Font stories.

Every organization has their own approach to managing their fonts, but oftentimes these practices aren’t consistent across the board. This makes working with fonts tricky and causes issues over time.

Here are 5 of the best Monotype Fonts features to make font use easier. Monotype Fonts is not just a font library, it’s a cloud-based font management solution. Whether you’re a creative or an administrator, here are some of the Monotype Fonts features that will soon become your favorite.

Your customers see your brand through design and typography. Typography is your brand’s ambassador. It is your visual voice, speaking for you every hour of every day, everywhere your brand lives.

Graphic designers and other creative team members are usually the primary users of the fonts at a brand, which means they’re also responsible for ensuring those fonts are used properly according to their license.

New from the Monotype Studio’s Creative Type Director, Emilios Theofanous, Touvlo – meaning brick in Greek – is an homage to London and the view from his studio window.

New from the Monotype Studio, Shorai Sans is a contemporary Japanese sans serif designed by Creative Type Director, Akira Kobayashi; type Designer, Ryota Doi; and  typography legend, Yukihiro Nakamura. 

New from the Monotype Studio, Cotford is a contemporary serif from Creative Type Director, Tom Foley. Cotford is available as a variable font and as 16 static weights, including  Display and Text styles. Cotford is available to all Montoype Fonts customers and can also be purchased at MyFonts. 

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.

Futura Now is the definitive version of the definitive geometric sans, re-digitized based on Paul Renner’s original designs and updated to provide a more contemporary typographic palette.

Serif typefaces are sometimes seen as serious and overtly intellectual, a more somber sister to their laid-back counterpart, the sans serif. But FS Rosa breaks away from these conventions by combining the classic elegance of a serif with warmth and frivolity, created by its round letterforms and curves. 

Malou Verlomme’s Macklin superfamily is a gently irreverent take on the display type of the late 19th century, with an elegant twist that updates these letterforms for modern use. Choose one style, or use the entire variable family as a type toolbox.

“Typeface design is not an art. It’s a craft,” says Marco Ganz, the designer of Veto Sans. “People are familiar with letters. Letters have a purpose. Art has no purpose beyond making people think or wonder.”

Neue Kabel brings back the liveliness of the original’s strikingly quirky characters, while adding in the long-lost italics and missing glyphs needed for it to address a wide range of editorial and branding purposes.

Placard Next is a reimagined version of a 1930s poster design, that takes all the original quirky details and refines them for digital use. Its condensed versions pack an instant typographic punch when used at large sizes, introducing some unusual flavor to posters, headlines and anywhere else designers need to make a statement.

Many Chinese typefaces have a reputation for looking dated and not reading easily on small screens— not M Ying Hei. It checks all the boxes that it’s forefathers can’t.

The first Japanese typeface from Monotype is a humanist sans serif, designed to work in partnership with Neue Frutiger. Tazugane Gothic sets out to introduce a new typographic standard, allowing designers to comfortably set Latin and Japanese characters alongside one another while maintaining visual harmony.

Monotype introduces Ambiguity, a typeface designed to effectively express a range of attitudes and beliefs.

Designers and studios might be deeply familiar with Neue Helvetica, but it’s the product of a pre-digital era. Here are four reasons why it’s time to switch.