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 Linotype.com.

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Use of the correct punctuation marks on websites

On Linotype.com, 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 Linotype.com, 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 Linotype.com. “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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Video tip: Tobias Frere-Jones – In Letters We Trust

As the title suggests, this presentation is about fonts that we inevitably trust. Font designer
Tobias Frere-Jones spoke about this complex subject last year at the Italian typography event, “Kerning”.
The American designer has done research in this area for several years, and in this lecture, he talks about the fonts in our everyday lives – on banknotes, for example, or our individual signatures, which have an emotional value, but at the same time convey our identity and verify documents. The talk covers many other font examples from our day-to-day lives.

Access to the lecture by Frere-Jones here.

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Typography of Broadway

The subtitle of “Typography of Broadway” – “13 miles of typography on Broadway, from A to Z” – very aptly describes the project: with the help of typography expert Ksenya Samarskaya, the project went along the famous and diverse Broadway strip and took pictures of numerous fonts. 26 outstanding examples were selected and examined in closer detail. The website identifies, summarizes and compares the fonts, along with the photographs of the original location.

See the exciting and artistically beautiful record of the many fonts of Broadway here.

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Introductory offer: the new brush font Richie for only 19 USD/EUR*

Get the new Richie™ before March 10 for only 19 USD/EUR* – take this opportunity to get to know this striking and powerful brush font.
The font design resulted from Jim Ford’s experiments with a wide marker. Ford found inspiration in the fonts of the Czech font designer Oldrich Menhart.
The font’s somewhat bulky design sets Richie apart from other, more typical script fonts. Richie is particularly well-suited to titles, logos, posters and packaging design.

Find out more about the new Richie here.
Get the font with the high recognition value for only 19 USD/EUR* here.

* Gross price 22.61 USD/EUR including German sales tax.
The offer does not apply to holders of user accounts, who already receive a fixed price reduction.

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New and on sale: the sans serif Kairos Sans
for only 99 USD/EUR*

Kairos™, which was created last year by designer Terrance Weinzierl, has a new addition to the family: Kairos™ Sans. The sans serif, octagonal sister font also comes without curves and is suitable for headlines as well as for shorter texts. The font fits perfectly into the fields of sports, the outdoors and technical designs.
Get the new Kairos Sans on Linotype.com for only 99 USD/EUR* up until March 10. You get all 48 styles in OpenType Pro format – or more precisely: eight weights, each with three widths, including italics and the special styles of Kairos Sans Rough, which has an incomplete color application.

Find out more about the exciting Kairos Sans here.
Download the complete family for 99 USD/EUR* here.

* Gross price 117.81 USD/EUR including German sales tax.
The offer does not apply to holders of user accounts, who already receive a fixed price reduction.

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