The book “Hanzi Graphy” – a link between
Chinese and Latin script

Mario Takagi’s book “Hanzi Graphy” explores the connection between Chinese symbols – also known as hanzi – and the Latin alphabet. More precisely stated, the book attempts to create a typographic translation between the two font systems.

These days, Chinese script is still considered an exotic and mysterious form of writing, in particular to people in the West.

Fittingly, the foreword was written by Akira Kobayashi. The renowned font designer and artistic director at Monotype himself had to bridge the gap between the Latin and Asian script and can thus relate to the challenges inherent to the subject matter.

“Hanzi Graphy” is based on research that began in 2008. The goal was to create a link between the Latin and the Chinese writing systems. The book introduces the six foundations of the Chinese symbol types in a total of 224 pages. It visualizes and analyses the structure and the microtypographical aspects of Chinese characters in comparison to Latin ones.

Find out more about the book “Hanzi Graphy” by Mariko Takagi.

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The Linotype Gneisenauette – also suited to
album covers

The Linotype Gneisenauette was the result of a competition and became a part of Linotype’s Take Type Library. It was designed by Latvian designer Gustavs A. Grinbergs.

The handwritten font recalls that of a sign painter and is available in four weights. Each style has an alternative version with curved letters. Even without these curved versions, however, Linotype Gneisenauette is suited to the most diverse range of applications. This includes album covers for example, as shown here for the cover of the album from musician Raz Ohara.

According to Grinbergs himself, he chose the unusual name Gneisenauette because it has the robust nature of a German Gothic type, and the name illustrates and emphasizes this character.

Take a closer look at the styles and the album cover with Linotype Gneisenauette.
Here you can read about designer Gustavs A. Grinbergs’ inspiration for the font.

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My life in typefaces – video talk from
Designer Matthew Carter at the TED conference

Among other things, England-born Matthew Carter is well-known for his popular fonts, including Verdana, Georgia and Bell Centennial – a font developed for American telephone books.

The designer, born in 1937, gave a talk on his life and work at the annual TED conference in Monterey, California. You can follow Carter on his typographical career in his video appearance: the transition from analogue to digital work, the challenges that his career has brought him and the development of his popular fonts.

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More than 20 years in the business –
interview with designer Jürgen Weltin

After studying Graphic Design and working for publishing and industrial design agencies, German designer Jürgen Weltin began designing fonts in the mid-1990s.

His first font design was Finnegan. He saw himself as a complete beginner, since he was still in the process of studying. Despite this, it was clear to him that he wanted to design a font of his own, one that did not copy or reference any other. “The experimental fields of the techno and grunge era, in which everyone was ‘sampling’ freely, was very tempting, but I didn’t want to take that route.”

The result was a comfortable reading font that went on to win the Certificate of Excellence in Type Design from ATypI.

Another award-winning font is Yellow, which was designed as a font for a telephone book. Weltin himself says the following: “A lot of what I learned during the development of Finnegan is in there. And without the experience of Yellow, there would have been no Agilita.”

He developed Balega, a font that recalls fat stencil lettering, as a contrast to these three fonts. It is a “cover version”, as he himself describes it – “maybe similar to what the Swiss guitarist Christy Doran did with Hendrix in 1994.” A new interpretation of an existing work. In this case, the original font was Resolut, which stems from the age of lead typesetting.

Similar to this, and recently published, are the fonts Mantika Sans and Mantika Informal.
Weltin: “The concept behind the Mantika font system is, as said, to take a starting point and to continuously design it as something new.” In this way, there is “a formal relationship between the styles, which offers the opportunity to combine them together, since they are all based on the same upper- and lower-case heights.”

Read the complete interview with Jürgen Weltin here.

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Extensive article on Jovica Veljović’s Agmena

A detailed article on the font Agmena designed by Professor Jovica Veljović in 2012 has been published on the website – a magazine and online portal dedicated to visual culture and design.
Its author, Paul Shaw, looks at the career of the Serbian calligrapher and type designer Veljović and the typographic influences on his work. Shaw also analyses Veljović’s most popular fonts, subsequently considering in painstaking detail Veljović’s latest font, Agmena – a poetic book font.

Discover more about Agmena and its designer and read the article at!

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Calligraphy at its best – Jean Larcher publishes imposing work on calligraphy

A book is to be published this March that provides extensive examples of calligraphic script:
Traits de Caractère – Character Traits – Linien mit Charakter by the French calligrapher Jean Larcher.
On its 624 pages, the book presents some 300 calligraphic pieces in eight different languages.
There are historical, classical and experimental scripts and also contemporary styles, accompanied by texts written by 20th century calligraphers. There are also Latin epigraphs and philosophical and literary quotations produced expressly for this book that have not previously been published.
Jean Larcher is himself a French calligrapher. He discovered his passion for handwriting while still a student and today works as a lecturer, among other things. His works have appeared in more than 250 exhibitions worldwide.

Traits de Caractère is not simply a reference work but also a masterpiece that will be welcomed by devotees and admirers of the art of calligraphy. The book is to be printed in a limited edition of 500 copies.

Click here to order the book.

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Web fonts now available as Value Packs

Our web fonts are now available in Value Packs from, making it both easier and cheaper for you to acquire them: simply click on the web icon on the “Value Packs” button and your favourite font will be added as a Value Pack to your shopping cart (see figure below).

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Animated film focussing on William Caslon
and his identically named font Caslon

The animated film William Caslon – british typographer looks at William Caslon‘s typographic work and shows, by comparing it with Times New Roman, the characteristic features of his typeface Caslon – used, among other things, to print the American Declaration of Independence.

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A font reminiscent of the everyday –
the fruit-inspired Fruitygreen

The Indonesian designer Andi AW. Masry drew extensively on the everyday for the design of his second typeface, Fruitygreen (his typeface début was Coomeec). Fruitygreen, as the name suggests, derives from the characteristic shapes of fruits; as a whole but also in sections, and their curves and ends. It is a particularly avant-garde font with its idiosyncratic forms, but this gives it a high recognisability factor and a quite distinctive character.

Fruitygreen is available in the three weights Regular, Bold and Black, for each of which there is a matching italic style. These italics are slightly condensed and have, for example, an ‘a’ with a closed form and an ‘f’ with a descender.

The harmonious and vibrant effect of this font means that Fruitygreen can be used to set shorter sections of text, although it is much more at home in logos, headlines and titles. It is here that its particularly distinguishing features, such as the lowercase ‘r’ (which assumes the form of the capital letter) become most apparent.

And – something that will gladden the heart of any designer – Fruitygreen has a wealth of alternative glyphs, ensuring that it can be used in many different design and application contexts.

Click here to get more information about Fruitygreen.

Also read the interview with the designer Andi AW. Masry.

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An animal contribution to the Linotype Zootype
on Creative Review

A blog dedicated entirely to a single font? That is the case with from the Argentinian designer Victor Garcia. In 1997, he drafted the font Linotype Zootype, in which animal heads are set delicately into the letters. This lends the font a unique, in some cases comical, character.

A contribution to Creative Review covers the blog, which has this font as its one and only subject but never becomes boring.

Victor Garcia submitted the font in the context of the second International Type Design Contest from Linotype, and Zootype was awarded a place in the Take Type Library. The designer himself describes the Linotype Zootype as playful and a pure joy of animal nature. This fun comes through to the readers of his blog.

Read the Creative Review contribution on Linotype Zootype here.
Read here what jury member Adrian Frutiger and others think of the happy animal font.

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