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), and 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 Bodini).
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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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 for inclusion on the Take Type 3 CD. 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 Celtic-Irish feel. Because of a lower grade of legibility, Linotype Besque should be used exclusively for headlines in larger point sizes. |
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Data Seventy™ is a high-tech style font, with the look of old computer lettering, designed in 1970 from British designer Bob Newman. Data Seventy gives any text a futuristic appearance.
The Data Seventy™ font family is part of the ITC Library. |
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Linotype Down Town™ is part of the Take Type Library, chosen from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. The cheerful character of this fun font from German designer Critzler is perfect for comics or posters. The figures dance across the base line, swinging between thick and thing, big and small. Linotype Down Town is intended exclusively for headlines and short texts in at least 18 point. |
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In creating his font, designer Bo Berndal combined elements of the constructed and Art Deco styles. Slender and angular, Grafilone™ is mechanically exact and coolly reserved. A distinguishing characteristic is the combination of angular and sloping strokes, which give the font a dynamic feel. Grafilone is particular good as a headline font and for initials when combined with constructed sans serif fonts.
The Grafilone™ Font Family is part of the TakeType Collection. |
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Linotype Graphena™ is a handwriting font designed by the Italian artist Giancarlo Barison. Consciously irregular and erratic, the letters dance across a page, large and small, tilted and erect. Linotype Graphena could be described as angular, restless, even mischievous. It should be set in point sizes no smaller than 12 and is best used for headlines and displays.
The Linotype Graphena™ Font Family is part of the TakeType Collection. |
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ITC Grimshaw Hand™ is based on the handwriting of its British designer, Phill Grimshaw. Warm and lively, this typeface has the look of spontaneous handwriting with a little extra panache. Note the jaunty k, the swooping f, the simply stylish s, and the absolutely zingy cap Q and R. Grimshaw designed this face in 1995, at a time when he was also playing the guitar and mandolin. Handwriting fonts give an air of intimacy to the graphic design of advertising pieces, packaging, invitations, greeting cards - and ITC Grimshaw Hand has the touch of sweet music in its enthusiastic strokes.
The ITC Grimshaw Hand™ Font Family is part of the ITC Library. |
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Inspired by cartoons and characteristic faces Martina Theisen has created these silhouettes. They are available in two different forms Outline and Black so that they can be combined in a bi-color mode. The other cartoon fonts from Martina with faces are Linotype Smileface™ and Linotype Typentypo™.
The Linotype Improfil™ Font Family is part of the TakeType Collection. |
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Jazz™ is the work of British designer Alan Meeks and brilliantly captures the sophisticated elegance of the 1920s and 30s. The bold roman style is enhanced with an interior design almost like a piano keyboard or the lit windows of a skyscraper. Jazz font is a good choice for any headline or display which should have a refined, Art Deco look. |
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Kanban™ is the work of British designer Ed Bugg, an all capital, oriental style typeface. Kanban was the word used for shop signs in old Japan and the letter forms mimic the square look of Japanese and Chinese calligraphy. Kanban is the ideal display solution wherever an oriental appearance is needed. |
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ITC Luna™ is the work of Japanese designer Akira Kobayashi. He 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 display face and an ordinary text face," says Kobayashi. "It has an Art Deco style but is still fairly easy to read. It can be used in short passages of text. As for individual characters, I especially liked the distinctive O, shaded only on one side. Lowercase a and g are also unusual, but they are somehow legible enough in text matter." And for a finishing touch on his Luna, Kobayashi added the charming moon face as an extra character.
ITC Luna is part of the ITC Library. |
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Pablo is the work of British designer Trevor Pettit, who based this dramatic typeface on the signature of Pablo Picasso. The chunky lowercase reflects the very essence of Picasso’s influence and the initial capitals can also be used on their own. Pablo is excellent for work requiring a vivid, cutting edge appearance.
The Pablo™ Font Family is part of the ITC Library. |
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Linotype Party Time™ is part of the Take Type Library,, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The typeface is the work of Bulgarian designer Christo Velikov and is composed exclusively of capital letters. Different components make up this cheerful, frolicking font: stripes, dots, triangles, arrows, a trumpet, a ribbon, and others. The characters of Linotype Party Time stand straight on the base line while those of Linotype Party Time Drunk take on the stance typical of this state. Linotype Party Time is perfect for anything which has to do with fun and should be used exclusively in larger point sizes to emphasize the details which make the figures so unique. |
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Bubbly black letterforms dancing across the line: this is F2F Tagliatelle Sugo™, a funky font from Alessio Leonardi. Try it out in a big headline today! |
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The Linotype Textur™ font family contains the weights "Textur Gotisch" and "Textur Lombardisch".
Textur Gotisch is a real historic blackletter that contains a wide variety of ligatures and offers in with the Lombardic letters a sacral style. Ideal for documents like certificates for mediaeval games.
The Linotype Textur™ Font Family is part of the TakeType Collection. |
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