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.
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
[...]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.
Ganz gleich, ob Sie Schriften für Weihnachtskarten, Geschenkverpackungen, oder andere Design-Anwendungen benötigen, Linotype hat immer das Passende. Auf dieser Seite finden Sie Schriften, die in unserem Webshop neu erhältlich sind, sowie einige echte Klassiker. Von traditioneller Kalligraphie und Frakturschriften bis zu zwanglosen, fröhlichen Schreibschriften – Sie finden in dieser Auswahl bestimmt Ihre perfekte Weihnachtsschrift! Abgerundet wird Ihr Design durch einen unserer modernen
[...]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,
[...]
Hier haben wir für Sie unsere beliebtesten Schriften im chinesischen Stil zusammengefasst. Die Buchstaben dieser Designs wirken alle wie mit dem Pinsel gemalt und eignen sich für unzählige Produkte und Kunden auf der Suche nach Schriften mit asiatischem Look. Und für den perfekten letzten Schliff probieren Sie zusätzlich eine der illustrativen Pi-Schriften!
Hier finden Sie eine Auswahl an verborgenen „Schrift-Schätzen”. Möglicherweise kennen Sie schon einige, aber kannten Sie alle?
Viel Spaß beim Anschauen!
Making a Christmas card takes a lot of work! Finding the right typeface can be tough, too. Have you ever spent hours searching for the right one? Well, in 2003, instead of spending hours searching, German designer Guido Bittner, made his own. Expectation was first used on the Christmas card for Bittner's Wiesbaden design studio, like VorSicht.
This delicate series of letters maintains a handwritten feel, in part because it began as a digitalization of Bittner's own handwriting. Expectation
[...]Available as Value Pack for instant download or on CD with physical shipping
Four alphabets for interchangeable use with many additional characters, newly designed small caps, 100 ornaments, and hyper-flourishes
New: Zapfino Extra Pro, the contextual version of Zapfino, automatically provides individual and varied results!
Now it is simpler than ever to make beautiful typography using the unique calligraphic typeface, Zapfino®.
After first learning the possibilities that digital fonts and computer programming had to offer, Hermann Zapf – the designer of
[...]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
[...]
Zapfino® – perfekte Kalligrafie auf dem Computer.
Das Original gibt es direkt von Linotype als Einzelfont, Value Pack oder auf CD.
Dieser Preis ist unschlagbar! Alle 24 Zapfino-Schriftschnitte in einem Paket, als Download sofort verfügbar.
Sie brauchen einzelne Zapfino-Schriftschnitte – kein Problem! Einzelne Schriftschnitte der Zapfino-Familie können direkt heruntergeladen werden. Ab .
Zapfino Extra
[...]Frutiger™ Capitalis
At first glance, Frutiger Capitalis Regular and Outline may seem related to the roman type Capitalis Monumentalis, but upon closer examination, the fonts reveal a vitality unknown to the characters the Romans etched in stone. Frutiger confesses that creating Capitalis was "a liberation." After working on so many sophisticated and meticulously designed typefaces, Capitalis was a breath of fresh air.
Stylistically, Frutiger Capitalis Outline forms a bridge to Frutiger
[...]
Font Designer: Adrian Frutiger, 2005
Adrian Frutiger has created an entire typeface universe. He is especially well-known for his highly readable faces for longer texts (Meridien®, Univers®, Glypha®, Centennial® etc.), but has also produced many popular decorative alphabets, such as Ondine™, Phoebus and President™, which he created in Paris in 1953.
More recently, he has applied his skills to the typefaces of the Linotype Project Type before Gutenberg". These include
[...]
In September 2008, Russia hosted its first ATypI conference. The ATypI, or Association Typographique International, is an organization of typographers and type designers. Every year, they meet together in a different city. Despite the strong contribution that Russian designers have made to the typographic fields in the past, this was their first opportunity to invite the international type community to such an event on their soil.
Several Linotype employees and designers were present at
[...]Roger Excoffon – born 7. 9. 1910 in Marseille, France, died 1983 in Paris, France – graphic designer, typographer, type designer.
Studies law at the University of Aix-en-Provence. Studied painting in Paris, works as a graphic designer. 1947: opens his studio. Co-founder of the U + O (Urbi et Orbi) advertising agency in Paris. Art consultant for the Fonderie Olive type foundry in Marseille (until 1959). 1968: designs the symbols for the Winter Olympics in Grenoble. 1972: founds his agency
[...]Georges Auriol (real name: Jean Georges Huyot) – born 1863 in Beauvais, France, died 1938 in Paris, France – type designer, graphic artist, painter, author.
1883: joins the editorial staff of the magazine "Chat Noir", the literary organ of the cabaret of the same name in Paris. 1900: Auriol designs several alphabets at the request of Georges Peignot, director of the type foundry Peignot & Sons. Friends with Th.-A. Steinlen and H. de Toulouse Lautrec.
Fonts: Auriol® (1901–1904), La
[...]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
[...]"Am 30. Dezember 1922 kam ich in der Schweiz, in Horgen am Zürichsee, zur Welt. In einem grossen Haus mit grossem Garten verbrachte ich meine Jugend, und viel Freizeit verbrachte ich auf dem See mit Segeln, Paddeln, Schwimmen und Fischen. Zeichnen und Malen waren aber seit meiner frühesten Kindheit meine Lieblingsbeschäftigungen.
Nach den Schulen absolvierte ich eine Lehre als Schriftsetzer. Anschliessend besuchte ich die Fachklasse für Typografie und die Fachklasse für Grafik an der Schule
[...]Born: London, 5 April 1945
Education: Kings College, Taunton, and Cambridge School of Art.
Art director, caricaturist and type designer.
ART DIRECTOR
The Wall Street Journal Europe
1999 –
Die Welt
1998–1999
Redesigned the newspaper; Drew daily editorial cartoons.
Drew logotype for Berliner Morgenpost
International Herald Tribune
1987–1998
Redesigned the newspaper. Drew editorial cartoons.
The New York Times
1978–1987
Designed the Financial sections and business
[...]Ed (Ephram Edward) Benguiat, born 27. 10. 1927 in New York, USA, type designer, calligrapher. Studied at Columbia University, New York and the Workshop School of Advertising Art, New York.
1953: associate director of "Esquire" magazine. Opens his own design studio in New York. 1962: joins Photo-Lettering Inc. as typographic design director, a position he still holds today. 1970: joins the International Typeface Corporation and is made vice-president; he works on the in-house magazine
[...]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
[...]Born in 1947 in Portsmouth, England and after schooling entered a 5 year apprenticeship with the Metal Box Company, Portsmouth. Trained in Design, Lettering, Calligraphy and Sign Writing under gifted lettering artists Norman March and Dieter Smith. During day release to Portsmouth College of Art & Design studied Fine Typography under Stan Kerry obtaining Full Technological Certificate in City & Guilds, London.
Self taught in further Calligraphy, Illustration and Water Color Painting and
[...]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.
[...]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).
The late Phill Grimshaw was a prolific designer who delighted in the sheer fun and challenge of drawing display typefaces. His fonts reflect his understanding of calligraphy, his own imagination for dynamic letterforms, and his knack for drawing a great variety of styles. After studying at the Royal College of Art in London in the 1970s, he settled in his native Manchester in northern England to work as a lettering artist. He developed a specialization in type design, influenced and encouraged
[...]The German designer Peter Huschka created the fonts Linotype Sinah™ (1994), Linotype Chineze™ (2002) and Picture Yourself™ (2003, with Karin Huschka).
Linotype Sinah is part of the TakeType Library, chosen from the entries of the 2nd International Digital Type Design Contests of 1994 and 1997.
Picture Yourself was a winner in the 2003 International Type Design Contest, sponsored by Linotype GmbH.
Designer Erwin Koch created the following fonts: Angro™, Dalcora™ (1989) and Monanti (1989).
Designer Alan Meeks (born 1951 in London) created the following fonts: Ambrose™, Aachen medium and bold (with Colin Brignall, 1969/1977), Algerian™ Condensed (1988), Astoria, Belwe™ Mono (1976/1989), Bertie™ (1985), Bickley™ Script (1986), Bramley™ (1979), Brigade, Burlington™ (1985), Cabaret™ (1980), Campaign™ (1987), Cancellaresca™ Script (1982), Candice™ (1976), Chalfont, Champers™ (1991), Chesterfield™ (1977), Claude™ Sans (1988/1990), Copacabana, Dynamo (with
[...]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.
[...]German designer Norbert Reiners created the fonts Linotype Eirinn™ and Linotype Octane™ in 1994. Linotype Octane is included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
The American designer Edwin W. Shaar created the fonts Flash™ (1939), Futura® Script (1954), Gazette® (1977), Nuptial Script™ (app. 1952) and Okay (1939).
The American designer Robert E. Smith (born 1910 in Chicago) created the fonts Brush Script™ (1942) and Park Avenue® Script (1933).
The British designer Martin Wait created the following fonts:
Artiste™ (1991), Balmoral™ (1978), Banner™ (1986), Bertram™ (1991), Challenge™ (1982), Conference™ (1978), Emphasis™ (1989), Forest™ (1986), Freestyle Script™ (1981/86), Hadfield™ (1980), Horndon™ (1984), Informal Roman™ (1989), Julietrose™ (2006), Laser™ (1987/88), Pendry Script™ (1981), Pritchard™ (1990), Rapier™ (1989), Refracta™ (1988), Riva™ (1994), Roquette™ (1993), Scriba™ (1992), Wild Thing™ (1995).
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),
[...]German designer Gudrun Zapf von Hesse created the following fonts:
Alcuin® (1991), Ariadne® (1954), Carmina® (1986), Christiana® (1991), Colombine® (1991), Diotima® (1952), Diotima® Classic (2008), Nofret® (1984) Shakespeare™ (1968), Smaragd™ (1953).
Please take a look at the personal designer portrait of Gudrun Zapf von Hesse.
The type foundry Otto Weisert in Stuttgart created Kalligraphia (1902) and Arnold Boecklin™ (1904).
Traces of the floral forms of the Jugendstil can still be seen in Arnold Boecklin. Alphabets of this type were mainly meant for larger point sizes, as on posters. A decorative feel was much more important than legibility and Arnold Boecklin was of particular importance to the book design of the Jugendstil movement. Today the font is often used to remind people of ‘the good old
[...]German designer Guido Bittner created the font Expectation™ in 2003.
Expectation was first used on the Christmas card for Bittner's Wiesbaden design studio, like VorSicht.
This delicate series of letters maintains a handwritten feel, in part because it began as a digitalization of Bittner's own handwriting. Expectation Swash includes additional swash letters, which can be paired with regular version of Expectation to create superior effects.
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
[...]The father and son team of Demetrio E. and Leslie Carbarga of New York created the Cabarga™ Cursiva display face in 1982. Coupling luscious curves with a sporty inline, this typeface exudes holiday cheerfulness. Carbarga Cursiva would be a great choice for your holiday newsletter’s headlines.
South African designer Gerhard Schwekendiek created the font Greyton Script™ in 1991.
Gerhard Schwekendiek is known for his script lettering and logos. He created this copperplate typeface to look almost ribbon-like and with white inlines. Capitals should be used for initialing and the lowercase alphabet links for word setting that looks like true handwriting. Greyton Script is perfect for eyecatching headlines.
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
[...]Designer Gabriel Martínez Meave created Arcana™ in 2003.
Arcana Manuscript is a calligraphic exploration of the Victorian gothic aesthetic that created literary classics such as Frankenstein and Dracula. Gabriel Martínez Meave first wrote with a fountain pen, then digitized the results to create this unique typeface. “Arcana” takes its name from the ultimate secrets that lie behind astrology, alchemy, and magic. In gothic novels, such secrets were written in forbidden books,
[...]Leslie Cabarga created the fonts Cabarga™ Cursiva (1982, with Demetrio E. Cabarga) and Central Station™ (1999).
Brazilian graphic designer Claudio Rocha created the fonts ITC Gema™ (1998) and ITC Underscript™ (1997).
ITC Gema was first written in a small size "to keep the surface irregularity of a non-coated paper when enlarged for use as a display font," says Rocha. Many strokes do not quite join, giving Gema the visual effect of a stencil typeface, the distinguishing characteristic of the font. "Some characters have my own handwriting gestures," says Rocha, like elongated endings and angular shapes.
[...]Entstanden durch Zusammenschluß der Firmen Deberny & Cie (gegr. 1818) und Peignot & fils (gegr. 1842) im Jahre 1923. Die wichtigsten Schriftdesigner waren A. M. Cassandre und Adrian Frutiger. In den 50er Jahren wird eine der ersten brauchbaren Fotosetzmaschinen, die Lumitype, gebaut. Im Jahre 1972 erwarb die Haas’sche Gießerei in Münchenstein die Firma.
Perfect calligraphy on your PC
Traditional and modern type creativity in one. The new Linotype Zapfino is artistically and technically a masterpiece from the master himself, Hermann Zapf. Linotype Zapfino is a complex font that can be used on the computer for creating calligraphic script layout designs. Its introduction into the market has had an auspicious start and the Type Directors Club of New York has just presented Linotype Zapfino with the prestigious TDC Type Design Award.
Linotype
[...]Calligraphy for Print 1
Graceful and flowing forms are what lend calligraphic script-based fonts their elegance and energy. These fonts are ideal for traditional-looking or refined applications, such as formal invitations or tastefully designed letterhead. Linotype is pleased to present you with the following two collections: "Calligraphy for Print 1 and 2." These collections are made up of the perfect selection of elegant, modern, and extraordinary calligraphic-based typefaces.
This fonts
[...]
Arnold Boecklin, Barbedor, Carlin Script, Carolina, Choc, Dalcora, Eirinn, Expectation, Linotype Buckingham Fraktur, Linotype Chineze and Linotype Gaius are trademarks of Linotype GmbH and may be registered in certain jurisdictions. Auriol, Banco, Colombine and Conrad are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Frutiger 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.
Balzano and Bickham Script are trademarks of Adobe Systems Incorporated which may be registered in certain jurisdictions.
Arcana is a trademark of Gabriel Martínez Meave.
Aristocrat, Arriba, Artiste, Balmoral, Bickley, Bordeaux, Cabarga, Cancellaresca, Claude, Croissant, Fine Hand, Flash, Fling, Gravura, Greyton Script, ITC Edwardian Script, ITC Gema and ITC Grimshaw Hand are trademarks of International Typeface Corporation and may be registered in certain jurisdictions.
Biffo, Brush Script, Commercial Script, Dorchester Script and French Script are trademarks of The Monotype Corporation and may be registered in certain jurisdictions.
Ashley is a trademark of The Monotype Corporation registered in the United States Patent and Trademark Office and may be registered in certain jurisdictions.
