FF Mark: a geometric and extensive sans serif font with a contemporary design

Have you already discovered the geometric, contemporary sans serif FF Mark in the FontShop library? FF Mark was designed by Hannes von Döhren with the support and collaboration of Christoph KoeberlinErik Spiekermann and the whole of the FontFont Type Department. FF Mark was inspired by typefaces of the 1920s. Although it is a geometric font with traditional associations, it has a form and provides the kind of extensive typographic support that are more typical of modern typefaces. The design team took great care to provide FF Mark with carefully planned, balanced forms to ensure that the font has a harmonious overall effect.

Despite the fact that it derives from historic models, it has its own, quite characteristic features – there are alternate numerals, some with transverse strokes, legs that are slightly offset from the character body (as in the case of the uppercase “K” and “R”), open forms of the lowercase “a” and the “ft” ligature that is so characteristic of Futura.

FF Mark is available as a family of 10 weights, from Hairline to Black, each with matching italic variant. There are also various numeral sets together with geometric symbols and arrow characters.

Irrespective of whether you intend to use it to set block text or headlines, FF Mark can be employed in a wide variety of projects and contexts ‒ the charm of its historic roots in combination with the contemporary design will always leave a lasting impression.

For more details on FF Mark and see examples of the font in use, please click here.

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Six styles of Generis Sans for only 49 USD/EUR* – available for 24 hours

With the space-saving American Gothic fonts as a model, designer Erik Faulhaber created the Generis Sans in 2006. He also designed matching Antiqua, serif and sans serif versions. With these four families – Generis Sans, SerifSlab and Simple – the designer had created a clear, functional and modern font system.
Equipped with small caps, old-style figures and true italics, Generis Sans is likewise suited to print and screen applications. With its harmonious, legible and somewhat restrained design, the font is versatile. The font families and styles can be combined.
For the next 24 hours, the six basic styles of Generis Sans – Light, Light Italic, Regular, Regular Italic, Bold and Bold Italic – are available in OpenType standard format for only 49 USD/EUR*.
The number of available selections at this price is limited to 399 units.
Don’t miss out on this one-time offer for Generis Sans. Get your copy now.

* Gross price 58,31 USD/EUR including German sales tax.

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An interview with Nadine Chahine on her latest font Zapfino Arabic

Dr. Nadine Chahine is a Lebanese font designer who works as an Arabic specialist for Monotype. She explains that it was during a course she attended at the American University in Beirut that she first developed her enthusiasm for Arabic typography. Since then, she has tended to concentrate her energies specifically in this field and has already designed fonts such as Frutiger ArabicNeue Helvetica Arabic and Univers Next Arabic together with other typefaces.

Now online at Linotype.com is the text of an exclusive interview with the designer in which, among other things, she talks about her latest creation Zapfino Arabic.

It was in summer 2012 that Nadine Chahine started work on producing an Arabic counterpart to Hermann Zapf’s Zapfino. She herself describes the design of Zapfino Arabic as “a blend of the two writing styles Naskh and Nasta’liq, but the result is itself a new calligraphic style although in the typographic sense.”

On being asked about the effect and character of her Zapfino Arabic, she says: “It is like a passing summer breeze that leaves behind it the fragrance of jasmine in the air”.

Click here to read the full interview with Dr. Nadine Chahine.


Professor Hermann Zapf and Dr. Nadine Chahine

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New on Linotype.com: the historically inspired Cardamon

Designer Brigitte Schuster has published her first typeface on Linotype.com. Her Cardamon is an unobtrusive Antiqua with a very legible, distinctive tone that is historically inspired.
Schuster created the original design during her “Master of Design in Type and Media” at the Academy of Arts in Holland’s The Hague.
The designer started by analyzing texts from the 16th century. She then extracted selected elements from the fonts of Hendrik van den Keere, Robert Granjon and Giovan Francesco Cresci. These elements formed the basis for Cardamon.
These historical influences are clearly visible in the now published version of Cardamon: on the one hand, those of the historical Renaissance Antiqua, on the other, elements of a handwritten font created with a quill. The characteristics of a written font are reflected in Cardamon Italic, in particular; the style is inclined by 15° and has closed or continued curves next to the stem.
Cardamon is available in four weights: Regular, Medium, Semibold and Bold. They all have a matching Italic and are equipped with small caps, old-style and uppercase numerals, as well as some ligatures and ornaments.
Cardamon has a strong personality, given its neutral shape, angular, individual elements and the unique historical background. As a result, it is suitable for a variety of projects and applications.

Click here for more information and background on Linotype.com and illustrative material for Cardamon.

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Quitador from Arne Freytag: an extensively equipped slab serif with a modern twist

German designer Arne Freytag has published his latest font on Linotype.
With Quitador, he has created a modern slab serif that can be used for many different applications, thanks to its seven different weights.
At first glance, the Quitador appears somewhat technical and constructed. However, there are many details – like offset curves or semicircular ends – that break this severity. The result is a font with a vibrant and dynamic character.
The variations in the line width of some letters, as well as the genuine italic, which is also included in the generous package, reinforce this impression of dynamism.

See for yourself and learn more about Quitador from Arne Freytag.

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The complete Siseriff font family for
just 49 USD/EUR*– available for 24 hours only

Available for 24 hours through Linotype.com at a 82% discount on the normal price is the contemporary font Siseriff by the leading designer Bo Berndal.
Created in 2002, this typeface places an emphasis on its serifs and has rather narrow characters with a uniform thickness.
Offering as it does a total of nine different weights, Siseriff is suitable for use in a very wide range of contexts; it can be used in large point sizes, for example, as a display font. But because there are also genuine italic variants of the weights Light, Regular, Semi Bold and Bold, Siseriff can be employed in many additional areas, such as magazines, flyers and newspapers.
Over the next 24 hours, you have the opportunity to acquire all nine weights in OpenType Std format for just 49 USD/EUR*. This is a saving of 233 USD/EUR** on the normal price; however, we are only offering the limited number of 399 Siseriff families at this amazing price.

So don’t delay and click here to take advantage of this unique chance to acquire the contemporary Siseriff family at this bargain price.

* Gross price 58,31 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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Detailed online brochure for the new
Mengelt Basel Antiqua available on Linotype.com

The Swiss designer Christian Mengelt has created a new 24-page online brochure for his new publication, Mengelt Basel Antiqua.

It offers detailed information on the history of the font Basel Antiqua, which was historically significant in the 15th and 16th century for book design. The designer focused his research on this typeface and studied the original printed matter at different printing units in Basel.

The online brochure describes, by way of example, the process of transformation from the original font to the current Mengelt Basel Antiqua. Thus the font further developed by Christian Mengelt in no way represents a mere replica of the original, but rather assumes a new type design – exhibiting features of the historical prototype that are emblematic for the type, but also imbued with the technical features of
a modern text-based font.

The brochure is in German and English and offers not just basic historical information on
Mengelt Basel Antiqua, but also provides sketches and sample applications.

You can access the brochure directly on Linotype.com.

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Zapfino Arabic: The latest font by
designer Nadine Chahine

Working in collaboration with maestro Prof. Hermann Zapf, the designer Dr. Nadine Chahine has extended the Zapfino family produced in 1998 and has composed its Arabic counterpart – Zapfino Arabic. This represents the third product of cooperation between the two typographers following Palatino Arabic and Palatino Sans Arabic.

Work on Zapfino Arabic began in summer 2012 and the latest font by Nadine Chahine has now just been released through Linotype.com. The activities during the many months of meetings and joint endeavor involved in the development process were described and shared through the online social networks. There were regular reports on the progress of the project and on the latest developments while readers were asked to provide feedback and comments.

The outcome of all this effort, Zapfino Arabic, enriches the tradition of Arabic script, combining as it does the writing styles Naskh and Nastaaliq in a backwards slanting, calligraphic-like Arabic typeface. Particularly characteristic of Zapfino Arabic are its delicate, flowing outlines. This elegant and calligraphic typeface is ideal for creating logos, greeting cards, short headlines and text passages.

Click here for more information on the background to and the features of the new Zapfino Arabic.

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ITC New Veljovic – the optimized and extended version of the classic font ITC Veljovic

It is now 30 years ago that the font designer Jovica Veljović first released his typeface ITC Veljovic – he has now reworked his design and produced an optimized, extended version: ITC New Veljovic.

Thanks to its improved typographic support and subtle modification of proportions, ITC New Veljovic with its coordinated effects is now even more versatile than before.

The complex augmentation process included the supplementation of the existing four styles with a Regular weight while corresponding genuine italic variants have been added for each of these. In addition, it has been ensured that the font supports most Western and Eastern European languages and it now includes lining and oldstyle figures, small caps and ligatures. The new Display styles have been optimized for use in large point sizes. The updated ITC New Veljovic is not only suitable for use in printed contexts; in its web font form it provides for clear, perfectly legible text on monitor screens.

Click here for more detailed information on the updated ITC New Veljovic.

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The life of the designer Roy Cole –
a detailed portrait at Linotype.com

Currently available at Linotype.com is an extensive portrait in English of the British designer Roy Cole, who was born in 1932. Cole began his career as a compositor, subsequently studying typographic design at the General Vocational College in Basel under Emil Ruder. The styles of this period and the then trends in Swiss typography had a significant and enduring impact on Cole’s development as a designer. Concepts such as order, simplicity and legibility determined the “modern” approach to design in this period and thus also became Cole’s guiding principles. Their influence on him is clearly apparent in many of the reproductions of his designs.

After graduating from college, Cole was first employed as a graphic designer by various agencies in the UK and Switzerland until he founded his own studio in 1981 and his own font label “Roy Cole Typography” in 2003; his designs continued to exhibit a marked relationship with the aspects of Swiss typography. It is undeniable that the influences he absorbed during his student years continued to be evident even in the final works he created before his death in 2012.

Click here to find out more about the life of Roy Cole and to read a detailed biography of this designer.

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