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Typography News
At last! my foundry G-Type has a web presence. It's only taken 13 years!
You can see it here.
I have updated/extended/improved many fonts to OpenType. Not only that, but all G-Type fonts have a 25% discount for the whole of February.
The new site, created by Leeds-based agency Creode, is a full e-commerce affair boasting highly advanced test drive & sampling tools to fully explore each family’s OpenType features and glyph set. Visitors will also be able to browse my custom font and logo portfolio, plus view and comment on new typefaces in development via the interactive blog.
Type Directors Club has posted an announcement of TDC Non-Latin Weekends, a series of professional seminars and workshops on non-Latin type design.
The first seminar in the series of four will address the problems related to the design of Cyrillic typefaces. It is scheduled to take place from Friday, March 2 to Sunday, March 4, 2012. Reservations to TDC Cyrillic Week-End are now open. Seating is limited.
A similar series of seminars was offered by TDC five years ago. Detailed information on TDC Cyrillic Week-End 2007 is available on the Type Directors Club’s Web site. It was also discussed on Typophile.com. Photographs of Cyrillic classes taken by Adam Twardoch can be found here.
Design Legends & Luminaries Slated to Speak
at TYPO San Francisco
Contact: Meghan Arnold, sanfrancisco@typotalks.com, +1.415.813.5992
Jessica Hische, Neville Brody, Tina Roth Eisenberg, Michael Bierut and Erik Spiekermann will share a stage April 5-6 at TYPO San Francisco.
With an emphasis on design, society, culture – with a little bit of kerning, TYPO San Francisco, based on one of Europe’s most successful design conferences, will take place at Yerba Buena Center for the Arts (YBCA), centering around the theme Connect.
The two-day conference will feature a diverse array of local and international, creative and inspiring speakers across multiple industries in the Novellus Theater at YBCA, including:
Juliette Bellocq — handbuiltstudio
Michael Bierut — Pentagram
Neville Brody — Research Studios
Thomas Castro — LUST
Peter Cho — Inkling
Jessica Hische
Nat Hunter — Airside
Morag Myerscough — Supergroup
Jim Parkinson — Parkinson Type Design
Yves Peters — The FontFeed
Hugo Puttaert — visionandfactory
Oliver Reichenstein — iA
Tina Roth Eisenberg — swissmiss
Erik Spiekermann and Kali Nikitas will facilitate in the main hall. The event will also feature typographic workshops and presentations by visual and performance artists.
Regularly priced tickets ($500) are available through February 29, with late registration ($600) beginning March 1 up until the conference. Group rates are available. Additionally, a limited number of student tickets will also be available at a reduced rate.
TYPO sponsors include FontShop, FontFont, Adobe, Emigre and Communication Arts. Several corporate sponsorship opportunities are still available, please email sanfrancisco@typotalks.com for more information on sponsoring.
Bloggers are invited to connect with their readers at the event by placing a badge on their site for a discounted ticket. More information at: typotalks.com/sanfrancisco/blog-banners/
Continuously updated details on the event are available at www.typotalks.com/SanFrancisco, on Twitter (@TYPOSF) and Facebook (facebook.com/TYPOSanFrancisco).
About TYPO
TYPO Conferences are a huge success in Europe. TYPO Berlin has become Europe’s premier annual design conference featuring a veritable who’s-who from the elite of design with cultural commentary and social relevance presenting a design barometer of the rapidly changing creative arena of the last 17 years, and as you might expect, more than a little key knowledge of the world of typography. TYPO London premiered in London to rave reviews in October 2011.
About TYPO San Francisco Connect
San Francisco is a key location for design. Technology and software development have seamlessly entered the design process with creativity and innovation underpinning the way people are educated, conduct business and think about society. We all connect with the world every day. Good design makes this fun and easy, bad design ruins the experience. Being overly connected can be fulfilling or overwhelming. Disconnecting can be a relief or isolating. And all of this is changing constantly with technology. TYPO San Francisco brings together incredible speakers from both European and American design communities to share their work and insights on what it means to connect.
One of TypeTogether's latest releases, the Abril type family, keeps growing. We added two new fonts to the display part of this successful typeface. Abril Display Black and Abril Display Black Italic grant yet a bolder and more contrasted option that is suitable for the biggest headlines and signs.
Learn more about Abril typeface at: http://www.type-together.com/Abril
De Pinte, Belgium - January 12, 2012
Ten years ago, one would have hardly believed that slab serifs would regain the popularity they enjoy today, or that they would again occupy such a commanding position in the design of advertisements, magazines and newspapers.
The slab serif, as a genre of letter, came into existence in the early nineteenth century. The first slab serifs were crude looking, even grotesque. Their fat, squarish proportions, monoline forms and dark colour served one goal above all: to make a powerful and compelling impression on readers. Like the nearly contemporary sans serif, slab serifs dominated display lettering and typography in the West for much of the nineteenth century.
After this ‘first wave’ of slab serifs, which lasted for about a century and resulted mainly in single unrelated fonts, mechanical improvements in type production and changing approaches to typeface design brought about better-planned font ‘families’. A ‘second wave’ of slab serifs ensued, and typefaces such as Memphis, Beton, City, Karnack, Rockwell and others invigorated the genre in the late 1920s and throughout the 1930s.
OurType Stan is a reinterpretation of a now almost forgotten slab serif named ‘Wellington’, belonging to this period, which was issued in 1913 by Brüder Butter, a Dresden typefoundry specialising in display type, or ‘Schrift für Werbung’. Wellington was designated a ‘Balken-antiqua’, a slab serif that aimed for elegance and readability in text without sacrificing visual power. The revival of Wellington as OurType Stan is designed by Maurice Göldner, whose first commercial font family is OurType Meran.
The Stan family consists of roman and italic designs in seven weights: Thin, Light, Blond, Normal, SemiBold, Bold, and Black. Its PRO character set includes small caps; lining, old style, and small cap height sets of figures (each in tabular and proportional widths); fractions; comprehensive superiors, inferiors, nominators and denominators; case sensitive punctuation sets; mathematical and monetary symbols; arrows; standard and discretionary ligatures; alternate stylistic sets, and a complete range of accents covering all (Latin script based) Western, Central and East European languages. Additionally, Stan features a variant with longer ascenders and descenders – Stan Plus - specially designed for text allowing generous vertical spacing.
OurType Stan is part of today’s ‘third wave’ of slab serifs. Its design brings out the best of both worlds: the subtle perfume of the past and the ‘esprit’ of the present. Unpretentious and straightforward, Stan is a smart and effective choice for a very wide range of applications.
Produced and released by OurType in 2012, Stan fonts are available in OpenType PRO character set only.
About Maurice Göldner
Maurice Göldner is a typographic designer, born in Germany. He studied communication and graphic design at the Burg Giebichenstein - Hochschule für Kunst und Design, Halle and later type design with Fred Smeijers at the Hochschule für Grafik und Buchkunst in Leipzig, from where he graduated Cum Laude in 2009.
Maurice has a keen interest in lettering and typographic research. His work has been exhibited in Leipzig and Copenhagen. Maurice Göldner's Meran was awarded the Saxon State Award for Design in 2009.
Maurice lives and works in Leipzig.
About OurType
Founded in 2002, OurType is an independent type foundry led by Fred Smeijers, Corina Cotorobai and Rudy Geeraerts. Its signature collection consists of fine typeface designs that respect traditional values and yet are tailored to contemporary needs. In addition to its renowned designers – Smeijers and Verheul – OurType also publishes fonts from some of the best young talents: Nikola Djurek, André Leonardt, Merel Matzinger, Artur Schmal, Thomas Thiemich, Hendrik Weber, Maurice Göldner, Peter Mohr, Frederik Berlaen, Valentin Brustaux, and Nils Thomsen.
OurType collection is available at www.ourtype.com
OurType web fonts exclusive to webINK
Monotype Imaging’s Fonts.com Web Fonts team and Google have been brainstorming ways to make Web fonts better.
Looking to reduce Web font file sizes, the Google Web Fonts team began working closely with Monotype to discuss the advantages of their patented MicroType® Express (MTX) algorithm. The results led to the joint conclusion that in order to truly maximize the value of this technology, it needed to be adopted by Web browsers and font tools. It was decided that the greatest benefits would be achieved by sharing MTX with the entire Web community. As a result, Monotype Imaging has agreed to make the MTX format, as described in our W3C submissions, available to the public at no cost.
The ongoing collaboration will lead to a significantly better user experience, including web fonts used in branded content loading faster, better font rendering quality for noticeably better display quality across a variety of device screens and improved cross platform performance.
EDITION LIDU search for author’s books, graphic books, art comic strips, illustrated short stories, photo books, hand-printed books and other original book forms which haven’t been published yet or has been self-published in limited edition.
The Call for Entries is open to established and emerging ARTISTS, ILLUSTRATORS, GRAPHIC DESIGNERS and TYPOGRAPHERS, PHOTOGRAPHERS, WRITERS, ART and DESIGN STUDENTS.
Deadline for Submissions: 16 March 2012
Submit your project here:
http://www.editionlidu.com/artbookswanted/
January 17, 2012.
Dezcom Typefaces is proud to announce the release of "Dez Yinznat Stencil," a tough typeface with an industrial quality.
"Dez Yinznat" is a condensed stencil Opentype-savvy sans serif inspired by the industrial city of Pittsburgh, PA, USA. Stencil type was often used in the steel mills, scrap metal yards, railroads, warehouses, and other industrial institutions of Pittsburgh and is almost a signature for the City.
The name comes from combining two colloquial expressions common to Pittsburgh. "Yinz" is used there like "You'all" is used in Southern States. "n'at" or sometimes "N@" is used to replace "and that" when ending a phrase.
The designer, Chris Lozos, says, "Pittsburgh was a true melting pot in my youth. My grandfather grew up in Greece and worked in the steel mills in Pittsburgh along side every other ethnicity. There "broken English" was the norm. Accents mingled and got mangled. Somehow, out of it all, came this odd dialect. Pittsburghese is not a very pleasant sounding departure from the norm but it befits hard times, hard work, tough conditions and a brotherhood of nationalities all bound together with the hope that the quitting time whistle would blow soon and they could rest—at least until their next shift."
This font is dedicated to the hard-working people who made steel then and now. From Homestead Works, Pittsburgh and other American mill towns from Gary south to Birmingham and across the Atlantic to Europe's Hamburg, Sheffield, Pražská, Košice, Liége, Smederevo, and more.
is now available through MyFonts at:
http://new.myfonts.com/fonts/dezcom/dez-yinznat-stencil/
Copyright 2012 by Chris Lozos and Dezcom
astroluxtype's Spacepod is a headline display font set. The font contains uppercase and lowercase letterforms with a minimum glyph set. Sold through Myfonts.com. The style suggests weird sci fi from the 1970's or the far future... you decide? Is this the font for your sci fi western book cover title with a nod to The Matrix in the story or a poster for the movie remake of Westworld? Wherever your ship takes you in the universe Spacepod should be the letterforms that identify your interstellar vehicle! See it at Myfonts.com http://new.myfonts.com/fonts/astrolux/spacepod
The Society of Typographic Aficionados is pleased to announce the third annual SOTA Catalyst Award for young people who have created original work in type design, type history, or other areas related to typography. The award recognizes a person 30 years of age or younger who shows both achievement and future promise in the field of typography.
The recipient will be awarded up to $1,500 USD in reimbursement for transportation and lodging expenses to attend the TypeCon2012 conference in Milwaukee, Wisconsin — July 31st – August 5th. They will also have their conference registration fee paid for and will give a 20-minute presentation during the main conference program. The SOTA Board of Directors hopes that this introduction to a large audience of typographic aficionados will be a catalyst in the career of the recipient.
Judging Committee
Geraldine Banes (formerly Geraldine Wade)
Amelia Hugll-Fontanel
Charles Nix
Mark Simonson
Submission Deadline
March 9th, 2012
Notification of Award
March 30th, 2012
Requirements
You must be 30 years of age or younger on August 2nd, 2012 and must attend TypeCon2012 in Milwaukee — August 2nd - 5th, 2012 — to make a presentation during the conference.
The following materials must be emailed to catalyst@typesociety.org by the submission deadline. A single PDF file (may be multiple pages) containing the following information is preferred:
- Examples of a specific project or related group of work to be the topic of the presentation
- A brief description of the presentation (100 words or less)
- A letter explaining your involvement in typography (300 words or less)
- Optional: Online links to additional work or background information
Include your name, date of birth, postal address, organization or university affiliation (if applicable), email, and phone number with area code. Applicants from outside the U.S. or Canada should include their country dialing code as well.
Embossanova was inspired by Bodoni and Lubalin Graph, an unlikely pairing says Stephen Boss, the type designer designer and owner of the digital type foundry Emboss Fonts.
Initially the design started off as a rather elongated geometric serif typeface but after the renderings were digitized, the process took on a life of its own. The capital S became the key character, setting the tone for the entire set of glyphs.
The typeface has received very positive feedback, here is a tweet from fonts.com: @fontscom Check out Embossanova, a wonderful
new release from @stephenboss2000! http://bit.ly/v0NEAc #fonts #typography
Embossanova (and Emboss' complete library) can be purchased exclusively at Fonts.com, Linotype and ITC.
http://www.fonts.com/findfonts/detail.htm?productid=922170
http://www.linotype.com/750383/ElefontEmboss-family.html
http://www.itcfonts.com/fonts/detail.htm?ProductID=922170
___________________
About Emboss
Emboss Fonts creates highly personalized fonts for the Mac & PC, Stephen Boss (owner) has been designing fonts since the Mid Nineties. In addition to designing fonts for distribution, he consults on custom corporate projects. The foundry currently has several new designs in queue.
####
Wishing you peace, health and prosperity on behalf of everyone at Monotype Imaging.
Maax is a sans serif font with 3 sets of alternatives glyphes; standard, geometrical, grotesque
Created by Damien Gautier and Quentin Margat (bureau 205)
Maax contains 4 cuts (Regular, Medium, Bold and Black) and 3 italics (Italic, Medium Italic and Bold Italic).
Maax will be available on february 2012 on www.editions205.fr
Soon...
WOBURN, Mass.--Dec 14, 2011 -- Monotype Imaging Holdings Inc. (Nasdaq: TYPE), a leading global provider of text imaging solutions, has introduced the Arial® Unicode® MS Bold typeface. Comprised of nearly 50,000 characters, the newest addition to the Arial suite marks a typographical first — the ability to use a true, bold version of Arial Unicode.
Arial Unicode MS Bold complements Arial Unicode MS, the regular weight of the same design, which is included in Microsoft® Office® products and is shipped in various applications.
"The expression, ‘everything but the kitchen sink,' applies to Arial Unicode, as it contains thousands of characters used in major commercial markets across the globe," said Allan Haley, director of words and letters at Monotype Imaging. "Designers and developers can now turn to a genuine, bold version of Arial Unicode, without having to apply a computer-generated affect to achieve a bold look, or switch to a different typeface. Whether the intent is to create typographic hierarchy or harmony, Arial Unicode and Arial Unicode Bold will work beautifully together."
Like its Arial Unicode counterpart, which Monotype Imaging has licensed to hundreds of companies worldwide for use in millions of products that provide multilingual support, Arial Unicode Bold is a sans serif design that contains all the characters, ideographs and symbols defined in version 2.1 of the Unicode Standard, the character encoding system defined by the Unicode Consortium. The Arial Unicode fonts can also serve as fallback fonts, which are used when a system encounters characters that are not contained in other available fonts. For example, a user creates a newsletter with an Arabic font and sends it to another user, who displays the document on a different computer. Arabic characters not contained in the viewer's system will then display using Arial Unicode.
A wide range of languages are supported by Arial Unicode fonts, including Western European languages, Simplified Chinese, Traditional Chinese, Japanese, Korean, Arabic, Hebrew, Thai, Vietnamese, Greek, Cyrillic and Indic languages. Arial Unicode fonts are an extension to the original Arial typefaces created by Robin Nicholas of Monotype Imaging and Patricia Saunders.
Availability
Arial Unicode fonts are available in TrueType® and OpenType® formats. Software and hardware developers may contact Monotype Imaging at oem@monotypeimaging.com to request licensing information. Creative professionals may purchase and download the fonts from www.fonts.com, www.linotype.com and www.itcfonts.com. Customers may contact Monotype Imaging in the U.S. toll-free at 800-424-8973 or in Europe at 44-1737-765959 (U.K.). Linotype may be reached at 49-6172-484-418 (Germany). Customers from other parts of the world may dial 1-781-970-6020 (U.S.).
About Monotype Imaging
Monotype Imaging combines technology with design to help the world communicate. Based in Woburn, Mass. with offices in the U.S., Europe and Asia, Monotype Imaging brings text imaging and graphical user interface capabilities to consumer electronics devices such as laser printers, copiers, mobile phones, navigation devices, digital cameras, e-book readers, automotive devices, tablets, digital televisions, set-top boxes and consumer appliances. The company also provides printer drivers, page description language interpreters, printer user interface technology and color imaging solutions to printer manufacturers and OEMs (original equipment manufacturers). Monotype Imaging technologies are combined with access to more than 14,000 typefaces from the Monotype®, Linotype® and ITC® typeface libraries — home to some of the world's most widely used designs, including the Times New Roman®, Helvetica®, Frutiger® and ITC Franklin Gothic™ typefaces. Fonts are licensed to creative, business and Web professionals through e-commerce portals, direct and indirect sales and custom design services. Monotype Imaging offers industry-standard font solutions that support all of the world's major languages. Information about Monotype Imaging can be found at www.monotypeimaging.com.
Monotype is a trademark of Monotype Imaging Inc. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Arial and Times New Roman are trademarks of The Monotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Linotype is a trademark of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Helvetica and Frutiger are trademarks of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. ITC is a trademark of International Typeface Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. ITC Franklin Gothic is a trademark of International Typeface Corp. and may be registered in certain jurisdictions. Unicode is a registered trademark of Unicode, Inc. in the U.S. and other countries. TrueType is a trademark of Apple Inc. registered in the U.S. and other countries. Microsoft, Microsoft Office and OpenType are either registered trademarks or trademarks of Microsoft Corp. in the U.S. and/or other countries. All other trademarks are the property of their respective owners. ©2011 Monotype Imaging Inc. All rights reserved.
Monotype Imaging Inc.
Vikki Quick, 781-970-6115
vikki.quick@monotypeimaging.com
or
Monotype Imaging Ltd.
Julie Strawson, 44 (0) 1737-781624
jl.strawson@monotypeimaging.co.uk
or
Linotype GmbH
Lorenz Schirmer, 49 (0) 6172-484-470
lschirmer@linotype.com
The long awaited (at least by me!) book by Rick Cusick, "What Our Lettering Needs: The Contribution of Hermann Zapf to Calligraphy and Type Design at Hallmark Cards" is finished. Publisher RIT is now taking pre-orders http://carypress.rit.edu/publications/books/what-our-lettering-needs.html
The book was conceived of at Zapfest in San Francisco when Rick discussed the idea with Zapf. Rick had contributed the chapter on Zapf's Hallmark fonts to the concurrent Zapfest book "Calligraphic Type Design in the Digital Age". In spite of the large influence that the Hallmark-produced movie featuring Zapf had, Rick lamented that most people didn't know or have access to the body of Zapf's accomplishments while he was a consultant to Hallmark (1966-1972). This book remedies the situation. It's a very lovely book (he's a wonderful designer and wrote and designed it), and it's a great story replete with amusing anecdotes, many asides and lots of previously unseen art in full color.
Helfa is a typeface that has been thoughtfully planned, lovingly drawn, and carefully crafted by Delve Withrington. Although a new, original type design Helfa will at once seem like an old friend. With a range of five useful weights and five corresponding true italics all in OpenType format, Helfa is a typeface that has what is needed to do the job right.
Helfa Regular and Italic are available for free. A complimentary copy can be downloaded from: http://www.delvefonts.com/helfa.html
Readability is baked in with a generous x-height, fine proportions that have a medium height to width ratio, and reasonable contrast in stroke weight variation. The letter shapes are individually drawn to be distinctive, not simply mirrored or rotated. The sturdy, bracketed serifs hold up confidently below twelve points. Helfa can be relied upon for setting lengthy texts at smaller sizes but is still readily applicable to a number of other tasks.
There is enough subtle detail in Helfa to hold interest at larger point sizes too. The stems are not straight lines but curve inward very slightly towards the middle. The serifs are subtley cupped and taper to a finish at shallow angles. The curved strokes have stress strategically located along the circumference and the wedge brush shaped terminal is a recurring feature throughout the typeface, especially in the italics.
Helfa is available now at: http://www.delvefonts.com/helfa.html
Sign up to receive the Delve Fonts newsletter: http://eepurl.com/ikNr
Follow Delve Fonts on Twitter: http://www.twitter.com/delvew
Be a friend with Delve Fonts on Facebook: http://www.facebook.com/delvefonts
Helfa is a trademark of Delve Fonts. All rights reserved.
Delve Fonts is a full-service type foundry in Alameda, CA offering designers and clients exclusive new typefaces and type design services including: Custom Type Design, Fonts for Mobile Devices, and Foreign Language Fonts.
For Immediate Release
De Pinte, Belgium - December 7, 2011
Meret is the work of Nils Thomsen, a young type designer, whose undogmatic attitude to design and straight-on working methods are powered by research, perseverance, and the latest font development technologies. Meret is the fruit of this approach, formed during Nils's time on the Type]Media course at The Royal Academy of Art in The Hague.
The design of OurType Meret carefully balances pointed-nib and broad-nib stroke contrast. It is styled to contemporary typographic requirements and fine-tuned throughout its range of weights. These perform faultlessly in text, while the Thin and Black weights are great for headlines. Meret's italics, mild in manner, are the perfect foil for its vivid romans. And the serifless figures stand out beautifully – among them are lining, old style, and small cap designs, and an intermediate variant whose height is well suited to newspaper texts of all kinds. Meret's uppercase height, slightly reduced, is similarly optimized for typesetting in languages that are capitals-intensive, such as German.
Apart from newspaper work, OurType Meret serves any kind of design involving extended texts, from books to dictionaries to magazines. It is hardly coincidental that Florian Bachleda & Christian Schwartz chose Meret for the recent re-design of Fast Company, the magazine of entrepreneurial innovation.
The Meret family consists of roman and italic designs in seven weights: Thin, Light, Normal, Medium, SemiBold, Bold, and Black. Its PRO character set includes small caps; lining, old style, small cap, and an intermediate height set of figures (each in tabular and proportional widths); fractions; comprehensive superiors, inferiors, nominators and denominators; case sensitive punctuation sets; mathematical and monetary symbols; arrows; standard and discretionary ligatures; and a complete range of accents covering all (Latin script based) Western, Central and East European languages.
Produced and released by OurType in 2011, Meret fonts are available in OpenType PRO character set only.
Meret is a winner of the Letter.2 type design competition, organized by the Association Typographique Internationale in 2011.
About Nils Thomsen
Nils Thomsen was born in Eckernförde, northern Germany. Captivated by graffiti since his childhood, Nils has later developed a sense of fascination for lettershapes. It was this that brought Nils to Muthesius Art School in Kiel to study Graphic Design. During his undergraduate studies, type and typography became Nils' primary interest. The school's type design classes led by Albert-Jan Pool had played a crucial role in defining Nils' next step – the Royal Academy of Art (KABK) in The Hague. He successfully completed his Master Degree at postgraduate course Type]Media in 2010.
Nils lives and works in Hamburg.
About OurType
Founded in 2002, OurType is an independent type foundry led by Fred Smeijers, Corina Cotorobai and Rudy Geeraerts. Its signature collection consists of fine typeface designs that respect traditional values and yet are tailored to contemporary needs. In addition to its renowned designers – Smeijers and Verheul – OurType also publishes fonts from some of the best young talents: Nikola Djurek, André Leonardt, Merel Matzinger, Artur Schmal, Thomas Thiemich, Hendrik Weber, Maurice Göldner, Peter Mohr, Frederik Berlaen, and Valentin Brustaux, now joined by Nils Thomsen.
OurType collection is available at www.ourtype.com
OurType web fonts exclusive to webINK
HAPPY HOLIDAYS!
happy designers, happy designs, happy typesetting, happy leading, happy tracking and kerning, happy lettershapes, happy readers, happy clients and now... HAPPY PRICES
20% off on all purchases through January 2.
Use code 43965b64 during checkout.
TypeTogether wishes you a happy and healthy holiday seasson!
More information at our website www.type-together.com
Sutturah – dangerous curves!
Designed by Octavio Pardo, Sutturah is a display font intended for poster and editorial design. It was born as an exploration of new text patterns. The font combines very detailed and constructed shapes with script flavour. The design has varied influences, from gothic fraktur to the display super black high contrasted wood types.
Sutturah is informal and irreverent. Its strong character goes beyond letter shape construction conventions; it quickly catches the eye and surprises the reader. Its personality allows for the creation of stunning pieces of design without the need of any other elements… a single word in Sutturah is worth a thousand images. Extra ligatures and swashes give the user even more possibilities and add to the fun of using Sutturah!
See the specimen at Rosetta Type Foundry
 Soleil, designed by Wolfgang Homola, is a geometric sans serif typeface. Unlike most existing geometric sans serif typefaces, it has asymmetrical counters, making it look fresher, more dynamic and more contemporary. Simple geometric forms – such as the circle or the square – played a certain role in the design of the letterforms, but in order to introduce more fluidity into the rather stiff and rigid concept of geometric sans serif typefaces, a lot of optical corrections were necessary.
Soleil is based on the modernist ideas of simplicity, clarity and reduction to essential forms. Yet its letter shapes are not the result of geometric construction, but of a design process that brings together simplicity and fluidity, clarity and rhythm.
Soleil has a rather large x-height, making it legible also in small sizes or from a bigger distance. The typeface family consists of six weights.
The Opentype version also allows for the implementation of typographic features such as Small Caps, lining and old-style figures, both tabular and proportional, ligatures, alternate characters, case-sensitive variants and fractions.
Soleil offers a wide range of potential applications: signage and wayfinding systems, book and magazine design, branding and corporate publications.
more information at: http://www.type-together.com/Soleil
Floodfonts offers a new typeface for free download: POLARIS uses historical references as inspiration: slab-serif fonts in a turn-of-the-century style. In combination with modern elements and a technical-like drawing style the font develops an unusual, cool retro charm. Polaris comes with an extensive character set to support all central-european languages. http://www.floodfonts.com
Monotype Imaging Announces Winning Entries for the Second Annual Web Font Awards
International Competition Honors Exceptional Use of Web Fonts in Web Design
Monotype Imaging Holdings Inc., a leading global provider of text imaging solutions, has announced the winners of its second annual Web Font Awards, the international competition that recognizes websites that incorporate exceptional use of Web fonts. First place in the Judges’ Choice category went to “DAS FORK” from Fork Unstable Media GmbH, and the Community Choice winner was “Baltimore Fishbowl” from Fastspot.
“The Web Font Awards celebrates and recognizes great design using Web fonts. Designers are increasingly using Web fonts, as awareness builds in how they can enrich visual experiences, while also making sites more searchable and easier to use.”
.Second place in the Judges’ Choice category went to “Debbie Millman” from UnderConsideration and third place was awarded to “SAM,” submitted by MAMUS.
An image gallery of this year’s Web Font Awards winnersis available at http://tinyurl.com/7srljqx.
“This year’s contest showcased amazing talent from all over the world,” said Allan Haley director of words and letters at Monotype Imaging. “The Web Font Awards celebrates and recognizes great design using Web fonts. Designers are increasingly using Web fonts, as awareness builds in how they can enrich visual experiences, while also making sites more searchable and easier to use.”
The four winning websites incorporate typefaces served through a variety of methods. DAS FORK uses a self-hosted implementation to deploy the Malabar™ family, a Linotype® face that won a certificate of excellence in typeface design in 2009 from the Type Directors Club of New York City at its TDC2 competition. Karim Kreuder, designer at Fork, said, “Malabar has a unique character that we think is a perfect fit for the design of the Fork website.”
Baltimore Fishbowl uses the service from Typekit to display the Proxima™ Nova and Chaparral™ families. The Debbie Millman and SAM sites feature Neue Haas Grotesk™ and Neue Helvetica® families, respectively. The winning designs are on display on the homepage of www.webfontawards.com. All submissions are exhibited on the site’s gallery.
This year’s grand prize for both the first place Judges’ Choice and Community Choice winners is a trip to London with a VIP pass to the Future of Web Design London Conference in the spring of 2012. All three Judges’ Choice honorees and the Community Choice winner receive an Apple® iPad® 2 device, a subscription to Monotype Imaging’s Fonts.com Web Fonts service and a license for the FontExplorer® X Pro font management software. In addition, the Community Choice and Judges’ Choice first and second place winners receive licenses for the Monotype®, Linotype® and ITC® font library collections.
The second annual Web Font Awards was sponsored by Monotype Imaging with support from Carsonified, a UK-based company that produces events for Web professionals, including the Future of Web Design conferences. Monotype Imaging also worked with the WebINK® Web font service from Extensis and media partners to select the entrants to be judged, in addition to announcing the Web Font Awards winners at the Future of Web Design conference on Nov. 7, 2011. Media partners included Cincinnati-based HOW magazine, which serves graphic design professionals; Creative Review, a UK-based publication focused on the communication arts; Slanted, a Germany-based typography magazine; and Novum, a graphic design magazine, also headquartered in Germany.
About Monotype Imaging
Monotype Imaging combines technology with design to help the world communicate. Based in Woburn, Mass. with offices in the U.S., Europe and Asia, Monotype Imaging brings text imaging and graphical user interface capabilities to consumer electronics devices such as laser printers, copiers, mobile phones, navigation devices, digital cameras, e-book readers, automotive devices, tablets, digital televisions, set-top boxes and consumer appliances. The company also provides printer drivers, page description language interpreters, printer user interface technology and color imaging solutions to printer manufacturers and OEMs (original equipment manufacturers). Monotype Imaging technologies are combined with access to more than 14,000 typefaces from the Monotype, Linotype and ITC typeface libraries – home to some of the world's most widely used designs, including the Times New Roman®, Helvetica®, Frutiger® and ITC Franklin Gothic™ typefaces. Fonts are licensed to creative, business and Web professionals through e-commerce portals, direct and indirect sales and custom design services. Monotype Imaging offers industry-standard font solutions that support all of the world's major languages. Information about Monotype Imaging can be found at www.monotypeimaging.com.
Monotype is a trademark of Monotype Imaging Inc. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Times New Roman is a trademark of The Monotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Linotype and FontExplorer are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Malabar is a trademark of Linotype GmbH and may be registered in certain jurisdictions. Helvetica and Frutiger are trademarks of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. Neue Haas Grotesk is a trademark of Linotype Corp. and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. ITC is a trademark of International Typeface Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. ITC Franklin Gothic is a trademark of International Typeface Corp. and may be registered in certain jurisdictions. Proxima is a trademark of Mark Simonson Studio LLC and may be registered in certain jurisdictions. Chaparral is a trademark of Adobe Systems Inc. in the U.S. and/or other countries. Apple and iPad are registered trademarks of Apple Inc. WebINK is a trademark of Extensis, a division of Celartem, Inc. All other trademarks are the property of their respective owners. © 2011 Monotype Imaging Inc. All rights reserved.
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 intends to acquire Bitstream’s popular MyFonts.comsm website, featuring 89,000 fonts from nearly 900 foundries, and Bitstream’s widely used WhatTheFont™ identification service. The transaction will also include the Bitstream® typeface library, the company’s Font Fusion® and Bitstream Panorama™ font rendering and layout technologies, a range of fonts for embedded and mobile environments, and 10 patents. Approximately 15 employees from Bitstream’s U.S. operations, based in Marlborough, Mass., are expected to join Monotype Imaging, in addition to approximately 40 engineers and type designers who work at Bitstream’s development facility in Noida, India.
The combination of Monotype Imaging’s global reach and financial strength with Bitstream’s renowned e-commerce site and OEM business is expected to enable Monotype Imaging to serve a broader set of markets, while delivering high-quality user experiences on any publishing medium, platform or device.
“This is an important milestone in our history, as we combine two entities that care passionately about type,” said Doug Shaw, president and chief executive officer at Monotype Imaging. “The acquisition fits squarely in our stated strategy of expanding IP, growing our customer base, capturing emerging opportunities, and increasing momentum in our growth businesses. Bitstream will bring a strong e-commerce business and a thriving online community that is highly complementary to our strength in serving corporations and brands. We’ll also gain an expanded OEM customer base for our Display Imaging business, operations in India, and a team of highly respected type experts to add to our own.”
“This is a historic marriage,” said John Collins, vice president and chief technology officer at Bitstream. “Combining MyFonts’ success in bringing together cutting-edge type designs from 21st century designers with Monotype Imaging’s huge library of classic faces and top-notch design expertise sets up for a strong, exciting future for type.”
Based on information disclosed in Bitstream’s filings, Monotype Imaging estimates that the portion of the business the company will be acquiring had font-related revenue of approximately $17.0 million in 2010. Upon closing, Monotype Imaging anticipates that the majority of revenue will be included in the company’s Creative Professional business. The acquisition is expected to be accretive to net adjusted EBITDA and non-GAAP earnings per share, including the impact of non-recurring merger-related costs within the first year of closing.
The transaction is expected to close at the end of the first quarter of 2012, pending the satisfaction of customary closing conditions, the approval of Bitstream’s shareholders, and the spinoff by Bitstream of its mobile browsing and variable data publishing businesses into a new, standalone company. Monotype Imaging anticipates financing the deal through a combination of cash balances and the company’s secured revolving credit facility.
Conference call details
Monotype Imaging will host a conference call for financial analysts and shareholders tomorrow, Nov. 11, 2011, at 8:00 a.m. EST to discuss the company’s agreement to acquire Bitstream’s font business. Individuals who are interested in listening to the audio webcast should log on to the Investor Relations portion of the About Us section of Monotype Imaging’s website at www.monotypeimaging.com. The live call can also be accessed by dialing 1-877-941-9205 (domestic) or 1-480-629-9692 (international) using passcode 4488056. If individuals are unable to listen to the live call, the audio webcast will be archived in the Investor Relations portion of the company’s website.
Forward-looking statements
This press release contains certain forward-looking statements about Monotype Imaging and Bitstream including statements that involve risks and uncertainties concerning Monotype Imaging’s proposed acquisition of Bitstream. Actual events or results may differ materially from those described, expressed or implied in this press release due to a number of risks and uncertainties, many of which are beyond the control of Monotype Imaging or Bitstream. The potential risks and uncertainties include, among others, the possibility that the transaction will not close or that the closing may be delayed, general economic conditions, industry specific conditions and the possibility that Monotype Imaging or Bitstream may be adversely affected by other economic, business, and/or competitive factors. In addition, information is available in the documents that Monotype Imaging and Bitstream, respectively, file with the SEC on Forms 10-K, 10-Q and 8-K. These filings identify and address other important factors that could cause Monotype Imaging’s and Bitstream’s respective financial and operational results to differ materially from those contained in the forward-looking statements set forth in this document. Accordingly, no assurances can be given that any of the events anticipated by the forward-looking statements will transpire or occur, or if any of them do so, what impact they will have on the results of operations or financial condition of Monotype Imaging or Bitstream. Monotype Imaging and Bitstream are under no duty to update any of the forward-looking statements after the date of this press release to conform to actual results.
About Monotype Imaging
Monotype Imaging combines technology with design to help the world communicate. Based in Woburn, Mass. with offices in the U.S., Europe and Asia, Monotype Imaging brings text imaging and graphical user interface capabilities to consumer electronics devices such as laser printers, copiers, mobile phones, navigation devices, digital cameras, e-book readers, automotive devices, tablets, digital televisions, set-top boxes and consumer appliances. The company also provides printer drivers, page description language interpreters, printer user interface technology and color imaging solutions to printer manufacturers and OEMs (original equipment manufacturers). Monotype Imaging technologies are combined with access to more than 14,000 typefaces from the Monotype®, Linotype® and ITC® typeface libraries – home to some of the world's most widely used designs, including the Times New Roman®, Helvetica® and ITC Franklin Gothic™ typefaces. Fonts are licensed to creative, business and Web professionals through e-commerce portals, direct and indirect sales and custom design services. Monotype Imaging offers industry-standard font solutions that support all of the world's major languages. Information about Monotype Imaging can be found at www.monotypeimaging.com.
Monotype is a trademark of Monotype Imaging Inc. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Times New Roman is a trademark of The Monotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Helvetica is a trademark of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. ITC is a trademark of International Typeface Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. ITC Franklin Gothic is a trademark of International Typeface Corp. and may be registered in certain jurisdictions. Bitstream, Font Fusion and Pageflex are registered trademarks of Bitstream Inc. MyFonts and MyFonts.com are registered service marks of Bitstream Inc. WhatTheFont, Bitstream Panorama and Bolt are trademarks of Bitstream Inc. All other trademarks are the property of their respective owners. ©2011 Monotype Imaging Holdings Inc. All rights reserved.
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FREQUENTLY ASKED QUESTIONS
1. Who is Bitstream?
Bitstream was founded in 1981 as a font foundry and today develops software technologies and applications for the graphic art and mobile communications industries. Bitstream’s award-winning fonts and font technologies enable device manufacturers and application developers to render the highest quality text in any language, on any device, at any resolution. The company’s MyFonts brand is one of the world’s leading online providers of fonts to consumers.
2. Which parts of Bitstream’s business does Monotype Imaging intend to acquire?
Monotype Imaging intends to acquire Bitstream’s font business, which comprises e-commerce solutions and OEM technologies. E-commerce solutions include Bitstream’s popular MyFonts.com website, featuring 89,000 fonts from nearly 900 foundries, and Bitstream’s acclaimed WhatTheFont identification service, in addition to the Bitstream typeface library. OEM assets include Bitstream’s Font Fusion and Bitstream Panorama font rendering and layout technologies, as well as a range of fonts for embedded and mobile environments. Monotype Imaging also intends to acquire 10 patents, covering areas from OEM technologies to the company’s WhatTheFont application.
3. How large is Bitstream in revenues, relative to the portion of the business Monotype Imaging expects to acquire?
Bitstream’s font business is growing, and based on information disclosed in Bitstream’s filings, Monotype Imaging estimates that the portion of the business the company intends to acquire had font-related revenue of approximately $17.0 million in 2010. Upon closing, Monotype Imaging anticipates that the majority of revenue will be included in the company’s Creative Professional business.
4. Why does Monotype Imaging intend to acquire the font business of Bitstream?
Monotype Imaging’s mission is to combine technology with design to help the world communicate. Type is at the heart of that mission and represents the company’s core strength. The addition of Bitstream’s font business is expected to enhance Monotype Imaging’s ability to accelerate growth across its customer base, expand the company’s IP and capture emerging opportunities, particularly in Web font services and Monotype Imaging’s Display Imaging business. In addition, the company believes that its global reach and financial strength combined with Bitstream’s renowned MyFonts website and OEM business will position Monotype Imaging to serve a broader set of markets, while delivering high-quality user experiences on any publishing medium, platform or device.
5. What is the background that has led to the possibility of this acquisition?
In September of 2010, Bitstream announced that it had hired a financial advisory company to advise Bitstream with respect to business opportunities for enhancing shareholder value. Monotype Imaging’s interest in Bitstream’s font business has stemmed from a fundamental passion for type, which is at the center of Monotype Imaging’s expertise. When the opportunity was presented to pursue Bitstream’s font business, Monotype Imaging saw this as natural fit. For example, Bitstream’s approach to serving broad markets by way of new and distinctive typefaces is expected to complement Monotype Imaging’s strength in leveraging its historic, classic type collections and multilingual offering to meet the needs of corporations and brands. Monotype Imaging believes the acquisition will dovetail effectively with its team, technology and culture.
6. What parts of Bitstream are not being acquired by Monotype Imaging?
Monotype Imaging is not acquiring Bitstream’s Bolt™ mobile browsing and Pageflex® variable data publishing technologies. These businesses are expected to be spun out to form a new company.
7. What are the financial terms of the transaction?
Monotype Imaging intends 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 is expected to be financed through a combination of cash and debt from Monotype Imaging’s existing revolving credit facility. The company anticipates the transaction will be accretive to net adjusted EBITDA and non-GAAP earnings per share, including the impact of non-recurring merger-related costs within the first year of closing.
8. When will the acquisition be closed?
The transaction is expected to close by the end of the first quarter in 2012. The transaction is subject to Bitstream’s shareholder approval, customary closing conditions and the spinoff by Bitstream of its mobile browsing and variable data publishing businesses.
9. How many Bitstream employees are joining Monotype Imaging?
Approximately 15 employees are expected to join Monotype Imaging from Bitstream’s U.S. operation, in addition to approximately 40 engineers and type designers in Noida, India.
10. How are customers expected to benefit from the acquisition?
Monotype Imaging expects the acquisition to enhance the company’s e-commerce and Web font businesses through a greater selection of fonts and technology solutions. For example, Monotype Imaging intends to support, promote and grow the MyFonts brand and website, which is the resource of choice for a strong community of loyal customers. Monotype Imaging anticipates that OEMs will also have access to a greater portfolio of solutions, particularly in the company’s Display Imaging business.
11. How will Monotype Imaging begin to integrate Bitstream’s products and services?
Monotype Imaging will not be able to begin integrating or working with Bitstream’s products and services until after the acquisition closes. At that time, more information will be provided with respect to integration efforts.
12. Will Bitstream agreements continue to be honored?
Upon closing of the transaction, Monotype Imaging will continue to honor the terms and conditions of all existing agreements for current Bitstream customers.
Additional information about the merger and where to find it
In connection with the proposed merger, Bitstream will file a proxy statement with the SEC. Additionally, Monotype Imaging and Bitstream will file other relevant materials in connection with the proposed acquisition of Bitstream by Monotype Imaging pursuant to the terms of an Agreement and Plan of Merger by and among Monotype Imaging, Birch Acquisition Corporation, a wholly owned subsidiary of Monotype Imaging, and Bitstream. The materials to be filed by Bitstream with the SEC may be obtained free of charge at the SEC’s website at www.sec.gov. Investors and security holders of Bitstream are urged to read the proxy statement and the other relevant materials when they become available before making any voting or investment decision with respect to the proposed merger because they will contain important information about the merger and the parties to the merger.
Monotype Imaging, Bitstream and their respective directors, executive officers and other members of its management and employees, under SEC rules, may be deemed to be participants in the solicitation of proxies of Bitstream stockholders in connection with the proposed merger. Investors and security holders may obtain more detailed information regarding the names, affiliations and interests of certain of Monotype Imaging’s executive officers and directors in the solicitation by reading the proxy statement and other relevant materials filed with the SEC when they become available. Information concerning the interests of Bitstream’s participants in the solicitation, which may, in some cases, be different than those of Bitstream’s stockholders generally, is set forth in the materials filed with the SEC on Form 10-K and will be set forth in the proxy statement relating to the merger when it becomes available.
Contacts:
Monotype Imaging Inc.
Vikki Quick, 781-970-6115
vikki.quick@monotypeimaging.com
Investor Relations:
Staci Mortenson, 781-970-6120
ir@monotypeimaging.com
Creators of the Original Georgia and Verdana Fonts Collaborate to Expand their Versatility
Monotype Imaging Holdings Inc., a leading global provider of text imaging solutions, has released the Georgia® Pro and Verdana® Pro typeface families, available from Fonts.com. Originally designed by Matthew Carter 15 years ago and adopted by every major computer operating system, Georgia and Verdana are now available as Pro families. Each comprises 20 weights and features advanced typographic capabilities and extended character sets.
Carter teamed up with Tom Rickner of Monotype Imaging, who provided technical support on the initial release of Georgia and Verdana in 1996 as fonts for Microsoft's "Core fonts for the Web" pack. The duo collaborated on the new Pro versions with typeface designers David Berlow of Font Bureau, who led the design effort on Verdana Pro, and Steve Matteson of Monotype Imaging, who did the same for Georgia Pro.
"Georgia and Verdana represented major milestones in the 1990s because they worked so well on screen and were among the first Web-safe fonts," said Allan Haley, director of words and letters at Monotype Imaging. "However, with four fonts each, Georgia and Verdana were limited in their use. The new Pro versions empower these highly legible, tried-and-true designs with newfound typographic versatility, thanks to the addition of several weights and OpenType® features. The new condensed fonts, for example, will be appealing for environments that mandate blocks of text to fit in tight spaces, such as mobile website displays and printed package labels."
"The new Pro series of Georgia and Verdana are being released at a time that seems particularly auspicious," said Carter. "The design of websites will certainly benefit, and I hope that designers who have long been familiar with Verdana and Georgia will take full advantage of the greater versatility of the Pro series, both on screen and in print."
New weights for both families include a light, semibold and black, each with matching italics, in addition to new condensed families and complementary italics. All the fonts have been hand-tuned, or hinted, to ensure high legibility on screen, and each of the fonts has an extensive character set to support all Pan European languages, including Greek and Cyrillic. OpenType capabilities include the ability to insert typographic features such as small caps, ligatures and old style figures. The fonts also contain enhanced kerning pair suites.
"The enhancements to the families are significant — especially in this new age of Web fonts. With the explosion of devices that provide for on-screen reading experiences, these fonts are more relevant than ever," said Matteson, Monotype Imaging's creative type director. "The new weights and styles add to the Web developer's palette for headlines, subheads, captions and pull quotes."
"The expanded and enhanced Georgia and Verdana families will appeal to many who publish in print and online," said Berlow. "This expansion adds breadth for creative professionals who rely on these two workhorse font families."
Carter created the original Georgia and Verdana families with legibility in mind — legibility for on-screen applications using low-resolution monitors of the day. Each design shares characteristics conducive to easier reading, such as large x-heights, which refers to the height of lowercase letters, and generous open counters, which concerns the openness of characters such as ‘c' and ‘d.' In addition, Georgia and Verdana include ample letter spacing, the appearance of distinct transitions between the regular and bold weights, and the ability to clearly distinguish characters that often look similar, such as the numeral "1" and letter "l."
The original Georgia and Verdana fonts differ in their default settings for numerals. While Verdana defaults to lining figures, which rest on the baseline and commonly share the same height as capital letters, Georgia defaults to old style figures, which have varying heights to better harmonize with lowercase characters. With the release of the latest fonts, the new Georgia Pro is now consistent with Verdana Pro, as both use lining figures as their default settings.
Availability
The Georgia Pro and Verdana Pro typefaces, available in TrueType® and OpenType formats, may be purchased and downloaded from www.fonts.com, www.linotype.com and www.itcfonts.com. In addition, the new fonts are available for Web design at Fonts.com Web Fonts. Georgia Pro and Verdana Pro are also available from Font Bureau and Webtype, Font Bureau's Web font service.
Customers may contact Monotype Imaging in the U.S. toll-free at 800-424-8973 or in Europe at 44-1737-765959 (U.K.). Linotype may be reached at 49-6172-484-418 (Germany). Customers from other parts of the world may dial 1-781-970-6020 (U.S.).
About Monotype Imaging
Monotype Imaging combines technology with design to help the world communicate. Based in Woburn, Mass. with offices in the U.S., Europe and Asia, Monotype Imaging brings text imaging and graphical user interface capabilities to consumer electronics devices such as laser printers, copiers, mobile phones, navigation devices, digital cameras, e-book readers, automotive devices, tablets, digital televisions, set-top boxes and consumer appliances. The company also provides printer drivers, page description language interpreters, printer user interface technology and color imaging solutions to printer manufacturers and OEMs (original equipment manufacturers). Monotype Imaging technologies are combined with access to more than 14,000 typefaces from the Monotype®, Linotype® and ITC® typeface libraries — home to some of the world's most widely used designs, including the Times New Roman®, Helvetica® and ITC Franklin Gothic™ typefaces. Fonts are licensed to creative, business and Web professionals through e-commerce portals, direct and indirect sales and custom design services. Monotype Imaging offers industry-standard font solutions that support all of the world's major languages. Information about Monotype Imaging can be found at www.monotypeimaging.com.
Monotype is a trademark of Monotype Imaging Inc. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Times New Roman is a trademark of The Monotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Linotype is trademark of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Helvetica is a trademark of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. ITC is a trademark of International Typeface Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. ITC Franklin Gothic is a trademark of International Typeface Corp. and may be registered in certain jurisdictions. Georgia, Verdana and OpenType are either registered trademarks or trademarks of Microsoft Corp. in the U.S. and/or other countries. TrueType is a registered trademark of Apple Inc. Webtype is a trademark of Webtype LLC. All other trademarks are the property of their respective owners. ©2011 Monotype Imaging Holdings Inc. All rights reserved.
Hey out there,
There is a job in education available
Academy of Arts Stuttgart, as a teacher of typedesign and typography
Low income but best opportunities, a life-task
More -- read the joboffer unfortunatley only german speaking
Nice colleagues one of the best printing
Shops with a hell of lead and wood
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