fonts.com blog
Posts Tagged ‘typefaces’

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 Ryan Arruda

With more than a 100 locations across the United States, Ruth’s Chris Steak House is known for its premium culinary offerings. The restaurant’s website features large, dramatic photographs showcasing their decidedly well-composed dishes.

However, also interesting is the site’s restrained use of of typography; this aspect is not simply an oversight, but a quiet counterpoint to the image-laden layout of the website. The navigation of the site is set in the Novecento family, designed by Jan Tonellato for Synthview. Top navigation is set in the family’s medium weight of Novocento Wide, while the side nav is set in demibold. This entire sans serif family (it also is available in regular, condensed, and narrow widths, too) has a certain friendliness to it — in contrast to the overtly neutral letterforms of, say, grotesque typefaces.

When the site’s side navigation expands, secondary text is set in Linotype’s Trade Gothic Next Soft Rounded family, designed by Akira Kobayashi. As its namesake implies, the Trade Gothic Soft Rounded designs feature more tempered letterforms than its original Trade Gothic forebears. However, the Trade Gothic Next Soft Rounded family still retains a composed demeanor and subtle sense of authority. Within the content of the site, the same complementary format is present—Novocento for headlines, Trade Gothic Next Soft Rounded for body copy.

The Novecento designs are available in 32 styles, and the Trade Gothic Next Soft Rounded in 9, all through the Fonts.com 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 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 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 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 Allan Haley

It’s not often, but there are times when you see something that is so striking, so elegantly beautiful, that it takes your breath away. It hasn’t happened to me in a very long time. But, yesterday, there it was – a Tumblr post of a new series of book covers from Penguin Books.

A colleague pointed me to this site, and there it was: drop to your knees, gorgeous typographic design from Jessica Hische and the very design savvy folks at Penguin Books. The two were previewing a new series that appear to be reissues of classic novels: Jane Austen’s Pride and Prejudice, Charlotte Brontë’s Charles Dickens’ Great Expectations, etc., each with cover art that is an extraordinary “drop cap” (technically, an initial letter – but no matter) drawn by Hische. If you love books, or type – or just things that are extraordinarily beautiful, this is a treat that you should not miss.

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

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.



by Johnathan Zsittnik

Introducing the SkyFonts Font Rental ServiceHave you ever eyed a typeface for a specific job but were hesitant to purchase because you knew you wouldn’t have much use for it with future projects or clients? Have you ever been burned by a font purchase because it looked better on the website where you purchased it than it did in your document? A font purchase can sometimes be a big and pricey commitment. So, if it doesn’t seem fair to commit to a typeface that you’re only going to use for a short period of time, or to take the plunge with a font before you try it in your design doc, you may be surprised to hear that we agree. Allow us to introduce you to a revolutionary way to try out and license type.

Meet the SkyFonts service: a cloud-based font rental service made for those who love to try new type. Leveraging patent-pending technology and a catalog of thousands of top name typefaces, SkyFonts lets you try out any font for free. The service activates the actual font data on your machine for a short period so you can try it out in any of your applications. –No images or other hacks. You get the actual font data to experiment with. When you’ve found the right typeface, pay only for as long as you need it. You can rent fonts for a month or as little as a day. Click a button and SkyFonts will activate and synchronize the font on up to five workstations.

SkyFonts Font Rental Service

Browse SkyFonts.com for the font of your choice. Try any font for free, or use credits to rent fonts for a day or a month.

This represents a radical new way to work with type –and for many, a far better way. With broader and more affordable access to fonts, we expect users to be able to create higher quality designs while saving money. Those who design from multiple workstations will also save time by synchronizing their fonts from their SkyFonts account across all their workstations.

Today SkyFonts debuts in beta. Each month of the beta, our participants will receive 110 SkyFonts credits. Use one credit to rent a font for a day. Use three credits to rent a font for a month. All credits issued during beta will expire at the conclusion of the beta so be sure to use them up! We’ll announce pricing for credits at the beta’s conclusion. If you’d like to give it a go, request your beta invitation on SkyFonts.com. We’ll be gradually working our way through our invitation requests over the coming weeks while we collect feedback, so please be patient. In the meantime, you check out the introductory video or learn more by browsing the FAQs from the homepage.

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

Classic Grotesque

“The Classic Grotesque typeface began as a fairly straightforward reinterpretation of the early 20th century Monotype Grotesques,” recalls Rod McDonald, the face’s designer. “While I am delighted with the final results, I had no idea how difficult the design process would be.”

“The trouble was that I spent a lot of time looking at just the early Monotype Grotesques,” McDonald continues. “As a result, that face and its newer rendition, the Arial family, kept creeping into my design.” McDonald’s solution was to broaden his research.

“The Monotype Grotesques had strong influences from two other designs from the same time period: Venus and Ideal Grotesk. Once I began to let all three designs influence my work, I realized that this was what I wanted to do all along – and the problem when away.”Designer Rod McDonald

McDonald’s final product is a family of seven weights, each with a complementary italic, for a total of 14 designs. When asked about the size of the family, McDonald’s response was, “Normally I would not produce seven weights but I realized that I could ‘squeeze’ in an extra weight and it would give graphic designers more choices when reversing type and in dealing with the hierarchy of complex documents.”

In addition to the large suite of family weights, McDonald also drew a number of alternate characters. “I included the alternate characters for two reasons,” says McDonald. “I wanted to give designers more choice, and I wanted to better match the older grotesques which often had different characters (especially the lowercase g) in different weights or styles.”

McDonald wanted to ensure that the family was also versatile and a strong performer in other ways. “High legibility was an important goal,” he says. “I can’t imagine producing a typeface today that doesn’t take into consideration the restrictions of the small screen.”

Classic Grotesque

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

Click here to learn more about – and to license – the Classic Grotesque family

More information about Rod McDonald and images of Classic Grotesque and its influencers can be enjoyed by clicking here.

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.