Carl Crossgrove’s Burlingame was specially designed for use on a monitor. It was originally developed for a computer game, but another font was chosen. Now the Grotesque font has been refined for use on navigation devices.
Optimal legibility is the main goal of this font, and it has the best characteristics for this: a large x-height, simple forms, clarity and open counters and generous letter-spacing.
This means that Burlingame can also be used for other applications, such as on the Web or in print. In the smaller font sizes, it offers near-perfect legibility; in the larger sizes, it has an extremely unique and striking character. In this way, Burlingame is also suited to large headlines and logos. All in all, Burlingame is available as a comprehensive font family with nine styles.
In the section ʻWeb fonts tutorialʼ at Linotype.com you will find a series of articles dealing with the subject of Web fonts. We add a new contribution each month packed with information, ideas and advice. One of these is the article ʻCreating great effects using web fontsʼ that shows you how to make use of text effects with the aid of a extremely straightforward online service provided by Linotype.com.
Screenshots are also provided to help you learn how to create and employ these effects. Simply select the detailed view of the font you are interested in and switch to the Web font view; you can now modify and experiment with example texts and font styles. You can, for example, give your letters an outline or a colour glow effect and create an embossed or ʻvintageʼ appearance.
In early November last year, Mohawk Connects, the largest paper manufacturer in the US with numerous outlets around the world, conducted an interview with type designer Toshi Omagari. They asked him about his work on his new Metro Nova typeface. The font was originally named Metro and was created in 1929 by William Addison Dwiggins – it has now been updated by Omagari.
Toshi Omagari studied at the Musashino Art University in Tokyo and the University of Reading in Britain. After graduating, he started at Monotype as a type designer, developing fonts for various alphabets, including Latin, Greek, Cyrillic and Mongolian.
While rejuvenating Metro, one of Omagari’s main aims was to pay adequate homage to Dwiggins and his first humanistic sans serif font. To begin with, there were two versions – Metro and Metro 2. It was the latter that prevailed and became better known, but Omagari is enthusiastic about both, despite their faults and drawbacks.
He explains that to make it easier to rework the font he decided to try to think like Dwiggins and recreate what he would have done if he were still alive. He wanted his revised version to remain true to Dwiggins’ concept and merely to improve on it.
In order to achieve this, Omagari modified both of the original versions to ensure that it is possible to switch between the two and use them in combination. It is for this reason, and in view of its versatility, that the font is not just a “great all-rounder” for Omagari but also the typeface that he loves.
Erik Faulhaber had already designed Xenois Sans, Serif and Semi; now the complementary versions Super, Soft and Slab are also available. This completes the Xenois super family that can be used in a vast range of contexts and design situations thanks to the use of a standardised construction principle that involves a reduction to essentials.
The three new styles also employ the same basic concept and are pared down so that they retain the crucial elements only. Characteristic features are the lack of descenders on the ‘Q’ and the ‘J’, while x-height, descenders and ascenders have been made more consistent.
In addition, each style has a matching italic, there are various sets of numerals and an extensive range of alternative glyphs. Xenois not only supports Western European text, but can also be used to set texts in Central European languages.
The elegant and contrast-rich styles Xenois Super and Xenois Soft are both sans serifs. Xenois Soft is particularly suitable for use on signage systems and in headlines, especially in situations in which good legibility must be guaranteed. On the other hand, Xenois Slab with its marked contrast between fine and rectangular serifs works best when used to set both body text and headlines.
Holder of the world heavyweight title Wladimir Klitschko is going for the knock-out in his fight against illiteracy. To show his intentions, he dipped his fists in blue paint and punched the 26 letters of the German alphabet on individual canvases.
A digital version of his alphabet has been created – you can now download this for free from Linotype.com.
For the past several weeks, a new feature known as ‘infinite scrolling’ has been available on the Linotype.com website. This means that a search no longer only generates the specific hits for a particular page; instead, the list of hits for search criteria is displayed in the form of an infinitely scrollable roll that is automatically extended. This provides for a better overview of search results and ensures that website visitors can more rapidly find what they are looking for
Thousands of fonts from Linotype, Monotype and ITC can now be purchased direct on Linotype.com and make it possible to generate coordinated designs, suitable for all types of platforms, from print media to Internet purposes. The use of web fonts offers yet more advantages: good readability on screens, indexability for search engines (not possible when texts are represented as graphics in the Internet), faster generation and updating of texts on websites, support for all major types of browser. In addition, the Linotype web fonts support more than 40 languages and can therefore be presented in almost every international layout. The licensing model for web fonts on Linotype.com is based on the pay as you go principle, in which a defined package with page views is purchased and further page views can be added, whenever the package is used up – in this way there is no need for a subscription with additional costs.
The 42-year-old designer Stefan Claudius discovered his love for font design very early in life. When he was still at school he constructed and arranged letters in the squares in his exercise books. Even then he felt impelled to experiment, to explore and thus to create something completely new. To date, the designer from Essen has designed some 40 font families and from these he has developed seven text fonts with numerous font styles.
He began on the creation of his Yalta Sans font as long ago as 2005. He became interested in subtle contrasts in stroke weights and tried out this effect in sans serif fonts. However, he found this protracted working process a positive thing – in this way he was able to continue to develop the font and return to its development again and again with a fresh critical eye.
Thus a font emerged, in which the flexibility of a humanistic font, the clarity of a sans serif and the geometric, technical aspect of a square sans come together – humanistic technicity, as he calls it.
However, even personally the aspect of the various origins in Claudius’ life became evident. The German-Swiss felt himself very attached to Swiss design. For him it combined the playfully experimental character of the Dutch and the meticulous, reflective work of the Germans. The designer says this about himself: “In this sense I am probably going back to my roots and trying to say that light-hearted enthusiasm is as important to me as mulling over a subject.”
In April this year the Lebanese award-winning type designer, Dr. Nadine Chahine, gave a lecture at agIdeas in Melbourne as part of the Design Matters initiative. Her presentation took a look at the way politics and culture affect Arabic type design. She presented her work including the typographic re-design of the largest Lebanese daily newspapers and argued how a country’s political background can strongly influence design.
Nadine studied at the American University of Beirut, the University of Reading in the UK, and Leiden University in The Netherlands. In the course of her career she has specialised in Arabic type design and among other achievements she designed the best selling Frutiger Arabic and Palatino Sans Arabic and was named by Fast Company as one of its Most Creative People in Business in 2012.
She works at Monotype’s Bad Homburg office (formerly Linotype) and is responsible for Arabic related projects. The subject of her doctoral thesis, and one that she has been concerned with since she began her career as a designer, is the legibility of Arabic typefaces.
So, to return to her lecture at agIdeas – Nadine poses the question as to what modern Arabic typography is today and how should it develop given the new technological freedom. Should typefaces go back to the traditional and complex calligraphic styles or stay with the contemporary simpler designs?
Nadine’s legibility studies showed that the complexity of design decreases the legibility of Arabic typefaces. However, there is great beauty inherent in the calligraphic forms and there is still a place for that level of complexity. There is also beauty in the simplicity of form and an example of that are the typefaces developed for the An-Nahar newspaper: simple, bold, and sculptural in approach.
That typeface was meant to symbolise strength and to give a strong and powerful impact. The design was a statement supporting the freedom of speech and of opinion, which must exist, despite or perhaps because of the political situation in the Lebanon.
For Nadine is of the opinion that type design cannot be divorced from the reality it lives in and to be able to design for a certain culture one needs to understand and analyse the larger context in which typefaces come to life.
Agmena was designed as a book font in 2012 by Jovica Veljović, a Serbian type designer who currently lives in Hamburg. Although no specific typeface was used as a model, its form is reminiscent of an Antiqua font of the Renaissance. Veljović himself claims that his main purpose in designing Agmena was to create a new book font that would remain legible even in the very smallest point sizes. This has been achieved by means of the use of large x-heights, generous counters and the provision of clearly defined, open letter forms. But the single most defining feature of Agmena is its wealth of detail apparent, for example, in the differing ascending strokes for the ‘b’, ‘d’ and ‘h’, the variation in form and length of serifs and the rounded tittles over the ‘i’ and ‘j’. The punctuation marks have the diamond shape characteristic of quill script. Although these details may only be particularly evident in the larger point sizes, they also provide text set in smaller font sizes with a vibrant, poetic feel.
Agmena is available in the styles Book, Regular, Semibold and Bold and each of the weights has a matching italic. There is also a wide range of variant glyphs – every style comes with small caps, different numeral sets, alternative letters and ornamentations. In addition, the Latin alphabet is supplemented by a selection of Cyrillic and Greek letters.