eText fonts for optimum on-screen display quality

Whether on smartphones, tablets or eReaders, texts can be optimally reproduced on-screen with the aid of eText fonts. In the past, it was difficult to present text in a suitable form on screens with small dimensions. For this reason, fonts have been modified so that even in small point sizes they remain clearly legible, thus making sure that reading is no longer strenuous or tiring.
This has been achieved with the help of the technique known as “font hinting”. This means that information is supplied on the number of pixels required to display each character in the best legible form on low resolution screens. In addition, line thicknesses have been emphasized manually and x-heights have been marginally adjusted. The open counters present in letters such as C, c, e, S, s, g etc. have been slightly expanded so that these retain their character even in small point sizes. Many typefaces, including numerous classics, are already available as eText fonts while others are continuously being added.

You can find more information on this subject and a list of all currently availabe eText fonts at Linotype.com.

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“Scribe” – the latest book by John Stevens

In his book “Scribe: Artist of the Written Word”, the American calligrapher John Stevens provides a retrospective of the highlights of his typographic oeuvre. His work in the realms of calligraphy and letter design passes in review on its 264 pages. He provides the reader with insight into his sources of inspiration and approaches to creating his elegant letterforms – covering his personal, artistic and commissioned work.
Click here for more information on John Stevens and his book.

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Lucca font, a new interpretation from Brazil
of the Italian Renaissance Antiqua

The young font designer João Henrique Lopes has clearly drawn on the Antiqua font of the Italian Renaissance for the Lucca font he designed in 2013. The arched shape of the ‘p’, ‘b’ and ‘d’ in particular emphasize that historic approach.
However, the different weights and the profile of the letter stems and the slanted line ends are very characteristic of the Lucca.
The font can be purchased in two weights, Regular and Bold, and distinctly more angular Italic variants are available for both of these. The Italic version of the Lucca thus vividly brings to mind a German Fraktur font. The figures in Lucca are designed like mediaeval figures and small capitals are available in all font styles.
Its multi-facetted appearance means that the Lucca is not restricted to any one specific font area, but can be used in a number of areas. The Lucca is a clear font with a welcoming appearance, which is easy to read, due in great part to its large x-height.

Further information on fonts and illustrations can be found on Linotype.com.

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Metro Nova – a typographic revival

It was purely by chance that the type designer Toshi Omagari was able to explore the original Humanistic concept behind the classic typeface Metro by William Addison Dwiggins. Doug Wilson, who directed “Linotype: The Film”, asked him to digitalise the typeface for use in the film. Toshi Omagari set to work on this typographic treasure and extended it to produce Metro Nova. Omagari has generously augmented the font so that it now boasts seven weights and is available in the OpenType format with a wealth of new characters and alternative glyphs. This new family is a strongly characterised typographic all-rounder offered as both a desktop and web font.

You will find more detailed information on Metro Nova with examples of the font in use on Linotype.com.
You can also read the text of an interview with Toshi Omagari in which you can learn about the designer, his views on font design and the background to the creation of Metro Nova.

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Licences for apps, eBooks and servers now available from Linotype.com

Now directly available from Linotype.com are licences not only for desktop and Web fonts, but also for the use of fonts with mobile apps (iOS, Android and Windows RT platforms), electronic publications (such as eBooks, eMagazines and eNewspapers) and servers. The licensing conditions are tailored to the needs of each specific application. As many users are still very unsure about the subject and some helpful explanation would be in order, the following information material is provided at Linotype.com:

Overviews and descriptions of the new licensing options available from Linotype.com
Frequent Q&A on font licensing
A detailed overview of all licensing models available online at Linotype.com

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FontExplorer X Pro 3.5.3 update and QuarkXPress 10 plugins now available for Mac!

FontExplorer X Pro version 3.5.3 for Mac is now available as a free update for all version 3 users via the integrated update functionality. This version now supports Mac OS X 10.9 (Mavericks), adds plugins for QuarkXPress 10 and delivers several other optimizations.
FontExplorer X Pro 4 users will be provided with the free QuarkXPress 10 plugins via the integrated plugin updater.

To learn more, please visit http://www.fontexplorerx.com

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Vivacious, dynamic and robust:
the calligraphic font Excritura

Excritura is the third typeface to be published by Spanish typographic designer Alex Camacho. This handwritten-like italic has its own individual personality and stands out in comparison with more typical calligraphic fonts thanks to the unusual styling.
The result is a calligraphic typeface that is reminiscent of the architectural exuberance of Antoni Gaudí. Gaudí’s obsession with vigorous, organic forms and motifs drawn from nature represented the principal inspiration for Alex Camacho’s concept.
The font not only exhibits considerable contrasts in terms of stroke thickness but also accommodates ornamental embellishments, idiosyncratic line terminals and has a large x-height to enhance legibility. This all provides Excritura with an agreeable dynamism and vivacity. Although the attractive details of the font come across more effectively in the larger point sizes, Excritura is still readily legible at 10 pt and greater and can thus also be used to set shorter texts.

Visit Linotype.com for more information on Excritura and to read an interesting interview with Alex Camacho.

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Interview with Akira Kobayashi in
novum design magazine

The 10.13 issue of novum includes an interview with Akira Kobayashi, Type Director at Monotype, about the legibility and design of Neuen Frutiger 1450, which was created specifically with the new DIN standard 1450 in mind. The DIN norm gives recommendations for the development and use of fonts in the public sector, taking account of the needs of people with impaired vision. The October edition of novum is not only worth reading for its interesting content, but is also a beautiful collector’s item for all lovers of design thanks to its elaborately designed lasercut cover.

You can find the novum article as a PDF download and a “making of” about the novum cover here.

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The calligraphic Meroe font from Peter Becker:
a quite special individual character

Initially intended for the logo of a product name, Meroe was finally expanded by Peter Becker to create a complete typeface. With its calligraphic character, it lends a very personal feel, especially through the open forms within the lines. This is due to the use of a dried-out calligraphy pen with which Peter Becker made rapid movements on coarse-grained paper. That’s why Meroe seems particularly dynamic and can also be used for smaller point sizes. Whether for invitations, greetings cards or letters – Meroe always adds a vibrant character.

Further information about the font and its designer can be found at Linotype.com:
There you can read an article about Meroe with sample applications and an interview with Peter Becker.

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Aviano offers variations on the theme of Copperplate Gothic

You will see the eye-catching Copperplate Gothic fonts in use everywhere – they are a particularly popular choice when it comes to setting poster texts. However, on the whole, they all look very much alike. It is for this reason that Jeremy Dooley decided to create Aviano: this font group consisting of seven families plays with the theme of Copperplate Gothic to generate a wide range of variety and innovation, providing for new design opportunities. Some of the families have been extensively developed and include numerous alternative glyphs.

Go to Linotype.com for more information on Copperplate Gothic fonts and to view some inspiring examples of the various Aviano families in use.

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