Football Jersey Fonts
Football is in the air! Like all great team sports, football (or soccer, if you are in the US) inspires its fans to identify with their favorite team’s players, and sometimes even with a specific city or country. Each football team has its own visual identity, and the appearance of their logos and jerseys are one of the most exciting areas of graphic design. And it is no surprise that fonts play a strong role!
Below are images of just a few of the jerseys known and
[...]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.
Introduction
Prolific! Perhaps this is the best word to describe the life and work of Morris Fuller Benton. The creator of over 200 types for ATF, Benton left his mark on 20th Century design. His faces would spread across the globe, and dozens are still in use today.
Las originales sans cuadradas, redibujadas: Bank Gothic y Morris Sans
Bank Gothic fue un tipo de letra publicado en 1930 por la American Type Founders (ATF). Morris Fuller Benton, Diseñador jefe de ATF, creó la familia. ATF Bank Gothic fue una familia de cinco tipos: ligero, medio, negrita, condensado ligero y condensado medio. Se fundían en metal para la composición manual. Se usaron durante décadas (ver imag. 1).
Adrian Frutiger ha trabajado estrechamente con Linotype durante varios decenios. A lo largo de los profusos años de su fructífera colaboración, hemos recopilado un buen número de fotografías de Adrian Frutiger. Estas imágenes nos permiten vislumbrar distintos periodos y puntos culminantes de su vida hasta el momento. Tenemos fotos en las que está trabajando en su estudio, momentos de su vida junto a sus tipos de letra e incluso imágenes más recientes en las que está trabajando con Akira
[...]No hace falta arena para disfrutar de esta colección playera, Beach Party. Estos diseños combinan imágenes desde los surferos de los años 1960 hasta las cabañas tiki pasando por DJ mezclando música tecno en la playa. Así que no importa si quiere usarlos para promocionar una fiesta, documentar aventuras de un viaje o diseñar paquetes de productos estivales, estos tipos de letra sabrán transmitir esa sensación de “placer bajo el sol”.
Aquí encontrará una selección de gemas tipográficas ocultas. Puede que ya conozca algunos de estos diseños … ¿pero los conoce todos?
Esperamos que se divierta navegando por esta selección.
Font Designer: Dan Reynolds, 2006
Finally, Bank Gothic with lowercase! Morris Sans® is a revised and extended version of Bank Gothic, the ever-popular typeface created by Morris Fuller Benton in 1930. Building onto the initial squared capitals design, Dan Reynolds added an original lowercase, as well as several figure options:
1. tabular and proportional lining figures,
2. tabular and proportional old style figures,
3. and small cap figures, too!
Small caps, which have become
[...]Brda was originally designed by the Polish designer Franciszek Otto for the Powiat weekly newspaper. Powiat needed a new, dynamically drawn sans serif for its headlines, and Otto's Brda fit the bill. Combining traditional Grotesk letterforms with witty subtleties, like the notched-joint seen in the capital G, Brda displays a novel design that works best when set large. The typeface is named after the Brda river, which runs through Bydgoszcz, Poland, the city where Powiat is published. The Brda
[...]Frutiger® – la imparable fuente sans serif classic.
Consiga los originales de Linotype como fuentes únicas, en un Value Pack o en CD.
Acerca de Frutiger
El famoso diseñador tipográfico Adrian Frutiger creó una obra maestra con esta fuente tipográfica. Ante el desafío de diseñar un tipo excepcionalmente legible para las señales del aeropuerto Charles de Gaulle en París, desarrolló lo que ahora es el legendario conjunto Frutiger en 1968. La fuente tipográfica Linotype original no ha
[...]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
[...]Über die Lesbarkeit
Unter dem Einfluss der verschieden Druckverfahren hat die lateinische Textschrift subtile Formveränderungen erfahren. Grundsätzlich neue Formen sind jedoch keine entstanden. Als Demonstration dafür sind acht a in den meistgelesenen Schriftstilen mit einem Drehraster versehen und übereinander kopiert. Das Resultat zeigt eine erstaunliche Übereinstimmung.
The Polish designer Franciszek Otto has created several typefaces for Linoytpe, including Linotype Notec™ (1999), Brda™ (2003), JP2™ (2008), and Waza™ (2008).
Linotype Notec is a winner font of Linotype’s 3rd International Digital Type Design Contest.
Brda was originally developed the Powiat weekly newspaper. The family was one of the winners selected in Linoytpe’s 4th International Type Design Contest (2004).
JP2 is based on the handwriting of Pope John Paul II, and Waza was inspired
[...]Neville Brody – born 23. 4. 1957 in London, England – graphic designer, art director, type designer.
1975: studies painting at Hornsey College and from 1976–79 at the London College of Printing. Numerous record covers. 1981–86: art director of the English magazine "The Face". 1983–87: covers for the London magazine "City Limits". 1987–90: works for the "Arena" magazine. Art director for the magazines "Per Lui" and "Lei" of the Condé Nast Publications in Milan and the French magazine
[...]The British designer Lucy Davies created Linotype Dot™, a winner font of Linotype’s 2nd International Type Design Contest (category display fonts). The figures of Linotype Dot are composed of a combination of white and black dots and the contrast makes the font look like points of light and darkness. The general impression of Dot lies somewhere between ornamental and technical. It combines well with sans serif and calligraphy fonts.
Morris Fuller Benton – born 30. 11. 1872 in Milwaukee, USA, died 30. 6. 1948 in Morristown, USA – engineer, type designer.
After training as a mechanic and engineer, Benton jointed the ATF, where he became type designer and in-house designer with ATF.
Fonts: Benton developed over 200 alphabets, all of which were published by ATF, including Century roman (with Theodor Low de Vinne, 1885), Mariage (1901), Alternate Gothic (1903), Franklin Gothic (1903–12), Cheltenham® (1904), Clearface®
[...]The German designer Critzla created the fonts Linotype Down Town™, Linotype Go Tekk™ and Linotype Mindline™ in 1997. These fonts are included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
The cheerful character of Linotype Down Town is perfect for comics or posters. The figures dance across the base line, swinging between thick and thing, big and small. Linotype Down Town is intended exclusively for headlines
[...]The British designer Alan Birch created the fonts Bitmax™, LCD™, Rubber Stamp™ and Synchro™.
Bitmax was designed in 1990. Birch was inspired by the look of fax transmissions. He took Helvetica™ medium and used controlled distortions to create this commanding, high-tech style. Bitmax is best used in large display sizes for a limited number of words.
LCD was created in 1981. The name of the typeface LCD stands for Liquid Crystal Display, the display technology used in digital watches and
[...]Self-taught artist/graphic designer, born 1978 in London. Max Franosch is the designer of Linotype Franosch. Linotype Franosch™ is part of the TakeType 4 collection.
The Website of Max Franosch: http://www.maxfranosch.com
Favourite fonts: Frutiger® 55, Frutiger 65, and Linotype Univers®
German designer Arne Freytag created the font Linotype Freytag™ in 2002.
Linotype Freytag is a display family of sans serif typefaces based on lettering work done at the Bauhaus during the 1920s. Arne Freytag, was so inspired by these historic letterforms that he developed them into working fonts for the 21st century. But these are not strict digitisations of old forms; instead Arne Freytag redeveloped the forms, making them more legible and up to date. However, Linotype Freytag is still true
[...]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.
Gerd Sebastian Jakob and Joerg Ewald Meißner created the following fonts which are included in the TakeType Library:
Linotype Dharma™ (1997), Linotype Tiger™ (1997), Linotype CaseStudy No. 1™ (2002), Linotype Puritas™ (2002).
Designer Dick Jones created the fonts Crillee™ (1980, 1981) and Princetown™ (1981).
Crillee is a font whose slight lean to the right and geometric forms create a feeling of power and speed. Crillee should be spaced closely in word settings and is perfect for anything which should have a cool, modern appearance.
Princetown is an all caps typeface with strong, geometric letterforms. The design was inspired by college and university sportswear with its blocky forms and heavy outline. Princetown
[...]Gerd Sebastian Jakob and Joerg Ewald Meißner created the following fonts which are included in the Linotype Library:
Linotype Dharma™ (1997), Linotype Tiger™ (1997), Linotype CaseStudy No. 1™ (2002), Linotype Puritas™ (2002).
The Austrian designer Herbert O. Modelhart created the font Linotype Reducta™ in 1997. Linotype Reducta is part of the TakeType Library, chosen from contestants of Linotype's International Digital Type Design Contests of 1994 and 1997. The font was designed with only a small number of constant form elements. The cool and technical Linotype Reducta is intended exclusively for headlines in large point sizes.
The German designer Heike Nehl created the fonts F2F Lovegrid Caps™ (1996) and F2F Twins™(1996).
The designer Peter O’Donnell created the fonts Crillee™ (1986/87, with Vince Whitlock, original font created by Dick Jones in 1980/81), Demian™ (1987, original font created by Jan van Dijk in 1986), Odessa™ (1988) and Van Dijk™ (1986, original font created by Jan van Dijk in 1982).
The German designer Bernd Pfannkuchen created Linotype Lichtwerk™. This font is part of the TakeType Library, chosen from the entries of the 1999 International Digital Type Design Contest. The display font Linotype Lichtwerk contains very narrow forms with a high x-height. It is reminiscent of the constructivism of the 1920s and was designed with a small number of basic forms. The high, thin letters form words and an overall picture which almost flickers on the page. Linotype Lichtwerk with its
[...]The German designer Johannes Plass created the fonts Linotype Animalia™, Linotype Atomatic™ and Linotype Auferstehung™ in 1997. These fonts are included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
Linotype Animalia is full of surprises. It is like a walk through the zoo, where the j is a shark chasing a small fish and the K is a moose gazing at the sky. Linotype Animalia is intended exclusively for use in
[...]German designer Norbert Reiners created the fonts Linotype Eirinn™ and Linotype Octane™ in 1994. Linotype Octane is included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
The German designer Armin Retzko created the font Linotype Quasaria™ in 1994. Linotype Quasaria is part of the TakeType Library, chosen from contestants of Linotype's International Digital Type Design Contests of 1994 and 1997. The characters of Linotype Quasaria are composed of disjointed pieces. The eye tries to complete the symbols into the forms they are used to. Linotype Quasaria with its unique forms is intended exclusively for headlines and displays.
The American designer David Sagorski created the fonts Bang™ (1993), Bluntz™ (1994), Dancin’™ (1995), ITC Dave’s Raves™ (1994), Expressions™ (1995), Faithful Fly™ (1994), ITC Juice™ (1995), Moderns (1994), Mo’s Funky Fresh™ (1993), ITC Snap® (1995), Tag™ (1994), Wildlife (1994).
The French designer Jean-Jacques Tachdijan (born 1958) created the font Linotype Barock™ in 1999. Linotype Barock is part of the Take Type Library, chosen from the entries of the 1999 International Digital Type Design Contest. At first glance you might think, "What a mess!" The forms look as though they cannot settle down. But when you enlarge the figures you will understand why the designer named the font Barock, signifying ornateness. Not only is the font based on the forms of a transitional
[...]Ralf Weissmantel created the fonts Linotype Contacta™ (1994) and Boogie™ (2003).
Linotype Contacta is part of the TakeType Library, chosen from contestants of Linotype's International Digital Type Design Contests of 1994 and 1997. Weissmantel designed this font to display no stroke contrast at all. Instead of using conventional letter forms, Contacta is a more designed-oriented font, with some characters recognizable only in context, not necessarily at first glance. The technical,
[...]Designer Vince Whitlock created the following fonts: Academy Engraved™ (1989), Crillee™ (with Peter O’Donnell, 1986/1987), Equinox™ (1988), Gillies Gothic extra bold shaded (with Philip Kelly, 1982), Lexikos™ (1990), Quixley™ (1991), Retail Script™ (1987), Strobos™ (1990), Tropica Script™ (1988).
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 Alexander Branczyk created the following fonts:
F2F Burnout Chaos™ (1993), F2F Czykago™ (1995), F2F Entebbe™ (1995), F2F Frontpage Four™ (1994), F2F MadZine™ (1994), F2F OCRAlexczyk™ (1994), F2F OCRBczyk™ (1994), F2F Bczyk™ (1994), F2F TechLand™ (1994).
Please take a look at the personal designer portrait of Alexander Branczyk.
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),
[...]Portuguese designer Patricia Carvalho created the font Linotype Cethubala™ in 1997.
Linotype Cethubala is part of the Take Type Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. It is a playful and unusual font. Its roots lie in the characters of runes and old alphabets and the font is, in the words of the designer, ‘an attempt to interpret and carry the knowledge of the magic world.’ Linotype Cethubala is intended
[...]German designer Thomas Nagel created the following fonts:
F2F El Dee Cons™ (1993), F2F HogRoach™ (1995), F2F Pixmix™ (1995), F2F Screen Sream™ (1996), F2F Shakkarakk™ (1996), F2F Shpeetz™ (1996), F2F Tyrell Corp™ (1996), F2F Whale Tree™ (1994), F2F ZakkGlobe™ (1994).
These fonts are part of the new Take Type No. 5 which contains 204 exclusive, contemporary fonts for electronic publishing.
Please take a look at the personal designer portrait of Thomas Nagel.
Dutch designer Paul van der Laan created the font Linotype Rezident™ in 1999.
Flyers, Intros from James Bond films and PlayStation games as well as the typeface Senator from Zuzane Licko inspired Paul van der Laan to create Linotype Rezident. To its design, van der Laan says, "I was designing a business card for a friend and I had a certain mood in mind for the typography. I tried to capture this mood in a couple of sketches, drew a few characters directly onscreen and just expanded them
[...]Designer Lennart Hansson created the following fonts: Crane, Dex Gothic, Renasci, Runa Serif™ (1996), Zip.
CURRICULUM VITAE
Born in 1947 in Belgrade, Yugoslavia. Graduated from the Faculty of Geodesy of Belgrade University and completed post graduate studies of photogrammetry at ITC Enshede, The Netherlands. Started professional career as a programmer for geodesy and photogrammetry and continued working in the Research and Development Department of the Institute of Photogrammetry in Belgrade. At that time I felt that this field held no more challenges for me.
In 1986, inspired by articles
[...]The father and son team of Demetrio E. and Leslie Carbarga of New York created the Cabarga™ Cursiva display face in 1982. Coupling luscious curves with a sporty inline, this typeface exudes holiday cheerfulness. Carbarga Cursiva would be a great choice for your holiday newsletter’s headlines.
Dan Reynolds es un ingeniero de tipos de letra y especialista tipográfico en Linotype GmbH en Bad Homburg, Alemania. Nació en Baltimore y decidió convertirse en un diseñador de fuentes en su primera visita a Mainz. Por las tardes lleva a cabo actividades tales como ayudar a organizar el Offenbach Typostammtisch (que co-fundó en 2004), moderar Typophile.com y contribuir en Slanted, una revista alemana de tipografía. Dan es miembro de ATypI (Asociación Internacional de Tipografía) y posee una
[...]Graphic designer Michael Want created Fusaka™ in 1998.
Fusaka is a highly original and specialized display typeface which bridges Kanji and Roman letterform styles. As in Kanji, each character fits into a square. The shape and the placement of letter and decorative strokes can make Fusaka look like Asian writing at first glance and allow it to be set either horizontally or vertically. Use Fusaka for a unique look on CD covers, magazine headlines, book titles and Web sites.
Leslie Cabarga created the fonts Cabarga™ Cursiva (1982, with Demetrio E. Cabarga) and Central Station™ (1999).
Miriam Röttgers revised and extended OCR-A, creating OCR A Tribute™ in 2006.
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
[...]Five top-quality fonts for exotic designs – our Foreign Style 1 Value Pack for only .
We’ve collected five type flavors together into our new Foreign Value Pack. The top-quality faces Linotype Chineze™, Mandarin, Linotype MhaiThaipe™, Tiger™, and Sho™ are priced right for both beginners and professionals.
These typefaces are included in the Foreign Style 1 Value Pack:
The German designer Peter Huschka created Linotype Chineze, a family of typefaces that
[...]Experimental, emotional, and evocative – the Grunge Value Pack for only .
Grunge is a state of mind rather than a specific style. Many type designers during the 1990s were enamored with the idea of typographic experimentation, which was an element of the grunge movement in design. The Linotype Grunge Value Pack bundles together five interesting experimental fonts from the late 1990s. All of these fonts are best used in larger display sizes of 18 point and above.
These typefaces are
[...]Adrian Frutiger was born in 1928 at Unterseen near Interlaken (Switzerland). After an apprenticeship as a compositor he made further education in type and graphics at the Zurich School of Arts and Crafts (Kunstgewerbeschule) from 1949 to 1951 (teacher: Alfred Willimann and Walter Käch).
Frutiger was called to Paris in 1952 and worked as typeface designer and artistic manager at Deberny & Peignot. He founded his own studio in Arcueil near Paris 1961, together with Bruno Pfäffli and André
[...]
