October 25, 2012
We are pleased to announce that all of Adobe’s Web Fonts are available through Monotype’s Web Fonts service at Fonts.com.
Adobe and Monotype have been working together for over two decades to deliver the highest quality fonts for desktop and printer use to our customers. The inclusion of Adobe Web Fonts on Fonts.com is a natural direction for us to take in continuing this long-lasting relationship and demonstrates our combined desire to bring fine typography to the web. In the future Adobe will make selected Monotype fonts available on our Typekit web font service. Watch this blog for more details soon.
To browse the selection of Adobe Web Fonts on Fonts.com go to the Adobe foundry page by clicking the ‘WEB FONTS’ tab. You’ll find over 300 hundred fonts from Adobe’s award winning type library. Each of these fonts has been hand-tuned to look great on screens and in today’s web browsers.
We welcome Fonts.com as another Adobe Web Fonts partner and look forward to seeing more Adobe Web Fonts on the web.
To learn more about Adobe Web Fonts, visit our Adobe Web Fonts page.
To learn more about Typekit by Adobe, visit typekit.com.
To learn more about the Fonts.com Web Fonts service, visit fonts.com.
August 14, 2012
Over at Daring Fireball yesterday, John Gruber waxed rhapsodic about his lifelong relationship with pixels, and their marginalization in the new MacBook Pro Retina Display. He then talked about fonts in that context:
Regarding font choices, you not only need not choose a font optimized for rendering on screen, but should not. Fonts optimized for screen rendering look cheap on the retina MacBook Pro — sometimes downright cheesy — in the same way they do when printed in a glossy magazine. [...] Great fonts, intricately designed for high-resolution output, aren’t just allowed, they are necessary for a design that truly sings on this display.
John is talking about the long game of type design that Adobe has been practicing and advocating for over 25 years — especially in the last two or three years as screen fonts (a.k.a. web fonts) have taken a front seat in designer workflows and font foundry business planning. While there’s nothing wrong with finding the perfect solution to a contemporary problem — as many foundries have sought to do with highly screen-optimized fonts — it’s an endeavor that takes a lot of time and resources, always with the looming threat that those benefits will be fleeting. At Adobe, we’ve always been very comfortable relying on the inherent value of type designed to work well in print and high-resolution environments. No doubt that is a conservative choice, but keep in mind that Adobe Type has always been a product for digital workflows. One of the first Adobe Originals, Adobe Garamond, was designed in consideration, not defiance, of the 300 dpi laser printers of its time. Doing so did not make it incongruous with the past or the future.
I’m looking forward to the day when this bifurcation, “fonts” and “web fonts,” disappears and we can get back to simply practicing good typography with good typefaces, and worrying less about the medium and the technology. Although it seems like we’ve been anticipating high resolution screens for at least fifteen years, perhaps we are, finally, almost there.
August 2, 2012
It’s an exciting day for Adobe Type! Today, we’re releasing two new Adobe Original families for both print and web, Source™ Sans Pro and Leander Script™ Pro. Plus, we have a new set of web fonts available from our partners at Typekit and WebINK.
April 3, 2012
The Robothon conference in The Hague is always an exceptional event, bringing together designers and developers interested in the technical aspects of type design. While it is a great opportunity to meet people and exchange ideas, it is also a place to hear about the latest developments in type technology. This year, many presentations focused on hinting, two of which were presented by members of the Adobe Type Team. Continue reading…
September 1, 2011
A month ago, Typekit rolled out improved font rendering on Windows, and began serving certain typefaces in OpenType CFF (PostScript Type 1) format*, instead of the more customary TrueType format. Yesterday, they began serving selected Adobe Web Fonts as CFF as well, and the result is noticeably better appearance for large text sizes.
Typekit observed that, although TrueType fonts tend to look better at text sizes with Microsoft’s ClearType subpixel antialiasing in Windows GDI rendering environments (still the majority of web viewers out there), there can be distracting pixelation on some diagonal features at large point sizes. Their clever solution is to serve CFF fonts for certain display designs which are unlikely to be used at smaller text sizes. GDI will only apply grayscale antialiasing to Type 1 fonts, resulting in smoother appearance. On Mac OS X and in some newer Windows environments (DirectWrite, to be more specific), the quality is essentially the same as TrueType.
Large letters rendered in Windows GDI from TrueType outlines (left) and CFF (right). (Image: the Typekit Blog)
Here at Adobe, we’re obviously pleased to see CFF fonts served where it makes sense to do so. We think CFF has certain qualities and advantages which often make it a better choice — on the web and elsewhere. (Later this month I will be speaking more about this at the ATypI conference in Reykjavíc, Iceland.) To read more on this subject from Typekit and to see more examples, see yesterday’s post on the Typekit Blog.
* When referring to “PostScript,” “Type 1″ or “CFF” fonts, what I really mean is OpenType with this outline format in it. OpenType fonts can contain outlines in either CFF or TrueType format. CFF — the Compact Font Format — is a variation of the original Type 1 font format, created by Adobe along with the PostScript language.
June 21, 2011
Some more additions to the Adobe Web Fonts collection are available today through our partners, Typekit and WebINK.
First, one of the most popular Adobe Web Font families so far, Chaparral Pro, has been supplemented with more optical sizes (Caption, Subhead and Display) in a range of weights, from Light to Bold. Chaparral is the only design Carol Twombly created with an optical size axis, so we’re pleased to now offer you more choices to explore Carol’s entire design.
March 29, 2011
We are excited to announce that, beginning today, over 180 of Adobe’s Web Fonts are available through Extensis’ WebINK web font service. Those of you who already use WebINK have some fantastic new fonts from which to choose. And for the rest of you who are not yet using Adobe fonts on your web pages, you now have more great ways to get started with Adobe Web Fonts.
December 22, 2010
The Adobe Type Team is happy to announce the release of twenty-two new Adobe Web Fonts. These fonts were made available by our partner, Typekit, earlier today, and adds four new families to the Adobe Web Font collection.
December 2, 2010
.otf file extension) and TrueType (
.ttf file extension*) are the two modern font formats available for desktop usage today. Despite being distinct formats, OT/CFF and TT fonts actually have a lot in common. They are distinguished primarily by their different outline formats and the contrasting approaches employed to rasterize those outlines.
The glyph outlines in OT/CFF fonts are made of cubic Bézier paths whereas in TT fonts they’re made of quadratic Béziers.
Two similar paths. Cubic Bézier (left) and quadratic Bézier (right).
November 12, 2010
You may remember my earlier blog post in which I stated that turning on ClearType makes the fonts look better on Windows, and that is generally true if the text is set at a small size (i.e. 9–16 px). But at the same time, text set at a large size displays jagged edges, whereas it doesn’t if the font smoothing option is set to anti-aliasing (aka grayscale).
Headlines from Typekit's homepage rendered by Google Chrome 7.x on Windows 7 with ClearType turned on. Notice the jagged edges on the curved top and bottom parts of the letters.