Type resources for designers and brand owners

Tag: Typography

87 articles

Augmented and virtual reality.

We’ve compiled six common myths around the role of text in augmented and virtual environments and reasons why these challenges don’t hold true.

Good type is a devil for detail

It was Beatrice Warde who first compared typefaces to the clothes that words wear. A finely tailored suit can completely change a person's appearance, and in the same way typefaces can drastically alter what words mean, how they work, and how they make us feel.

Good type can stretch

Choosing a typeface to represent a brand's voice isn't an easy decision, and it becomes more complicated when companies have to factor in the future. Type offers brands an immense amount of value, but it needs to be able to stretch.

Good type has secrets

Much like people, typefaces are multifaceted. They can be practical and straightforward, or they can be expressive and full of contrast, depending on how they're used. Making the most of a typeface means knowing how to unlock its secrets.

How do you choose a typeface when you’re the world’s biggest font foundry?

Monotype’s brand refresh needed to achieve the same consistency of communication that it champions for its customers. But what’s the answer when you’re a type foundry with literally tens of thousands of fonts to choose from, and multiple products and services to design for?

Good type is a team player.

Pairing typefaces is one of the more challenging tasks a typographer faces. It's a much-debated subject, and every designer will have their own approach, but there are some key guidelines that can help make the choice less daunting.

Good type is family.

A good typographic system is like a family—and just like people, it comes in all shapes and sizes.

Choosing Custom, Modified, or Library Type.

Choosing the right typeface can be a daunting task for any brand. At this year’s Adobe MAX conference in Los Angeles, California, we explored this topic in greater detail.

How to use figure styles in Illustrator.

When designing with type, the use of numbers can take a layout from good to great. I’ll detail the four main styles below, what they look like, and how to use them to the best of their ability. I’ll also add a few tidbits of related information as we go.

Good type can fly solo.

Fonts sit at an interesting intersection, somewhere between utility and beauty. They're part of the designer's toolbox, but go far beyond practicality—they have the power to provoke a powerful response. 

Good type reads to you.

Conveying a message with clarity means finding a typeface that's effortless to read. That goes a step further than making sure people can interpret it with ease.

Monotype adds Reiwa combined kanji glyph to Tazugane typefaces.

The Japanese government recently announced that the reign of the next Japanese emperor will be called the “Reiwa” era. The era will officially begin when Crown Prince Naruhito is crowned on May 1, succeeding his father, Emperor Akihito.

Behind the font: The challenges of going it alone.

Typeface design is a mysterious business. While most people are acquainted with the dropdown menu in Word or a website like MyFonts, not everyone realizes there’s a host of independent designers and foundries all quietly making their contribution to visual culture.

2019 Type Champions

Monotype is thrilled to introduce the inaugural recipients of the Type Champions Award, a new program that recognizes brands for their creative, innovative, and memorable use of typography in developing and maintaining their brand identities.

D&AD New Blood 2017 shortlist: our pick of the pencils.

This year we are, once again, proud to support the D&AD New Blood Awards, celebrating the brightest new talent in the design industry. Monotype's 2017 brief challenged entrants to embody and express the importance of cultural diversity through a typography-led campaign or solution. After more than 3,000 entries, we are proud to showcase the 2017 Pencil winners, along with commentary from judges, Nadine Chahine and Malou Verlomme.

Meet Placard Next.

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.

Neue Helvetica comes into its own for TED.

With their first site redesign in seven years, TED turned to Neue Helvetica as the perfect typeface for conveying ideas worth spreading.

Right place, right time.

In the 60-plus years since Max Miedinger, Eduard Hoffmann, and the Haas Type Foundry unleashed Helvetica upon the world, the typeface has delighted, dismayed, captivated, and confounded the design community.