Linotype blog: Find all the news and important information about typography in our font magazine, our newsletters and on Facebook and Twitter

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One of the most popular typefaces of the
FontFont library: FF Meta

The FF Meta super-family came out in 1991. It is a lively and friendly, humanist sans serif based on the basic forms of the Renaissance Antiqua.
Over the following decades, many more members were created under the direction of German designer Erik Spiekermann. FF Meta grew into a powerful super-family – thanks to FF Meta Headline, especially suited to titles and headings, FF Meta Correspondence, which is aimed at everyday office work, and FF Meta Serif, the matching serif for the sans version.

Intrigued? Learn more of the background information and features of the versatile FF Meta family.

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Eric Gill series: the new font families, Gill Sans Nova, Joanna Nova and Joanna Sans Nova

The Eric Gill series offers a portfolio of coordinated fonts that are also suited to large, international projects in print and on the Web. All the fonts are modern, revised interpretations of the original designs by renowned font designer Eric Gill.
Gill Sans Nova, for example, is based on Gill Sans®, which was designed from 1928 to 1932. Designer George Ryan expanded the humanist sans serif with several new characters and weights so that the typeface now includes nine weights. Each weight has a matching italic, apart from the two boldest styles. Ryan also optimized Gill Sans Nova for digital publication, added complementary Condensed styles, and designed various ornamental versions that round out the options. This brings the comprehensive Gill Sans Nova to a total of 43 styles.
Two other fonts of interest came about parallel to Gill Sans Nova; these were not based on Gill Sans, however, but the historic slab serif Joanna® from 1937.
Designer Ben Jones was inspired by this font and designed Joanna Nova, a modern interpretation with significant slab serifs. Particularly noteworthy are the unconventional Italic styles, which are inclined by only 3°; despite the typical, rounded italic shape, they stand nearly upright. The Joanna Nova is available in nine finely graded weights, from Thin to Ultra Black, each with a matching italic.
Designer Terrance Weinzierl created a sister font to Joanna Nova, the Joanna Sans Nova. It is also based on the book font Joanna. In this case, Weinzerl not only removed the serifs, but thoroughly revised the letter forms and reduced the contrast in stroke weights. The italics appear slightly calligraphic; they are at a steeper incline and have more rounded shapes. Joanna Sans Nova is available in eight weights, from Thin to Black, each with complementary italic versions.
The language support for all three families not only includes Western and Central European languages, but also Greek and Cyrillic.

Whether for the Web or in print, you can find more information about the perfectly coordinated font families of the Eric Gill series here.

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An Early Love for Typography – Interview with Designer Stefan Claudius

The German designer and typographer Stefan Claudius discovered his love for typography at a very early age. According to the 43-year old, he “designed letters in the boxes of school notebooks.”
Over the years and thanks to his studies in Wuppertal and Essen, he was able to develop this love into a passion and, eventually, a career.

In 2002 he founded Cape Arcona Type Foundry along with Thomas Schostok, and now runs the Büro Sichtvermerk along with Kathrin Roussel. He has also taught Typography and Font Design at various universities since 2007.

For him, the design of fonts is always “an act of research, a reconnaissance of that which can happen – in a certain sense, designing a font is like setting up an experiment.” In this way, insight into the development of his font Yalta Sans is particularly exciting: the path to the final design of this font took eight years. In the interview, the designer provides insight into the long development period, the challenges he had to face and how he was able to pull something positive out of it in the end. “I think the positive aspect is that I matured along with the font.”

Read the complete interview with Stefan Claudius on

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Use of the correct punctuation marks on websites

On, you will find interesting information on the correct mode of using the punctuation marks. In regard to the web fonts, typographic rules are still being developed on the net.
Please read about the special attention to be given to distinct signs in HTML texts as well as the
quotation marks and the often-misused dash.

Here you can access all there is to find on the correct usage of punctuation marks on webpages.

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Fonts by Inspiration: Stencil Fonts

Recently we introduced popular and interesting stencil fonts in our series “Fonts by Inspiration”.
These fonts are based on paint or spray paint stencils, which are often used in an industrial context where it is necessary to apply short markings, quickly.
The strips between the letters are characteristic of stencil fonts; in digital typefaces, these strips have become distinct style elements. They appear technical and functional and are particularly suited to headlines and display fonts.

Take a closer look at our selected stencil fonts in the categories Modern, Techno and Classic here.

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New: Interview with Designer Ben Jones
about Joanna Nova

British designer Ben Jones recently designed the new font Joanna® Nova. Jones works primarily as a font engineer at Monotype. He has been interested in art, design and the visual world from an early age. Over the years, this fascination drove him to type design.
“There was plenty of material on the development of Joanna in the Monotype archives,” the designer said on his research on Joanna, the model for his own typeface, Joanna Nova. Joanna® was originally published in 1937. Jones expanded the character set and designed new weights.
In his interview with, Jones not only provides further details on the development of Joanna Nova, but also describes his collaboration with Terrance Weinzierl, who was designing Joanna® Sans Nova at the same time.

Learn more and read the interview with Ben Jones here.

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The six favorite fonts of designer Felix Bonge

Font designer Felix Bonge selects a variety of his favorite typefaces on “That’s not an easy question to answer. I can say for sure that I’m not one of the Vignelli types, who make do with just a handful of fonts”, notes the designer from Hamburg.
He did, however, choose six fonts that are a part of his favorite repertoire of fonts: Malabar, Garamond #3, FF Quixo, Bureau Grot, FF Balance, FF Chartwell.
He designed the font Levato in 2011 and now operates a design studio in Hamburg along with two partners. His teacher Prof. Jovica Veljović was an inspiration in his journey in typography; Veljović is also a font designer and designed Agmena and ITC New Veljovic, for example.

Find out more about the favorite fonts of Felix Bonge here.

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Restrained, clear and precise – FF Sero
by Jörg Hemker

Designer Jörg Hemker worked on FF Sero® for seven years. His goal was to create a combination of an American grotesque and a humanist sans serif. The result was a vivid, clear and concise font.
The development process from expressive shapes to more neutral letter forms is visible in the dynamic shape of the FF Sero. In addition, open forms and a moderate contrast in weights contribute to this impression.
With eight weights, matching italics and various number sets, ligatures, small caps as well as Greek and Cyrillic characters, FF Sero is extremely versatile. It is particularly well-suited to international projects, especially in the field of corporate design.

Find out more interesting details about FF Sero here.

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New: Save 5-10% when purchasing multiple fonts

Now you can really save when buying fonts on We’re offering the following rebate for all fonts in the Linotype, Monotype, ITC and many partner libraries: purchase two fonts from the same foundry and obtain a 5% discount. Buying 3 or more fonts saves you 10%. These discounts are available effective immediately.