Posts Tagged ‘arial’

by Bill Davis

If you’re a designer, developer or publisher and deal with multilingual text, chances are the Arial® Unicode™ MS design is your “go-to” font. With around 50,000 glyphs, this workhorse font supports almost every popular language or script used around the
world. So if you need one font to display practically any language, you can depend upon Arial Unicode MS.

Arial Unicode MS Bold font

For years, our customers have been asking for a genuine bold weight so they wouldn’t have to resort to a “fake” bold. Today, we are happy to announce that Arial Unicode MS Bold is finally available!

Designers, developers and publishers can now use the regular and bold weights together to establish typographic hierarchy, such as in headlines and subheads, or lists, reports, user interfaces or many other applications. We have licensed Arial Unicode to hundreds of companies who have deployed it in everything from airline ticketing systems to server-based reporting tools.

Arial Unicode Fonts

Both fonts contain all the characters, ideographs and symbols defined in version 2.1 of the Unicode Standard, the character encoding system defined by the Unicode Consortium. These are not small fonts – these heavyweights of the multilingual world weigh in at 18 to 22 MB each.

Please note that in order to access Unicode-encoded complex script fonts (such as Arabic, Hebrew, Indic and Thai) you must have an appropriate application program. For example, OpenOffice or Microsoft Office® for Windows® platforms (Office for Mac® systems does not currently support complex script fonts). Adobe Creative Suite® users must have the Middle Eastern version, or a plug-in such as IndicPlus™ software to properly use the complex script glyphs in the font.

We hope you enjoy our new and improved Arial Unicode MS font family, two “kitchen sink fonts” that can be used to great effect when working with multiple language documents.


by Chris Roberts

by Allan Haley

A couple of weeks ago, The University of Wisconsin-Green Bay announced that they were switching from the Arial® typeface they normally use to set email to the Century Gothic™ design. The move was part of the school’s five-year plan to go green – and save money. The school claimed that switching typefaces would save 30% in ink and toner consumption.


While it is true that the strokes of the basic weight of Century Gothic are about 30% lighter than those in Arial, Century Gothic has wider proportions than Arial and takes about 30% more space to set the same content. The end result is that there is probably no savings in ink and toner – and more paper is potentially used.

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Many entities are jumping on the green bandwagon these days – which is a good thing – and the right typefaces can clearly help save toner and paper. But selecting just any typeface to accomplish these goals may be (typographically) akin to throwing out the baby with the bath water. In addition to varying in weight and proportion, not all typefaces are created equal when it comes to performing well small text sizes. Since the purpose of email, and other text documents, is to provide information, it doesn’t make sense to use a typeface that is not up to the job of providing that information clearly and efficiently.

Arial is a typeface that would be considered by most type experts to be high on the legibility and readability scale. Century Gothic: not so much. Arial has characters like the two-storied lowercase ‘a’ and pot-hooked ‘t’ that help make the design very legible. In addition, there is a slight modulation to the weight of the strokes that make up the characters – which improves the reading process. Century Gothic does not have these characteristics. In addition, Century Gothic is based on earlier designs like the Futura® and ITC Avant Garde® Gothic typefaces that were not developed for setting lengthy text copy. Both are designs that are best suited to setting headlines, subheads and very short blocks of copy.

(click for full size image)

So, in a number of ways, setting copy in Arial is an excellent way to be environmentally – and typographically – responsible.

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.

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