fonts.com blog
Posts Tagged ‘fonts’

by Chris Roberts

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

Neue Helvetica
Futura
Trade Gothic
Neue Frutiger
Avenir Next
Frutiger
Helvetica
Avenir
Gill Sans
DIN Next
Univers
ITC Avant Garde Gothic
PMN Caecilia
New Century Schoolbook
Neo Sans
Trade Gothic Next
Linotype Univers
Memo
Times
Frutiger Next
Harmonia Sans
Arial
Neue Helvetica Arabic
Garamond 3
DIN 1451
Linotype Didot
ITC Officina Sans
VAG Rounded
Twentieth Century
Slate
Monotype News Gothic
Yakout
Frutiger Serif
Century Gothic
Soho
Bauer Bodoni
Rockwell
Sackers Gothic
ITC Lubalin Graph
Glypha
Calibri
Soho Gothic
Eurostile LT
ITC Garamond
Aachen
Laurentian
MHei
Egyptian Slate
Agilita
Plate Gothic MT
Optima
ITC Franklin Gothic
Heisei Kaku Gothic
Cachet
Plantin
Clearface Gothic MT
Clarendon
Monotype Garamond
Futura T
Akko
ITC American Typewriter
M Hei Simplified Chinese
ITC Conduit
Serifa
ITC Officina Serif
Klint
Abadi
Monotype Grotesque
ITC Stone Informal
ITC Legacy Serif
M Hei Traditional Chinese
News Gothic
Stymie
Neue Helvetica eText
TB Kaku Gothic
FB Cham Blue
Neuzeit Office
Neue Haas Grotesk
Ocean Sans
Amasis
Monotype Modern
Eurostile Next
Camphor
Bell
Adelle
MSung
Baskerville
ITC Franklin
Georgia
Bembo
Gazette
Consolas
Andale Mono
Droid Sans Mono
Museo
Calvert
P22 Underground
Wiesbaden Swing
Rotis Sans Serif
Mitra


by Allan Haley

The basis for the Koorkin typeface family was a custom font proposal gone awry. “Many years ago I worked on a typeface to brand a new product,” recalls George Ryan, Koorkin’s designer. “The design request, however, was withdrawn before I got much done on the face. I don’t think the product ever saw the light of day,” he continues. “As, I normally do, I saved my sketches. When I recently stumbled on them by accident 10 years later, I remembered there was a lot about the design I liked.”

Ryan first quickly drew the letters for Koorkin with a felt-tip marker, ensuring that shapes were free-flowing and spontaneous. The result is a playful, full-bodied handwriting script with fluid forms and bold proportions. Koorkin is a delightful confectionery of a typeface design, awash with swashes and deliciously long ascenders and descenders. While strokes are virtually monotone in weight, an ample x-height combined with generous counters guarantees that, even though a handwriting script, Koorkin ranks high on the legibility scale.

To give the design added character, Ryan also created a suite of swash and alternate characters that are available in OpenType format. “I added many ligatures and alternate versions of key characters to the character set,” says Ryan. “For instance, a word with an ‘ee’ combination can take advantage of a ligature I designed rather than using two of the same e’s to do the job. As a result, a word such as ‘breeze’ will have three slightly different e’s in it – making the copy look truly handwritten.”

With all this personality, Koorkin is at home in such diverse places as posters, restaurant menus, social announcements and product brochures.

The complete Koorkin family is available as desktop fonts from the Fonts.com, Linotype.com and ITCFonts.com websites. It is also available as dynamically downloadable Web fonts.

Click here to learn more about the Koorkin family, and click here to purchase the fonts.

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

Fonts.com is proud to announce two new releases – the JMC Engraver & Feldman Engraver typefaces – by Monotype Imaging designer Terrance Weinzierl.

Commissioned as companions to Nancy Sharon Collins’ new book The Complete Engraver: A Guide to Monograms, Crests, Ciphers, Seals, and the Etiquette and History of Social Stationery, these fonts are FREE for download from Fonts.com. Simply add them to your cart, download and enjoy.

With 224 pages, and 180 illustrations, The Complete Engraver is both an archive, as well as celebration, of the art of engraving, from its origin to contemporary practice. A designer and authority on engraving, Collins also provides insight on the evolving role of social stationery in today’s age of electronic correspondence. The JMC Engraver & Feldman Engraver typefaces are a testament to bridging this analog and digital divide.


Of the fonts’ development, Weinzierl explains: “The designs Nancy proposed were a selection from ‘masterplates,’ or lettering templates used for manual engraving machines. The design process started with scanning prints made with engravings. I redrew the shapes with singular, vector lines — an approach similar to the line drawn by the engraver.”

Above you can view the evolution of a Feldman Engraver letterform – and the keen attention to detail – from initial scan to final, rebuilt glyph. Indeed, the aesthetics of both the JMC Engraver & Feldman Engraver typefaces appear to not simply be inspired by—but, rather, channeled through—the visual ethos of the engraver. The pair of typefaces remain true to the proportion, rhythm and grace of antique engraved letterforms.


To develop the structure of the letterforms further, Weinzierl adds: “We added a precise stroke weight to that line; to put it simply, we dug the dirt away, rebuilt the skeleton, and put the muscle back on. As a designer, the revival projects I’ve done have not only helped me understand typographic history better, but helped me draw better curves and build better fonts.”


Stylistic alternate characters, as seen above, enhance the versatility as well as visibility of the fonts – in addition to both designs providing distinct airs of engraving’s elegance, the typefaces possess an unmistakable kinetic energy. As Weinzierl notes: “JMC Engraver & Feldman Engraver have that handmade feel, and they flaunt it with exuberant curves and curls. I don’t think it’s a coincidence that we indulge in these organic designs when we get a chance, as it’s very different from our daily challenges in display imaging requiring pixel perfection.”

To learn more about the free JMC Engraver & Feldman Engraver typefaces, visit the promotion’s landing page on Fonts.com. In addition, click here to learn more about designer Terrance Weinzierl.

The Complete Engraver is available for pre-order here and will be released in stores in September. To learn more about the The Complete Engraver, please visit author Nancy Sharon Collins’ website Engraving for Nerds.

Want to know about typography and the process of engraving? On Friday, August 3, Nancy Sharon Collins will present Engraving and Type, A Beautiful but Somewhat Dysfunctional Relationship at TypeCon2012: MKE SHIFT. To learn more about the program, visit the TypeCon2012 website.

 


by Vikki Quick

Looking for a challenge? Want cool, free, type stuff? Test your “metal” at the 2012 TypeCon Typographic Quiz.

Monotype Imaging is pleased to be a sponsor of TypeCon2012 – the annual conference presented by the non-profit Society of Typographic Aficionados (SOTA). Several of our resident type experts from around the world will be sharing their knowledge and skills. Come by and join us as we take a look at Arabic typography, rare stockpiles of British typographic history, new aviation type trends for cockpit navigation and so much more.

Here are our Typecon2012’s “not to miss” highlights:

  • Daniel Rhatigan will present “From The Monotype Archives,”a look at the rarely seen stockpile of typographic history from 1867 onwards that includes British Monotype archives that reveal the many-layered stories behind the development of type in the 20th century.
    Friday, August 3rd at 8:40 a.m.
  • Steve Matteson will present “What’s Our Vector Victor? Optimizing Typefaces for Cockpit Navigation.” Steve will examine how his work with an industry leading producer of aviation charts is helping to advance safety and accuracy in cockpit navigation. A look at resulting comparative readability studies involving professional pilots will provide a look at how type can improve performance in next-generation aviation charts used in heads-up display panels, tablet computers and iPad tablets.
    Friday, August 3rd at 10:50 a.m.
  • Kamal Mansour, our manager of non-Latin products, together with Patrick Giasson will examine “Bustani: A Classic Arabic Typeface with Calligraphic Features.” The Bustani typeface offers calligraphic Naskh style, while staying within the bounds of pragmatic typography. This new typeface pays tribute to Naskh’s fluid, rich calligraphic forms while remaining directly useable in OpenType-compliant applications. At Monotype Imaging, Kamal has been involved in many aspects of multilingual typography and font development, including OpenType implementations for various scripts including Arabic, Greek, Latin, Hebrew, Thai, Lao, Khmer and Japanese.
    Saturday, August 4th at 8:40 a.m.
  • 2012 TypeCon Typographic Quiz: Can you pick Garamond out of a crowd? Been around the typographic block a few times? Then you’re ready to take the 2012 TypeCon Typographic Quiz. If you’ve taken the quiz before, it won’t help. We’ve got all new questions. In fact, this year’s quiz will be even more fun – and more rewarding than those in the past. Hosted by quizmaster Allan Haley, there will be more prizes, a silent auction and a series of questions for those that don’t care that 5-point type was once called “pearl.” And, if you know your typographic stuff, there is also a “varsity” section with the grand prize of the Linotype Library of fonts – and “Typophile of the Year” bragging rights. There will also be prizes for “Typographic Aficionado” and “Typographically Challenged.”
    Saturday, August 4th, at the InterContinental Hotel, 8:30 – 11:00 p.m.
  • Join our own Akira Kobayashi, together with John Downer and Roger Black during Sunday afternoon’s Type Crit where these masters of typographic analysis and elucidation will provide gentle, constructive criticism as they review your latest design.
    Sunday, August 5th, check for details at Typecon2012

Please join us if you are interested in getting together to talk about fonts and typography, and share typographic items of interest!


by Ryan Arruda

Fonts.com is proud to announce two new releases – the JMC Engraver & Feldman Engraver typefaces – by Monotype Imaging designer Terrance Weinzierl.

Commissioned as companions to Nancy Sharon Collins’ new book The Complete Engraver: A Guide to Monograms, Crests, Ciphers, Seals, and the Etiquette and History of Social Stationery, these fonts are FREE for download from Fonts.com. Simply add them to your cart, download and enjoy.

With 224 pages, and 180 illustrations, The Complete Engraver is both an archive, as well as celebration, of the art of engraving, from its origin to contemporary practice. A designer and authority on engraving, Collins also provides insight on the evolving role of social stationery in today’s age of electronic correspondence. The JMC Engraver & Feldman Engraver typefaces are a testament to bridging this analog and digital divide.


Of the fonts’ development, Weinzierl explains: “The designs Nancy proposed were a selection from ‘masterplates,’ or lettering templates used for manual engraving machines. The design process started with scanning prints made with engravings. I redrew the shapes with singular, vector lines — an approach similar to the line drawn by the engraver.”

Above you can view the evolution of a Feldman Engraver letterform – and the keen attention to detail – from initial scan to final, rebuilt glyph. Indeed, the aesthetics of both the JMC Engraver & Feldman Engraver typefaces appear to not simply be inspired by—but, rather, channeled through—the visual ethos of the engraver. The pair of typefaces remain true to the proportion, rhythm and grace of antique engraved letterforms.


To develop the structure of the letterforms further, Weinzierl adds: “We added a precise stroke weight to that line; to put it simply, we dug the dirt away, rebuilt the skeleton, and put the muscle back on. As a designer, the revival projects I’ve done have not only helped me understand typographic history better, but helped me draw better curves and build better fonts.”


Stylistic alternate characters, as seen above, enhance the versatility as well as visibility of the fonts – in addition to both designs providing distinct airs of engraving’s elegance, the typefaces possess an unmistakable kinetic energy. As Weinzierl notes: “JMC Engraver & Feldman Engraver have that handmade feel, and they flaunt it with exuberant curves and curls. I don’t think it’s a coincidence that we indulge in these organic designs when we get a chance, as it’s very different from our daily challenges in display imaging requiring pixel perfection.”

To learn more about the free JMC Engraver & Feldman Engraver typefaces, visit the promotion’s landing page on Fonts.com. In addition, click here to learn more about designer Terrance Weinzierl.

The Complete Engraver is available for pre-order here and will be released in stores in September. To learn more about the The Complete Engraver, please visit author Nancy Sharon Collins’ website Engraving for Nerds.

Want to know about typography and the process of engraving? On Friday, August 3, Nancy Sharon Collins will present Engraving and Type, A Beautiful but Somewhat Dysfunctional Relationship at TypeCon2012: MKE SHIFT. To learn more about the program, visit the TypeCon2012 website.

 


by Chris Roberts

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

Neue Helvetica
Trade Gothic
Futura
Frutiger
Gill Sans
Avenir
Helvetica
DIN Next
Univers
ITC Avant Garde Gothic
Neue Frutiger
Avenir Next
New Century Schoolbook
PMN Caecilia
Trade Gothic Next
Linotype Univers
Neo Sans
Times
Neue Helvetica Arabic
DIN 1451
Linotype Didot
Arial
Frutiger Next
Harmonia Sans
Slate
VAG Rounded
Garamond 3
Memo
Yakout
Monotype News Gothic
Soho
Bauer Bodoni
Frutiger Serif
Sackers Gothic
Laurentian
ITC Officina Sans
Rockwell
Gothic
Futura T
Heisei Kaku Gothic
Cachet
Eurostile LT
Glypha
Soho Gothic
ITC Franklin Gothic
Akko
Century Gothic
Egyptian Slate
ITC Lubalin Graph
Plate Gothic MT
Monotype Grotesque
ITC Legacy Serif
Monotype Garamond
Calibri
Optima
Museo
Plantin
Neue Helvetica eText
Adelle
Neue Haas Grotesk
ITC Officina Serif
Clarendon
Aachen
Ocean Sans
News Gothic
ITC Stone Informal
Amasis
ITC Garamond
Consolas
Andale Mono
Droid Sans Mono
Bell
Monotype Modern
Klint
Azbuka
ITC Conduit
ITC American Typewriter
ITC Franklin
Wiesbaden Swing
MYuppy
Baskerville
Impact
Eurostile Next
Georgia
Linotype Feltpen
Camphor
Mitra
Gazette
P22 Underground
ITC Caslon No. 224
Calvert
Bembo
Rotis Sans Serif
Neuzeit Office
Memphis
Serifa
Agilita
Abadi
Janson Text
Loft


by Ryan Arruda

TED is known worldwide for providing a myriad of programs featuring innovative and influential speakers from a wide swath of disciplines. TED-Ed is an extension of that mission of disseminating knowledge, focused specifically on assisting educators with interactive teaching materials; whereas the TED motto is Ideas Worth Spreading, the mission of TED-Ed is Lessons Worth Sharing.

The TED-Ed website features the Neue Helvetica typeface family extensively, employing it for both the masthead, navigation, and section headlines.

The main navigation bar features Neue Helvetica 65 Medium, while the secondary navigation uses the typeface’s light weight. The core of the site features a series of illustrations, with one panel featuring text set in Neue Helvetica 25 Ultra Light which changes to red when moused over, a nice touch indeed.Ted-Ed Homepage
The most captivating aspect of the homepage is hidden at first glance. When moused over, the site’s illustrations reveal headlines set in Neue Helvetica 45 Light, which are knocked out of a slightly transparent field of color. Two small subheads set in Neue Helvetica 75 Bold balance the text arrangement quite nicely.

While Neue Helvetica provides an apt counterpoint to the more expressive illustrations on the TED-Ed site, it serves as a greater reminder that, yes, while Neue Helvetica is a stalwart typeface for presenting information cleanly or matter-of-factly, when consciously paired with color it also can embody a more sprightly character.

Neue Helvetica is available in over 50 Web font varieties, ranging in weights and widths from Ultra Light Condensed to Black Extended.

 


by Johnathan Zsittnik

Over the past few months, we’ve unveiled several new tools for type enthusiasts including the redesigned Fonts.com, our Fonts.com Web Fonts Extension for Adobe Photoshop and our FontGazer plug-in. All three were designed to make it easier to browse, experiment with and license type. FontGazer was introduced first, premiering as the first plug-in to enable font trialing and purchasing within Adobe InDesign. Three months later, we’re happy to announce a new version of FontGazer and to officially take it out of beta.

FontGazerWe gathered plenty of feedback from our users during the beta – valuable insights that have helped shape the direction of the product. It’s clear the community loves the concept of in-app font trialing. We also received plenty of suggestions for things to work on. Enhancements found in the latest build include a cleaner, more intuitive UI, a revert button that allows you to return to your default text after applying a font, integration of the new Fonts.com shopping cart, and a revamped, stable architecture. Best of all, FontGazer remains free. Download your copy today and stay tuned for more enhancements to come.

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 Allan Haley

The Aachen typeface dates back to the late 1960s when Colin Brignall designed it for Letraset dry transfer lettering sheets. Named after the German city where many believe Gutenberg first used moveable type, Aachen’s bold weight and short, slab serifs made it a natural choice for display typography. A lighter (medium) complement was drawn in the late 1970s but the bold design continued to be the most popular design. Aachen was made available as phototype fonts in the 1970s and digital fonts in the early 1990s – but the family retained its diminutive size.

Realizing that more weights would dramatically increase Aachen’s range of use, Jim Wasco – a senior type designer at Monotype Imaging – put together a proposal that would bring the family into the 21st century.

“I was amazed at how much I saw the old Aachen Bold being used and I thought that a larger family would be welcomed by graphic designers,” says Wasco. “I hope my redesign and enlargement of the original family make it more versatile – and will satisfy the desire designers seem to have for more Aachen.”

The happy result of Wasco’s proposal is Neue Aachen, a family of 9 weights, from ultra light to black, each with an italic complement – for a total of 18 styles. Neue Aachen is also available as a suite of OpenType Pro fonts, allowing for the automatic insertion of ligatures, fractions – and a special alternate g that Wasco felt added a distinctive quality to the design. Pro fonts also include an extended character set supporting most Central European and many Eastern European languages.

When asked about how his design improved the versatility of Neue Aachen, Wasco replied, “The family can now be put to work at any size from small text to large display applications. The bold weights can be excellent choices for headlines, banners and ads. The book and regular were drawn for text setting, and the extra light and ultra black weights add extra oomph – or a touch of finesse – to large display copy.”

Wasco’s revitalization of Neue Aachen takes a 40-year-old design – with a heritage that dates back to the first fonts of movable type – fully into the 21st century.

The complete Neue Aachen family is available as desktop fonts from the Fonts.com, Linotype.com and ITCFonts.com websites. It is also available as dynamically downloadable Web fonts.

Click here to learn more about – and license – the Neue Aachen 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

Founded in 1968, Intel has been at the forefront of technology development for over 40 years. The company brought the first microprocessor to market in 1971, and continues to be a leader in computing technologies today.

The Intel website features a customized version the Neo Sans typeface family exclusively, employing light, regular, and medium weights. While a typeface sharing the DNA of both a square and geometric sans might, at first blush, seem detrimental to readability, the use of multiple weights stages a dynamic and pleasant visual hierarchy.

In terms of the aesthetics of the letterforms, Sebastian Lester—who designed the Neo Sans family in 2004—characterizes the typeface as “legible without being neutral, nuanced without being fussy and expressive without being distracting.”

You can certainly appreciate that sentiment while browsing through the many layers of Intel’s website; the Neo Sans typeface family provides subtle cues of the ever-forward mission of the company without seeming like visual hyperbole.

Featuring a robust selection, also including bold, black, and ultra weights, Neo Sans is available in 24 varieties through the Fonts.com Web Fonts service.