SkyFonts: the quick and easy way to try out
new desktop fonts

The new SkyFonts service allows you to rapidly and effortlessly experiment with new fonts on your PC or Mac. Simply select the desktop fonts you want to try out. These will then be installed on your system, where they will be available for use for up to five minutes. You can sync them on up to five of your workstations. When the time period is up, the fonts will be automatically removed from your system.

The use of SkyFonts is simplicity itself while registration and the necessary client software are provided free of charge – all you need is a user account with Linotype.com.

Why not give SkyFonts a try right away and experiment with many of our fonts?

Click here for more information on the new service and its use.

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The last font design by Roy Cole:
the elegant, rhythmic Coleface

Shortly before his death in 2012, the Briton Roy Cole created an elegant, rhythmic and readily legible sans serif – Coleface. It is characterized by its striking and clearly defined letter forms that provide Coleface with a neutral and thus flexible quality, making it suitable for use in a wide range of project and application contexts.

Cole studied under Emil Ruder, the eminent Swiss designer and typographer, at Basel’s General Vocational College (Allgemeine Gewerbeschule) in the early 1960s, at a time at which typography was making history. Concepts such as order, simplicity, clarity and legibility fundamentally determined the design approaches in this period, establishing a new form of modernity that went on to capture the imagination of the whole world. As a result, many of the designs created in this decade have a high level of recognizability. Cole was extensively animated and influenced by these factors when designing so that his work and designs follow the corresponding creative guidelines, and here Coleface is no exception.

It combines elements of the artificial grotesques and the Renaissance antiqua, resulting in a very characteristic tension within the forms of the glyphs. Slight contrasts in line weight and occasionally beveled terminals give the font a dynamic feel.

Coleface is available in the three weights Light, Medium and Bold, each accompanied by the corresponding italic.

Visit Linotype.com for more information on Coleface and to see examples of the font in use.

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The eight most popular new typefaces of 2014
and three selected special offers

Now the New Year is already in full swing, it is time to take a look back at the favorite fonts of 2014. Allow yourself to be inspired by the eight most popular new typefaces of 2014 at Linotype.com. These include the font families DIN Next SlabQuire SansQuitadorMagma IIBurlingameMengelt Basel Antiqua,
Bradley Texting and Mantika Book.

You also have the opportunity to acquire last year’s three bestselling fonts at a saving of 142 USD/EUR or 64% of the normal price. Our Top 2014 Selection Packs containing five styles of either DIN Next Slab, Quire Sans or Quitador are each available at a price of just 79 USD/EUR for one week (offer valid to January 29, 2015).

Click here for more details on last year’s eight most popular new fonts and our Top 2014 Selection Packs.

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New Release: Bradley Texting – a typeface
with a personal touch

With Bradley Texting, designer Richard Bradley has published a continuation of his font families Bradley Hand and Bradley Type, published in the 1990s.

Bradley overcame the rough forms of Bradley Hand with the smoother Bradley Type. He subsequently wanted to further expand his script fonts and create an easily legible font for electronic devices like smartphones and tablets. In the process, the greatest challenges lay in creating letters during the drawing process that appeared relaxed but still fit one another.

He designed the letters himself on paper with a felt-tip marker, a process suggested by the curved ends of the letters. Their flowing but disconnected transitions recall cursive handwriting. This personal accent is characteristic for Bradley Texting and lends the font a certain degree of dynamism and originality.

Bradley Texting is available in the Regular, Semibold and Bold styles and covers the Western European language area.


You’ll find a more detailed description of Bradley Texting on Linotype.com.

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Interesting article on Gill Sans in the
Forum magazine

In the September issue of Forum – Journal of Letter Exchange, Dan Rhatigan explores the emergence of the popular Gill Sans. The Monotype Type Director has rummaged in the British archives and highlights the most interesting finds of the font designed in 1928 by Eric Gill.

The article has original drawings and photographs along with exclusive insight and information about the origin and development of Gill Sans. What requirements was Gill Sans intended to meet? Did the font have enough alternate characters and variations, what languages were meant to be covered?

Particularly interesting is the development of the analog variants up to today’s digital version – which styles made it to the digital format, which were changed and which were discarded altogether?

Overall, the article provides exciting and comprehensive insight into the development of Gill Sans, but also the development process of a typeface design in general.

See the article on the popular Gill Sans in detail here.

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The new Mantika book by Jürgen Weltin
expands the Mantika super family

The Mantika super family expanded once it introduced a third family member, the Mantika Book, so that existing families of Mantika Sans and Mantika Informal will be supplemented with an Antiqua.

Like the existing families, the Mantika Book is oriented to the Renaissance Antiqua, but the contrast in the stroke strength is more pronounced than is normally the case in this genre.

The serifs are typically asymmetrical, with sloped ends. The lightly grooved stems with a hint of a curve into the common space as well as dots that resembling feather script gives the Mantika Book a dynamic and friendly character. As with Mantika Sans and Mantika Informal, the letters of Mantika Book also show the same x-height, but they are furnished with slightly longer ascenders and descenders.

The name is Program: the Mantika Book is specifically suited to a book typeface and is available in the two stroke strengths, regular and bold, along with the respective Italic cuts. Furthermore, it has an exhaustive set of numbers and symbols. In addition to this third typeface, Mantika family has also extended its area of application, in order that you now have the opportunity to combine the font families optimally and variedly with one another.

Other information and graphic visual aids for the Mantika Book can be found in a contribution on Linotype.com

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Test fonts before buying with the Fontsampler

At Linotype.com, you can test if a selected font meets your requirements for design and options with the Fontsampler. The Fontsampler allows you to access detailed information for each style, as well as try out and test them.

To use the Fontsampler: The “Character Map” tab gives you an overview of all characters available in a font. “Technical Details” provides information on the file format, as well as the font name displayed in different systems.

The first tab “Sample Text” is the most exciting part of Fontsampler, since it offers two types of presentation: waterfall and continuous text.

The waterfall mode includes a single line of text that is displayed in different sizes, one underneath the other. This provides you with an overview of the uppercase and lowercase letters and numbers and allows you to clearly and quickly evaluate the font and its shapes. In addition, you can select a sample text or enter your own text to be displayed.

In the continuous text mode, you can choose from various sample texts or enter your own text. This text is then displayed on multiple lines in the font size selected in the pop-up menu.

Also, you have the possibility to set a text and background color in both modes using the swatches on the left. All of these settings and specifications are conveniently stored for you, so you can change the font or style easily.

You’ll find the Fontsampler on the detail page, directly below the specifications of language/format, font family and licenses.

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The new DIN Next Slab: Now even more design possibilities with the popular DIN Next


DIN Next is known for its subtle, technical and neutral character. Now Linotype has expanded the family with DIN Next Slab, lending the family of fonts even more creative leeway.

Originally designed by engineers at the beginning of the 20th century, the DIN typeface was first used for labels on locomotives, and later in train stations. Eventually the German Institute for Standardization (DIN) adopted it as a standard. You can still see the font on many German road signs, such as on highways, for example.

DIN Next came out in 2009 under the direction of Akira Kobayashi. The font was intended as an expansion suitable for use in graphic applications. Since then there have been seven weights of DIN Next with italic styles, small caps and medieval characters.

Now DIN Next Slab has been added. It was also created under the direction of Akira Kobayashi, in collaboration with the designers Sandra Winter and Tom Grace. The new DIN Next Slab also has seven weights with matching italics and various number sets. The geometric shapes of the slab serifs highlight the technical character of DIN Next Slab, which in turn underlines the central design element of DIN Next.

With identical basic letter shapes and the same weights, family members DIN Next and DIN Next Slab complement each other particularly well. In combination with each other, they create such a diverse, yet recognizable character in headlines and in continuous text.

Until December 15, the complete DIN Next Slab family is offered at an introductory price of only 99 USD/EUR – here you can download the Family Pack.

More detailed information and extensive image material for the new DIN Next Slab is available at Linotype.com.

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Typography on the wrist: Helvetica on a watch

Max Miedinger’s font classic Helvetica remains one of the most popular fonts and is used in countless projects all over the world. Now, Zürich watchmaker Mondaine is taking part in the popularity.

Known for the production of the Zürich train station clock, Mondaine has introduced a new wristwatch to the market that is particularly interesting for typography fans, who can now adorn their wrists with Helvetica.

In cooperation with the author, publisher and Editor-in-Chief of the architecture magazine Hochparterre, Köbi Gantenbein, Mondaine developed a new watch concept that is meant to embody and pay homage to Swiss design.

So, the dial of the watch is designed completely in Helvetica.

The position of the lettering “Mondaine Helvetica Swiss Made”, which is left-aligned in the vertical central axis is particularly striking. The icing on the cake is the letter 1 on the transition from the dial to the wristband – written in Helvetica, of course – which brings the topic of typography back into focus.

And, as with fonts, the Helvetica watch is available in different styles – Light, Regular and Bold.

An article from the “Neue Zürcher Zeitung” provides more detailed information.

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Web fonts tutorial on language and
character selection

Many web fonts originated as simple print fonts. Linguistically, often they are not as well equipped as large system fonts. In order that all characters are displayed correctly and there are no nasty surprises, before you buy a font you should check that it covers all the necessary languages and find out characters it is equipped with. This is important to keep in mind, particularly with regard to unpredictable and uncontrollable web content, such as user comments.

Check out the tutorial at Linotype.com to learn about the most important codes and what to look for in web fonts.

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