With two styles and twelve weights, the ITC Chino™ family is distinctive, versatile – and available as OpenType Pro fonts. The display designs are friendly and inviting while the text faces are no-nonsense communicators – albeit with a certain sparkle. This new family from Hannes von Döhren and Livius Dietzel is poised to become an important design tool.
More information about ITC Chino
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Looking for a large, technical-style sans serif family? Do you find the field of recent designs too cold and technical? Klint™, from Berlin-based typeface designer Hannes von Döhren, blends precision with subtle humanist touches. The superfamily includes 30 fonts. That means that customers may choose from up five weights, light to black. Each weight comes in three widths, and all weights have both upright and italic variants in stock.
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The Swift type first took newspapers by storm around 1985. Gerard Unger, one of the Netherland’s leading designers, created the typeface during the early 1980s for Dr.-Ing Rudolf Hell in Kiel. This was the company who had created the world’s first digital typesetting machine – the Digiset &ndash back in the 1960s. Even before Linotype acquired that company in 1989, we had begun distributing the marvelous Swift family. In 1995, Gerard updated and re-released Swift on his own, naming the effort “Swift 2.0.” Recently, we worked together with Gerard to upgrade these fonts into fully featured OpenType text fonts. The result is our Neue Swift family®.
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After Generis™, Aeonis™ is the second large family of typefaces by Erik Faulhaber. The basic Aeonis sans-serif form references Ancient Greek lapidary inscriptions from the 9th century BC. A typical characteristic of this is the open form of the capital A in the Aeonis family. The curved forms in Aeonis were inspired by a lamp designed by the famous German industrial designer Wilhelm Wagenfeld in 1952. Between the poles of antiquity and modernity, a deliberate contradiction of round and rectangular forms gave way to a new and energised font: Aeonis.
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The newest typeface release of Jovica Veljovic is a Linotype Original. Named Libelle™, after the German word for dragonflies, this feature-rich English copperplate script highlights Jovica’s mastery of calligraphic detail, as the font includes more than 400 alternates – just enough to inject the right amount of irregularity into this rigid genre.
More information about Libelle
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Berlin-based designer Hendrik Möller created Luba™ as part of his final project at university. The typeface family is an informal sans serif that encompasses both the Latin and the Cyrillic scripts. Möller envisioned that it might be used in language textbooks aimed at helping Western Europeans learn the Russian language or other languages like Ukrainian or Bulgarian that use the Cyrillic script. Luba’s design places significant emphasis on the most necessary identifying elements of each letter, resulting in clear, legible forms. Since learning a language is already stressful enough, Luba’s style is that of an open, informal sans serif, which should relax the student as they read through their exercises.
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Together, Nautilus™ Text and Nautilus Monoline offer document creators a diverse new kit of design tools. The Nautilus type system arose out of an earlier Bomm release: his original Linotype Nautilus, which was published in 1999. Nautilus Text is similar to Linotype Nautilus, but more finally tuned to the needs of immersive reading. Nautilus Monoline is completely new, and feels quite contemporary. Its letterforms share the same proportions as those in Nautilus Text, but without the calligraphic modulation. Nautilus Monoline is a refreshing headline type to pair with body text set in Nautilus Text, or any other condensed serif design.
More information about Nautilus
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Really™ No 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. Its letters show a moderate-to-strong contrast of its strokes, recalling the Transitional and Modern styles of Baskerville and Bodoni; a subtly oblique axis brings to mind the oldstyle faces of Caslon. The serifs complete the typeface’s realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.
The new typeface is available in four separate versions: Pro, Cyrillic Pro, W1G, or Greek Pro. Each version offers different levels of language and script support. The Really No 2 W1G fonts include both Cyrillic and Greek coverage, in addition to a Latin character set that supports virtually every European language. Customers who do not require this level of language support may choose from the Really No 2 Pro fonts (just the Latin script), Really No 2 Cyrillic Pro fonts (Latin and Cyrillic), or Really No 2 Greek Pro fonts (which include both Latin and Greek). Regardless of which version you choose, all Really No 2 fonts include small capitals and optional oldstyle figures, as well as several other OpenType features.
Gary Munch’s original Linotype Really received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition back in 2000.
More information about Really No 2
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Malabar™ is a type family for extensive text. Its characters are seriffed and of the oldstyle genre. Malabar’s x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of its capital letters is also rather diminutive, allowing for better character fit as well as eliminating a bit of clumsiness in German typesetting.
The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. The Regular’s wedge serifs become more slab-ish in nature as the letters’ weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is too dark.
Malabar was designed by Linotype’s Dan Reynolds, and it received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.
More information about Malabar
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The newest script typeface in our library is another collaboration between Hermann Zapf and Akira Kobayashi. Virtuosa® Classic is the 21st century OpenType re-release of a classic Hermann Zapf design, Virtuosa, which was his very first script typeface. Based on the same sketches that would inspire Zapfino® 50 years later, Hermann Zapf developed Virtuosa in 1948–49. It was originally released in metal in 1952. The letters have a slightly different angle in the new Virtuosa Classic than their metal type counterparts did, but such things are easier to achieve with digital technology, and the typeface’s designers think that the results look better, too. Virtuosa Classic is an English copperplate script with character. The font includes two form variants for each capital letter, and there are a number of lowercase alternates and ligatures, too.
More information about Virtuosa Classic
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The stencil typefaces that we see these days are often just sans serif capital letters. But the situation did not always look like this. Long before Jan Tschichold developed the Sabon® in the 1960s, he created a number of other typefaces for various European foundries. A prime example is a stencil motif that he created in 1929, which Klaus Sutter, in 2008, digitized and updated for 21st century use. The result is Linotype®s Iwan Stencil™. Why the name “Iwan?” For a time during the mid-1920s, Jan Tschichold went by “Iwan,” the German spelling of “Ivan”.
More information about Iwan Stencil
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Linotype has supplied customers with the two DIN 1451 fonts since 1980. DIN 1451 Engschrift and Mittelschrift – whose names mean “condensed” and “regular” in German – are top-sellers. Customers regularly ask for additional weights, so Akira Kobayashi directed the development of a new Linotype DIN family. DIN Next ships in seven weights (Light to Black); each weight in Regular, Italic, and Condensed. Linotype drew four additional DIN Next Rounded fonts, bringing the new family’s total up to 25.
DIN is a truly industrial face. The original letters are still found all over Germany on street signs and house numbers, as well as on the Autobahn. After becoming a digital font, it was adopted by designers in other countries, establishing a global reputation. There are many subtle differences between the letters of DIN Next and DIN 1451. While DIN 1451’s corners are sharp, DIN Next has rounded them all slightly. But even this softening is a nod to part of DIN 1451’s past: many of the signs originally set in DIN 1451 were cut with routers, which do not make perfect corners anyway.
More information about DIN Next
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Diotima® Classic is a total upheaval of Gudrun Zapf von Hesse’s mid-20th-century Diotima, one of the most beautiful types ever cast in metal. The wife of Hermann Zapf, Gudrun Zapf von Hesse has been a type designer in her own right since the 1940s. Previous digital versions of Diotima had only a Regular weight; this looked great in display sizes but was too thin for text setting. Diotima Classic rectifies this problem by offering three additional weights. The new Regular has more robust serifs and thicker hairlines, which is more appropriate for text sizes. Diotima Classic’s letterforms are more harmonious and balanced. And its Italic letters have a consistent rhythm, too.
More information about Diotima Classic
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Linotype has redrawn the classic Trade Gothic® typeface from the ground up. Meet our newest heavy-duty family: Trade Gothic Next! The original Trade Gothic dates back to 1948, when Jackson Burke was Linotype’s Director of Typographic Development. Over the years, his family expanded, but without a unifying structure across all of its members. Akira Kobayashi, Linotype’s current Type Director, knew that Trade Gothic could be improved by refining details, such as the terminals, stroke endings, symbols, and the spacing and kerning. He supervised the addition of compressed widths and heavy weights for even more powerful headline setting, and he beefed up the Regular weight to enhance it for text setting.
More information about Trade Gothic Next
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Johann Neudörffer the Elder’s 1538 writing manual fascinated the German designer Helmut Bomm for years. Together with Albrecht Dürer and Hieronymus Andreä, Neudörffer helped create Fraktur, perhaps the most Germanic of all the blackletter styles. As a tribute to this master, and bring its letterforms to a 21st century public, Boom released the Neudoerffer Fraktur family through Linotype in 2009. Boom had already begun using letters from this typeface as early as the 1990s, in design projects like historic sign restoration and heraldry commissions. The sources that he used while drawing the typeface were images from Jan Tschichold’s “Treasures of Calligraphy” and Albert Kapr’s “Schriftkunst.” Neudoerffer Fraktur’s appearance is based very much in handwriting. The family has three separate fonts; each has a slightly different style of flourish, and all three may be combined with each other: Neudoerffer Fraktur One is optimal for longer texts; Neudoerffer Fraktur Two contains alternate letters, and well as more ornamented capitals; Neudoerffer Fraktur Three’s letters have a strong calligraphic accent.
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Opal™ from Hannes von Döhren is a text face with a noble feeling, yearning for luxury and still delivering. Because of the long ascenders that rise clearly above the capital letters, Opal should be set with generous line spacing. The typeface’s design has the attributes of the oldstyle Renaissance serifs, yet Opal is not based on any specific predecessors. Through undulating strokes and sharp corners, a cutout feeling is created; Opal’s letters sport inktraps at stroke junctions, which this strengthen this image in larger point sizes even further. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to an Italic and Bold variant, Opal has a Script member of the family. Opal Script is perfectly suited for additional text emphasis, or as an alternative to the typeface’s Italic.
More information about Opal
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Snoogle™ from Hannes von Döhren is a friendly, round display typeface. Its character set contains 99 ligatures, which may be automatically implemented in OpenType-savvy applications. These give Snoogle the feeling of a script face, as opposed to normal rounded types. Snoogle’s text variant is complimented by a Dingbats font, including further design elements as well as pictogram figures.
More information about Snoogle
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Patricia Pothin-Roesch’s Tendria™ typeface bases its letterforms on the logo for the French “Tendriade” mark. Clearly inspired by writing and hand lettering, Patricia Pothin-Roesch began her work on Tendria in Adobe® Illustrator®. After a few letters, she went back to designing the old-fashioned way: drawing by hand on layers of tracing paper. Tendria is a sturdy upright script face with a warm, childlike feeling. Its letters are like the typefaces often used in primary schools; the counterforms are large and open. The name Tendria is reminiscent of the French word for tender, “tendre.” Designers who set Tendria lovingly will reap rewards; this is an excellent addition to a display heading toolkit.
More information about Tendria
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Patricia Pothin-Roesch’s Saussa™ typeface began life as brush-lettered artwork for fruit salad packaging in France. After the key letters had been painted, Patricia Pothin-Roesch switched to digital tools to create the final font. True to its roots, Saussa is a real advertising face, perfect for point-of-purchase displays. Even its name is consistent with its intended area of application: Saussa sounds a lot like the word “sauce.” Saussa is an informal script; its outstrokes function almost like serifs, and the capitals have a lowercase structure. The feelings this typeface conveys are due to the hand of its creator, Patricia Pothin-Roesch, an experienced brush-letterer.
More information about Saussa
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Franciszek Otto, a designer and teacher in Poland, recently released Waza™, a refreshing copperplate script. A formal handwriting style from England, copperplate script fonts occasionally appear a bit stuffy and old fashioned. As a nice contrast, Waza kicks up the volume with very elaborate, almost melodramatic swash capitals; ascenders and descenders in Waza’s lowercase letters also curve a bit more than normal. Franciszek Otto also added a unique rhythm to his lowercase: individual letters seem to undulate, slightly swaying up and down.
More information about Waza
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Quench™ is a fun and unique typeface from designer Hannes von Döhren. It is unmistakably characterized by its strong contrast of inside and outside forms. The counters are nearly straight and have many right angles. Conversely, the outside curves are smooth and rounded making them soft and almost bubbly.
The italics still retain some of the rectangular shapes, but look more like they were made with a brush. Especially in the bold weights the curves are full and juicy.
Used together or individually, the four weights and styles can be used for a wide variety of projects including magazines, advertising, logos, and branding.
More information about Quench
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Eurostile® Candy is a fun spinoff from Akira Kobayashi’s Eurostile® Next family. As the name implies, it is based on Eurostile but with many striking new features. Most obviously, the corners and joints have been rounded off to give it a more friendly and softer feel. On top of those changes, the main skeleton of many characters have been modified. Any extra strokes have been removed – such as in the a, s, or t – and joints have been simplified to create even more square shapes – like in the n and r. With these contemporary and futuristic-styled alterations, Eurostile Candy is a cool new design great for many display projects.
More information about Eurostile Candy
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Akira Kobayashi modified his Eurostile® Next design into a fun unicase version. Ascenders and descenders have been traded in for alternates of letters that all share the same height. The effect is similar to using all caps, although this is quite a bit more quirky. For example, letters like the lowercase a and e are now the same height as their capital versions and the lowercase y has been raised to fit between the baseline and top height. Odd relationships such as these give Eurostile Unicase a fresh and funky feeling. Try using it for headlines and titles, then use Eurostile Next for the body text!
More information about Eurostile Unicase
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Jump™ is a lighthearted, handwritten script. Its quick and informal style is perfect for short notes and messages to convey charisma. The letters ‘jump’ up and down on the baseline giving words and sentences a lively impression.
Try out Jump for invitations, cards, and announcements when you are aiming for the hand-made effect.
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JP2™ has some special roots being inspired by the actual handwriting of Pope John Paul II. Franciszek Otto took this source material and transformed it into a high quality font. The result is a rough, but intelligent, design with letters that slightly bounce along the baseline to mimic typical writing. Their short x-height, long extenders, and unique capital letters make this a very beautiful and distinctive typeface. Try it out for greetings, invitations, or posters!
More information about JP2
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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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