Chinese and Japanese scripts added to Aktiv Grotesk

Today Dalton Maag launches its first Chinese and Japanese retail fonts, created in collaboration with Arphic Technologies. Aktiv Grotesk is one of our most popular font families and, with the addition of Chinese and Japanese scripts, extending the family to include Aktiv Grotesk Chinese Simplified, Aktiv Grotesk Chinese Traditional and Aktiv Grotesk Japanese, the design has become more versatile than ever. Read more about our partnership with Arphic here. Explore and purchase Aktiv Grotesk Chinese & Japanese here.

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Dalton Maag and Arphic Technologies collaborate on Latin-Chinese-Japanese font matching

Dalton Maag, international typeface designers, and Taiwanese font foundry, Arphic Technologies, announce a new business partnership that sees the two firms collaborating to bring to market a series of matched Latin-Chinese and Latin-Japanese fonts for customers seeking professional quality typefaces for use in print, display and digital environments. The first fonts to be released from the two libraries are a match between Dalton Maag’s best selling font, Aktiv Grotesk, and Arphic’s AR UDJingXiHei Global Font.

Driving this innovation has been Dalton Maag’s desire to provide a typographic solution to Western companies who recognise the importance of creating a coherent brand language to support their communications with Chinese and Japanese customers, employees and supply chain partners as they move into Asia Pacific markets.

Traditionally the only option open to an organization requiring a Chinese or Japanese font which fits perfectly with a Latin typeface has been expensive and time consuming. A custom solution can take between one and two years to implement and involves a high level of investment. Licensing an off-the-shelf font from one of the many Chinese fonts suppliers comes at a much lower cost but introduces a real risk to the company of brand disruption as the design of the Chinese or Japanese font will often not fit the Latin typeface well, visually. What we are offering here is a high quality solution which is possible on a restricted budget.

Dalton Maag has selected the most popular Latin font from its font library for which Arphic then found a close relative in their Chinese and Japanese designs, one that was already, in its foundations, a very close match to the Latin design. The metrics of the Latin characters were then carefully modified by Dalton Maag to match those of the Chinese characters. Arphic then undertook some minor detailing to introduce subtle changes into the Chinese typeface design to ensure a visual expression coherent with that of the Latin.

“AR JingXiHei is simple, sleek and and consistent and I felt that its look and feel captured the clarity and simplicity of Aktiv Grotesk and presented us with a perfect candidate for creating a natural extension to our best selling font”. Bruno Maag, Chairman, Dalton Maag.

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Aktiv Hei Hans, Aktiv Hei Hant and Aktiv Gothic fonts are being offered under Dalton Maag’s simple licensing model already recognised by corporate clients in the UK, Europe and the USA for being competitively priced and for allowing very flexible usage in regards to installation within the enterprise, installation with distribution to third party suppliers and app usage.

This initial release of Aktiv Hei and Aktiv Gothic offers Chinese Simplified (Hans) and Chinese Traditional (Hant) and Japanese language support. The font packages each come in four weights: Light, Regular, Bold and Medium and each weight also includes the corresponding Aktiv Grotesk font.

As a font which already supports Latin, Greek, Cyrillic, Arabic and Hebrew, this combination with Arphic’s Hei and Gothic typefaces means that Aktiv Grotesk is well on the way to becoming a truly global font. There are plans to expand the weight coverage and further expand language support by introducing a matched Korean font.



Aktiv Grotesk now supports Arabic and Hebrew


For the past few months our font developers have been working on new scripts to update the Aktiv Grotesk font family. So, in addition to the Extended Latin, Greek and Cyrillic scripts already covered, Aktiv Grotesk now supports Arabic and Hebrew.

These new additions to Aktiv come as free updates. If you already have a licence for Aktiv Grotesk then visit your Font Locker on the Dalton Maag website to download the latest font files. If you don’t have a licence for Aktiv be sure to download a trial and test-drive the Arabic and Hebrew yourself.

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Dalton Maag Wins Four Awards at Granshan 2014

We are delighted to announce that Dalton Maag has won four awards in the Granshan 2014 International Type Design Competition, for non latin typefaces. The competition, which is in its 7th year, judges typefaces in categories relating to their script system. Our designers were awarded prizes for Cyrillic, Arabic, Thai and Bengali typefaces.


Intel Clear Cyrillic, designed by Tom Foley, Mary Faber, Hanna Donker & Stuart Brown. 2nd prize in the Cyrillic category


HP Simplified Thai, designed by Pilar Cano. 2nd Prize in the Thai category.


Intel Clear Arabic, designed by Naïma Ben Ayed, Damien Collot. 1st prize in the Arabic category.


Nokia Pure Bengali, designed by Amélie Bonet. 3rd prize in the Indic category.


London Design Festival – Typography in the Digital Landscape

Typography In The Digital Landscape – LDF2014 from Dalton Maag on Vimeo.

Last week, I participated in an evening panel event with collaborative design studio Method’s David Eveleigh-Evans, to discuss type and typography in a digital landscape, expertly moderated by John Walters, editor of Eye Magazine. The event was hosted by Method’s London studio and featured installations that explored the interaction between typography and people.

The conversation between John, David and myself revolved around type and how information is consumed. In particular, how editorial, layout and type create a responsive experience. Presenting information on a laptop is a very different proposition to presenting the same information on a mobile phone. Does the change in medium not require a different treatment of the information, in all its expressions? One possibility is that a typeface responds to the device by changing its proportions dynamically for best functionality.


How can we encourage creators of content, not only authors but the digital designers, to actively think about how the typeface affects tone of voice of the content? One installation explored this by having audience members speaking into a microphone, and the computer responding with a typeface from Dalton Maag’s font library, depending on pitch and volume parameters.

The furious pace of digital development is forcing everyone to rethink their economic models. There is no dispute that creators have to be paid; the conversation must be around access and font licensing models, and software in general. During the development of Dalton Maag’s website, conceptualised by Method, it emerged that new, and simple licensing models were needed to help content creators achieve more typographic diversity.

Method and Dalton Maag both hope that this event is only the start to a debate around bringing digital creators together. As digital content production increasingly requires specialisation, not unlike the days of letterpress content, events like this provide a platform to bring together specialists and experts in their respective areas, to help each other create inspiring work.

Bruno Maag

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