Einleitung
Kurz vor Jahresschluss ist genau die richtige Zeit, noch einmal einen Blick auf die besten Linotype-Schriften der letzten zehn Jahre zu werfen – bestimmt sind Ihnen viele dieser Schriften inzwischen durch Ihre tägliche Arbeit bestens vertraut!
Während der späten 90iger brachte Linotype viele neue Schriften auf den Markt und veränderte damit weltweit die Art der Kommunikation. Viele unserer Schriften findet man rund um den Globus auf den Computern, einige davon sind in
[...]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!
Seit Jahrzehnten arbeitet Adrian Frutiger eng mit Linotype zusammen. In den vielen Jahren dieser wertvollen Zusammenarbeit sind zahlreiche Fotos von Adrian Frutiger entstanden. Diese Bilder vermitteln Eindrücke der verschiedenen Phasen und Höhepunkte seines bisherigen Lebens. Es sind Fotos, die ihm bei der Arbeit in seinem Studio zeigen, Aufnahmen zusammen mit seinen Schriften, sowie aktuellere Schnappschüsse, auf denen er bei der Zusammenarbeit mit Akira Kobayashi zu sehen ist.
Wir hoffen,
[...]Bei diesen 33 Halloween-Fonts ist Grusel-Stimmung garantiert!
Ob Sie ein Kostümfest organisieren, für Halloween-Artikel werben oder einfach eine gespenstische Atmosphäre schaffen wollen, diese Schriften sind genau das, was Sie gesucht haben!
In unserem Halloween Value Pack finden Sie fünf großartige Schriften zum kleinen Preis: drei Grusel-Schriften und zwei furchterregende Pi-Fonts!
Viele andere Designs sind außerdem einzeln erhältlich. Hier finden Sie unsere Auswahl vieler weiterer
[...]Frutiger® – der Klassiker unter den serifenlosen Schriften.
Das Original gibt es direkt von Linotype als Einzelfont, Value Pack oder auf CD.
Über die Frutiger
Mit der Frutiger schuf der renommierte Schriftdesigner Adrian Frutiger ein wahres Meisterwerk. Beauftragt mit der Entwicklung des Leitsystems für den Pariser Flughafen Charles de Gaulle in Paris, bei dem gute Lesbarkeit oberstes Gebot war, erstellte Frutiger im Jahr 1968 die inzwischen legendäre Frutiger. Die ursprüngliche
[...]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,
[...]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
[...]
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
[...]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.
Victor Hammer – born 9. 12. 1882 in Vienna, Austria, died 10. 7. 1967 in Lexington, USA – printer, painter, graphic artist, architect, type designer, sculptor, teacher, publisher.
1897: apprenticeship with an architect and town planner. 1898: studies at the art academy in Vienna. 1922: moves to Florence. Opens and runs a printing workshop in Florence. 1923: makes the acquaintance of Rudolf Koch. 1929: he and his printing works move into the Villa Santuccio in Florence and the business is
[...]Georg Trump – born 10. 7. 1896 in Brettheim, Germany, died 21. 12. 1985 in Munich, Germany – graphic artist, typographer, type designer, painter, teacher.
1912–14: studies at the Kunstgewerbeschule in Stuttgart under J. V. Cissarz and from 1919–23 under F. H. E. Schneidler. 1921: assistant at the school. 1923–26: ceramic artist in Italy. 1926–29: professor at the Kunstgewerbeschule in Bielefeld. 1930–35: works with the H. Berthold AG type foundry in Berlin and from 1937 onwards with the C.
[...]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 designer Arthur Baker created the following fonts: Amigo™, Baker Signet™, Kigali™, Marigold™, Oxford™, Pelican™, Sassafras™, Visigoth™.
The American calligrapher and type designer Alan Blackman created Galahad™ in 1994. Galahad is a sans serif font with a calligraphic flair particularly suited for displays, although its open geometric forms make it a good choice for shorter texts as well. Galahad also includes old style figures and alternate characters, making it a very flexible font.
Galahad is part of the Linotype Library.
more ...
Grafik-Designer AGD
Stuttgarter Straße 128
71522 Backnang
Telefon (0 71 91) 6 31 11
Fax (0 71 91) 8 60 83
E-mail: h.g.bomm@t-online.de
Geboren 1948 in Backnang, Baden-Württemberg
1972–1975 Studium am Institut für Buchgestaltung der Staatlichen Akademie der Bildenen Künste Stuttgart bei Walter Brudi, Kurt Weidemann, Günter Jacki.
Seit 1975 eigenes Grafik-Design Studio in Backnang.
Please take a look at a digital exhibition of works of Hellmut G. Bomm and at his personal
[...]The British designer Rachel Ellaway created the font Linotype Besque™ in 1999. It was chosen from the entries of the 1999 International Digital Type Design Contest. A generous typeface in which the circle, or better, the o, is without a doubt the dominant element. Almost all figures were constructed from the form of the o. The letters are therefore almost without exception convex and make an open, airy and dynamic impression. The wedges at the ends of some figures give the typeface a
[...]Karlgeorg Hoefer was born on February 6th, 1914 in Schlesisch-Drehnow. Following schooling in Schlesien and Hamburg, he served a four-year typesetting apprenticeship from 1930-1934 in Hamburg. After two years of military service, he studied at the Kunstgewerbeschule (School of Arts and Crafts) in Offenbach am Main and then worked in Potsdam. From 1939 until 1945 he was in active military service and was also a prisoner of the Russians.
His activities as a calligrapher began after his
[...]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
[...]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
[...]The French designer Thierry Pulfoulhoux (born 1961) created the font ITC Korigan™ in 1997. ITC Korigan is uncial typeface which he wanted to offer as an alternative to Victor Hammer's American Unicial™, which remains for him "the uncial character of reference." The roundness of an uncial gives it the look of pearls on a string, as Hammer said, and ITC Korigan is true to its heritage in this respect. Despite the roundness, however, the forms remain familiar and legible to the modern eye.
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 Torsten Weisheit created the font Linotype Irish Text™ in 1997. Linotype Irish Text is part of the TakeType Library, chosen from contestants of Linotype's International Digital Type Design Contests of 1994 and 1997. Weisheit designed this font based on Irish scripts of the 5th century. Characteristic of this style is the mixture of upper case letters in the mostly lower case alphabet and vice versa. The letters look as though written with a broad tipped pen and have
[...]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.
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.
[...]Enigmatically romantic type – our Celtic Value Pack for only .
Discover a new range of mystical-medieval options with our newest Value Pack! The five typefaces, American Uncial, Eirinn, Galahad, Linotype Irish Text, and Omnia, each open a wide-range of design possibilities; together, no Celtic wish could be left unfulfilled. If that weren’t enough, we are pleased to present all of this enigmatic beauty for an unmatchable price!
These typefaces are included in the Celtic
[...]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
[...]Prof. Karlgeorg Hoefer was one one the most influential calligraphers of the 20th Century. Aside from leading numerous workshops inside the United States, as well as abroad, he taught for decades at the Hochschule für Gestaltung in Offenbach am Main (Germany). One of his most representative typefaces is Salto, which he developed in 1952 for the Klingspor foundry in Offenbach.
More about the fonts:
Beneta™
Karlgeorg Hoefer designed Beneta in 1991, inspired by the Littera beneventana, the
[...]Im Archiv der Font-Beiträge finden Sie weitere Artikel.
Der typografische Tipp des Monats von Akira Kobayashi, dem künstlerischen Leiter bei Linotype!
Oktober 2007: Ein paar Worte zum Thema Buchstaben-Spationierung/Unterschneidung
Optische Spationierung mit Adobe InDesign
Adobe InDesign enthält eine Option, die das optische Spationieren oder Unterschneiden zwischen Glyphen-Paaren ermöglicht. Die Anwahl der optischen Spationierung überschreibt die metrische Information, die im
[...]
Font Designer: Rachel Ellaway, 1999
Linotype Besque™, from English designer Rachel Ellaway, is part of the Take Type Library, chosen from the entries of the 1999 International Digital Type Design Contest. A generous typeface in which the circle, or better, the o, is without a doubt the dominant element. Almost all figures were constructed from the form of the o. The letters are therefore almost without exception convex and make an open, airy and dynamic impression. The wedges at
[...]
Font Designer: Alan A. Blackman, 1994
Galahad™, designed 1994 by well-known San Franciscan calligrapher Alan A. Blackman, represents one of his signature styles.
The name comes from Sir Galahad, son of Sir Lancelot and knight of the Round Table at King Arthur's court.
As a sans serif font with a calligraphic flair, it is mainly for display use but with its geometrical open forms shorter texts at smaller point sizes can also be set with it.
Font Designer: Hellmut G. Bomm, 2002
Hellmut G. Bomm about Linotype Invasion™:
"In 1067, William, Duke of Normandy, set off with a massive fleet to England to claim the crown that was promised him. His victory over his foe Harald in the Battle of Hastings made him king of England and he went into the history books as William the Conqueror.
The famous rug of Bayeux (La Tapisserie de Bayeux) from the 11th century tells of the battles of William the Conqueror in its pictures and
[...]
Font Designer: Johannes Plass, 1997
German designer Johannes Plass was influenced by historic broken letter faces, particularly Caslon Gotisch&trade, although the rounded corners give the font a handwritten look. Linotype Auferstehung™ is particularly good for headlines in larger point sizes.
Font Designer: Johannes Plass, 1997
Linotype Auferstehung™ is part of the Take Type Library, selected from contestants of Linotype’s International Digital Type Design Contest of 1994 and 1997. German designer Johannes Plass was influenced by historic broken letter faces, particularly Caslon Gotisch, although the rounded corners give the font a handwritten look. Linotype Auferstehung is particularly good for headlines in larger point sizes.
Font Designer: Georg Trump, 1951
Prof. Georg Trump (1896-1985) was a teacher of graphics and a type designer with a particular interest in scripts.
His major work was the old face type family, Trump Mediaeval.
Delphin®, designed for hot metal type setting, features very small capital letters in an upright position in contrast to the lower case alphabets being right angled.
This font has a calligraphic feel, especially the lower cases showing the artist's handwriting with a
[...]
Font Designer: Richard Yeend, 2002
Anasdair™ is a semi-serif text face that maintains its calligraphic origins. Its wide uppercase characters display an even, mono-spaced appearance. The design of the lowercase letters couples this rhythm with large apertures and tall x-heights. Anasdair’s sharp, pen-formed details are recognizable even in small point sizes, and they help lead the eye through the letters’ curves – bringing the of the reader’s eye across the line of the page. Coming
[...]
Font Designer: Richard Yeend, 2002
Anasdair™ is a semi-serif text face that maintains its calligraphic origins. Its wide uppercase characters display an even, mono-spaced appearance. The design of the lowercase letters couples this rhythm with large apertures and tall x-heights. Anasdair’s sharp, pen-formed details are recognizable even in small point sizes, and they help lead the eye through the letters’ curves – bringing the of the reader’s eye across the line of the page. Coming
[...]
Font Designer: Linotype Design Studio, 1988
Unzial typefaces consist of letter forms of the Capitalis Monumentalis and the majescule cursive. The origins of Unizial faces date back to the 5th century.
The Neue Hammer Unziale™ was developed from the Hammer typeface, which was designed by Victor Hammer in 1921, cut by A. Schuricht and appeared with the font foundry Klingspor in 1923. In 1953, American Uncial was expanded to include some new figures, also designed by Hammer, and was
[...]
Font Designer: Lutz Baar
Linotype Nordica™, by the Swedish designer Lutz Baar, has a truly hand-crafted feeling. The tall and narrow letters are rough and individualistic with a rustic flair. They evoke imagery from cut paper in scrapbooks to coarsely carved wooden signs. Use Nordica for your titles and headlines at large sizes to get a funky hand-made quality. Or try using it for short bits of text at smaller sizes to create a lively and idiosyncratic texture.
Works and Samples of Richard Yeend
The stamp collector Alan Blackman collects the treasured items in his own unique way: he sends mail to his home from all over the world with the beautiful and unusual stamps he finds on his travels. And as he is a calligrapher as well, he also takes care that the writing on the envelopes is as beautiful as the stamps he collects. Following is a sample of the ’Letter Artworks’ of Alan Blackman.
Designer Michael Gills (born 1962 in London) created the following fonts: Charlotte™ (1992), Elysium™ (1992), Figural™ (1992), Fling™ (1995), ITC Forkbeard™ (1998), Frances Uncial (1995), Gilgamesh™ (1994), Hand Drawn™ (1993), Isis (1990), Katfish™ (1994), Prague™ (1991), Type Embellishments One (with Colin Brignall, 1993).
These fonts are included in the Linotype Library.
Jaguar (1964)Poster (1927)
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