DIN Next Condensed, now with italic styles: save 50% on the 14 styles in the DIN Next Condensed selection

The application potential of the technical and neutral design of the DIN Next has expanded and the font family is now even more flexible. The font design, created by Akira Kobayashi and Sandra Winter, now has matching italics for the existing seven Condensed styles (Ultra Light, Light, Regular, Medium, Bold, Heavy and Black). For one week, you have the opportunity to get this selection on Linotype.com with all the 14 styles of DIN Next Condensed, including the italics, at a rebate of 50%. You pay only 249.50 USD/EUR instead of 499 USD/EUR.
Don’t miss this offer – find our DIN Next Condensed Selection here.

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Hermann Zapf Remembered

World-renowned German font designer Hermann Zapf died on June 4, 2015 at the age of 96. The creator of many internationally recognized and popular fonts, such as Palatino, Optima and Zapfino, had a close personal and business relationship with D. Stempel AG (later Linotype AG, now Monotype GmbH) that spanned decades.
Read our obituary, written exclusively for Linotype.com by journalist Andreas Weber: “Mastery through Precision and Passion”.

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An interview with Jovica Veljović in which he talks about his latest font, ITC New Veljovic


The eminent Serbian designer Jovica Veljović has revised the typeface ITC Veljovic that he created in 1984 and has just released its successor, ITC New Veljovic.

On Linotype.com you will find the text of an exclusive interview with the font designer in which he talks about the differences between phototypesetting and current digital technologies and also outlines the background to the origin and development of the updated version of the font.

Veljović began to work as a designer in the era of phototypesetting and this meant he would often encounter time- and money-consuming complications. Modern digital technologies have eliminated many of these problems but, as Veljović points out: “It was always difficult to design a good typeface and this will continue to be the case in future”.

He thus decided to rework ITC Veljovic, created some 30 years previously, with the aid of the techniques now available as he had recognized that the font had considerable potential for upgrading. He has improved kerning, introduced a Regular weight and added new Condensed styles.

However, what is really special about ITC New Veljovic is the fact that users can now choose from a range of variant glyphs with longer or shorter ascenders and descenders and that it is now possible to automatically convert Cyrillic texts into texts using Latin characters and vice versa.

“I have designed ITC New Veljovic with its weights Normal, Condensed, Display and Cyrillic so that it can be used for many languages and in a wide variety of contexts.” – in both print and digital environments.

Click here to now read the full interview with Jovica Veljović.
Find here more information about ITC New Veljovic.

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The new Demos Next: a friendly and comfortable all-rounder with expanded features

Gerard Unger designed Demos in 1975, one of the first digital typefaces for the Hell Digiset digital typesetting machine. Although the font only had three styles, it became very well-known and popular. Originally, Demos was created as a newspaper font. Its characteristics were adapted and perfected for digital film output. The font is meant to be compact and have extremely good legibility.
Nevertheless, there were more and more customer requests for a version with more features. The result is the successor, Demos Next, designed in collaboration with Linda Hintz.
The letter forms of Demos remained largely unaffected. There were only small, but fine changes to details, noticeable in the x-height, the curves in the weights, for example.
However, there were major changes in the font features. Demos Next has six weights, from light to black, each with fitting italics. In addition, several number sets have been added, as well as an expanded character set, which offers even more flexibility for your projects. The OpenType Pro format makes most Central and Eastern European languages available, as well as the Latin transcription of Chinese characters, Pinyin.
All in all, Demos Next does not so much as change the friendly font character of its predecessor, but rather highlight and emphasize it.
As a re-edition of its forerunner, Demos Next offers a great deal of flexibility, whether in continuous text or headlines, in print or on Web pages or other electronic media.

Find out more about the new Demos Next and extensive image material here.

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Bring Web fonts to your ads

HTML-based ads are becoming more prevalent. But incorporating Web fonts hasn’t always been easy. Now the Monotype Web Font platform is providing HTML-based authoring tools easy integration of Web fonts allowing users to have text that is dynamic and responsive while staying on brand.
Several ad authoring tools including Flite, Responsive Ads and Adcade have introduced the Monotype Web Font platform into their tool. If you’re working with these tools or others that integrate at a later time, you can simply upload your Linotype.com Web font kit within the authoring tool to begin designing with your fonts. Web font page view tracking is retained, ensuring you can keep on top of your pageviews when your ad or content is deployed.
Get more detailed information about the web  font platform here.

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Short film about the classic Times New Roman

“The Unquit Film Series” is made up of 13 short films about the British newspapers The Times and The Sunday Times. The third film in the series is just under three minutes in length and deals with the font Times New Roman.
Stanley Morison, Victor Lardent and Monotype originally published Times New Roman in 1932 for the Times daily newspaper. Designer Neville Brody revised the design of Times New Roman in 2006 and named the updated version Times Modern.
In this short film, representatives of the typography scene have their say, including Neville Brody, the Times design team, Andy Altmann, Marina Willer, Jonathan Barnbrook and others. Legible, boring, English, robust or proud – these are just a few of the opinions about Times New Roman.
You can watch the film directly here.

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Neue Haas Unica: the new, delicate revision of Helvetica now on sale for 99 USD/EUR*

Designer Toshi Omagari has devoted himself to the nearly forgotten font Haas Unica, expanding the typeface with additional styles, characters and language support.
On commission from the Haas Type Foundry, Team 77 was to design a friendlier update of Helvetica. The result appeared at the end of the 1970s, Haas Unica. The font was a blend of Univers and Helvetica as sources of inspiration. Now, Toshi Omagari has taken this font as a template for his adapted and expanded version, the Neue Haas Unica.
Omagari adapted some of the proportions for the digital typesetting techniques, removed unnecessary details and thus gave Neue Haas Unica a more uniform overall appearance across all styles. Five new weights were added to the existing four. The selection of characters was expanded significantly, as well. The font now supports Central and Eastern European languages, as well as Greek and Cyrillic characters. Small caps and different number sets are also available.
While the similarities to Helvetica and Univers are noticeable, the delicate adjustments lend Neue Haas Unica a somewhat livelier and friendlier character.
And thanks to the diverse characters and language options, as well as the numerous styles, Neue Haas Unica is versatile and applicable internationally, whether for headlines, logos or text.

Now you have the opportunity to acquire this extensive font family in this introductory offer, available until May 7. You get the nine weights from Ultra Light to Extra Bold with matching italics in OpenType Pro format for only 99 USD/EUR* instead of 399 USD/EUR **.

Learn more background information and details about Neue Haas Unica 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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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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