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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The Neue Haas Unica from Toshi Omagari
now available in an Ultra Light style

With the Neue Haas Unica, Toshi Omagari has brought the past into the present. The designer, already well-known for Metro Nova, his successful redesign of the famous Metro, has worked on print fonts from the 1980s and became very interested in Haas Unica – a revision of Helvetica developed in 1980.

At the end of the 1970s, the Haas’sche Schriftgießerei commissioned a comparison of Max Miedinger’s Helvetica with other popular sans serif fonts. The result of this comparison was a number of adaptations. Haas Unica was the ultimate result. The name was formed from the popular predecessors, Helvetica and Univers.

Omagari was fascinated with the composition of Haas Unica and digitalized and expanded it.
He intensified the letter-spacing and made the letters a little narrower on the whole.
Now, the Neue Haas Unica Ultra Light, the first style, is available. Neue Haas Unica was designed in a total of ten weights, and will be available in Ultra Thin to Extra Black.

Find out more information and see design material for Neue Haas Unica here.

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Designer Sarah Lazarevic’s favorite fonts
and the Rameau family for 39 Euros

The French typographer and designer Sarah Lazarevic lives and works in France. She works for large clients such as the French Post Office, teaches graphic art and typography in Paris, and works on copper engravings in her spare time.

She now presents exclusively for Linotype.com her favorite fonts, the ones that please and excite her, even though her initial response was, ”It’s not an easy question to answer: which are your favorite fonts? There are those we admire for the quality of their design, those we like because they have a natural or calligraphic touch, the historical typefaces, which form part of our heritage, and the typefaces which enable us to reminisce …”.

Nevertheless, Sarah Lazarevic describes why SyntaxVirgileURW Firmin DidotMedici ScriptNeuland and the fonts of Roger Excoffon are her favorites and what distinguishes them individually.

One of the most famous fonts, however, comes from the typographer and designer herself: the classical Antiqua Rameau. Rameau exudes the typical French elegance of the 18th century, because it originates in the template of an engraved score.

As a companion to Sarah Lazarevic’s favorite fonts you can purchase the complete Rameau family for only 39 Euros for one week, up until 30/10/2014. Save 312 Euros or 88% off the normal price for all six styles and each matching italic in OpenType Pro format.

Find out more about the favorite fonts of Sarah Lazarevic here.
You can download the Rameau family for only 39 Euros here.

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Fonts Designed by the Homeless:
Homelessfonts Initiative Now Available on Linotype.com

The Spanish Arrels Foundation has launched a project called Homelessfonts. In the project, homeless people in Barcelona designed five fonts that are now available internationally. The organization aims to raise awareness of the lives of the homeless and to offer some dignity and respect to these people in need. The fonts are intended in particular for brands and agencies that work in advertising, news distribution or social media.

To lend the project your support, you can purchase the five fonts on Linotype.com now. You get the fonts for only 24.50 Euros instead of the normal price of 49 Euros. All proceeds will go to the Arrels Foundation, which aids and supports some 1,400 homeless in Barcelona. On the website http://homelessfonts.org you can view biographies and interesting videos on the participants and their work on the project. Since the fonts have no punctuation characters or accents, they are particularly suited to large ads and headlines.

The project was announced at this year’s 58th ATypI in Barcelona, which took place September 17th-21st. The picutre below shows the Director of Arrels Foundation, one of the font artists and Bill Davis, Global Font Product Manager at Monotype.

Click here to access the selected fonts on Linotype.com.

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Gold for Bree Serif at the
European Design Awards 2014

On May 24th Bree Serif won gold in the category 27. Original Typeface in the highest rank at the 2014 European Design Awards. Every year, the ED Awards select the best graphic designs, digital designs and illustrations from the previous year in 35 categories.

Bree Serif is the serif counterpart to Bree, published in 2008. That font was also nominated at the ED Awards in 2009, and won bronze and numerous other prizes. Both fonts are inspired by cursive handwriting and were developed collaboratively by Veronika Burian and José Scaglione.

It is obvious that this year’s gold winner Bree Serif is a family member of Bree. It combines a modern appearance with elegance, which makes the font suitable for many applications. The font is available in a total of 12 styles, from Thin to Regular to Extra Bold.

See for yourself. Get the styles of Bree Serif here.

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Humanist Word Image Meets Technical Flair –
The New Yalta Sans

With Yalta Sans, font designer Stefan Claudius has created a link between a humanist font and a square sans. The latter lends the font a technical character – which, in interplay with a humanist word image, makes for great legibility.

The grotesque is available in eight styles ranging from Thin to Black, each with an Italic. Particularly conspicuous are the dynamic aspects of the font, which counteract an excessively formal appearance. These include, for example, the tapered ends of the “b” and “d” as well as the curve at the foot of the “l”. In addition, there are numerous canted line ends, which make for an almost calligraphic character, and the rounded dots.

The Essen-born designer devoted particular effort to the italic style. He drafted two upper-case sets in the italic style and oriented his work more towards the true cursive of an Antiqua as opposed to the slanting italic of a grotesque. For example, the “a” changes to a closed shape and the “f” has a descender. The emphasis of the horizontal lines and the subtle contrast in the weights makes Yalta Sans suited to countless applications in text and on displays, even in the small font sizes.

Find out more information on Yalta Sans here.

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An animated film that pays tribute
to Giambattista Bodoni

The English-language animated video “Typographer Bodoni” outlines the career and work of the Italian all-rounder Giambattista Bodoni – who was an engraver, printer, publisher and font designer – and considers his popular and eponymous typeface Bodoni in detail. A short, but very instructive film.

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The universal genius of Jim Ford –
the new Quire Sans


Jim Ford designed his humanist sans serif Quire Sans as a universal genius. It is exceptionally well legible in the small and large sizes and has ten different weights, each with true italic styles. Moreover, it has a large selection of number and character sets: the range runs from medieval and upper-case figures to countless ligatures and small capitals.

In this way, Quire Sans can be used for the most diverse range of applications. In addition, the letters have dynamic forms that appear at once classic, yet modern and robust. The universal character is reflected in the origins of Quire Sans. Jim Ford pulls together international influences from the most diverse font eras in his sans serif, combining them with his own style.

In this way, the designer appears to have achieved his goal to design “the sans of all sans”.

Find out more about the new Quire Sans from Jim Ford here.

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