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
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

Now directly available from 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

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

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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

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

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Design icon Avant Garde now with pan-European character sets

Pan-European W1G character sets of the ten weights of the regular version of Avant Garde were made available at the beginning of this year. Greek and Cyrillic characters have been supplied for all weights, so that each now consists of more than 600 glyphs and can be used to set texts in at least 89 different languages. Similar non-Roman alternatives have been created for each Roman character wherever possible, while some of the special ligatures have been transformed. Thanks to this update, designers working with Greek or Cyrillic texts can now exploit the creative range of Avant Garde to the full. Multinational organisations can use it as their corporate font and adapt their individual designs based on this for use in an even greater variety of languages.

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Interview with designer Kimya Gandhi

The Indian designer Kimya Gandhi collaborated with the Linotype Design Studio to modify DIN Next for the Indian writing system Devanagari. In an interview with Linotype, she spoke of her personal views on typography and of more general aspects and also of the specific challenges she faced in designing the Devanagari variants for DIN Next.

Read the full interview at and find more informationen on DIN Next Devanagari, as well as an overview of Indian writing systems and of Devanagari.

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Greek ligatures and Serbian Cyrillic:
Jovica Veljović’s Agmena

Agmena Title

Working with a typeface designed by Jovica Veljović is not without its challenges as the multivarious stylistic alternatives, the context-specific ligatures, swash letters and linguistic idiosyncrasies need to be made conformable to the appropriate OpenType features. You’ll find hints on the potential range of applications of Agmena elsewhere at and the blog. In this article, we look more closely at the numerous small extras that this typeface offers. (more…)

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