Helvetica Now Variable, new from the Monotype Studio, offers more than a million new Helvetica styles in one state-of-the-art font file, allowing you to create infinite shades of expression, incredible typographic animations, and ultra-refined typography.
In our sixteenth episode, we talk with Tyler Haughey, a photographer whose work highlights otherwise unseen details of Jersey shore beach towns in the off-season. He discusses the creative influence of having a father who was a sign painter, as well as the nature of memory and how signage and décor help anchor experiences in our minds.
This week, Creative Type Director Charles Nix talks to James Horowitz during a London heatwave about the lessons he learned from founding a design agency, his approach to guiding clients through the creative process, and the impact of Instagram and social media on branding and design.
Kevin Laurino, Manager of Art & Print Production, Retouching, and Finishing at Netflix, shares some experiences from his career-long relationship with fonts and how to tame the beast that is managing a brand’s font licensing. Here are some tips to help get you started.
Everyone knows the saying, “what’s on the inside matters most.” Sure, a person’s character is more important than what they look like, but how does this relate to branding? A brand needs to look and act a certain way to engage with its audience, right?
Modern rebrands aren’t as simple as they used to be. In this webinar, Monotype’s Type Director, Tom Foley, is joined by Rick Sellars, Creative Director at Interbrand London to discuss the ins and outs for a successful rebranding.
Modern brands are not static, stationary objects. Today’s brands need to be agile and adaptable, permanently poised to respond to shifts in consumer expectations, emerging technology, and opportunities in other regions and languages.
James Sommerville talks through his career, from Prince Charles and Attik all the way through Coca-Cola, and shares his perspective on design and branding.
Mark Borden, Editor-in-Chief and Head of Creative Strategy, House Industries, shares his perspective on the critical role of type in branding and culture. Learn more about Brand Talks here.
We’ve spent a lot of time thinking about the effect the pandemic has had on the collaborative process that drives creative work at companies everywhere. Here are some ideas about where things could be heading.
Phil Garnham, Senior Creative Type Director at Monotype Studio explores the evolution of type in digital and celebrates the heritage at the heart of the Burger King rebrand.
First published on BITE
Perhaps the biggest challenge is not figuring out how to return to whatever “normal” used to look like, but how to let go of the vision we held for the future we thought we’d have.
From alternates to X-height, this list of typography terms and definitions covers just about everything you’d want to know about fonts and typography.
Font superfamilies are vast collections of type that can meet a multitude of needs without compromising on consistency. But what defines a superfamily, exactly?
A letter is more than the sum of its parts, but sometimes it helps to know what those parts are called. And it may not surprise you to learn that in a field as meticulous as typography, every little piece of a letter has a name.
Charles Nix, Creative Type Director at the Monotype Studio, takes us on a journey through the evolution of Helvetica®, from its earliest beginnings through to where we are today—the powerful and functional Helvetica Now Variable.
In our twelfth episode, Creative Type Director Charles Nix speaks with James Edmondson, founder of OH no Type Company in California. James shares how he got his start in typography, as well as his perspective on designing a fulfilling creative career.
A high-profile automaker recently reported strange rendering behavior in their automotive displays, which were using Monotype’s Helvetica Now font. The automaker shared access to their platform and font integration tools with us, concerned that the rendering issues were due to bad outlines in Helvetica Now.