Im Folgenden befindet sich eine Auswahl hochqualitativer serifenloser Schriften, dies ist eine Auswahl der Linotype Schriftexperten. – Lassen Sie sich von unseren persönlichen Favoriten inspirieren!
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Dokumente, die sich auf diese Artikel beziehen ...
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 [...]
Agilita™ ist eine neue humanistische, serifenlose Linearantiqua, entworfen von Jürgen Weltin. Ihre eher klassischen Proportionen mit deutlich ausgeprägten Unter- und Oberlängen formen eindeutige Wortbilder.
Sie ist charakterisiert durch dynamische Einzelformen, die sich jedoch in ein klares und funktionales Gesamterscheinungsbild fügen. Dadurch ist Agilita sowohl eine geeignete Schrift für den Mengensatz als auch für komplexe Aufgaben im Informationsdesign, wie z. B. Leitsysteme.
Folglich [...]
Football Jersey Fonts
Football is in the air! Like all great team sports, football (or soccer, if you are in the US) inspires its fans to identify with their favorite team’s players, and sometimes even with a specific city or country. Each football team has its own visual identity, and the appearance of their logos and jerseys are one of the most exciting areas of graphic design. And it is no surprise that fonts play a strong role!
Below are images of just a few of the jerseys known and [...]
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!
Hier finden Sie eine Auswahl an verborgenen „Schrift-Schätzen”. Möglicherweise kennen Sie schon einige, aber kannten Sie alle?
Viel Spaß beim Anschauen!
Neville Brody – born 23. 4. 1957 in London, England – graphic designer, art director, type designer.
1975: studies painting at Hornsey College and from 1976–79 at the London College of Printing. Numerous record covers. 1981–86: art director of the English magazine "The Face". 1983–87: covers for the London magazine "City Limits". 1987–90: works for the "Arena" magazine. Art director for the magazines "Per Lui" and "Lei" of the Condé Nast Publications in Milan and the French magazine [...]
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® [...]
Designer Erwin Koch created the following fonts: Angro™, Dalcora™ (1989) and Monanti (1989).
Designer Jan Tomás created the fonts Linotype Alphabat™, Linotype Element™, Linotype Silver™ and Linotype Startec™ in 1999.
These fonts are part of the Take Type Library, chosen from the entries of the 1999 International Digital Type Design Contest for inclusion on the TakeType 3.1 CD.
When you look closely to Linotype Alphabat, the figures start to change from letters into flying bats and scary faces. Linotype Alphabat can be used for very short texts however it is particularly effective [...]
Jürgen Weltin was born on May 8th, 1969 in Constance. After schooling and swimming a lot in the Lake of Constance he worked in a publishing house before he started to study graphic design at the Technical College in Würzburg. After an apprenticeship in design company Stankowski + Duschek and after one term at Bournemouth & Poole College of Art and Design he graduated in Würzburg under Reinhard Haus from Linotype presenting the beginning of the new typeface Linotype Finnegan®.
Then he [...]
American designer Daniel Pelavin created the fonts ITC Anna™ (1991) and ITC Kulukundis™ (1997).
Daniel Pelavin designed ITC Anna for his wedding invitation and reused it on the birth announcement of his first child, Anna, whose namesake it is. The simple geometric forms and their proportions create a unique font appropriate for any special occasion.
ITC Kulukundis is a square, connecting script font which looks as though it could have been cast in shiny chrome for the side of a 1950s [...]
German designer Hans-Jürgen Ellenberger created the following fonts:
Linotype Albafire™ (2002), Linotype Albatross™ (2002), Linotype Albawing™ (2002), Linotype Aspect™ (1999), Linotype Beluga™ (2003), Cajoun™ (2002), Carlin Script™ (2002), Linotype Colibri™ (1999), Linotype Escript™ (2003), Linotype Inagur™ (1999), Mateo™ (1994), Linotype Pegathlon™ (1999), Linotype Rana™ (1997), Linotype Traco™ (1999), Linotype Biosymbols™ (2003), Linotype Chemsymbols™ (2003), Linotype Chemtools™ (2003), [...]
Designer Franko Luin created the following fonts: Ad Hoc, Baskerville™ Classico, Birka™, Bodoni™ Classico, Carniola™, Caslon Classico™, Devin™, Dialog™, Emona™, Esperanto™, Fortuna™, Garamond Classico™, Griffo Classico™, Humana™, Isolde™, Jenson Classico™, Jesper™, Jonatan™, Kalix™, Kasper™, Kis Classico™, Marco Polo™, Memento™, Miramar™, Norma™, Nyfors™, Odense™, Omnibus™, Pax™, Pax™ #2, Persona™, Ragnar™, Res Publica™, Rustika™, Saga™, Semper™, Transport™, Vega™.
Franko Luin, born 6. 4. [...]
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 [...]
German designer Carla Schweyer created the font Linotype Ambigue™ in 1999. The original name was "Confidence". This font family receives the first prize at the German Kurt Christians-Foerderpreis in 1997/98. This professional typeface is available in the weights Light, Book, Regular, Medium, Bold and Black. Its interpolated weights offer a subtle differentiation in the grey levels. A special "Small" weights is available which offers a better readability in small point sizes like lexica and [...]
Swedish designer Mårten Thavenius created Aptifer™ Sans and Aptifer™ Slab for the Linotype Library in 2006. Apart from designing type faces, Mårten Thavenius develops user interfaces for online solutions, mostly complex web based applications and portal systems. Visual design, usability and readability as well as technical implementations are on his daily agenda. He is currently working as a Senior GUI Architect at IBM.
Marten Thavenius lives in Belgium and Sweden.
Visit Mårten’s foundry [...]
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.
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.
The Haas’sche Schriftgiesserei traces its origins back the to printer Jean Exertier, during the second half of the 16th century. Business later passed on to the Genath family. In 1718, Johann Wilhelm Haas (1698–1764) from Nuremberg was hired. He later inherited the company as recognition of his efforts. After 1740, the business was run under the Haas name. In 1972, the entire type program from Deberny & Peignot in Paris was added, followed by that of the Fonderie Olive, Marseille in 1978. With [...]
Find further Font Features in our Font Feature Archive.
Superstar British designer Neville Brody has created typefaces that revolutionized the industry over the past two decades. These classics naturally have a sound place in the Linotype Libray.
More about the fonts:
Arcadia™
Arcadia was originally designed as the banner for Arena magazine in 1986. 1990 it was released as a font by Linotype GmbH.
Borrowing elements from Art Deco styling, Arcadia is a tall and striking geometric design with extremely condensed and contrasting forms. The [...]
Mårten Thavenius designed Aptifer in 2006. The typeface family consists of two subfamilies: Aptifer Sans and Aptifer Slab. Each of them has seven weights – thin, light, regular, medium, semibold, bold, and black – in roman and italic respectively, making 28 font styles in total.
A heritage from two design traditions can be seen in Aptifer. One is the robust American gothic typefaces, like M. F. Benton’s, from around 1900. This is combined with the openness and legibility that comes from the [...]
Finding function in light and flexible forms
Bad Homburg, 26 January, 2007. Linotype launches one of the lightest fonts ever – Agilita™, a new OpenType sans serif, both adaptable and lively. In smaller point sizes, the hairline weight of Agilita is so fragile, it pulsates with the possibility of disappearing and reappearing. The larger the point size of the hairline, however, the more it wants to take charge, its delicacy lifting off the page and grabbing the eye. In heavier weights, Agilita [...]
Five font families for a new season
Bad Homburg, 26 January, 2007. A new year is here, time to get back to the drawing board. Linotype has been busy sourcing the latest originals all year and to kick off the new year, launches five new font families in OpenType format. Each family offers its own dash of color and originality and can be employed for a variety of graphic communication needs. The fresh additions to the Linotype Library – Sunetta™, Aptifer™, Linotype Aroma™ OT, Anno™ and OCR A [...]
Various usage samples of Linotype Ambigue.
For a larger view please click on the images
Font Designer: Mårten Thavenius, 2006
Mårten Thavenius designed Aptifer® in 2006. The typeface family consists of two subfamilies: Aptifer Sans and Aptifer Slab. Each of them has seven weights – thin, light, regular, medium, semibold, bold, and black – in roman and italic respectively, making 28 font styles in total.
A heritage from two design traditions can be seen in Aptifer. One is the robust American gothic typefaces, like M. F. Benton’s, from around 1900. This is combined [...]
Font Designer: André Maaßen
The impulse behind André Maaßen's design of the Anno™ typeface was the design of a New Year's card for the year 2000 (Anno 2000). His desire to create the perfect printed image developed into a family with four styles: Anno 1, Anno 1 Italic, Anno 2, and Anno 2 Italic. Anno 1 and its Italic are semi-classicist typefaces, with a high degree of stroke contrast, while Anno 2 and its Italic are semi-grotesks, with less stroke contrast. Both Anno 1 and Anno 2 [...]
For a larger view please click on the image.
This text shows Linotype Finnegan’s possibilities of combinations.
Not your grandmother’ s medieval type ... meet the “American” Gothic fonts!
A breed of no-nonsense typefaces, called “Gothics” in the United States, have been serving as heavy hitters in financial services, business, and newspaper sectors since the late 19th Century. Gothic typefaces – not to be confused with Blackletter typefaces, which look “gothic” in a scary, medieval sort of way – are American sans serifs. Their forms are designed to solve [...]
Serifenlose Schriften
Einleitung
Früher, als Designer und Ladenbesitzer noch keine Computer, Drucker und Plotter hatten, die das Gestalten von Schildern und Preistafeln einfach machen, realisierten Schildermaler solche Aushänge von Hand. Diese Kunsthandwerker inspirierten ganze Generationen von Schriftzeichnern bei der Gestaltung ähnlicher Akzidenzschriften. Heute finden Sie diese Schriften in großen wie kleinen Geschäften. Wenn Sie in einem Geschäft oder im Einzelhandel arbeiten, wissen Sie unsere neue Auswahl [...]
Die ersten Zeichnungen von Jürgen Weltin, nach denen Agilita digitalisiert wurde, entstanden Anfang 2000.
Über Serifenlose Schriften
Ambigue, Angro, Anno, Anzeigen Grotesk, Aptifer, Linotype Albafire, Linotype Alphabat and Linotype Aperto are trademarks of Linotype GmbH and may be registered in certain jurisdictions. Arcadia is a trademark of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. Agilita is a trademark of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.
ITC Aftershock and ITC Anna are trademarks of International Typeface Corporation and may be registered in certain jurisdictions.
Antique Olive is a trademark of Madame Marcel Olive.
Albany is a trademark of Monotype Imaging Inc. registered in the U.S. Patent & Trademark Office and may be registered in certain jurisdictions.
Ad Hoc is a trademark of Omnibus.
Abadi, Andale and Arial are trademarks of The Monotype Corporation registered in the United States Patent and Trademark Office and may be registered in certain jurisdictions.
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