New Font Releases
Linotype is pleased to present its newest fonts! These contemporary, quality typefaces are all new additions to our webshop.
Neue Frutiger® 1450: one of the first fonts to conform to the new German standard on legibility of texts.
More information about Neue Frutiger 1450
Fruitygreen™: a biologically inspired, very contemporary font by Andi AW. Masry with a high recognition factor.
More information about Fruitygreen
Xenois™: a typeface microcosm created by Erik Faulhaber that includes an innovative take on the Antiqua typeface class.
More information about Xenois
Agmena™: a perfectly designed, poetic book typeface, created by Jovica Veljović
More information about Agmena
Although Classic Grotesque™ by Rod McDonald may seem neutral and restrained, it has its own individual character.
More information about Classic Grotesque
Koorkin™ by George Ryan is a dynamic, informal, fresh and original calligraphic design that is ideal for posters, advertising material and children’s books.
More information about Koorkin
A space-saving calligraphic typeface with a unique flair: Coomeec™ by Andi AW. Masry.
More information about Coomeec
Neue Aachen™: the serif-accented and robust Aachen is now available as a complete font family.
More information about Neue Aachen
A contemporary and retro-futuristic sans serif with a wide range of potential applications.
More information about Biome
A sense of speed: Titanium Motors™ by Steve Matteson and Jim Ford.
More information about Titanium Motors
Individual and very lively, with its own strong character: the Massif™ by Steve Matteson.
More information about Massif
Well-designed and with a wealth of potential applications: the complete David Hadash™ family, a classic Hebrew typeface, has now been made available in digital form.
More information about David Hadash
The Thai designer Anuthin Wongsunkakon, who also created the well-known Thai font families Anuparp Thai™ and Ut Sa Ha Gumm Thai™, has converted the timeless Helvetica® family into a version suitable for setting Thai text. Wongsunkakon has adapted line width and style to the personality of Helvetica and has abandoned the elaborate curlicues that are so typical of the complex Thai characters. The Thai version of Helvetica not only harmonises perfectly with its Latin original, but its simplified and uncomplicated form echoes that of modern Thai calligraphy.
More information about Helvetica Thai
Shilia™ is available in eight weights, from Ultra Light to Black. Along with the Arabic characters, all of the typeface versions include matching Latin alphabet letters of Adrian Frutiger’s Linotype Univers® family, making Shilia intrinsically suitable for setting bilingual texts. A set of ornaments carefully designed to allow for numerous compositions of bands and decorative patterns rounds off the range of characters on offer.
More information about Shilia
With its well-defined characters that are readily legible even in the small font sizes, Mantika™ Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.
More information about Mantika Sans
What started out as a typeface for personal use turned into a lovely, warm, and legible typeface with a broad range of weights and styles. The Rabenau™ font family produces warm and inviting blocks of text as well as striking headlines with its Poster and Shadow styles.
More information about Rabenau
They were originally developed specifically as screen fonts and are available on all operating systems. Because of this, the two typefaces Georgia® and Verdana® are among the fonts most frequently used on websites. With the new, expanded Pro version both fonts can be used with greater versatility.
More information about Georgia Pro & Verdana Pro
Electra® was originally designed in the early 1930s by William Addison Dwiggins using the serif fonts of the 15th and 16th centuries as models. This unique serif font has been systematically remodelled by Jim Parkinson to make it more suitable for the demands of modern day printing.
More information about Parkinson Electra
Rotis® from Otl Aicher has been updated and expanded to make this popular classic more versatile then ever. New weights and numerous other tweaks and refinements make this well worth taking a closer look at.
More information about Rotis II Sans
LisaBeth Weber’s popular ITC Weber Hand™ typeface sees some welcome new additions. A Light weight would benefit from a Bold companion, in addition to condensed variations for much greater versatility.
More information about ITC Weber Hand
Vesta™ has more contrast than the average sans serif but, like many of other designs of Gerard Unger, let in a lot of light – the letterforms are open, the counters generous. Relatively narrow and hence economical – without feeling too compressed – Vesta is an ideal solution for newspapers and magazines, and numerous other applications, including corporate identity and more.
More information about Vesta
This font family is an accurate digital reproduction of the original Neue Haas Grotesk that was first developed as a metal typeface and became the more familiar Helvetica® in the late 1950s. Neue Haas Grotesk was designed by Christian Schwartz. Schwarz’s design included traditional features which, in the case of the current Helvetica, have fallen victim to technical compromise.
More information about Neue Haas Grotesk
Thanks to its clear and straightforward design and dynamic rhythm, one of the main characteristics of Sinova™ is its excellent legibility, irrespective of whether it is used in longer passages as a stylish book script or for text in the digitalised office environment.
More information about Sinova
A fresh new sans serif from award-winning type designer Akira Kobayashi. Friendlier than your average grotesk, the Akko™ and Akko Rounded typeface families are definitely worth checking out.
More information about Akko
Stevens Titling™, a collaborative work of the both calligraphers John Stevens and Ryuichi Tateno, is a suite of four fonts: Sable Brush, Badger Brush, Boar Brush, and Wolf Brush.
More information about Stevens Titling
A very accomplished, no-nonsense sans serif from Nick Job. Determined to expunge all traces of the pen, Nick forgoes all calligraphic allusions in favor of a monoline design that is open and legible.
More information about Camphor
Many will already be familiar with the popular ITC Bradley Hand™ typeface, designed back in 1995 by Richard Bradley. The Bradley Type™ family is a new handwriting typeface that brings a little more refinement to the popular Bradley Hand.
More information about Bradley Type
Though not a script, Sarah Lazarevic’s Rameau™ typeface family began with the drawing of the italic, inspired by handwriting used for the musical score to “Les fêtes de l’hymen et de l’amour,” an opera published by Jean-Philippe_Rameau in 1747.
More information about Rameau
Matthew Carter, sometimes referred to as “the most read man in the world”, owing to the ubiquity of his designed-for-screen typefaces like Verdana and Georgia, has just released Carter Sans™ typeface family, a wonderfully accomplished humanist sans serif with a beautiful twist.
More information about Carter Sans
The futuristic forms of Neo® Sans are captured beautifully in this fine Arabic accompaniment from Patrick Giasson. The subtly futuristic forms of Neo Sans are carried through to the Arabic with aplomb, making these fonts an ideal companion to the Latin in both text and display settings.
Neo Sans Arabic is available in six weights, from the airy Light, through to the heavy-hitting Ultra – all with companion italics. Ideal for multilingual projects, but just as accomplished on its own.
More information about Neo Sans Arabic
A low contrast contemporary Kufi design that sports generous open counters, making it ideal for titles and short blasts of text. A great choice on screen, and equally at home in corporate branding and editorial environments. In addition to including the Latin component of Univers® Next, Univers Next Arabic adds support for Arabic, Persian and Urdu, and comes in three weights: Light, Regular, and Bold.
More information about Univers Next Arabic
Aeris™ typeface is a contemporary book face created by the American designer Tom Grace. It combines the proportions and rhythm of a sans serif font with the high contrasts and flexed strokes of script faces, while the open counters also ensure optimal legibility.
More information about Aeris™
For those who already use Helvetica®, and have always wanted a perfect monospaced accompaniment for their code snippets, then Helvetica Monospaced is just perfect – whether you plan to use it on screen or on paper. The two weights are accompanied by monospaced italics.
More information about Helvetica® Monospaced
What do you get when you mix straw, white paint, and black paper-board? Inspired by a single letter on the cover of Linotype Matrix magazine (Vol. 4, No. 3), the wonderfully talented Gottfried Pott used these materials to great effect in the creation of this lively and original display face.
More information about Potpourri™
A script based on the designer’s own writing, WilliamLucas™ Script is an effortlessly free-flowing script replete with numerous alternates and swashes. It can be formal and staid or informal and extrovert. The choice is yours.
More information about WilliamLucas Script™
A wedding marks the beginning a new life. For George Ryan it signaled the beginning of a legible, open, airy, and fluid OpenType typeface suitable for numerous settings and applications. Despite its suitability as a typeface for wedding invites and the like, Wedding Singer’s versatility and legibility make it a fine choice for varied settings and sizes.
More information about Wedding Singer™
An intriguing mix, a fine recipe of geometric sans serif blended with the calligraphic proportions of 16th century writing master Arrighi. Jim Wasco’s Harmonia Sans™ is definitely worth taking a closer look at.
More information about Harmonia Sans
Many beautiful and interesting designs from the old metal type days rest in archives and museums, having never made the jump into the digital age. Until recently, Elan™ was one of these typefaces. Elan is jobbing monolinear script face from 1937. Recent KABK type]media graduate Frank Grießhammer has long been fascinated by its design, so he reinterpreted it as an OpenType font. The result is well worth a look.
More information about Stempel Elan
Time and time again, designers have inquired about the type used in the ITC logo. For three decades it was explained that the type was no type at all, but rather the lettering of lettering maestro Ed Benguiat. But things have changed, and now that beautiful lettering has been expanded into an OpenType-rich font.
More information about Elegy™
German-born, veteran graphic designer and calligrapher Manfred Kloppert, has designed everything from book covers and packaging to logos and fonts.
In fact, in 1977, one of his poster designs was voted best poster of the year. Challenger™, his first digital typeface draws on his more than 40 years of experience as a freelance graphic designer and calligrapher.
Challenger is a versatile font and is particularly effective in contexts in which the purpose is to put across a message very directly and assertively, while retaining a dignified style - in advertisement texts, on packaging, invitations and greetings cards and the like. It is dynamic without being overbearing, individual without being quirky.
More information about Challenger
Linotype’s association with Arabic type can be traced all the way back to the beginning of the 20th century, when it was the first to introduce typecasting machines for creating Arabic metal type; to this day, Linotype specialises in solutions for multilingual typography. Designed by Nadine Chahine and Prof. Hermann Zapf, Palatino® Sans Arabic is part of that commitment to international typography. While this new sans maintains classical proportions, its modulation is softer, less pronounced, making for a friendly, approachable, less formal face that looks equally at home in everything from packaging design to books. It’s a contemporary interpretation of the classical Naskh style, and strikes a good balance between the formal and informal.
The large Palatino Sans family has always been a popular choice for typographers and designers. Just the right balance between contemporary and classic, elegant proportions, and carefully crafted letterforms. Now, with the addition of Palatino Sans Arabic, the family feels complete. Whether you’re looking for a compliment to other Arabic typefaces, or you’re just looking for a fresh, modern and legible Arabic type for texts and display, then Palatino Sans Arabic is for you.
More information about Palatino Sans Arabic
Anders Francker’s makes an impressive debut with his nine-weight Francker™ typeface family, an inviting and versatile, contemporary typeface that really stands its ground as a display type, and performs well in longer text settings.
More information about Francker
Jürgen Weltin’s Mantika™ Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye.
More information about Mantika Informal
Build on the immensely popular late-20th-century type design ITC Stone Sans, ITC Stone® Sans II is Sumner Stone’s retooling of his original creation. This highly attractive family is now even more versatile. One of the most widely used humanist-style sans serif families, ITC Stone Sans is a powerful design used for everything from fine books, annual reports and corporate identity programs, to restaurant menus, movie credits and advertising campaigns.
The new ITC Stone Sans II brings six weights ranging from an elegant Light to a commanding Extra Bold. An italic counterpart and suite of condensed designs complements every weight. In all, the new family encompasses 24 typefaces.
More information about ITC Stone Sans II