Interview with designer Sandra Winter

Sandra Winter collaborated with Akira Kobayashi on the design of the new Rounded versions of Avenir Next. We decided to take the opportunity to ask the designer, who was also involved in the DIN Next project, a few questions. You will find the text of the interview, with her fascinating responses and her description of the challenges associated with creating new cuts of an acknowledged classic among fonts, at

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Yesterday, we released a technical update of that will come very handy for those who want to use Linotype fonts on the web. The standard licencse we sell on doesn’t cover web font use, but with our partner, web fonts, we are able to offer Linotype fonts with web font licenses through Web Font Service.

With the new features you can simply browse for inspiration, or search for your favorite typeface. Everything regarding web fonts is branded in a dark blue. We offer three ways to get your web font:

  1. Search for fonts, and click on blue web font button
  2. Browse, select font family, and click on blue Web Font tab next to Details & Background Information
  3. On a font weight detail page, click on blue Web Font Option button

All three options will result in a dialog box opening up, explaining that you will get Linotype web fonts through the web font service provided by Click on the Get Web Font button and you are taken to the exact match on

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Re:Publica 12 and the Twitter Wall

I just came back home from re:publica 12, a fantastic event bringing together bloggers, self-acclaimed internet rebels, internet marketeers, social web rock stars and designers. In the center of attention at this year’s congress was the analog Twitter wall conceived by precious design studio.

Complete view of the wall

Complete view of the wall

The idea centered at bringing back the Action to digital communication, including hard work and dirty hands. Instead of everyone staring at their screens, captured in computer-based communication, event attendees met at the analog twitter wall, chatted face-to-face, created trans-media experiences by taking photos of printed out tweets and posting them to the Web. The Action team, called Actionists, who had printer’s ink and glue on their hands, plastered tweets onto the wall. A cleverly designed algorithm programmed by precious captured the amount of tweets send per minute, trend topics, and set the top tweets in larger point size and a special fonts chosen from’s web font portfolio.

For creating a good contrast to re:publica’s CI typeface and to capture the spirit of the event, we choose rounded and serif typefaces, such as the flirty serif typeface Adelle by TypeTogether, the soft rounded version of Memphis, and many more fonts.

The crowd fell in love instantly…

Mixing glue


Picture of the first tweets being plastered on the wall

The first tweets are plastered

Tweet set in Memphis Soft Rounded Bold

Tweet set in Memphis Soft Rounded Bold

Tweet set in Adelle Extra Bold

Tweet set in Adelle Extra Bold

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All the characteristics of a debut work:
Levato by Felix Bonge

At this point, I would like to use the opportunity to draw your attention to a particular typeface. Levato, which has only recently been made available at, is a font family with a large repertoire that was developed on the basis of experiments undertaken by Felix Bonge while participating in a type design course held by Professor Jovica Veljović. After subsequently attending a calligraphy seminar, Bonge completely reworked his concept and achieved this impressive result. Levato is graceful, dynamic and versatile all at the same time. There are five weights with the corresponding genuine italic versions. The suite of glyphs thus covers all potential options: the four character sets, small caps, numerous ligatures, ornamental and swash character variants mean the Levato can be used in headlines, to design magazine layouts and to set continuous text.

For more information on this typeface, ideas for possible applications and the opportunity to purchase the Levato family for your own use, and for reading an interview with Felix Bonge, go to

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