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Posts Tagged ‘verdana’

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 Allan Haley

Few typefaces are released with the fanfare of the Carter Sans™ family – but then a new design from Matthew Carter is something of importance. Designers were treated to a sneak preview of sorts when the family was used as the graphic identity for the 2010 Art Directors Club Hall of Fame ceremony, at which Carter was an inductee. This was followed by the official announcement of the typeface earlier this year.  Which, in-turn, was followed by an unprecedented – and very special – event this week.

On Wednesday evening, San Francisco’s design community joined Carter at the Book Club of California in the celebration of the Carter Sans release. Also at the event was Dan Reynolds, Monotype Imaging’s senior type designer, who collaborated with Carter on the design of the family.

More than 90 graphic designers, art directors, creative directors and other lovers of type and typography filled the intimate venue. While primarily intended as evening of typographic amity, the event was highlighted by an informal interview of Carter by Patrick Coyne, publisher of Communication Arts magazine, and a brief slide presentation by Reynolds.

In the interview, Carter answered questions about what inspires his designs. “I don’t get inspired,” he said. “I work from a design brief – even if it’s my own. I show up; I put in the time, and I do the work.”

He also told the story about how the John Coltrane Quartet changed his life. “In 1960, I spent several weeks in New York visiting design studios and trying to find work,” Carter recalled. I didn’t have much luck, became discouraged and considered returning home to London. About that same time, I heard the John Coltrane Quartet play their first engagement.” Over several weeks, Carter heard them three or four times. “Sometimes they played the same song in the second set that they played in the first. Not because they were lazy but because they wanted to surpass themselves, or find something in the music that they hadn’t found earlier in the evening.” Carter decided that he owed it to himself to stay in New York. “Their seriousness of purpose was a lesson,’ he said. “Four great geniuses that would knock themselves out every night when they could have coasted.” This story is clearly a metaphor for Carter’s long and storied career.

After the interview, Reynolds presented slides detailing the process of his collaboration with Carter and the work that went into creating the large and diverse character set for the family. Carter recalled that the design of Carter Sans got off to somewhat of a rocky start but that he was delighted by the work that Reynolds brought to the project.

Questions from the audience ran the gamut from the value of type to branding – “It’s an invaluable part of the mix,” said Carter – IKEA’s replacement of the Futura® design with the Verdana® typeface – “while designed for on-screen use, it works quite well in their catalog,” to the future of fonts – “Web fonts are clearly the next important step in typographic communication.”

It was a rare and very special evening that will be remembered and retold.

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 Simon Rockman

What mobile phone do you have? If you are reading this in the UK you are likely to answer “Nokia”, “Samsung” or “Sony Ericsson”. If you are not in the mobile world and reading this in the US you might answer “Sprint”, “AT&T” or Verizon. The US is the only place in the world where the operator comes first to the consumers mind but it is symptomatic of the battle between handset manufacturers and networks, or carriers, for who owns the customer.

A good deal of this is the user experience and part of that is Brand. Of course this is the fonts.com blog and we are interested in how fonts represent brand in the handset.

Ron Bird is the Lead UX Designer at Hutchison 3G where he is working on projects which help integrate the 3 brand and experience into the handset. He’s been around the mobile industry for a long time having worked at Nokia, Symbian, Fujitsu, Orange and Vodafone. At 3 he’s working on a service delivery mechanism that will help users enjoy the range of services 3 and their partners offer more easily.

You can have a look at some of his work, in particular some very effective shockwave animations at www.2birds.org.

The 3 network has built a very strong brand, and uses the fonts Verdana, Modena and Tahoma. While these haven’t made it into a phone or on to the keypads of devices the use of the fonts is a strong part of the 3 branding message.

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