Linotype Bariton™ is part of the TakeType Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. Designer Alexei Chekulayev designed his font in one weight to mirror the Zeitgeist of the early 1930s. The characters of this extremely bold font are based on the form of a rectangle though its rounded edges soften its look a bit. Linotype Bariton should be used only in larger point sizes in headlines which should really catch the eye.
Take a look at our Linotype Bariton usage sample |
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Bo Berndal, the master Swedish typographer, is the eponymous designer of Berndal™, a contemporary text family with five different styles. This family represents a new achievement for Bo Berndal, who has spent many years working to optimize text legibility in the printed media. Several small tricks make the Berndal family an interesting milestone in legibility. Berndal’s letterforms contain large x-heights. Large x-heights open up the counterforms of letters, making text appear lighter on a page, but their correspondingly shorter ascenders and descenders can hinder legibility. This does not occur in Berndal at all!
Coupled with this experiment, Berndal’s various font weights display a certain softness and roundness. The letterforms themselves are relatively wide, with an overall consistency in width. The calligraphic nature of the strokes has been minimized, yet a contrast stroke-thickness is still to be noticed within the alphabet.
The Berndal family is a part of the Take Type™ No. 5. |
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Cult™ is the work of designer Timothy Donaldson and its forms alone evoke a sense of mystery. The wide capitals with their unusual forms complement perfectly a condensed, angular lower case alphabet. The unique Cult is especially suited to work dealing with anything mystical or New Age.
The Cult Font Family is part of the ITC Library OpenType Edition. |
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Conference™ is a bold, playful sans serif, which was designed in 1978 by Martin Wait. Conference’s letters are very curvaceous; many of them bulge lovingly outward from their centers. This typeface offers a different feeling than is available from most contemporary sans serif display faces; Conference is lively, without sacrificing readability. The type should be set in large, display sizes, where the eye can better appreciate its loving forms. |
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Falstaff™ first appeared with Monotype in 1931, an alphabet in the style of a wide, bold antiqua that was especially popular in the first third of the 19th century. Such typefaces distinguished themselves through their consistent basis in the transitional antiqua style. They are characterized by their extremely fine unflexed serifs with no curve connecting them to the thick strokes. The numerals with their generous curves and ball-like stroke endings and beginnings are particularly decorative. The vertical strokes are dominant and give lines of this typeface a column-like and therefore static look. Falstaff is today often used for book titling, especially for mystery novels. It is best used sparingly in middle and larger point sizes. |
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Horse riders love this font from American designer Natasha A. Rethke, as it shows all the different passages of the various speeds of a horse. Elegant and interesting. Ideal for horse magazines and riging clubs or on business cards.
The Linotype Dressage™ Font Family is part of the TakeType Library. |
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ITC Gamma™ font is the work of designer Jovica Veljovic. Named after the third letter of the Greek alphabet, ITC Gamma has almost no sharp corners. Its serifs, stroke endings and terminals are all rounded, a feature best seen in larger point sizes.
The ITC Gamma Font Family is part of the ITC Library OpenType Edition. |
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Linotype Gothic™ is part of a trio of three similar typefaces born out of forms from the American industrial age: News Gothic™, News Gothic No. 2, and Linotype Gothic. All are legible sans serifs well suited for clear, contemporary business communication needs.
Now updated for 21st Century needs and conventions, Linotype Gothic is perfect for corporate identity and communication work. A strong text-based design, Linotype Gothic’s upright capital letters bear similar visual width to each other, and the lowercase is compact and powerful.
Linotype Gothic has a completely new italic companion, designed especially to work together with its upright forms, which is more contemporary than the original found in News Gothic or News Gothic No. 2. It exhibits a level of dynamism appropriate for 21st century corporate typefaces, and its forms differentiate it enough from the roman to ensure complete visual accuracy when used for accentuation.
Linotype Gothic supports all Western, Central, and Eastern European languages that make use of the Roman alphabet. The font has been superbly hinted, rendering it apt for office applications and onscreen reading. Linotype Gothic may be used in print at any size; it is legible in both text and display settings. |
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ITC Kendo™ is the work of British designer Phill Grimshaw, suggesting the dash and verve of quick, sketchy calligraphy, complete with splatters of ink. Grimshaw says he worked deliberately against his own habits to create the forms, drawing the letters “with slow deliberation” and a pointed pen. He overloaded the pen with ink and drew on rough paper, "applying a lot of pressure at the beginning of a stroke and easing off towards the terminals. Accidental splashes occurred frequently owing to the nib catching the ’tooth’ of the paper." Those splashes were refined into features which enhance but do not overwhelm the characters and carefully worked so as not to leave an obvious white strip of unsplattered space between lines and letters. The initial capitals can be used alone or combined with the lowercase alphabet, and the font includes a full set of f-ligatures and some extra ligatures as well as decorative elements. |
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Éric de Berranger likes to multitask, and often works on two typeface families at once. Such was the case with Mosquito™, a jaunty sans that was developed at the same time he was creating the more traditional Maxime. “Mosquito represented a sort of recreation,” says de Berranger. “When I grew tired of working on one design I could work on the other and then come back to the first, full of courage and desire!”
Mosquito is built from simple, straightforward shapes, but its distinctive stroke terminals and slight oblique weight stress distinguish the design from more conventional sans serif faces. The relatively large x-height and open counters add to the legibility of the design. The capitals are straightforward (with just a hint of Peignot™), while the lowercase has a softer, more inviting demeanor. “I drew Mosquito with the hope that it would be pleasant to look at and to read,” says de Berranger. “I think the end result is almost feminine.”
Mosquito comes in three weights, with complementary italic designs and a suite of small caps, old style figures and alternate characters. |
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Othello’s dense graphic demeanor delivers a straightforward, no-nonsense message. This versatile revival has a direct, experiential quality that suggests action and the outdoors. Originally released by Monotype in 1928, Othello™ was offered as competition to Rudolf Koch’s Neuland™ typeface . This new digital version includes a wide variety of previously unavailable characters. Small caps, alternate letters, ligatures, and special joined “logotype” characters add to the versatility of this powerful communications tool. These many letter variants create new possibilities for headlines and short text blocks in advertisements, signage, and packaging, suggesting the immediacy of woodcuts or hand-drawn lettering. |
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Zeitgeist™ from Michael Johnson is a design exploitation of digital technology, the letters being built up in the style of low resolution bit maps. All design was carried out on screen. Intended to capture attention, the Zeitgeist font family is augmented by a range of engaging and colorful alternative letterforms and swash characters. Use Zeitgesit in advertising, comics, flyers, wherever lighthearted impact is required.
Zeitgeist Font Family is part of the Monotype Library OpenType Edition. |
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