fonts.com blog
Posts Tagged ‘web fonts’

by Sampo Kaasila

The fact that all major Web browsers now support Web fonts is of course a great step forward for typography on the Web. However, not all Web browsers support the ability to use advanced typographic  features that are part of OpenType fonts, such as standard and discretionary ligatures, contextual alternates, small caps, fractions, swashes  and more. For this reason, it is important to know that OpenType font support is different from OpenType feature support.

OpenType fonts are supported by wrapping them into a WOFF container, or sometimes directly without the WOFF container.

The following example demonstrates text with and without standard ligatures.

standard ligatures

 The next example uses discretionary ligatures on the common ‘st’ letter combination.

discretionary ligatures

The text strings and character codes in the HTML stay the same no matter what OpenType features are used or not used. Instead, these features are simply controlled with the style, typically from the CSS file .

Unfortunately, the support for OpenType substitution features is not yet broadly available in Web browsers. The good news is that nearly all of the most recent releases of browsers offer some level of support for OpenType features or are expected to add support soon. This means that Web browsers are moving in the right direction. However, as of now, good support is missing from the most commonly used browsers. Moreover, it takes years to flush out old browsers from the market. All this has prevented the wide use of these OpenType features on the Web, until now .

Monotype is pleased to announce the beta release of a new cloud font technology solution within the Fonts.com Web Fonts service that makes it possible to immediately use these features in any browser that supports Web fonts.  For browsers that do not have solid support for OpenType substitution features, the cloud takes the information from the GSUB table in the font and compiles it into compact JavaScript code that these browsers can handle. The JavaScript code automatically transforms the glyph shapes into new, beautiful and typographically correct shapes.

As a Web designer, you can simply use standard CSS techniques for controlling these OpenType features, while relying on our service to ensure the page renders beautifully and as intended no matter what browser the visitor is using.

Fonts.com Web Fonts OpenType Features Control

To use this capability, sign in to your Fonts.com Web Fonts account and follow these steps

  1. Add one of the fonts listed here to a project. Be sure to select the version containing OT Features in the name. This list will grow rapidly, but for now, it will provide you with a few options to play around with.
  2. Open the Add & Edit Fonts control within your project on the Manage Web Fonts page.
  3. Click the OpenType Features tab and Use the Selector field to enter the names of the CSS selectors you would like to display using a font containing OpenType features.
  4. Choose the font containing OpenType features from the Select a font dropdown menu.
  5. A list of icons representing the OpenType features contained in the font will appear.
  6. Click the icon of any OpenType features you would like to use on your website.
  7. The preview text will change based on the OpenType features you select. (If nothing happens, modify the sample text in the ‘Test your own text here’ field to ensure your text string contains the necessary characters.
  8. Publish your project.

Check out this technology and start using OpenType features on the Web!


by Johnathan Zsittnik

Fonts.com serves a global audience. As such, we feel it’s important that our website ‘speaks’ more than just English. Today, you may have noticed the addition of two new languages to Fonts.com: German and Japanese. Both are among the most commonly spoken languages of our customer base and represent two of our fastest growing customer segments.

A look at the Fonts.com homepage in German

The next time you visit Fonts.com, if the language preference of your browser is set to German or Japanese, you will automatically be redirected to the German or Japanese version of the site. You can also use the language dropdown menu in the site’s upper right hand navigation to manually switch between languages. While the entire site has not yet been translated, just about everything you need  to browse fonts, purchase fonts or use our Fonts.com Web Fonts service is available in both German and Japanese. This includes the Fonts.com home page, the typeface family and product pages, the browse fonts pages, the Web fonts homepage, the Manage Web fonts page and the shopping cart. Content that has not yet been translated remains available in English, even when surfing in other languages.

Fonts.com's Manage Web Font Page in Japanese

A peek at the Web Fonts homepage on Fonts.com displayed in Japanese.

Over the coming weeks, we’ll continue to roll out many of the content pages in German and Japanese. If you’re wondering if additional languages will be added down the road, well, we’re considering that, too. For now, we invite our German and Japanese speaking friends to explore Fonts.com in their native language. We hope you enjoy this enhancement. But if you notice something doesn’t look quite right, please let us know.

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

Rounded sans serif typefaces carry the authority and clarity of typical sans – and add a sense of approachability. They are not “cute” – but they are amiable. Rounded sans also maintain all the legibility of their more traditionally designed brethren while being more personable.

Sans serif typefaces have been the mainstay for branding, signage, wayfinding, and advertising for well over a century. While the story is told that early designs were called “grotesques” because they were perceived as, well, ugly; sans serifs have firmly established themselves in the typographic pantheon as straightforward, no-nonsense graphic communicators. Recently, however, rounded sans have become popular alternatives as more friendly – more human – typographic spokespeople. Everything from logos to ad campaigns have benefited from these affable designs.

Creating a rounded sans serif typeface, however, is not an easy task. It entails much more than rounding off the edges of stroke terminals. In some instances stroke lengths must be lengthened to look correct, while in other cases they must be shortened for the same reason. Small parts of characters, like the ear of a ‘g’ or flag of an ‘r,’ may also need to be adjusted. The list goes on.

Designed by Akira Kobayashi, Avenir Next Rounded is the third generation of Adrian Frutiger’s Avenir typeface. Although a consistently popular and exceptionally versatile design, Kobayashi saw the potential for a new, softer interpretation of the Avenir Next characters. The rounded terminals he incorporated into the design infuse it with a more complex – and genial – quality. Kobayashi has maintained the modified geometric structure of Frutiger’s original design, and added to it a softness that transforms the typeface.

As an additional benefit, you can save over 75% on the entire Avenir Next Rounded family until January 15th. Be one of the first 1000 customers to purchase and you can get the entire Avenir Next Rounded for only $99. Make sure to take advantage of this promotion before it expires or sells out!

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

Founded in Southern California nearly four decades ago, Mongoose is a recognized authority in the biking world. With an extensive collection of rugged mountain, BMX, and street bikes in their product line, it’s fitting that the company’s website is indeed peppered with a distinctly kinetic and visceral visual spirit.

Bold, prominent typography contrasts seamlessly with imagery overlaid with bright, saturated colors. The site’s top navigation features the DIN 1451 typeface for its main elements, as well as the stocky, bold weight of the ITC American Typewriter family for secondary items.

The body of the site follows in a similar vein — headlines are generously set in the EngSchrift style of DIN 1451, while subheadings and body copy are set in the bold and medium varieties of ITC American Typewriter, respectively. The friendliness of the ITC American Typewriter family is an especially nice foil to the seemingly pragmatic demeanor of DIN 145.

DIN 1451 is available in both a regular and condensed weight. ITC American Typewriter is available in three weights — light through bold — and features matching italic designs as well as three condensed styles. Both designs are available through subscriptions to 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 Ryan Arruda

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

Neue Helvetica
Helvetica
Trade Gothic
Univers
Gill Sans
Neue Frutiger
Avenir
Avenir Next
Futura
DIN Next
Frutiger
ITC Avant Garde Gothic
Linotype Univers
News Gothic
Monotype News Gothic
PMN Caecilia
Trade Gothic Next
Neo Sans
Agilita
Arial
New Century Schoolbook
Linotype Didot
ITC Lubalin Graph
DIN 1451
Neue Haas Grotesk
ITC Franklin Gothic
ITC Garamond
Century Gothic
Univers Next
Frutiger Next
Optima
VAG Rounded
Abadi
Adelle
Twentieth Century
ITC Conduit
Rockwell
Soho
ITC Officina Sans
Garamond 3
Laurentian
Trade Gothic Next Soft Rounded
Neue Helvetica Arabic
ITC Fenice
News Gothic No.2
Eurostile LT
Soho Gothic
Frutiger Serif
ITC Century
Biome
Bauer Bodoni
Sassoon Sans
Candara
Sackers Gothic
Neue Helvetica eText
Harmonia Sans
Calibri
Futura T
Yakout
Times
Glypha
Novecento
MSung
ITC American Typewriter
Albany
ITC Franklin
Helvetica World
Sabon
Clarendon
Slate
Compatil Text
Gazette
Rotis II Sans
Georgia
Akko
Gill Sans Infant
Eurostile Next
Iridium
Georgia Pro
MHei
Monotype Garamond
Heisei Kaku Gothic
Neuzeit Office
Memphis
Bembo
Baskerville
Cachet
Azbuka
Serifa
Museo Slab
Museo Sans
Bodoni LT
ITC Officina Serif
Plantin
Aeris
Monotype Grotesque
CHei2
Basic Commercial
Janson Text
Andy


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

For over three decades, Timberland has been a premier designer of foot and outdoor wear. Employing over 5,000 people, Timberland products are sold in specialty stores worldwide, including through their own retail locations.

The company’s website features an excellent implementation of display typography: overlaid upon photographs, a rotating carousel of large headlines are set in the bold weight of the ITC Lubalin Graph family, while supporting text employs the Bold Condensed No. 20 weight of the Trade Gothic collection.

Both faces are exceptionally structural in their design, yet quite complementary. ITC Lubalin Graph – with roots in the Herb Lubalin–inspired ITC Avant Garde Gothic family – possesses an overt kindly charm.

Subheadings are set in Trade Gothic Bold Condensed No. 20. Despite being a slightly more stoic typeface, the diminutive use of the family on the Timberland site prevents it from undoing ITC Lubalin Graph’s cheerful disposition.

ITC Lubalin Graph is available in 18 styles, from a delicate extra light weight, to a industrial strength bold. A condensed width featuring the same weights round out this versatile collection. The Trade Gothic family is available 14 styles, and is comprised of  both regular, condensed, and extended widths. In addition to online use, both type families are available for desktop licensing through Fonts.com as well.

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 Bill Davis

Last month, I was honored to give a presentation at the ATypI Hong Kong 2012 Conference titled “Solving the Challenges of Asian Web Fonts.”

To view my ATypI presentation on Slideshare, click here http://slidesha.re/XUpldI

The Fonts.com Web Fonts service features the widest language support including many non-Latin scripts (Cyrillic, Greek, Thai, Arabic, Hebrew, Armenian and Devanagari) and East Asian fonts (Simplified and Traditional Chinese, Japanese and Korean). Our experience in being the first to support this broad range of languages and scripts has allowed us to gain insights into early adoption of non-Latin and Asian Web fonts by Web designers and developers.

The main benefits of Web fonts, no matter the language or geographic market for your audience, are:

  • Establish typographic consistency
  • Improve user experience
  • Eliminate the use of text as graphics, improve workflow
  • Enhance SEO, accessibility

technology adoption cycle with web fonts

When we surveyed the most visited websites across the globe, we found that 10 to 15 percent are already using Web fonts. But for East Asian languages and scripts, only a handful has started to deploy Web fonts. Why is that?

Consider the two primary challenges for developers of Asian websites:

  • Website design issues
  • Asian Web font file sizes

Most Asian websites are very text intensive, using large amounts of text at small sizes with very little use of white space like most “western” style websites. Web fonts can benefit headlines and replace images. For smaller amounts of text, system fonts have typically been used but now more typographic options are becoming available to designers.

Asian web sites

The second challenge for Asian website designers is how to overcome the huge file sizes. Chinese, Japanese and Korean fonts can range in size from 2MB to 10MB. Linking to multiple font files of this size is not an option for most developers due to latency concerns.

cjk web fonts dynamic subsetting

The best solution is dynamic subsetting – where a small Web font file is built and downloaded on the fly (using the characters only found on each page). Fonts.com Web fonts deploys dynamic subsetting on all its Asian Web fonts, so fonts get downloaded in milliseconds and not minutes. To learn more and see an interactive demo of Dynamic Subsetting, visit http://fontsubsetter.com/.

With all the positive attention that Web fonts are receiving globally, I believe that this is the year non-Latin and Asian Web fonts take off!


by Allan Haley

Jovica Veljovic was living in the former Yugoslavia when Aaron Burns, the president of ITC, met him in the mid 1980s. Upon seeing the young calligrapher’s work, Burns immediately realized that he was in the presence of exceptional talent and encouraged Veljovic to take up typeface design. The ITC Veljovic typeface family was first of many he drew for ITC.

In his storied career, Veljovic has gone on to develop typefaces for Adobe and Linotype – as well as ITC. Although he spends much of his time today teaching typography and type design near his home in Hamburg, Veljovic has continued to draw new typeface designs. All started out as brush and pencil sketches.

None of Veljovic’s designs were first imagined as constructed outline drawings. It was only after the basic shapes and proportions were finalized in brush form, that Veljovic would construct letters as digital outlines.

Early Sketches for Agmena

“For me, it is important to begin a new typeface by drawing with a brush or pen,” says Veljovic. “This is especially true when I am making a new text typeface. The first text faces grew out of calligraphic writing and I think it is important to maintain this tradition.”

Agmena Swash Italic Sketches

The Agmena family, announced this week, is no exception. The first sketches for the design were roughed-out by Veljovic with a broad-edged brush. These became the basis for more refined drawings, which were then transferred to the computer for yet further development. The end result is a distinctive family of four weights – each with complementary italics – based on calligraphic, Renaissance “old style,” design traits and proportions.

Agmena

The complete Agmena family is available as desktop fonts from Fonts.com, as well for Web use through the Fonts.com Web Fonts Service.

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

One of the goals we had when the new Fonts.com debuted in May was to make visiting the site a truly engaging visual experience. In addition to providing typical type specimens, we wanted to also incorporate expressive typography at the heart of the homepage.

As you’ve probably noticed, each month Fonts.com features four new images on its masthead, all showcasing a different typeface available on the site. These large main graphics – known as hero images – are meant to expressively present the character and nuance of not only our new releases, but best-selling and hidden gem type families.

In addition, another goal of the new site design is to celebrate the type and design community across the spectrum – each month we feature guest designers providing their interpretation of one specific type family. Whether established pros, or up-and-coming young guns, we wanted the opportunity to inspire our customers with typographic compositions from folks creating some of the most well-crafted design work today.

We’re happy to announce that we’ve created an archive of all 28 hero images which have debuted on Fonts.com so far this year. This will be a living collection, constantly updated with information on which typefaces are featured, links to purchase them, as well as links to the sites of the talented designers who we’ve had the pleasure to work with.

The image used as this post’s header was designed by Monotype Imaging’s Creative Director – Dennis Michael Dimos – and is the hero offering for Linotype’s handsome new Agmena family. On the Fonts.com homepage you’ll also find image designs from Nancy Harris Rouemy – who showcased the flowing, graceful flair of the Reina family – as well as John Passafiume, who crafted an amazing drawn version of the stately ITC Edwardian Script collection. Rounding out November’s designs, Alex Perez presents a dimensional treatment of the robust, slab serif Lexia family.

We hope you enjoy and are inspired by all of the hero images we post – keep an eye out for more as we debut four fresh designs each month!

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

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

Neue Helvetica
Trade Gothic
Helvetica
Neue Frutiger
Univers
Gill Sans
Avenir Next
Futura
Avenir
Frutiger
DIN Next
ITC Avant Garde Gothic
Linotype Univers
Neo Sans
Trade Gothic Next
PMN Caecilia
Agilita
Arial
New Century Schoolbook
ITC Garamond
Linotype Didot
ITC Franklin Gothic
Monotype News Gothic
Frutiger Next
Century Gothic
Garamond 3
ITC Lubalin Graph
Rockwell
Twentieth Century
Abadi
VAG Rounded
Adelle
Optima
ITC Officina Sans
ITC Century
DIN 1451
News Gothic No.2
Trade Gothic Next Soft Rounded
Bauer Bodoni
Eurostile LT
Soho
ITC Conduit
Neue Helvetica Arabic
Laurentian
Sackers Gothic
Harmonia Sans
Frutiger Serif
Soho Gothic
Biome
Univers Next
Times
ITC Fenice
Museo Sans
Yakout
Neue Helvetica eText
Memo
Eurostile Next
Neue Haas Grotesk
Glypha
Georgia Pro
Calibri
MSung
Futura T
Sassoon Sans
Slate
ITC American Typewriter
Candara
Helvetica World
Clarendon
Albany
Rotis II Sans
Heisei Kaku Gothic
Novecento
Akko
Cachet
ITC Officina Serif
Sabon
Iridium
Monotype Grotesque
Neuzeit Office
News Gothic
Bembo
Monotype Garamond
Plantin
Amasis
ITC Blair
Compacta
ITC Legacy Serif
Aeris
Museo Slab
Basic Commercial
Franklin Gothic
Aachen
Egyptian Slate
Serifa
MHei
Camphor
Bodoni LT
Georgia
Baskerville

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.