Frutiger Serif® is a re-envisioning of Meridien, a typeface first released in Paris during the 1950s. Meridien has always been Adrian Frutiger’s favorite typeface, and it was the most successful of his serif designs. Working closely with Adrian Frutiger, Linotype’s Type Director Akira Kobayashi expanded the original metal type version of Meridien into a new digital family of 20 variants. Renamed Frutiger Serif, this up-to-date Meridien now has weights, widths, and styles that correspond with those of Frutiger® Next (Frutiger Serif even has Condensed Italic fonts, which Frutiger Next does not). This allows designers to finally mix Frutiger Next with a serif typeface whose weights and metrics are optimized for the task.
More information about Frutiger Serif |
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The Eurostile® typeface exemplifies classic European design. Seen to be just as Italian as fashionable furniture, minimally crafted espresso cups, and Vespa scooters, Eurostile has finally received the optimization that proper digital typesetting requires. While previous digitizations inadvertently added unintentional distortions to the original design, Linotype’s Akira Kobayashi has succeeded in bringing Aldo Novarese’s vision into the 21st century. Ready for immediate use, Eurostile Next is perfect for forward-looking display applications, including everything from small logos and trendy headlines to billboard-sized advertising slogans.
More information about Eurostile Next |
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The Satero Type System was designed by Prof. Werner Schneider in 2007. It offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding "elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved.
All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. |
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Linotype’s Hamada™ typeface is a powerfully built script design that brings the work of English calligrapher Gaynor Goffe into the digital world. It captures the feeling of the pen on the page; ink edges out from the contours, and moves across curves, letters, and lines! This creates a delightful image, especially in larger point sizes. Thanks to OpenType, Hamada creates an impression very much like that of real calligraphy – an effect that is similar to Linotype’s famous Zapfino typeface. Most of the letters in Hamada have alternate forms. The typeface also includes a number of ligatures, as well as swashes to appear at the end of a line of text. Hamada is a contemporary typeface for the 21st century, not only because of its technical sophistication, but also because of its casual, loose appearance and wide character. |
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Cosmiqua™ is a lively serif family from Linotype’s Type Director, Akira Kobayashi. Inspired by advertising design from the 1950s, Kobayashi began to closely examine his favorite letterforms from this genre, particularly those headline faces that appear to live in the space between formal italic types and casual handwriting. These letterforms exude a certain hope for the future, and also appear to be a little odd, or kitschy, to our 21st century eyes. Yet the serifs and terminals on these letters do not let go of one’s attention.
On further examination, Kobayashi found these same traits in even older faces, particularly 19th century English advertising types. Assuming the spirit of these diverse sources into himself (one typeface in particular, Miller & Richard’s Caledonian Italic, was quite influential) Kobayashi drew Cosmiqua.
Cosmiqua is an amalgamation of the French “cosmique,” meaning cosmic, and “Antiqua,” the German term for serif type. In other words, this is a cosmic serif face; a typeface for the future, as the future was seen in the 1950s.
Kobayashi first drew the Italic weights of Cosmiqua, refining his favorite lowercase forms (x and y), as well as creating sublime ball terminals on the A and N. Only later did he move on to the upright, Roman forms. Although Cosmiqua was originally conceived for display uses, it is a serviceable text face as well.
Cosmiqua has five weights, each with an Italic (Light, Regular, Semibold, Bold, and Heavy). |
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Nami™, the Japanese word for “wave,” is the latest collaboration between Adrian Frutiger and Linotype’s Type Director, Akira Kobayashi. This typeface family is the most humanistic sans serif design ever to come from Adrian Frutiger, and it has an interesting twist: lapidar alternates that may be surfed through with the help of OpenType-savy applications. Adrian Frutiger began the design that would blossom into Nami during the 1980s. Although it would not be produced during the 20th century, it was quite forward thinking. The typeface included several seemingly avant garde alternates; these were “lapidary” versions of common letterforms. Revisiting the project in 2006, Akira Kobayashi reworked the concept into a working family of three typefaces. Each font contains 483 glyphs, including 11 alternates-two extra forms of the lowercase g, as well as new forms for a, e, h, l, m, n, r, t, and u. |
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Finally, Bank Gothic with lowercase! Morris Sans™ is a revised and extended version of Bank Gothic, the ever-popular typeface created by Morris Fuller Benton in 1930. Building onto the initial squared capitals design, Dan Reynolds added an original lowercase, as well as several figure options:
1. tabular and proportional lining figures,
2. tabular and proportional old style figures,
3. and small cap figures, too!
Small caps, which have become an iconic element over time, are also accessible in each of the family’s fonts as an OpenType feature.
Morris Sans is a streamlined face. Its appearance is best suited for headlines, advertising, posters, expressive signage (especially on storefronts), and corporate identity work. |
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Created by German designer Jürgen Weltin, Linotype’s Agilita is a contemporary humanist sans serif family with a wide variety of weights, including both ultra thin hairline options and heavier, dark type. Agilita has rather classical proportions; its clear ascenders and descenders lend more distinct word shapes.
Weltin’s design has a dynamic, yet strong and very functional appearance with a fine but clear emphasis on the horizontals. This traditional approach makes it a versatile typeface for large-scale text setting, but it can also be used in complex information design projects, and orientation systems, for example. Hence it was developed carefully into a wide range type family system consisting of thirty-two styles. This even covers the requirements for display and headline setting. Corresponding condensed weights are suitable where horizontal space is rare, as in narrow columns and tables, for example. The Agilta Hairline and Agilta Ultra Thin styles were especially made for display use. These fonts should be set at a minimum size of 20 pt for printed project, and about 40 pt on output to laser printers, depending on the paper used.
Agilita’s character sets include special symbols and signs that may be used in dictionaries; like arrows for lemmata and signs for cross references, idioms or colloquial language. There are two sets of arrows available in each weight for use in orientation systems. Each font in the Agilta family is built according to Linotype’s Extended European character set guidelines. These offer support for more than 48 Latin-based languages used in Western, Central, and Eastern Europe, including Baltics and Turkey. |
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Palatino™ Sans is a 21st Century sans serif typeface from the master German designer Hermann Zapf. Palatino Sans was designed as part of a group of three font families: Palatino nova, Palatino Sans, and Palatino Sans Informal. Together, these three families act as the fulfilment of Herman Zapf’s original Palatino idea. Palatino, which was born as a metal typeface in 1950, proved to be one of the 20th Century’s most popular designs. Not only is Palatino Sans a completely new typeface, it is also a completely new interpretation of the entire sans serif genre. Its letterforms are curved, rounded, and soft, not hard and industrial. The fonts in the Palatino Sans family include several OpenType features, such as an extended character set covering all Latin-based European languages, old style figures, small caps, fractions, ordinals, ligatures, alternates, and ornaments. Palatino Sans can be mixed well with Palatino and Palatino Sans Informal.
Palatino Sans Informal offers designs with a somewhat individual look. An innovation to enlarge the application of a Sans. With careful little effects the letters appear to look more artistic. A novelty for a Sans to expand the versatility of a Sans serif typeface, and not looking like hundreds of other Sans around. The concept of the Palatino Sans alphabets, carefully harmonized with the Palatino nova, allows many combinations in typography, like in contrasts or in a wanted unity of a design solution. |
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The idea for the Generis™ type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed.
The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication.
Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple. |
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Akira Kobayashi designed the Metro Office family after the model of the original sans serif family produced by W. A. Dwiggins and Mergenthaler Linotype’s design studio during the late 1920s and 1930s. A distinctly new interpretation of the sans serif idea, Metro was a thoroughly “American” sans serif when it was released. However, over the ensuing decades, it became a favorite the world over. Moreover, it is one of the first “humanist” sans serif typefaces designed. Like all fonts in the Linotype Office Alliance families, Metro Office’s faces are well-hinted for office use, and are quadruplexed – the regular, italic, bold, and bold italic characters all share the same width in order to prevent any changes in line wrap. |
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Akira Kobayashi designed the Neuzeit™ Office family after the model of the original sans serif family Neuzeit S™, which was produced by D. Stempel AG and the Linotype’s design studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG’s DIN Neuzeit™, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Like all fonts in the Linotype Office Alliance families, Neuzeit Office’s faces are well-hinted for office use, and are quadruplexed – the regular, italic, bold, and bold italic characters all share the same width in order to prevent any changes in line wrap. |
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Akira Kobayashi designed the Times Europa™ Office family after the model of the original serif family produced by Walter Tracy and the Linotype’s design studio in 1974. A redesign of the classic Times New Roman™ typeface, Times Europa™ was created as its replacement for the Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman. Overall, text set in Times Europa is easier to read, and quicker to digest. Like all fonts in the Linotype Office Alliance families, Times Europa Office’s faces are well-hinted for office use, and are quadruplexed – the regular, italic, bold, and bold italic characters all share the same width in order to prevent any changes in line wrap. |
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Akira Kobayashi designed the Trump Mediaeval™ Office family after the model of the original serif family produced by Georg Trump in 1954. Trump released this typeface through the C. E. Weber type foundry in Stuttgart, and Linotype quickly cut the face for mechanical composition. Thereafter it became popular around the world. One of the most prolific German type designers of the 20th century, Trump created numerous typefaces in several different styles, but Trump Mediaeval™ is often regarded as his best work. Trump Mediaeval is an old style serif typeface, with new inherent quality that could only have come about after centuries of variation on this theme. It bears some resemblance to the classic Garamond typefaces, yet its characteristic letters set it apart in a positive way. Like all fonts in the Linotype Office Alliance families, Trump Mediaeval Office’s faces are well-hinted for office use, and are quadruplexed – the regular, italic, bold, and bold italic characters all share the same width in order to prevent any changes in line wrap. |
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Mårten Thavenius designed Aptifer™ in 2006. The typeface family consists of two subfamilies: Aptifer Sans and Aptifer Slab. Each of them has seven weights – thin, light, regular, medium, semibold, bold, and black – in roman and italic respectively, making 28 font styles in total.
The sans serif part of the family, Aptifer Sans, is designed without excessive details disturbing the reading.
Aptifer Slab with its wedge slab serifs is more eye-catching than Aptifer Sans but still suited for text settings. The italics fit well into the text flow of the roman. They are a bit narrower than the roman and have cursive characteristics.
The Aptifer families have a wide range of possible usage covering body text and display settings. You may use it for newspapers and magazines, for book typography, corporate design or signage. Aptifer is an OpenType Pro family and each font style has support for Western European, Central European, Turkish, and Baltic languages. A wide range of glyph variants are accessible through OpenType features including small caps, ligatures, lower- and uppercase ordinals, and eight sets of figures. You will also find two sets of arrows and other usable symbols in the fonts.
Get more information about Aptifer |
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The impulse behind André Maaßen’s design of the Anno™ typeface was the design of a New Year’s card for the year 2000 (Anno 2000). His desire to create the perfect printed image developed into a family with four styles: Anno 1, Anno 1 Italic, Anno 2, and Anno 2 Italic. Anno 1 and its Italic are semi-classicist typefaces, with a high degree of stroke contrast, while Anno 2 and its Italic are semi-grotesks, with less stroke contrast. Both Anno 1 and Anno 2 are sans serifs typefaces, but they each offer a new interpretation of the genre. All four styles include oldstyle figures as well as accents for Western, Central, and Eastern European languages. The Anno typeface may be used in a number of applications and sizes. And it is naturally suitable for New Year’s greetings and other cards, of course! |
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Helvetica™ World, an update to the classic Helvetica design using the OpenType font format, contains the following Microsoft code pages:
1252 Latin 1, 1250 Latin 2 Eastern, 1251 Cyrillic, 1253 Greek, 1254 Turk, 1255 Hebrew, 1256 Arabic, 1257 Windows Baltic, 1258 Windows Vietnamese, as well as a mixture of box drawing element glyphs and mathematical symbols & operators.
In total, each weight of Helvetica World contains 1866 different glyph characters.
Get more information about Helvetica |
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