Trouver d’autres Fonctions de Fontes dans nos Archives de Présentation de Fontes.
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.
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Voici une sélection de fontes que nous venons de redécouvrir. De véritables pépites. Vous en connaissez peut-être déjà certaines … mais êtes-vous sûr que vous les connaissez toutes ?
Nous espérons que vous apprécierez cette sélection !
Swedish designer Lutz Baar creates noteworthy and well-rounded typefaces with a modern and contemporary vibe.
More about the fonts:
Linotype Atlantis™
Atlantis is classified as a European sans serif. In comparison to its American cousins, which display the heavier influence of an antiqua, the European version usually have strictly constructed forms. Those of Atlantis are based on the geometric forms of the circle, square and rectangle. The a is rather stout and the g has an open descender,
[...]John Baskerville – born 28. 1. 1706 in Wolverley, Worcestershire, England, died 8. 1. 1775 in Birmingham, Warwickshire, England – type designer, writing master, printer.
1725: moves to Birmingham. 1733–37: writing master in Birmingham. 1750: sets up his own type foundry and printing works. 1757: his first printed book is published, an edition of Virgil. 1758: publishes an edition of John Milton’s "Paradise Lost". 1758: appointed printer to the University of Cambridge. Here he produces
[...]Born: London, 5 April 1945
Education: Kings College, Taunton, and Cambridge School of Art.
Art director, caricaturist and type designer.
ART DIRECTOR
The Wall Street Journal Europe
1999 –
Die Welt
1998–1999
Redesigned the newspaper; Drew daily editorial cartoons.
Drew logotype for Berliner Morgenpost
International Herald Tribune
1987–1998
Redesigned the newspaper. Drew editorial cartoons.
The New York Times
1978–1987
Designed the Financial sections and business
[...]The British designer Ed Bugg created the fonts Linotype Agogo™ (1997), Kanban™ (1992) and Linotype Sunburst™ (1997). Linotype Agogo and Linotype Sunburst are included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
Linotype Agogo is reminiscent of the elegant 1920s and 1930s. It is a calligraphy font with five weights, one regular and four swash. The regular weight alone is clear and legible enough even for longer
[...]The designer Arthur Baker created the following fonts: Amigo™, Baker Signet™, Kigali™, Marigold™, Oxford™, Pelican™, Sassafras™, Visigoth™.
John Benson – born 1939 in Newport, Rhode Island, USA – lettering artist, stonecarver.
John Benson has designed and carved headstones, civic and memorial tablets, and architectural lettering since he graduated from the Rhode Island School of Design as a sculpture major. In 1964, he was commissioned to design and carve the inscriptions for the Kennedy Memorial at Arlington Cemetery. John Benson created inscriptions for famous buildings such as the Prudential Center in Boston, the National
[...]Lucian Bernhard – born 15. 3. 1883 in Stuttgart, Germany, died 29. 5. 1972 in New York, USA – graphic artist, illustrator, painter, type designer, interior designer, teacher. Born as Emil Kahn, he assumes his pseudonym in 1905. Mostly self-taught, he studied briefly at the Akademie iin Munich.
1901: moves to Berlin. 1903: wins a poster competition for Priester matches. 1904: art director of the Deutsche Werkstätten für Handwerkskunst. 1910: works with Hans Sachs on the publication of the
[...]Born in 1947 in Portsmouth, England and after schooling entered a 5 year apprenticeship with the Metal Box Company, Portsmouth. Trained in Design, Lettering, Calligraphy and Sign Writing under gifted lettering artists Norman March and Dieter Smith. During day release to Portsmouth College of Art & Design studied Fine Typography under Stan Kerry obtaining Full Technological Certificate in City & Guilds, London.
Self taught in further Calligraphy, Illustration and Water Color Painting and
[...]The German designer Thomas Finke created the font Bergell® in 1991. Thomas Finke was inspired by the work of Alberto Giacometti. Its calligraphic style is both dynamic and elegant. Bergell should be set with generous letter spacing and is perfect for any work which should have a spontaneous yet sophisticated appearance.
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™.
Gustavs Andrejs Grinbergs was born in 1943 in Riga, Latvia. He is a member of the Latvian Association of Artists.
Activities in the following creative areas: publication design, advertising design, logos and art production.
Gustavs A. Grinbergs about himself:
"In 1987 in addition to the traditional tools such as brush, indian ink and paper, I started using digital technology for type design. Since then my main fields of work are creating my own original typeface designs and adapting Latin
[...]André Gürtler – born 5. 9. 1936 in Basle, Switzerland – graphic designer, typographer, type designer, teacher.
1952–56: trains as a typesetter. First exercises in calligraphy. 1957: further training as a typographical designer with Emil Ruder. First exercises in type design. 1958–59: letterer for the Monotype Corporation in Salfords, England. 1959–65: type designer and typographer with Adrian Frutiger in Paris. Works for Sofratype SA for two years. Teaches lettering for a year at the
[...]Designer Alan Meeks (born 1951 in London) created the following fonts: Ambrose™, Aachen medium and bold (with Colin Brignall, 1969/1977), Algerian™ Condensed (1988), Astoria, Belwe™ Mono (1976/1989), Bertie™ (1985), Bickley™ Script (1986), Bramley™ (1979), Brigade, Burlington™ (1985), Cabaret™ (1980), Campaign™ (1987), Cancellaresca™ Script (1982), Candice™ (1976), Chalfont, Champers™ (1991), Chesterfield™ (1977), Claude™ Sans (1988/1990), Copacabana, Dynamo (with
[...]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 Swiss designer Isabelle Stutz created Linotype Belle™ Plain in 1999.
Linotype Belle Plain, a casual script face, is a winner font of Linotype’s 3rd International Digital Type Design Contest. The letters in this design have a light, informal nature, and appear as if they were written out quickly, using a writing instrument similar to a ballpoint pen. Linotype Belle has two fonts to offer: Linotype Belle Plain and Linotype Belle Bonus. Linotype Belle Bonus contains more extravagant,
[...]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),
[...]Swedish designer Lutz Baar created the following fonts:
Linotype Atlantis™ (1999), Balder™ (1994), Linotype Feltpen™ (1997), Linotype Kaliber™ (1999), Linotype Nordica™ (1997), Linotype Ordinar™ (1999), Linotype Pisa™ (1997).
Please take a look at the personal designer portrait of Lutz Baar.
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.
[...]German designer Gudrun Zapf von Hesse created the following fonts:
Alcuin® (1991), Ariadne® (1954), Carmina® (1986), Christiana® (1991), Colombine® (1991), Diotima® (1952), Diotima® Classic (2008), Nofret® (1984) Shakespeare™ (1968), Smaragd™ (1953).
Please take a look at the personal designer portrait of Gudrun Zapf von Hesse.
British designer Jeremy Tankard began Blue Island™ in 1996 with the idea of creating a completely ligature-based roman typeface, an original but complex task that took years to realize. Individually, Blue Island's letters can appear a bit dismembered, but when set together, they are clearly transformed into words which fall in waves down the page. Successfully balancing readability with intriguing decorative forms, Blue Island is especially effective for titling. As for its romantic name, Blue
[...]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 !
Août 2006 : Utilisez les caractères ornés italiques d’une fonte pour des variations de dessin
De nombreuses fontes sont équipées de caractères ornés italiques destinés à servir d’éléments supplémentaires parmi les outils d’un designer. Cependant, les caractères ornés italiques – des lettres
[...]3rd International Design Contest
The Winners of the Category Display
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: Lutz Baar, 1974
Lutz Baar about Balder: "Balder™ is the Swedish name of the Nordic God Baldur. The font expresses strenght and a wild liveliness, composed of only capital letters to give text a compact appearance. Each character of the alphabet has a corresponding alternate, created by using the shift key with the letter on the keyboard. The letters C, G and S in particular each have 2 very different forms. I call this the 'Gutenberg Effect', because Gutenberg tried
[...]
Font Designer: Ed Bugg, 1997
Linotype Agogo™ is a charming script font, allowing you to create unlimited variations thanks to its four swash sets. Adding warmth and a personal touch to your letters and presentations.
Font Designer: André Gürtler, 1978
André Gürtler about Basilia®:
"Among the countless typefaces available today, the Modern Face style is relatively underrepresented. During the 19th century and then later with the competition from the mechanized hot metal types and film setting, a number of attractive headline types appeared in this style. For text, however, the available types were limited to those based on tried and true classics like Walbaum, Didot and Bodoni, which were
[...]
Font Designer: André Gürtler, 1978
André Gürtler about Basilia®:
"Among the countless typefaces available today, the Modern Face style is relatively underrepresented. During the 19th century and then later with the competition from the mechanized hot metal types and film setting, a number of attractive headline types appeared in this style. For text, however, the available types were limited to those based on tried and true classics like Walbaum, Didot and Bodoni, which were
[...]
Font Designer: Lucian Bernhard, 1912–1937
Bernhard Fashion (1929)
The German-born designer Lucian Bernhard designed Bernhard Fashion in 1929. An “American” typeface, Bernhard’s original design was created for the American Type Founders (ATF). It bespeaks the spirit of the roaring 20s. The hairline-thin letters exhibit elongated ascenders (but not descenders), and many stylized elements. The capital letters also all descend visibly below the baseline. In text, the extra large capitals
[...]
Font Designer: Isabelle Stutz, 1999
Linotype Belle™ is a casual script face. The letters in this design have a light, informal nature, and appear as if they were written out quickly, using a writing instrument similar to a ballpoint pen. Linotype Belle has two fonts to offer: Linotype Belle Plain and Linotype Belle Bonus. Linotype Belle Bonus contains more extravagant, swash-like capitals than Linotype Belle Plain's characters; when used together, these two fonts can create a
[...]
Font Designer: Lucian Bernhard, 1912–1937
Bernhard Condensed Bold (1912)
German designer Lucian Bernhard developed Bernhard Antiqua, the first of his many typefaces, in 1912. The Flinsch foundry in Frankfurt/Main cast the first weights; further weights followed in the 1920s (these were produced by Bauer, which had acquired Flinsch). Bernhard Condensed Bold, the only one of Bernhard Antiqua’s weights currently available in digital form, is a design with marked historical influence.
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Font Designer: Lucian Bernhard, 1912–1937
Bernhard Modern (1937)
Lucian Bernhard designed Bernhard Modern in 1937. Bernhard’s career as an artist and designer unfolded over several pivotal decades of the early 20th Century, both in Germany and in the United States. Like many typefaces of this time, Bernhard Modern has a low x-height and generous ascenders. It also displays a marked broad tipped pen stroke. Characteristic is the lowercase g with its upward-reaching ear, whose stroke
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Font Designer: Alan Meeks, 1986
Bickley™ Script was designed by Alan Meeks in 1986 and is based on the handwriting forms popular at the end of the 19th century. The flowery capitals contrast beautifully with the delicate and reserved lower case letters, fit perfectly together and enhance the handwritten character of the font. Bickley Script looks as though it were written with a fine tipped pen and has an elegant, nostalgic charm. The font is best for headlines as well as short to
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Font Designer: Thomas Finke, 1991
Inspired by the work of Alberto Giacometti, the German designer Thomas Finke created Bergell®, a lively and natural script face. Bergell's calligraphic style is both dynamic and elegant, like the kind of special, festive handwriting many desire, but few ever manage to achieve. Why spend so much time at your drawing table when there are great fonts like this one?
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 : Georg Belwe, 1913
Le style de la fonte Belwe, créée en 1926 par le dessinateur allemand et professeur Geord Belwe, est si original qu’il est difficile à décrire. Il est la synthèse de plusieurs genres, une serif égyptienne de style Art Nouveau, panachée d’influences gothiques. Les empattements anguleux des hampes et les parafes calligraphiques des minuscules et majuscules V, W, et Y évoquent des écritures au stylo plume. Bien d’autres caractères spéciaux sont eux aussi
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Dessinateur : Jeremy Tankard, 1999
Le graphiste britannique Jeremy Tankard a entrepris la création de Blue Island™ en 1996 avec l'idée de créer une police romaine totalement attachée, une tâche originale mais complexe dont la réalisation a pris des années. Isolément, les lettres de Blue Island peuvent apparaître un peu démembrées mais, lorsqu'elles sont réunies, elles composent des mots qui déferlent au bas de la page, tels des vagues. Formant un équilibre réussi entre la
[...]Works and Samples of Richard Yeend
Platinum Collection Fonts
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
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Agrafie, Anno, Balder, Linotype Agogo, Linotype Atlantis, Linotype Belle, Linotype Brewery and Linotype Buckingham Fraktur are trademarks of Linotype GmbH and may be registered in certain jurisdictions. Aldus and Basilia are trademarks of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. Alcuin is a trademark of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.
Alexa, Balzano, Banshee, Blue Island and Brioso are trademarks of Adobe Systems Incorporated which may be registered in certain jurisdictions.
Algerian Condensed, Arriba, Avenida, Balmoral, Bang, Belwe, Bertie, Bickley, Bluntz, Bramley, Burlington, Cabaret, ITC Airstream, ITC Arid, ITC Arnova, ITC Benguiat Gothic, ITC Blaze, ITC Bodoni, ITC Bradley Hand and ITC Braganza are trademarks of International Typeface Corporation and may be registered in certain jurisdictions.
Bergell and ITC Benguiat are trademarks of International Typeface Corporation registered in the U.S. Patent and Trademark Office and which may be registered in certain other jurisdictions.
Baskerville Classico is a trademark of Omnibus.
Bernhard Modern and Biffo are trademarks of The Monotype Corporation and may be registered in certain jurisdictions.
Ashley and New Berolina are trademarks of The Monotype Corporation registered in the United States Patent and Trademark Office and may be registered in certain jurisdictions.
Baker Signet is a trademark of VGC Corporation.
