Posts Tagged ‘web’

by Ryan Arruda

One of the goals we had when the new 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 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 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 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

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 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 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 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 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 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

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 Ryan Arruda

Employing over 168,000 people across the globe, Sony is a worldwide electronics manufacturer, specializing in computer, video, and audio products for both consumer and professional audiences.

The Sony homepage employs the ITC Avant Garde Gothic typeface family, using book and medium weights for its headlines and subheads. This classic geometric sans is quite appropriate for an electronics purveyor, as its inherent structure projects a demeanor of modernity. However, with its large x-height, ITC Avant Garde Gothic remains grounded and relatable, conferring warmth where other geometric faces might offer colder personalities.

Customer Spotlight: Sony


by Ryan Arruda

With over 11 million daily patrons, Burger King is one of the largest fast food establishments worldwide. The Burger King website features the Trade Gothic typeface family for both display and body text, utilizing Trade Gothic Bold, Trade Gothic Bold Condensed #20, and Trade Gothic Light.

One of the most successful implementations of Trade Gothic on the site are the homepage headlines. Set in Trade Gothic Bold Condensed #20, the use of white typography slightly tempers the inherent assertiveness of the font’s letterforms, lending a confident – yet upbeat – air to the matter-of-fact text. The title case subheads set in Trade Gothic Bold provide contrast with the typographic color of the Trade Gothic Light body text, a nice showcase of this family’s versatility (and deliciousness). Customer Spotlight: Burger King

by Ryan Arruda

Owens Corning is a worldwide manufacturer of building and construction products; known for their iconic pink fiberglass insulation, the company produces a wide gamut of construction products used in both residential and commercial projects.

The Owens Corning website features the Gill Sans typeface family, employing both light, book, and medium weights. The humanistic strokes of Gill Sans projects approachability, while the light weight used in the headline provides touches of clean, architectural modernity and soundness. The multiple weights of Gill Sans in play on the Owens Corning site not only delineates product content, but provides aesthetic stability and balance as well. Owens Corning Website

by Ryan Arruda

Geek Squad are technology professionals who help clients with all their electronic conundrums. Whether through home visits, by telephone, or even remotely, Geek Squad agents are available 24/7 to assist with the digital computing needs of consumers.

The Geek Squad UK website uses the DIN Next typeface extensively, achieving balanced hierarchy by employing both heavy, bold, and regular weights. The typeface presents both authority and affability, much in line with the image of the Geek Squad agents. The judiciously rounded curves of DIN Next nicely hint at the technological foundation of Geek Squad’s services.

Who ever thought that a squad of geeks would be so typographically hip?Geek Squad website using Web fonts


by Johnathan Zsittnik

At first take, it may be surprising to hear that a website of a government agency is an early adopter of Web fonts. But when you consider the FCC’s goal of promoting innovation in communication services and facilities, it makes sense.

Established in 1934 as an independent U.S. government agency, the Federal Communications Commission regulates interstate and international communications by radio, television, wire, satellite and cable in all 50 states, the District of Columbia and U.S. territories.

The commission’s website features background information on the FCC, a newsroom, reporting tools and a series of resources for working with the FCC. The site’s use of the Trade Gothic® family not only makes the text distinctive, but also keeps text machine readable and sizable, helping achieve elegance and accessibility.

FCC website using Web Fonts


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.