fonts.com blog
Posts Tagged ‘web fonts’

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.



by Ryan Arruda

The United States Golf Association is both a steward of golf’s history, as well as an advocate for its future. The governing organization of the game, the USGA (and their website) provides an exhaustive slate of resources for both beginner golfers and seasoned veterans alike.

The organization’s site features the Memo typeface family, utilizing it for navigation, headlines, and subheads. The face is well-suited for the accessible subject matter the USGA site presents — the Memo family is decidedly well-read without being stodgy, and sophisticated without being ostentatious. The typefaces present a professional visual cachet without the overtly historical aesthetics of Old Style typography—it’s a well crafted amalgam, capturing the spirit of both new and old forms.

The Memo family is available in 8 styles – ranging from light to bold weights — for both desktop use, as well as use 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 Ryan Arruda

Vizify is a new online service offering users the ability to create visual biographies. Instead of the standard, soporific online resume, Vizify offers an interactive and aesthetically bold alternative: a personalized visual narrative that employs engaging typography as its cornerstone.

The Vizify homepage features a main headline set in the black weight of the VAG Rounded typeface, while subheads employ the family’s bold weight. The use of the VAG Rounded family complements the site’s visual ethos exceptionally well — both type and image on Vizify are friendly, engaging, and playful.

Anchoring the rest of the site’s typography is the Trade Gothic typeface family. Headlines are set in the robust Trade Gothic Bold #2 face, in all caps, while subheads read handsomely in a title case treatment using the roman weight of the family.

Vizify’s website is a perfect illustration of the Trade Gothic family’s utility; known most prominently for its strong and sober typographic applications, paired with bright colorways, the family provides a glimpse of a subtly blithe personality.

Vizify Homepage

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 Chris Roberts

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

Neue Helvetica
Futura
Trade Gothic
Neue Frutiger
Avenir Next
Frutiger
Helvetica
Avenir
Gill Sans
DIN Next
Univers
ITC Avant Garde Gothic
PMN Caecilia
New Century Schoolbook
Neo Sans
Trade Gothic Next
Linotype Univers
Memo
Times
Frutiger Next
Harmonia Sans
Arial
Neue Helvetica Arabic
Garamond 3
DIN 1451
Linotype Didot
ITC Officina Sans
VAG Rounded
Twentieth Century
Slate
Monotype News Gothic
Yakout
Frutiger Serif
Century Gothic
Soho
Bauer Bodoni
Rockwell
Sackers Gothic
ITC Lubalin Graph
Glypha
Calibri
Soho Gothic
Eurostile LT
ITC Garamond
Aachen
Laurentian
MHei
Egyptian Slate
Agilita
Plate Gothic MT
Optima
ITC Franklin Gothic
Heisei Kaku Gothic
Cachet
Plantin
Clearface Gothic MT
Clarendon
Monotype Garamond
Futura T
Akko
ITC American Typewriter
M Hei Simplified Chinese
ITC Conduit
Serifa
ITC Officina Serif
Klint
Abadi
Monotype Grotesque
ITC Stone Informal
ITC Legacy Serif
M Hei Traditional Chinese
News Gothic
Stymie
Neue Helvetica eText
TB Kaku Gothic
FB Cham Blue
Neuzeit Office
Neue Haas Grotesk
Ocean Sans
Amasis
Monotype Modern
Eurostile Next
Camphor
Bell
Adelle
MSung
Baskerville
ITC Franklin
Georgia
Bembo
Gazette
Consolas
Andale Mono
Droid Sans Mono
Museo
Calvert
P22 Underground
Wiesbaden Swing
Rotis Sans Serif
Mitra


by Allan Haley

The basis for the Koorkin typeface family was a custom font proposal gone awry. “Many years ago I worked on a typeface to brand a new product,” recalls George Ryan, Koorkin’s designer. “The design request, however, was withdrawn before I got much done on the face. I don’t think the product ever saw the light of day,” he continues. “As, I normally do, I saved my sketches. When I recently stumbled on them by accident 10 years later, I remembered there was a lot about the design I liked.”

Ryan first quickly drew the letters for Koorkin with a felt-tip marker, ensuring that shapes were free-flowing and spontaneous. The result is a playful, full-bodied handwriting script with fluid forms and bold proportions. Koorkin is a delightful confectionery of a typeface design, awash with swashes and deliciously long ascenders and descenders. While strokes are virtually monotone in weight, an ample x-height combined with generous counters guarantees that, even though a handwriting script, Koorkin ranks high on the legibility scale.

To give the design added character, Ryan also created a suite of swash and alternate characters that are available in OpenType format. “I added many ligatures and alternate versions of key characters to the character set,” says Ryan. “For instance, a word with an ‘ee’ combination can take advantage of a ligature I designed rather than using two of the same e’s to do the job. As a result, a word such as ‘breeze’ will have three slightly different e’s in it – making the copy look truly handwritten.”

With all this personality, Koorkin is at home in such diverse places as posters, restaurant menus, social announcements and product brochures.

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

Click here to learn more about the Koorkin family, and click here to purchase the 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 Ryan Arruda

With the opening ceremonies of the 2012 Olympic Games commencing today, we thought it interesting to explore the typography of Team USA and Team Great Britain’s websites, both of which feature selections from the Fonts.com Web Fonts service.

Adorned in a red, white, blue, gray and gold palette, Team USA’s site features a tiled interface of images overlaid with text set in Linotype’s Neue Helvetica 45 Light typeface. These lean letterforms are also contrasted with an abundance of more visually robust type used on the site; for example, the main navigation of the site features the Neue Helvetica 97 Black Condensed typeface, while rollover images are set in the family’s bold weight.

The site also features a herculean typeface family—ITC’s Aachen—used in supplemental headlines, and whose monolith-sized numerals count down the number of days until the start of the games. In addition, the Team USA word mark is certainly not shy either; its typographic weight presents an inherent confidence, while the angular construction of the letterforms project a keen strength and stability. Confidence, strength, and stability—perhaps fitting axioms for both athletes and typography alike.

London being the host of this year’s games, for comparison we can look at the typography of Team Great Britain’s website. Like Team USA, Great Britain’s web presence features large typography overlaid atop a series of images. Rather than employ the Grotesque Sans or Slab Serif styles of the Neue Helvetica and Aachen typeface families, respectively, Team GB’s site eschews these forms for the affable Geometric Sans style of the ITC Avant Garde Gothic type family.

The website’s navigation employs the face’s medium weight, while headlines are set in both demi bold and bold styles. Despite only using the ITC Avant Garde Gothic type family for a majority of the site, the breadth and balance of the contrasting weights creates a pleasant visual hierarchy.

Interestingly enough, it should be noted that Team USA utilizes typefaces named for (and embodying) the Swiss ethos, as well as those crafted by two British designers who named the fonts after a German city. Conversely, Team Great Britain uses a typeface family inspired by the work of an American graphic design legend.

Even if nothing more than coincidence, through these typographic examples we can discover a metaphor for the the spirit of cooperation and cultural exchange the games strive to foster.


by Chris Roberts

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

Neue Helvetica
Trade Gothic
Futura
Frutiger
Gill Sans
Avenir
Helvetica
DIN Next
Univers
ITC Avant Garde Gothic
Neue Frutiger
Avenir Next
New Century Schoolbook
PMN Caecilia
Trade Gothic Next
Linotype Univers
Neo Sans
Times
Neue Helvetica Arabic
DIN 1451
Linotype Didot
Arial
Frutiger Next
Harmonia Sans
Slate
VAG Rounded
Garamond 3
Memo
Yakout
Monotype News Gothic
Soho
Bauer Bodoni
Frutiger Serif
Sackers Gothic
Laurentian
ITC Officina Sans
Rockwell
Gothic
Futura T
Heisei Kaku Gothic
Cachet
Eurostile LT
Glypha
Soho Gothic
ITC Franklin Gothic
Akko
Century Gothic
Egyptian Slate
ITC Lubalin Graph
Plate Gothic MT
Monotype Grotesque
ITC Legacy Serif
Monotype Garamond
Calibri
Optima
Museo
Plantin
Neue Helvetica eText
Adelle
Neue Haas Grotesk
ITC Officina Serif
Clarendon
Aachen
Ocean Sans
News Gothic
ITC Stone Informal
Amasis
ITC Garamond
Consolas
Andale Mono
Droid Sans Mono
Bell
Monotype Modern
Klint
Azbuka
ITC Conduit
ITC American Typewriter
ITC Franklin
Wiesbaden Swing
MYuppy
Baskerville
Impact
Eurostile Next
Georgia
Linotype Feltpen
Camphor
Mitra
Gazette
P22 Underground
ITC Caslon No. 224
Calvert
Bembo
Rotis Sans Serif
Neuzeit Office
Memphis
Serifa
Agilita
Abadi
Janson Text
Loft


by Ryan Arruda

TED is known worldwide for providing a myriad of programs featuring innovative and influential speakers from a wide swath of disciplines. TED-Ed is an extension of that mission of disseminating knowledge, focused specifically on assisting educators with interactive teaching materials; whereas the TED motto is Ideas Worth Spreading, the mission of TED-Ed is Lessons Worth Sharing.

The TED-Ed website features the Neue Helvetica typeface family extensively, employing it for both the masthead, navigation, and section headlines.

The main navigation bar features Neue Helvetica 65 Medium, while the secondary navigation uses the typeface’s light weight. The core of the site features a series of illustrations, with one panel featuring text set in Neue Helvetica 25 Ultra Light which changes to red when moused over, a nice touch indeed.Ted-Ed Homepage
The most captivating aspect of the homepage is hidden at first glance. When moused over, the site’s illustrations reveal headlines set in Neue Helvetica 45 Light, which are knocked out of a slightly transparent field of color. Two small subheads set in Neue Helvetica 75 Bold balance the text arrangement quite nicely.

While Neue Helvetica provides an apt counterpoint to the more expressive illustrations on the TED-Ed site, it serves as a greater reminder that, yes, while Neue Helvetica is a stalwart typeface for presenting information cleanly or matter-of-factly, when consciously paired with color it also can embody a more sprightly character.

Neue Helvetica is available in over 50 Web font varieties, ranging in weights and widths from Ultra Light Condensed to Black Extended.

 


by Allan Haley

The Aachen typeface dates back to the late 1960s when Colin Brignall designed it for Letraset dry transfer lettering sheets. Named after the German city where many believe Gutenberg first used moveable type, Aachen’s bold weight and short, slab serifs made it a natural choice for display typography. A lighter (medium) complement was drawn in the late 1970s but the bold design continued to be the most popular design. Aachen was made available as phototype fonts in the 1970s and digital fonts in the early 1990s – but the family retained its diminutive size.

Realizing that more weights would dramatically increase Aachen’s range of use, Jim Wasco – a senior type designer at Monotype Imaging – put together a proposal that would bring the family into the 21st century.

“I was amazed at how much I saw the old Aachen Bold being used and I thought that a larger family would be welcomed by graphic designers,” says Wasco. “I hope my redesign and enlargement of the original family make it more versatile – and will satisfy the desire designers seem to have for more Aachen.”

The happy result of Wasco’s proposal is Neue Aachen, a family of 9 weights, from ultra light to black, each with an italic complement – for a total of 18 styles. Neue Aachen is also available as a suite of OpenType Pro fonts, allowing for the automatic insertion of ligatures, fractions – and a special alternate g that Wasco felt added a distinctive quality to the design. Pro fonts also include an extended character set supporting most Central European and many Eastern European languages.

When asked about how his design improved the versatility of Neue Aachen, Wasco replied, “The family can now be put to work at any size from small text to large display applications. The bold weights can be excellent choices for headlines, banners and ads. The book and regular were drawn for text setting, and the extra light and ultra black weights add extra oomph – or a touch of finesse – to large display copy.”

Wasco’s revitalization of Neue Aachen takes a 40-year-old design – with a heritage that dates back to the first fonts of movable type – fully into the 21st century.

The complete Neue Aachen family is available as desktop fonts from the Fonts.com, Linotype.com and ITCFonts.com websites. It is also available as dynamically downloadable Web fonts.

Click here to learn more about – and license – the Neue Aachen family.

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.