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.
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!
3 collections of calligraphic typefaces of yesterday for the typographer of today
Using the slogan "Type before Gutenberg" well-known calligraphers had been invited to design historical original handwritten fonts for modern typesetting.
3 collections are now available entitled "Type before Gutenberg" which contain fonts from different ages before Gutenberg.
The fonts from Type before Gutenberg 2:
Beneta™ regular, Beneta regular DFR, Beneta Ornaments
Karlgeorg Hoefer designed
[...]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
[...]Frederic William Goudy – born 8. 3. 1865 in Bloomington, USA, died 11. 5. 1947 in Malborough-on-Hudson, USA – type designer, typographer, publisher, teacher.
1888: book-keeper for credit and mortgage companies. 1889: moves to Chicago, works in real estate. 1892: launches "Modern Advertising" magazine which issues only a few numbers. 1895: opens a print workshop in Chicago and prints the "American Chap-Book". 1897: designs his first type, Camelot Old Style. Produces typographical designs for
[...]Victor Hammer – born 9. 12. 1882 in Vienna, Austria, died 10. 7. 1967 in Lexington, USA – printer, painter, graphic artist, architect, type designer, sculptor, teacher, publisher.
1897: apprenticeship with an architect and town planner. 1898: studies at the art academy in Vienna. 1922: moves to Florence. Opens and runs a printing workshop in Florence. 1923: makes the acquaintance of Rudolf Koch. 1929: he and his printing works move into the Villa Santuccio in Florence and the business is
[...]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
[...]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®
[...]The design team of Ronnie Bonder and Tom Carnase created in 1970 the following fonts: ITC Bolt®, ITC Honda®, ITC Machine® and ITC Pioneer®.
Tom Carnase – born 1939 – typographer, type designer, teacher, graphic designer.
1959: after completing his studies, Carnase joins the agency Sudler & Hennessey Inc. in New York. 1964–68: freelance designer. Opens the studio Bonder & Carnase Inc. (WTC). 1969–79: vice-president and partner of the agency Lubalin, Smith, Carnase Inc. 1979: opens the Carnase Computer Typography studio. 1980: co-founder and president of the World Typeface Center Inc., an independent type design agency.
[...]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).
Karlgeorg Hoefer was born on February 6th, 1914 in Schlesisch-Drehnow. Following schooling in Schlesien and Hamburg, he served a four-year typesetting apprenticeship from 1930-1934 in Hamburg. After two years of military service, he studied at the Kunstgewerbeschule (School of Arts and Crafts) in Offenbach am Main and then worked in Potsdam. From 1939 until 1945 he was in active military service and was also a prisoner of the Russians.
His activities as a calligrapher began after his
[...]The German designer Herbert Maring (born July 12, 1923 in Heilbronn) created the font Clairvaux™ in 1991. Herbert Maring developed his Clairvaux™ based on early Gothic typefaces. Its clever design resulted in highly stylized yet legible characters.
Clairvaux™ contains one weight, Clairvaux ™regular/Clairvaux™ DFR.*
DFR layouts (Deutsche Fraktur) include historic ligatures and a long s. They are provided free of charge with many black and broken letter faces from the Linotype Library.
For
[...]The German designer Johannes Plass created the fonts Linotype Animalia™, Linotype Atomatic™ and Linotype Auferstehung™ in 1997. These fonts are included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
Linotype Animalia is full of surprises. It is like a walk through the zoo, where the j is a shark chasing a small fish and the K is a moose gazing at the sky. Linotype Animalia is intended exclusively for use in
[...]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.
[...]Designer Milo Ivir created the font Linotype Gotharda™ in 1997.
Linotype Gotharda™ is included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
Please take a look at the personal designer portrait of Milo Ivir.
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.
Linotype previously had three design studios located around the globe:
Mergenthaler Linotype, in the United States, was founded in Brooklyn, but later moved to Melville, NY, and then to Hauppauge, NY. Mergenthaler Linotype's design studio employed at varying times up to 80 designers under the direction of Chauncey H. Griffith, Jackson Burke, Mike Parker, and Matthew Carter.
In continental Europe, Linotype typefaces were produced by the D. Stempel AG typefoundry in Frankfurt, Germany.
[...]Georges Dib created the font Kufi™ in 1987.
Kufi is a traditional-style Arabic headline face available in two styles, Kufi and Kufi Outline. Both of the OpenType fonts include Latin glyphs from Kabel® Heavy inside the font files, allowing a single font to set text in both most Western European and Arabic languages
The two Kufi OpenType fonts incorporate the Basic Latin character set (Western CP 1252 Latin 1/ANSI and Macintosh US Roman) and the Arabic character set (CP 1256), which
[...]Leslie Cabarga created the fonts Cabarga™ Cursiva (1982, with Demetrio E. Cabarga) and Central Station™ (1999).
Friedrich Wilhelm Bauer (born January 1, 1834 in Frankfurt am Main, died February 24, 1923 in Stuttgart) was the eldest son of Johann Christian Bauer, the founder of the Bauer'sche Type Foundry in Frankfurt am Main. After an apprenticeship as a punchcutter in his father's business, he set out on his own in 1858. In 1880, he founded the type foundry Bauer & Co, together with his son-in-law Karl Rupprecht. He left the firm in 1890 to work further on his own as an independent punchcutter.
Under the banner "Type before Gutenberg," several well-known calligraphers were invited in the late 1980s and early 1990s to design original interpretations of historical handwriting styles, for use in modern typesetting. Three separate collections made from these typefaces are now available. The "Type before Gutenberg" packs each contain fonts from the different historical ages that lead up to Gutenberg’s invention of movable letters (c. 1450).
Included in these packages are our beloved
[...]Enigmatically romantic type – our Celtic Value Pack for only .
Discover a new range of mystical-medieval options with our newest Value Pack! The five typefaces, American Uncial, Eirinn, Galahad, Linotype Irish Text, and Omnia, each open a wide-range of design possibilities; together, no Celtic wish could be left unfulfilled. If that weren’t enough, we are pleased to present all of this enigmatic beauty for an unmatchable price!
These typefaces are included in the Celtic
[...]Seit Schrift geschrieben wird, gibt es das Phänomen des künstlerischen Schreibens. Dahinter steht das Verlangen, dem Inhalt besonderen Ausdruck zu verleihen. Jede Zeit sucht die ihr entsprechenden künstlerischen Ausdrucksformen auch für die Schrift. Schriftkunst ist eine Kunst der „leisen” Töne, mit der Kammermusik vergleichbar; auch die feinen Zwischentöne werden hörbar bzw. sichtbar gemacht. Zu Beginn des 20. Jahrhunderts sind, ausgehend von England, durch die Schriftreformer
[...]These arabic fonts are available from Linotype:
Amer™
Ahmed™
Al Harf Al Jadid™
ASV Codar™
Badr™
Firas™
Hakim Ghazali™
Hassan™
Hisham™
Insan™
Isra™
Jalal™
Karim™
Kufi™
Lotus™
Maged™
Mariam™
Midan™
Mitra™
Mofid Mahdi™
Nazanin™
Qadi™
Sultan Free
Sultan Nahia
Yakout™
Old English Value Pack for instant download available
Blackletter typefaces evolved out of Northern Europe's medieval manuscript tradition. Grouped into four sub-families (Textura, Fraktur, Bastarda, and Rotunda), this style of type is characterized by the wide-nibbed pen strokes that are make its letterforms. Often heavy, these strokes leave a “black” color on the page. The German term for Blackletter, gebrochene Schriften, or "broken type", is also a helpful term to remember while
[...]Prof. Karlgeorg Hoefer was one one the most influential calligraphers of the 20th Century. Aside from leading numerous workshops inside the United States, as well as abroad, he taught for decades at the Hochschule für Gestaltung in Offenbach am Main (Germany). One of his most representative typefaces is Salto, which he developed in 1952 for the Klingspor foundry in Offenbach.
More about the fonts:
Beneta™
Karlgeorg Hoefer designed Beneta in 1991, inspired by the Littera beneventana, the
[...]Kufi™ is a traditional-style Arabic headline face available in two styles, Kufi and Kufi Outline. Both of the OpenType fonts include Latin glyphs from Kabel™ Heavy inside the font files, allowing a single font to set text in both most Western European and Arabic languages
The two Kufi OpenType fonts incorporate the Basic Latin character set (Western CP 1252 Latin 1/ANSI and Macintosh US Roman) and the Arabic character set (CP 1256), which supports Arabic, Persian, and Urdu. They include
[...]
Font Designer: Gottfried Pott, 1999
About the typeface:
Duc De Berry™ is characterized by two major traits: on one hand, the subdued, closed forms of the lower case characters; on the other, the lively lines of the capitals.
These seemingly opposing forces make the tension in Duc De Berry especially appealing. Each individual capital letter could also serve as an initial to add interesting emphasis to modern typography.
Historical note:
Next to the Gothic Minuscule,
[...]
Font Designer: Johannes Plass, 1997
German designer Johannes Plass was influenced by historic broken letter faces, particularly Caslon Gotisch&trade, although the rounded corners give the font a handwritten look. Linotype Auferstehung™ is particularly good for headlines in larger point sizes.
Font Designer: Johannes Plass, 1997
Linotype Auferstehung™ is part of the Take Type Library, selected from contestants of Linotype’s International Digital Type Design Contest of 1994 and 1997. German designer Johannes Plass was influenced by historic broken letter faces, particularly Caslon Gotisch, although the rounded corners give the font a handwritten look. Linotype Auferstehung is particularly good for headlines in larger point sizes.
Font Designer: Frederic W. Goudy , 1916
In 1915, Frederic W. Goudy designed Goudy Old Style, his twenty-fifth typeface, and his first for American Type Founders. Flexible enough for both text and display, it is one of the most popular typefaces ever produced, frequently used for packaging and advertising. Its recognizable features include the diamond-shaped dots on i, j, and on punctuation marks, the upturned ear of the g, and the base of E and L. Several years later, in response to the
[...]
Font Designer: Linotype Design Studio
This font is one of the most used broken letter fonts today. Fette Fraktur™ is used to invoke a nostalgic or rustic feeling and found often on restaurants with 'hearty homemade food' or breweries who use the 'good old recipes' of the founder. The font was designed in the 19th century and from the beginning intended as an advertisement typeface. The lower case letters have a gothic character with only the ornamental flourishes making them broken
[...]
Font Designer: Linotype Design Studio
This font is one of the most used broken letter fonts today. Fette Fraktur™ is used to invoke a nostalgic or rustic feeling and found often on restaurants with 'hearty homemade food' or breweries who use the 'good old recipes' of the founder. The font was designed in the 19th century and from the beginning intended as an advertisement typeface. The lower case letters have a gothic character with only the ornamental flourishes making them broken
[...]
Font Designer: Linotype Design Studio, 1988
Unzial typefaces consist of letter forms of the Capitalis Monumentalis and the majescule cursive. The origins of Unizial faces date back to the 5th century.
The Neue Hammer Unziale™ was developed from the Hammer typeface, which was designed by Victor Hammer in 1921, cut by A. Schuricht and appeared with the font foundry Klingspor in 1923. In 1953, American Uncial was expanded to include some new figures, also designed by Hammer, and was
[...]Works and Samples of Richard Yeend
Seit Schrift geschrieben wird, gibt es das Phänomen des künstlerischen Schreibens. Dahinter steht das Verlangen, dem Inhalt besonderen Ausdruck zu verleihen. Jede Zeit sucht die ihr entsprechenden künstlerischen Ausdrucksformen auch für die Schrift. Schriftkunst ist eine Kunst der "leisen" Töne, mit der Kammermusik vergleichbar; auch die feinen Zwischentöne werden hörbar bzw. sichtbar gemacht. Zu Beginn des 20. Jahrhunderts sind, ausgehend von England, durch die Schriftreformer William Morris,
[...]Nachfolgend einige Werke von Gottfried Pott. Bitte klicken Sie für eine vergrößerte Darstellung mit der Maus auf das jeweilige Bild.
