Die Calligraphy wurde von professionellen Typografen jahrelang vernachlässigt und in die kunsthandwerkliche Ecke gestellt. In den Vereinigten Staaten dagegen – so zeigen seit Jahren die Ergebnisse der Type-Directors-Show – gilt "Lettering" als wichtige Disziplin – auch in der Werbung. Mit dem zunehmenden Einsatz von Handschriften und handschriften-inspirierten Schriftfonts ist auch das Interesse an der Calligraphy neu erwacht. Nachfolgend einige Einblicke in die Welt der Calligraphy, verfaßt
[...]Find further Font Features in our Font Feature Archive.
In Layout in Advertising, published in October 1928, W. A. Dwiggins pointedly left sans serifs out of his survey of advertising typefaces. Gothic the newspaper standby in its various manifestations has little to commend it, he wrote, except simplicity; it is not overly legible, it has no grace. Gothic capitals are indispensable, but there are no good Gothic capitals. The typefounders will do a service to advertising if they will provide a Gothic of good design. In February 1929, Harry Gage,
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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
[...]Five fonts of the famous Sassoon font family for only .
The Sassoon font family is a smashing success in England! Buy its five most versatile styles now, for just !
The flexibility of this Sassoon family of types makes using it a lot of fun. Our Sassoon Value Pack contains the following five fonts: Sassoon Book Regular, Sassoon Infant Regular, Sassoon Primary Regular, Sassoon Sans Regular, and Sassoon Sans Slope Regular.
British designer Rosemary Sassoon these fonts in 1995, after a
[...]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
Many typeface catalogs, including our own, group all serif typefaces together under one umbrella-category. But in truth, there are many different kinds of serifs, e.g., Renaissance serifs, baroque serifs, unbracketed modern serifs, Latin serifs, wedge serifs, etc. One of the most popular styles of seriffed letter, especially for display type, remains the slab serif.
The slab serif is a genre of letterforms that has been in use for almost 200 years. Throughout this time, many
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Genau wie das beliebte Compatil® ist das Schriftsystem Generis von Linotype ein Paket mit vier Schriftfamilien. Von jedem Schriftstil, also Generis Serif, Generis Sans, Generis Simple und Generis Slab, gibt es vier verschiedene Gewichtungen und eine Kursivversion. Alle Gewichtungen und Schriftformen basieren auf einer einheitlichen Grundstruktur und daher gewährleistet diese Zusammenstellung ein harmonisches Textbild. Von den serifenlosen Typen gibt es zusätzlich eine Light- und eine
[...]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,
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Hier finden Sie eine Auswahl an verborgenen „Schrift-Schätzen”. Möglicherweise kennen Sie schon einige, aber kannten Sie alle?
Viel Spaß beim Anschauen!
Wir laden Sie ein zu einem Besuch auf unserer Website! Hier können Sie aus über 9.000 hochwertigen Originalschriften die Fonts aussuchen, die Sie mit Microsoft Office verwenden möchten. Von „klassisch“ bis „cool“ – ganz nach Ihrem Geschmack. Hier finden Sie neben den altbekannten und beliebten Klassikern wie der Helvetica®, der Frutiger® und der Univers® auch ein ständig wachsendes Sortiment innovativer Fonts, entworfen von jungen Schriftdesignern aus der ganzen
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Wir laden Sie ein zu einem Besuch auf unserer Website! Hier können Sie aus über 9.000 hochwertigen Originalschriften die Fonts aussuchen, die Sie mit Microsoft Office verwenden möchten. Von „klassisch“ bis „cool“ – ganz nach Ihrem Geschmack. Hier finden Sie neben den altbekannten und beliebten Klassikern wie der Helvetica®, der Frutiger® und der Univers® auch ein ständig wachsendes Sortiment innovativer Fonts, entworfen von jungen Schriftdesignern aus der ganzen Welt.
Linotype
[...]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
[...]Gottfried Pott is an excellent expert in calligraphic handwriting. He designed famous fonts for Linotype and is author of numerous publications.
More about the fonts:
Arioso™
Arioso stems from an early form of Old Face, developed during the 14th and 15th centuries in Italy. The style mixed Roman capital letter forms with Carolingian minuscule for the lower case. This combination puts it in the same basic family as many other Italic Chancery typefaces, like Hermann Zapf's ITC Zapf
[...]Adrian Frutiger is considered one of the most important typeface artists of the 20th century. He has been the creator of such internationally renowned typefaces as Avenir™, Linotype Centennial™, Frutiger™, Icone™, Meridien™ and Univers™. Numerous prizes distinguish his pioneering work in the fields of typography and the graphic arts.
More about the fonts:
Apollo™
The text typeface Apollo was designed by Adrian Frutiger in 1962–64, and was one of the first fonts produced by Monotype for
[...]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
[...]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
[...]William A. Dwiggins – born 19. 6. 1880 in Martinsville, USA, died 25. 12. 1956 in Hingham, Massachusetts, USA – type designer, printer, typographer, graphic designer – studied at the Frank Holme School of Illustration in Chicago under Frederic W. Goudy.
1903–04: runs his own printing workshop in Cambridge, Ohio. 1905–16: commercial artist in Hingham, Massachusetts. 1917–18: director of Harvard University Press. 1919: founds the Society of Calligraphers in Boston and is their president and
[...]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.
Peter Matthias Noordzij – born 27.1.1961 in The Hague, The Netherlands – typographer, type designer, teacher.
1980–85: studies at the Koninklijke Academie vor Beeldende Kunsten in The Hague. Courses include lettering under his father, Gerrit Noordzij. 1983: produces preliminary sketches for his PMN Caecilia™ typeface during his third year of study. 1985–86: period of practical training at a printing works. 1986: starts working as a typographer. Clients include the publishers Querido,
[...]Matthew Carter – born 1. 10. 1937 in London, England – type designer.
1956: trains as a punch cutter in the Netherlands. 1963–65: typography consultant for Crossfield Electronics. 1965: moves to the USA and works for Mergenthaler-Linotype in New York. 1971: moves back to England where he continues to work for Linotype. 1980–84: typography consultant to Her Majesty’s Stationery Office. 1981: the Royal Society of Arts make him a Royal Designer for Industry. 1981: he and Mike Parker set up
[...]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®
[...]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).
Chauncey H. Griffith – born 1879 in Irontown/Ohio, USA, died 1956 in Butler/N.Y., USA – typesetter, machine compositor.
1915: – becomes assistant to the president of Mergenthaler Linotype Company. Newspaper typesetting specialist. 1936: vice president of Mergenthaler Linotype with responsibility for typographic development.
Fonts: Ionic No 5 (1926), Ionic Condensed (1927), Papst (1928–1931), Poster Bodoni™ (1929), Textype (1929), Granjon® bold (1930), Excelsior® (1931), Janson
[...]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
[...]English designer Isaac Moore created the font Baskerville Old Face in 1768. Baskerville Old Face is based on one developed by the renowned 18th-century typographer John Baskerville. Tell-tale differences, including the characteristic squarish curves in the capital C and G, identify it as the version first issued by the Fry type foundry, established by the Fry family after they succeeded in the chocolate business.
The Italian designer Antonio Pace created the font Linotype Gianotten™ in 2000. Linotype Gianotten is a new interpretation of the classic Bodoni font. For this adaptation of the modern face, Antonio Pace went back to Giambattista Bodoni’s original punches, kept in a museum in Parma, and reinterpreted the 200-year-old characters for the world of modern digital technology. Rigorous design and the organic, unadorned construction of the individual characters give Linotype Gianotten a contemporary,
[...]Gottfried Pott, born 1939, studied graphic design at the Werkkunstschule in Wiesbaden with emphasis in lettering art under Prof. Friedrich Poppl. At the same time studies in painting with Prof. Vincent Weber and studies in music with Peter Kempin. Activities: Exhibits, workshops, development of type faces, as well as limited edition publication of calligraphic works. Since 1988 Professor for Calligraphy and Lettering Design at the University for Applied Science and Art at Hildesheim/Holzminden.
[...]Swedish designer Bo Berndal created the following fonts:
Belltrap™ (1995), Benedikt (1991), Berndal™ (2002), Boberia™ (1994), Boscribe™ (2005), Bosis™, Brigida™ (1995), Buccardi™ (2003), Byngve™ (2002), Carl Beck (1992), Linotype Dala™ (1999), Exlibris (1992), Frisans™ (2005), Golota (1997), Grafilone™ (1994), Grantofte (1995), Johabu (1989), Läckö (1993), Lebensjoy (1993), Logoform (1992), Magellan (1993), Maricava (1994), Naniara (1997), Olaus (1992), Promemoria (1996), Sabellicus,
[...]Adrian Williams began his career converting many established metal designs for the new filmsetting devices in1969; an era when other equipment manufacturers offered their devices, each with its own kind of unit system for the operating program. During the 70s he became involved with converting typefaces to digitised systems and is responsible for many original designs which he redrew, working with each manufacturer to make fonts for their unique formats. This led to the production of custom
[...]Anders Bodebeck, graphic designer from Gothenburg, Sweden, recently completed his first typeface Bodebeck™ in addition to his daily work with logotypes and calligraphic book covers. He has also been working as a teacher in graphic design at HDK – School of Design and Crafts at Gothenburg University. Anders Bodebeck will be represented in the annual book from Type Directors Club 2004. At the moment he is working with a new typeface.
Penumbra™ was designed by Lance Hidy in 1994, an all-capital multiple master font with two design axes: weight and style. The style axis progresses from a sans serif display design to a full serif design, with flare serifs and half serifs, and everything in between. The weight axis ranges from light to bold. Penumbra’s style range from a Futura-like sans serif to a Sistina-like serif can be successfully used in myriad display situations.
Gustav Jaeger, son of a printer, studied at the Hochschule für Gestaltung in Offenbach am Main. An enthusiast for type and typography from an early age, he started his career at the Bauer typefoundry, where he developed type specimens promoting the work of Konrad Bauer and Walter Baum. Encouraged by the former, he designed contemporary 1970s display types for H. Berthold AG. He progressed to text types, the first of which, Seneca® BQ, was released by Berthold in 1977. Many others followed,
[...]Find further Font Features in our Font Feature Archive.
Seit Schrift geschrieben wird, gibt es das Phänomen des künstlerischen Schreibens. Dahinter steht das Verlangen, dem Inhalt besonderen Ausdruck zu verleihen. Jede Zeit sucht die ihr entsprechenden künstlerischen Ausdrucksformen auch für die Schrift. Schriftkunst ist eine Kunst der „leisen” Töne, mit der Kammermusik vergleichbar; auch die feinen Zwischentöne werden hörbar bzw. sichtbar gemacht. Zu Beginn des 20. Jahrhunderts sind, ausgehend von England, durch die Schriftreformer
[...]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
[...]The renowned British designer Matthew Carter has worked as a type designer for over 40 years. His designs are suitable for an astonishing array of applications; many of them are already world-famous and the recipients of countless awards.
More about the fonts:
Bell Centennial
Bell Centennial font was created by Matthew Carter in 1976 for the American telephone company Bell. Its bold, clear characters make it an extremely legible and distinctive font.
Cascade Script™
Cascade Script
[...]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
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Font Designer: Kris Holmes and Charles Bigelow, 1985
Lucida® is a family of fonts with one basic design, but offered in more variations than normally available for one font. It has both serif and sans serif characters, as well as weights designed specifically for a particular purpose. One weight will print out clearly even on fax machines, another offers the possibility to present a text with black letter characters. The different weights are extremely versatile and can generally be
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Font Designer: John Baskerville
Baskerville™ was developed in the 18th century by John Baskerville (1706–1775) and its clear, sharp image set it apart from others of its time. John Baskerville was a major figure in the improvement of print technique and typography and his work influenced the work of such famous designers as Didot in France and Bodoni in Italy.
The fonts of John Baskerville were composed of more contrasting elements than any print characters that had been designed
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Font Designer: John Baskerville
Baskerville was developed in the 18th century by John Baskerville (1706–1775) and its clear, sharp image set it apart from others of its time. John Baskerville was a major figure in the improvement of print technique and typography and his work influenced the work of such famous designers as Didot in France and Bodoni in Italy.
The fonts of John Baskerville were composed of more contrasting elements than any print characters that had been designed before.
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Font Designer: Rosemary Sassoon, 1995
Sassoon® was designed in 1999 by Rosemary Sassoon in the style of typefaces found in schoolbooks in the early 20th century. The font exhibits a harmony between the space within and outside of the letters. The letters have soft, round forms which give text an almost ornamental character. This flexible font can be used for headlines or text, in small or large point sizes.
Font Designer: Hellmut G. Bomm, 1999
Hellmut G. Bomm about Linotype Nautilus™:
"Nautilus is based on a handwritten type used for the text "Li. Das Helle, Klare" from the I Ging (screenprint, 1981, see Fig. 1).
The intention was to create a clear, highly legible typeface. While the even strokes of sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus lends the type its legibility. The characters were drawn with a broad tipped pen, and
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Font Designer: Hellmut G. Bomm, 1999
Hellmut G. Bomm about Linotype Nautilus:
"Nautilus is based on a handwritten type used for the text "Li. Das Helle, Klare" from the I Ging (screenprint, 1981, see Fig. 1).
The intention was to create a clear, highly legible typeface. While the even strokes of sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus lends the type its legibility. The characters were drawn with a broad tipped pen, and like
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Font Designer: Bo Berndal, 2004
Inspired by calligraphic styles from 15th century Italy, master Swedish typographer Bo Berndal designed the Byngve™ font family. With four styles – Regular, Italic, Bold, and Bold Italic – Byngve proudly shows its process: Berndal wrote out the entire family by hand before digitizing it and converting its beauty into a typeface. Byngve is most suited for advertising uses, and for greeting cards.
The name Byngve comes from Bo Berndal’s two Christian
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Font Designer: Bo Berndal, 2004
Inspired by calligraphic styles from 15th century Italy, master Swedish typographer Bo Berndal designed the Byngve™ font family. With four styles – Regular, Italic, Bold, and Bold Italic – Byngve proudly shows its process: Berndal wrote out the entire family by hand before digitizing it and converting its beauty into a typeface. Byngve is most suited for advertising uses, and for greeting cards.
The name Byngve comes from Bo Berndal’s two Christian
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Font Designer: Anders Bodebeck, 2002
The Swedish designer/typographer Anders Bodebeck designed the Bodebeck™ type family in 2002. The family, which includes five different styles, is primarily intended for use as a titling, or display face, and belongs to the neo-transitional style of typefaces. Transitional style type first appeared in England during the late 1750s, when John Baskerville released his first sets of type. Bodeck bears similarities to another, later transitional
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Font Designer: Gustav Jaeger, 1980
Gustav Jaeger’s Becket typeface embodies a retro-medieval aesthetic. Base letterforms that might have been at home with a writer of Irish uncials have been streamlined according to late 20th century tastes to create a timeless effect.
Becket is the perfect font for headlines, posters or invitations.
Schrift-Designer: Gottfried Pott
Die Carolina&trade ist Teil des Programms „Type before Gutenberg” von 1990. Zwölf Schriften von zeitgenössischen Künstlern repräsentieren darin je eine historische Epoche von der „Römischen Kursive” bis hin zur „Humanistischen Minuskel”. Das komplette Paket ist unter www.linotype.com erhältlich.
Gottfried Pott gestaltete seine Carolina in Anlehnung an die karolingische Minuskel, welche 800 n. Chr. die Standardschrift
[...]Seit Schrift geschrieben wird, gibt es das Phänomen des künstlerischen Schreibens. Dahinter steht das Verlangen, dem Inhalt besonderen Ausdruck zu verleihen. Jede Zeit sucht die ihr entsprechenden künstlerischen Ausdrucksformen auch für die Schrift. Schriftkunst ist eine Kunst der "leisen" Töne, mit der Kammermusik vergleichbar; auch die feinen Zwischentöne werden hörbar bzw. sichtbar gemacht. Zu Beginn des 20. Jahrhunderts sind, ausgehend von England, durch die Schriftreformer William Morris,
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