Calligraphy at its best – Jean Larcher publishes imposing work on calligraphy

A book is to be published this March that provides extensive examples of calligraphic script:
Traits de Caractère – Character Traits – Linien mit Charakter by the French calligrapher Jean Larcher.
On its 624 pages, the book presents some 300 calligraphic pieces in eight different languages.
There are historical, classical and experimental scripts and also contemporary styles, accompanied by texts written by 20th century calligraphers. There are also Latin epigraphs and philosophical and literary quotations produced expressly for this book that have not previously been published.
Jean Larcher is himself a French calligrapher. He discovered his passion for handwriting while still a student and today works as a lecturer, among other things. His works have appeared in more than 250 exhibitions worldwide.

Traits de Caractère is not simply a reference work but also a masterpiece that will be welcomed by devotees and admirers of the art of calligraphy. The book is to be printed in a limited edition of 500 copies.

Click here to order the book.

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Web fonts now available as Value Packs

Our web fonts are now available in Value Packs from Linotype.com, making it both easier and cheaper for you to acquire them: simply click on the web icon on the “Value Packs” button and your favourite font will be added as a Value Pack to your shopping cart (see figure below).

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Animated film focussing on William Caslon
and his identically named font Caslon

The animated film William Caslon – british typographer looks at William Caslon‘s typographic work and shows, by comparing it with Times New Roman, the characteristic features of his typeface Caslon – used, among other things, to print the American Declaration of Independence.

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A font reminiscent of the everyday –
the fruit-inspired Fruitygreen

The Indonesian designer Andi AW. Masry drew extensively on the everyday for the design of his second typeface, Fruitygreen (his typeface début was Coomeec). Fruitygreen, as the name suggests, derives from the characteristic shapes of fruits; as a whole but also in sections, and their curves and ends. It is a particularly avant-garde font with its idiosyncratic forms, but this gives it a high recognisability factor and a quite distinctive character.

Fruitygreen is available in the three weights Regular, Bold and Black, for each of which there is a matching italic style. These italics are slightly condensed and have, for example, an ‘a’ with a closed form and an ‘f’ with a descender.

The harmonious and vibrant effect of this font means that Fruitygreen can be used to set shorter sections of text, although it is much more at home in logos, headlines and titles. It is here that its particularly distinguishing features, such as the lowercase ‘r’ (which assumes the form of the capital letter) become most apparent.

And – something that will gladden the heart of any designer – Fruitygreen has a wealth of alternative glyphs, ensuring that it can be used in many different design and application contexts.

Click here to get more information about Fruitygreen.

Also read the interview with the designer Andi AW. Masry.

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An animal contribution to the Linotype Zootype
on Creative Review

A blog dedicated entirely to a single font? That is the case with www.zootype.blogspot.com.ar from the Argentinian designer Victor Garcia. In 1997, he drafted the font Linotype Zootype, in which animal heads are set delicately into the letters. This lends the font a unique, in some cases comical, character.

A contribution to Creative Review covers the blog, which has this font as its one and only subject but never becomes boring.

Victor Garcia submitted the font in the context of the second International Type Design Contest from Linotype, and Zootype was awarded a place in the Take Type Library. The designer himself describes the Linotype Zootype as playful and a pure joy of animal nature. This fun comes through to the readers of his blog.

Read the Creative Review contribution on Linotype Zootype here.
Read here what jury member Adrian Frutiger and others think of the happy animal font.

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Burlingame – optimal legibility
for every application

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.

Find out more about Burlingame by Carl Crossgrove on Linotype.com.
An interview with the designer offers additional information.

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Creating great effects using web fonts

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.

You can find the article here.

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Mohawk Connects interviews Toshi Omagari,
the designer of Metro Nova

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.

Click here to go to the complete interview with designer Toshi Omagari that is embellished with numerous images of the font in use.

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New styles to supplement Xenois:
Super, Soft and Slab

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.

Click here to find out more about the new styles of the Xenois super family by Erik Faulhaber.

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Klitschko vs. Illiteracy – an alphabet against illiteracy

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.

And you can further support the project by texting the SMS message ‘ABC’ to 81190.
For each message, € 2.60 (plus 17 cents to cover technical costs and SMS charge) will be donated to child education projects throughout the world.
Click here to download the font and to find out more about the campaign.

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