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BY PHILL GRIMSHAW<br />
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"I still had 'tlou<br />
The playful ITC Noovo grew out of P<br />
still had 'Nouveau' coming out of my<br />
Manchester and then got A master's i n design f rom the Royal College of Art in London, works by prefer—<br />
ence on paper rather than on the (o<br />
"when I was missing the smell of per<br />
smooth the edges in ITC Rennie Mack intosh, Or mshaw reveled in drawing Noovo at A relatively small size,<br />
retaining the resulting rough edges<br />
Noovo is highly stylized, it works AS<br />
Glass font at the same time he drew Noovo, an<br />
two fonts can CASilg be used togeth<br />
e<br />
ill Grimsh aw's work on ITC Rennie Mackintosh, when, as he says, "I<br />
ars!" Gni<br />
pater. He drew Novo after a series of computer—intensive projects,<br />
anent MA<br />
nd slight fluctuations of line weights in the final font. Although<br />
r.<br />
ea<br />
text fac<br />
' coming out of mg ears."<br />
shay, who studied type and lettering under Tony Forster in<br />
ker pens and the feel of paper" After the decision to<br />
AS well AS in display. Cirimshaw WAS working on his Stained<br />
although the letterforms are entirely different, the<br />
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