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.
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
[...]Not only at the Bauhaus did groups of artists join together to develop works which fit neither the Expressionist nor the Surrealistic art movements. In the 1920s, every European center had artist colonies which actively confronted the historic romance and glorification of art with a new clarity and directness.
Throughout recorded time, there have been artistic styles containing Constructivist elements, for example those of the Renaissance or Jugendstil. In the time between the two world
[...]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
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Font Designer: Neville Brody, 1989
Insignia® font was designed by the internationally acclaimed designer Neville Brody, who has been described as "the most influential designer of the Eighties". Brody’s particular style, often imitated, has made its mark on many of today’s lifestyle magazines. Brody has worked for various trend magazines like "The Face", "Arena", "City Limits" and "New Socialist". Many record covers for CBS, Virgin, EMI and WEA originated from his studio and among
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Brodys Schriften greifen ästhetische Elemente des Art Deco sowie außereuropäische Einflüsse auf. Sein Gestaltungsstil wurde zum internationalen Vorbild des aufbrechenden computerorientierten Designs und erreichte nahezu Kultstatus. Vier Original-Brody Schriften sind inzwischen von Linotype-Hell erhältlich: Die Insignia, die Industria-Solid, die Industria Inline und die Arcadia. Die Insignia, mit den Grundformen konstruierter Groteskschriften, orientiert sich an der Neuen Typografie des Bauhauses der 30er Jahre die den Geist des Zeitalters der Technik und des Fortschritts in sich trug. Die mittleren horizontalen Balken der Versalien, wie z.B. beim E und F verlängerte Brody über den Buchstabenumfang hinaus. Sogar das S besitzt einen mittleren Balken anstelle der gewohnten geschwungenen Form. Diese eigenwilligen Variationen verleihen der Schrift eine spröde, technische und dennoch reizvolle Schwere, die an den russischen Konstruktivismus erinnert.
