Karl-Heinz Lange Obituary
The type designer Karl-Heinz Lange died on June 29, 2010 shortly before his 81st birthday. At the time of his death he was working on the design of a new Antiqua on which he was collaborating with Veronika Elsner and Günther Flake. The italic cuts of his design “Viabella” had just been published when we received the sad news.
“As late as the beginning of June of this year, we were still corresponding with Karl-Heinz Lange in order to further the completion of his first self-directed creation, Diplom Antiqua. His letter was filled with his unbroken life spirit and desire to work,” said Günther Flake.
“When I visited him in the late winter in his apartment in Berlin he seemed to be in pretty good health. As always, we were greeted warmly with tea and cookies and were immediately immersed in his typographic world. For years, it had been of great importance to him to see the realization of this typeface which had been the basis for the thesis for his own diploma. With an amused smile on his face, he perused the test phrases and commented: “What on earth was I thinking of here?”, and “Well, I have to look this over all by myself; I have to consider this decision carefully.” On his table, there was a large bouquet of flowers which he had bought for the designer Ole Schäfer who had taken over the re-design of his typefaces “Publica”, “Minima” and “Super Grotesk.” “You, too, will get one just like that from me as soon as we have finished the “Diplom Antiqua”, he told us with a smile when we left. Even without that promise, it is our ambition to complete the “Diplom Antiqua” as his first original design and his last great achievement according to his own wishes. “We shall miss the informative and intensive hours we shared with him.” added Veronika Elsner.
Everyone who worked on this project at Elsner+Flake is deeply saddened by his early death and mourn a man who taught them about perfection and who, at the same time, always confronted perfection with a critical mind. His typefaces will keep his active presence in the eyes of the world. (Elsner+Flake 7/10)
“As late as the beginning of June of this year, we were still corresponding with Karl-Heinz Lange in order to further the completion of his first self-directed creation, Diplom Antiqua. His letter was filled with his unbroken life spirit and desire to work,” said Günther Flake.
“When I visited him in the late winter in his apartment in Berlin he seemed to be in pretty good health. As always, we were greeted warmly with tea and cookies and were immediately immersed in his typographic world. For years, it had been of great importance to him to see the realization of this typeface which had been the basis for the thesis for his own diploma. With an amused smile on his face, he perused the test phrases and commented: “What on earth was I thinking of here?”, and “Well, I have to look this over all by myself; I have to consider this decision carefully.” On his table, there was a large bouquet of flowers which he had bought for the designer Ole Schäfer who had taken over the re-design of his typefaces “Publica”, “Minima” and “Super Grotesk.” “You, too, will get one just like that from me as soon as we have finished the “Diplom Antiqua”, he told us with a smile when we left. Even without that promise, it is our ambition to complete the “Diplom Antiqua” as his first original design and his last great achievement according to his own wishes. “We shall miss the informative and intensive hours we shared with him.” added Veronika Elsner.
Everyone who worked on this project at Elsner+Flake is deeply saddened by his early death and mourn a man who taught them about perfection and who, at the same time, always confronted perfection with a critical mind. His typefaces will keep his active presence in the eyes of the world. (Elsner+Flake 7/10)
Different designs of Diplom-Antigua including italic and swash drafts.
2. Typostammtisch in Hamburg
Nach dem schönen 1. Typostammtisch hier in Hamburg findet nun der 2. mit dem selben Konzept statt. Nach wie vor sind Interessierte und deren Freunde eingeladen zu kommen.
Wir möchten einen entspannten Rahmen und Raum für Austausch, Networking und das ein oder andere Bier schaffen. Einmal im Monat möchten wir uns treffen, um aktuell Interessantes für Typo- und Designliebhaber zu besprechen.
Unser Gast, Benjamin Schubert, wird einige seiner Arbeiten zeigen, aber vor allem zum Gespräch und für Fragen offen sein. Letztes Mal ergab sich ja eine spannende Diskussion um angrenzende Themen – vielleicht ergibt sich etwas Ähnliches ja wieder.
Das Thema: Schrift im Stadtbild.
Welche Rolle spielt diese heute? Wie war das früher? Und haben wir etwas von Las Vegas gelernt?
Der Ort: Unter der Linde (ehemalige Jupi-Bar) im Gängeviertel, Ecke Speckstraße/Caffamacherreihe, Hamburg
Die Zeit: am Mittwoch, 14. Juli 2010 um 20:30 Uhr
Unser Gast: Benjamin Schubert/Künstler.
Er arbeitet mit ausrangierten Neon-Buchstaben und funktioniert diese in scheinende Objekte um. Weiterhin betreibt er das Projekt »Stadtlichter«, dessen Ziel es ist, die schrittweise Veränderung des Straßenbildes zu dokumentieren.
Alexander Ertle, Kommunikationsdesigner
Ruhrstraße 49, 22761 Hamburg
+49 (0) 176–26 06 44 25, alexander.ertle@gmail.de
Katinka ter Heide
(z. Zt. Ansprechpartnerin für das Forum Typografie in Hamburg)
zwart design, Poppenbütteler Berg 120, 22399 Hamburg
+49 (0) 40-64 89 19 98, info@zwart-design.de
Wir möchten einen entspannten Rahmen und Raum für Austausch, Networking und das ein oder andere Bier schaffen. Einmal im Monat möchten wir uns treffen, um aktuell Interessantes für Typo- und Designliebhaber zu besprechen.
Unser Gast, Benjamin Schubert, wird einige seiner Arbeiten zeigen, aber vor allem zum Gespräch und für Fragen offen sein. Letztes Mal ergab sich ja eine spannende Diskussion um angrenzende Themen – vielleicht ergibt sich etwas Ähnliches ja wieder.
Das Thema: Schrift im Stadtbild.
Welche Rolle spielt diese heute? Wie war das früher? Und haben wir etwas von Las Vegas gelernt?
Der Ort: Unter der Linde (ehemalige Jupi-Bar) im Gängeviertel, Ecke Speckstraße/Caffamacherreihe, Hamburg
Die Zeit: am Mittwoch, 14. Juli 2010 um 20:30 Uhr
Unser Gast: Benjamin Schubert/Künstler.
Er arbeitet mit ausrangierten Neon-Buchstaben und funktioniert diese in scheinende Objekte um. Weiterhin betreibt er das Projekt »Stadtlichter«, dessen Ziel es ist, die schrittweise Veränderung des Straßenbildes zu dokumentieren.
Alexander Ertle, Kommunikationsdesigner
Ruhrstraße 49, 22761 Hamburg
+49 (0) 176–26 06 44 25, alexander.ertle@gmail.de
Katinka ter Heide
(z. Zt. Ansprechpartnerin für das Forum Typografie in Hamburg)
zwart design, Poppenbütteler Berg 120, 22399 Hamburg
+49 (0) 40-64 89 19 98, info@zwart-design.de
fonts4web – More Typography on the Internet
Improved browsers and new font formats offer designers increased typographic opportunities. Still, there are certain considerations to be observed: though these technologies are at the beginning of their development, new directions are becoming increasingly clear.
Type on the internet – i.e. its rendering on computer screens and mobile devices such as Smartphones – is becoming increasingly important as they gain in general usage. Type manufacturers are reacting to the developing technologies and advancements especially in browser technology and offer more fonts for the use on web sites.
Browsers and Font Formats
Those formats which have been optimized for the internet and are offered by type manufacturers now as WOFF and EOT, do not have the proper data structure for print production. They do, however, cover the most important contemporary browser versions. Because of their wide range of availability, we are talking primarily about Internet Explorer and Firefox. In order to generate the best rendering for the users, they should always install the latest versions of the browser, a practice that can’t always be guaranteed, especially in the case of large companies. At the present time, the most reliable browser versions are: Internet Explorer 8 which incorporates the so-called EOT format, and it seems, that it will also be able to interpret the WOFF-Format in Version 9. Firefox 3.6 will also work with the WOFF-Format.
It is presently not known which format Apple will choose for Safari. The rendering of the imbedded OpenType- and TrueType formats is possible now, but most of the type manufacturers are unwilling to offer them because of license issues. It is important to remember that web font files can be up to 70% smaller for printing purposes and thus are considerably more desirable for loading. The same is true for the Opera Browser and Google’s Chrome which, however, only use the SVG format (WOFF–Format in preparation). Whether this will prevail in the rendering of type will certainly depend in large part on Apple. This format is used exclusively for the iPhone and iPad. If you believe the prognosis of the TrendBüro Hamburg, the use of these systems will rise by 83% by the year 2012 and the use of the stationary internet additionally by 39%. That web fonts will assume equal importance to that of fonts for print media can no longer be denied.
Hard- and Software
The aim of good web fonts is to provide the basis for optimal interpretation for the internet browsers. This will happen on the one hand by adding further information, and, on the other, by keeping the data as minimal as possible to allow for faster loading of fonts. Responsible for a good rendering are, however, a number of other factors which cannot be influenced by type producers. Among these, for instance, are the systems the users employ and the configurations used for anti-aliasing in them, as well as the screens with their respective resolutions. Tests performed at Elsner+Flake, have, based on similar base data for different browser/formats, produced quite diverse screen results. These were largely influenced by the presently common rendering technologies for the browsers which will only improve in the near future. Already, Internet Explorer 9 and Firefox 3.7 are expected to offer better solutions. Another consideration is the constantly evolving screen technology. CRT screens are rarely found anymore. LCD technology seems to be the standard at this time. The resolution of these screens increases from year to year. If 15 years ago a resolution on the Mac was 72 dpi, on the PC 96 dpi, was standard, the iPhone 4 comes now with a resolution of 326 dpi.
In the end, it is the web designer who has to decide whether his final audience is able to gain benefits from the new typographic freedom. The web fonts are a true blessing for all those designers who have to achieve barrier-free pages, as the new font formats can replace pixel-based graphics in most cases.
As we do at Elsner+Flake, most of the font manufacturers offer the formats EOT and WOFF as well as the respective code segments (@font-face) with the font naming for the integration of a website. These can then be complemented with the desired fall back fonts so that older user systems/browsers do not have to be excluded.
Font Rendering Quality and Character Layout
The offerings of web fonts are already substantial and are expected to grow rapidly. FontShop, for instance, offers 30 families with 1250 fonts, Elsner+Flake can deliver web fonts for almost all their print versions, upon request. Monotype offers, based on their own information, 7000. The rendering quality and the available number of characters varies at the same rate as for fonts for print. What makes it difficult for the web designer to judge the rendering quality are the many influences that users are subject to, such as their own hard- and software combinations. The web designer has to consider the most divers configurations and thus can’t initially make reliable projections for the final results to the end user, even if he takes the large variety of offerings for the font design for a specific screen into consideration. The resolution of the end user screens will, no doubt, be the greatest challenge for the selection of web fonts in the future.
Many manufacturers offer screen shots together with their web fonts. Mostly, they present the fonts under optimal conditions. In reality, the impression can be different depending on the browser, adjustment or screen resolution. If you already own web fonts, you can test them laboriously in the various configurations, but you will ultimately not come to a definitive conclusion. Whether a font used in the printing process can also function well as a web font can be judged in advance on the website «www.typetester.org».
Usage- and Delivery Conditions
Two ways present themselves for management of user licenses and the availability of web fonts. Several type manufacturer lean toward making the web fonts directly available to the website users. These then reside on the same server which hosts the website. The web font is loaded and displayed at the same time the website is called up. In this case, the manufacturer transfers the liability issues concerning illegal usage by a third party to the customer. The customer must then use appropriate means such as the restriction of hotlinking or blocking via .htaccess to hinder any access to the font software. FontShop, for instance, has a program of user licensing which contains a base price per typeface and a lump sum which accrues according to the number of sites contacted within a month.
Another model is employed by Typekit and Ascenders Corp., who do not allow users direct access to the web fonts but allow access from their own servers. In this case, the web site is located on the server of the vendor, but the web font remains on the site of the font manufacturer. After accessing the site by the user, the web site and the web fonts are consolidated on the on user’s system. This presupposes that a constant world-wide access to the web fonts is guaranteed and that time discrepancies at the time of the consolidation will be held to a minimum. In these cases, the billing generally consists of a yearly user fee which depends on the quality of the fonts (i.e. hinting, character complements etc.) as well as on the downloading volume, the number of servers and domains etc. The conditions still vary greatly, but they will become more compatible as the general level of usage increases.
A third option is offered by Google. At this time, Google makes about 18 font families available for free when web sites are created. Monotype, as well, offers a cost-free opportunity, via a specific software tool, to integrate appropriate web fonts. (Günter Flake 06/10)
If you are interested in further information about these developments, please check out the following links:
www.alistapart.com/articles/fonts-at-the-crossing
designforschung.wordpress.com
www.opus5.de/de/blickpunkt/typographie/typographie_fuer_web
Type on the internet – i.e. its rendering on computer screens and mobile devices such as Smartphones – is becoming increasingly important as they gain in general usage. Type manufacturers are reacting to the developing technologies and advancements especially in browser technology and offer more fonts for the use on web sites.
Browsers and Font Formats
Those formats which have been optimized for the internet and are offered by type manufacturers now as WOFF and EOT, do not have the proper data structure for print production. They do, however, cover the most important contemporary browser versions. Because of their wide range of availability, we are talking primarily about Internet Explorer and Firefox. In order to generate the best rendering for the users, they should always install the latest versions of the browser, a practice that can’t always be guaranteed, especially in the case of large companies. At the present time, the most reliable browser versions are: Internet Explorer 8 which incorporates the so-called EOT format, and it seems, that it will also be able to interpret the WOFF-Format in Version 9. Firefox 3.6 will also work with the WOFF-Format.
It is presently not known which format Apple will choose for Safari. The rendering of the imbedded OpenType- and TrueType formats is possible now, but most of the type manufacturers are unwilling to offer them because of license issues. It is important to remember that web font files can be up to 70% smaller for printing purposes and thus are considerably more desirable for loading. The same is true for the Opera Browser and Google’s Chrome which, however, only use the SVG format (WOFF–Format in preparation). Whether this will prevail in the rendering of type will certainly depend in large part on Apple. This format is used exclusively for the iPhone and iPad. If you believe the prognosis of the TrendBüro Hamburg, the use of these systems will rise by 83% by the year 2012 and the use of the stationary internet additionally by 39%. That web fonts will assume equal importance to that of fonts for print media can no longer be denied.
Hard- and Software
The aim of good web fonts is to provide the basis for optimal interpretation for the internet browsers. This will happen on the one hand by adding further information, and, on the other, by keeping the data as minimal as possible to allow for faster loading of fonts. Responsible for a good rendering are, however, a number of other factors which cannot be influenced by type producers. Among these, for instance, are the systems the users employ and the configurations used for anti-aliasing in them, as well as the screens with their respective resolutions. Tests performed at Elsner+Flake, have, based on similar base data for different browser/formats, produced quite diverse screen results. These were largely influenced by the presently common rendering technologies for the browsers which will only improve in the near future. Already, Internet Explorer 9 and Firefox 3.7 are expected to offer better solutions. Another consideration is the constantly evolving screen technology. CRT screens are rarely found anymore. LCD technology seems to be the standard at this time. The resolution of these screens increases from year to year. If 15 years ago a resolution on the Mac was 72 dpi, on the PC 96 dpi, was standard, the iPhone 4 comes now with a resolution of 326 dpi.
In the end, it is the web designer who has to decide whether his final audience is able to gain benefits from the new typographic freedom. The web fonts are a true blessing for all those designers who have to achieve barrier-free pages, as the new font formats can replace pixel-based graphics in most cases.
As we do at Elsner+Flake, most of the font manufacturers offer the formats EOT and WOFF as well as the respective code segments (@font-face) with the font naming for the integration of a website. These can then be complemented with the desired fall back fonts so that older user systems/browsers do not have to be excluded.
Font Rendering Quality and Character Layout
The offerings of web fonts are already substantial and are expected to grow rapidly. FontShop, for instance, offers 30 families with 1250 fonts, Elsner+Flake can deliver web fonts for almost all their print versions, upon request. Monotype offers, based on their own information, 7000. The rendering quality and the available number of characters varies at the same rate as for fonts for print. What makes it difficult for the web designer to judge the rendering quality are the many influences that users are subject to, such as their own hard- and software combinations. The web designer has to consider the most divers configurations and thus can’t initially make reliable projections for the final results to the end user, even if he takes the large variety of offerings for the font design for a specific screen into consideration. The resolution of the end user screens will, no doubt, be the greatest challenge for the selection of web fonts in the future.
Many manufacturers offer screen shots together with their web fonts. Mostly, they present the fonts under optimal conditions. In reality, the impression can be different depending on the browser, adjustment or screen resolution. If you already own web fonts, you can test them laboriously in the various configurations, but you will ultimately not come to a definitive conclusion. Whether a font used in the printing process can also function well as a web font can be judged in advance on the website «www.typetester.org».
Usage- and Delivery Conditions
Two ways present themselves for management of user licenses and the availability of web fonts. Several type manufacturer lean toward making the web fonts directly available to the website users. These then reside on the same server which hosts the website. The web font is loaded and displayed at the same time the website is called up. In this case, the manufacturer transfers the liability issues concerning illegal usage by a third party to the customer. The customer must then use appropriate means such as the restriction of hotlinking or blocking via .htaccess to hinder any access to the font software. FontShop, for instance, has a program of user licensing which contains a base price per typeface and a lump sum which accrues according to the number of sites contacted within a month.
Another model is employed by Typekit and Ascenders Corp., who do not allow users direct access to the web fonts but allow access from their own servers. In this case, the web site is located on the server of the vendor, but the web font remains on the site of the font manufacturer. After accessing the site by the user, the web site and the web fonts are consolidated on the on user’s system. This presupposes that a constant world-wide access to the web fonts is guaranteed and that time discrepancies at the time of the consolidation will be held to a minimum. In these cases, the billing generally consists of a yearly user fee which depends on the quality of the fonts (i.e. hinting, character complements etc.) as well as on the downloading volume, the number of servers and domains etc. The conditions still vary greatly, but they will become more compatible as the general level of usage increases.
A third option is offered by Google. At this time, Google makes about 18 font families available for free when web sites are created. Monotype, as well, offers a cost-free opportunity, via a specific software tool, to integrate appropriate web fonts. (Günter Flake 06/10)
If you are interested in further information about these developments, please check out the following links:
www.alistapart.com/articles/fonts-at-the-crossing
designforschung.wordpress.com
www.opus5.de/de/blickpunkt/typographie/typographie_fuer_web
1st Typo Roundtable 2010 in Hamburg
Typo Roundtable 1 in Hamburg met for the first time on May 26 in the “Gängeviertel”. Interested parties and their friends were invited to attend.
Alexander Ertle, Forum Typografie in Hamburg, initiated the revival of the Typo Roundtable in Hamburg. In a casual atmosphere an opportunity will be created for the exchange of ideas, networking and a beer or two. There are plans to meet every three to four weeks to talk about contemporary issues of interest for typo- and design aficionados.
Subjects: “Webfonts” How can I use them? What’s new? And where is this whole development headed, anyway.
Typo Berlin: An account of the design conference with the subject “Passion” with many colorful images.
Location: “Unter der Linde” (formerly Jupi-Bar) in the Gängeviertel, at the corner of Speckstraße and Caffamacherreihe, Hamburg.
Time: Wednesday, May 26, 2010, 7:30 pm
Guests: Tobias Otte (Frontend-Engineer with Xing), follows the technical development of typefaces for the web.
Klaus-Peter Staudinger wrote about this event in Page-Online.
Contact: Alexander Ertle, Katinka ter Heide (presently the go-to person for the Forum Typografie in Hamburg), 040-64 89 19 98, zwart design
Alexander Ertle, Forum Typografie in Hamburg, initiated the revival of the Typo Roundtable in Hamburg. In a casual atmosphere an opportunity will be created for the exchange of ideas, networking and a beer or two. There are plans to meet every three to four weeks to talk about contemporary issues of interest for typo- and design aficionados.
Subjects: “Webfonts” How can I use them? What’s new? And where is this whole development headed, anyway.
Typo Berlin: An account of the design conference with the subject “Passion” with many colorful images.
Location: “Unter der Linde” (formerly Jupi-Bar) in the Gängeviertel, at the corner of Speckstraße and Caffamacherreihe, Hamburg.
Time: Wednesday, May 26, 2010, 7:30 pm
Guests: Tobias Otte (Frontend-Engineer with Xing), follows the technical development of typefaces for the web.
Klaus-Peter Staudinger wrote about this event in Page-Online.
Contact: Alexander Ertle, Katinka ter Heide (presently the go-to person for the Forum Typografie in Hamburg), 040-64 89 19 98, zwart design
Robert Schumann’s Network in Leipzig
A special exhibit in the Museum für Druckkunst in Leipzig celebrates Robert Schumann’s 200th birthday. Read more...
TypeTalks Symposium at Brno
A series of typographic lectures will take place on June 21, 2010 in Brno, Czech Republic, at the “House of the Lords of Kunštát”.
The theme for this conference is typography and encompasses the complete bandwidth of the history of type, type design, typographic education and type usage. The red thread running through this conference is education. The speakers will not only show their work, they will also share their professional experience with the audience. This year, TypeTalks will present six chosen papers: “Tabac” by Tomáš Brousil (Suitcase Type Foundry); “Typographic Matchmaking” by Veronika Burian (TypeTogether); “Localize! The Dialects of Handwriting in Type Design” by Florian Hardwig; “A Contemporary View on the Relationship of Lettering and Type” by Michael Hochleitner (Type Jockeys); “Font Technology is Crazy!” by Rob Keller (Mota Italic) and “The Passion of the Young, Multi-script Type Designer” by Dan Reynolds (Linotype / TypeOff).
The theme for this conference is typography and encompasses the complete bandwidth of the history of type, type design, typographic education and type usage. The red thread running through this conference is education. The speakers will not only show their work, they will also share their professional experience with the audience. This year, TypeTalks will present six chosen papers: “Tabac” by Tomáš Brousil (Suitcase Type Foundry); “Typographic Matchmaking” by Veronika Burian (TypeTogether); “Localize! The Dialects of Handwriting in Type Design” by Florian Hardwig; “A Contemporary View on the Relationship of Lettering and Type” by Michael Hochleitner (Type Jockeys); “Font Technology is Crazy!” by Rob Keller (Mota Italic) and “The Passion of the Young, Multi-script Type Designer” by Dan Reynolds (Linotype / TypeOff).
Typography in the Moving Image
On June 3–4, 2010, Eyes & Ears of Europe will, in collaboration with DW-TV in Berlin, offer an Eyes & Ears Academy on the subject of “Typography in the Moving Image”. Read more...
Jovica Veljović Awarded Karl-Schneider-Prize
Professor Jovica Veljović named recipient of the Karl-Schneider-Prize of the Free and Hanseatic City of Hamburg. Read more...
Font Fan Introduced by ZHdK
On April 8, 2010, the Zürcher Hochschule der Künste, Zurich, introduces its newest form of printed matter, a Font Fan. Read more...
SchumacherGebler Type Collection digital
Elsner+Flake and SchumacherGeber, Studio for Typography, Typesetting and Media, Munich, as well as Eckehart SchumacherGebler himself, have made a contract for the exclusive collaboration of the digitization of hot metal typefaces. Read more...
New for Clients from EU-Foreign Countries
Since January 1, 2010 new regulations have been instituted for clients from non-German European Union countries.
As of January 1, 2010, based on a change in business law, it is obligatory to include the added value tax identification number (VAT Number) on any order you place with a German company. If this number is not included or if there is a mistake in the number, your invoice will be increased by 19% (German VAT). If you do include your correct added value tax identification number you will not be charged the 19%. The added value tax identification number you indicate will be checked automatically by the Central Federal Office for Taxes for its correctness. You can also contact the German chamber of foreign trade for further information.
As of January 1, 2010, based on a change in business law, it is obligatory to include the added value tax identification number (VAT Number) on any order you place with a German company. If this number is not included or if there is a mistake in the number, your invoice will be increased by 19% (German VAT). If you do include your correct added value tax identification number you will not be charged the 19%. The added value tax identification number you indicate will be checked automatically by the Central Federal Office for Taxes for its correctness. You can also contact the German chamber of foreign trade for further information.
Web-To-Print
»Web-To-Print« has created new challenges for the manufacturer of typefaces. In its December edition, the trade magazine »Page« introduces new concepts which will force type manufacturers to meet the conditions of a changed marketplace. Read more...
The Art of Collotype Printing
The organization for »Lichtdruck-Kunst Leipzig« (Collotype Printing Leipzig) plans to exhibit the results obtained by members taking part in the second collotype symposium 2009. Read more...
Effies 2009
In concert with its motto »Economic Upturn happens in the Head« the association of communications professionals (Gesamtverband Kommunikationsagenturen) awarded this year’s »Effies« on October 9, 2009. »Effies« are among the most coveted awards presented in the field of advertising. Read more...
Christmas News
Together with an end-of-the-year offering of reduced prices for selected fonts, the long-awaited ‛‛extended search option’’ for the fonts4ever webshop will now be available. Read more...
»Novice«, in the focus
The graphic design magazine »Novum«, in its September 2009 issue, dedicates, once again, a double page spread to Typography and features, among others, the typeface family »Novice« by Helen Ebert. Read more...
DTL FontMaster Conference
The 4th DTL FontMaster Conference will take place on November 18th, 2009 at the Steigenberger Kurhaus Hotel in Den Haag. Read more...
Die geteilte Form (Divided shape)
»Die geteilte Form«, the new book by Günter Höhne with the subject of German-German design affairs between 1949 and 1989 illuminates the development of product culture on both sides of the divided Germany. Read more...
What’s best for the Worker? Design in the DDR - Claims and Conclusions
The Bund Deutscher Grafik-Designer (BDG) and the Verband Deutscher Industrie Designer (VDID) ) invite you to attend a panel discussion on the subject »Das Beste für den Werktätigen? Design in der DDR – Anspruch und Bilanz« (»What’s best for the Worker? Design in the DDR – Claims and Conclusions«). The event is scheduled for November 11, 2009 at 6 p.m. in the legendary film theater Babylon in Berlin Mitte (Underground Rosa-Luxemburg-Platz). Read more...
Reading by Pollandt
Readings on Sounds and Noise. The Leipzig author Werner Pollandt will read from papers on addressing that subject on October 28, 2009 at the Museum für Druckkunst in Leipzig. Read more...
Font Problems in Snow Leopard
October 2, 2009 Macworld published its article »Font Problems in Snow Leopard«. Read more...
ATypI – For the First Time in Latin America
The Association Typographique Internationale (ATypI), a network of typographers, graphic designers, type manufacturers and teachers, is planning its 53rd annual conference with the goal of furthering the culture, history and traditions of typographic development. Read more...
Ed Rondthaler Passed Away at the Age of 104
Dr. Edward Rondthaler, the co-founder of the International Typeface Corporation (ITC) died on August 19, 2009 in New York in his 105th year. Read more...
Typefaces of the world at home in Glückstadt
The printing company Augustin J. J. Druckerei GmbH of Glückstadt, Northern Germany, founded in 1632, has specialized in the typesetting and printing of foreign language materials for over 100 years. Now, a documentary film will capture the historic development of this establishment for future generations. Read more...
Viabella – A Life of Success
The Berlin graphic artist and type designer Karl-Heinz Lange will be 80 years old on July 29, 2009. We congratulate him and honor him with the introduction of his new family of typefaces, Viabella. Read more...
Biography of Georg Hartmann Newly Published
The recently published biography of the type founder Georg Hartmann also sheds light on an important chapter in the history of the “Black Art.” Hartmann acquired the Bauer Type Foundry in Frankfurt in 1898 and remained its leader until his death in 1954. Read more...
Kristall Grotesk
Elsner+Flake delivers digital fonts to the Museum für Druckkunst (Museum for the Printing Arts). The typeface »Kristall Grotesk« belongs to the permanent collection of the Werkstattmuseum, Leipzig, since its acquisition of the typefaces and matrices of the Johannes Wagner GmbH. Read more...
TypeCon and Rhythm
The motto for this year’s TypeCon is »Rhythm« – TypeCon is a conference for everybody who loves type and typography, and for everybody who works with, and uses, type and typography. The conference takes place from the 14th to the 19th of July in Atlanta, Georgia. Read more...
Custom Fonts – now also online!
On the menu, look for »Foundries« where you will find a Custom Font Library now offered by Veronika Elsner and Günther Flake. Here, the user has the opportunity to acquire licenses for exclusive as well as non-exclusive house typefaces. Read more...
From the Acquisition of the Land to the Founding of the State Israel
Within the framework of the 8th Jewish Week the Museum für Druckkunst (Museum for the Printing Arts) in Leipzig will exhibit valuable papers from the time before the founding of the state of Israel. Read more...
Fonts4ever Onlineshop offers new functionality!
After looking back on six months of successful internet presence, we are now making an extended version of the site available. Read more...
Museum starts to digitize historic fonts
Museum of the Printing Arts Leipzig and Elsner+Flake Designstudios signed a cooperation contract to digitize and distribute type faces from the museum's unique collection of type matrices and hot metal type. Read more...
»ABC Schule«, a new writing concept for Swiss schools
Hans Eduard Meier, Designer of Syntax and ITC Syndor, developed a ground breaking concept for handwriting education in primary schools as an alternative to Schnürlischrift, which was used for many years in Swiss schools. Read more...
Maxima Now
Prof. Gert Wunderlich, the well known German typographer and book designer, has extended his typeface Maxima (1962 – 1989) to become a comprehensive font family. Read more...
Günter Gerhard Lange is dead
On December 2, 2008, one of the most well-known and highly-regarded typographers of the 20th century passed away in Munich. He was 87 years old. Read more...
»Aniene« Typefaces Receive TDC medal
The typefaces »Aniene Vecchia« and »Aniene Nuova«, designed by Adriane Krakowski, received the TDC medal at the Type Director’s Club, New York. Read more...
Indigo, a »Biblical« Roman Type
The new millennium also created a new Roman Type – Indigo Pro designed by Swedish type designer Johan Ström, available for text- and display sizes. Read more...
Casanova Script
For years now Petras Script designed by calligrapher Petra Beisse has been successful in the Mac and PC-world. Now Petra has been inspired by the handwriting of the famous womanizer Casanova – and designed a font called Casanova Script. Read more...
