Introduction
Voici l’occasion rêvée pour revoir les plus belles fontes Linotype des dix dernières années ; « revoir » est certainement le terme qui convient, car ces dessins font partie de votre environnement visuel depuis déjà quelque temps.
Depuis la fin des années 90, Linotype a enrichi le marché de nouveaux caractères qui ont changé la façon dont le monde communique. Nombreuses sont nos fontes installées sur les ordinateurs du monde entier, certaines sont même devenues
[...]Still searching for the perfect font or ornament for this year’s Christmas cards or holiday party invitations? Allow us to come to the rescue! Before you give up hope, make sure to visit our new X-Mas Font Feature page. Here we’ve collected images showing great ways to use a number of appropriate text, headline, and symbol fonts. We are sure to have the style you are looking for!
Pendant des décenies, Adrian Frutiger a travaillé en étroite collaboration avec Linotype. Au cours de ces nombreuses années, nous avons accumulé de nombreuses photographies d’Adrian Frutiger. Ces images donnent des aperçus des différentes périodes et moments forts de sa vie jusqu’à aujourd’hui, y compris des photos de lui à l’œuvre dans son studio, seul face à ses familles de caractères et même des photos plus récentes de lui travaillant avec Akira Kobayashi.
Nous espérons que cette balade
[...]Making a Christmas card takes a lot of work! Finding the right typeface can be tough, too. Have you ever spent hours searching for the right one? Well, in 2003, instead of spending hours searching, German designer Guido Bittner, made his own. Expectation was first used on the Christmas card for Bittner's Wiesbaden design studio, like VorSicht.
This delicate series of letters maintains a handwritten feel, in part because it began as a digitalization of Bittner's own handwriting. Expectation
[...]Available as Value Pack for instant download or on CD with physical shipping
Four alphabets for interchangeable use with many additional characters, newly designed small caps, 100 ornaments, and hyper-flourishes
New: Zapfino Extra Pro, the contextual version of Zapfino, automatically provides individual and varied results!
Now it is simpler than ever to make beautiful typography using the unique calligraphic typeface, Zapfino®.
After first learning the possibilities that digital fonts and computer programming had to offer, Hermann Zapf – the designer of
[...]Frutiger® – la fonte classique sans serif que rien n’arrête.
Demandez l’originale chez Linotype, en fontes individuelles, en coffret de promotion ou sur CD.
À propos de Frutiger
Cette police est le chef d’œuvre du célèbre dessinateur de caractères typographiques Adrian Frutiger. Confronté au défi de dessiner une fonte d’une lisibilité exceptionnelle pour les panneaux de l’aéroport Charles de Gaulle de Paris, il a créé la désormais célèbre Frutiger en 1968. La fonte Linotype
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Zapfino® – la perfection de la calligraphie sur votre ordinateur.
Obtenez les fontes individuelles originales de Linotype en fontes individuelles, en coffret de promotion ou sur CD.
Un prix imbattable ! Achetez les 24 graisses de Zapfino en un seul coffret. Désormais disponible en téléchargement immédiat.
Vous avez besoin de graisses Zapfino individuelles ? Pas de souci ! Les graisses de la police Zapfino sont
[...]Frutiger™ Capitalis
At first glance, Frutiger Capitalis Regular and Outline may seem related to the roman type Capitalis Monumentalis, but upon closer examination, the fonts reveal a vitality unknown to the characters the Romans etched in stone. 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
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Font Designer: Adrian Frutiger, 2005
Adrian Frutiger has created an entire typeface universe. He is especially well-known for his highly readable faces for longer texts (Meridien®, Univers®, Glypha®, Centennial® etc.), but has also produced many popular decorative alphabets, such as Ondine™, Phoebus and President™, which he created in Paris in 1953.
More recently, he has applied his skills to the typefaces of the Linotype Project Type before Gutenberg". These include
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In September 2008, Russia hosted its first ATypI conference. The ATypI, or Association Typographique International, is an organization of typographers and type designers. Every year, they meet together in a different city. Despite the strong contribution that Russian designers have made to the typographic fields in the past, this was their first opportunity to invite the international type community to such an event on their soil.
Several Linotype employees and designers were present at
[...]Giabattista Bodoni – born 16. 2. 1740 in Saluzzo, Piedmont, Italy, died 30. 11. 1813 in Parma, Italy – engraver, type designer, typographer, printer, publisher.
1758–66: typesetter in the Vatican’s Propaganda Fide printing works. 1766: the Duke of Parma invites Bodoni to set up an run a printing works. 1768: begins working in the Stamperia Reale. 1770: opens his own type foundry. 1771: publishes his first typographical contribution "Fregi e Majuscole". 1782: Charles III of Spain names Bodoni
[...]The Didot family were active as designers for about 100 years in the 18th and 19th centuries. They were printers, publishers, typeface designers, inventors and intellectuals. Around 1800 the Didot family owned the most important print shop and font foundry in France. Pierre Didot, the printer, published a document with the typefaces of his brother, Firmin Didot, the typeface designer.
The printing company still exists under the name Firmin Didot, Societe Nouvelle.
Firmin Didot – born 1764
[...]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.
Rudolf Koch – born 20.11.1876 in Nuremberg, Germany, died 9.4.1934 in Offenbach, Germany – type designer, typographer, calligrapher, teacher.
1892-96: trains as an engraver in Hanau. 1896-97: trains as an art teacher at the Kunstgewerbeschule in Nuremberg and at the Technische Hochschule in Munich.
1911-24: publishes the "Rudolfinische Drucke" with Rudolf Gerstung. 1921: founds the Offenbacher Werkgemeinschaft at the Technische Lehranstalt Offenbach. 1930: is awarded a honorary doctorate
[...]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
[...]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®
[...]David Farey (born 1943) created the fonts ITC Beesknees™ (1991), Bodoni™ Unique, Cachet™, Font, Gabardine, Greyhound™, ITC Highlander® (1993), ITC Johnston™ (with Richard Dawson, 1999), Little Louis, ITC Ozwald® (1992), Virgin Roman, Zemestro™ (2003), Tanseek Modern™ (with Arlette Boutros, Mourad Boutros, Richard Dawson, 2008), Tanseek Traditional™ (with Arlette Boutros, Mourad Boutros, Richard Dawson, 2008), Azbuka™ (with Richard Dawson, 2008).
Dutch designer Julius de Goede created the following fonts: Amadeo™, Augusta™ (1999), Bernhardt Standard™ (2003), Frakto™ (2003), Linotype Gaius™ (2002), Julius Primary™ (1998) and Rockner™ (2003).
The late Phill Grimshaw was a prolific designer who delighted in the sheer fun and challenge of drawing display typefaces. His fonts reflect his understanding of calligraphy, his own imagination for dynamic letterforms, and his knack for drawing a great variety of styles. After studying at the Royal College of Art in London in the 1970s, he settled in his native Manchester in northern England to work as a lettering artist. He developed a specialization in type design, influenced and encouraged
[...]The Chicago-based lettering designer Charles Hughes created the font Indy™ in 1990. The lowercase letters link together to evoke the look of true handwriting and complement a generous and graceful capital alphabet. Indy is a refined handwriting script ideal for anything needing a touch of elegance.
Serbian designer Slobodan Miladinov created the fonts ITC Beorama™ (1998), ITC Coconino™ (1998) and ITC Freemouse™ (1996).
The American designer Edwin W. Shaar created the fonts Flash™ (1939), Futura® Script (1954), Gazette® (1977), Nuptial Script™ (app. 1952) and Okay (1939).
Robert Slimbach was born in 1956 in Evanston, Illinois, USA.
Shortly after, he arrived in South California where he spent his childhood and his youth.
After leaving college he developed an interest in graphic design and typefaces while running a small screen printshop for manufacturing posters and greeting cards. This work brought him into contact with "Autologic Incorporation" in Newbury Park, CA.
After training from 1983 to 1985, Robert Slimbach worked as a font designer with
[...]The British designer Martin Wait created the following fonts:
Artiste™ (1991), Balmoral™ (1978), Banner™ (1986), Bertram™ (1991), Challenge™ (1982), Conference™ (1978), Emphasis™ (1989), Forest™ (1986), Freestyle Script™ (1981/86), Hadfield™ (1980), Horndon™ (1984), Informal Roman™ (1989), Julietrose™ (2006), Laser™ (1987/88), Pendry Script™ (1981), Pritchard™ (1990), Rapier™ (1989), Refracta™ (1988), Riva™ (1994), Roquette™ (1993), Scriba™ (1992), Wild Thing™ (1995).
German designer Hermann Zapf created the following fonts:
Aldus® (1954), Aldus Nova (2005), Aurelia™ (1983), Comenius® Antiqua BQ (1976), Edison™ (1978), Kompakt™ (1954), Marconi® (1976), Medici® Script (1971), Melior® (1952), Noris Script® (1976), Optima® (1958), Optima nova (2002), Orion™ (1974), Palatino™® (1950), Palatino nova (2005), Palatino™ Sans (2006), Saphir™ (1953), Sistina® (1950), Vario™ (1982), Venture™ (1969), Virtuosa® Classic (2009),
[...]German designer Guido Bittner created the font Expectation™ in 2003.
Expectation was first used on the Christmas card for Bittner's Wiesbaden design studio, like VorSicht.
This delicate series of letters maintains a handwritten feel, in part because it began as a digitalization of Bittner's own handwriting. Expectation Swash includes additional swash letters, which can be paired with regular version of Expectation to create superior effects.
The two British type designers Richard Dawson and Dave Farey created the fonts ITC Golden Cockerel™ (1996) and ITC Johnston™ (1999).
Richard Dawson and David Farey created in 2008 also Tanseek Modern™ and Tanseek Traditional™, together with Arlette Boutros and Mourad Boutros, and Azbuka™
Linotype previously had three design studios located around the globe:
Mergenthaler Linotype, in the United States, was founded in Brooklyn, but later moved to Melville, NY, and then to Hauppauge, NY. Mergenthaler Linotype's design studio employed at varying times up to 80 designers under the direction of Chauncey H. Griffith, Jackson Burke, Mike Parker, and Matthew Carter.
In continental Europe, Linotype typefaces were produced by the D. Stempel AG typefoundry in Frankfurt, Germany.
[...]Perfect calligraphy on your PC
Traditional and modern type creativity in one. The new Linotype Zapfino is artistically and technically a masterpiece from the master himself, Hermann Zapf. Linotype Zapfino is a complex font that can be used on the computer for creating calligraphic script layout designs. Its introduction into the market has had an auspicious start and the Type Directors Club of New York has just presented Linotype Zapfino with the prestigious TDC Type Design Award.
Linotype
[...]Une présentation originale pour vos cadeaux
Vous en avez assez de voir toujours les mêmes motifs typographiques, année après année, lors des fêtes de Noël? Sur Linotype.com, avec notre Coffret de Noël, sortez des sentiers battus ! Avec ces cinq fontes fabuleuses, la joie et les cadeaux seront au rendez-vous. Elles comprennent une superbe fonte symbole, ainsi que quatre autres fontes. Elles s’associent aussi aisément pour créer de splendides cartes de fêtes.
Xmas Value Pack comprend
[...]Four alphabets for interchangeable use with many additional characters, newly designed small caps, 100 ornaments, and hyper-flourishes
New: Zapfino Extra Pro, the contextual version of Zapfino, automatically provides individual and varied results!
Now it is simpler than ever to make beautiful typography using the unique calligraphic typeface, Zapfino.
After first learning the possibilities that digital fonts and computer programming had to offer, Hermann Zapf – the designer of Zapfino
[...]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
[...]Portrait
We can read because we perceive elements and forms which are familiar to us. So in order to even recognize words, we must first decipher the elements which make up the shapes of the letters – a process which involves the interplay of myriad aspects. To a certain degree, many of us are aware of these aspects. Yet Adrian Frutiger knows about such shifting dynamics in perception in a way no other person can, as he has been instrumental in researching the subject and over several decades
[...]Hermann Zapf is renowned the world over as a master calligrapher and type designer. Throughout his tremendous life, he has contributed volumes to the history of typography. His oeuvre encompasses text faces, symbol fonts, and even script designs, such as the new classic Zapfino. So many of his typefaces have entered our daily lives that it is impossible to image contemporary design without them. Below are all of his digital designs for Linotype.
More about the fonts:
Aldus™
This typeface
[...]Trouver d’autres Fonctions de Fontes dans nos Archives de Présentation de Fontes.
L’astuce typographique du mois par Akira Kobayashi, directeur de typographie de Linotype !
Juin 2006: Apostrophes et guillemets
Quel est le bon glyphe : le pouce, l’aigu ou l’apostrophe ? – Cette fonction décrit l’usage correct des signes de ponctuation trompeurs qui servent à signifier les omissions et, dans la langue anglaise, les possessifs et parfois les
[...]Five font families for a new season
Bad Homburg, 26 January, 2007. A new year is here, time to get back to the drawing board. Linotype has been busy sourcing the latest originals all year and to kick off the new year, launches five new font families in OpenType format. Each family offers its own dash of color and originality and can be employed for a variety of graphic communication needs. The fresh additions to the Linotype Library – Sunetta™, Aptifer™, Linotype Aroma™ OT, Anno™ and OCR A
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Font Designer: Slobodan Miladinov, 1996
Very different from his earlier ITC faces, Slobodan Miladinov’s ITC Freemouse™ is still the result of the tension between the computer and the hand. "Freemouse was my first experiment in creating type using only the computer as a design tool", says Miladinov. "I wanted to sublimate the spontaneity and expressivity of calligraphic writing with the modern, slightly digital outlook of a completely on-screen generated typeface." He started by
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Font Designer: Adrian Frutiger, 1991, Firmin Didot, 1784
The Didot family were active as designers for about 100 years in the 18th and 19th centuries. They were printers, publishers, typeface designers, inventors and intellectuals. Around 1800 the Didot™ family owned the most important print shop and font foundry in France. Pierre Didot, the printer, published a document with the typefaces of his brother, Firmin Didot (1764–1836), the typeface designer.
The strong clear forms of this
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Font Designer: Rudolf Koch, 1922
Koch® Antiqua font is based on forms of old Roman writings, chiseled in marble thousands of years ago. This contemporary version is more playful and reminiscent of the Roaring 20s.
Font Designer: Julius de Goede, 2002
Linotype Gaius™ is a beautiful script face with a nice relationship between the broad-edged pen and the proportions of the letterforms. It is very flexible and gives a personal touch due to its various alternate fonts with swash beginners, ending and ligature letterforms. Like Zapfino® from Hermann Zapf, Linotype Gaius offers a great variety and makes the text more personal and readable.
Font Designer: Julius de Goede, 2002
Linotype Gaius™ is a beautiful script face with a nice relationship between the broad-edged pen and the proportions of the letterforms. It is very flexible and gives a personal touch due to its various alternate fonts with swash beginners, ending and ligature letterforms. Like Zapfino® from Hermann Zapf, Linotype Gaius offers a great variety and makes the text more personal and readable.
In the mood for more samples of our fonts?
Our Font Gallery displays numerous examples of Linotype fonts. Search alphabetically or by category.
Font Designer: André Maaßen
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
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Dessinateur : Morris Fuller Benton, 1905, 1926
LinoScript® a été dessinée par Morris Fuller Benton en 1905 et publiée par l’American Type Founders sous le nom de Typo Upright ; lors de son intégration à la technologie Linotype en 1926, elle a été rebaptisée Linoscript. Modelée à une époque où le style des scriptes françaises verticales était très populaire, Linoscript a des capitales très ornées et des lettres minuscules reliées par d’extravagantes boucles sur les
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Dessinateur : Phill Grimshaw, 1997
ITC Kendo™ est la réalisation du graphiste britannique Phill Grimshaw. Cette police évoque l’empressement et la verve d’une calligraphie esquissée, parsemée de petites taches d’encre. Grimshaw explique qu’il est allé délibérément à l’encontre de ses propres habitudes pour créer les formes de la police, dessinant les lettres « après mûre réflexion », à l’aide d’un stylo plume. Il a rempli le
[...]Fontes d’affiches
