We’ve got a few new fonts we’d like to share with you today, as well as an update to one of our old favorites. You’ll find all of these in our font library; go ahead, play with the Type Tester, see which weights and styles best suit your content. We think you’ll love using these.
Fresh from exljbris, the sans-serif Tenso makes for some wonderfully bold headlines that pair well with a number of more delicate serif faces. The rounded shapes of the letters give this typeface an especially playful edge at any weight.
The difference between Hamilton Wood Type’s HWT Slab Antique and HWT Slab Columbian is subtle; Antique’s slabs are squared off in the traditional style, while those in Columbian are very slightly rounded. Both variants look great in big sizes and add a distinctive character to your work.
Dapifer, by Darden Studio, is a flexible slab serif suitable for a number of different editorial settings—and with 12 different weights and styles to mix, you can cover a lot of ground with this typeface.
League Gothic, by open-source type foundry The League of Moveable Type, is a reliable favorite on Typekit, and we’ve just released some improvements to the typeface—namely, hinting adjustments to resolve some rendering issues in Chrome. If you’re already using it in one of your kits, just republish the kit, and the updates will carry through to your sites.
October 17, 2013
In case you missed our tweets about some of these updates from TypeTogether, here’s a roundup showing off some of their latest. If you’re looking to revamp a blog or personal site, you’ll find some great inspiration here.
You might need to set aside the better part of an afternoon when designing with this typeface, because both Ronnia and Ronnia Condensed are available in seven different weights apiece and can be combined in nearly endless configurations that all look great. Perfect for magazine layouts and other editorial uses. (For some advice on designing with multiple weights and styles of the same font, check out Brian Warren’s guest post on the topic.)
A seriffed cousin to Bree, Bree Serif retains the bold character of its predecessor, but with a slightly more subtle approach that’s designed to work well for intensive editorial settings.
Edita makes for a beautiful typeface to display long-form writing, and we’ve recently added its Book weight to the Typekit library in addition to the Regular and Bold weights already on offer. The Book weight almost has a letterpress feel to it, even on screen.
Capitolium 2 takes its name from a typeface designed back in 1998 to help with wayfinding around Rome, which was in turn inspired heavily by the centuries-old tradition of lettering on Roman buildings. TypeTogether’s updated version here works just about anywhere chiseled stone won’t reach, and can serve as a nice alternative to Times New Roman.
October 3, 2013
Housing Neil Summerour’s typefaces since its establishment in 2000, Positype covers the spectrum from tasteful restraint to cheerfully outrageous, and shows a clear affection for handmade pen-and-ink lettering. Among the brands and publications that have used Positype fonts are Communication Arts, HOW Magazine, ABC, MTV, and Victoria’s Secret. Available on Typekit for both web and desktop, Positype faces can be dynamic components for almost any kind of creative project.
Lust is reminiscent of the more flamboyant designs from International Typeface Corporation in the ’70s, which were often inspired by classic text faces but infused with a heightened personality and begged for use with advertising and branding. Lust’s strong and distinctive appearance is attention-grabbing in almost any setting, particularly in a medium which can fully support its extensive ligatures and alternates. Even in more restricted settings, such as web browsers lacking OpenType layout support, Summerour has ensured it will make an immediate impression. Check out Lust’s Didone style for more vertical stress and unbracketed serifs, and its display styles for larger settings.
Halogen sports generous width and a hint of reverse stress—that is, horizontal strokes thicker than vertical strokes—putting it somewhere between mid-century advertising faces like Estro and commercial workhorses like Copperplate Gothic. This varying stroke weight often evokes pen writing, but it is more sculptural in the case of Halogen, giving the letterforms a satisfying substance at display sizes. It performs well at smaller subhead sizes too.
Akagi Pro is a comprehensive, humanist sans serif family which serves more quietly but just as deftly. It’s not without some distinctive design quirks—see the italic’s kinky y and curvy v, w and k—which clearly reflect a handwritten influence more than a mechanical one. Still, its overall character is modern in the best sense of the word. Nine weights, ranging from thin to fat, will provide plenty of options for any typographic environment.
Muscle works best when your goal is to coat the page or screen with as much (actual or virtual) ink as possible. Strangely legible if you set it large enough, Muscle adds heft to word marks and short headlines, and works particularly well in designs where color plays a leading role. Check out both the Narrow and Wide variations—and their italic companions, which seem quite comfortable leaning to the right.
We’ve made some new additions to the Typekit library recently—and they cover quite a bit of ground stylistically. Here’s a few to consider for your next project.
Designer Rui Abreu brings us Azo Sans, a geometric sans that takes heavy inspiration from Futura but with softer angles that lend, in Abreu’s words, a “humanistic quality” to the typeface. The result is polished at any size, with the bolder faces making for exceptionally dynamic headlines. Available in five different weights, with corresponding italics for each.
Screenplays are traditionally written in a monospace typeface, which generally means Courier. Frustrated by this status quo, John August at Quote-Unquote Apps set out to build “the best damn Courier ever,” enlisting Alan Dague-Greene for the design. Courier Prime is optimized for 12-point display, and works nicely onscreen or in print. Don’t miss the gracefully-done italics, either.
Sketchnote emerged from a project between Mike Rohde and Delve Fonts proprietor Delve Withrington to develop the typeface for Rohde’s The Sketchnote Handbook. The hand-drawn style is clean and restrained, with the Text font designed to be legible at smaller sizes, while Square works nicely as a headline counterpart.
September 19, 2013
When we first announced desktop font sync for the Creative Cloud, we mentioned eight top-tier foundries that would be included at launch, and posted about each of their offerings in subsequent weeks. Today we’ll continue the series with an addition to that fine collection of type: Just Another Foundry.
Facit has long been a favorite among Typekit users. It renders impeccably on screen, as it was designed to do: designer Tim Ahrens optimized the letter forms and proportions to work at small sizes, and manually hinted each font style to make sure the typeface performs well in Windows environments.
These optimizations were made specifically for the web, but Facit is also a workhorse for print and graphic design. And unlike with most typefaces, the design differs between web and desktop versions. Tim describes the changes made when redesigning Facit for the web:
Compared to the original design, the x-height was increased and the descenders shortened. The bold version in particular is somewhat lighter and wider – the increased counters aid legibility particularly on screen.
Typekit serves the appropriate versions of Facit to their respective intended media: Facit to desktop, and Facit Web to web. Keep these design differences in mind when mocking up web designs in Photoshop.
JAF Bernini Sans Condensed
Released last year at Typekit for the web, Bernini Sans is made up of two sibling typefaces: Bernino Sans and Bernina Sans. The two are distinguishable by a set of lowercase alternates: the a, g, i, k, and y. The Condensed width of both alternate sets are available for desktop sync for Creative Cloud members. The alternate glyphs are also available as OpenType features in both sets, allowing you to mix and match Bernino and Bernina without having to switch fonts.
June 19, 2013
This is the eighth post in a series highlighting foundry partners who will offer fonts for desktop sync, including Dalton Maag, FontFont, Mark Simonson Studio, TypeTogether, ParaType, exljbris, and URW++.
Adobe’s first retail product, back in 1985, was type. Building its business around its PostScript page description language, Adobe depended on the Type 1 font format to give PostScript its powerful typographic capabilities. Soon after, the Adobe Originals program was conceived to make new typefaces specifically for desktop publishing. Adobe’s primary goal was to create full-featured, timeless typefaces with a high degree of technical care—combining thoughtful type design with an awareness of how best to engineer those fonts to perform well in any conditions. Now, with over 60 typeface families available for desktop sync from Typekit, there is a wide range of Adobe type available for work spanning print, digital documents, and the web. Let’s look at a few of them.
Adobe Garamond, designed by Robert Slimbach, was one of the first Adobe Originals released (in 1989). At the time, it sought to revive an historic and well-known design and adapt it for contemporary desktop publishing. By including an “expert collection” of old style figures, small caps, ligatures, and other typographic alternates, it also expanded the meaning of the word “revival” by re-introducing these advanced typographic features to a new generation of designers. Despite its elegant forms, the font outlines were carefully constructed for the best performance on the hardware of its day—which, conveniently, has also made it excellent for screen rendering.
Minion, also designed by Robert Slimbach and first released in 1990, was in some ways a sequel to Adobe Garamond. For Slimbach, it emerged as an idea during the extensive research and development of Adobe Garamond, and became a distinctive, original typeface inspired by the old style type forms of the late Renaissance but carefully modernized for digital use. It eventually expanded into Cyrillic and Greek scripts, and is now considered one of the high watermarks of the first “golden age” of digital type. Although ideal for book typography, it is more economical in its proportions than the typical old styles, making it useful for magazines and other formats where space can be limited. Like almost every other Adobe Originals text face, today’s OpenType version of Minion has a complete range of old style figures, small caps, fractions, ligatures, and other alternates—all easily accessed in desktop applications like Adobe InDesign.
Another great revival for the Adobe Originals program, Adobe Caslon was carefully adapted by Carol Twombly from the time-honored types of William Caslon. Also released in 1990, Adobe Caslon is an amalgamation of what Twombly found in examining various specimens of Caslon’s original metal type from the 18th century. Through the design process, she worked to preserve its characteristic idiosyncracies while blending different examples into a single text design suitable for modern use.
One particularly appealing aspect of the Adobe Caslon typeface family is the ornamental quality available through its swash capitals and ornaments, based on those found in Caslon’s original specimens and other contemporary sources. They can be used to emphasize Caslon’s true personality through initial caps, energetic italic settings, and borders.
Distinctive and sturdy, Caslon long ago proved itself as a workhorse, and Adobe Caslon has already proven popular in new media like the web—a testament to Twombly’s skill and the universal appeal of Caslon’s original types.
Kepler, first released in 1996, was conceived as a typeface family to cover an expansive range of text and display typography. A modern typeface with humanist, transitional elements, Kepler has a distinctive personality at large sizes in display settings, but gracefully serves at text sizes as well, avoiding the tedium that can come with reading long text passages set in more severe modern faces like Bodoni. Its vertical stress, a feature of all modern style typefaces, can often be the perfect choice for screen rendering.
Typekit offers sixteen variations of Kepler for desktop syncing, covering text and display designs in regular and semicondensed widths, and in roman and italic styles—making it a particularly flexible and powerful choice for a wide range of projects.
Below is a complete list of the families from Adobe that we’ll be making available for desktop sync. Add them to your favorites so you can find them quickly when we launch the desktop sync feature, and use them on the web today. If you’ve never given Typekit a try, sign up (it’s free!), and upgrade to a paid plan when you’re ready.
- Adobe Caslon
- Adobe Garamond
- Adobe Jenson
- Adobe Text
- Bell Centennial Address, Bold Listing, & Name & Number
- Brioso & Poster
- Brush Script
- Caflisch Script
- Cooper Black
- Copal Decorated, Outline, & Solid
- Garamond Premier
- Hypatia Sans
- Immi Five Of Five
- Kepler, including Display, Semicondensed, & Semicondensed Display
- Letter Gothic
- Minion and Condensed
- Minion Std Black
- Myriad, including Condensed, Sketch, & Tilt
- Nueva & Condensed
- Pepperwood & Fill
- Prestige Elite
- Rosewood & Fill
- Source Code
- Source Sans
- Strumpf Contour & Open
- Tekton, including Condensed & Extended
- Trajan Pro 3
- Trajan Sans
- Utopia & Headline
- Zebrawood & Fill
June 11, 2013
Founded in 1972 as URW (Unternehmensberatung Rubow Weber—from the founders’ names) in Hamburg, Germany, then re-imagined as URW++ in 1995, this foundry has been a pioneer in the digitization of type. In addition to crafting many popular original typefaces, URW also develops software for professional font production.
The Typekit library includes several classic fonts from URW++ for web use; Nimbus Sans is frequently featured in the list of your favorite fonts. We are excited to make them available for use in desktop applications as well.
Designed by Morris Fuller Benton for the American Type Founders in 1902, Franklin Gothic was created to be a workhorse. An early geometric sans, the font was designed to work within the grid-based layout system used by newspapers, and for other high-content print material such as train tables.
The simple, unadorned face is highly legible, and in its legibility lies its flexibility. Franklin Gothic pairs well with other types, and is highly tolerant to variations in line and letter spacing. At its heavier weights, it can be read from across the room; at its lightest, it presents content with refreshing clarity.
Typekit is offering URW’s version of the font with a full eight variants—as well as Condensed and Extended versions, each with 2 variants.
Alongside Franklin Gothic, we’re also offering URW’s version of Alternate Gothic.
Designed in 1903, also by Morris Fuller Benton, Alternate Gothic is a condensed variation of Franklin Gothic that is distinguished for its height versus width dynamic. The M height is greater than its width, making it a great font for copy-fitting. Also, its height-to-width ratio makes every character read like an exclamation point—the words almost shout from the page.
Additionally, the Alternate Gothic OpenType Features include Numerators and Denominators for mathematical notation. Pretty swank.
Below is a complete list of the families from URW++ that we’ll be making available for desktop sync. Add them to your favorites so you can find them quickly when we launch the desktop sync feature, and use them on the web today. If you’ve never given Typekit a try, sign up (it’s free!), and upgrade to a paid plan when you’re ready.
June 7, 2013
Jos Buivenga has been designing type for nearly twenty years, beginning in 1994 with a font named Delicious. Pleased with the favorable response to his first designs, Jos posted the fonts on his website for free downloading, and continued with his typography hobby on the side of other work. After about a decade of this, and in response to his growing popularity, he opened the exljbris foundry and transitioned into full-time type design.
Throughout his years of designing type, Jos has continued to make many of his completed fonts available for free download online—a relaxed business model for a foundry, to be sure, and one which has won him a great deal of interest and popularity. The price point isn’t the only reason we see his type in so many places, though; Jos keeps the quality high as well, and works to continually expand and improve upon the font families his foundry offers. We’ve especially enjoyed the immensely popular Museo superfamily, and after seeing some fantastic use of this and other exljbris fonts on the web, we’re excited to begin offering them for desktop sync later this month.
One of the first “serious” versions of a text font from exljbris, Calluna is an attractive option for longer blocks of text that need to be easy to read even at small sizes. Subtle details—like the long descenders on capitals Q and J—give Calluna a distinct personality without becoming distracting. It looks great on screen, and translates nicely to desktop word processing programs as a refreshing alternative to your system default serifs.
Designed as tribute font for Smashing Magazine’s first anniversary, the distinctive shape of Anivers immediately grabs readers’ attention. Since its release in 2007, Jos has worked to expand it into a robust and reliable font family that is suitable for several different uses; while it really shines as a display font, it also makes for an attractive and very readable text font at smaller sizes. We’ve sampled it here in Keynote; in presentations, this is a typeface that the back row should have no trouble deciphering, and it’s stylish to boot.
Below is a complete list of the families from exljbris that we’ll be making available for desktop sync. Add them to your favorites so you can find them quickly when we launch the desktop sync feature, and use them on the web today. If you’ve never given Typekit a try, sign up (it’s free!), and upgrade to a paid plan when you’re ready.
- Anivers & SC
- Calluna Sans
- Fertigo & Script
- Museo Sans, including Condensed & Rounded
- Museo Slab
June 6, 2013
Please join us in welcoming the storied Berthold Types to Typekit! Similar to our partnerships with FontFont, Process Type Foundry, and ARS Type, you can now purchase web licensing for your favorite Berthold fonts and use them on Typekit alongside your library subscription.
Without a doubt, Akzidenz-Grotesk is Berthold’s most well known typeface. First published in 1898, it has inspired other typeface designs for more than a century — Helvetica itself was designed as a reaction to Akzidenz. And now, in 2013, we’re happy to report that Akzidenz-Grotesk is available for web use at a level of quality that properly reflects its 115 years of popularity and usefulness.
License Akzidenz-Grotesk and many other typefaces – like AG Book, Akzidenz-Grotesk Next, City, Corporate ASE, Formata, Futura BQ, Imago, and more – directly from Berthold Types, and host them on Typekit with any of our plans (including our free plan). Here’s how it works. Simply purchase a web license from Berthold Types (contact firstname.lastname@example.org), then follow the voucher link to Typekit. Your new fonts will be instantly transferred to your Typekit account, can be added to a kit just like any other Typekit font, and will be linked through the simple line of code you’ve already added to your site.
Fonts licensed elsewhere and hosted on Typekit will automatically work in every browser that supports @font-face, including those that don’t support WOFF or EOT. Plus, you can look forward to seamless upgrades in the future, whenever your fonts are updated and as web browsers evolve.
Established in 1989, ParaType specializes in developing fonts for high-quality display on screen, with a particular skill for working across different alphabets. In 1995, ParaType introduced Futura PT, which was re-formatted to support multiple languages, including a set of Cyrillic characters. Superior hinting makes Futura PT a reliable font that can handle a wide range of screen resolutions.
ParaType’s release is just one of the most recent milestones in the long timeline of Futura’s history. Originally introduced in 1931, Futura was first designed for Bauer Type Foundry by Paul Renner. In a specimen book titled Futura: The Type of Today and Tomorrow, Renner elaborates on his design ideas.
Renner was deeply influenced by the Bauhaus School, and this is reflected in his thinking about Futura. He strove to design a typeface that was timeless, based on form and function, with a look that was more mechanical than calligraphic. Renner explains:
“Futura attempts, for the first time, to present the form of characters in the most abstract manner conceivable… Through the looking glass the letters of Futura are never of quite equal weight… These variations, derived from the recognition of optical illusion, bring about an equal distribution of color.”
Futura is built from geometric shapes—rectangles, circles, and triangles. Here, Renner used symmetry and proportion to his advantage: the ascenders on the lowercase letters are taller than the caps. The caps themselves are based on classic Roman type proportions. The counters are perfect circles, while the surrounding arcs are elliptical. The vertices on the lighter weight caps, like the ‘M’, descend just below the baseline.
The sum is a typeface that is gently propulsive. Since Futura’s introduction decades ago, it has been in constant use by designers, proving to be as timeless as Renner had hoped. Available in several different styles for the web, Futura PT comes in two distinct weights for desktop syncing—Book and Heavy—as well as their oblique variants.
Also available from ParaType for the desktop is an original face, Adonis. Designed by Natalia Vasilyeva, Adonis is an all-purpose serif with a noble yet affable feel. From the ParaType website: “Adonis is a typeface of classical appearance with slightly oblong proportions, small rounded serifs, and soft letterforms. The face is both space-saving and quite legible in small sizes. The family consists of four standard font styles and proposed for text and display typography.” Adonis includes two weights, plus italics.
Add Futura PT and Adonis to your favorites so you can access them easily when desktop syncing becomes available, and use them on the web today. If you’ve never given Typekit a try, sign up (it’s free!) and upgrade to a paid plan whenever you’re ready.