The popular ITC Handel Gothic, now for
Arabic, Persian, and Urdu

The futuristic ITC Handel Gothic has become even more interesting for the international market, thanks to font designer Dr. Nadine Chahine. The typeface, which has been popular for nearly 50 years, is now available in Arabic, Persian and Urdu language versions. The ITC Handel Gothic Arabic is available in the five weights Light, Regular, Medium, Bold and Heavy and is particularly well-suited to logos and headlines as well as packaging-design projects.

Take a closer look at the new ITC Handel Gothic Arabic.

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Geometric fonts: an interesting article

If basic geometric shapes like circles, squares or triangles play a major role in the design of the typeface, you’re dealing with a geometric font.
This structured character was first successful in the 1920s with the “elemental typography”. Notable fonts like the Universal font by Herbert Bayer and Futura by Paul Renner stem from that era, for example. These two fonts also had a great influence on many other typefaces.
The geometric fonts experienced renewed popularity in the pop and disco culture of the 1970s. The same was true twenty years later, this time in the techno music scene and with the rise of digital typography in the 1990s. And even today geometrically structured fonts appear contemporary and modern, with their cool, technical and neutral character.

Learn more about the history of geometric fonts and their areas of application here.

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Obituary for Adrian Frutiger

Internationally recognized and renowned Swiss font designer Adrian Frutiger died on September 10, 2015 in Bremgarten near Bern. He was 87 years of age.
Frutiger was the creator of numerous, internationally recognized and popular fonts. These include Avenir®, Frutiger®, Univers® and Vectora®, among others, and resulted in a decades-long relationship between the popular typographer and D. Stempel AG, later Linotype AG and now Monotype GmbH.

Read our obituary for Adrian Frutiger here.

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A cinematic retrospective of
Linotype’s machine history

If you want to learn about the early production techniques of typographic printed materials on paper and film, the movie “The Eighth Wonder” is right for you.
The film came out in 1961 and deals with the Linotype machine, which revolutionized printing at the time, its application and technical developments like Linofilm.
The movie was filmed on the occasion of the 75th anniversary of Linotype. It runs just under 25 minutes in length. This year, director and producer Doug Wilson digitalized the film. Wilson also created the documentary “Linotype – The Film” in 2012.

You can find the original film from 1961 on

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FF Dax by Hans Reichel: distinctive,
with generous options

All around talent Hans Reichel worked not only as a graphic designer, but also as a musician and instrument maker. He also invented the so-called Daxophone, after which he named his typeface FF Dax.
With this family, Reichel designed a combination of the clear forms of a structured grotesque and a humanist touch.
Thanks to FF Dax, FF Dax Compact and FF Daxline, three new family members have been created that are optimized for specific areas of application.
For example, FF Dax is particularly well-suited to headlines, logos or high-volume typesetting. FF Dax is available in six weights with three widths, Condensed, Normal and Wide.
FF Dax Compact, on the other hand, is a very narrow typeface, intended for use on flyers and newspaper or magazine headlines.
FF Daxline has somewhat broader letters and less contrast in the weights. It is especially well-suited for small print, and also has a narrow Thin style, in addition to the familiar six weights.

Get further details on Hans Reichel’s FF Dax on

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Review of FontExplorer X Pro 5 in Mac magazine: 4.4 out of 5 mice

The well-known American online magazine Macworld recently took a look at the software FontExplorer X Pro 5. The font management program received 4.5 out of 5 mice, obtaining a very positive review and feedback, thanks to the new design and numerous new features and improvements.

Read the interesting review and learn about the latest version of FontExplorer X here.


The new Magma II: the second edition of an
all-round talent

The easily legible sans serif Magma by Sumner Stone is available from in a modern re-edition, Magma II.

The designer of the popular and successful ITC Stone dedicated himself to the development of a good selection of alternate characters and accents for Eastern Europe. These efforts make Magma II, which is based on Renaissance Antiqua in its basic shapes, particularly interesting for international projects. Various character sets and five weights from Thin to Bold are also available and offer the font more creative leeway than its predecessor. Thanks to its legibility, many lively details and the generous selection of characters and styles, Magma II is not only suited to continuous text, but also to titles or logos – in print or digital.

See this all-round talent for yourself; take a closer look at Magma II here.

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New interview with Akira Kobayashi
about his font Akko

Font designer and Monotype Artistic Director Akira Kobayashi gave an interesting interview on about his font family Akko®. The conversation focused on the creation process as well as the applications and potential use of the friendly font. The designer devoted a great deal of time to his favorite character, the small “a”, and explains why it is his favorite – despite being the hardest letter to design.

Click here for the exclusive interview with font designer Akira Kobayashi.

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A dedication to the Roman capital letters:
the new book “The Eternal Letter” by Paul Shaw

Award-winning graphic designer, typographer and author Paul Shaw has devoted a book to the classical Roman capitals. The comprehensive publication “The Eternal Letter – Two Millennia of the Classical Roman Capital” appeared in January, on the occasion of the 2000th birthday of the uppercase, which is ubiquitous nowadays.

Paul Shaw has already produced books like “Helvetica and the New York City Subway System” and co-wrote “Blackletter: Type and National Identity”. In addition to his teaching at Parsons School of Design und School of Visual Arts, he writes for the blog Blue Pencil.

Despite the huge success of sans serif fonts like Helvetica and Futura, Roman serif typefaces have a strong presence in print and on screen and enjoy great popularity.

This is why “The Eternal Letter” devotes all of its 264 pages to the classic Roman capitals. The reader gets a comprehensively illustrated and informative study of the continuing influence of the upper case letter and its multitude of variations over the centuries. The book delves into history and looks forward to the future. It also includes a number of essays from well-known representatives from the world of typography. These include Frank E. Blokland, Matthew Carter, Steve Matteson and Julian Waters, among others.

You can get more information and order the book here.

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The favorite fonts of designer Mårten Thavenius and family packs of the Aptifer Sans and Aptifer Slab family for only 99 Euro* each

The favorite fonts of font designer Mårten Thavenius
After completing a B.A. in Philosophy and Aesthetics, Swedish designer Mårten Thavenius began working as an interface designer with IBM. He later became a freelance web consultant and font developer. His most popular designs are the comprehensive families Aptifer® Sans and Aptifer® Slab.
In a exclusive, Mårten Thavenius presents his favorite fonts and provides tips for their application.
Learn more about these unconventional and exciting fonts here.

Aptifer Sans and Aptifer Slab as Family Packs for only 99 USD/EUR* each
Take advantage of this unbelievable offer: The complete Aptifer Sans font family and Aptifer Slab family (OpenType Pro versions) are available for 99 USD/EUR* each for one week only. With the Family Pack, you save 830 USD/EUR or 89% off the normal price.
Both Aptifer sub-families share an identical basic letter shape. The symbiosis of the robust American sans serif from the turn of the 20th century and humanist influences lend Aptifer a friendly, but distinctive character. In contrast to the restrained Aptifer Sans, Aptifer Slab is distinctive and striking with its slightly wedge-shaped slab serifs. Both sub-families open up a wide range of applications, particularly in corporate design. They can be used for headlines or for text, as well. Aptifer Sans and Aptifer Slab are available in seven weights, each with a matching italic.
Don’t hesitate, get your Aptifer Family Pack now and obtain these perfectly legible fonts with diverse ranges of application at a low price.

* 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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