fonts.com blog
Posts Tagged ‘vesta’

by Matt Brinkerhoff

We’ve been hard at work adding new fonts to Fonts.com Web Fonts. Thanks to some new additions, the tally now exceeds 12,000 Web fonts. Here’s a rundown of what’s new.

Our latest foundry additions include Omnibus, Emboss and Tour de Force. Contributions from Omnibus include the Vega™ family, a group of designs that are equally at home in headings as they are in body text.  Designer Franko Luin sought to capture the details of 16th and 17th century text while creating a design that is as timeless as it is current.

The addition of the Emboss font foundry brings us 42 typefaces from Stephen Boss – typefaces inspired by linoleum cuts and comic books.  His Crossell™ typeface provides a perfect example of these stylistic elements.

Slobodan and Dusan Jelesijevic’s Tour de Force foundry adds 47 modern display typefaces, including slab serifs. The Oblik™ family contains modern serif and sans serif designs for a variety of applications.

The Vesta™ and Big Vesta designs by Gerard Unger are among the newest families in our Linotype® collection. Originally designed for signage during Rome’s “Jubliee 2000” celebration, Vesta features a wide variety of stroke widths while remaining economical on space.  One designer went as far as to call it “the missing link between serif and sans-serif.”

Also from Linotype and available for the first time in a digital format, the Neue Haas Grotesk™ family by Christian Schwarz is a revival of Linotype’s original hand-set metal face. The predecessor to Linotype’s iconic Helvetica® design, Neue Haas Grotesk boasts additional features that were left behind during Helvetica’s many digital adaptations.

We’re constantly adding new foundries and typefaces to both Fonts.com and Fonts.com Web Fonts in our quest to provide the most comprehensive collection of typefaces in the world. Check back soon as plenty more are on their way.

Matt Brinkerhoff
Matt Brinkerhoff holds a bachelor’s degree in E-Business from Champlain College and has experience in user experience, multivariate testing, design and Web development. Through his work as a freelance designer, Matt developed an affinity for typography years before joining the team.



by Allan Haley

Gerard Unger, designer of the Vesta™ typeface family, once received an e-mail from a graphic designer who thought he saw serifs while reading text copy set in the typeface. “It has the weight contrast of a typeface with serifs,” says Unger, “which may have caused an optical illusion. The designer thought I had designed the missing link between sans serif and serif typefaces.”

Where most sans serif typefaces have strokes that are close to monoline, Unger chose to add some modulation to those in Vesta. He wanted to ensure the design would be applicable for use in long blocks of text copy and knew that this stroke modulation would aid the reading process. Both Vesta and its display companion the BigVesta™ design also benefit from open letter shapes, large counters and relatively flat curves that create a horizontal stress – all also aiding readability.

Vesta and BigVesta stem from two sources. “I took the lettering on the frieze of the little temple of Vesta in Tivoli as the starting point,” says Unger. His typeface was to be used for signage and an information system for the city of Rome during its Jubilee 2000 celebration, and Unger wanted to create a type design that would continue the 2,000-year Roman tradition of public lettering. His clients were intrigued by the design but decided they wanted a typeface with serifs instead. After all, Rome is often considered the birthplace of the serif. Unger’s new serif typeface became his Capitolium™ family.

While developing Vesta, Unger was also influenced by French sans serif typefaces of the 1940s and 1950s, designs that favored a marked contrast in character stroke weights.

Vesta is narrower than sans serifs typefaces that are commonly used. This makes Vesta a good choice for setting copy for periodicals and in other environments where high levels of character legibility and economy of space are important typographical goals.

The temple of Vesta, which dates back to the early first century B.C., holds typographic significance beyond Unger’s choice as a typeface name. According to James Mosley, author of “The Nymph and the Grot: the revival of the sanserif letter,” the temple of Vesta is the ancestral home of all sans serif typefaces.

Vesta and BigVesta are available in seven weights, ranging from an elegant light to an authoritative black – each with a complementary, cursive italic. To supplement the large Pro font character set, which supports most Central European and many Eastern European languages, the Vesta family also has small caps and old style figures.

Click here to learn more about Vesta and BigVesta.

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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