fonts.com blog
Posts Tagged ‘type design’

by Ryan Arruda

Happy New Year everybody!

As we march into 2014, we wanted to look back at some of our favorite releases from last year. Our most recent newsletter presents a roundup of designs that really knocked our typographic socks off. As a bonus, many of the families feature 30% off their complete family packs until January 10th. So you have to act fast!

Charcuterie

Charcuterie

Laura Worthington’s delightfully expansive Charcuterie collection — this family features a bevy of complementary styles and ornaments, 22 in total. It’s a great choice for adding a vintage, eclectic, and charming edge to your designs.

Metro Nova

metro_nova_04

The expertly crafted humanist sans Metro Nova family — Toshi Omagari’s expert update to a classic W.A. Dwiggins design released by Linotype.

Xenois

Xenois

The Xenois superfamily designed by Erik Faulhaber; consisting of 6 distinct styles — each with five weights and matching italics — this collection provides a comprehensive typographic system, at ease with tackling the most demanding branding or publication design projects. Save 30% off each of the complete subfamily packs: Xenois Sans, Xenois Serif, Xenois Slab, Xenois Semi, Xenois Soft, and Xenois Super.

We’re also featuring 30% off discounts on the complete family packs of the Avenir Next Rounded, Espuma Pro, Excritura, Grey Sans, Capita, Ciutadella families too!

These discounts will only last until this Friday, January 10th. Be sure to check them out and take advantage of some awesome deals!


by Ryan Arruda

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

Neue Helvetica
Futura
Trade Gothic
Neue Frutiger
Avenir Next
Gill Sans
Avenir
Univers
Frutiger
DIN Next
Helvetica
ITC Avant Garde Gothic
Neo Sans
PMN Caecilia
Linotype Univers
Trade Gothic Next
New Century Schoolbook
Linotype Didot
Arial
Century Gothic
Monotype News Gothic
Frutiger Next
ITC Garamond
Times
Garamond 3
ITC Century
Twentieth Century
VAG Rounded
Neue Helvetica Arabic
ITC Officina Sans
News Gothic No.2
Eurostile LT
Memo
Rockwell
ITC Lubalin Graph
ITC Franklin Gothic
Harmonia Sans
Frutiger Serif
Bauer Bodoni
Soho
DIN 1451
Soho Gothic
ITC Conduit
Yakout
Compacta
Biome
Optima
Sackers Gothic
Slate
Eurostile Next
Glypha
Georgia Pro
ITC American Typewriter
Trade Gothic Next Soft Rounded
Calibri
Laurentian
Clarendon
Cachet
Akko
Heisei Kaku Gothic
Bembo
ITC Officina Serif
Iridium
Amasis
Monotype Grotesque
ITC Legacy Serif
Egyptian Slate
News Gothic
Monotype Garamond
Janson Text
Plantin
Adelle
Neue Helvetica eText
Univers Next
Agilita
Neuzeit Office
Aachen
Klint
Museo Slab
Museo Sans
Plate Gothic MT
Aeris
ITC Fenice
Futura T
Basic Commercial
Bodoni LT
Abadi
Neue Haas Grotesk
Serifa
M Hei Simplified Chinese
M Hei Traditional Chinese
Franklin Gothic
TB Kaku Gothic
FB Cham Blue
Azbuka
Camphor
ITC Franklin
ITC Stone Sans
ITC Bodoni Seventytwo
P22 Underground

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

A type designer with Monotype Imaging, Terrance Weinzierl has developed retail designs, as well as custom treatments for companies such as Microsoft, Google, and Ubisoft. Two of Terrance’s recent designs – JMC Engraver and Feldman Engraver typefaces – were released as companion fonts to Nancy Sharon Collins’ new book The Complete Engraver. You can download them for FREE from Fonts.com.

Terrance recently shared with us some insight into his type design practice:

Favorite text on typography
Karen Cheng’s Designing Type found me at just the right time, when I was a beginner.

Personal design luminary
It’s hard to narrow it down to just one person. I like the type from Gill and Frutiger, but I’m also inspired by the story of Frank Lloyd Wright and Goudy, continuing after devastation.

Favorite era of design history
At the moment, I love Art Deco and the decades surrounding it.

Learned to design type
I started to teach myself type design in college, but most of my training has been from Steve Matteson and other generous colleagues at Ascender and Monotype.

Design mentors
In chronological order: my mother, a toy designer; my high school art teacher Richard Guimond; my typography professor Michelle Bowers; most recently, type designer Steve Matteson.

Longest a typeface has taken to design
My hobby project with JMC Engraver and Feldman Engraver took two years (on and off the shelf).

Shortest time to design a typeface
I’ve made a few tiny, custom fonts that only had a few glyphs in them, so one day!

Favorite typographic resource
Typophile has a wealth of knowledge and arguments recorded. I think Twitter has taken over, though. Follow some type junkies and you’ll get more links than you can possibly handle.

Habitually challenging glyphs to design
I find Greek lowercase difficult to draw. Italics too. The ampersand can be fussy. It took some practice to conquer the S’s.

Favorite pursuits outside of type design
I enjoy movies and dining out quite a bit. I love Netflix. Video games have also been an enduring hobby, from the original NES up to my PS3. I’m also addicted to tech news, like The Verge. I put software launches on my calendar. I’ve cut back recently as type is taking more of my hobby time over.

Typefaces folks might know you for
Probably the Comic Sans Pro extension, if I had to choose. 99 percent of my work is on custom typefaces. I’ve spent a lot of time working on the Segoe design for Windows Phone and Windows 8. Most of my blood, sweat, and tears doesn’t get seen in the retail market.

Favorite type classification to design
I haven’t even drawn a design in many classifications yet, so it’s hard to say, but I’ve been enjoying drawing brush scripts lately.

Percent of type design that’s art vs. percent that’s science
Difficult question. Maybe 80/20? Could you argue that a private press design is more artful than usual? Probably. Is the Bell Centennial typeface more scientific than usual? Probably.

Your typeface families that pair especially well
Try  JMC Engraver and Feldman Engraver, and then ask me again in 10 years.


Common personality of your typefaces

The typefaces I’ve done that weren’t custom are organic and sometimes wacky. I’m working on a serious humanist sans that you’ll see soon.

Most underrated letterform or glyph
The pilcrow, or paragraph symbol, can be awesome. It’s just not used very often anymore. Now, it’s almost like a software Easter egg. ¶

Aspiring type designers should possess
Patience. Type design routinely requires a lot of patience. It may take a while to draw smooth curves, and there is a technical learning curve with building fonts. Have thick skin too.

What typeface classifications should they study?
I think the lessons in geometric sans serifs are important. The subtle tapers, overshoots, optical adjustments will apply everywhere. Study Old Style serifs to embrace detail variation. Look at calligraphy and script to see how writing instruments influence shape. Also, figure-ground relationships are very important.

Favorite medium to see your typefaces
I love seeing the Segoe, Droid Sans and Open Sans typefaces being used everywhere, even though I only contributed to those big projects. My favorite party trick is telling someone with an Android or Windows Phone: “I worked on those fonts.”

Endeavors which hone type design skills
Drawing, not just type, but anything. Observing type in use. Setting type.

Most egregious typographic error in common practice today
I’d have to agree with Jim Wasco, script in all caps is nasty. Not using kerning when available is ludicrous.

Recommended online design resources
There are so many out there that come and go. I never have enough time to read everything. Ilovetypography.com is excellent, and I like Brand New.

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

Type Designer Q&A

With over a dozen of his typefaces available on Fonts.com, Carl Crossgrove crafts intelligent designs which possess decidedly unique – as well as varied – personalities. His recently released Biome typeface family, which Carl describes as “both futuristic and organic, with a sense of calm,” is available in 46 varieties and is quickly rising on the Fonts.com New Best Sellers List.

Carl recently shared with us insight into his design practice:

Favorite text on typography or design
Fine Print On Type

Favorite era of design history
Right now!

Pursuits outside of type design
Architecture, gardening, industrial design.

Typefaces folks might know you for
Mundo Sans, Beorcana, Biome, Curlz

Shortest time a typeface has taken to design
2 Weeks.

Longest a typeface has taken to design
14 Years.

Carl Crossgrove Typeface Designs

Habitually challenging glyph to design
Ampersand. But it’s also a lot of fun.

Your typeface families that pair especially well
Mundo and Beorcana.

Favorite examples of your typefaces in use
Mundo used in Swedish Gourmet magazine;
Reliq carved into pumpkins for a music event.

Common personality of your typefaces
There is always a pen-written influence.

Aspiring type designers should possess
Infinite patience, limitless attention to detail.

Endeavors which hone type design skills
Figure drawing, multilingual literacy, other industrial design –  especially automotive.

Most underrated letterform/glyph
h. Sits right next to g, who gets all the attention. But h does so many jobs, and so well! Sometimes they collaborate, as in ghost.

Most egregious typographic error in common practice today
Non-proportional scaling to solve a design problem.

Recommended online design resources
I Love Typography, Typophile, Grain Edit, Core77

 


by Allan Haley

Fonts and typefaces are very different things, even though people tend to use the terms interchangeably. Typefaces are designs like Bembo, Helvetica or Papyrus. Type designers create typefaces, using software programs to shape the individual letters. A few type designers still draw the letters by hand and then scan the drawings into a type design application.

Whether a collection of metal letters or a set of electronic files, fonts are the things that enable the printing of typefaces. Type foundries produce fonts. Sometimes designers and foundries are one and the same, but creating a typeface and producing a font are two separate functions.

From Design to Font

bodonipunches100The eighteenth century Italian designer Giambattista Bodoni created the typeface that now carries his name. Creating the design was a multistage process. First Bodoni cut a letter (backward) on the end of a steel rod. The completed letter was called a “punch.” Next he took the punch and hammered it into a flat piece of soft brass to make a mold of the letter. A combination of molten lead, zinc and antimony was poured into the mold, and the result was a piece of type whose face was an exact copy of the punch. After Bodoni made punches for all the letters he would use, he cast as many pieces of type as he thought he would need. The resulting suite of letters was a font of type.

Many Fonts-One Typeface

Over the years, there have been hand-set fonts, machine-set fonts, phototype fonts and now digital fonts of the Bodoni typeface. Currently there are TrueType, PostScript Type1 and OpenType fonts of Bodoni. There are Pro fonts of Bodoni, used to set most of the languages in Europe, and Greek and Cyrillic fonts of Bodoni, which enable the setting of these languages. All are fonts of the Bodoni typeface design.

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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