News and information related to Webtype, including new fonts, technology, and general observations on the state of online typography.

New from Monokrom: Vinter Expansion

VinterIn 2009, Norwegian designer Frode Bo Helland first sketched the modulated sans serif forms that would eventually become Vinter. Initially released in a single extremely light weight in 2012, Vinter is Helland’s exploration of the geometric serifless roman model.

“In an effort to infuse the contrasted letterforms with tension,” Helland said, “I wrapped them around a strict geometric skeleton. Vinter connects the dots between machine-age geometry and modulated strokes.”

Helland’s pure interpretation in the Roman carried over to Vinter’s companion italic. He employed a combination of slant and rotation to integrate the geometry and modulation logic of the upright styles into the design’s italic forms. Vinter’s circular ‘o’ and ‘O’ are signature elements, their integrity maintained between weights and throughout the italic variants. This geometric hallmark is also evident in forms such as ‘b’, ‘e’, and the single-storey ‘a’ of the italic.


“While serif typefaces commonly have cursive companions, most geometric sans serif italics are simply derived from the roman,” Helland said. “Despite optical adjustments, the signature shape of the circular ‘o’ is always lost in the process. Vinter’s approach is radically new.”

John Morgan Studio asked Helland to draw a heavier weight of Vinter, which would be used in branding London’s Royal Drawing School. Inspired to further expand Vinter, Helland drew multiple variants, resulting in a family of five weights (Thin, Extralight, Light, Regular, and Medium) with complementary italics.
Vinter’s fine strokes and delicately balanced details are intended for display applications, with the lightest weights sparkling at very large sizes. Web fonts were hand tuned by Monokrom and are designed to be used at 60 px or larger.

As with all Webtype offerings, all weights of Vinter may be tested for free for up to 30 days.

New: Roster from Font Bureau

RosterWebtype is thrilled to announce the addition of a new star to our lineup: Roster, by Matthew Carter, the latest release from Font Bureau and Carter & Cone. And it’s a really big deal.

Dubbed a square-shouldered powerhouse by its handlers, Roster is a slab serif with a difference. Squared-off counters punch into the interiors of letterforms, pushing the white space beyond normal boundaries. This chiseled effect lends a quirky constructive element to the family; a sort of visual push-pull that’s most evident in the lighter, narrower styles.

Roster exudes a flexible, athletic confidence, and it’s little wonder: the family evolved from custom type Carter created for Sports Illustrated in the 1990s. Bearing the moniker Wrigley, Roster’s predecessor was “intended to express the bold graphics of American sports,” said Steve Hoffman, who commissioned the design. Then seven styles, Wrigley worked hand in glove with Carter’s Fenway, a fine serif crafted to complement the SI staff’s considerable literary prowess.

“When we were close to the point of presentation to the editors of the new fonts, I suggested the names Wrigley and Fenway,” Hoffman said. “I detected a somewhat puzzled expression on Matthew’s English face. I explained that these were the names of two of America’s oldest and most beloved baseball venues, and it would be a delight for Sports Illustrated’s editors to have their new typefaces named for theses venerable ballparks.”
In preparing this family for general release, the name Wrigley was dropped, since the design drew no inspiration from the Chicago Cubs or its namesake stadium. Jesse Ragan was enlisted to assist with the expansion effort, and Roster now weighs in at a hefty 60 members. This high-impact superfamily boasts six weights (Extra Light, Light, Regular, Semibold, Bold, and Black) in five widths (Expanded, Normal, Narrow, Condensed, and Compressed), plus companion italics.
One of the things that makes Roster so special is its chameleon-like ability to convey vastly different moods depending on the weights and widths chosen. From the lean, lanky compressed extra light to the in-your-face brawn of the extra heavy expanded black, Roster’s broad range of emotions is suited to a multitude of display situations.
Roster’s character set is Font Bureau’s Extended Latin; OpenType layout features include case-sensitive punctuation, basic fractions, and standard ligatures, along with special ligatures like ‘Tu’ and ‘Ty’ in the bold and black weights.

Carter cautions that this personality-packed family is not meant for text, but should be used generously at display sizes. He recommends setting it no smaller than 30 pixels, with the heavier and compressed styles calling for larger sizes.

As with all Webtype offerings, Roster may be tested for free for up to 30 days. Put Roster to work on your site—it’s sure to become a fan favorite.

New: Marcia from Font Bureau


Today, Webtype is proud to release Marcia, Font Bureau’s newest type family. What is Marcia? “Marcia started as a project in Cyrus’s undergrad class at RISD three years ago.…It was my first attempt at drawing a whole alphabet,” says designer Victoria Rushton. On paper the Roman is like a 19th-century Modern, with its high contrast, vertical stress, and ball terminals. But when you look closely, it doesn’t really resemble a Modern — some serifs are omitted, some are half-there. These departures are a lettering artist’s whimsical experiments with the Modern genre. Furthermore, the Italic is both sturdier and simpler than most moderns. And, according to Rushton, that’s part of Marcia’s charm as these “remnants of naïveté” give it a unique character.

Image showing Marcia’s characteristic forms, weights, and ligatures

Marcia’s quirkiness and exuberance can be seen in its details: the legs of the cap K and R hint at a courtier taking a bow and in Italic, the legs snap into a kick. Add swashes alternates and they become the envy of any mustache. In the lowercase, many have serifs on the left like calligraphic entry strokes, even in unexpected places (d, b, u, w). While other serifs offer sinuous semi-serifs ball terminals (a, cf) sustaining Marcia’s quirky, hybrid flavor.



The numerals are lively and legible, in both lining (uppercase) and oldstyle (lowercase) forms. Here we can see more unorthodox serif forms (257). Fractions, superior, and inferior forms are also included in Marcia’s figures.


Victoria Rushton designed Marcia with playful packaging and swashy subheads in mind, all on display on the typeface’s minisite. Marcia’s discretionary ligatures and alternate characters can fill any text-setting with surprising, elegant forms.

Give Marcia a try for free — all fonts on Webtype can be tested on your own sites at no charge for 30 days.

New: Miller Text from Font Bureau


Matthew Carter’s Miller is a seminal reinvigoration of the 19th-century Scotch Roman, serving forthright, authoritative body copy and headlines since 1997. Today, in parallel with Font Bureau, we complete the Miller series on Webtype with Miller Text, the foundational member of an extended family that includes Miller Banner, Miller Display, and Miller Headline.


Along with the introduction to Webtype, Miller Text was also given new styles: Semibold and Semibold Italic. This middle weight gives the family an extra versatility for website settings where the Roman is too light and the Bold too heavy. All Text and Display weights include small caps, italics, and italic small caps, a hallmark of the original Scotches.


You could think of Miller Text as the debonair cousin of Georgia, born for paragraphs in print rather than coarse pixels. Now, thanks to higher density displays and Webtype’s expert screen optimization, the elegance of Miller Text is ready for the web.

The face has been a staple of respected magazines and newspapers like the Boston Globe, San Jose Mercury News, Glamour, and New York magazine and now Miller Text can lend grace and gravitas to your own site. Like every font on Webtype, you can try it free for 30 days.

Webtype: Five Years of Better Fonts for Better Websites


This fall we celebrate Webtype’s fifth anniversary! We officially announced in August 2010 and started serving fonts a few weeks later. Webtype was among the earliest web font services on the market, but the goal wasn’t to be the first, but the best. Typefaces from Font Bureau and our other early foundries didn’t make it to Webtype customers until they were thoroughly tested on and tuned for the vast array of screens and rendering environments. This commitment to quality meant that Webtype has never had the biggest library of web fonts, but certainly the most useful and reliable one. No where is this more apparent than in the Reading Edge fonts, designs that aren’t just hinted adaptations of existing print-based typefaces, but new designs drawn specifically for the screen.

We also believed in a different way of selling web fonts. From the beginning, we offered a modular, per-font licensing model which gave customers the flexibility to get only what they need and what they use. This method also sends more cash back to the type designers, which attracted the world’s premier foundries — and continues to do so, with 15 labels now on board. Webtype was also unique in the way it worked for users. It was cleaner and simpler from the start, requiring just a single line of CSS rather than external JavaScript. All this has always been backed by a free 30-day trial that lets users prove for themselves if the type and technology really suits their needs.

It didn’t take long to see that lots of other folks agreed with our approach. As Webtype fonts began to appear around the web, designers and developers noticed the difference and joined in. Seeing how our customers use Webtype is the best part of our job, and it’s the best evidence that all the decisions and work truly pay off.

So let’s look back at some of the most interesting Webtype uses over our first five years and note some milestones along the way.

5 Years of Webtype

Big Sites

Our infrastructure has the muscle to deliver webfonts to even the most high profile websites. Heavy hitters such as TechCrunch, ESPN, and Ford are pounded with millions of visitors per day and Webtype keeps their typographic style in tact without interruption. In fact, since implementing our new serving architecture last year, we’ve had 100% up time.

5 Years of Webtype

Smart Sites

Some of the most groundbreaking examples of current web design and technology have employed fonts from Webtype. These include creative navigation and infographics like those on Nike’s LeBron 11 microsite, or editorial sites, like the rich and responsive experience of Rolling Stone’s “Greenland Melting” feature, or the clear and informative “Origins of Common UI Symbols” from Shuffle Magazine created on Readymag’s Webtype-powered platform for making your own magazines.


5 Years of Webtype

All Kinds of Sites

Webtype users aren’t limited to any particular industry. Thanks to our flexible set up and variety of typefaces, all sorts of companies rely on Webtype: automotive companies like Lamborghini and Lexus, fashion brands like Fossil and Levi’s, and online magazines and newspapers like New York magazine and Más Por Más. Our fonts are found in every sector, from international finance to Hollywood.

And now, some numbers

Font Collection


type designers


font familes


font styles

Font data served



terabytes per month



terabytes per month

That’s more than


fonts served per month

Sites Served


Domains (Estimated)



Since September 2014

Despite all our growth, we haven’t lost sight of what separates us from other webfont providers: attentive support, reliable service, easy implementation, and above all, superior typefaces. (Psst, we have lots more type in the pipeline. Keep an eye on the blog!) Here’s to another five years.

Typefaces used in this post: Marat, Planet, Blesk, ITC Franklin, Benton Modern RE, Harriet Display, ATF Poster Gothic, Shift, Helsinki.

Introducing the American Type Founders Collection: Classic Typefaces Reinterpreted

Many of today’s most familiar typefaces had their origins in a company known as American Type Founders (ATF), the United States’ most prominent type company of the metal era. Formed in 1892 as a consolidation of 23 independent foundries, ATF dominated hand-set type in the United States by the early part of the 20th century, and was at the forefront of technical developments in designing and producing type. Given this prominence, ATF typefaces are well known and loved still today — the essence of American typography and design.

atfSince the advent of digital type, there have been many attempts to revive faces from the ATF library, but many are feeble shadows of the originals. Backed by the expertise of designers like Mark van Bronkhorst, Alan Dague-Greene, David Sudweeks, and Ben Kiel, the American Type Founders® Collection builds on the company’s legacy, introducing new interpretations of classic ATF typefaces. Fonts in the ATF Collection are developed with the needs of contemporary type users in mind. ATF designer font families build on their predecessors, offering more weights and widths, and the robust character sets and typographic features made possible by today’s font technology.

Webtype is thrilled to offer these useful and respectful interpretations, in parallel with their desktop release, bringing the same visual richness to the screen that handset type once brought to the printed page.

ATF Alternate Gothic is a new, significant digital expansion of Morris Fuller Benton’s classic 1903 design. Originally available in one bold weight, the typeface came in three widths for flexibility in copy-fitting layouts. ATF Alternate Gothic provides a wider range: ten weights, with four widths of each weight (40 fonts total). This extensive family can be used to pack a lot into a narrow space, and the breadth of the family makes it easy to create variations for different formats and media.

ATF Poster Gothic is an expansion of a typeface designed in 1934 by Morris Fuller Benton. The one-weight design was a slightly condensed display companion to Benton’s popular Bank Gothic® family. This new family of aggressively rectilinear headline types features 15 fonts, greatly expanding the design’s possibilities. The all-caps design sports square corners in the counters, creating tension between angular and curved details; this feature, and the generally rectangular shape of the whole alphabet, makes ATF Poster Gothic distinctive on the page or screen, while its relationship to Bank Gothic makes it somehow familiar. Certain weights also recall the style of lettering used on athletic team jerseys, television crime dramas, action & adventure movie titles, and engraved stationery.

The Garamond family tree has many branches. There are probably more typefaces bearing the name Garamond than the name of any other type designer. When ATF Garamond was designed in 1917, it was one of the first revivals of this classic. The new ATF Garamond expands upon a legacy of quality and craftsmanship, bringing back some of the robustness of metal type and letterpress printing often lost in digital adaptations of historic faces. Eighteen fonts comprise three optical sizes — Subhead, Text, and Micro (available by request) — and three weights, including a new Medium that did not exist in metal. ATF Garamond also includes the alternates and swash characters from the original face.

Oh, Brush … beloved script emblem of plumbers, mechanics, bodegas, lunch counters, and other low-rent concerns. Since 1942, you have given faceless apartment buildings a name, brought life to the badges and banners of otherwise tedious trade conventions, and lent excitement to the postcards of middle America’s unsung travel destinations. We have seen so much of you … but not enough! We need more weights: how about five, extending beyond humdrum Medium? We want swash alternates, too, plus lively ligatures and sporty underline tails! Give us cleaner curves and smoother connections, but stay true to your frisky self! Like a nail salon that offers cucumber water, the new ATF Brush is one step classier than the rest.

ATF Headline Gothic cries out to be used in headlines, and that is exactly how it was used after it was first created by ATF in 1936 with newspapers in mind. The style of ATF Headline Gothic recalls the bold, condensed gothic display faces of the 19th century, but with more refinement in its details than many large types of the time (typically wood type). The digital ATF Headline Gothic, like its predecessor, comes in a single weight, all caps, but offers two styles: one crisply drawn, and a “Round” version with softer corners, to suggest a more “printed” feel, reminiscent of wood type. Of course, in either style it features a full modern character set, including necessary symbols, such as the Euro, that didn’t exist in 1936.

Sporting broad, unadorned caps and just a dash of flair, ATF Wedding Gothic is like an engravers gothic at a black tie affair. It comes from the same tradition as other social gothics from the turn of the twentieth century, such as Engravers Gothic and Copperplate. But where these are the faces of business cards and common announcements, ATF Wedding Gothic is a special occasion. Its swaying ‘R’ and ‘Q’, its characterful figures, and spritely-yet-sturdy insouciance make ATF Wedding Gothic well suited for tasteful engagements of all sorts. Originally offered in a single, wide weight, this version expands what was once a novelty design into a surprisingly versatile family of nine weights. An additional, narrower, standard width brings the count to 18 fonts.

Complete Benton Sans, Now on Webtype


Today we add all the weights and widths to Webtype’s arsenal of Benton Sans. This brings our range of the expansive family in parity with the desktop version. The 80 styles include five widths (Extra Compressed, Compressed, Condensed, normal, Wide) and eight weights (Thin, Extra Light, Light, Book, Regular, Medium, Bold, Black), each with an italic.

Taking it to the Extreme

Eighty is a lot of styles. We don’t expect many customers to license and use the entire Benton Sans range. What makes a mega-family valuable is the versatility it provides for fine-tuning hierarchies, getting just the right dimensions, or achieving maximum contrast. For example, the extremes in Benton Sans’ weight spectrum give web designers new flexibility, especially when it comes to display type. As letters get larger, bolds can be bolder and lights can be lighter — and sometimes they need to be that way to get the same impact that less extreme weights would have at smaller sizes. Benton Sans Thin and Extra Light offer an elegant counterpart to the steadfast text of the standard weights. And the Black packs a heavy punch without straying from the no-nonsense character at the design’s core.


Benton Sans Thin with Benton Sans RE. The Thin and Extra Light weights let you maintain a hairline appearance, even when the type is large. They also provide opportunities for optically echoing the stroke weight of much smaller type, like the text shown here.


Benton Sans Condensed Black and Thin with Benton Sans Black and Benton Modern. Big differences in font weight allow for overlapping headline effects, eye-grabbing contrast, and strong emphasis within text.

As always, the Webtype free trial applies: you can put all these new weights to the test at no charge for up to 30 days.

Buendia from Bold Monday


Simultaneously with our friends at Bold Monday, we are proud to release César Puertas’ Buendia family.

When typographers — and particularly web designers — seek to bring emphasis, contrast, and hierarchy to a page they usually look for variation in weight and width. This approach makes sense, as most font families have compatible styles designed specifically to be used together. Yet, sometimes, using the same class of typeface (sans or serif or slab) for everything on a website can result in a monotonous tone.

Buendia is an exploration into what a type family can be beyond the traditional suite of progressive weights and widths. Puertas structured his unique series into six styles with distinct but matching flavors: grotesque sans, rounded sans, slab serif, and transitional — all based on the same skeleton but with different finishing. The weights range from a thin and medium sans, via the elegant roman and italic serifs, a cosy bold slab, to the extra beefy rounded sans.


As its designer puts it, “In Buendia, each member of the family is a different person, not just the same one who gained or lost weight.” The series tries to provide as many different design variants as possible within a single concept to give designers a compact but flexible set of options. Nevertheless, all styles have certain features in common, for instance the closed apertures, swashy tails and curls, and the slightly curved diagonals. These contribute to a warmth that makes Buendia especially suited for contemporary advertising and editorial design, approachable web apps, and corporate identities with a playful personality.

All styles of Buendia come with extended Latin character set, as well as OpenType features such as small caps, ligatures, and different sets of numerals.

Give Buendia a try for free — all fonts on Webtype can be tested on your own sites at no charge for 30 days.

Dolly and Sauna from Underware

Underware joined Webtype last November with three families. Now we offer another shipment of fonts from the European prodigies. These modern classics helped Underware make their mark, and they are still as relevant and useful as the day they were first released.


Dolly is one of those uncommon book serifs that is not based on old type, but is instead a completely modern invention. Her low-contrast strokes — gently modulating, perhaps even brushy — follow a Dutch calligraphic tradition, but Dolly has a contemporary personality of her own. Designed specifically for books and optimized for the screen, Dolly is a text face ideal for longform content: essays, articles, any writing that needs a subtle air of authority — dependable but not stuffy.

Like any classic book family, the palette is a simple trio of Roman, Italic, and Bold, all designed to be used harmoniously within the same line for applying emphasis or distinguishing content. With support for over 200 Latin-based languages, Dolly is also fit to tell stories in any part of the Western world, from the Americas to Central/Eastern Europe.


While some sans serifs strive for neutrality or austerity, Sauna is warm and unrestrained. Where some are stiff and harsh, Sauna is relaxed and welcoming. In that way its name is quite fitting. Its soft contours and its playful strokes that curve off the stems expose Sauna’s obvious nature: this is type for taking it easy.

Yet unlike many informal typefaces, Sauna need not be relegated to big headlines or the occasional bit of copy; this is a legitimate text face too. The shapes are clear, counters are open, and the three weights, each with italics, offer a toolkit for all types of tasks. Plus, Sauna has the same extensive language support as Dolly. Small caps and swash fonts for both Sauna and Dolly are available upon request.


In the same way that Sauna bucks the sober sans trend, Sauna Mono is a monospaced typeface with an unusually easygoing personality. Four styles — Regular, Italic, Bold, and Bold Italic — are at the ready for content that needs to be tabular but not tiresome. This face would also be an unexpected stylistic choice even when there is no such monospaced requirement.

These Underware families offer plenty of pairing opportunities. With their similarly relaxed personalities Dolly and Sauna naturally play well together, but they can also serve as casual counterparts for typefaces that are more straight-laced. Consider contrasting Dolly with Interstate, Helsinki, or Nitti Grotesk; Sauna with Proforma, Heron Serif, or Brando. From a harmonic approach, either Freight Micro or Shift have a wide stance and low stroke contrast which could be a compatible with Sauna.

As with every font on Webtype, the Dolly, Sauna, and Sauna Mono families can be tested free of charge for 30 days.

Antenna Serif from Font Bureau


The seven weights and italics of Antenna Serif in its main width. See the other three widths below.

Today is Font Bureau’s simultaneous public release of Antenna Serif, for desktop use, and for web use here on Webtype. Designed by Cyrus Highsmith with David Jonathan Ross, the typeface is Highsmith’s counterpart to Antenna, adding clear-cut slabs to the original’s squared-off curves. The design was initiated in 2010 when its athletic build played a starring role in Sports Illustrated’s print and digital formats. Various other publications later put it to use, including RISD XYZ, the alumni magazine for Rhode Island School of Design where Highsmith teaches.


Few webfont families offer as many variations as Antenna Serif — four widths, seven weights each.

Antenna Serif brings two uncommon and useful aspects to web design. The first is a very large palette of weights and widths. With 56 styles — seven weights in four widths, each with italics — the family has enough variations to offer exactly what a multilayered website needs, and plenty of choices for the level of contrast between hierarchical levels. One doesn’t need to license all the Antenna Serif styles to benefit from this huge family; the finely graduating range of options is powerful on its own.


Antenna Serif’s small-sized relative Antenna Serif RE, comes in four styles for text as small as 9px.

The other welcome benefit to screen typography is the sans/serif pair, Antenna and Antenna Serif. This adds yet another tool for building the complex hierarchies of digital publication and user interface design. Both families also offer Reading Edge versions designed specifically for legibility on all displays and platforms. Antenna Serif RE emphasizes the design’s broad, square shoulders and large lowercase, enabling clear text all the way down to 9 pixels.

Give Antenna Serif a try — all fonts on Webtype can be tested on your own sites at no charge for 30 days.


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