November’s Font Spotlight is Here — Plus Six Featured Type Discounts! 

[Fonts.com Logo] [View in Browser]( A Spotlight on Scripts, Revivals, Remakes & More — Plus Six Featured Type Discounts! This month’s newsletter features a new script, a typeface revival, a remake and a family extension. [Catsy]( from Fenotype, heads the list. It’s a delightful casual script that its designer calls “purrfectly playful”. Available in five weights in solid and textured versions, each font also has litter-ally hundreds of OpenType® alternate characters. The [Wolpe Collection]( from Monotype, revives five typeface designs from Berthold Wolpe. Frist drawn in the 1930’s, this dynamic cross-section of fonts has been updated for 21st century tastes and demands. James Todd takes a new look at the Didone typestyle in his [Essonnes]( family. Its sixteen typefaces, spread across three optical designs of text, display and headline, dramatically expands the design’s range of uses. [Yorkten Slab]( from Insigne, adds a suite of straightforward slab serif designs to the Yorkten family. With over 50 typefaces, matching the weights and proportions of the original sans serif design, the family becomes a branding powerhouse. Yorkten Slab can also stand on its own, creating everything from easy-to-read text to commanding banners. What does the calligrapher and lettering artist, Jill Bell, have to do with the CIA? (Yes, that CIA.) Read on. Looking for a source of watershed typefaces that have stood the test of time? That would be International Typeface Corporation (ITC). And, with every desktop font order, you’ll get this month’s free font: Kompakt™, a Hermann Zapf typeface like no other. [Zelda]( 42 styles by Wiescher Design geometric sans [Buy Now]( [Catsy]( 10 styles by Fenotype script [Buy Now]( Pegasus]( [The Wolpe Collection]( 20 styles by Monotype [Buy Now]( Slab]( [Yorkten Slab]( 54 styles by Insigne slab serif [Buy Now]( [Essonnes]( 16 styles by JTD neoclassical [Buy Now]( [Milliard]( 24 styles by Rene Bieder geometric sans [Buy Now]( # [Alana Smooth]( 1 Style # [Korb]( 4 Styles # [Roster]( 4 Styles # [Cresta]( 12 Styles # [Montague Script]( 1 Style # [Noort]( 10 Styles # [Quarion]( 22 Styles # [Limon]( 16 Styles # [Preside]( 2 Styles #[ITC]( Featured FOUNDRY: [ITC]( ITC was founded in 1971, with Aaron Burns as president, visionary and front man. Herb Lubalin’s studio provided many of the new typefaces for the fledging firm and Ed Rondthaler’s phototypesetting studio, Photo-Lettering Inc., was responsible for turning lettering artists’ renderings into something that manufacturers of typesetting equipment could use to make fonts. ITC became soon the epicenter of typographic fashion because Its typefaces provided cachet and credibility, Burns provided marketing savvy – and a magazine called U&lc that developed a cult following. With phototypesetting technology came a bevy of new companies that manufactured the new typesetting machines – and the fonts to go with them. ITC did not make typesetting machines, but would provide their designs to any company that agreed to the terms of its license agreement. The licensee in turn paid ITC a royalty on fonts they sold. In an era before social media, persona marketing and messaging platforms, Burns was a marketing genius. He understood that fonts and typefaces themselves were not the end product designers were looking for. He also knew that the typesetting houses that purchased fonts were not the customers who drove sales. The product was typographic design, and the customers who generated font sales were graphic designers. The typesetting houses were merely a conduit between the providers of fonts and the designers ordering proofs set with them. Burns and Lubalin decided to bypass the typographic services and font providers and, instead, reach out directly to graphic designers. And they had an inspired idea to reach this goal: publish a magazine that would appeal to the graphic design community. Their concept was to create a publication that spoke authoritatively, innovatively and irresistibly about type, typography and the graphic arts. The magazine was to be U&lc: The International Journal of Typographics. By 1973, a man had landed on the moon, Paul McCartney had quit the Beatles and ITC had begun to publish U&lc. Issued quarterly, and designed by Lubalin, U&lc found an instant audience of graphic designers eager to see – and emulate – Lubalin’s work. U&lc showcased ITC typefaces in every article, proving that they could be as enjoyable to look at as they were to read. There were no sales pitches – just a few pages set aside for new typeface announcements. U&lc soon developed a cult-like following of readers who treasured, re-read many times over, and ultimately collected the newsprint magazine. Burns’ vision was to carry on the tradition of American Type Founders (ATF). Many of ITC’s first typefaces were, in fact, revivals of original ATF designs. Typefaces like the [ITC Bookman®]( [ITC Franklin Gothic™]( [ITC Century®]( and [ITC Garamond™]( families became the “go to” versions of the earlier designs. Burns also saw that new designs, like the [ITC Stone®]( [ITC Legacy®]( [ITC Charter®]( typefaces and scores of display designs were made available to designers. In 2000, Monotype Imagining acquired ITC and continued to add new designs into its library for many years. [Learn more about ITC]( and see the over 790 ITC typeface families provided by Monotype now! #[Jill Bell]( Featured designer: [Jill Bell]( Jill Bell’s typefaces are energetic, highly decorative, and refreshingly unpredictable. Some are friendly – almost childlike. Others are rough and nervous; while still others have a worn elegance. According to her, Bell began her career with letters “imitating rubber stamp prints and forging my parent's signatures in high school. At about that time, I also encountered my first Speedball pen, and my lettering lust began.” In her teens, Bell thought she’d be a painter, a writer or a professional photographer. Her love for those things has not diminished and she has recently published Wild Things, a book of her nature photography. After college, Bell worked as graphic designer from time to time, but her first real “font job” came later – as a sign painter. “You learn a lot about letters when you draw them six feet high,” she explains. Since then, Bell has worked as a graphic artist with a specialty in creating letter forms, logos and – fonts. One of her more recent jobs was for the U.S. Central Intelligence Agency (Yup, the CIA.) “I did hand lettered versions of words set in type in various languages for them.,” she explains “I have no idea what they say, and only the vaguest idea if the letterforms are truly correct! I do know that were for a recruitment project.” Two of Bell’s first typefaces grew out of a logo design. “I had hand lettered a logo for a unique group of Hispanic gang-banger type performance artists, where the boys dressed up as the girls and the girls dressed up as the guys! In creating the logotype, I was trying to get an ethnic feel, a sense of fun and light-heartedness, and a very definitive masculine and feminine feel to the two lettering styles. Los Vatos and the Cholo Girls turned into two different typefaces. Los Vatos became the [Carumba™]( family, and the Cholo Girls became [Gigi™]( Carumba is a big font. It contains the basic complement of lowercase, numbers and punctuation. Added to this, Bell drew three sets of capital letters: one on the “mild” side, and two labeled “hot.” “Gigi was an easy design,” she recalls. “The light, playful, almost feminine design, just flowed from my brush.” [ITC Clover™]( is yet another piece of Bell’s lettering that evolved into a complete typeface. Mimicking the handwriting of grade-school students, the design has a young, lighthearted quality. While not a connecting script, it is easy to see that this design grew out of a block of handwriting, rather than individual letters. [Smack™]( and [ITC Stranger™]( are on the opposite side of the design spectrum. There is nothing lighthearted or playful about these designs. They evoke feelings somewhere between raw panic and acute paranoia. Smack’s double strokes, built-in ink splatters, and disjointed character weights make the design not only visually powerful, but downright scary. ITC Stranger is less disturbing – but more sinister. It also has a hint of retro. <./p> Bell’s [Swank™]( is a kind of a shabby-chic formal script. Clearly not for wedding invitations, Swank, nonetheless, has elegant underpinnings. A connecting script with definite, if somewhat tattered, links to early copperplate scripts, Swank’s proportions are slightly narrow making it particularly space efficient. Make sure to [explore]( all of Jill Bell’s typeface designs now! Featured Fonts on Sale # [Animo]( [Animo]( Styles / $279 $167.40 # [Hoyer Script]( [Hoyer Script]( Style / $30 $24 # [Sequel Sans]( [Sequel Sans]( Styles / $200 $26 # [Beauty Script]( [Beauty Script]( Style / $14 $7 # [Praho Pro]( [Praho Pro]( Styles / $290 $29 # [TT Hazelnuts]( [TT Hazelnuts]( Styles / $129 $64.50 [Kompakt]( This Month’s Free Font Kompakt™ is unlike other Hermann Zapf typefaces. It’s bold, boisterous and a little in-your-face. This, and its slight forward tilt, give the design a powerful energy. It’s perfect for posters that stand out, book covers and periodical headlines that demand attention in print. Equally a part of Kompakt’s repertoire, are banners, headings and navigational links in interactive environments. This month, we are going to help you take advantage of this formidable design. A desktop font of Kompakt will be loaded into your shopping cart – at no charge – when you purchase any other fonts from Fonts.com. Century and Kompakt are trademarks of Monotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Franklin Gothic, Charter, ITC Legacy and Stone are trademarks of Monotype ITC Inc. registered in the U.S. Patent and Trademark Office and which may be registered in certain other jurisdictions. Swank, ITC Stranger, Smack , ITC Clover, Carumba and Gigi are trademarks of Monotype ITC Inc. and may be registered in certain jurisdictions. [a50a3ad2-2120-42b2-a4e2-7e9f11dc55d6.jpg]( [9b77b34a-744a-44ea-9f6e-29816ded81cf.jpg]( [4005a9c5-327a-4930-ba5b-6a553a37b2c4.jpg]( You are receiving this email because you elected to subscribe to our newsletter. We never send unsolicited email, nor do we sell our list. [Unsubscribe]( All trademarks are the property of their respective owners. This email was sent by: Monotype Imaging Holdings Inc. 600 Unicorn Park Dr. Woburn, MA 01801 US