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TypeThursday: Four new city chapters & San Francisco turns 1!

Mon, 09/18/2017 - 8:12am

Time certainly flies! Our friends at TypeThursday San Francisco celebrate their first birthday on September 21 and we are looking forward to raising a glass to them — quite literally as they’ll have champagne on Thursday night.

Additionally, there will be cake (of course) and a custom letterpress poster to commemorate the occasion. Reserve your spot on the Eventbrite page if you’d like to join the celebration!

“After our first full year, I am delighted by the continued enthusiasm, support, and participation TypeThursdaySF receives from the community here,” says Delve Withrington, SF Chapter Lead. “Attendees have related to me that now they cannot imagine what it would be like without TTSF, and I wholeheartedly agree with that sentiment — the event has become a fixture for those of us in the Bay Area. One we all eagerly look forward to each month.”

In addition to this anniversary, TypeThursday is launching four new chapters in October, including its first international one. Type enthusiasts in ChicagoPhiladelphia, Seattle, and London will now have a monthly gathering spot for type crits and socializing.

“TypeThursday’s international expansion to London is exciting proof of the value we contribute to the communities we serve in six US cities, and now, London,” explains founder Thomas Jockin. “TypeThursday creates space to help the individual practitioner improve their abilities, educates the audience in the thinking behind design, and creates a sense of community among participants with their contributions. Under the fanatic leadership of Julie Strawson and the rest of the TTLondon team, I believe the values of TypeThursday will touch the hearts of Europe.”

Mark your calendars for these remaining 2017 dates (more to be added), and hopefully the Typekit team will be able to join you at one of the many chapters around the globe — we’re proud to be a National Sponsor for the organization!

October November
  • 2nd: New York, Los Angeles
  • 16th: San Francisco
  • 7th: New York, San Francisco

Sites We Like: Mixd & MVMT

Fri, 09/15/2017 - 8:12am

Maybe vowels are a little ovrrtd. But even minimalist language requires type.

In fact, it might be even more crucial, especially for sites like these two where words are fairly sparse. And while both went in a similar typographic direction, subtle differences have a huge impact on what, in both cases, ends up being a successful design.


Web design studio Mixd uses classic geometric sans Brandon Grotesque beautifully, with generous spacing that makes each letter shine. Chaparral is a lovely choice for a companion typeface, and also works well with plenty of breathing room — appearing deliberate without any sense of heaviness.

MVMT Watches

Another geometric sans is in play here on the MVMT website — Futura PT, which has a slightly sharper, more precise feel to it. Seems fitting for a website dedicated to timepieces, and thoughtful adjustments to size and weight make this a functional typeface throughout all the site navigation and body copy as well.

Seen some type in use lately that caught your eye? Let us know in the comments, or send us a heads-up on Twitter.

Join us for the Type@Cooper West Fall Lecture Series

Wed, 09/13/2017 - 10:03am

The final section of Type@Cooper West’s 2017 lecture series begins Tuesday, September 19 with Aaron Marcus’s talk “The Past 100 Years of the Future.”

After Aaron’s talk, three more speakers will take the stage this fall. These lectures are all free and open to the public, but it’s never too soon to grab a seat — they do fill up!

We’re pleased to sponsor this series, which takes place at the Koret Auditorium at the San Francisco Public Library Main Branch, 100 Larkin Street. All talks begin at 6 p.m. You can watch videos of the past lectures here.

Type@Cooper West Workshops

Looking for to immerse yourself further in typographic learning? Consider one of the many workshops Type@Cooper West are presenting this autumn:

Say Bonjour to the Typekit Team at ATypI Montréal

Tue, 09/12/2017 - 7:30am

Going to Quebec this week for the 61st annual ATypI Conference? Hopefully we will see you there!

On Wednesday night, Dan Rhatigan, Senior Manager of Adobe Type, presents “Marginalized Typography” at 6 p.m.

Hear a Progress report from the Adobe Typography Customer Advisory Board on Thursday at 9:40 a.m. from member Yves Peters.

Find us Saturday afternoon as Taro Yamamoto, Senior Manager of Japanese Typography, answers the question “Is harmony possible between East Asian and Western glyphs?” at 12:30 p.m.

All three talks take place at the UQAM, Cœur des sciences.

Finally, join us at Atypique After Dark to raise a glass to another successful conference. This Typekit sponsored event takes place at 8 Queen.

Now in Early Access: Visual search on Typekit

Wed, 09/06/2017 - 5:00am

Today we’re rolling out a whole new way to search for fonts visually on Typekit. The first step is one many of you have already mastered: Look for neat type in the world around you.

Our new visual search feature allows you to upload a picture of type—photos of signage or posters, flat artwork, any image file that contains a line of text—and see a list of all the fonts in our inventory that are visually similar to it. We’re launching this as an Early Access feature for now, and we’d love for you to try it out and let us know what you think.

Once you flip on Early Access in your account settings, you’ll see a camera icon in the search field, which toggles open a file selection prompt. You can also drag and drop image files from your desktop onto any Typekit page to start a visual search.

You’ll also see a new Discover section on, which is a quick stop for all kinds of typographic inspiration: visual search, foundries, curated lists, and more.

Getting started with a visual search on Typekit

So let’s say you’ve found some nifty type or lettering on a sign out in the world, and now you’d like to find fonts that are similar to it.

Photo credit: Maria Freyenbacher on

Snap a photo of the sign. To start a visual search, turn on Early Access, then use the camera icon in the search bar to select a photo from your hard drive, or (if you’re on your desktop) drag the photo into your browser window.

First, we’ll ask you to select the region of the photo you want to scan for type. We’ll try to select one for you automatically, but you can also move or resize the box to tell us precisely which text to search on.

Next, we’ll try to recognize the text in the sample you uploaded. If we got it right, you can move on to the next step, or else you can update the text to correct it.

Then, finally, we’ll show you a list of similar fonts from Typekit’s inventory.

We don’t hang on to the photos you upload, so be sure to add any fonts you like to your Favorites or take a screenshot of the results page. Some styles will definitely have more relevant results than others, but we’re improving the engine all the time.

So what can’t it do?

At the moment, visual search has some limitations. Toggle on the Tips while working with photos to see a brief guide. Generally, you’ll get best results if you use these guidelines.

  • Type samples that are clear, crisp, and straight on flat backgrounds will yield better, more consistent results. Pictures of text that are skewed, blurry, or low in contrast will sometimes work, but also might confuse the engine and return poorer-quality results.
  • Visual search works with a single line of text. If your image contains multiple lines, use the crop tool to select just one line. We recommend picking a line that has the most distinctive characters, such as Q, R, or lowercase ‘a’.
  • Some letter shapes/styles work better than others. Sans-serif and serif type tend to return better, more consistent results than connected scripts or blackletter, and mixed-case text tends to work better than all-caps or small-caps.
  • Right now we’re only able to recognize and match Latin characters. We are hoping to add support for other scripts in the future.

Above all, this feature should be a lot of fun to try out, and we hope it connects even more people with the type they see around them every day.

Let us know what you think! Spend two minutes on our brief survey, and if you have a whole lot to say feel free to drop an email to — we’ll be grateful for your feedback.

Improving your web font performance

Tue, 09/05/2017 - 9:14am

We work hard to deliver the best performance by continuously updating and improving our web font service. In the last few years, we’ve added support for asynchronous font loading, language based subsets, HTTP/2, and just last week CSS kits.

But there’s even more you can do on your end to improve performance, which is just one of the topics I get into in the Webfont Handbook — released earlier today with A Book Apart. If you aren’t sure where to begin with your own site, these three optimization tips are a great place to start. I’ll walk through these in a little detail today, but do check out the book for a whole lot more.

1. Review your font usage

The default JavaScript embed code will load all fonts and variations in a kit, even if you don’t use them. You can significantly reduce your kit size if you remove fonts and variations you don’t use.

While you’re in the kit editor, take the opportunity to take a look at your subsetting options. The “All Characters” subset delivers the entire font to your site and usually results in a large kit size. You can reduce the size of your kit by switching to the Default subset, or by using a language-based subset.

It’s worth pointing out that subsetting can also be very dangerous. If you accidentally remove characters that you actually need they’ll show up in a fallback font. When in doubt, the Default subset with OpenType Features checked is the right choice.

2. Load fonts and kits asynchronously

The default JavaScript embed code will load the JavaScript kit in a render-blocking way. However, once the JavaScript loads, the kit will load the fonts asynchronously. Why wait for the JavaScript to load? You’ll get better performance and the same behavior by switching to the advanced embed code; the advanced embed code will load both the fonts and JavaScript asynchronously.

One downside of loading fonts asynchronously is that you’ll need to manage the flash of unstyled text (FOUT) yourself. Typekit has excellent documentation on font events, and the Webfont Handbook goes into great detail on tricks to minimise FOUT.

3. Preload and preconnect

Web fonts are a critical component of your site’s performance; you want your content to appear as soon as possible and preferably in the correct font. You can help the browser prioritize resources by using preconnect and preload resource hints.

Preconnect is used to tell the browser that you’ll soon connect to a hostname. Once the browser sees the preconnect hint, it opens a connection in the background, so it’s ready to use.

Then by the time the browser comes across the Typekit embed code (you’re using the advanced embed code, right?), it can re-use the connection to Typekit’s font network. Doing this can easily save several seconds.

Preload is another resource hint, which not only creates a connection but actually downloads the resource as well so it’s right there when you need it. This can be useful to preload Typekit’s JavaScript or CSS file.

<link rel="preload" href="" as="script" crossorigin>

<link rel="preload" href="" as="style" crossorigin>

Preconnect and preload hints are especially useful when you’re using the advanced embed code or a CSS kit. The browser will create a connection, or fetch the kit JavaScript with high priority in the background without blocking rendering. You get the benefits of asynchronous loading and the performance of render-blocking resources.

The Webfont Handbook is packed with insights that came from several years of looking into and following these issues — not only web font performance, but also licensing, text rendering, CSS syntax, and more. If your work regularly involves type on the web, the Webfont Handbook just might be your new go-to guide.

Now in Early Access: Serve web fonts without JavaScript

Wed, 08/30/2017 - 6:06am

We’re excited to ship one of your all-time most requested features: you can now add fonts to your web site using only CSS (Cascading Style Sheets)—no JavaScript required. Also, you can now use fonts from Typekit in HTML email campaigns, mobile articles in Google’s AMP format, or anywhere else CSS web fonts are supported.

Turn on Early Access and you’ll see the new CSS-only embed code in our kit editor, available as an HTML link tag or CSS @import statement. Your existing websites and kits will continue to work with the default JavaScript embed code, and you will now be presented with the new CSS embed code whenever you create a new kit, or when you access an existing kit’s embed code.

CSS kits will finally allow you to use web fonts from Typekit in places our previous reliance on JavaScript prevented us from supporting, such as:

  • HTML email. You can now use fonts from Typekit in emails. Many email clients support HTML and CSS, but not JavaScript. Style your email campaigns with beautiful typography from the Typekit library, and stand out from the rest.
  • Google AMP. You don’t have to sacrifice style for speed – use your Typekit web fonts with mobile article formats to reach a wider audience. Google AMP is now compatible with our CSS embed code.
  • Custom stylesheets. Some web page builders or other web based software (like wikis) allow you to edit CSS but not HTML. You can add fonts from Typekit to those sites by using the @import version of the CSS embed code.

For more details and step-by-step support, check out our guide to getting started with CSS-only web font serving.

Which embed code format should I use?

Either embed code gives you control over the OpenType features and language support in your site’s web fonts; you can still configure these options in our kit editor.

For most web developers, the CSS embed code is the most efficient way to add web fonts to your site. Using only CSS to deliver web fonts allows you to take advantage of newer advances in how browsers load and render fonts, and removing JavaScript code and execution from the loading process should provide a small but welcome speed boost.

The advanced JavaScript embed code is still the right choice for sites that use East Asian web fonts, which depend on our JavaScript-based dynamic subsetting feature for support.

For advanced users or in specific use cases, our JavaScript embed code gives you fine-tuned control over how fonts are loaded.

  • If you don’t want to block the page until fonts are loaded, use our advanced embed code with async: true turned on. This will result in an initial flash of unstyled text (FOUT), but will allow your page content to load immediately, with fonts swapped in as they are loaded by the browser.
  • Network blips, routing failures, or service downtime could all potentially affect your fonts. The advanced embed code gives you control over functionality such as font loading behavior and timeouts.
  • The advanced embed code loads both the JavaScript file and fonts asynchronously into your site for optimal performance.
Browser support

All of the same browsers and versions that currently support JavaScript web font serving will also support CSS web font serving. See a detailed listing of support.

We want your feedback!

We release features into Early Access because we feel confident that they are ready to use, and we’d like you to give it a try, test its limits, and let us know how you feel about the change before it becomes a core part of our product.

Please give us your feedback via the comments, Twitter, or directly to our support team at We hope you enjoy the new simplicity of using Typekit in your web projects as much as we do!

Major update to our FontFont collection

Thu, 08/24/2017 - 6:04am

Monotype’s FontFont library was one of the original offerings in Typekit in 2009 back when we were only a webfont service. We’re pleased to announce that an additional 230 FontFonts are now available for sync in the Typekit library.

We’ve also put an extensive collection of over 700 FontFont typefaces on Typekit Marketplace for individual purchase, which you do not need a paid Creative Cloud subscription to use. With an Adobe ID, you can sync purchased fonts via the Creative Cloud desktop app. The fonts are then yours to use in any desktop application, and can be hosted on the web via Typekit as well. Read on for a brief overview of what we love in the FontFont collection, or jump directly to their foundry page to see for yourself.

FF Real is an entirely new family on Typekit. Designed by Erik Spiekermann and Ralph du Carrois, it was originally conceived by Spiekermann to use as the text face for his biography. The family has been recently expanded to include 52 styles divided between FF Real Text and FF Real Head, including italics. For a grotesque typeface, there’s an unusual and impressive focus on legibility; in the Text version, features like the curved foot of the lowercase l and crossbars on the uppercase I contribute to this.

FF Ernestine, by Nina Stössinger, is a slab serif that stands out from others in its genre. For starters, that could be recognized anywhere. The whole design is influenced by choices to make it more open and friendly: ball terminals and large x-height, along with open counters and round shapes. Stössinger took care to design each style separately, rather than automating their variation in weight. This makes each style work well in its own right, without the context of the others. A special addition to Ernestine and included in the font is its Armenian version, designed by Hrant Papazian.

FF Dax brings a humanist touch to a minimal sans typeface. Hans Reichel’s choice to eliminate stems on characters such as the lowercase a and u gives the typeface a casual aesthetic, while all other features are polished. This style influenced countless designs to follow. When spacing is tight, we also have the Dax Compact styles ready to sync.

We have a total of 38 FontFont families available on Typekit. Take a look at the list here or check out their foundry page to see it all in the same place — and let us know where you use them!

FF Amman Sans
FF Amman Serif
FF Angie
FF Avance
FF Basic Gothic
FF Brokenscript
FF Carina
FF Chambers Sans
FF Cocon
FF Dagny
FF Dax
FF Duper
FF Enzo
FF Ernestine
FF Folk
FF Ginger
FF Good
FF Info
FF Karbid
FF Kava
FF Mach
FF Market
FF Meta
FF Meta Serif
FF More
FF Nuvo
FF Prater
FF Providence
FF Real Head
FF Real Text
FF Speak
FF Spinoza
FF Tisa
FF Tisa Sans
FF Typestar
FF Uberhand
FF Utility
FF Zwo

See you at TypeCon

Mon, 08/21/2017 - 9:59am

TypeCon 2017: Counter starts on Thursday and the Typekit team is ready to see many of you in Boston this week.

We’re pleased to be a Banner sponsor of the conference this year. Several folks from our team will be attending all the sessions and events throughout the week, so look for us and say hello. We’ll be out in full force at the events below:

Friday, August 25

The SOTA Spacebar returns this year! The TypeCon folks describe it as “a game, wrapped in a conversation, finished with a selfie,” and our own Ariadne Remoundakis is on the list of type celebs to meet. Everyone who completes the challenges will get a Typekit Swag Bag and one lucky winner will join the Typekit team for drinks and conversation on Saturday before the Type Quiz.

On Snapchat? Make sure to use the Spacebar geofilter to tag those 24 hour memories.

After the party, Briar Levit screens her documentary, Graphic Means (another project we’re happy to support).

Saturday, August 26

Masataka Hattori presents “Fundamentals of Japanese Metrics Editing” at 11:50 a.m., an excellent opportunity for those wanting to learn more about Japanese font (and font-design tool) development.

Introducing Pelago from Adobe Originals

Thu, 08/17/2017 - 7:59am

Pelago is a semi-formal sans-serif type family with a crisp contemporary appearance and an understated elegance that lends itself to wide range of applications, ranging from the most demanding text-based web and print communication to expressive display work.

At display sizes Pelago exhibits subtly swelling stroke endings, animated letter counter shapes, and a moderate degree of stroke modulation — qualities derived from both humanist handwriting and Roman inscriptional lettering. At smaller type sizes these expressive accents recede, revealing a clear and very readable text face that doesn’t suffer from the structural rigidity found in conventional sans-serif designs.

Pelago includes six weights with matching italics, and supports multiple figure styles as well as small caps for more advanced typographic needs. Its broad language coverage includes Greek, Cyrillic, and extended Latin.

All weights are available on Typekit, and you can purchase the whole collection on Fontspring.

Morisawa adds 10 more TypeBank fonts to Typekit

Wed, 07/26/2017 - 12:53pm

Morisawa, the premier type foundry in Japan, has made ten more TypeBank fonts available for web use and sync in Typekit’s subscription library. These are a fantastic addition to the Morisawa and TypeBank faces we added in the fall of 2015.

This brings our total collection of fonts from Morisawa and TypeBank up to 30 — great news for designers working with Japanese text.

Take a closer look at what’s new! ???????????? (Read this post in Japanese).

Kanji Typos 48 and 412

Typos first gained popularity in the 1960s and 70s. The numbers in the font names designate the weights of the horizontal and vertical lines in each font; for example, Kanji Typos 412 means that 4 is the horizontal line thickness and 12 is the vertical line thickness.

Ever since the Kanji design of Typos was released in 1968 on a journal book by Group Typo, its design has changed with the times. In 2008, TypeBank renewed and released five fonts as the “Kanji Typos” family for the first time. Even 40 years later, the design is still fresh, with a charming and open personality. Its simple and broad shape is attractive and makes for a highly accessible typeface, not only in print but also on screen displays.

Kanji Typos 415 has been in our library since the fall of 2015, and this addition of Kanji Typos 48 and 412 brings our total up to three fonts for the typeface.

TBUD font series

TypeBank Universal Design (TBUD) typefaces are noteworthy for incorporating the research findings of accessibility specialist Yasushi Nakano (of Keio University) into the design brief.

When designing a TBUD typeface, designers analyze the type in situations where the letters are easily misidentified, and evaluate the typeface based on its performance in these readability and legibility tests. As a result of this process, the TBUD font series has a high level of readability and legibility. This makes TBUD typefaces ideal for meeting accessibility goals and situations where readability is crucial, such as public signage.

We’ve added three typefaces from the TBUD font series to Typekit, for a total of eight new fonts meeting these rigorous accessibility standards.

TBUD Gothic Regular, Bold, and Heavy

TBUD Gothic is a Universal Design Gothic that exemplifies visibility and balance. In order to make characters easy to distinguish, unnecessary small strokes are omitted intentionally where the lines are heavily intersected. Overall it has been carefully designed to maintain clear form, with letter proportions widened to improve legibility and establish a balanced aesthetic. Compared to Kanji, the Kana characters are slightly smaller to improve the rhythm of sentences.

TBUD Maru Gothic Regular, Bold, and Heavy

TBUD Maru Gothic has soft shapes and a friendly, familiar personality that is popular for public signage environments where accessibility is crucial.

TBUD Mincho Medium and Heavy

TBUD Mincho succeeds as a graceful typeface that meets high standards for visibility and readability while maintaining the gorgeous Mincho design. In traditional Mincho type horizontal lines are typically very thin, which can make it difficult to read for people with reduced vision or when seen at a distance. The horizontal lines of TBUD Mincho are designed to have the same thickness as the vertical, much like the Gothic faces, which makes characters much more readable.

Visit the foundry pages for Morisawa and TypeBank to learn more, and to see all of their fonts available on Typekit.

Introducing four new foundry partners on Typekit

Fri, 07/21/2017 - 7:59am

Our four newest foundry partners make for a truly international team, with CAST from Italy, Kostic Type Foundry from Serbia, TipoType from Uruguay, and Latinotype from Chile. Welcome to all!


Brother 1816 from TipoType.

Rufina Stencil and Ornaments from Tipotype. Both specimens courtesy of Tipotype.

Not many people can claim they started the first type foundry in their country, but Fernando Diaz, Vicente Lamonaca, and Martin Sommaruga of TipoType can — and they proudly represent Uruguay on the world stage of type design. In fact, Brother 1816 was just selected as one of Typographica’s favorite typefaces of 2016. See all the typefaces we’ve added from TipoType.

CAST (Cooperativa Anonima Servizi Tipografici)

Saffran, Rialto, and Brevier from CAST.

Run by Luciano Perondi, Erasmo Ciufo, and Riccardo Olocco, CAST is a rare all-Italian digital type foundry. Along with designing retail and custom typefaces, they actively publish educational articles on typography and offer technical advice to other companies.

The humanist sans faces in the collection are impressive in their craftsmanship and utility. Also in the collection are Brevier and Saffran, both developed to be highly legible at small sizes. At large sizes, their idiosyncratic details reveal a more intriguing personality, with exaggerated inktraps and stencil-like details.


Los Lana Niu from Latinotype.

Basic Sans from Latinotype.

Luciano Vergara, Daniel Hernandez, and Miguel Hernandez founded Latinotype 10 years ago in Santiago, Chile. They have been very prolific in that time, creating a large collection of typefaces. We have added a few great sans styles on Typekit that are anything but Basic, along with Los Lana Niu, a curveless display face whose chiselled shapes are a fresh take on how to accomplish the “carved in stone” look. Check out the whole collection.

Kostic Type Foundry

Chiavettieri from Kostic Type Foundry.

Zoran and Nikola, father and son, run Kostic Type Foundry out of Serbia. Chiavettieri, a sophisticated text typeface, was named one of Typographica’s favorite typefaces of 2015. Along with some fairly conventional designs, Kostic has released typefaces that sparked fierce debate on our team, such as Battleslab and Taurunum. Have a look at the full collection, and let us know what you think.

Got a regular appetite for new fonts? Keep up with us on Instagram for peeks at the newest type in our library — and tag us there if you see something you like out in the wild!

Exchange from Frere-Jones Type, now in Typekit Marketplace

Mon, 07/17/2017 - 5:28am

Fresh off the release of Retina, designed by Tobias Frere-Jones for the grueling small sizes of stock listings, comes Exchange — a counterpart text typeface that was also originally made for the Wall Street Journal. Now Exchange is available to everyone, for web and sync use, on Typekit Marketplace.

The epitome of contemporary news text typefaces, Exchange features refined, balanced letterforms that are expressive in a quiet, consistent way. Its upright letterforms feel smart and well-prepared, like a fresh haircut or a tailored pair of slacks. Its italics are like a brisk walk, its bolds like a sturdy leather briefcase.

Christian Schwartz remarked, “Exchange is the logical endpoint for most of the current trends in news text faces,” naming Exchange one of Typographica’s favorite typefaces.

Comparing (from top) Ionic, Exchange, and Bell Gothic.

Exchange uses optical tricks gleaned from historically successful typefaces for incredible clarity and copy-fitting efficiency at text sizes. Tobias writes:

Exchange’s two main teachers are the “Ionics” of nineteenth century Britain (an early form of slab serif) and Bell Gothic from 1938 in the US. The Ionic serif was a powerful tool for binding letters together into words. And the lowercase arches of Bell Gothic were a terrific defense against ink spread. (Bell Gothic was made for printing phone books at high speed on thin paper, so its strategies have a natural sympathy with newspapers.)

Comprising ten standard styles ranging from Extra Light to Bold, as well as eight MicroPlus styles made for use at small sizes both on screen and in print, Exchange features excellent language support and, as you might expect, all of the features required for the finest text typesetting.

All styles of Exchange are available to license from Typekit Marketplace, which you do not need a paid Creative Cloud subscription to use. With an Adobe ID, you can sync the fonts via the Creative Cloud desktop app. The fonts you purchase are then yours to use in any desktop application, and can be hosted on the web via Typekit as well.

Let us know where you use it, and get in touch with us on Twitter or email if you have any questions about finding Exchange on Marketplace.

Join us to test a new feature on Typekit

Thu, 07/13/2017 - 7:25am

We’ve been working on a new feature for finding fonts on Typekit, and we’d love to see what you think of it before we officially launch it later this year.

Will you be in San Francisco or New York anytime from July 24 — August 4? We’re going to run user testing sessions in our office locations in both cities during that time and welcome you to join!

Testing sessions will take about an hour, and participants will all get a $25 gift card for their time. You don’t need to have an active Typekit or Creative Cloud subscription to participate, and we won’t be testing you on your typographic know-how either. We’ll have a computer all set up for the session when you get here, and we’ll be eager to hear your thoughts!

Interested? Great! We’ll need a little info so we can get in touch with you and schedule a time, so please submit this registration form to get started. You’ll hear back from us by the end of the next business day.

See you in Paris: Public type lectures at Le Tank

Fri, 06/16/2017 - 6:57am

It’s our third year of proudly joining the sponsors of the TypeParis program, a 5-week intensive course on typography. Congrats to the students who are just kicking off their studies this summer!

Our sponsorship helps to support the evening lecture series that will run through the duration of the program, which we were delighted to hear has been a hit the past two years. These lectures are part of the immersive type design program, but are also open to the general public. Space is limited, however, so do be sure to reserve your space if you want to join.

All lectures take place at Le Tank (22 bis Rue des Taillandiers, 75011 Paris), and doors open at 7pm (19h). Admission is free.

Tuesday, June 20
François Morel & Marina Chaccur

Tuesday, June 27
Agnès Dahan & Mário Feliciano

Tuesday, July 4
Thibault Caizergues, Olivier Alexanian, & Veronika Burian

Tuesday, July 11
Sylvia Tournerie & Albert Jan-Pool

Tuesday, July 18
Stéphane Elbaz & Sumner Stone

We’d also like to offer special congrats to Margaux Saulou, our first-ever scholarship recipient for this program. We’ll hear more from her this summer, and look forward to learning about her experience.

À bientôt !

New fonts from Type Network in Typekit Marketplace

Tue, 06/13/2017 - 11:09am

We are pleased to welcome new fonts from Type Network, a growing alliance of independent type designers from around the world. Since they joined Typekit in November, they have expanded their collection with more partners and font releases. Let’s take a closer look!

CSTM Fonts, a foundry led by Ilya Ruderman and Yury Ostromentsky, is adding some stellar Cyrillic options with four new families.

Kazimir is based on late 19th-century book typography, and its popularity spurred the creation of Kazimir Text, which includes more weights than its display counterpart. Cyrillic letters are more symmetrical in nature than those comprising the Latin alphabet, so Kazimir’s static contrast (where the thins and thicks are somewhat symmetrical) works well to create consistency between the two writing systems. Big City Grotesque, by Olga Pankova and Ilya Ruderman, is a sans serif with humanist flair — and don’t miss the awesome ligatures! Have a look at all of their fonts on Typekit Marketplace.

Laura Meseguer and Jose Manuel Uros bring us a fantastic variety of type through their foundry, Type-Ø-Tones. We love the natural rhythm of Rumba, which gets even more dynamic if you experiment with its three different styles; Laura calls it the “axis of expressiveness”. Rumba was Laura’s final project at the Type and Media program at the Royal Academy of Art The Hague, and the subject of her dissertation, which gets into much more detail about its development.

Cyrus Highsmith doesn’t disappoint with his new sans serif, Allium. Cyrus emphasized a warm, balanced aesthetic in this design, and he recommends, “Try it if you need a clear, calm tone of voice but don’t want to put your readers to sleep”. His introduction to Allium on the Type Network site is a great study of thoughtful type design in action. Allium includes support for Greek and Cyrillic.

Bennet from Richard Lipton shows more than just his calligraphic expertise. The typeface’s support of widths, weights, and even grades — variations which affect the way a typeface looks when printed on paper — make the design exceptionally high-functioning without compromising its playful nature. Read the Type Network overview for even more detail about Bennet’s skillful construction.

Sibylle Hagmann has created a portfolio of interesting and original typefaces, and we’re delighted to add more from her to Typekit Marketplace. Kopius is loosely based on Liberta, a serif family designed by Herbert Thannhaeuser in 1956 in East Germany (see original images for reference). Both regular and condensed widths are available.

New Zen, by Miles Newlyn and Elana Schneider, is a rounded typeface with just a little edge to it. One of Miles’s goals with New Zen was to create a rounded sans-serif that felt less “childish” in character. The subtle edges in the counters create a broad nib pen look — and definitely detract from any elementary-school vibe. Read more from Type Network about the design. We love the detail about designing for accessibility!

In designing charming script face Gautreaux, Victoria Rushton was inspired by her grandmother’s handwriting, and her own treasured copy of The Script Letter by Tommy Thompson. With only four contextual alternates, Gautreaux connects and flows with a wonderful simplicity that makes it adaptable to many different editorial situations.

It’s great to see the Type Network library expand with such a varied selection. All these new fonts are available for purchase on Typekit Marketplace, which you do not need a paid Creative Cloud subscription to use. All you need is an Adobe ID so that you can sync the fonts you’ve purchased via the Creative Cloud desktop app. The fonts are then yours to use for as long as you keep the CC app running.

We would love to see how you use these typefaces in your work — let us know what you think on Twitter and Instagram!

Sites We Like: The Morning News & iGNANT

Fri, 06/09/2017 - 3:36pm

Whether the content is long-form or in brief, or a mix of both, it takes a talented designer to pull together a page that invites readers to stay a while — and to check back often.

Both of these online publications do a great job with this, keeping the type in perfect balance with the overall aesthetic.

The Morning News

The Morning News features articles and essays by its own staff and contributors along a regular stream of headlines from publications across the web, with an understated page design that puts the content (and its readers) first.

The sans-serif face used on the homepage and in navigation throughout is JAF Facit, with different weights in play to keep the page feeling vibrant. Compare block quotes to the headlines to see how the lighter weight has a voice completely distinct from the mid-range weights. Body text for the articles is set in Minion, a classic from Adobe for long-form text, and frequently spotted in book typesetting.


Devoted to art, fashion, design, and all things creative, iGNANT is a source of inspiration for people across virtually all artistic disciplines.

Navigation and subheads are set in Futura PT, which not only reads well at those small sizes but provides a lovely sense of balance on the page with its geometric forms. Shown large and proud in headlines and body text is Adobe Garamond, with generous line spacing giving an especially graceful feel to those tall ascenders.

That’s it for sites this time. Share sites you like in the comments!

New on Typekit: Sync multiple fonts more easily

Thu, 06/08/2017 - 4:40am

Starting today, “multi-sync” (as we call it) is back and better than ever—including the much-requested ability to sync entire font families with just one click.

Since we launched Typekit’s new user interface last year—including our new, bigger type families—one of your most popular requests has been to bring back the ability to sync several fonts from a family at the same time.

The new Sync All button, as shown on Halyard‘s family page

On most family pages, you’ll now see a Sync All button that does exactly what it sounds like—click it and all the fonts in the family will be added to your sync selections right away, and synced to your computer within seconds. This makes it a lot easier to play around with the whole range of weights, widths, and other variations within families, not to mention a lot simpler to set paragraph text with the standard “RIBBI” (regular, italic, bold, bold italic) styles.

A small number of our families are very, very big: Acumin, for example, has 90 fonts, while Kepler has a whopping 132 fonts. On these families’ pages, you’ll see a drop-down menu, allowing you to sync all the fonts within a subset of the family, such as Acumin’s widths or Kepler’s optical sizes. This gives you more control over how many fonts you’re syncing at once, to help you avoid syncing more fonts than you need.

Of course, if you really do want all 132 fonts, there’s a Sync All button at the bottom of the menu.

Managing your synced fonts

All Typekit plans have a limit on the number of fonts that can be synced at one time. These “sync limits” are similar to the pageview limits that apply to each plan for web fonts. Today’s updates will make it easier to understand what your plan’s limits are, and to figure out what to do if you’ve gone over them.

If you sync a font beyond your plan’s limit, we’ll display a message letting you know. You can visit the Synced Fonts page to manage your previous sync selections and unsync fonts you’re not using anymore, or see if it’s time to invest in a plan with a higher sync limit.

We’ve also added a usage meter to the Synced Fonts page, along with some labels indicating how many fonts are synced from each family, so you can better manage your usage.

Customers who stay over their sync limit for a prolonged amount of time may get an email from us asking them to unsync some fonts or upgrade. We’ll never charge your credit card without contacting you first.

We’ve been busily adding a lot of new fonts to our library for sync, so we expect this is good timing to introduce an easier way to sync a bunch of them at once. Keep up with us on Twitter and Instagram to hear about new library additions, and don’t hesitate to send an email our way if you have questions about anything.

Introducing Halyard from Darden Studio, plus more fonts for sync

Thu, 06/01/2017 - 8:30am

Darden Studio is based in Brooklyn and brought us Omnes, the original typeface of choice for the Typekit logo. The foundry has just released their newest typeface, Halyard — which we’re delighted to offer on Typekit.

Conceived and designed by Joshua Darden, Eben Sorkin, and Lucas Sharp, Halyard comprises three optical sizes — Display, Text, and Micro — each with eight weights and italics. The specimens on the foundry’s microsite for the typeface do a spectacular job of illustrating how these different sizes can be put to good use in all kinds of design work.

Halyard Micro, shown big.

Given the enormous flexibility on offer here, we won’t be surprised if Halyard becomes a new favorite sans-serif typeface for a lot of people. It’s made to perform exceptionally well in a number of different typesetting situations thanks to those optical sizes, and it’s fun to work with — especially Micro, whose creative letter and number shapes are worth seeing at larger sizes, too.

Micro for the body text, Display for headlines, and Text for graph labels and nameplates. All artwork by Darden Studio.

All weights and styles of Halyard are available for purchase from Typekit Marketplace, which you do not need a paid Creative Cloud subscription to use. All you need is an Adobe ID so that you can sync the fonts via the Creative Cloud desktop app. The fonts you purchase are then yours to use for as long as you keep the CC app running.

If you’ve already got a paid plan with Creative Cloud or with us, you now have access to the Regular and Bold weights (with italics) for all three sub-families of Halyard. Look for these in the library today. You might also want to poke around and see some of the other great typefaces from Darden Studio — all of which are now available for sync in addition to web use.

Congrats to Darden Studio on another fantastic design.

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