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Posts Tagged ‘typefaces’

by Ryan Arruda

The truly monumental milestones in the evolution of typographic history can no longer be counted off on one hand. Accredited scientists and peer-reviewed statistical studies show such hallmarks to be:

• Written language
• Illuminated manuscripts
• Movable type
• The microprocessor
• Arial

And now…FONTACULAR.

Fontacular

Have you always wanted all your dreams to come true? Look no further, dear reader, because for one week – December 2nd through 6th – Fonts.com is hosting the most impressive typographic event ever seen in the modern age. Fontacular will change the way you look at type. And life. Unlock all your type fantasies.

Fontacular

We’ve got single weights of type. We’ve got type selections. We’ve got complete type families…and they’re all up for grabs. Here’s what you need to know, hoss: each day we’ll reveal a brand new batch of deals that will drive you wild — with prices starting as low as $9, you’d be a fool to miss these deals. And because we idolize Laurence “Mr. T”  Tureaud, we shall pity you. Because come Friday, these deals will be gone forever. Keep constant watch on our Fontacular page for new products and excitement each day.

Fontacular

Plus, all week we’ll be featuring giveaways from our great partners, including Tattly, Mama’s Sauce (who printed an awesome Fontacular poster designed by our pals at Brave the Woods), Field Notes and Typefight. Just tweet to us @fontscom and use hashtag #fontacular to tell the world how our event has changed your life, and you could be showered with typographic goodies as well as held in high esteem in your community.

Have the pride of telling your children “I was there for Fontacular.

Be there for Fontacular.


by Ryan Arruda

Here’s a listing of the top 100 most used fonts from the Fonts.com Web Fonts service for November 2013:

Avenir Next
Neue Helvetica
Gill Sans
Trade Gothic
Avenir
Univers
Proxima Nova
Futura
Gill Sans Infant
Frutiger
Helvetica
ITC Franklin Gothic
Rockwell
Linotype Univers
Classical Garamond
Sabon Next
DIN Next
Klint
Century Gothic
Museo Sans
Courier PS
Bree
Chaparral
Myriad
VAG Rounded
ITC Avant Garde Gothic
ITC Caslon No. 224
Eurostile LT
Univers Next
Museo Slab
Neo Sans
Arial
ITC Legacy Serif
Harmonia Sans
ITC Century
Amasis
ITC Lubalin Graph
Neue Helvetica eText
Motoya Birch
Optima
ITC Legacy Square Serif
Slate
Praxis
Neue Frutiger
Trade Gothic Next
Diverda Serif
Swiss 721
Clarendon
Azbuka
ITC Officina Serif
Frutiger Next
Delima
Amadeo
ITC Bodoni Six
Brandon Grotesque
Soho Gothic
Calibri
ITC Charter
ITC Officina Sans
Linotype Didot
ITC Conduit
Helvetica World
Bodoni LT
Chocolate
Adobe Garamond
Lexia
Egyptienne F
ITC American Typewriter Hellenic
Bookman Old Style
Soho
Comic Strip
Swift
ITC American Typewriter
ITC Fenice
Glypha
Droid Sans Mono
Rotis Sans Serif
PMN Caecilia
Auriol
Zapf Humanist 601
Bembo
Monotype News Gothic
Alternate Gothic
ITC Stone Informal
Neue Helvetica Arabic
Francker
VAG Rundschrift
Linotype Sketch
Sackers Gothic
Trade Gothic Next Soft Rounded
Humanist 777
ITC Eras
C Hei 2 PRC
Droid Serif
M Elle PRC
C Hei PRC
M Lady PRC
M Stiff Hei PRC
Monotype Goudy
Caslon Classico

 


by Ryan Arruda

Here’s a listing of the top 100 most used fonts from the Fonts.com Web Fonts service for October 2013:

Neue Helvetica
Avenir Next
Gill Sans
Trade Gothic
Avenir
Univers
Proxima Nova
Gill Sans Infant
Rockwell
Futura
Helvetica
Classical Garamond
Linotype Univers
Frutiger
Klint
DIN Next
Courier PS
Century Gothic
Museo Sans
Myriad
Bree
Slate
ITC Franklin Gothic
ITC Avant Garde Gothic
Arial
Museo Slab
Harmonia Sans
VAG Rounded
Chaparral
Univers Next
ITC Legacy Serif
ITC Caslon No. 224
Eurostile LT
ITC Century
ITC Lubalin Graph
Amasis
Motoya Birch
Neo Sans
Neue Helvetica eText
Optima
Neue Frutiger
ITC Legacy Square Serif
Trade Gothic Next
Swiss 721
Delima
ITC Officina Serif
Lexia
ITC Charter
Calibri
ITC Officina Sans
Soho Gothic
Droid Sans Mono
Bodoni LT
ITC Conduit
Frutiger Next
Bookman Old Style
Linotype Didot
ITC American Typewriter
PMN Caecilia
Adobe Garamond
Auriol
Swift
Helvetica World
Soho
ITC American Typewriter Hellenic
Neue Helvetica Arabic
Egyptienne F
ITC Stone Informal
Linotype Sketch
Glypha
Monotype News Gothic
Francker
Rotis Sans Serif
Bembo
ITC Fenice
Monotype Goudy
Droid Serif
Azbuka
Comic Strip
Humanist 777
ITC Eras
Bodoni
Sackers Gothic
Copperplate Gothic
C Hei 2 PRC
Rileyson
Caslon Classico
M Elle PRC
C Hei PRC
M Lady PRC
Adobe Caslon
M Stiff Hei PRC
Twentieth Century
Orator
VAG Rundschrift
Droid Sans
Andale Mono
Copperplate
Inform
Clarendon

 


by Alyson Kuhn

Jim Wasco loves to talk about type, and when he does, he enthuses equally about highly specific details on the one hand, and the typographic big picture on the other. It’s not an either/or discussion – it’s a seamless interplay of influences and inspirations. With Wasco, you can indeed have it both ways. His newest typeface design, the Harmonia Sans family, is a perfect example.

Harmonia Sans

The name Harmonia Sans alludes to harmony in two realms, music and typography – and on two levels, the individual and the collective. Each musical note must be ‘right’ on its own, to ring true with the other notes in the phrase, and it must add to the composition as a whole. (Wasco, by the way, plays jazz piano every week as part of a sextet.) The letterforms of a typeface are even more inter-dependent, in that they must achieve visual harmony in almost infinite combinations. On the ‘collective continuum,’ Harmonia Sans also blends what Wasco describes as his “favorite aspects of the different sans – grotesque, humanist and geometric” in a new geometric design. He adds, “Harmonia Sans is geometric because the letters are based on a square, circle and triangle, just like architecture.”

Alignments

The alignment comparison above illustrates Wasco’s decision to use calligraphic cap to x-height proportions for Harmonia Sans. The ITC Avant Garde Gothic design has a larger x-height, and relatively short ascenders and descenders, while the Futura family has a smaller x-height, with elongated ascenders and descenders. Wasco determined that the calligraphic proportions would serve to increase both legibility and typographic harmony.

Calligraphy instruction sheet from Paul Standard (circa 1950)

Calligraphy instruction sheet from Paul Standard (circa 1950)

Wasco neatly sums up his ‘calligraphic lineage’: “Dad went to The Cooper Union in the ‘50s. His calligraphy teacher was Paul Standard, who was a friend of Hermann Zapf’s. When I met Hermann, I mentioned Paul – and his face lit up. Many people credit Paul with popularizing calligraphy in America in the ‘50s.” Standard’s calligraphy instruction sheet above is based on a cap to x-height ratio of 7.5 to 5.

Calligraphy by Jim Wasco:  banner on a piano recital invitation (2007)

Calligraphy by Jim Wasco: banner on a piano recital invitation (2007)

Wasco has always favored a ratio of 7:5 for his own calligraphy, and the Harmonia Sans proportion is close to 7:5 as well. Click here to learn more about – and to license – the Harmonia Sans family.

 

Alyson Kuhn
Alyson Kuhn (a.k.a. Kuhncierge) writes frequently about paper and printing, including typography and postage stamps. On occasion, she teaches envelope-folding workshops. She lives in Carmel, California.

 


by Ryan Arruda

Here’s a listing of the top 100 most used fonts from the Fonts.com Web Fonts service for September 2013:

Trade Gothic
Neue Helvetica
Avenir Next
Gill Sans
Univers
Avenir
Proxima Nova
Gill Sans Infant
Helvetica
Futura
Frutiger
Rockwell
Linotype Univers
Classical Garamond
DIN Next
Klint
Century Gothic
ITC Avant Garde Gothic
Courier PS
Museo Sans
VAG Rounded
Myriad
Bree
Arial
ITC Franklin Gothic
Harmonia Sans
Univers Next
Neue Frutiger
Chaparral
ITC Legacy Serif
Museo Slab
Swiss 721
Eurostile LT
ITC Lubalin Graph
ITC Caslon No. 224
Optima
Amasis
Motoya Birch
Neo Sans
Trade Gothic Next
Neue Helvetica eText
ITC Century
ITC Legacy Square Serif
Frutiger Next
Slate
ITC American Typewriter
Linotype Didot
ITC Conduit
Adobe Garamond
Soho
Helvetica World
ITC Officina Serif
Bodoni LT
Humanist 777
Lexia
ITC Officina Sans
ITC Charter
Calibri
PMN Caecilia
Delima
Droid Sans Mono
Swift
ITC Fenice
Soho Gothic
Neue Helvetica Arabic
Adobe Caslon
Bookman Old Style
Linotype Sketch
Bembo
ITC American Typewriter Hellenic
Monotype News Gothic
Francker
Egyptienne F
Auriol
Sackers Gothic
Linotype Feltpen
Baskerville Classico
ITC Stone Informal
Novecento
Brandon Grotesque
Rotis Sans Serif
Twentieth Century
Monotype Goudy
Glypha
Agilita
Andale Mono
Droid Serif
ITC Eras
C Hei 2 PRC
News Gothic
Neue Haas Grotesk
DIN 1451
Akko
M Elle PRC
C Hei PRC
M Lady PRC
M Stiff Hei PRC
ITC Garamond
Heisei Kaku Gothic
Rotis Semi Sans


by Ryan Arruda

Here’s a listing of the top 100 most used fonts from the Fonts.com Web Fonts service for August 2013:

Neue Helvetica
Trade Gothic
Gill Sans
Helvetica
Avenir
Futura
Univers
Proxima Nova
Avenir Next
DIN Next
ITC Avant Garde Gothic
VAG Rounded
Swiss 721
Neue Frutiger
Frutiger
Frutiger Next
Linotype Univers
Trade Gothic Next
Humanist 777
Adobe Garamond
Soho
Adobe Caslon
Arial
ITC Conduit
Century Gothic
ITC Lubalin Graph
Museo Sans
Baskerville Classico
ITC Franklin Gothic
Rockwell
Univers Next
Neo Sans
Optima
Bembo
Linotype Didot
Agilita
Myriad
PMN Caecilia
Linotype Feltpen
Bodoni LT
DIN 1451
Helvetica Monospaced
Heisei Kaku Gothic
Joanna
Brandon Grotesque
Neue Haas Grotesk
ITC Garamond
Monotype News Gothic
Memo
News Gothic
News Gothic No.2
ITC Century
Gill Sans Infant
Sabon
Adelle
Abadi
Twentieth Century
Soho Gothic
New Century Schoolbook
Harmonia Sans
Trade Gothic Next Soft Rounded
Bauer Bodoni
Aachen
Corporate S
Neue Helvetica eText
Letter Gothic
Bembo Infant MT
Eurostile LT
ITC Officina Sans
Times
Frutiger Serif
Sackers Gothic
Slate
Laurentian
Eurostile Next
Akko
Neue Helvetica Arabic
Calibri
Novecento
Palatino
Museo Slab
Klint
Camphor
Minion
Helvetica World
Clarendon
Sassoon Sans
New Caledonia
ITC Fenice
Futura T
Strayhorn
Museo
Monotype Baskerville
Garamond 3
Glypha
Basic Commercial
Yakout
Smart Sans
Alternate Gothic
Plantin

 


by Steve Matteson

Monotype recently announced a collection ‘eText typefaces’, designed to facilitate the best on-screen reading experience. These typefaces extend the palette of text choices available for Web and EPUB designers and developers. Our eText typefaces are part of the Monotype Portfolio for Digital Publishing, tailored for high-quality immersive reading on e-readers, tablets and other devices.

eText Fonts

Our first update to the eText collection features four new families:

GeorgiaPro — The GeorgiaPro design includes 20 weights and styles (including light, black and condensed weights), making GeorgiaPro an ideal choice for rich typographic pages where performance and readability are key across a variety of screen resolutions and technologies. Georgia Pro also includes small caps and OpenType features for setting full-height figures in addition to the figures which range above and below the baseline (old style figures). The extensive character set covers Greek, Russian and Eastern European languages.

VerdanaPro – The Verdana typeface has been a standard in screen legibility for 18 years. This release continues to improve upon the performance and readability of the design across both screens and languages.  With 20 weights added to the family, Verdana is now more versatile than ever. Light to black and condensed styles of Verdana will offer new capabilities for hierarchical typographic layouts. The extensive character set covers Greek, Russian and Eastern European languages.

Dante eText — Already shipping in some OEM reader products, the Dante eText family has brought old-world charm to immersive reading on screen. Originally designed by Giovanni Maerdersteig for fine book printing, Dante eText now brings the artistic touches of a great printer and book designer to the e-publisher’s toolbox.

Linotype Didot eText — The world of high-fashion publications would not be complete without the high-contrast thick and thins of a Didot-styled typeface. Toshi Omagari revisited the classic Didot family to make it possible to use at screen sizes. The elegance of the original is not lost in the Linotype Didot eText design, which stands up to screen display, unlike many modern serif styles.

 

 


by Ryan Arruda

Here’s a ranked listing of Fonts.com Web Fonts’ top 100 most used Web fonts for July 2013:

Neue Helvetica
Trade Gothic
Proxima Nova
Futura
Gill Sans
Helvetica
Avenir
Univers
DIN Next
Avenir Next
Neue Frutiger
Frutiger
Linotype Univers
ITC Avant Garde Gothic
Trade Gothic Next
Frutiger Next
Humanist 777
ITC Franklin Gothic
Arial
Adobe Caslon
Century Gothic
Museo Sans
Baskerville Classico
Optima
Univers Next
Bembo
Linotype Didot
Neo Sans
News Gothic
Agilita
Soho
VAG Rounded
PMN Caecilia
Rockwell
Myriad
Monotype News Gothic
Bodoni LT
DIN 1451
ITC Lubalin Graph
Brandon Grotesque
Helvetica Monospaced
Gill Sans Infant
Futura T
ITC Century
News Gothic No.2
Trade Gothic Next Soft Rounded
ITC Garamond
ITC Officina Sans
Twentieth Century
Soho Gothic
Aachen
Sabon
New Century Schoolbook
ITC Conduit
Abadi
Neue Haas Grotesk
Adelle
Neue Helvetica eText
Eurostile LT
Bembo Infant MT
Letter Gothic
Times
Corporate S
Memo
Eurostile Next
Harmonia Sans
Bauer Bodoni
Sackers Gothic
Frutiger Serif
Calibri
Laurentian
Franklin Gothic
ITC Franklin
Palatino
Camphor
Helvetica World
ITC Fenice
Neue Helvetica Arabic
Adobe Garamond
Akko
Slate
Museo Slab
Klint
Heisei Kaku Gothic
Strayhorn
Novecento
Garamond 3
Clarendon
New Caledonia
Swiss 721
M Sung PRC
Minion
Ascender Serif
Yakout
Monotype Baskerville
Plantin
Thud
ITC Officina Serif
Effra
Albany


by Dr Hermann Püterschein

Bill Dwiggins got me hooked on type. His marionette shows were what attracted me to his studio, but it was his passion for calligraphy, type and typography that lured me into a life of letters. Serious stuff, but I was a pretty serious kid back then. I guess that’s how I got my “Doctor” nickname. Bill also gave me my start in the type business – but that was much later.

Toshi Omagari’s re-envisiong of Dwiggins’ original Metro

Toshi Omagari’s re-envisiong of Dwiggins’ original Metro

I believe that the Electra typeface was the first of Bill’s that I wrote about. (I wasn’t around when he drew the Metro design back in 1930.) But I did write a review of Metro Office when Linotype released the small family for, well, office use, in 2006. If memory serves, I gave it a “36 point” rating (“worth the ticket price”).

When Monotype invited me to have a preview look at Toshi Omagari’s re-envisioning of Bill’s original Metro, I jumped at the chance. The new design, Metro Nova, is quite a nice piece of work. Bill’s Metro had to make do with just four weights – and only three of them had italic complements. Omagari’s design offers a full range of seven weights of roman designs – each with an italic companion – plus six weights of condensed designs with italic counterparts as well. Now that’s an excellent enhancement.

Seven weights with italic counterparts, and six condensed weights—also with italic counterparts.

Seven weights with italic counterparts, and six condensed weights—also with italic counterparts.

Omagari also made improvements to some of the original Metro’s character designs. Not that Bill wasn’t a good designer – he was, but he had to put up with Linotype’s antiquated unit system and the firm’s insistence that every typeface family under the sun duplex – you know, share common character width values. Bill worked around these mechanical restrictions pretty well, but Omagari’s design is digital. And what a dramatic difference that makes! You won’t find any compromises in proportions or spacing in Omagari’s Metro Nova.

The new design is also available as OpenType Pro fonts, allowing for automatic insertion of ligatures and those alternate characters Bill drew for his original design. Pro fonts also have extended character sets to support most Central European and many Eastern European languages. Omagari even added the alternate Icelandic ð to the character suite! (He has friends in Iceland.)

Metro Nova Pro alternate accented Latin characters; alternate umlaud, accent “a” and Icelandic “eth” characters

Metro Nova Pro alternate accented Latin characters; alternate umlaud, accent “a” and Icelandic “eth” characters

While it’s not the second coming of Garamond, I really like the new Metro Nova. Omagari has done a terrific job of building on Bill’s original design. Metro Nova is a rock solid typeface family that’s not going to gather dust on anyone’s hard drive.

Click here to learn more about – and to license – the Metro Nova family.

Alternate and Standard setting of capital M

Alternate and Standard setting of capital M

 

Dr. Hermann Püterschein is President of the Society of Calligraphers and a noted typeface & typographic critic. He can be reached at HermannPuterschein@gmail.com

 


by Darren Glenister

Fonts.com Subscription Extension

The recent integration of our SkyFonts technology into our Fonts.com Web Fonts subscription plans introduced some major new benefits. These included the ability to try fonts before buying them, and the ability to use fonts included with your subscription for website mockup use and even final design use. Now we’re excited to bring you two new tools that make SkyFonts even easier to use. And of course, there’s no additional charge for either of them, since they’re automatically part of all Fonts.com Web Fonts subscriptions, even our free plan. Don’t have a plan yet? Sign up now for free.

Try, install and sync fonts from favorite Adobe design applications

We have an all-new Fonts.com subscription extension for industry-standard design applications including Photoshop, Illustrator, and InDesign. Whether you’re using Adobe Creative Cloud or Creative Suite, you can try, install, and sync desktop fonts from your Fonts.com subscription directly through your favorite design applications.

Fonts.com Subscription Extension

All the functionality of the SkyFonts client for activating fonts is built right into the extension. An unobtrusive window within your application allows you to search for and activate fonts right in your document. Free plan subscribers can use the extension to initiate five minute trials of fonts while higher level subscribers can use the extension to install mockup fonts and desktop fonts included with their plans.

A boon for efficiency, any fonts you trial or activate will automatically be pushed to your authorized machines through SkyFonts. Don’t have SkyFonts installed on one of your devices? Click here to download it at no cost. With our new extension you’re able to focus on your project details instead of managing or installing fonts. Whether choosing type, prototyping designs, or executing production work for digital or print projects, this extension allows you to take full advantage of your Fonts.com subscription benefits with ease.

Download the Fonts.com Subscription Adobe Extension for free.

Easily Browse & Activate Fonts Directly on Your iPad 

Need to make type choices when you’re away from the office, or don’t have access to your primary workstation? Or just want to browse fonts for fun?

We’re also excited to announce the Fonts.com subscription iPad app. With an intuitive touch interface, you can select, compare and activate fonts directly from your iPad. The app will be available for download shortly. In the meantime, you can try it out in your browser.

Fonts.com Subscription iPad App

Filter designs by visual traits such as weight, width and x-height, or browse typefaces by individual foundry. Use the mix feature to easily compare up to three different typefaces at a time, giving you a great way to gauge and establish a visual hierarchy for your project — pick your headline, subhead and body text type system in one simple step.

Find a design you like? Add it to your list of favorites with a touch of a button — a convenient way to save fonts for future projects or to collect type options to present to clients and colleagues. Or already know which designs you’d like to use? You can activate trials, mockup and desktop fonts directly from your iPad — even selections made on the go are automatically synced to all your authorized machines via SkyFonts.

With our new Fonts.com subscription Adobe extension and iPad app, you can now access type in whatever application you are in — be it Photoshop, Illustrator, or InDesign, and from wherever you are — in the office or on the go.

Get them both for free!

Ryan ArrudaRyan 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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