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!
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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Hier finden Sie eine Auswahl an verborgenen „Schrift-Schätzen”. Möglicherweise kennen Sie schon einige, aber kannten Sie alle?
Viel Spaß beim Anschauen!
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
[...]William Caslon I:
William Caslon I – born 1692 in Cradley, Worcestershire, England, died 1766 in Bethnal Green, England – engraver, type founder, type designer.
1706: begins a seven-year apprenticeship as an engraver with a London harness-maker. 1716: self-employed engraver. 1721: the Society for Promoting Christian Knowledge commissions Caslon to cast Arabic alphabets. 1725: sets up his own type foundry. 1734: Caslon’s first one-page specimen is produced which illustrates 47 of his
[...]Biography of Akira Kobayashi:
Studied at the Musashino Art University in Tokyo, and later followed this up with a calligraphy course at the London College of Printing. Freelance type designer since 1997.
Professional experience
April 1983–March 1989
Sha-ken Co. Ltd, Japan Typeface design department
December 1990–June 1993
Jiyu-kobo Ltd, Japan
September 1993–March 1997
TypeBank Co. Ltd, Japan
March 1997–April 2001
Freelance type designer
April 1998–April
[...]Aldo Novarese – born 29.6.1920 in Pontetura Monferrato, Italy, died 16.9.1995 in Turin, Italy – type designer, teacher.
1931-33: Attends the Scuola Arteri Stampatori in Turin, where he learns woodcut, copper engraving and lithography. 1933-36: attends the Scuola Tipografica Guiseppe Vigliandi Paravia in Turin. 1936: joins the Nebiolo type foundry in Turin as a draftsman. 1938: is awarded a gold medal in the national Ludi Juveniles art competition.
1948-58: teaches graphic drawing at the
[...]The designer Kim Buker Chansler created the fonts Birch™ (1990), Cottonwood™ (1991, with Barbara Lind and Joy Redick), Pepperwood™ (1994), Ponderosa™ (1990), Rosewood™ (1994) and Zebrawood™. Pepperwood™, Ponderosa™, Rosewood™ and Zebrawood™ are joint works of Kim Buker Chansler, Carl Crossgrove and Carol Twombly.
Birch is based on a Latin Condensed wood type found in a 1879 William Page specimen book. The font is a particularly legible condensed display typeface notable for its angled
[...]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
[...]The designer Harold Broderson (born December 13, 1913) created Brody in 1953.
Body is a brush script face that mimics the show card style of lettering, which was very popular throughout the United States during the first half of the 20th Century. The letters appear as if they were drawn quickly and spontaneously with a wide, flat lettering brush. The lowercase letters connect to each other, cursive script style. Brody is the perfect display face to provoke a nostalgic feeling for the 1950s.
[...]Jakob Erbar – born 2. 8. 1878 in Düsseldorf, Germany, died 1. 7. 1935 in Cologne, Germany – type designer, teacher. Trained as a compositor in Düsseldorf and took courses in type with Fritz Helmut Ehmcke and Anna Simons. Job typesetter for the Dumont-Schauberg printing works in Cologne.
1908: teaches at the Städtische Berufsschule. 1919–35: teaches at the Kölner Werkschule.
Fonts: Feder-Grotesk (1908), Erbar-Grotesk with the variants Lumina, Lux and Phosphor (1922–30), Koloss™ (1923),
[...]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).
Karl-Erik Forsberg – born 1914 in Munsö, Sweden, died 1995 – type designer, typographer. Trained at the School for Book Crafts in Sweden.
1938–41: studies at the Akademie für Graphische Künste und Buchgewerbe in Leipzig. 1942–49: designer for the publishers Almqvist & Wiksell, the University of Uppsala press. From 1950 onwards: designer for the publishers P. A. Norstedt & Söner. Besides book designs, Forsberg has designed stamps and produced magazines and stamps. 1954: a bible is published
[...]Designer Joy Redick created the following fonts: Blackoak™ (1990), Cottonwood™ (1991, with Barbara Lind and Kim Buker Chansler), Ironwood™ (1990), Juniper™ (1990), Mesquite™ (1990), Willow™ (1990), Woodtype™ Ornaments (with Barbara Lind, 1990).
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 American designer Robert E. Smith (born 1910 in Chicago) created the fonts Brush Script™ (1942) and Park Avenue® Script (1933).
Carol Twombly – born 13. 6. 1959 in Concord, USA – type designer. Studied at the Rhode Island School of Design and at Stanford University.
1984: is awarded 1st prize in the Morisawa type competition in Japan for he Mirarae typeface. 1988: joins Adobe and designs Adobe’s first original display typefaces (Trajan, Charlemagne and Lithos).
Fonts: Mirarae (1984), Charlemagne™ (1989), Lithos™ (1989), Adobe Trajan™ (1989), Caslon™ (1990), Myriad® (1992), Viva™ (1993), Nueva™ (1994) and
[...]Jill Bell Design is involved in many forms of letter crafting: calligraphy and signpainting, handlettering, logotypes and icons for advertising, packaging and entertainment, as well as type design. She has designed and/or digitized fonts for ITC, Adobe, Agfa/Monotype and for clientele such as Disney and Johnson & Johnson. Her designs are informed by her broad knowledge of letter creation: from ancient inscriptions and writing through contemporary graffiti and tagging, and from diverse cultural
[...]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,
[...]British Steve Jackaman created the font Castle ca. 1975
Castle is a font of the Linotype Library.
Albert Boton – born 17. 4. 1932 in Paris, France – type designer, graphic designer, teacher.
1952–55: trains at the Troy studio in Paris. Attends a course in calligraphy at the Ecole Estienne in Paris. 1955–57: type designer for the Deberny & Peignot type foundry in Paris under Adrian Frutiger and Ladislas Mendel. 1957–58: works in the graphics department of the Technès design studio. 1958–66: type designer and graphic designer for the Hollenstein studio in Paris. 1966–68: works for the
[...]American designer Paul Veres created the fonts Linotype Aperto™ (1996), Banjoman™ (1996) and Caterina™ (2004).
Linotype Aperto is a typical text font in the style of transitional faces, like its often-used cousin Times. It is available in roman, semibold and bold weights, each with its matching italic. The roman weight is complete with old style figures and small caps. Its balanced, reserved appearance makes Aperto extremely flexible, good for long texts as well as headlines.
Most of the
[...]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
[...]Designer Richard Lipton created the font Bickham Script™ in 2000. Bickham Script is a flowing, formal script typeface based on the lettering of 18th century writing masters, as rendered in the unparalleled engravings of George Bickham. This ornate script lends a signature flourish to invitations, menus, annual reports, restaurant logos, and packaging. With dozens of alternate letterforms in addition to its range of weights, Bickham Script's personality can range from poised to
[...]Gunnlauger Briem created the fonts Briem Akademie, Briem Gauntlet, Briem Mono and Briem Script.
Ray Cruz’s philosophy is “Learn by Doing.” This is emphasized to his lettering students, and practiced throughout his career. After graduating from New York City’s High School of Art & Design, Ray continued to hone his craft by working in several of New York’s top custom lettering studios. The more he drew letters, the better he got. His expertise in custom lettering and typographic design has brought him notoriety from ad agencies, publishers, and firms
[...]Using digital technology, Philip Bouwsma synthesizes contemporary type styles with traditional and historic scripts and symbols from the Middle Ages and Renaissance. A lifelong calligrapher, Bouwsma also expresses his passion for the calligraphic form into his work. He attended the University of California at Berkeley, majoring in history and Greek. His love of letters, however, lured him away from arcane history to a career filled with art, design and the alphabet. Over the years, Bouwsma has
[...]Lynne Garell created the map font Carta™ in 1986. Carta’s development began with the study of a variety of maps from sources such as the U.S. Geological Survey and National Geographic. A diverse set of symbols, Carta can be used in city planning, travel, socio-economic, and survey maps.
Ludwig Wagner, Otto Schmidt and Max Schmidt founded Wagner + Schmidt in Leipzig in 1875. They occupied themselves producing new typeface designs to be sold to various type foundries throughout Europe. These foundries purchasing these designs were free to market them under names of their own deciding.
Founded by Cynthia Hollandsworth Batty in the mid-1980s with the goal of creating new typefaces. There was some collaboration with the calligrapher Arthur Baker.
What do Disney’s Lion King and our new typeface releases have in common? Hans Bacher. Born in Germany, where he worked as an animation artitist and educator, Bacher now lives in Southern California where he creates stylistic designs for Disney Feature Animation. Trained in graphic design, and a winner of international awards for his animation, Bacher is also probably the only type designer that is a member of the Academy of Motion Picture Arts and Sciences.
In 1991 as an experiment, Adam Roe decided to found Lunchbox Studios. Since then, Adam has become president and founder of his second company, Reelhouse Footage and FK in Los Angeles, California.
www.lbox.com
Rotis font family
This font family consists of all versions of Rotis®, named by Otl Aicher after the village in the Allgäu where he has lived since 1972. Aicher’s goal was to design a family of fonts which could serve almost any typographical purpose. Rotis® gives an impression of both strength and generosity and all four versions can be used interchangeably with one another. Rotis® is suitable for book/text, documentation/business reports, business correspondence, magazines, newspapers,
[...]Japanese designer Akira Kobayashi is Type Director at Linotype. Since joining Linotype, he has been responsible for the futher development of classic typefaces like Avenir, Optima, and Zapfino. He has created numerous typefaces of his own, many of which have received prizes from all across the typographic spectrum.
ITC Luna
Akira Kobayashi turned to the designs of the 1930s for his inspiration for both ITC Luna and ITC Silvermoon. "Luna is designed to fill the gap between a pure Art Deco
[...]Im Archiv der Font-Beiträge finden Sie weitere Artikel.
Der typografische Tipp des Monats von Akira Kobayashi, dem künstlerischen Leiter bei Linotype!
Mai 2006: „Finger weg von dieser Schaltfläche!”
Viele Programme haben eine Schaltfläche „Kursiv”. Doch allzuoft* erhalten Sie damit nur eine automatisch erzeugte Version des Schriftschnitts „Roman”.
Ein besseres Ergebnis erhalten Sie, wenn Sie die Kursivschrift direkt im Font-Menü des
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Font Designer: Robert E. Smith, 1942
Brush Script™ is a lively calligraphy typeface with brush character designed by Robert E. Smith in 1942. Its figures are peppy and dynamic and flow easily into words and sentences. The marked stroke contrast and consciously hurried stroke bring the letters to life. Even today, Brush Script can be seen in advertisements and sales material, especially in the areas of luxury and consumer articles.
Font Designer: Otl Aicher, 1988
Otl Aicher named his typeface Rotis® after the small village in southern Germany where he has lived since 1972. The goal was to create an aesthetic type family which could fulfil a variety of typographic requirements. The result: a remarkable sans serif and a reserved antiqua with a total of 17 weights which combine extremely well with one another.
This unification of two classic forms was almost revolutionary in 1988. Over centuries, designers had
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Font Designer: Robert E. Smith, 1942
Brush Script™ is a lively calligraphy typeface with brush character designed by Robert E. Smith in 1942. Its figures are peppy and dynamic and flow easily into words and sentences. The marked stroke contrast and consciously hurried stroke bring the letters to life. Even today, Brush Script can be seen in advertisements and sales material, especially in the areas of luxury and consumer articles.
Font Designer: Paul Veres, 2004
The American designer Paul Veres designed the Caterina family in 1999. Caterina, which has six different styles, is a calligraphic sans serif face. While he was producing the film “The Legend of Suriyothai,” director Francis Ford Coppola personally selected Caterina for use in some of the films subtitles – in this case, they functioned like chapter titles in a book, or silent movie captions. Aside from Hollywood films, Caterina can be used for a wide
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Font Designer: Paul Veres, 2004
The American designer Paul Veres designed the Caterina family in 1999. Caterina, which has six different styles, is a calligraphic sans serif face. While he was producing the film “The Legend of Suriyothai,” director Francis Ford Coppola personally selected Caterina for use in some of the films subtitles – in this case, they functioned like chapter titles in a book, or silent movie captions. Aside from Hollywood films, Caterina can be used for a wide
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Schrift-Designer: Jeremy Tankard, 1999
Der britische Designer Jeremy Tankard begann mit dem Entwurf seiner Blue Island™ im Jahr 1996. Es sollte eine vollständig auf Ligaturen basierenden Antiqua werden, eine äußerst originelle aber keineswegs leicht umsetzbare Idee, weshalb sich das Design über Jahre hinzog. In Isolation gesehen wirken die Buchstaben der Blue Island etwas fragmentiert, doch zu Wörtern und Texten verbunden erzeugen sie ein attraktives, wellenförmiges
[...]Berling™ Nova Sans schließt sich der Superschriftfamilie Berling Nova an
Initial concepts for comprehensive type systems surfaced as early as the 1930s, yet they remained the exception. In the days of hot-metal typesetting, handbooks generally recommended creating typeface mixtures from a single type family, a family being understood as including all of a typeface’s weights, such as light, normal, semi-bold, and bold, and including all of the italic weights as well. A well-rounded type family also includes small caps, tabular and old-style figures. These days, the
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