An animal contribution to the Linotype Zootype
on Creative Review

A blog dedicated entirely to a single font? That is the case with 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
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 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
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.


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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The typography world says goodbye –
an obituary for Mike Parker

Mike Parker, long-time Director for Font Development at Mergenthaler Linotype (USA), died in February of this year.

Born in England in 1929, he began his typographic career at the age of 30. He worked under Jackson Burke as an assistant at Linotype, sorting letters of various fonts. Over the years, he worked himself upwards to the post of Director for Font Development. Thanks to him, fonts like Helvetica and Snell Roundhand found their way to Linotype; in this way, he helped the company establish itself as an international leader in fonts.

At 52, Parker and Matthew Carter founded the company Bitstream, the first company in the world to specialize exclusively in the digital sale of fonts.

With his sense for fonts, Parker was a pioneer in the font world until the very end. He was a font designer, consultant and historian even at 85 years of age.

Parker leaves behind a great legacy, which the international community of typography fans will remember for a long time.

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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

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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Infinite scrolling improves search lists

For the past several weeks, a new feature known as ‘infinite scrolling’ has been available on the 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

Why not try out this new feature at now?

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As of now web fonts are available direct from

Thousands of fonts from Linotype, Monotype and ITC can now be purchased direct on 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 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.

Comprehensive news and information are provided on, such as the article on “Licensing and installation of web fonts” and the Web fonts FAQs.


Interview with designer Stefan Claudius

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.”

This is an extract from the Monotype interview with Stefan Claudius – the full interview can be found on

Find here more information about the font family Yalta Sans from Stefan Claudius.

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