The Dutch activist website controlarms.nl is part of a spirited campaign against the trade of weapons. An initiative of Amnesty International, Oxfam Novib and Pax Christi, the website as well as all other media were designed by design studio Sazza, Amsterdam, who chose Garage Gothic as the lead typeface.
Oakland and Washington based design studio Free Range recently launched its new website with fonts from Webtype. Benton Sans was chosen for headlines, deck, pull-quotes and the like, while Benton Modern RE is used for body copy and navigation.
Today we are excited to announce the new Turnip family of typefaces. It is the first type family from Font Bureau to be developed and released simultaneously for both print and web use, including a special group of Reading Edge™ styles (Turnip RE) for use at small sizes onscreen.
With Turnip, David Jonathan Ross created a strong and original typeface with an energetic tension between squarish inner and round outer shapes. Turnip is rustic but not unrefined – an easygoing, charming, and readable face for body text. It is an “exploration in ruggedness”, as Ross states it, inspired by a fondness for Bookman.
Turnip comes in six weights from light to black, each with pronounced italics for extra distinction. But what makes Turnip particularly versatile is the inclusion of Reading Edge fonts specially adapted for small sizes onscreen: Turnip RE.
As with Font Bureau’s other Reading Edge screen fonts, Turnip RE features wider, more open letterforms, lower stroke contrast, and generous spacing. Use it for body copy on screen at sizes as small as 9px.
For larger headlines and display type, take advantage of the wider range of weights from the standard Turnip family, including the beefy Black and delicate Light styles.
An extensive website dedicated to Font Bureau’s Reading Edge webfont series just went live. It showcases the group of font families, explaining how and why they were designed to optimize rendering and readability at small sizes onscreen. See the site for all the details or check out the RE fonts in the Webtype catalog.
You may not have a lot of chances to use a Lamborghini in all its glory on your local interstate, Lamborghini on the other hand put Interstate to splendid use on their website. After all, what better fit could you imagine than Interstate and cars.
The Swedish company Stutterheim, manufacturer of raincoats, just re-lauched their website using Bell webfonts from Webtype. The transitional English serif is suiting Stutterheim just fine. With numerals this elegant even larger sums look attractive. The design of the website is modest and airy, using Bell in just one style – the regular weight. A good example for a simple, economical solution that still gives your site a lot of personality.
Today we’re happy to welcome the Okay Type foundry to Webtype, starting with a webfont version of Jackson Cavanaugh’s Alright Sans.
Since its release in 2009, Alright Sans has served many designers needing a clean sans-serif that hasn’t been stripped of all personality. Its contemporary tone has a friendly warmth but never feels goofy or distracting. With eight weights from the delicate Extra Thin to the beefy Ultra – all with italics – the Alright Sans family provides a versatile range of styles that are appropriate for an impressively wide range of uses.
As with all fonts on Webtype, Alright Sans can be tested free of charge for 30 days. For more details, see the Alright Sans webfont page.
Tobias Frere-Jones’ Nobel typeface family is now available for the web, exclusively from Webtype. Designed for Font Bureau in 1993, Nobel is based on S.H. de Roos’ original 1929 explorations to enliven the basic forms of Futura. With its subtle warmth and less rigid geometry, Frere-Jones fondly refers to Nobel as “Futura cooked in dirty pots & pans”. The webfont family includes 5 weights, each with italics.
As with all fonts on Webtype, Nobel can be tested free of charge for 30 days. Take a closer look here.
A new post over at Fonts In Use details the typography of the new BostonGlobe.com, including an in-depth look at the site’s use of fonts from Webtype. It includes quotes from those involved with the design and development, giving an inside perspective on practical design choices and the benefits of being able to use the Globe’s brand typefaces – Benton Sans and Miller Headline — as webfonts. Mike Schwartz from Upstatement elaborates:
The fonts let us bring over the soul of the printed Globe while still focusing on making a cutting edge and modern website that drew more inspiration from the web than from print.
Check out the article on Fonts In Use for the full story.