sans
Baskerville Classico
Optima
Univers Next
Bembo
Linotype Didot
Neo Sans
News Gothic
Agilita
Soho
VAG Rounded
PMN Caecilia
Rockwell
Myriad
Monotype News Gothic
Bodoni LT
DIN 1451
ITC Lubalin Graph
Brandon Grotesque
Helvetica Monospaced
Gill Sans Infant
Futura T
ITC Century
News Gothic No.2
Trade Gothic Next Soft Rounded
ITC Garamond
ITC Officina Sans
Twentieth Century
Soho Gothic
Aachen
Sabon
New Century Schoolbook
ITC Conduit
Abadi
Neue Haas Grotesk
Adelle
Neue Helvetica eText
Eurostile LT
Bembo Infant MT
Letter Gothic
Times
Corporate S
Memo
Eurostile Next
Harmonia Sans
Bauer Bodoni
Sackers Gothic
Frutiger Serif
Calibri
Laurentian
Franklin Gothic
ITC Franklin
Palatino
Camphor
Helvetica World
ITC Fenice
Neue Helvetica Arabic
Adobe Garamond
Akko
Slate
Museo Slab
Klint
Heisei Kaku Gothic
Strayhorn
Novecento
Garamond 3
Clarendon
New Caledonia
Swiss 721
M Sung PRC
Minion
Ascender Serif
Yakout
Monotype Baskerville
Plantin
Thud
ITC Officina Serif
Effra
Albany


by Dr Hermann Püterschein

Bill Dwiggins got me hooked on type. His marionette shows were what attracted me to his studio, but it was his passion for calligraphy, type and typography that lured me into a life of letters. Serious stuff, but I was a pretty serious kid back then. I guess that’s how I got my “Doctor” nickname. Bill also gave me my start in the type business – but that was much later.

Toshi Omagari’s re-envisiong of Dwiggins’ original Metro

Toshi Omagari’s re-envisiong of Dwiggins’ original Metro

I believe that the Electra typeface was the first of Bill’s that I wrote about. (I wasn’t around when he drew the Metro design back in 1930.) But I did write a review of Metro Office when Linotype released the small family for, well, office use, in 2006. If memory serves, I gave it a “36 point” rating (“worth the ticket price”).

When Monotype invited me to have a preview look at Toshi Omagari’s re-envisioning of Bill’s original Metro, I jumped at the chance. The new design, Metro Nova, is quite a nice piece of work. Bill’s Metro had to make do with just four weights – and only three of them had italic complements. Omagari’s design offers a full range of seven weights of roman designs – each with an italic companion – plus six weights of condensed designs with italic counterparts as well. Now that’s an excellent enhancement.

Seven weights with italic counterparts, and six condensed weights—also with italic counterparts.

Seven weights with italic counterparts, and six condensed weights—also with italic counterparts.

Omagari also made improvements to some of the original Metro’s character designs. Not that Bill wasn’t a good designer – he was, but he had to put up with Linotype’s antiquated unit system and the firm’s insistence that every typeface family under the sun duplex – you know, share common character width values. Bill worked around these mechanical restrictions pretty well, but Omagari’s design is digital. And what a dramatic difference that makes! You won’t find any compromises in proportions or spacing in Omagari’s Metro Nova.

The new design is also available as OpenType Pro fonts, allowing for automatic insertion of ligatures and those alternate characters Bill drew for his original design. Pro fonts also have extended character sets to support most Central European and many Eastern European languages. Omagari even added the alternate Icelandic ð to the character suite! (He has friends in Iceland.)

Metro Nova Pro alternate accented Latin characters; alternate umlaud, accent “a” and Icelandic “eth” characters

Metro Nova Pro alternate accented Latin characters; alternate umlaud, accent “a” and Icelandic “eth” characters

While it’s not the second coming of Garamond, I really like the new Metro Nova. Omagari has done a terrific job of building on Bill’s original design. Metro Nova is a rock solid typeface family that’s not going to gather dust on anyone’s hard drive.

Click here to learn more about – and to license – the Metro Nova family.

Alternate and Standard setting of capital M

Alternate and Standard setting of capital M

 

Dr. Hermann Püterschein is President of the Society of Calligraphers and a noted typeface & typographic critic. He can be reached at HermannPuterschein@gmail.com

 


by Darren Glenister

Fonts.com Subscription Extension

The recent integration of our SkyFonts technology into our Fonts.com Web Fonts subscription plans introduced some major new benefits. These included the ability to try fonts before buying them, and the ability to use fonts included with your subscription for website mockup use and even final design use. Now we’re excited to bring you two new tools that make SkyFonts even easier to use. And of course, there’s no additional charge for either of them, since they’re automatically part of all Fonts.com Web Fonts subscriptions, even our free plan. Don’t have a plan yet? Sign up now for free.

Try, install and sync fonts from favorite Adobe design applications

We have an all-new Fonts.com subscription extension for industry-standard design applications including Photoshop, Illustrator, and InDesign. Whether you’re using Adobe Creative Cloud or Creative Suite, you can try, install, and sync desktop fonts from your Fonts.com subscription directly through your favorite design applications.

Fonts.com Subscription Extension

All the functionality of the SkyFonts client for activating fonts is built right into the extension. An unobtrusive window within your application allows you to search for and activate fonts right in your document. Free plan subscribers can use the extension to initiate five minute trials of fonts while higher level subscribers can use the extension to install mockup fonts and desktop fonts included with their plans.

A boon for efficiency, any fonts you trial or activate will automatically be pushed to your authorized machines through SkyFonts. Don’t have SkyFonts installed on one of your devices? Click here to download it at no cost. With our new extension you’re able to focus on your project details instead of managing or installing fonts. Whether choosing type, prototyping designs, or executing production work for digital or print projects, this extension allows you to take full advantage of your Fonts.com subscription benefits with ease.

Download the Fonts.com Subscription Adobe Extension for free.

Easily Browse & Activate Fonts Directly on Your iPad 

Need to make type choices when you’re away from the office, or don’t have access to your primary workstation? Or just want to browse fonts for fun?

We’re also excited to announce the Fonts.com subscription iPad app. With an intuitive touch interface, you can select, compare and activate fonts directly from your iPad. The app will be available for download shortly. In the meantime, you can try it out in your browser.

Fonts.com Subscription iPad App

Filter designs by visual traits such as weight, width and x-height, or browse typefaces by individual foundry. Use the mix feature to easily compare up to three different typefaces at a time, giving you a great way to gauge and establish a visual hierarchy for your project — pick your headline, subhead and body text type system in one simple step.

Find a design you like? Add it to your list of favorites with a touch of a button — a convenient way to save fonts for future projects or to collect type options to present to clients and colleagues. Or already know which designs you’d like to use? You can activate trials, mockup and desktop fonts directly from your iPad — even selections made on the go are automatically synced to all your authorized machines via SkyFonts.

With our new Fonts.com subscription Adobe extension and iPad app, you can now access type in whatever application you are in — be it Photoshop, Illustrator, or InDesign, and from wherever you are — in the office or on the go.

Get them both for free!

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 Dr Hermann Püterschein

I first met Bill Dwiggins when I was quite young. I grew up in Hingham, Mass., and was one of the neighborhood kids who attended his marionette shows. Later on, I started dropping by Bill’s studio every now and again to watch him carve the marionettes.

First Showing of Metro

Today is Bill’s birthday. If he were still around, he’d be 133 years old. Bill was always a bit of a kid about his birthday. It was a special day for him. So, Monotype invited me to write this post for two reasons: to toast Bill’s birthday and to share the news that they are almost finished working on a revival of one of Bill’s most important typeface designs.

Monotype’s suggestion that I write a note honoring my friend falls happily with my mood. Moreover, It also gives me the opportunity to clear up a point about his association with me. From time to time, it’s been implied that Bill and I were the same person. This is complete nonsense and was disproved some time ago. Bill and I submitted our individual thumbprints to a prominent Boston typographer for scrutiny. When enlarged, one could clearly see that the whorls of my thumbprint were composed of Fraktur letters, while those of Bill’s were fleurons joined in an engaging pattern.

Metro Nova

Bill drew a raft of typefaces during his years as a freelance designer for Linotype. A goodly number of them have been pressed into service as popular digital fonts. The one that most deserves a makeover, however, is Bill’s first: the Metro typeface. Not that it wasn’t a good design. It was indeed, but it’s always been a small family, and Bill was hamstrung by Linotype’s penchant for duplexed fonts. (This is where a pair of styles – such as roman and italic – were cut within the same mold for use in the printing process.) This meant that all characters were required to have the same width. I certainly anticipate that Monotype’s designer for the revival project will have resolved these limitations.

Metro Nova

Something I hope Monotype doesn’t eliminate is the profusion of alternate characters Bill drew. Bill liked to have fun with his work, and his playfulness was apparent in several characters of the original Metro design. The cap Q and lowercase g and e come to mind – but I know there were more. They were pretty lively, and didn’t look like anything you might find in the Futura or Erbar families, which were designed around the same time.

It seems that some pompous printers back in the 1930s didn’t like this aspect of Bill’s design. These were hard-pressed folks who persuaded Linotype to replace the characters in question with ones that were about as stuffy as these people were. After that, you could only get the original characters by special order.

Well, Happy Birthday to Bill – and the best of luck to Monotype. I’m looking forward to seeing that new design.

Click here to learn more about the new Metro family.

 

Dr. Hermann Püterschein is President of the Society of Calligraphers and a noted typeface & typographic critic. He can be reached at HermannPuterschein@gmail.com

 

 

 

 

 

 


by Ryan Arruda

CustomerSpotlight_SasquatchFestival

Occurring over four days at the end of May, the Sasquatch! Music Festival features an eclectic lineup of musicians performing at the Gorge Amphitheater in Quincy, Wash.

The festival’s site is a typographic delight. Utilizing colossal headlines and navigation elements all in the affable ultra weight of the ITC Kabel family, the site is reminiscent of 19th century broadsides — large, type driven, and visually arresting.

Despite the presentation being set almost exclusively in not only the same typeface, but the same weight of that selection, the use of scale as well as the muted, earthy color palette provides an engaging and navigable hierarchy.

In a slight divergence, the site’s body copy is set in the Futura family’s book weight. While certainly an aesthetic cousin of the ITC Kabel designs, Futura is decidedly more austere, making it apt for longer passages of text where former’s visually boisterous character would be to the detriment of the reader. The pairing works especially well given the contrast in the weights employed.

The ITC Kabel family is available in five weights, from the reserved book style to the hulking (yet charismatic) ultra weight. The Futura family is available in an expansive 20 styles, with weights from light to extra bold, including companion condensed widths as well. Both typeface families are available for desktop licensing, as well as online use through subscriptions to the Fonts.com Web Fonts service.

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 Ryan Arruda

Ireland.com is the online presence of Tourism Ireland, an organization marketing the Emerald Isle as a premiere travel destination.

The layout of the Ireland.com site is quite kinetic, with modular content blocks of varying size overlaid upon large, vibrant photographs. The site utilizes the Rockwell typeface family nearly exclusively; it’s employed not only for headlines, but subheads, body text and primary navigation as well. Italic styles are employed for secondary navigation.

Customer Spotlight: Ireland.com

While the heavier weights of this friendly slab serif design from Monotype are strong and sturdy, its lighter weights are excellent choices for body text. A visual complement to layout of the site itself, Rockwell’s geometric letterforms mirror the gridded, modular construction present on Ireland.com.

The Rockwell family is available in four weights from light to extra bold, along with matching italics. For further flexibility, the family is also available in two condensed styles as well. Try it for yourself through the subscriptions to the Fonts.com Web Fonts service.

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 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 Matt Brinkerhoff

Many of the traits that are traditionally associated with Celtic and Irish Typography are actually vestiges of the ancient Insular script style, originated in Ireland over 1400 years ago. Insular scripts, which are identified by their unique letterforms, all-capital case setting and often-ornamented or flourished letters, heavily influenced the Gaelic and Irish handwriting and type design.

While insular-inspired typefaces are generally less-than-ideal for body text, these unique and attractive letterforms shine in display treatments. The whimsical strokes of Celtic and Irish fonts can be used to symbolize hospitality, heritage and wonder. When used properly, they add an air of timelessness and authenticity to a design.

Football Association of IrelandThe Football Association of Ireland incorporates a custom wordmark in their crest that incorporates insular lettering. The letterforms of the “FAI” logo are very similar to our very own Colmcille typeface.


The Irish EuroThe Irish Euro features the insular text “ÉIRE” on the head of the coin, which is the Irish Gaelic name for Ireland. Note that despite being capital letters, the insular “E” is drawn with curved strokes, much like the latin lowercase “e”.


A Traditional Irish PubIrish and Celtic typography are frequently used in pub and restaurant branding. Irish pubs are known for their old-world hospitality and lighthearted atmosphere, and Celtic-inspired typography can instantly transmit these values to potential customers.


Typefaces that feature insular, celtic, and gaelic style scripts include 799 Insular, Kismet and Omnia Roman. Need to add an air of Irish authenticity to your project? Check out our full list of Celtic Typefaces.

Matt Brinkerhoff
Matt Brinkerhoff holds a bachelor’s degree in E-Business from Champlain College and has experience in user experience, multivariate testing, design and Web development. Through his work as a freelance designer, Matt developed an affinity for typography years before joining the team.



by Ryan Arruda

Type Designer Q&A - Rod McDonaldFor over four decades, Rod McDonald has held an impressive and multifaceted presence in the field of visual communication – graphic designer, type designer, writer and teacher, McDonald’s work has evolved from sign painting to photo lettering and into the arena of digital type design.

One of McDonald’s most recent designs debuted in September of this year. The Classic Grotesque family is a major release from Monotype Imaging; available in 14 styles, this sans serif is rooted in the historic letterforms of some of the first of grotesque designs, yet the Classic Grotesque family stands firm with its unique contemporary spirit and robust versatility. Rod recently shared with us some insight into his practice:

Rod McDonald Typeface Designs

Personal design luminary
Living designers it would have to be Matthew Carter, followed closely by a long list of designers going way back.

Favorite era of design history
All of them. Each for a different reason.

Learned to design type
Like so many others in this business I’m largely self taught.

Design mentors
Canadian design pioneer John Gibson was my mentor, sadly he died last year.

Favorite text on typography or design
I can’t narrow it down to one or two books.

Longest a typeface has taken to design
Four years, that was Classic Grotesque. Although I didn’t work on it full time and there were long interruptions.
Shortest time to design a typeface

A few weeks.

Favorite typographic resource
I need a reason to design a typeface, then I find the resources.

Gibson family by Rod McDonald

Habitually challenging glyphs to design
Don’t ask me that, I’m one of those guys who can agonize over a sans serif cap I!

Typefaces folks might know you for
Egyptian Slate, Slate, Laurentian and Gibson are probably my best know faces

Favorite type classification to design
I like working on text faces. They remain a challenge to me.

Percent of type design that’s art vs. percent that’s science
That’s a sliding scale and it can vary greatly with each typeface.

Common personality of your typefaces
They are all workhorse faces.

Aspiring type designers should possess
A mind-numbing attention to detail, and patience, patience, patience.Cartier Book

What typeface classifications should they study?
All of them.

Favorite of your typefaces in use
Ten years later Maclean’s magazine are still using Laurentian and that’s after a few redesigns. Cartier Book is used on all the historic plaques in Canada.

Favorite medium to see your typefaces
It’s still print, but that’s changing rapidly.

Most egregious typographic error in common practice today
That type is only about the art.

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.