All digitalised typeface characters in the world
in 2 hours and 31 minutes: the Unicode film

Professor Johannes Bergerhausen has not only written a book on all digital typefaces used around the world that has won seven awards but, with all true typography fans in mind, he has also created a film version. Go to and view absolutely every digitalised typeface character that has been employed anywhere in the world in exactly 2 hours and 31 minutes. A really unique and unmissable experience!


Linotype: The Film – now available on DVD and Blu-ray

Director Doug Wilson travelled the world for two years collecting material on the Linotype typesetting machine. The result is a 76-minute documentary on a device that Thomas Edison called “The Eighth Wonder of the World” and which revolutionised both the printing industry and society as a whole. The film not only looks at the history of the typesetting machine, but also tells the poignant and heartwarming stories of the people who worked with it.
A must-see nostalgic look back at the era when lead type was still used.


Say Cheese: Linotype’s contribution to the 30th anniversary of the smiley

The smiley emoticon, which has become such an integral part of written internet communication, turns 30 this year. It is assumed that it was originally created by Professor Scott E. Fahlman as a way of expressing humour through the internet. Now available from, just in time for the anniversary, is Say Cheese by Andy Benedek and Alan Blackman. This typeface consists almost exclusively of happy, smiling characters that will infuse sunshine into any text!

Click here for more information on Say Cheese.

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Webfontday 2012 on November 10th in Munich – Linotype takes part

Stop by to see us on Webfontday 2012 in Munich – we’re there for you the whole day and look forward to all your questions on the theme of Webfonts!

Detailed information on this event can be found under

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Tip for typography fans:
Berlin’s ‘Buchstabenmuseum’

Located on the first floor of the Carée shopping mall on Berlin’s Alexanderplatz is the unique ‘Buchstabenmuseum’ – Berlin’s Museum of Letters. It houses a constantly growing collection of letters and characters in various sizes and materials from a whole range of different design epochs. Currently on display are mainly exhibits originating from Berlin and the surrounding area, but the museum is also interested in acquiring items from elsewhere. In addition to displaying its collection, the museum also provides guided tours and workshops and mounts special exhibitions.

Click here for more information.

A whole new approach to displays: media art in the new terminal of Vienna International Airport

ZeitRaum“ (‘TimeSpace’) is the name of the art installation designed by Ars Electronica Futurelab for Vienna Airport’s new terminal. It generates real-time interpretations of incoming and outgoing flights. Its massive display screens frame the airport’s security checkpoints. When a passenger approaches a screen, a virtual snowstorm of letters is triggered and these trickle to the bottom of the screen. Here, the letters join together to form texts that represent the topography of a landscape in a constant process of transformation as its progress is determined by the actual status of the airport’s air traffic: starts generate mountains and landings are represented by valleys.

The fonts used for the displays are Soho Gothic and Futura, here used as a means of expression that is unlike anything to which we are normally accustomed.

A fascinating video film of the installation is provided on the Ars Electronica Futurelab website:

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Biome: a contemporary, retro-futuristic font family

Perhaps its rounded, organic forms take a little getting used to, but there is no doubt that Biome is both striking and ideal for use in wide variety of contexts. This extensive font family was created by US designer Carl Crossgrove by means of a long-drawn out process of experimentation. The result is a harmonious and consistent typeface with the occasional unconventional character, such the lowercase ‘g’ with its one closed and one semi-open counter. The available weights range from Extra Light to Ultra, while Biome is also available in three widths (Basic, Narrow and Wide).

Thanks to its generous x-height and large counters, Biome is particularly effective when used in the larger font sizes in such contexts as headlines and logos, but it remains highly legible even when used to set longer, continuous texts. – For more information about this typeface go to

To mark the launch of this new font, we will be supplying three Biome variants to try out free of charge to everyone who registers to receive our Linotype newsletter (offer available until 15 July).

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Website and magazine on typography launched in Japan

Typophiles, take note of these two exciting developments in Japan!

Started by four Japanese typophiles a few weeks ago, this English-language website is an online index to type foundries and vendors as well as a showcase of their type collections. The site brings together information on the latest typographic trends throughout the world and is sure to be a useful resource for designers, art directors, and type enthusiasts.

Typography (Graphic-sha Publishing Co., Ltd.)

Launched on May 7, this Japanese-language magazine is enjoying brisk sales. Below is an excerpt from the publisher’s launch announcement:

Typography covers the latest trends in typographic design in Japan and overseas. Published twice a year, the new magazine is dedicated to designers and other people who have keen interest in letters.

‘In its inaugural issue, the magazine showcases a lead article that highlights eye-catching artworks including Comedy Carpet by Gordon Young and Why Not Associates, winner of the Grand Prix at the Tokyo TDC Annual Awards 2012. The feature piece is entitled “Create Your Own Fonts!” and it explains how to design original fonts using such font software as Fontographer and FontLab Studio and sell them in the marketplace. The feature also includes an article by Akira Kobayashi, type director at Linotype GmbH, on type design and an article on the design and production process behind the Stevens Titling font family, which was released in May 2011.’