Monotype create Noto for Google: An open-source typeface family for all the world’s languages
With a goal of encompassing every written language, Monotype and Google have released Noto as an open-source typeface for everyone to use.
Noto is one of the largest typographic projects ever undertaken; more than five years in the making, covering over 800 languages with over 100 writing scripts (some never digitised before), each with a harmonious look and feel.
Tofo is the nickname used to describe the blank boxes that appear when a computer or site lacks font support for a particular character. The ambitious brief from Google to Monotype of “no more tofu” which gave rise to the type family’s name.
“Our goal for Noto has been to create fonts for our devices, but we’re also very interested in keeping information alive,” he adds. “When it comes to some of the lesser-used languages, or even the purely academic or dead languages, we think it’s really important to preserve them.” Bob Jung, Google internationalization expert.
Intense Research
Rising to this enormous challenge Monotype coordinated an intense research effort, partnering with researchers, designers, linguists, cultural experts and project managers around the world.
The more obscure scripts required significant research to ensure the scripts adhered to their traditions and rules. Experts were consulted and direct feedback was sought from communities using the scripts.
For the Tibetan face, Monotype conducted in-depth research into a vast library of writings and then enlisted the help of Buddhist monks to critique the font and make adjustments to the design.
Sketches for Adlam (left) and Tibetan (right)
Using Noto
Not only will the breadth of languages covered by Noto expand the availability of information to more readers and preserve rare writing systems, the typeface is also “a digital workhorse”. It powers the text shown across Android and Chrome devices and importantly because it has been released as a suite of open source fonts it can be used any where.
Download Noto from Google here. and read more about making Noto at Monotype.com
8 Faces Collected: The updated list of 25 most admired typefaces by typographers, type designers and letterers.
Across eight issues and one book we’ve interviewed almost 70 world-renowned designers, including; Erik Spiekermann, Jessica Hische, Michael Bierut, Ellen Lupton, Mark Simonson & Seb Lester, plus owners of respected type foundries such as, Font Smith, Type Together and Process Type.
We’ve counted the number of times each typeface was selected and while the selections were as diverse as the designers we spoke to, we found a small consensus with the top 25+. The top ten designers’ favourite fonts will be familiar to many but hopefully the full list will provide a useful stepping stone to exploring many more.
Selecting the right typeface makes all the difference to effective design and communication. But with over 100,000 font families to pick from it can be a daunting task. There are some excellent guides on choosing and pairing fonts but in order to apply these principles it’s important to be familiar with a broad range of quality typefaces.
1. Georgia. Matthew Carter, 1993. Chosen 11 times.
Originally designed for clarity on low resolution screens for Microsoft, it is the counterpart to Verdana which also appears in this list. Georgia still features on millions of websites. It has a large x-height with ascenders that rise clearly above the cap height. It’s a sturdy yet friendly typeface with a wonderfully flowing italic.
“A gorgeous technical achievement.” Jason Santa Maria
Occasionally referred to as the Helvetica of the 21st Century. Gotham was inspired by architectural signage on Manhattan’s older building. It was originally commissioned by GQ Magazine and was famously used for Barack Obama’s 2008 presidential campaign.
3. FF Scala. Martin Majoor, 1990-2004. Chosen 7 times.
Described as FontShop International’s ‘first serious text face’, Scala is a super family, popular with book designers, that includes a serif, a sans serif and a decorative jewel design.
“Scala and Scala San are just about perfect.” John Boardley
This immortal ‘modern’ typeface with its uncompromising shapes has become the benchmark geometric sans serifs for almost 80 years.
“Paul Renner’s Future characterised his time and influenced many other designers. It was a real modern typeface, not based on existing serif typefaces”. Georg Salden
A quintessential British design produced under the direction of Stanley Morison at Monotype. It remains one of the most distinctive blends of humanist and geometric shapes.
6. Garamond. (Claude Garamond, c. 1480–1561), Chosen 5 times.
Several derivatives of the Parisian punch cutter’s design have been chosen including; ITC Garamond (Tony Stan), Adobe Garamond & Garamond Premier (Robert Slimbach).
“Garamond was quite the master who appreciated restraint as much as elegance. Of the various roman and italic sizes that he cut, I feel his ‘Vraye Parangonne’ font (about 18 pt.) best captures the essence of his vision. The subtlety of line and detail are simply remarkable.” Robert Slimbach
7. Caslon. (William Caslon I, 1722) Carol Twombly, 1990. Chosen 4 times.
The typeface that gave rise to a printers’ saying ‘When in doubt, use Caslon’. Also a favourite of Benjamin Franklin.
8. Akzidenz Grotesk. H. Berthold, Berthold Type Foundry, 1898. Chosen 4 times.
The first widely used sans serif typeface.
“The original grotesque and still the best.” Vincent Connare
Designed for the American Typefounders Company (ATF). All three weights are bold and narrow. Used on YouTube’s homepage logo.
“Very well designed and drawn. It’s a standard that I strive for in my own work” Mark Simonson
10. Baskerville. John Baskerville, 1757. Chosen 4 times.
Baskerville designed his own type to improve his printed works and to improve on the dominant fonts of William Caslon. His typefaces were admired (notably by Giambattista Bodoni and Benjamin Franklin) and criticised by his competitors. Baskerville made variations of his typeface for use at different sizes (now referred to as ‘optical sizes’). Some modern interpretations of Baskerville have been reproduced following the designs of a specific size, resulting in several distinct versions.
11. Chaparral. Carol Twombly, 2000. Chosen 4 times.
Chosen by Robert Bringhurst, Chaparral moves a place up the chart. Twombly’s “hybrid slab-serif” text face that mixes the legibility of 19th Century designs with 16th century panache.
12. Helvetica. Max Miedinger with Eduard Hoffmann, 1957. Chosen 4 times.
Helvetica needs no introduction as the planet’s most famous typeface—it even inspired a very good film.
“You can say, ‘I love you,’ in Helvetica. And you can say it with Helvetica Extra Light if you want to be really fancy. Or you can say it with the Extra Bold if it’s really intensive and passionate, you know, and it might work.” Massimo Vingelli.
Designed out of a dissatisfaction with the san serifs of the time like Futura.
16. Trade Gothic. Jackson Burke, 1948/1960. Chosen 4 times.
Michael Bierut described it as “The ultimate ‘I don’t give a damn” typeface. No style, no nuance, just blunt, in-your-face, straightforward attitude.”
17. Adelle. José Scaglione and Veronika Burian, 2009. Chosen 3 times.
Adelle is a slab serif typeface conceived for intensive editorial use, mainly in newspapers and magazines but its personality and flexibility make it very adaptable.“Adelle Sans manages to capture one of the most desired of human emotions: cheerfulness.” Nadine Chahine
18. Caecilia. Peter Matthias Noordzij, 1990. Chosen 3 times.
A humanist rather than geometric slab serif, aiding its legibility.“A friendly slab serif that’s more contemporary in its structure. Its large, flexible, family that always sets a really nice approachable tone whenever I use it.” Frank Chimero
This clean geometric sans is based on the German standard typeface, DIN 1451, used for official documents and street signs etc. DIN stands for Deutsches Institut für Normung (German Institute of Standardisation). The font was added to the MoMA Design Collection in 2011.
20. Fedra Serif. Peter Bilak, 2003. Chosen 3 times.
A highly original text typeface. Shaped by a unique blend of technological considerations while maintaining hand-written forms.
“A beautifully crafted typeface. A very nice, contemporary example of technical quality and carful design.” José Scaglione and Veronika Burian
Aiming to create a feeling of softness, Feijoa has an almost complete absence of straight lines. Feijoa successfully avoids the sense of coldness that Kris had felt with some previous digital typefaces.
“Those gently curved straights and rounded corners lend the design a beautiful organic, almost calligraphic quality. Yet there is nothing frivolous to the typeface, it all is functional and looks very self-assured.” Yves Peters
22. Hoefler Text. Jonathan Hoefler, 1991. Chosen 3 times.
Designed for Apple to demonstrate advanced type technologies it reintroduced type design traditions once central to fine printing like ligature sets, engraved capitals, ornaments and arabesques.
23. Officina. Erik Spiekermann,1990. Chosen 3 times.
A paired family of serif and sans serif faces, originally designed as a typeface for business correspondence but found a much wider, trendier audience.
24. Quadraat. Fred Smeijers, 1992. Chosen 3 times.
An original typeface Combining Renaissance elegance with contemporary ideas on construction and form. Named after Smeijers’ design studio in Arnhem, of the same name.
“In my opinion one of the most significant type designs of the nineties” Yves Peters
An oldstyle serif typeface based on Garamond. A distinguishing feature of Sabon is that the Roman and Italic styles and the Regular and Bold weights occupy by same width.
“For everyone who’s ever wished Clarendons had italics”. Three of our interviewees had. A slab serif with copious weights suitable for both text and display. Based on the original Clarendon designs by the Fann Street Foundry in Clerkenwell, London
27. Verdana. Matthew Carter, 1996. Chosen 3 times.
It was created specifically to address the challenges of on-screen display. Verdana’s large x-height, wide proportions, generous letter-spacing and large counters are key to its legibility at small sizes.
The innovative typeface, along with it’s energetic sibling, Rig Solid is also available on Adobe Typekit. If you have an Adobe CC account, sync them freefor desktop and web.
Summer End Haiku - 28/8/2017
Summer starts to fade
We see the sun set sooner
Rain, cold… My old friends
Collecting these would be a great hobby for someone interested in both type and bikes.Self proclaimed ‘bike geek’ Jeffery Conner is certainly falls into both categories.
A professor from Michigan, USA, Jeff’s been collecting bicycle head badges since 2000, starting with just three badges, his collection grew to over 800 in just 36 months. The slightly curved badges come from all over the world and Jeff has found almost every letter of the alphabet (he was just missing Q & X according to this article).
“There are symbols of freedom and speed – with wings and birds abounding – and also a debt to heraldic animals (serpents, lions and eagles, in particular), with ideas of strength and precision also conveyed in the designs.”
Last year London design agency, Carter Wong, produced a book collecting some of their favourite badges as a self-initiated project.
Imaging one of these flying in front of your trusty wheels!
“Light” 7/5mo/2017
It is small and bright
and I can barely touch it.
There’s a mystery to this object and, because of that,
I am quite fond of it…
but I do not know how to grab hold of something so tiny.
Perhaps if I wait, with all my patience (like a Saint’s!) somehow this orb will grow closer?
I admire it so, you must know,
that I’ll give it a name:
This soft and warm dazzling sight
is now what I’ll call ‘Light’…
