With the release of all serif variants, we are proud to now offer the full Freight Series by Joshua Darden as one of the most extensive contemporary type series available for the web. Freight’s four size-specific designs — Big, Display, Text and Micro — and their sans-serif companions, each in six weights with distinct italics, add up to a total of 72 styles, making Freight an exeptionally comprehensive system for a wide variety of applications.
While the Text styles are suitable for mid-range reading sizes, the Display styles feature increased stroke contrast and finer details adapted for headlines and display typography. The Big styles with their even tighter spacing and sharpness shine in the very largest uses — the bigger the better. At the other end of the spectrum are the Micro styles with their coarse, exaggerated traits and sturdy shapes for better performance at small font sizes. Although not quite the design intention, try Freight Micro for large sizes, too, as the chunky forms become interestingly expressive and striking in headlines. The sans-serif styles complement the set with their adaptable, unobstrusive appearance.
As with all fonts on Webtype, the Freight families can be tested free of charge for 30 days. For more details, see the Freight webfont pages.
Our latest addition from Font Bureau is Proforma, a typeface by Petr van Blokland with an interesting background. Initially designed in 1983 for Purup, a Danish company specializing in forms (hence “pro forma”), it was one of the first typefaces developed specifically for low and medium resolution output. Proforma features classic oldstyle shapes and proportions, but swellings on stems are achieved by straight lines with distinct edges. These, as well as the simple, tapered serifs, are much easier to render than the smoothly modulated curves of traditional text faces. Today, this makes Proforma especially suited for screen typography and the web.
Proforma’s six weights are comparably close to each other, originally to enable compensation of different stroke weight on different papers, colors, or inverted text. This can be just as useful on the screen in order to take into account backlit surfaces and multiple resolutions. The roman styles are accompanied by pronounced true italics that give distinction in text sizes and reveal their interesting angularity in large sizes. If you want to combine Proforma with a sans serif, try Alright Sans, Amplitude or Salvo Sans. (Petr van Blokland designed Productus as a matching companion, available on Webtype in the near future.)
As with all fonts on Webtype, Proforma can be tested free of charge for 30 days. For more details, see the Proforma webfont page.
We are delighted to welcome Garage Fonts as a new foundry on Webtype with their first release Freight Sans, heralding the exceptionally extensive Freight type series by Joshua Darden soon to follow in its entirety.
While the Freight series’ serif styles exist in several size-specific variants, from Micro to Big, Freight Sans is designed as a versatile, all-purpose sans serif fitting a large variety of applications. The six weights, light to black, plus italics provide sufficient styles for legible body copy as well as delicate or beefy display typography. We also offer the recently added condensed styles as webfonts for extra punchy headlines.
The family’s spacing is attuned to work well in most sizes, from medium to large, while the rendering is optimized for font-sizes down to 14 px. If you are looking to combine Freight Sans with a serif for body copy, try Harriet Text or Giza RE. In larger sizes, Whitman Display, Prensa or Trilby may compliment the sans in an interesting way. Or, for a perfectly harmonious pairing, just wait a few more weeks until the serif members of the Freight series are ready for release on Webtype.
As with all fonts on Webtype, Freight Sans and Freight Sans Condensed can be tested free of charge for 30 days. For more details, see the Freight Sans webfont page.
With Poynter Old Style Display we are happy to release a relative to the well-established Poynter Serif RE family and provide another apt set of typefaces for both the largest and smallest text on the web.
In a quest for readable and functional fonts optimized for today’s newspapers, the Poynter research institute commissioned a comprehensive type series comprised of serif and sans serif fonts for text and display, designed by Tobias Frere-Jones. As part of this series, Poynter Old Style Display draws on the 17th-century romans of Fleming Hendrik van den Keere, who is known for his stronger, more stalwart letterforms than the elegant French designs of the Renaissance period. The typefaces are large on the body and economical in fit — the condensed and narrow styles in particular — which makes the family especially suited for all kinds of headlines in editorial environments.
Poynter Old Style Display is available in three weights and three widths. The normal widths are accompanied by matching italics. Besides the obvious compatibility with its partner for small sizes — Poynter Serif RE — the display styles combine well with almost all sans serifs, such as Antenna RE, Apres RE or Alright Sans.
Poynter Old Style Display Narrow Bold with Poynter Serif RE
As with all fonts on Webtype, Poynter Old Style Display can be tested free of charge for 30 days. For more details, see the Poynter Old Style Display webfont pages.
Much loved for more than 20 years, we are very happy to finally make Font Bureau’s popular Bureau Grot family available for the web.
Designed by David Berlow and initially released in 1989 as Bureau Grotesque, the typeface has come to be acknowledged as the quintessential interpretation of the English 19th century sans serif. Inspired by the grotesques of Stephenson Blake, Berlow harmonized the greatly differing character shapes of his model and expanded the design into a family of several matching weights and widths. At the same time he kept the typical lively character and idiosyncrasies of the early sans serifs intact, which lend the series much of its flavor.
The family was met with great success and soon grew as several publishing houses commissioned more styles. In 2006, Jill Pichotta, Christian Schwartz, and Richard Lipton rounded it out into a systematic series of 27 styles and managed to retain Bureau Grot’s strong signature character over the wide range of five widths and six weights. With its narrow styles, Bureau Grot is an ideal headline face for compact columns and large display typography. The lighter weights of the normal and wide styles are suited for sizes down to 14 px. If you’re looking for a fitting serif companion, try combining Bureau Grot with Harriet, Turnip or Benton Modern.
As with all fonts on Webtype, Bureau Grot can be tested free of charge for 30 days. For more details, see the Bureau Grot webfont page.
We are excited to welcome the Bold Monday type foundry as the most recent addition to the Webtype catalog. Founded in 2008, the Dutch type firm run by Paul van der Laan and Pieter van Rosmalen made a name for themselves with high-quality retail fonts and custom typeface design for large corporations such as Audi and USA Today.
Bold Monday’s first release on Webtype is their celebrated and recently expanded Nitti. The monospaced type family is best known for its prominent role in the popular iA Writer desktop and iOS writing applications. In light of this prolific use, the small preliminary family was expanded and thoroughly optimized for screen rendering.
While Nitti only makes an appearance in the light and medium weight in iA Writer, we are happy to offer the full, extensive family: five weights — light to black — with true italics and very broad language support. Nitti not only speaks all languages using the Latin alphabet but also Greek and Cyrillic. If you don’t need the full character set and want to minimize bandwidth, you can subset the fonts in your project settings.
Unlike many monospaced typefaces, Nitti doesn’t feel overly mechanical, but is approachable and contemporary. The quirky, idiosyncratic shapes of the early “grotesque” designs of the 19th century lend Nitti its humanity and warmth. Optimized for font-sizes down to 11 px, Nitti is well-suited for code samples or technical notes where a more casual atmosphere is desired, or as a reader-friendly alternative when setting longer passages of monospaced text. It combines well with other grotesque-inspired typefaces like Titling Gothic and Salvo, or with sturdy serif typefaces like Benton Modern or Harriet Text.
As with all fonts on Webtype, Nitti can be tested free of charge for 30 days. For more details, see the Nitti webfont page.
Exciting news! We have added several new licensing tiers to our standard options to better accomodate customers and sites of all shapes and sizes. We now offer a license geared for small sites with up to 10,000 page views per month starting from $20 per year. This is a great option for personal projects or if you want to experiment with webfonts beyond our free, 30-day trial offer.
At the other end of the spectrum, we added two options for very large sites that receive over 15 or 20 million page views per month. And remember, if you don’t find a license that suits your needs, please don’t hesitate to contact us — we can surely find a solution that works for you.
On this day for type lovers, we are delighted to announce webfonts for the especially lovable Harriet Text and Harriet Display by Jackson Cavanaugh at Okay Type. The elegant serif series draws inspiration from text faces of 19th and 20th century American and English design, but is unburdened by any particular historic model. With rational form and a good portion of grandeur, Harriet manages to combine exuberance with practical versatility.
The series is comprised of a stalwart text family and a sophisticated display family. The text styles with their moderate stroke contrast and stability are suitable for copy sizes down to 12 px. The display styles, on the other hand, play out their refined detailing in headlines and other large applications — from the sparkling Thin to the vigorous Black, with particularily enticing italics.
Top: Harriet Display has finer features and elaborate forms which shine at large sizes. Bottom: Harriet Text is more rugged, with more simplified forms that stay clear at smaller sizes.
If you need to cover a large variety of content but don’t want to stick to one type series only, Harriet combines well with almost all sans-serif typefaces, for example Alright Sans or Nobel. For extra-small font sizes try Benton Modern RE. To experience the Harriet Series in all its webfont glory first hand, be sure to also check out Okay Type’s splendid specimen site.
As with all fonts on Webtype, the Harriet Series can be tested free of charge for 30 days. For more details, see the Harriet Text and Harriet Display webfont pages.
We are pleased to announce Savanna Script, the latest work from Richard Lipton and the Font Bureau. Demonstrated in his earlier typefaces such as Avalon, Sloop, and Tangier, Lipton is a master of transforming the elegance and spontaneity of calligraphy into beautiful, functional fonts. With Savanna he created a very condensed roundhand script that dances with rapid, effortless energy.
For moden web browsers that fully support OpenType font features, Savanna comes with three sets of capitals and variety of alternates and ligatures, allowing it to adapt to the desired space and tone. These, along with the three weights, give the family a versatility that is rare in formal scripts.
Use Savanna Script as an accentuating display face in extra large sizes. It combines well with almost all serif faces such as Poynter Serif RE, Benton Modern, Bulmer, Bell or Whitman. As with all fonts on Webtype, Savanna Script can be tested free of charge for 30 days. For more details, see the Savanna Script webfont page.
The caps for Savanna Script are tall by default, with shorter options available for browsers that fully support OpenType font features. Examples are shown below with the CSS settings for each option.
To enable the Mid Caps in OpenType-savvy browsers, turn on stylistic set #1 using the following CSS settings:
-moz-font-feature-settings: "ss01" 1;
-ms-font-feature-settings: "ss01" 1;
-webkit-font-feature-settings: "ss01" 1;
font-feature-settings: "ss01" 1;
To enable the Short Caps in OpenType-savvy browsers, turn on stylistic set #2 using the following CSS settings:
-moz-font-feature-settings: "ss02" 1;
-ms-font-feature-settings: "ss02" 1;
-webkit-font-feature-settings: "ss02" 1;
font-feature-settings: "ss02" 1;
We are happy to announce that David Berlow’s popular Titling Gothic is finally available for the web.
The roots of this series are in ATF’s Railroad Gothic, a condensed all-caps headline face from the late 19th century. While Titling Gothic started out as a relative of Rhode, it soon took its own more squarish and less idiosyncratic direction. Berlow designed a lowercase, introduced subtle curves and more regular proportions, and expanded it into a coherent 49-style family, giving print designers near infinite options for headlines and display typography.
25 versatile styles are now made available as webfonts: five weights (Light, Regular, Standard, Medium and Bold), each with five widths (Extended, Wide, Normal, Narrow and Condensed). Use it for headlines and similar display applications. The light condensed lends elegance, the strong and punchy bold weights are especially striking in all-caps. Titling Gothic combines well with other rational typefaces and serifs with vertical stress such as Benton Modern, Ibis or Giza.
As with all fonts on Webtype, Titling Gothic can be tested free of charge for 30 days. For more details, see the Titling Gothic webfont pages.