Introducción
Vuelva a disfrutar de las mejores fuentes Linotype de los últimos 10 años. Y decimos vuelva porque ha estado en contacto con estos diseños en su entorno visual durante mucho tiempo.
Desde finales de los 90 del siglo pasado, Linotype ha introducido nuevas fuentes tipográficas en el mercado que han cambiado la forma en la que se comunica el mundo. Muchas de nuestras fuentes se pueden encontrar en ordenadores de cualquier rincón del globo y unas pocas se han convertido en
[...]Football Jersey Fonts
Football is in the air! Like all great team sports, football (or soccer, if you are in the US) inspires its fans to identify with their favorite team’s players, and sometimes even with a specific city or country. Each football team has its own visual identity, and the appearance of their logos and jerseys are one of the most exciting areas of graphic design. And it is no surprise that fonts play a strong role!
Below are images of just a few of the jerseys known and
[...]
Los clientes de todo el mundo visitan Linotype.com cada día para adquirir las fuentes. A continuación, encontrará una lista con las 20 familias tipográficas más solicitadas por nuestros clientes en 2008. ¿Las conoce todas?
Linotype’s Platinum Collection typefaces – Value Packs for the fonts now available
The Platinum Collection is an exclusive series of optimized classic typefaces in the Linotype Library. In close collaboration with world-famous type designers, Linotype has produced reworked, expanded typeface families that are both technologically and aesthetically up to date. These new typeface families have fine, harmonious weights; some have new italic weights and often come complete with Small Caps
[...]Biography of Akira Kobayashi:
Studied at the Musashino Art University in Tokyo, and later followed this up with a calligraphy course at the London College of Printing. Freelance type designer since 1997.
Professional experience
April 1983–March 1989
Sha-ken Co. Ltd, Japan Typeface design department
December 1990–June 1993
Jiyu-kobo Ltd, Japan
September 1993–March 1997
TypeBank Co. Ltd, Japan
March 1997–April 2001
Freelance type designer
April 1998–April
[...]German designer Hermann Zapf created the following fonts:
Aldus® (1954), Aldus Nova (2005), Aurelia™ (1983), Comenius® Antiqua BQ (1976), Edison™ (1978), Kompakt™ (1954), Marconi® (1976), Medici® Script (1971), Melior® (1952), Noris Script® (1976), Optima® (1958), Optima nova (2002), Orion™ (1974), Palatino™® (1950), Palatino nova (2005), Palatino™ Sans (2006), Saphir™ (1953), Sistina® (1950), Vario™ (1982), Venture™ (1969), Virtuosa® Classic (2009),
[...]Sketches for Optima® were first done on a 1000 Lire banknote in 1950. Not having any paper to make sketches of inscriptions in Santa Croce in florence, Hermann Zapf used a banknote. In 1952 the first drawings were finished after careful legibility tests for a typeface. The type was cut by the famous punchcutter August Rosenberger at the D. Stempel AG typefoundry in Frankfurt and produced also in matrices for the Linotype typesetting machines. Unfortunately no real Italic was manufactured,
[...]The Palatino alphabet was designed after many careful studies together with the punchcutter August Rosenberger. Even such small details as the serifs were carefully scrutinized. In 1948 tests in offset printing were made, especially in connection with the weight of the serifs. You see how important such serifs are.
The type Palatino is named after the Italian writing master of the 16th century Giambattista Palatino. I hope he will forgive me once a day in heaven and give me his blessing in
[...]Japanese designer Akira Kobayashi is Type Director at Linotype. Since joining Linotype, he has been responsible for the futher development of classic typefaces like Avenir, Optima, and Zapfino. He has created numerous typefaces of his own, many of which have received prizes from all across the typographic spectrum.
ITC Luna
Akira Kobayashi turned to the designs of the 1930s for his inspiration for both ITC Luna and ITC Silvermoon. "Luna is designed to fill the gap between a pure Art Deco
[...]Orion™
Hermann Zapf made his first scetches for Orion in 1963. Zapf's aim was to create a neutral textface which can be ideally used as a newspaper face. Its strokethickness and open letterforms also fits well for book and magazine production. The final two weights of Orion were released in 1974 for the Linofilm photocomposing machine.
Optima™
Optima was designed by Hermann Zapf and is his most successful typeface. In 1950, Zapf made his first sketches while visiting the Santa Croce
[...]Consulte más características de las fuentes en nuestro Archivo de características de las fuentes.
Typographic Tip of the Month from Linotype’s Type Director Akira Kobayashi!
Junio 2006: Apóstrofos y comillas
¿Qué glifo es correcto: la tilde, el acento agudo o el apóstrofo? - Aquí se describe el uso correcto del molesto signo de puntuación que significa omisión y forma el posesivo (y a veces el plural).
Apóstrofos
El símbolo de comillas se usa aquí incorrectamente
[...]Optima®, designed by Hermann Zapf, combines the clarity of Modern Face with the objectivity of sans-serif typefaces. He was influenced by the stone inlay alphabets of Roman Antiquity as well as typefaces of the early Renaissance. The clear, elegant characters of Optima can often be seen in advertisements, especially for cosmetics.
Font Designer: Hermann Zapf, 1958
Optima®, designed by Hermann Zapf, combines the clarity of Modern Face with the objectivity of sans-serif typefaces. He was influenced by the stone inlay alphabets of Roman Antiquity as well as typefaces of the early Renaissance. The clear, elegant characters of Optima can often be seen in advertisements, especially for cosmetics.
Platinum Collection Fonts
