When it comes to decisions brand leaders have to make, choosing the typeface that will live across your website and on all of your products is a pretty big one. Customers are going to see and interact with your copy throughout the life of your brand — and making a change to your design style will cause a ripple effect with lasting impacts. 

Monotype is the largest company that is dedicated to typefaces. According to Jonathan Zsittnik, the Vice President of Commerce Channels at Monotype, the company has the world's largest library of typefaces, and thousands of type families, many of which are the backbone of key brands. 

On this episode of Up Next in Commerce, Jonathan explains the intricacies that go into running and selling that massive inventory of fonts. Plus, he dives into the importance of choosing and properly licensing a font style and how it can impact a brand.

Main Takeaways:

• Would You Like To Update? — A brand is a living, breathing thing, and needs to change with the times. But updating a brand’s typeface may require more careful thought and planning than some may anticipate. How do you pick or create a typeface that works for both mobile and desktop, speaks to your brand’s identity, works in multiple languages, and meets different users' needs? Tune in to find out!
• It All Adds Up —  The Ecommerce experience does not begin and end with a customer putting an item in a cart and then completing a transaction. That experience needs to carry on after the purchase has occurred, because in order to turn a one-time purchase into a repeat customer, brands need to stay top of mind for their customers. Every part of your brand — including the typeface you choose — makes up the Ecommerce experience and should be taken into consideration.

For an in-depth look at this episode, check out the full transcript below. Quotes have been edited for clarity and length.

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Transcript:

Stephanie:

Welcome back to Up Next In Commerce. I'm your host, Stephanie Postles, co-founder of mission.org. Today on the show, we have Jonathan Zitnik the Vice President of commerce channels at Monotype. How's it going, Jonathan?

Jonathan:

Very good. Thanks so much for having me, Stephanie.

Stephanie:

Yeah, thanks for coming on. We were just mentioning that today's a special day. It's your 19th anniversary. And how lucky are we to have you on the show?

Jonathan:

Oh, man. It's crazy to have been here so long, but I've enjoyed the ride. And what better way to kind of celebrate that anniversary by talking about Monotype and all the things that I've done and see coming, than being here with you today. So thanks for having me.

Stephanie:

Yeah, it's going to be really fun. I think you're the first person we've had on the show that's been somewhere this long. So I think it'll be a really good conversation where you've actually been able to see a company evolve, and grow, and change. So I'm excited to dive into it.

Jonathan:

Awesome.

Stephanie:

I was hoping we can first start at Monotype. So I was reading a bit about it. But then I saw that you employ, I think it was somewhere around like 700 people and had really high revenue numbers. And I was wondering, what do you guys actually do? What is Monotype? And how do I think about the company?

Jonathan:

Sure. So I think probably your audience is largely not familiar with Monotype, but would recognize many of our flagship products. So if you've ever worked with the fonts Helvetica, Arial or Times New Roman, then you've worked with some of our key offerings. Monotype is the largest company that's dedicated to type. And we have the world's largest library of typefaces, where you'll find thousands of type families, many of which are the backbone of key brands. So the list of typefaces goes on quite a bit that that brands rely on every day.

Stephanie:

That's awesome. So are you guys purely a typeface design company or do you do other things as well?

Jonathan:

So type is really at the core of what we do, but we do have some other supporting businesses that all relate to helping brands express themselves and make sure that their digital expression is on point and translates across their various mediums that they communicate over.

Stephanie:

Very cool. So when I'm thinking about fonts, I guess maybe I'm a newbie when it's coming, or when I'm thinking about fonts, but oftentimes, I'll maybe go and look for free fonts or trying to see like what's out there. So how does Monotype make money and monetize these fonts?

Jonathan:

Sure. So the majority of our revenue comes from creative professionals that are working with type and those creative professionals could be internal, so working on behalf of the brands, at the brands, at those enterprises, or working at agencies, or even individual creative professionals that are in freeline design spaces. So we're really supporting the creative space and these are the people that know about type, care about type and know how to leverage it within their design projects. And understand that it can really be the backbone of a brand. So these are the people that are willing to spend the value in a typeface.

Stephanie:

Awesome. And I saw I think you guys developed some fonts I know like Times New Roman, huh, that's a favorite. Is that you guys who created that one?

Jonathan:

It is, that was a custom typeface at the turn of the century for the London Times. And so it's gone through many, many iterations over the years to catch up with digital times to make the progression that the type has gone from over the years from metal type through phototype and now it's a digital type.

Stephanie:

That's cool. So how do we think about types transforming over time? Like, what are the levers that make you guys want to change a font, or typeface, or edit it, or make a new one? Like, how are you staying on top of these trends and actually deciding like, "Ah, this would be a new way to maybe shift the fonts or create something new or even transition an old font into something more relevant."

Jonathan:

Yeah, that's a great question. A lot of our successful typeface releases come from either new opportunities based on the way that type needs to be used or updates to existing typefaces to make sure that they're catching up with the digital needs of today, right? So take Helvetica as an example. Last year we released Helvetica Now, and it was an update for Helvetica, which cleaned up some of the idiosyncrasies that had caught up with the typeface over the years and make sure that it has all the necessary characters that are used today, some adjustments so that the type looks great on screens versus some of the way the characters were drawn originally, and which didn't translate as well.

Jonathan:

So those types of updates are really common. And as I said, previously, when you're thinking about a new typeface, you want to think about the challenges that designers are having today and make sure that you're designing it for those needs.

Stephanie:

So what are some of those challenges, if a brand is thinking right now about I mean, what first comes to mind is maybe creating a logo or something like that? And I think for us, we're pretty, like easy standard. I think we just use like Futura or something like that. But for people who are looking to actually develop their own typeface, what are some challenges they might encounter down the road when it comes to maybe designers trying to use that?

Jonathan:

Yeah. So if you want to think about all the places where the brand needs to be represented, right? So if you are going to be using your type in an application, like a mobile application, you're going to make sure that the type performs its small sizes, that it looks great on screen and that the readability remains strong when it's presented that way. And you also want to think about your audience, right?

Jonathan:

So if you're selecting a typeface, and you know that you're going to be communicating with an audience that's global, you have to make sure that you have the necessary characters to ensure that you can communicate in all the languages your audience uses. So those are just a couple of the considerations, but those are big ones.

Stephanie:

No, that's some good things to keep in mind. So when I'm like... what are some of the maybe top typefaces right now that you see a lot of brands going with? Like, is there anything new that's happening or shifts happening in the world of fonts that maybe hasn't happened up until now?

Jonathan:

So I mentioned the remaking of typefaces and updating them and that's a big trend. A lot of the big name typeface families like Helvetica and you mentioned Futura are used by these major brands because they know them, they're familiar with them. They know they perform well. They're versatile typefaces, and they're just beautiful designs. And so these updates that are happening, it's a trend that you're seeing more and more of, and what the audience is getting is a broader range of typeface suites which can be exciting so you can extend the family to include more decorative designs so that you can extend the family designs to be more creative with your work.

Jonathan: