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
[...]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!
Im Archiv der Font-Beiträge finden Sie weitere Artikel.
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
[...]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,
[...]Um sich an dieser Schriftauswahl zum Thema Strandparty zu erfreuen, brauchen Sie keinen Sand. Die Designs beschwören verschiedene Bilder herauf, von den Surfern der Sechziger über Tiki-Hütten bis hin zu DJs, die Technomusik am Sommerstrand machen. Ganz gleich, ob Sie eine Party planen, von Reiseabenteuern berichten oder die Verpackung eines Sommerprodukts entwerfen, diese Schriften geben Ihnen genau das Sonnen-und-Spaß-Feeling, das Sie suchen!
Eine neue Familie mit vielen Gesichtern –Azbuka
Namen sind Schall und Rauch? Das Schriftdesign Azbuka™ verdankt seinen Namen dem russischen Wort für Alphabet. Und diese umfassende Schriftfamilie bietet das Alphabet in nicht weniger als 20 Varianten. Ob Sie nun Text oder Schlagzeilen setzen wollen, Azbuka erledigt jeden Job effektiv und elegant.
Die Wurzeln der Schriftfamilie Azbuka stammen aus einer eigentlich wenig aufregenden Quelle. „Die Idee stammt zum Teil von
[...]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
[...]
Die richtigen Schriften für die drei offiziellen Amtschriften der Europäischen Union.
Mit dem Beitritt von Bulgarien im Januar 2007 ist neben dem lateinischen und griechischen Alphabets nun auch das kyrillsche Alphabet die dritte Schrift der Union.
Die Linotype Original-Fonts mit der Zusatzbezeichnung „W1G” erfüllen die Zeichensatzbelegung gemäß Linotype Norm W1G (World Glyph 1).
Sehen Sie hier, welche Sprachen mit den W1G-Fonts unterstützt werden (PDF-Dokument
[...]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
[...]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.
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
[...]Sumner Stone – born 9. 6. 1945 in Venice, Florida, USA – type designer, graphic designer.
1966: studies at Reed College in Portland, Oregon. Takes calligraphy lessons with Lloyd Reynolds. Then works as a type designer for Hallmark Cards in Kansas City for two years. 1972: opens his type studio, Alpha and Omega Press, in Sonoma, California. At the same time he studies mathematics at Sonoma State University. 1979: works for Autologic Inc. in Boston as director of typography. He later holds the
[...]Berthold Wolpe – born 29. 10. 1905 in Offenbach, Germany, died 5. 7. 1989 in London, England – typographer, type designer, teacher.
1924–27: studies at the Kunstgewerbeschule in Offenbach under Rudolf Koch. Then trains as a goldsmith in Pforzheim. 1929–33: teaches at the Kunstgewerbeschule in Offenbach and from 1930–33 at the art school in Frankfurt am Main. Designs commemorative reports, trademarks, posters, book covers and typefaces. 1932: meets Stanley Morison. 1935: emigrates to England.
[...]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
[...]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
[...]Alessandro Butti – born 1893, died 1959 in Turin, Italy – type designer, teacher. Art director of the Nebiolo type foundry in Turin. Taught at the Scuola Vigliani-Paravia.
Fonts: Paganini (with A. Bertieri, 1928), Quirius (1939), Athenaeum™ (with Aldo Novarese, 1945), Normandia (with Aldo Novarese, 1946–49), Rondine (1948), Augustea™ (with Aldo Novarese, 1951), Fluidum (1951), Microgramma™ (with Aldo Novarese, 1952).
* TYPOGRAPHY – An Encyclopedic Survey of Type Design and Techniques
[...]Ron Carpenter – born 1950 in Dorking, England – type designer.
1967: works as a cartographer. 1968: trains in Monotype Corporation’s type department. 1976: works on the quality control of Monotype fonts. 1980: helps Robin Nicolas to design the italics for his Nimrod typeface. 1984: senior type designer of the Monotype Corporation. Designs supplementary weights of Times New Roman™.
Fonts: Cantoria® (1986), Calisto®, Amasis™ (1992), Dante® (1993).
* TYPOGRAPHY – An
[...]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).
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).
Francesco Griffo (also Francesco da Bologna) – born 1450, died 1518 in Bologna, Italy – type founder, punch cutter, type designer. Trained as a punch cutter and type founder in Bologna.
1495: works with Aldus Manutius, for whom he cuts Greek alphabets and in 1501 an italic typeface for a Virgil edition. 1496: cuts the alphabet for Pietro Bembo’s "De Aetna", . 1502: parts company with Aldus Manutius. 1503: cuts an italic typeface for the printer Gershom Soncino in Fano. 1516: opens his own
[...]With Ashley® Script, designer Ashley Havinden (born 13. 4. 1903 in Richester, Kent, died 1973) immortalized his own handwriting. The typeface appeared in 1955 and reflects the spirit of the times. Most striking is the sharp form of the lower case s and the shape of the d, which looks like the mirror image of a six. These componants interrupt the otherwise homogeneous alphabet and give the font a dynamic character. The individual figures look like handwriting spontaneously and quickly put to
[...]Designer David Marshall created the font Biffo™ in 1964. The alphabet in handwritten style has the character of writing done with a broad tipped pen. The figures are round and flexible, even its vertical strokes have rounded edges, softening the look of the characters. The basic forms show parallels with a pear shape: generous in the lower third and thinning out as they move upward. Biffo font is a unique, lively typeface perfect for personal correpondence and for communicating spontaneity. It
[...]Martin Wilke was born in 1903 in Berlin, went to school in Stettin and Stargard in Pommern, studied handcrafts and fine arts for two years in Stettin and spent another two years attending the classes of Professor Emil Orlik at the State Museum of Fine Arts in Berlin.
Wilke was initially interested in painting, drawing, and typeface design, but his tendency toward typefaces gradually overshadowed the others. Inflation eventually made further study impossible for him. He showed his modest
[...]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
[...]The two British type designers Richard Dawson and Dave Farey created the fonts ITC Golden Cockerel™ (1996) and ITC Johnston™ (1999).
Richard Dawson and David Farey created in 2008 also Tanseek Modern™ and Tanseek Traditional™, together with Arlette Boutros and Mourad Boutros, and Azbuka™
Ong Chong Wah (born 1955 in Malaysia) created the fonts Abadi® (1987), Bookman Old Style™ (2005), Delima™ (1993), Footlight® (1986), Mahsuri Sans, Ocean Sans® (1993).
These fonts are part of the Monotype Library OpenType Edition.
Chris Brand (1921–1998) and Frank E. Blokland created the font Albertina™ for Monotype.
Albertina Font Family is part of the Monotype Library OpenType Edition.
Frank E. Blokland has a strong aversion to typefaces that are casually made, or careless re-works of earlier designs. His uncompromising opinions about type are evident not only in the many articles he has written, but also in the typefaces he has drawn.
An Award-Winning Start
Blokland studied graphic and typographic design at the Royal Academy of Arts in The Hague from 1978 to 1982. While still a student he founded the successful working group Letters, from which many well-known Dutch type
[...]Tom Rickner created the fonts Amanda™ and Buffalo Gal™.
In 1987, while still a student at the Rochester Institute of Technology, Tom Rickner began his career in type design by editing bitmaps for a local corporation. The following year, with bachelor’s degree in hand, he started at Imagen Corporation, where he constructed and hinted outline fonts. By the end of the next year, Rickner supervised production of the first TrueType as lead typographer at Apple. After leaving Apple and working
[...]Designer Steve Matteson created the fonts Andale® Mono, Andy™, Blueprint™, Curlz® (1995), Fineprint™, Kidprint™ and Truesdell.
Early on, Matteson planned a career in printing management, but a college job editing font bitmaps quickly changed his mind. That’s when he discovered the world of typeface design and font technology, an irresistibly fascinating convergence of left- and right-brain processes. Sensitively designed letters and their digital representations soon became
[...]Robin Nicholas’s early training as an apprentice draftsman let his natural artistic talent fuse with the accuracy and attention to detail required in technical drawing. Typeface design is a similar blend of right- and left-brain activities. Happily for those of us who use fonts, Nicholas’s career path took a turn when he joined the Monotype Type Drawing Office in 1965.
After a period of training at Monotype, Nicholas’s first projects involved redrawing master artwork for typefaces licensed
[...]Patricia Saunders created the fonts Arial® (1982, with Robin Nicholas), Columbus® (1992, with David Saunders) and Monotype Corsiva®.
These fonts are part of the Monotype Library OpenType Edition.
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
[...]Kevin Simpson was five years old when the stylized “E” of the Electrolux logo caught his eye. This is the earliest recollection of an interest in what was to ultimately become an obsession. Years later in his graduating presentation at Ravensbourne College, UK, a strong type and calligraphy bias manifested itself and he earned an honors degree in graphic design.
Four years later, having become frustrated with the limitations imposed while working for a small independent type
[...]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,
[...]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
[...]
Font Designer: Adrian Frutiger, 1962
The text typeface Apollo™ was designed by Adrian Frutiger in 1964 and produced by Monotype. It is oddly one of the lesser known typefaces of Frutiger®, perhaps due to the extreme fame of some of his other works, like the typefaces Frutiger and Univers®. Stylistically, the very legible and harmonic Apollo is an old face. Frutiger designed it especially for the photosetting used at the time. The Apollo typeface family consists of the
[...]
Font Designer: Berthold Wolpe, 1940
Written by Berthold Wolpe himself, the story of the genesis of Albertus®:
"When I first came to London in the summer of 1932, I met Mr. Stanley Morison. He had seen photographs of some bronze inscriptions of mine which interested him and asked me to design for the Monotype Corporation a printing type of capital letters based on the lettering developed for these bronze inscriptions.
I had been through a fairly thorough training in a bronze
[...]
Font Designer: Adrian Frutiger, 1962
The text typeface Apollo™ was designed by Adrian Frutiger in 1964 and produced by Monotype. It is oddly one of the lesser known typefaces of Frutiger, perhaps due to the extreme fame of some of his other works, like the typefaces Frutiger™ and Univers™. Stylistically, the very legible and harmonic Apollo is an old face. Frutiger designed it especially for the photosetting used at the time. The Apollo typeface family consists of the weights roman
[...]
Font Designer: Francesco Griffo, 1496
The origins of Bembo® font goes back to one of the most famous printers of the Renaissance, Aldus Manutius. In 1496 he used a new weight of a roman face, formed by Francesco Griffo da Bologna, to print the short piece 'De Aetna', by Pietro Bembo. This very typeface would eventually be of such importance that the development of print typefaces is unthinkable without it.
The first developmental phase was defined by the influence of the classic
[...]
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
[...]
Font Designer: Francesco Griffo, 1496
The origins of Bembo® font goes back to one of the most famous printers of the Renaissance, Aldus Manutius. In 1496 he used a new weight of a roman face, formed by Francesco Griffo da Bologna, to print the short piece 'De Aetna', by Pietro Bembo. This very typeface would eventually be of such importance that the development of print typefaces is unthinkable without it.
The first developmental phase was defined by the influence of the classic
[...]
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: 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.
[...]
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
[...]
Boton is a trademark of Albert Boton and may be registered in certain jurisdictions.
Alisal is a trademark of Carter & Cone Type Inc. and may be registered in certain jurisdictions.
Jeunesse is a trademark of Johannes Birkenbach and may be registered in certain jurisdictions.
Amadeo and Augusta are trademarks of Julius de Goede and may be registered in certain jurisdictions.
Antique Roman, Artisan Roman, Artistik, Ashley Inline, Athenaeum, Azbuka, Mentor, Slate and Tanseek are trademarks of Monotype Imaging Inc. and may be registered in certain jurisdictions.
Albany, Linex Sans, Neo and Rotis are trademarks of Monotype Imaging Inc. registered in the U.S. Patent & Trademark Office and may be registered in certain jurisdictions.
Sassoon is a registered trademark of Sassoon & Williams.
Arepo is a trademark of Stone Type Foundry Inc. and may be registered in certain jurisdictions.
Albertina, Almanac, Amasis, Andy, Apollo, Aqua Life, Arabesque, Bernard, Biffo, Binner Gothic, Binner Poster, Binny Old Style and Monotype Baskerville are trademarks of The Monotype Corporation and may be registered in certain jurisdictions.
Abadi, Albertus, Andale, Arial, Ashley, Bell, Bembo 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.
Amanda is a trademark of Thomas A Rickner and may be registered in certain jurisdictions.
