More information and details about the typefaces depicted here may be found in the the second issue of Linotype’s ”Fonts in Focus“ (pdf file, english, 15,2 kb).
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.
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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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At first glance, Frutiger™ Capitalis may seem related to the roman type Capitalis Monumentalis, but opon closer examination, the fonts reveal a vitality unknown to the characters the Romans etched in stone. Designer Adrian Frutiger confesses that creating Capitalis was “a liberation”. After working on so many sophisticated and meticulously designed typefaces, Capitalis was a breath of fresh air.
Stylistically, Frutiger Capitalis Outline forms a bridge to Frutiger Capitalis Signs – a whole universe of its own. Frutiger Capitalis Signs is a personal cosmos of symbols, many are immediately “legible”, others leave room for interpretation. Some of the symbols are the product of Frutiger’s imagination, such as his “Life Signs” – soft, hand drawn figures whose lines have no apparent beginning or end, creating both interior and exterior spaces, new forms emerging at each glance. These contoured drawings have accompanied Frutiger throughout his professional life –a fantasy garden which has provided an important balance to his many years of disciplined typeface design. Yet he does not consider himself an artist. Frutiger says he simply “wants to tell stories, to draw thin lines, create contours of signs: that is my style”.
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OCR-A was originally designed in 1968 as a machine-readable alphabet. Its functionality was its most important element, instead of its design. Over the following decades, the typeface has become popular in the design world nevertheless. But typographically pleasing results are often hard to come by, due to the original design’s "non-design design," as well as its undeveloped character set.
In 2006, Miriam Röttgers revised and extended OCR-A, creating OCR A Tribute™. OCR A Tribute is a typeface family comprising of two versions: one in which the glyphs have been proportionally-spaced, and another that is monospaced. In the monospaced version, all glyphs have the same width, like the letters in the original OCR-A font do.
Both versions of OCR A Tribute contain complete character sets and expert glyphs, as well as lining and old style figures. Now you can rest easy, and finally use this classic design for display purposes and headlines! |
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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 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 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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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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Tim Ahrens on the design of his typeface, Linotype Aroma™: “I started designing Linotype Aroma about six months after discovering that Frutiger™ is not a brand of candy and Garamond not the name of a perfume. I didn’t want it to be one of these bland, faceless fonts that sacrifice the natural, independent character of their figures to neutrality. I believe that beauty is often created coincidentally. For example, the beauty of propeller blades, whose design is like the transformation of a bird’s wing, fascinates me. I like their organic and abstract form, which still carries the essence and complexity of the original. A bird’s wing, a propeller: these are behind the formal concept of Aroma. Many contours have parabolic forms. The lower case r, for example, consists exclusively of lines and parabolic forms.”
Tim Ahrens also decided to give his types a defined stroke contrast, as is usual for sans serif fonts. The end strokes of many letters are slightly convex, however, giving the font a natural and organic look. Linotype Aroma is a lively font with lots of personality and is suitable for longer texts.
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Werner Schneider created a calligraphic type trilogy of the highest aesthetic order; he named this typeface family after Buddha’s stepbrother, Sunetta. The result is an outstanding choice for contemporary display type purposes. Its combination of lively forms overcome sterile text passages, lending them a more personal note and feeling. But Sunetta™ is not only recommended for documents bestowing distinction and accolades; the fonts are superb for shorter text passages as well. Sunetta’s spirited flow raises it above the fray that so many generic letterforms find themselves mired in, creating an unforgettable impression.
Sunetta’s three complementary styles, Sunetta Flair, Sunetta Charme, and Sunetta Magic, offer three varying degrees of calligraphic verve.
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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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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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