Did you know that approximately half a billion people use Microsoft Windows and Microsoft Office?

Use Flip 3D to navigate through open windows using the scroll wheel on your mouse. (From Microsoft’s Vista website).

If and when Microsoft ship Vista (the new version of their operating system), they will also be shipping the new five ‘c’ fonts as part of the OS and Internet Explorer version 7 . The ‘c’ fonts as previously mentioned were specially commissioned (by international competition) by Microsoft for maximum screen legibility and readability at a significant cost. In addition the new os will have a new os typeface called Segoe, also designed specifically for screen usage and to take maximum advantage of Microsoft’s ClearType technology.

Even though it is widely recognised that upgrading takes about two years to reach a near full install base, imagine the impact and implications that this new software will have on screen typography in all contexts – in software applications, web design, on-screen reading, internet usage etc. It is pretty staggering if you think about the numbers involved. It is also very significant that the design community who are most concerned with typography and design are staunchly entrenched mac users, and because IE has been discontinued on the mac, they often resolutely ignore its overarching reach to the majority of audiences. I too am guilty of this sin, I have had a multitude of problems (ongoing) optimising this site to work correctly on both platforms and in different browsers. Perhaps Bootcamp on the new Intel Macs will change things. Either way, Microsoft (and PCs by default) despite being branded the designer’s enemy for many years, are taking a leading roll in the future development and investment of screen typography and its application. Apple may yet again have to negotiate with their nemesis to license the ‘c’ fonts and ClearType technology.

I blogged about this before (Sept 26th post). The movement is growing. It is now championed by renowned author, designer and teacher Ellen Lupton. Read her comprehensive coverage of the issue at Free Font Manifesto and her Free Font Manifesto blog. Let’s hope something happens.

Fontsmith certainly seem to have the British TV type scene sewn up. Their most recent project is the design of a new corporate typeface for that institution of British broadcasting – BBC ONE. The word ‘one’ (literally, metaphorically and symbolically) is the core concept behind the new typeface design and the new channel ident. Fontsmith’s typeface design was developed in close consultation with Red Bee Media, the company charged with re-branding BBC ONE. Both organisations have worked together on previous projects including idents/branding for Channel 4, More 4, FilmFour and ITV.

The BBC one typeface comes in two weights, regular and bold and will be visible between programming on ident stings and programme listings. Its characteristics capture many of the qualities required to create a successful typeface design for screen usage. They include: simple open forms (large counters), simple curves with a horizontal emphasis, very strong but often shallow joins, heavier hairlines and diagonals. If you compare the BBC one typeface with other typefaces designed for screen you will see many similarities in the letterforms.

Jason Smith, designer and owner of Fontsmith, acknowledges the effort made to ensure maximum legibility for screen but also emphasises some of the inherent qualities that set this typeface apart from other designs and encapsulate BBC one’s identity. He explains, the impression is of “the circular with a slightly square edge and a small kick on the downstrokes. Visually, this gives the typeface the contemporary feel that was needed but also makes the font look that bit warmer because there is some humanity in it,� he explains. The circular motif is also reminiscent of one of the most famous and inherently British typefaces, Gill sans. With regard to its other application on screen (namely web), so far it has only managed to become a mast-head for the BBC ONE hompage and idents page and the bitmaps presented here aren’t particularly crisp.