Posts Tagged ‘fonts’

by Johnathan Zsittnik serves a global audience. As such, we feel it’s important that our website ‘speaks’ more than just English. Today, you may have noticed the addition of two new languages to German and Japanese. Both are among the most commonly spoken languages of our customer base and represent two of our fastest growing customer segments.

A look at the homepage in German

The next time you visit, if the language preference of your browser is set to German or Japanese, you will automatically be redirected to the German or Japanese version of the site. You can also use the language dropdown menu in the site’s upper right hand navigation to manually switch between languages. While the entire site has not yet been translated, just about everything you need  to browse fonts, purchase fonts or use our Web Fonts service is available in both German and Japanese. This includes the home page, the typeface family and product pages, the browse fonts pages, the Web fonts homepage, the Manage Web fonts page and the shopping cart. Content that has not yet been translated remains available in English, even when surfing in other languages.'s Manage Web Font Page in Japanese

A peek at the Web Fonts homepage on displayed in Japanese.

Over the coming weeks, we’ll continue to roll out many of the content pages in German and Japanese. If you’re wondering if additional languages will be added down the road, well, we’re considering that, too. For now, we invite our German and Japanese speaking friends to explore in their native language. We hope you enjoy this enhancement. But if you notice something doesn’t look quite right, please let us know.

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 Darren Glenister

Today, we are excited to commercially release SkyFonts – the first of its kind font rental service. As we say goodbye to a beta period that spanned more than 3 months and provided us with invaluable insight into your interests surrounding a new way of discovering and using fonts, we welcome a handful of new aspects of the SkyFonts experience that we’re confident you’ll enjoy.SkyFontsAs part of the release, we are revealing the full details of the SkyFonts credit system. As our beta participants know, credits are used in SkyFonts to rent fonts. A single credit is used to rent a font for a day. Three credits will allow you to rent a font for a month (30 days). Credits are available in packs of 15 or more at a price of $3 per credit – a price that was determined in part by your feedback. For short term projects that will be completed in a day or a month, we think that paying $3 — $9 to use a font is a nice alternative to paying for a perpetual font license. You can save a little on SkyFonts credits if you purchase them in larger quantities.


Utilize the SkyFonts website to browse thousands of quality typeface families

Unlike the ‘beta credits’ which expire after 30 days, any credits purchased can be used for one year before expiring. The entire SkyFonts inventory will be available for free trial. Simply select the ‘try for 5 minutes’ option for access to the actual font data.

Once you’ve loaded up your account with credits, we’ve got plenty of options for you to spend them on. The SkyFonts catalog now boasts a selection of more than 8,000 fonts. You’ll discover designs from a broad range of top sources including our own Monotype, Linotype, ITC, Ascender and Bitstream foundries in addition to many of our foundry partners such as Mark Simonson, TypeTogether, Laura Worthington, Typodermic, the Chank Company, Yellow Design Studio, Emboss Fonts, Bean and Morris, Type Associates and Mint Type.SkyFonts

So what’s next for SkyFonts? We’re currently working on some additional enhancements to the website that will make it easier to explore the inventory. We’re also exploring options to allow you to browse and activate fonts in other places including design applications and other websites and services from Monotype.

As a thank you to the valuable feedback you’ve provided, we’ve topped off the accounts of our beta participants with 110 beta credits which can be used for the next 30 days. For those that haven’t signed up, we have something for you as well. Create your free account now and receive 10 free credits (good for one year). But do so quickly. This introductory offer won’t last.


by Ryan Arruda

Founded in Southern California nearly four decades ago, Mongoose is a recognized authority in the biking world. With an extensive collection of rugged mountain, BMX, and street bikes in their product line, it’s fitting that the company’s website is indeed peppered with a distinctly kinetic and visceral visual spirit.

Bold, prominent typography contrasts seamlessly with imagery overlaid with bright, saturated colors. The site’s top navigation features the DIN 1451 typeface for its main elements, as well as the stocky, bold weight of the ITC American Typewriter family for secondary items.

The body of the site follows in a similar vein — headlines are generously set in the EngSchrift style of DIN 1451, while subheadings and body copy are set in the bold and medium varieties of ITC American Typewriter, respectively. The friendliness of the ITC American Typewriter family is an especially nice foil to the seemingly pragmatic demeanor of DIN 145.

DIN 1451 is available in both a regular and condensed weight. ITC American Typewriter is available in three weights — light through bold — and features matching italic designs as well as three condensed styles. Both designs are available through subscriptions to 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.

by Ryan Arruda

Here’s a ranked listing of Web Fonts’ top 100 most used Web fonts for November 2012:

Neue Helvetica
Trade Gothic
Gill Sans
Neue Frutiger
Avenir Next
DIN Next
ITC Avant Garde Gothic
Linotype Univers
News Gothic
Monotype News Gothic
PMN Caecilia
Trade Gothic Next
Neo Sans
New Century Schoolbook
Linotype Didot
ITC Lubalin Graph
DIN 1451
Neue Haas Grotesk
ITC Franklin Gothic
ITC Garamond
Century Gothic
Univers Next
Frutiger Next
VAG Rounded
Twentieth Century
ITC Conduit
ITC Officina Sans
Garamond 3
Trade Gothic Next Soft Rounded
Neue Helvetica Arabic
ITC Fenice
News Gothic No.2
Eurostile LT
Soho Gothic
Frutiger Serif
ITC Century
Bauer Bodoni
Sassoon Sans
Sackers Gothic
Neue Helvetica eText
Harmonia Sans
Futura T
ITC American Typewriter
ITC Franklin
Helvetica World
Compatil Text
Rotis II Sans
Gill Sans Infant
Eurostile Next
Georgia Pro
Monotype Garamond
Heisei Kaku Gothic
Neuzeit Office
Museo Slab
Museo Sans
Bodoni LT
ITC Officina Serif
Monotype Grotesque
Basic Commercial
Janson Text

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

With just a roman and italic design, the Titanium Motors™ typefaces make about as small as a typeface family you can get. Compounding this, the design has no lowercase. But don’t let this lull you into thinking that the face is anything less than a commanding and powerful communication tool. Titanium Motors is retro and modern, built like a Mack® truck on steroids – and surprisingly versatile.

 Titanium Motors’ muscular weight creates powerful headlines, logos and signage – all with attitude and swagger. Its geometric character shapes, and distinctive letterforms speak to the modernity of the typeface, while the high-waisted counters and stressed strokes give Titanium Motors’ a subtle Art Deco flavor. Words like “bold,” “dynamic” and “authoritative” immediately come to mind.

Check out the “hero image” on’s home page, created by The Heads of State, or the image accompanying this post to see just how formidable a graphic statement this typeface can make. If Vin Diesel were a typeface, he would be Titanium Motors.

A collaboration of Steve Matteson and Jim Ford’s design talents, Titanium Motors was initially drawn as a custom font for a computer game. Since then, it has been used in a bevy of applications. Consider it for posters, flyers, packaging, publication design or Web banners.

The Titanium Motors family is available as desktop fonts from the and websites. It is also available as Web fonts 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

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

Monotype Imaging and are pleased to sponsor the Webfontday and beyondtellerrand, two typographic conferences being held in Germany this month. Toshi Omagari, typeface designer at Monotype, will present at the Webfontday in Munich on Nov. 10.

Nadine Chahine, Arabic specialist for Linotype and Monotype, will be delivering the opening speech of the beyondtellerrand conference taking place in Düsseldorf on Nov. 19–21.


Webfontday 2012: Toshi Omagari on “Web Fonts for Non-Latin Scripts

Toshi Omagari, a typeface designer at Monotype, will examine “Web Fonts for Non-Latin Scripts.” Today, Web font technology allows designers to work with thousands of fonts available for website design. Yet this is true mainly for Latin alphabets. Toshi will address the challenges of implementing non-Latin Web fonts. He will also discuss how to work with specific browsers and scripts when implementing non-Latin Web fonts. Toshi’s work involves multilingual typography and font development for world languages and scripts, including Greek, Cyrillic and Mongolian.

Saturday, Nov. 10 at 2.30 p.m.
Halle 27, Hirschgartenallee 27, Munich



beyondtellerrand: Nadine Chahine on “Eye Movement and Typeface Legibility

Nadine Chahine, award-winning Lebanese type designer working as the Arabic specialist for Linotype and Monotype, will present “Eye Movement and Typeface Legibility.” Through her Ph.D. research, Nadine undertook Arabic legibility studies and its role to improve literacy in the Arabic world. During her presentation, she will cover the different factors that can affect reading and eye movement control. Her work investigates the effects of the visual characteristics of text on reading, and offers a new definition of legibility that is rooted in the research of eye movement in reading.

Monday, Nov 19 at 10:00 a.m.
Capitol Theater, Dusseldorf

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

Design Thinkers Typographic Quiz

Monotype’s Nadine Chahine and Allan Haley will host “Design Thinkers Typographic Quiz” as part of this year’s DesignThinkers2012 conference, which will be held Nov. 8–9 in Toronto at the Metro Toronto Convention Centre.

Together, Nadine, an Arabic specialist for Monotype subsidiary Linotype, and Allan, Monotype’s director of words and letters, will try to stump—and educate—audience members on the finer points of typography.

Better than school, the Typographic Quiz will pose a series of questions about type, type history and the typographic arts. If you know the right answer—and are quicker to give it than those around you —you’ll win a cool prize.

The educational part? After each correct response Nadine and Allan will provide valuable and insightful information about the question–and the answer. For example, did you know that the first italic fonts contained only lowercase characters: no caps, no numbers, no punctuation?

Looking for a challenge? Want cool, free, type stuff? Test your “metal” at the Design Thinkers Typographic Quiz.

Engaging with the Middle East

Thursday, Nov. 8, 11:15 a.m. to 12:00 p.m.

On Thursday, Nov. 8, Nadine also will present “Engaging with the Middle East,” a look at the challenges of brand consistency across different scripts and cultures.

How does one translate “modern” in Arabic? What is the visual translation of “chic” in the Middle East? Every culture and script brings to the table a new set of expectations and collective memories. Nadine will focus on how to establish dialogue with the Middle East while looking at design trends and considering cultural factors.

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

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.

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