fonts.com blog
Posts Tagged ‘fonts’

by Johnathan Zsittnik

At Fonts.com, we’ve always prided ourselves on the vast selection of fonts we offer. Today that selection improves with the fonts of one of our closest and longest standing partners. We’re very pleased to announce the release of Adobe fonts to our Fonts.com Web Fonts service.

Adobe Web FontsThis initial batch includes the most recognizable designs from the Adobe Originals collection including the Chaparral, Minion, Myriad and Adobe Caslon families among others. Over the years, these families have served as the typographic foundation for countless brand identities and design projects. Now our customers can easily extend these brands and projects to the Web.

Adobe Garamond Web FontEach of these fonts has been hand-tuned for optimal screen quality by Adobe’s team of type experts, ensuring they’ll look every bit as good on screen as they do in print. More Adobe fonts are on their way. If you’d like to see the release of a particular family prioritized, let us know in the comments section.

Adobe Caslon Web FontYou can browse the selection of Web fonts from the Adobe foundry page by clicking the ‘WEB FONTS’ tab. They are also available in our inventory of hand-tuned fonts adding to a selection of more than a thousand of our highest quality designs. These typefaces are available immediately to all our Standard and Professional plan subscribers. So what are you waiting for? Go ahead and add one to your project.

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 Ryan Arruda

First established in 1958 as International House of Pancakes, IHOP is a national restaurant chain known for their food, friendly atmosphere, and iconic blue A-frame buildings. While their namesake pancake dishes and breakfast specialties are perhaps most well-known, IHOP serves all manner of fare in over 1,500 restaurants — with locations in all 50 states.

The IHOP website extensively features the Helvetica Rounded Bold designs. While the Helvetica family consists of typefaces normally heralded as being beautifully neutral, the rounded strokes of its compatriot transform the otherwise unemotional design into one bursting with jovial liveliness. Headlines and subheads are set in the regular width of the typeface, while the site’s top navigation employs the condensed version. The use of white Helvetica Rounded Bold type upon a bright blue background provides the site additional levity – echoing the family friendly atmosphere of its locations, both type and image render the IHOP website warm and inviting.

Fonts.com features six rounded styles of Helvetica — bold, black, and bold condensed, each with a matching oblique. The entire breadth of the Helvetica family is available in 34 styles for Web use through the Fonts.com Web Fonts Service, and for desktop licensing 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 Ryan Arruda

For over 25 years lettering artist Rob Leuschke has produced a wide array of elegantly crafted typefaces; from stately formal scripts to more expressive handwriting-based designs, Rob’s calligraphic acumen is evident throughout the typographic oeuvre released through his TypeSETit studio. Having both taught calligraphy across the world, as well as created over 200 fonts over his career, Rob recently shared with us some insight into his practice:

Personal design luminary
I have several; John Stevens, Michael Clark, Hermann Zapf, to name a few.

Favorite era of design history
For typographic design, the classic faces of the 18th century comes to mind, but I think present day is the most exciting with all the diverse work coming forward.

Learned to design type
Having more of a hand-lettering background, I’m self-taught using computer software.

Design mentors
My graphic design professor at Mizzou, William Berry. He saw my potential and love for calligraphy and pushed me into hand lettering even though I wanted to be a graphic designer. Berry passed away in 2010.

Longest a typeface has taken to design
It’s been 3.5 years on a font family that still isn’t finished. It’s a book face with which I am less adept. I may never release it.

Shortest time to design a typeface
Babylonica took me about 2 days. That’s because I did the work on watercolor paper, scanned the images in and had few adjustments to make on the glyphs. Most fonts take weeks.

Favorite typographic resource
It used to be publications like U&lc. But really, there is so much to see on the web. The Type Studio, for example. Or just do a search, it’s all there.

Habitually challenging glyphs to design
I often have trouble with the uppercase J because it seems to lack character for me, but it really depends on the font.

Favorite pursuits outside of type design
I play a lot of Texas Hold ‘Em, but I’m not very good, so I don’t play for money. I also like to cook (and I AM good at that, but haven’t found a way to make money at it). I recently began brewing my own beer; some brews are good, and others are not so much. I’m sure there’s no money in it for me [laughs].

Typefaces folks might know you for
Corinthia, MonteCarlo, Allura, Waterbrush, Inspiration, Love Light, Passions Conflict.

Favorite type classification to design
If you know my work, you know I’m most comfortable with calligraphic designs and contemporary scripts.

Percent of type design that’s art vs. percent that’s science
Certainly mathematical science plays a part, especially in traditional book designs, but personally, I rely on the hand-lettering-design side for my work. If I had to give percentages for my work: 10% science, 90% art.

Your typeface families that pair especially well
I think you can take nearly any of my calligraphic scripts and pair them with a very Roman serif like Gideon. MonteCarlo is also quite nice with any sans serif face.

Most underrated letterform or glyph
For me, it has to be the ampersand. There are so many design possibilities, from the simple “et” to crazily swashed treble clef.

Aspiring type designers should possess
It helps to be OCD [joking]. You absolutely must have patience, extreme attention to detail, and a complete love for letter forms.

What typeface classifications should they study?
I think it’s best to study the historical forms first. Go all the way back to the ancients to learn why or how forms evolved.

Favorite medium to see your typefaces
It’s fun to see my work on television. York Peppermint Patty uses Ambiance for its slogan, “Get the sensation!”

Endeavors which hone type design skills
Gosh, that’s an interesting question. I’m not sure how it really translates, but I like to watch well made films. I enjoy trying to understand how or why a director did a shot a certain way. I suppose that falls under the category of style, or attention to detail.

Most egregious typographic error in common practice today
Since I do mostly scripts, I think it’s important not to overwork swashes, and keep in mind that the end-user may not use the same character sets for which you are designing a swash. Ascenders and descenders can often crash into other characters if you are not careful.

Also, I think curves should be smooth and elegant rather than contain pinches or abrupt changes in direction. A form should look like it was drawn with a french curve, without forced changes in direction. The exception is when ALL of the curves have these anomalies, which makes them an intentional design decision.

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 Domenic Barbuzzi


A Brief History

With the start of the Fonts.com Web Fonts service, the FOUT (flash of unstyled text) phenomenon was a wide-spread problem. To remedy this issue we added code to our JavaScript implementation.

Our first method included hiding the visibility of elements on pages that used Web fonts. We then crafted a more efficient and cleaner method of preventing FOUT – we use a single class to hide only the text for elements using Web fonts. We then strip that class’s properties when the Web fonts are ready to display. One thing to note is that the class is left on these elements in the DOM; however, without properties, the class has no meaning and is invisible to visitors, save for those using some manner of developer tools.

Back to the Present

Since the introduction of Web fonts, broadband connections have grown more common, and browsers have matured in handling embedded fonts. So has the Fonts.com Web Fonts service. We have adjusted our JavaScript in two key ways:

  1. FOUT-prevention is disabled by default
  2. Now there are configuration options that can be set before loading our JavaScript in order to turn FOUT-prevention back on and traverse through the DOM to remove the mti_font_element class

The goodies

Below is a sample usage of the FOUT configuration options. To utilize them, simply define the options before including the SCRIPT tag for your Web fonts project. If any of the options are omitted, their default values will be used instead.

<script type="text/javascript">

// create the configuration object
var MTIConfig = {};

// assign the variable to enable FOUT prevention
// default value -> false (prevention disabled)
// true -> enable FOUT prevention
MTIConfig.EnableCustomFOUTHandler = true;

// assign the variable to remove ‘mti_font_element‘
// this is only valid if FOUT prevention is enabled
// default value -> false (class is left on elements)
// true -> remove class when FOUT prevention finishes
MTIConfig.RemoveMTIClass = true;

</script>

 


by Ryan Arruda

With nearly 600 locations across the Mid-Atlantic, Wawa is a chain offering not only typical convenience store staples, but also assortments of freshly made sandwiches, soups and salads.

Wawa’s website features the ITC Officina Sans family exclusively for its display typography. Headlines, subheads, and navigation are set in the typeface’s bold weight, while the website’s footer and breadcrumb trail utilize the book weight.

Designed by Erik Spiekermann, ITC Officina Sans is a friendly sans serif typeface; warm and genial, Spiekermann’s design conveys information clearly without appearing too mechanical or didactic.

ITC Officina Sans is available for desktop licensing, as well as for Web use through the Fonts.com Web Fonts service. In addition to book and bold weights, ITC Officina Sans is also available in medium, extra bold, and black styles.

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

We are pleased to be a platinum sponsor of ATypI Hong Kong 2012, the annual conference presented by ATypI (Association Typographique Internationale), Oct. 10–14. 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 Web fonts, Japanese typographic history, new automotive type trends and so much more:

  • Robin Hui, a typographer at Monotype Imaging in Hong Kong, together with Kenneth Kwok, will present “Ideographic Type Design and Production.” There are many challenges when designing and producing Chinese, Japanese and Korean ideographic fonts. Robin and Kenneth will discuss how to maintain design consistency and tranquility using traditional techniques and design methodologies.
    Thursday, Oct. 11 at 9:30 a.m. (workshop)
    Sunday, Oct. 14 at 3:30 p.m. (presentation)
  • Toshi Omagari, a typeface designer at Monotype Imaging, will examine “Web Fonts for Non-Latin Scripts.” While Web fonts are gaining popularity in Latin typographic communities, the domain of non-Latin Web fonts remains relatively unexplored. Toshi will address how to work with specific browsers and scripts when implementing non-Latin Web fonts.
    Thursday, Oct. 11 at 11:50 a.m.
  • Linotype’s type director Akira Kobayashi will present “Rounded Sans in Japan.” In Western countries, sans serif letters are frequently the default choice for public signs. Very few Latin rounded sans serif types were available until very recently. In Japan, rounded sans serif letters were the default choice for public signs. He will discuss why historically rounded sans were so popular in Japan and why they are being replaced with square sans today.
    Saturday, Oct. 13 at 9:00 a.m.
  • Vladimir Levantovsky, senior technology strategist at Monotype Imaging, will discuss “Evaluating Fonts Legibility in Automotive Environment.” Vladimir will report on the new findings from a study that links typeface style with reduced driver distraction risk. He’ll discuss why using typefaces optimized for the driver’s short glance patterns reduced average duration of glance time per subject. Full results of the study are available in an MIT AgeLab white paper, in addition to a video that highlights the research and its findings.
    Saturday, Oct. 13 at 9:50 a.m.
  • Florian Wittig, a font engineer at Linotype, will present “漢語拼音之父 – Zhou Youguang, the father of Pinyin.” He will talk about the life and work of linguist Zhōu Yǒuguāng, who turned 106 this year. His most famous creation, the Hanyu Pinyin system, serves as the most frequently used input method for Chinese characters on computers and mobile devices. He will discuss how the Pinyin works, its advantages over other transcription methods and why it has never replaced Chinese characters.
    Saturday, Oct. 13 at 5:35 p.m.
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

Want to know more about the factors involved in creating a good e-reading experience? Join Monotype’s type director, Dan Rhatigan, and e-book designer, Baldur Bjarnason, at the Tools of Change (TOC) Frankfurt Conference 2012 on Tuesday, Oct. 9 at the Frankfurt Marriott Hotel, Hamburger Allee 2.

 The theme of this year’s conference is “From Transition to Transformation — The New Publishing Ecosystem.” TOC Frankfurt returns for a fourth year on the eve of the Frankfurt Book Fair (Oct. 10–14), gathering the best and brightest in the global publishing and technology community for a full day of intriguing keynotes, sessions, and networking.

Monotype’s Dan Rhatigan, and e-book designer, Baldur Bjarnason, will present “The Importance of Design and Typography in E-Reading,” on Tuesday, Oct. 9, from 11:25 a.m. to 12:15 p.m. They will discuss the factors involved in creating a good e-reading experience, and how fonts and technology can help improve the reader’s experience:

  • Book features that still make sense for the screen
  • Different kinds of screens display type
  • Key factors that influence type selection
  • Ways to use fonts effectively on the screen
  • Latest changes in the EPUB and CSS specifications that enable rich typographic features

Dan and Baldur will also examine how the user experience can be impacted by the current state of inconsistently applied standards in the e-reading ecosystem. The presentation will provide publishers with the typography and design information they need to enable better overall digital reader experiences.

TOC has provided us with a discount code you can use to save 20 percent off full price conference registration (it’s good for both TOC Frankfurt and the TOC Metadata workshop on Thursday): TOCPartner20TSpeaker

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

Rod McDonald was clearly concerned. The designer of the newly released Classic Grotesque typeface family called me the other day about what he thought could be a problem. “I just went to a web site a friend told me about,” he told me, “and it is using Classic Grotesque for the text copy.”

“Not that this is a problem,” McDonald continued, “but I also went to a bunch of other sites – and they are all using Classic Grotesque.” McDonald’s concern was that, somehow, unauthorized versions of his new typeface were finding their way into a wide variety of web sites.

A little sleuthing revealed that the sites were calling for a sans serif text typeface and that the desktop version of Classic Grotesque, on McDonald’s computer, was providing the default font. After his initial concern was alleviated, McDonald became quite happy with his discovery. “The surprise I got when Classic Grotesque turned up as the default on my browser opened my eyes to the fact that the design is pretty darn good as a screen face,” he exclaimed. “I’ve since discovered more sites that also default to Classic Grotesque and I am very pleased with what I’m seeing – and these are just the desktop fonts.”

What McDonald meant by “just the desktop fonts,” was that the Web fonts of Classic Grotesque will look even better in on-screen environments. Classic Grotesque, like all fonts available through the Fonts.com Web Fonts service, underwent special work to ensure that it was optimized for on-screen use. This means that Classic Grotesque will be as commanding a communicator on screen as it is in hardcopy. Click here to learn more about Classic Grotesque Web 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 Johnathan Zsittnik

Adobe LogoThe best selection of Web fonts is about to get even better. We’ve teamed up with Adobe to offer hundreds of their typefaces, including the most popular designs from the Adobe Originals catalog, through Fonts.com Web Fonts. Adobe fonts are well known for their quality and artistry and have become resources for design professionals. With many of their families being staples at the top of our list of best selling desktop fonts, we’re proud to offer these designs as Web fonts.

The collection includes hundreds of Web fonts including such design mainstays such as the Chaparral, Minion and Myriad families.  Many of these designs have been optimized for on-screen display.

In the coming weeks, the first batch of these designs will appear directly in our selection of Web fonts with additional releases to follow shortly thereafter. These fonts will be available for use by everyone subscribed to a Fonts.com Web Fonts Standard or Professional plan. Stay tuned. As always, more releases from world-class designers and foundries are headed your way.

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 Ryan Arruda

Room & Board — based in Minneapolis, Minnesota — produces distinct furniture and furnishings for nearly every room in the home. The aesthetics of the company’s website very much reflect the ethos of the products they produce — both are warm, inviting, quietly elegant, and well-crafted.

Utilized in the navigation, subheads, and body copy on the Room & Board site, the Gill Sans family is a modern, legible and genial design. Even when not employed as a headline face, the Gill Sans family acts as an indispensable supporting typeface, reinforcing the infrastructure and clarity of the information presented to viewers.

Available in over 37 styles, widths, and weights – ranging from delicate light to hulking ultra bold weights — the Gill Sans family possesses an essential versatility and grace suited for many arenas of design.

Customer Spotlight: Room & Board

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.


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