Linotype, Reloaded-The Matrix Returns

Revived after a 45-year absence, the Linotype Matrix returns in grand style

What is the Linotype Matrix?

From 1930 to 1960, Linotype (then a traditional typefoundry), produced a quarterly broadsheet called the Linotype Matrix. Supported by the friendly tagline Published from time to time by Linotype it provided not only an avenue to promote Linotype’s own products and show them in use but also as an avenue of information and typographic eduation. As such, Linotype Matrix has become regarded as one of the references to 20th Century type development.

Fast forward to the present day. Linotype still exists, but as a digital typefounder (Linotype Library GmbH) with a keen sense of its own history and legacy. As such the time must have seemed right to revive the Matrix, bringing modern technology and magazine design sensibilities to bear.

The result is more than a mere magazine. It’s a celebration of type, a true keeper; something that is sure to keep the typophile lover’s affair with type alive and fun enough to kindle the type bug amongst those who don’t have it…yet. It’s a typographic party that only such a company as Linotype could throw, and it’s brought off with panache and style.

Show us what you got

One of the aims of the Linotype Matrix is to show Linotype fonts in action and in art, and that is what it does. A feature piece (highlighted on the cover) is an exhibition of a graduate student’s exploration of Zapfino, and the result is a flock of colorful insectoids. Each article is set in a different Linotype font, giving Linotype’s wares a well-designed runway on which to strut thier stuff.

The number ‘88′ communicates memorably in this photo by Tony De Marco illustrating a Linotype Matrix article

The photoraphy is, in a word, gorgeous. The article “Drowning by Numbers” includes numerals on buildings, in mosaic inlay, and on the end of type drawers exhibited at Lyon’s Musée de l’Imprimerie. There’s an exhibit of fat face type through history and a raucous party being held by even more Linotype fat face fonts (”The Fat Boys”) in the middle of the issue.

One of the greats stop by to play; Prof. Hermann Zapf’s Palatino Nova, by the letters and the numbers, is shown off, complete with a picture of one of the original early 50’s proofs for Palatino Regular.

Rounding out the party are articles on the history of sans serif by Frutiger, how the city of Milan developed its own unique typographical identity (and examples of how they use it), the revival of the Sabon face, and a study on how Linotype’s own Compatil family communicates.

What is the Matrix? A typographical love affair

The new Linotype Matrix lives up to the reputation and mission of the old and takes the publication to the next level, which is also where it will take anyone’s love of type with its beautiful layout and design. It’s a worthwhile addition to bookshelves all over, and a definite keeper.

The price for the current issue (picking up where they left off at Vol. 4 Number 1) is USD $18.00, and can be obtained via the Linotype Matrix web page here, which also includes more sample pages.