Linotype Arabic Stroke™ is an exotic typeface with an “Arabian touch” which makes a variety of applications possible. Whether for products from far away lands, travel advertisements, or anything needing a dynamic look, Arab Stroke is an excellent choice. The font is particularly eye-catching in headlines and combines well with sans serif fonts. |
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Linotype Authentic™ is a post-modern type system developed by the German designer Karin Huschka in 1999. With 30 individual styles, Linotype Authentic is broken up across four sub-families: Linotype Authentic Serif (8 styles), Linotype Authentic Stencil (6 styles), Linotype Authentic Sans (8 styles) und Linotype Authentic Small Serif 8 styles).
The post-modern-ness of the Linotype Authentic system manifests itself through its stylistic qualities (“snap-on” serifs, small serifs, and stencil “white space” lines) as well as through the overall appearance of its letterforms. The letters seem to be built from a complex matrix system. Elements that would normally be full curved have been flattened out. The uppercase letters run condensed. Both the “serifs” and “small serifs” are of the slab serif variety. The “small serifs” are reminiscent of the sort of serifs found on Didone letters (i.e., Didot® or Bodoni™).
The Linotype Authentic fonts may be used in a wide array of point sizes, from small text (in moderate amounts) to headlines, titling, displays, book covers and posters. Linotype Authentic can set a mean logo in the right hands, too. |
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Bertie™ was designed by Alan Meeks in 1986, an ornamented typeface with a light and elegant look. Such typefaces were at their peak in the middle of the 19th century, when they were created for the advertisements of booming industries. The sophisticated Bertie is based on forms of the transitional period and is best used in headlines with point sizes of 18 or larger to highlight its unique details. |
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Calcite™ Pro is a contemporary sans serif italic typeface designed by Japanese type designer Akira Kobayashi. Although it derives its basic character from the italic scripts of the Italian Renaissance, Kobayashi has utilized a highly stylized and rational approach to create an inspired modern Adobe Originals adaptation. Calcite Pro’s geometric form and almost crystalline texture evoke images of its mineral namesake. The dynamic appearance of this retro chancery script adds a strong graphic presence to modern typesetting, whether it is used on its own or in conjunction with more traditional typefaces. |
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Although designer Michael Gills was influenced by 18th century French type designer Pierre-Simon Fournier, Charlotte™ is best described as a modern roman typeface. Its clean cut style, accentuated by a strong vertical stress and unbracketed serifs, exudes an authoritative tone, guaranteeing its effectiveness for almost all text setting applications, but especially where a formal unmannered appearance is desired.
Charlotte Serif was designed to coordinate with the Charlotte Sans typefaces in style, weight, and color. |
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Forté™ was designed by the Austrian commercial artist Carl Reissberger who was trained as a compositor and later taught typography and drawing in Vienna. The idea for the Forté script font came from the study of plants, individual letter forms being inspired by the long stems and furry heads of the reed. Slightly inclined, it gives the impression of having been made with a bold brush or marker, and can therefore be used in work that requires an informal appearance. Forté is a strong design which contrasts well with sans serif faces and classical modern types. Use the Forté font in advertising, flyers and labels. |
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ITC Kristen™ is the work of American designer George Ryan. He describes it as “not your average text or display font.” The inspiration for the design came from the handwritten menu at a neighborhood restaurant. With time, the forms moved away from the originals and towards something more like a child’s scrawl. The result is singularly unique. ITC Kristen remains legible without losing any charm. |
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Le Griffe™ is the work of French designer Andre-Michel Lubac. A superb calligraphic script, Le Griffe includes two fonts of separate alternates and swash characters. In contrast to its more reserved lowercase, Le Griffe’s capitals are quite lively- especially those with swashes and flourishes. With Le Griffe, Lubac has imitated the skilled penmanship of free-flowing calligraphy in digital form. Now, instead of writing out beautiful text by hand, you can set it quickly and easily with this masterful type! |
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Linotext® font was designed by Morris Fuller Benton in 1901 and first appeared with the name Wedding Text with American Type Founders in Jersey City, where its metal forms were cut by hand. The font was so popular that its forms soon began appearing with other font foundries under different names, Elite Kanzlei with D. Stempel AG, Comtesse with C. F. Rühl, etc. Its ornamental forms are not considered very legible by today’s standards and Linotext font should therefore be used for headlines and short texts in point sizes 12 or larger. |
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Mundo Sans™, from Carl Crossgrove, , is becoming quite a popular design. As such, we are pleased to offer it for sale on Linotype’s webshop. Mundo Sans is a humanist sans serif, but it brings its own personality into this successful genre. In addition to the fine typefaces that have preceded it, Crossgrove gives credit to hand-lettered signage as a strong influence on the heavy weights in the Mundo Sans family.
Throughout his work on the project, Crossgrove aimed to create a humanistic typeface with subtle pen ductus, a wide range of weights and a fluid, unobtrusive italic. He kept the design clean and distinctive enough for display use while still being sufficiently understated and proportioned for text composition. With seven weights and a complementary suite of cursive italics, there is little outside the range of the Mundo Sans family. Weights range from the delicate and understated Extra Light through the forthright Medium to the lively and robust Ultra. Mundo Italics are true cursive designs with fluid strokes and obvious calligraphic overtones. The flick of the down-stroke in the “a,” the descending stroke of the “f” and graceful curve of the baseline of the “z” add grace to the design and distinguish it from more traditional sloped-roman italics. Crossgrove says that Mundo Sans isn’t meant to be revolutionary, yet it has a quiet distinction that separates it from other types. Without shouting “new and different,” Mundo Sans just works. |
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Swedish designer Lennart Hansson began designing letterforms at the age of 20, and since then his exceptional calligraphic artwork has been on exhibit throughout the world. Hansson won the Nordic Typeface Competition in Copenhagen for his typeface Runa Serif™, inspired by the forms of ancient Viking runes. |
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Linotype Scott™ Venus, from German designer Hellmut Bomm, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. This fun font is a relative of Linotype Scott Mars, however Bomm took a slightly more abstract approach in this design. Fully rounded curves are almost fully lacking in the lower case letters, emphasizing the font’s extremely cool and technical characters. Linotype Scott Venus is best used for headlines in larger point sizes. |
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