The repetition of simple geometric shapes forms a daily part of our environment. Throughout the 20th century – and into the 21st – typefaces whose designs have taken advantage of this have remained popular. But finding exactly the right mood can be tricky. For your convenience, we have grouped some of our favorite geometric typefaces (mostly sans serif and symbol) into four categories: circles, squares, ovals, and triangles.
Pas besoin de sable pour profiter de ces polices sur le thème Beach Party. Ces caractères englobent des images de surfeurs des années 60 au tikis huts et DJ passant de la musique techno sur une plage de sable. Que vous fassiez de la publicité pour une fête, des documents sur des voyages à l’aventure ou l’emballage de produits pour l’été, ces polices de caractère vous donneront certainement le sentiment de « profiter du soleil ».
Capturez les esprits d’Halloween avec ces 33 fontes sinistres !
Ces fontes sont faites pour vous ! Que vous organisiez une soirée, cherchiez une maison hantée ou que vous vouliez simplement créer une atmosphère macabre.
L’Halloween Value Pack contient cinq superbes fontes à un tarif unique et avantageux. Y figurent également trois polices de caractères effrayantes et deux fontes Pi terrifiantes !
Nous proposons également beaucoup d’autres graisses individuelles.
[...]Italian designer Alessio Leonardi creates experimental typefaces that capture the Zeitgeist of the 1990s, and are full of charm and wit to boot!
More about the fonts:
F2F Al Retto™
Like a game of Tertis gone awry, Alessio Leonardi’s F2F Al Retto is an alphabet full of boxy, outlined squares that seem to move across lines of text. This typeface should be set large, so that its subtle movement-like qualities may best be observed.
F2F Allineato™
A double wavy outline roughly defines
[...]Herb Lubalin (Herbert Frederick) – born 17. 3. 1918 in New York, USA, died 24. 5. 1981 in New York, USA – graphic designer, typographer, type designer, teacher.
1936–39: studies at the Cooper Union in New York. 1939: produces work for the world exhibition in New York. Art director for Deutsch & Shea Advertising (1941–42), Fairchild Publications (1942–43) and Reiss Advertising (1943–45). 1945: vice-president of Sudler & Hennesey Inc. in New York. 1964–69: founds Herb Lubalin Inc. in New York.
[...]Ed (Ephram Edward) Benguiat, born 27. 10. 1927 in New York, USA, type designer, calligrapher. Studied at Columbia University, New York and the Workshop School of Advertising Art, New York.
1953: associate director of "Esquire" magazine. Opens his own design studio in New York. 1962: joins Photo-Lettering Inc. as typographic design director, a position he still holds today. 1970: joins the International Typeface Corporation and is made vice-president; he works on the in-house magazine
[...]American designer Stanley Davis created the font Amelia™ in 1965. What sets Linotype Amelia apart from all the rest are its unusual inner spaces. Their teardrop forms lead the readers eye through the line of text. These teardrop shapes can also be seen in the contours of the characters themselves, making the letters look rounded and flexible. Amelia speaks the language of the digital age. The flowing strokes and round forms give it an uncomplicated and lively look.
Colin Brignall – born 1940 in Warwickshire, England – photographer, type designer, art director. Started work as photographer for the fashion trade, the press and industry.
1964: joins the Letraset Type Studio as photographic technician. Since 1974: type designer for Letraset International. Since 1980: type director for Esselte Letraset in London.
Fonts: Countdown™ (1965), Aachen™ (1969), Premier™ Lightline (1969), Revue™ (1969), Premier™ shaded (1970), Superstar™ (1970), Octopuss™
[...]Tom Carnase – born 1939 – typographer, type designer, teacher, graphic designer.
1959: after completing his studies, Carnase joins the agency Sudler & Hennessey Inc. in New York. 1964–68: freelance designer. Opens the studio Bonder & Carnase Inc. (WTC). 1969–79: vice-president and partner of the agency Lubalin, Smith, Carnase Inc. 1979: opens the Carnase Computer Typography studio. 1980: co-founder and president of the World Typeface Center Inc., an independent type design agency.
[...]The designer Roland John Goulsbra created the fonts Linotype Agrafie™ in 1994. This font family is included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
In 2002 Roland John Goulsbra created the font Linotype Textur™.
The designer Erich Gschwind created the font ITC Avant Garde Gothic® in 1977 (with André Gürtler and Christian Mengelt).
The German designer Karin Huschka created the fonts Linotype Authentic™ (1999), Chineze Dragon™ (2002) and Picture Yourself™ (2003, with Peter Huschka).
The text font Linotype Authentic is part of the TakeType Library, chosen from the entries of the 1999 International Digital Type Design Contest.
Picture Yourself was a winner in the 2003 International Type Design Contest, sponsored by Linotype GmbH.
Designer Christian Mengelt (born 1938) created the font ITC Avant Garde Gothic® in 1977 (with André Gürtler and Erich Gschwind).
Designer Jan Tomás created the fonts Linotype Alphabat™, Linotype Element™, Linotype Silver™ and Linotype Startec™ in 1999.
These fonts are part of the Take Type Library, chosen from the entries of the 1999 International Digital Type Design Contest for inclusion on the TakeType 3.1 CD.
When you look closely to Linotype Alphabat, the figures start to change from letters into flying bats and scary faces. Linotype Alphabat can be used for very short texts however it is particularly effective
[...]Italian designer Alessio Leonardi created the following fonts:
F2F Al Retto™ (1996), F2F Allineato™ (1995), F2F CoolWool™ (1994), HaManga Irregular™ (1994), F2F Madame Butterfly™ (1996), F2F Mekanik Amente™ (1993), F2F Mekkaso Tomanik™ (1994), F2F Metamorfosi™ (1995), F2F Poison Flowers™ (1994), F2F Prototipa Multipla™ (1996), F2F Provinciali™ (1995), F2F Tagliatelle Sugo™ (1996), F2F Ale™ (1994), F2F Simbolico™ (1994).
Take a look at the personal designer portrait of Alessio Leonardi.
German designer Hans-Jürgen Ellenberger created the following fonts:
Linotype Albafire™ (2002), Linotype Albatross™ (2002), Linotype Albawing™ (2002), Linotype Aspect™ (1999), Linotype Beluga™ (2003), Cajoun™ (2002), Carlin Script™ (2002), Linotype Colibri™ (1999), Linotype Escript™ (2003), Linotype Inagur™ (1999), Mateo™ (1994), Linotype Pegathlon™ (1999), Linotype Rana™ (1997), Linotype Traco™ (1999), Linotype Biosymbols™ (2003), Linotype Chemsymbols™ (2003), Linotype Chemtools™ (2003),
[...]German artist Tim Ahrens created the font Linotype Aroma™ in 1999.
Please take a look at the personal designer portrait of Tim Ahrens.
Designer Franko Luin created the following fonts: Ad Hoc, Baskerville™ Classico, Birka™, Bodoni™ Classico, Carniola™, Caslon Classico™, Devin™, Dialog™, Emona™, Esperanto™, Fortuna™, Garamond Classico™, Griffo Classico™, Humana™, Isolde™, Jenson Classico™, Jesper™, Jonatan™, Kalix™, Kasper™, Kis Classico™, Marco Polo™, Memento™, Miramar™, Norma™, Nyfors™, Odense™, Omnibus™, Pax™, Pax™ #2, Persona™, Ragnar™, Res Publica™, Rustika™, Saga™, Semper™, Transport™, Vega™.
Franko Luin, born 6. 4.
[...]The British designer Tehmina Rauf created the font Linotype Araby Rafique™ in 1997. Araby Rafique is a part of the TakeType Library, winners of Linotype's International Digital Type Design Contest. The forms lean sometimes left, sometimes right, which, combined with the stroke contrast, gives the font a dynamic character. Other distinguishing characteristics are the mix of teardrop and fine hair strokes and the handwritten style. This font is good for very short texts and headlines, especially
[...]
Font Designer: Tim Ahrens, 2000
Tim Ahrens about Linotype Aroma™:
"I started designing this typeface about half a year after learning that Frutiger was not a new brand of sweets and that Garamond is not the name of a fragrance.
In time it became clear that designing a sans serif must always be considered as a transformation of traditional serifed typefaces instead of deriving it from typefaces that have been derived from others which have been derived from others again.
I
[...]Introduction
Autrefois, en l’absence d’ordinateur, d’imprimantes ou de traceurs, dessinateurs et commerçants n’avaient pas la possibilité de dessiner et d’imprimer en un clin d’œil, de nombreuses enseignes de boutique étaient peintes à la main par des dessinateurs de pancartes. Ces artisans ont inspiré à des générations de dessinateurs de caractères des fontes de titrage similaires, désormais omniprésentes. Si vous travaillez dans un magasin, ou dans le commerce de détail, vous apprécierez
[...]
Agrafie, Ale, Amelia, Linotype Albafire, Linotype Alphabat, Linotype Araby Rafique, Linotype Aroma and Linotype Authentic are trademarks of Linotype GmbH and may be registered in certain jurisdictions.
Aachen, Arriba, ITC Angryhog and ITC Arnova are trademarks of International Typeface Corporation and may be registered in certain jurisdictions.
ITC Avant Garde Gothic is a trademark of International Typeface Corporation registered in the U.S. Patent and Trademark Office and which may be registered in certain other jurisdictions.
Ad Hoc is a trademark of Omnibus.
Albertus is a trademark of The Monotype Corporation registered in the United States Patent and Trademark Office and may be registered in certain jurisdictions.
