Linotype.com with new web font features

Yesterday, we released a technical update of Linotype.com that will come very handy for those who want to use Linotype fonts on the web. The standard licencse we sell on Linotype.com doesn’t cover web font use, but with our partner, fonts.com web fonts, we are able to offer Linotype fonts with web font licenses through Fonts.com Web Font Service.

With the new features you can simply browse Linotype.com for inspiration, or search for your favorite typeface. Everything regarding web fonts is branded in a dark blue. We offer three ways to get your web font:

  1. Search for fonts, and click on blue web font button
  2. Browse Linotype.com, select font family, and click on blue Web Font tab next to Details & Background Information
  3. On a font weight detail page, click on blue Web Font Option button

All three options will result in a dialog box opening up, explaining that you will get Linotype web fonts through the web font service provided by Fonts.com. Click on the Get Web Font button and you are taken to the exact match on Fonts.com

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Re:Publica 12 and the Twitter Wall

I just came back home from re:publica 12, a fantastic event bringing together bloggers, self-acclaimed internet rebels, internet marketeers, social web rock stars and designers. In the center of attention at this year’s congress was the analog Twitter wall conceived by precious design studio.

Complete view of the wall

Complete view of the wall

The idea centered at bringing back the Action to digital communication, including hard work and dirty hands. Instead of everyone staring at their screens, captured in computer-based communication, event attendees met at the analog twitter wall, chatted face-to-face, created trans-media experiences by taking photos of printed out tweets and posting them to the Web. The Action team, called Actionists, who had printer’s ink and glue on their hands, plastered tweets onto the wall. A cleverly designed algorithm programmed by precious captured the amount of tweets send per minute, trend topics, and set the top tweets in larger point size and a special fonts chosen from Font.com’s web font portfolio.

For creating a good contrast to re:publica’s CI typeface and to capture the spirit of the event, we choose rounded and serif typefaces, such as the flirty serif typeface Adelle by TypeTogether, the soft rounded version of Memphis, and many more fonts.

The crowd fell in love instantly…

Mixing glue

Preparation....

Picture of the first tweets being plastered on the wall

The first tweets are plastered

Tweet set in Memphis Soft Rounded Bold

Tweet set in Memphis Soft Rounded Bold

Tweet set in Adelle Extra Bold

Tweet set in Adelle Extra Bold

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New and notable typography app

This app allows you to take pictures of type in use and share it on Fontli’s network, on Twitter, or on Facebook. Also, you can geotag the picture, spot up to three typefaces and comment on the typeface in use. Social Proofing is given by the community who can correct/comment wrongly spotted typefaces.

The app is available on the iTunes app store.

Fontli app screenshots

Fontli

Mine is Yours: Favorite Typefaces of 2011 in Use

I  just read an article on typographica.org about their selection of favorite new typefaces of 2011. Two of the typefaces featured are homegrown so I thought about adding some type-in-use info about them.

Carter Sans was first publicly used by Pentagram for their design of the annual Art Directors Club New York invitation card – and this fact alone speaks volumes about the quality of the design.

Carter-Sans-ADC-Gala-Invite

Carter Sans ADC Gala Invite

Last year Linotype sponsored the Frankfurt ADC exhibition and it was only natural for us to choose Carter Sans for our posters. PS: I rescued them and now they are part of my attempts to make my office a bit more colorful and fun.

Carter-Sans-Poster

Carter Sans Poster

Slanted, a German typography magazine, also seem to like Carter Sans a lot…

Carter-Sans-Slanted

Carter Sans Slanted Mag

Colin M. Ford says about Carter Sans:

With Carter Sans, Matthew Carter and Dan Reynolds have struck gold in an infrequently mined area of type design. What they created is a rock-solid set of four weights with lots of unique character.

Next up in “Favorite typefaces of 2011 in use” will be Neue Haas Grotesk.

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Type on Screen – Choosing and using it well, by Dan Rhatigan

Happy new year to all of you! To kick-off the new year, I want to share a video with you, which I just find excellent. My English colleague Dan Rhatigan gave this presentation at Future of Web Design 2011 in New York about “Type on Screen – Choosing and using it well”. Enjoy!

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Webfonts update: WOFF format now supported by all major browsers

What a day! Apple didn’t only gave us Mac OS X Lion, no Apple’s Safari is also supporting the WOFF format. Last year at the Webfontday in Munich, ATypI in Ireland and many more conferences, speakers already predicted that the WOFF format is going to be the most widely supported format. Finally, this has happened!

WOFF browser support, July 21st 2011

WOFF browser support, July 21st 2011

Browser market shares in 2011:

Apart from the support question, you should also take a look on browser market shares to fully understand the current situation and what it means to you if you plan to use webfonts. Regarding browser market share, Internet Explorer is still number 1 with roughly 60%. However, 34% of those IE users are browsing the web in version IE 8 although Microsoft spent millions on an advertising campaign to accelerate the adoption of IE 9. With roughly 22% market share Firefox is number 2, followed by Chrome with 11,6% and Safari with 6,6% (all numbers by ars technica).

Worldwide browser market share, March 2011

“So why the hubbub around Safari supporting WOFF?”, some might ask. Here are the answers:

First, Apple’s browser was the last major browser to support WOFF, or in other words, the last major browser to acknowledge the W3C’s, Jonathan Kew’s, Tal Leming’s, and Erik van Blokland’s efforts to establish a common format for webfonts, and finally, also the power and importance of webfonts.

Second, Apple is, without any doubt from my side, an industry leader who is setting standards for many companies. So the acknowledgement of WOFF as the dominant format for webfonts, will accelerate the foothold of WOFF support immensely.

Third, apart from scalability and crawlability, webfonts are being used for better branding and for a more beautiful web. Who cares about a beautiful web? Well, mostly surfers interested in design and new media. And within this focus group, which has a strong impact on other users, the market share of Safari is much higher compared with worldwide market shares.

Let’s take our own website www.Linotype.com as an example for design-related websites: Firefox lands the biggest share with roughly 38%. Internet Explorer comes next with about 25%. And now it’s getting interesting: Chrome and Safari are both closely at 18%!

Browser share for www.Linotype.com, 2011

So this gives us a completely different picture compared to worldwide browser market share. Looking at worldwide market share and IE’s dominant position again, you have to keep in mind that the main reason for IE’s dominance is that IE ships with PCs who run Microsoft OSs, and Microsoft still holds a PC market share of 92,2% with Apple and Google gaining ground (all numbers by Computerworld).

To my mind, we passed the stage of the Early Adoption phase for webfonts, and are now entering the phase of the Early Majority, but there are still many website owners who don’t use webfonts because support from all major browsers was missing. This has now come to an end!

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TryType II: Experiments in Motion Graphics

With trytype I everything was about graphic design: For two semesters under the leadership of Prof. Guido Ludes, students at the University of Applied Sciences, Wiesbaden experimented with selected typefaces from Linotype.The results ranged from linear black-and-white graphics all the way up to complex, three dimensional font universes, literary interpretations and freehand illustrations.

With trytype II we went into a different direction discovering motion graphics: Under the leadership of Prof. Guido Ludes students experimented with selected typefaces from Linotype to develop motion graphics. Although each of the students was allowed to go their various and individual ways, they agreed to conform to the following requirements: experimental presentation of fonts, emotive effects, audiovisual dialogue, and trailer character.

Xian Jin, a third-year student, sees Aeonis as modern, innovative, stable and avant-garde. Her concept for Aeonis is mainly to deploy 3D morphing and an alphabetic architecture. Salina Kesselring used Aeonis in her video cityparadise to symbolize the city: “Aeonis represents a city skyline and embodies the hard, harsh, heartless starkness of a large metropolis. Waza offers a contrast with its bright and colourful effects. Waza represents nature and is very organic and playful.”

Enjoy the first video!

Precious thoughts, Visual Languages & Brand Perfect Hamburg

Today, I am providing you with a short intro to two of our “young gun” speakers for Brand Perfect Hamburg at 14th of June: Johannes Schardt and Christophe Stoll.

Johannes and Christophe are running the design studio precious in Hamburg. Besides client work for German super brand Nivea and German big name retailer Görtz (and many non-disclosure projects), a big part of their work is for technology start-ups. They are deeply  rooted in the digital world: I would go so far to say, they didn’t learn how to think digital, digital is in their DNA.

They are renowned for running workshops tackling product innovation and user experience design (slides from their “Creating Meaningful Experiences” workshop at this year’s Re:Publica can be found here). Also, you can find their articles in De:Bug (magazine for electronic living) and Weave (magazine for interactive design). Interestingly, they also own a record label and are also responsible for Tocotronic’s album art work.

If you want to see Johannes and Christophe live on stage, go to brandperfect-tour.com and leave your details. You might get a free ticket!

Get a glimpse of their work here: (more…)

How to design for digital? Brand Perfect Tour has the answer

According to Mashable, more than three billion apps were downloaded from Apple’s app store. Amazon reported that they have sold more e-books than conventional books in 2010. The analysts from Gartner stated that PC sales are decreasing dramatically, whereas tablet sales are rising. Steve Rubel puts it in a nutshell: “The end of tangible media is clearly in sight”.

I do actually doubt the absoluteness of this statement because there are enough print media lovers out there, but nevertheless digital touch points are becoming ubiquitous. (more…)

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Comic Sans conquers the Internet on April 1st

What a coincidence! Today, we released Comic Sans Pro and an accompanying blog post and at the same time Google shows all search results on Helvetica in Comic Sans plus they launched a dedicated website – brilliant timing!

- Follow the conversation on Twitter using the hashtags #helvetica and #comicsans
- Read more about the Comic Sans Pro at Bill Davis’ blog post on fonts.com
- Check out Goolge’s dedicated landing page or read Designtaxi’s article
- Read the newest write up by Cnet.com

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