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Can certain typefaces mitigate driver distraction? The Massachusetts Institute of Technology (MIT) AgeLab and the New England University Transportation Center set out to find the answer along with Monotype Imaging Holdings Inc. (Nasdaq: TYPE), a leading global provider of typefaces, technology and expertise for creative applications and consumer devices. Initial results of an exploratory study show that certain type styles can reduce glance time – the time away from watching the road when driving while interacting with in-vehicle displays.
The Brand Perfect Tour London – Adventures in Retail is back in town for the third time. This Think Tank and Master Class will be held at the Royal Society of the Arts (RSA) on 11th October and will address the issues retailers are facing when attempting to create and deliver multi-channel experiences. Delegates will discover how brands such as John Lewis and McDonald's are faring in an increasingly technology driven environment, where they have found success and the challenges they have faced.
Monotype Imaging is pleased to be a platinum sponsor of ATypI Hong Kong 2012, the annual conference presented by ATypI (Association Typographique Internationale), Oct. 10–14. Several of our resident type experts from around the world will be sharing their knowledge and skills. Come by and join us as we take a look at Web fonts, Japanese typographic history, new automotive type trends and so much more.
View Slideshare: http://slidesha.re/O1KFpW
The Neue Aachen design offers dramatic improvements to a small display typeface family, making it even more powerful. “Despite its limited range of sizes, Aachen has been a surprisingly popular design,” says Jim Wasco, the designer of the new interpretation. “I knew that additional weights would expand the reach of the face even further.” The Neue Aachen family is the result of Wasco’s drive to make something very good, better.
Biome is also a much larger family than when it was first released by Carl Crossgrove two years ago. Now a super family of impressive proportions, here's what’s New Biome
I was typing out a heading in Albertus (Albertus Std Regular, the Monotype Opentype file) but with the V I noticed something odd. I zoomed in and saw the right serif has a sort of slope to it. When on the Light and Italic of the same family, it is not sloped.
Additionally, the Bitstream Flareserif 821 has not got this slope either.
Is this a defect in the file, and should I go back to the distributor or is it a quirk that's been there for a while? Is it only this newer Opentype one that has this or was it on the older files too?
Designer Named to Fast Company's 100 Most Creative People in Business
-Read Fast Company's profile on Nadine: http://bit.ly/IU6kOz
-View SlideShare examples of Nadine's work: http://slidesha.re/L2LTFy
-Learn more about Nadine's work on Fonts.com: http://bit.ly/KWEWzZ
Nadine Chahine of Monotype Imaging Holdings Inc. was named today to Fast Company's 2012 ranking of The 100 Most Creative People in Business. Chahine, who designs Arabic typefaces at Monotype's Germany-based subsidiary, Linotype GmbH, was recognized alongside individuals from a variety of professions who use creativity for transforming industries and reinventing the world in which we live.
New site offers a single source for desktop and Web fonts
---View webcast at http://vimeo.com/41331573
---View public beta at http://new.fonts.com/
Monotype Imaging Holdings Inc., a leading provider of typefaces, technology and expertise for creative applications and consumer devices, has redesigned Fonts.com, launched today as a public beta release. Among its enhancements, the new Fonts.com debuts as the only site to offer typefaces both through a Web font service and as desktop fonts. The site has been given an aesthetic overhaul and now features many prominent showings aimed at inspiring designers and other type enthusiasts.
WOBURN, Mass., Nov. 10, 2011 – Monotype Imaging Holdings Inc. (Nasdaq: TYPE) and Bitstream Inc. (Nasdaq: BITS) today announced they have entered into a definitive agreement for Monotype Imaging to acquire Bitstream’s font business in an all cash merger valued at $50 million, subject to adjustments based on the closing net asset value of Bitstream. The transaction has been approved by the boards of directors for both companies.
Monotype Imaging Announces the Rotis II Sans Typeface Family
New Addition to Fonts.com Extends the Versatility of the Classic Rotis Design
Monotype Imaging Holdings Inc., a leading global provider of text imaging solutions, has released new fonts that expand the Rotis® suite of typefaces, one of the company's best-selling designs. The 14-font Rotis II Sans family, the latest addition to the Monotype® collection and available from Fonts.com, introduces improvements that extend the versatility of the original Rotis design.
Do any Typophile designers or developers have experience of using the Monotype Imaging fonts.com facility to render fonts such as Helvetica Neue on their website? For a brochure site I'm designing I want to move away from default web fonts. Any experience positive or negative please let me know.
My son, a recent transplant to Portland OR, alerted his type-geek dad to the C.C. Stern Type Foundry, a volunteer-run working museum, offering public programs to preserve the craft of type casting, and to educate and inspire a new generation of printers and students of printing history.
Here are some photos he took at their open house on March 26, 2011:
I am delighted to announce the release of my first commercial font, Camphor™ now available in six weights with corresponding italics from Fonts.com, Linotype.com and ITCFonts.com. (Camphor™ is also available to commercial subscribers of Fonts.com Web Fonts.)
Camphor™ comes in OpenType Standard and Pro formats with broad support for Central and Eastern European langauages.
OpenType features include:
Monotype Imaging Introduces the Camphor Typeface Family into the Monotype Collection
Classic British Typefaces from the 20th Century Provided Inspiration for Nick Job, Designer of Camphor
Monotype Imaging Holdings Inc. (Nasdaq:TYPE), a leading global provider of text imaging solutions, has added the 12-font Camphor™ typeface family to the company's Monotype® collection. The new additions are now available from Monotype Imaging's Fonts.com, Linotype.com and ITCFonts.com stores. In addition, Camphor Web fonts are available from Fonts.com Web Fonts for website design.
This is Monotype's "Neo-Didot", released in 1904 (IIRC). I've only seen it used once, in this wonderful 1985 edition of Lucian's stories and dialogues, produced by Franz Greno.
As far as I know, this face hasn't been digitized yet, which is a shame, as the digital Didots currently available have a stroke contrast way too high to be useful for longer stretches of text...
Does anyone know who designed Monotype Ehrhardt? The Monotype site simply credits "Monotype Design Studio". Sebastian Carter's _Twentieth Century Type Designers_ says that Stanley Morison directed the Monotype Drawing Office to tweak up a proprietary version of Janson, but Ehrhardt has certain idiosyncratic details--most notably the curved crossbar of the A--which seem out of character for Morison. It does seem like a particular designer with a particular personality worked on this one. Anyone know who?
WOBURN, Mass. Dec. 8, 2010 – Monotype Imaging Holdings Inc. (Nasdaq: TYPE), a leading global provider of text imaging solutions, today announced it has acquired Ascender Corp., a privately held font provider with long-standing relationships with several leading brands including Google and Microsoft, for $10.2 million in cash and stock, net of acquired assets. The acquisition enables Monotype Imaging to broaden its font intellectual property offerings and gain significant typeface design and development talent.
Monotype Imaging Announces the Commercial Launch of Fonts.com Web Fonts
New Offering Provides Best Font Selection, Language Support and Workflow Solution for Web Designers
WOBURN, Mass., Sept. 14, 2010 – Monotype Imaging Holdings Inc. (Nasdaq: TYPE), a leading global provider of text imaging solutions, today announced the general availability of Fonts.com Web Fonts, the company’s cloud-based solution that enables thousands of high-quality fonts to be used in Web page design. Subscription plans are now available at www.webfonts.fonts.com for anyone who creates for the Web, from brand managers, publishers and advertising agencies to non-profit organizations, institutions and bloggers across the globe.
Highlights of Monotype Imaging’s Fonts.com Web Fonts solution:
Do any of the Typophile brethren have an idea why Monotype opted to use upright romans rather than sloped romans when it digitized Fairbank Italic? I've owned this typeface since its initial digital release and hate that I've never used it believing the metal design is vastly superior.
The digital ampersand just hurts and ugh the spacing & kerning is ridiculous. It took me a while to get anything that closely resembles the specimen listed in the Bixler catalogue (the above image in the attached pdf) and still . . . it's pretty weak. Any insights would be appreciated. I'll pipe down now like a good Typophile lurker should.
For a long time I have been typesetting mathematics with LaTeX, which of course works very well. For a while I have contemplated the prospect of typesetting mathematics via letterpress, namely with Monotype's 4-line system.
I admire deeply the work of Hendrik de Roos and Jan van Krimpen, but have been dismayed in my search to find revivals of both men's work. The two dominant Dutch foundries committed to JvK, TEFF and DTL, haven't touched Spectrum, though Monotype did a half-baked and impractical digitization. Also, though De Does' Trinité supposedly takes cues from JvK's Romanée, and TEFF is slowly working on a revival, I would like to know if those plans are still in motion. And what, then, about Cancelleresca Basterda, a face that might finally give JvK's ill-fated Romulus super-family more legitimacy, and which is quite beautiful in its own right?
Both releases are considered as definitive versions and at first sight the DTL Albertina and the MT Albertina seem to be identical to each other. But on closer inspection slight differences reveal themselves to the beholder (e.g. how the serifs flow out of the stems or how the curves are drawn).
I’ve drawn a first comparison between some of the characters. I’ve chosen the characters “E”, “F”, “e” and “c”, because “E” and “F” as well as “e” and “c” have some common ground, so that one can review the consistency and the homogeneity of the design.