The favorite fonts of the Danish designer
Anders Francker and Francker selections
for just 39 USD/EUR* each

Although he originally trained to become an engineer, Anders Francker currently also works as a font designer. He now reveals on Linotype.com which six typefaces he most admires.

Born in 1972 in Denmark, Francker initially worked as an engineer, during which time he became familiar with technical blueprints. Even outside the professional sphere he continued to practice painting and drawing, thus gaining increasing experience in design over the years.

He is convinced that “architects, engineers and others like them who are used to working with drawings can contribute many innovative and interesting ideas to font design because they can see things from a new perspective” – even if they haven’t attended a design college.

And with this in mind, he released his own square sans Francker through Monotype in 2010.

With its forms reduced to the essentials and curves, the Francker font has the superellipse as its underlying design element. It has a soft quality with an industrial feel. Its features can be best appreciated on signs and in the form of logos.

Our special offer lasts one week, ending on February 26, 2015, and in this period you have the opportunity to acquire two selections of the Francker family in OpenType Pro, each with six styles for just 39 USD/EUR* per selection. This represents 90% off the normal purchase price.

On being asked what six fonts he considers to be his favorites, the designer decided to put the following question to himself: “If I could have only six font families installed on my computer (in addition to my own Francker family, of course), and I was restricted to using these for everything that I write in the future, from headlines to body text, which ones would they be?”

After concluding that he wanted two sans serifs with a traditional and two with a more modern effect together with two serif fonts, he made the following selection: Neue HelveticaUnivers NextEurostile NextAgency FBTimes New Roman and Palatino Nova.

Click here for more details on the favorite fonts of the designer Anders Francker and to find out why he chose them!

And you can click here to download the Francker Selections for just 39 USD/EUR* each.

* Gross price 46,41 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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Vialog adorns Japanese highway signs

Vialog, published in 2002 by Professor Werner Schneider and Helmut Ness, adorns many public systems, including the Munich public transportation system or the Spanish railway. Now it is also used for the English labeling of all Japanese highway signs.

This was made possible through the collaboration of renowned Japanese information designer Keiichi Koyama and Monotype Germany’s Japanese Type Director Akira Kobayashi. Yet another application in the worldwide guidance and orientation system.

Vialog originated in 1988 from a transportation font designed by Professor Werner Schneider, the so-called “Euro Type”. Schneider designed it for the Federal Ministry of Transport in Bonn. The typeface resulted from extensive research on the optimization and standardization of European transportation fonts and was meant to achieve the perfect legibility for the transport sector.

Vialog, designed 14 years later, was the eventual successor to Euro Type. Schneider and Helmut Ness created a space saving typeface predestined as a transportation and information font that also meets the varied requirements of the corporate world.

At first glance Vialog often seems technical and structured, but it is distinguished by a robust character with aesthetic, carefully designed forms and technical details. All in all, it is equipped with eight styles, from light to bold with the corresponding italics. Moreover, thanks to the corresponding Vialog Signs, which consists of numerous symbols and arrows, it is a quantitatively and qualitatively premium and all-around applicable font.

Find more detailed information of Vialog here.

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The agony of choice: the search filter on Linotype.com helps you find the right font

Considering the number of fonts available, it isn’t always easy to find the right one. Linotype.com wants to make the search for the font that meets your expectations easier.

The search filter on Linotype.com can help. You’ll find it in the header section of the website – simply click on it or enter a search term. On the next page, you can further restrict your search and choose more selection criteria in the left navigation pane. Am I looking for a font with or without serifs? Do I need a handwritten script or a calligraphic font? The selection criteria enable you to answer these questions and much more. Make your search even easier by adding more specific criteria, including the file format, supported languages, or typographic characters. The right pane of the page automatically updates and displays the current search results.

If you are looking for a font for a particular topic, a special occasion or for a specific application, you’ll find help here, as well. Whether it’s Valentine’s Day, technical projects, or simply cool designs, the search filter can definitely help you out.

The search for the right font has never been so easy, not to mention the chance of finding something new and bold.

Try out the search filter and be inspired by new fonts!

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SkyFonts: the quick and easy way to try out
new desktop fonts

The new SkyFonts service allows you to rapidly and effortlessly experiment with new fonts on your PC or Mac. Simply select the desktop fonts you want to try out. These will then be installed on your system, where they will be available for use for up to five minutes. You can sync them on up to five of your workstations. When the time period is up, the fonts will be automatically removed from your system.

The use of SkyFonts is simplicity itself while registration and the necessary client software are provided free of charge – all you need is a user account with Linotype.com.

Why not give SkyFonts a try right away and experiment with many of our fonts?

Click here for more information on the new service and its use.

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The last font design by Roy Cole:
the elegant, rhythmic Coleface

Shortly before his death in 2012, the Briton Roy Cole created an elegant, rhythmic and readily legible sans serif – Coleface. It is characterized by its striking and clearly defined letter forms that provide Coleface with a neutral and thus flexible quality, making it suitable for use in a wide range of project and application contexts.

Cole studied under Emil Ruder, the eminent Swiss designer and typographer, at Basel’s General Vocational College (Allgemeine Gewerbeschule) in the early 1960s, at a time at which typography was making history. Concepts such as order, simplicity, clarity and legibility fundamentally determined the design approaches in this period, establishing a new form of modernity that went on to capture the imagination of the whole world. As a result, many of the designs created in this decade have a high level of recognizability. Cole was extensively animated and influenced by these factors when designing so that his work and designs follow the corresponding creative guidelines, and here Coleface is no exception.

It combines elements of the artificial grotesques and the Renaissance antiqua, resulting in a very characteristic tension within the forms of the glyphs. Slight contrasts in line weight and occasionally beveled terminals give the font a dynamic feel.

Coleface is available in the three weights Light, Medium and Bold, each accompanied by the corresponding italic.

Visit Linotype.com for more information on Coleface and to see examples of the font in use.

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The eight most popular new typefaces of 2014
and three selected special offers

Now the New Year is already in full swing, it is time to take a look back at the favorite fonts of 2014. Allow yourself to be inspired by the eight most popular new typefaces of 2014 at Linotype.com. These include the font families DIN Next SlabQuire SansQuitadorMagma IIBurlingameMengelt Basel Antiqua,
Bradley Texting and Mantika Book.

You also have the opportunity to acquire last year’s three bestselling fonts at a saving of 142 USD/EUR or 64% of the normal price. Our Top 2014 Selection Packs containing five styles of either DIN Next Slab, Quire Sans or Quitador are each available at a price of just 79 USD/EUR for one week (offer valid to January 29, 2015).

Click here for more details on last year’s eight most popular new fonts and our Top 2014 Selection Packs.

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New Release: Bradley Texting – a typeface
with a personal touch

With Bradley Texting, designer Richard Bradley has published a continuation of his font families Bradley Hand and Bradley Type, published in the 1990s.

Bradley overcame the rough forms of Bradley Hand with the smoother Bradley Type. He subsequently wanted to further expand his script fonts and create an easily legible font for electronic devices like smartphones and tablets. In the process, the greatest challenges lay in creating letters during the drawing process that appeared relaxed but still fit one another.

He designed the letters himself on paper with a felt-tip marker, a process suggested by the curved ends of the letters. Their flowing but disconnected transitions recall cursive handwriting. This personal accent is characteristic for Bradley Texting and lends the font a certain degree of dynamism and originality.

Bradley Texting is available in the Regular, Semibold and Bold styles and covers the Western European language area.


You’ll find a more detailed description of Bradley Texting on Linotype.com.

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Interesting article on Gill Sans in the
Forum magazine

In the September issue of Forum – Journal of Letter Exchange, Dan Rhatigan explores the emergence of the popular Gill Sans. The Monotype Type Director has rummaged in the British archives and highlights the most interesting finds of the font designed in 1928 by Eric Gill.

The article has original drawings and photographs along with exclusive insight and information about the origin and development of Gill Sans. What requirements was Gill Sans intended to meet? Did the font have enough alternate characters and variations, what languages were meant to be covered?

Particularly interesting is the development of the analog variants up to today’s digital version – which styles made it to the digital format, which were changed and which were discarded altogether?

Overall, the article provides exciting and comprehensive insight into the development of Gill Sans, but also the development process of a typeface design in general.

See the article on the popular Gill Sans in detail here.

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The new Mantika book by Jürgen Weltin
expands the Mantika super family

The Mantika super family expanded once it introduced a third family member, the Mantika Book, so that existing families of Mantika Sans and Mantika Informal will be supplemented with an Antiqua.

Like the existing families, the Mantika Book is oriented to the Renaissance Antiqua, but the contrast in the stroke strength is more pronounced than is normally the case in this genre.

The serifs are typically asymmetrical, with sloped ends. The lightly grooved stems with a hint of a curve into the common space as well as dots that resembling feather script gives the Mantika Book a dynamic and friendly character. As with Mantika Sans and Mantika Informal, the letters of Mantika Book also show the same x-height, but they are furnished with slightly longer ascenders and descenders.

The name is Program: the Mantika Book is specifically suited to a book typeface and is available in the two stroke strengths, regular and bold, along with the respective Italic cuts. Furthermore, it has an exhaustive set of numbers and symbols. In addition to this third typeface, Mantika family has also extended its area of application, in order that you now have the opportunity to combine the font families optimally and variedly with one another.

Other information and graphic visual aids for the Mantika Book can be found in a contribution on Linotype.com

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Test fonts before buying with the Fontsampler

At Linotype.com, you can test if a selected font meets your requirements for design and options with the Fontsampler. The Fontsampler allows you to access detailed information for each style, as well as try out and test them.

To use the Fontsampler: The “Character Map” tab gives you an overview of all characters available in a font. “Technical Details” provides information on the file format, as well as the font name displayed in different systems.

The first tab “Sample Text” is the most exciting part of Fontsampler, since it offers two types of presentation: waterfall and continuous text.

The waterfall mode includes a single line of text that is displayed in different sizes, one underneath the other. This provides you with an overview of the uppercase and lowercase letters and numbers and allows you to clearly and quickly evaluate the font and its shapes. In addition, you can select a sample text or enter your own text to be displayed.

In the continuous text mode, you can choose from various sample texts or enter your own text. This text is then displayed on multiple lines in the font size selected in the pop-up menu.

Also, you have the possibility to set a text and background color in both modes using the swatches on the left. All of these settings and specifications are conveniently stored for you, so you can change the font or style easily.

You’ll find the Fontsampler on the detail page, directly below the specifications of language/format, font family and licenses.

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