Calligraphy has long been neglected by many professional typographers, but the Type Directors Show suggests that “Lettering” is an important discipline in the field of typography in the United States. The number of fonts inspired by handwriting is growing along with the interest in calligraphy. Linotype presents here a look into the world of calligraphy, written by the internationally known expert, Gottfried Pott.
Gottfried Pott
Gottfried Pott, born 1939, studied graphic design
[...]By Adrian Frutiger
Much has been written about the evolution of type: how the forms of our letters took shape, from the roman capitals to the Carolingian minuscules, and how the Latin alphabet was then, essentially, finalized for eternity by the first printing presses of the Renaissance Age.
Looking back from where we stand now, we could say that the original forms of our uppercase letters are around 2,000 years old, while those of our lowercase letters would be over 1,000 years old. And
[...]Agilita™ is a new humanistic sanserif typeface designed by Jürgen Weltin. The mulitilingual OpenType font family has rather classical proportions, to give it more distinct word shapes through clear descenders and ascenders.
This new face has a dynamic, yet strong and very functional appearance with a fine but clear emphasis on the horizontals.
The classical approach of Agilita makes it a versatile typeface for largescale textsetting but it can also be used in complex information design
[...]Five fonts of the famous Sassoon font family for only .
The Sassoon font family is a smashing success in England! Buy its five most versatile styles now, for just !
The flexibility of this Sassoon family of types makes using it a lot of fun. Our Sassoon Value Pack contains the following five fonts: Sassoon Book Regular, Sassoon Infant Regular, Sassoon Primary Regular, Sassoon Sans Regular, and Sassoon Sans Slope Regular.
British designer Rosemary Sassoon these fonts in 1995, after a
[...]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
[...]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.
Introduction
Many typeface catalogs, including our own, group all serif typefaces together under one umbrella-category. But in truth, there are many different kinds of serifs, e.g., Renaissance serifs, baroque serifs, unbracketed modern serifs, Latin serifs, wedge serifs, etc. One of the most popular styles of seriffed letter, especially for display type, remains the slab serif.
The slab serif is a genre of letterforms that has been in use for almost 200 years. Throughout this time, many
[...]
Al igual que la famosa Compatil®, el sistema tipográfico Generis de Linotype es una matriz para cuatro familias tipográficas. Los pesos Generis Serif, Generis Sans, Generis Simple y Generis Slab se cuadriplican en cada tipo. Es decir, que puede modificar cualquier cantidad de texto compuesto en un estilo de Generis a otro, sin que afecte al aspecto de la línea. Subraye algunas palabras de un texto compuesto en Generis Serif con Generis Simple, por ejemplo, y la posición de cada carácter
[...]Adrian Frutiger ha trabajado estrechamente con Linotype durante varios decenios. A lo largo de los profusos años de su fructífera colaboración, hemos recopilado un buen número de fotografías de Adrian Frutiger. Estas imágenes nos permiten vislumbrar distintos periodos y puntos culminantes de su vida hasta el momento. Tenemos fotos en las que está trabajando en su estudio, momentos de su vida junto a sus tipos de letra e incluso imágenes más recientes en las que está trabajando con Akira
[...]¡Asuste a algún que otro espíritu de Halloween con estas 33 terroríficas fuentes!
Sea cual sea el acontecimiento, una fiesta de disfraces, alquilar una casa encantada o simplemente crear una atmósfera macabra… estas fuentes son justo lo que necesita.
El Halloween Value Pack le ofrece cinco fabulosas fuentes a un precio muy bajo. Incluye tres tipos espeluznantes y dos terroríficas fuentes Pi.
También ofrecemos muchos otros diseños como pesos individuales. ¡Eche un vistazo aquí a otros
[...]
Los clientes de todo el mundo visitan Linotype.com cada día para adquirir las fuentes. A continuación, encontrará una lista con las 20 familias tipográficas más solicitadas por nuestros clientes en 2008. ¿Las conoce todas?
Aquí encontrará una selección de gemas tipográficas ocultas. Puede que ya conozca algunos de estos diseños … ¿pero los conoce todos?
Esperamos que se divierta navegando por esta selección.
Los 10 lanzamientos tipográficos más famosos de Linotype en 2009
Ahora que el 2009 ha tocado su fin, echemos la vista atrás y recordemos los lanzamientos tipográficos más famosos del año. Los hemos agrupado en tres categorías: sin gracias, con gracias y tipos de letra.
Formas claras; clásica y sencilla - La familia Aeonis de Erik Faulhaber
Después de Generis™, Aeonis™ es la segunda familia tipográfica más grande de Erik Faulhaber. La escritura lapidaria griega del siglo IX a.C. inspiró la forma básica sin gracias. Esta fuente, utilizada de manera habitual por su claridad, se caracteriza por el perfil abierto de la A mayúscula. La inspiración de las formas redondeadas de Aeonis la encontramos en un aplique del diseñador alemán Wilhelm
[...]Nadine Chahine, diseñadora de Frutiger® Arabic y la ganadora del premio TDC2, Palatino® Arabic, ha lanzado finalmente sus propios diseños: Koufiya™, Badiya™ y Janna™.
Adrian Frutiger: Right from the beginning, I was convinced that Avenir™ is the better Futura®.
Akira Kobayashi: I share your opinion, but some weights have been missing to make Avenir an all-purpose typeface.
Adrian Frutiger: You mean the condensed weights?
Akira Kobayashi: Yes, with this extension I’m sure Avenir will then be able to cut its own path.
Adrian Frutiger: Then we should get to work putting Avenir onto that path ...
Akira Kobayashi: Yes.
How to order Avenir Next:
Please
[...]
Elija las fuentes que necesita para Microsoft Office navegando por nuestra página Web - donde encontrará más de 9.000 fuentes originales de gran calidad, de las más clásicas a las más modernas. Aquí encontrará los clásicos más conocidos como Helvetica®, Frutiger® o Univers® en continua expansión de fuentes innovadoras y recientes de los nuevos diseñadores de todo el mundo.
La mejor elección para las aplicaciones de Office son nuestras fuentes XSF (eXcellent Screen Fonts),
[...]
Elija las fuentes que necesita para Microsoft Office navegando por nuestra página Web - donde encontrará más de 9.000 fuentes originales de gran calidad, de las más clásicas a las más modernas. Aquí encontrará los clásicos más conocidos como Helvetica®, Frutiger® o Univers® en continua expansión de fuentes innovadoras y recientes de los nuevos diseñadores de todo el mundo.
Linotype ofrece fuentes tipográficas Mac PostScript™ y más de 7.000 fuentes en OpenType™, el nuevo formato
[...]Frutiger® – la imparable fuente sans serif classic.
Consiga los originales de Linotype como fuentes únicas, en un Value Pack o en CD.
Acerca de Frutiger
El famoso diseñador tipográfico Adrian Frutiger creó una obra maestra con esta fuente tipográfica. Ante el desafío de diseñar un tipo excepcionalmente legible para las señales del aeropuerto Charles de Gaulle en París, desarrolló lo que ahora es el legendario conjunto Frutiger en 1968. La fuente tipográfica Linotype original no ha
[...]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
[...]Should it be a sans serif, a text face, a script font, or perhaps blackletter? Every month, selected fonts are chosen from the depths of Linotype´s collection for your perusal. Check out this month´s medley!
Compre fuentes arábigas en la biblioteca Linotype
Linotype ofrece una gran cantidad de fuentes arábigas nuevas, modernas y tradicionales. Estas fuentes están disponibles en formato OpenType y son compatibles con los idiomas árabe, persa y urdu. Pero eso no es todo: Estas fuentes también incluyen caracteres básicos latinos acordes con el estilo y el peso de los caracteres arábigos y un conjunto adicional de numerales proporcionales. Además responden a los altos niveles de calidad técnica de
[...]
El tipo de letra ideal para los tres alfabetos oficiales de la Unión Europea.
Con la entrada de Bulgaria en enero de 2007, junto con los alfabetos latino y griego, el alfabeto cirílico se ha convertido en el tercero de la Unión.
Las fuentes Original de Linotype con denominación adicional “W1G” cumplen la norma de Linotype W1G (World Glyph 1) en materia de distribución de los tipos de letra.
Veamos a continuación qué idiomas son compatibles con las fuentes W1G (Archive pdf
[...]Adrian Frutiger is considered one of the most important typeface artists of the 20th century. He has been the creator of such internationally renowned typefaces as Avenir™, Linotype Centennial™, Frutiger™, Icone™, Meridien™ and Univers™. Numerous prizes distinguish his pioneering work in the fields of typography and the graphic arts.
More about the fonts:
Apollo™
The text typeface Apollo was designed by Adrian Frutiger in 1962–64, and was one of the first fonts produced by Monotype for
[...]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
[...]Über die Lesbarkeit
Unter dem Einfluss der verschieden Druckverfahren hat die lateinische Textschrift subtile Formveränderungen erfahren. Grundsätzlich neue Formen sind jedoch keine entstanden. Als Demonstration dafür sind acht a in den meistgelesenen Schriftstilen mit einem Drehraster versehen und übereinander kopiert. Das Resultat zeigt eine erstaunliche Übereinstimmung.
"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
[...]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
[...]Matthew Carter – born 1. 10. 1937 in London, England – type designer.
1956: trains as a punch cutter in the Netherlands. 1963–65: typography consultant for Crossfield Electronics. 1965: moves to the USA and works for Mergenthaler-Linotype in New York. 1971: moves back to England where he continues to work for Linotype. 1980–84: typography consultant to Her Majesty’s Stationery Office. 1981: the Royal Society of Arts make him a Royal Designer for Industry. 1981: he and Mike Parker set up
[...]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®
[...]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).
Chauncey H. Griffith – born 1879 in Irontown/Ohio, USA, died 1956 in Butler/N.Y., USA – typesetter, machine compositor.
1915: – becomes assistant to the president of Mergenthaler Linotype Company. Newspaper typesetting specialist. 1936: vice president of Mergenthaler Linotype with responsibility for typographic development.
Fonts: Ionic No 5 (1926), Ionic Condensed (1927), Papst (1928–1931), Poster Bodoni™ (1929), Textype (1929), Granjon® bold (1930), Excelsior® (1931), Janson
[...]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
[...]André Gürtler – born 5. 9. 1936 in Basle, Switzerland – graphic designer, typographer, type designer, teacher.
1952–56: trains as a typesetter. First exercises in calligraphy. 1957: further training as a typographical designer with Emil Ruder. First exercises in type design. 1958–59: letterer for the Monotype Corporation in Salfords, England. 1959–65: type designer and typographer with Adrian Frutiger in Paris. Works for Sofratype SA for two years. Teaches lettering for a year at the
[...]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
[...]Designer Erwin Koch created the following fonts: Angro™, Dalcora™ (1989) and Monanti (1989).
English designer Isaac Moore created the font Baskerville Old Face in 1768. Baskerville Old Face is based on one developed by the renowned 18th-century typographer John Baskerville. Tell-tale differences, including the characteristic squarish curves in the capital C and G, identify it as the version first issued by the Fry type foundry, established by the Fry family after they succeeded in the chocolate business.
The Italian designer Antonio Pace created the font Linotype Gianotten™ in 2000. Linotype Gianotten is a new interpretation of the classic Bodoni font. For this adaptation of the modern face, Antonio Pace went back to Giambattista Bodoni’s original punches, kept in a museum in Parma, and reinterpreted the 200-year-old characters for the world of modern digital technology. Rigorous design and the organic, unadorned construction of the individual characters give Linotype Gianotten a contemporary,
[...]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.
[...]The Italian designer Francesco Simoncini (died 1967) created the fonts New Aster™ (1958), Simoncini Garamond™ (1961), and Life® (1965).
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
[...]German designer Hermann Zapf created the following fonts:
Aldus® (1954), Aldus Nova (2005), Aurelia™ (1983), Comenius® Antiqua BQ (1976), Edison™ (1978), Kompakt™ (1954), Marconi® (1976), Medici® Script (1971), Melior® (1952), Noris Script® (1976), Optima® (1958), Optima nova (2002), Orion™ (1974), Palatino™® (1950), Palatino nova (2005), Palatino™ Sans (2006), Saphir™ (1953), Sistina® (1950), Vario™ (1982), Venture™ (1969), Virtuosa® Classic (2009),
[...]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.
Adrian Williams began his career converting many established metal designs for the new filmsetting devices in1969; an era when other equipment manufacturers offered their devices, each with its own kind of unit system for the operating program. During the 70s he became involved with converting typefaces to digitised systems and is responsible for many original designs which he redrew, working with each manufacturer to make fonts for their unique formats. This led to the production of custom
[...]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
[...]The German designer Roman Sehrer created the font Ad Pro™ in 2004.
Roman Sehrer has digitized his handwriting to create a family of three fonts to meet your free-feeling and laid back design needs. He recommends that you try this family out on posters, logos, and restaurant menus, where in each case it will offer a great combination and contrast to traditional sans serifs like Helvetica® or like Univers®.
AdPro, Aeonis, Al Harf Al Jadid, Ambigue, Angro, Anno, Anuparp Thai, Anzeigen Grotesk, Aptifer, Arioso, Arnold Boecklin, Badiya, Barbedor, Basic Commercial, Bazar, Becket, Beneta, Bernhardt Standard, Bodebeck, Diverda, Linotype Aperto, Linotype Aroma and Linotype Nautilus are trademarks of Linotype GmbH and may be registered in certain jurisdictions. Aldus, Basilia, Metrolite, Palatino and Syntax are trademarks 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. ASV Codar, Agilita, Alcuin, Amer, Arcadia, Ariadne, Arsis, Auriol, Avenir, Badr, Banco, Generis, Linotype, Metro and Satero are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Aurelia is a trademark of Linotype Corp. and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.
Penumbra is a trademark of Adobe Systems Incorporated which may be registered in certain jurisdictions.
Lucida is a registered trademark of Bigelow & Holmes.
Legacy, Officina and Stone are trademarks of International Typeface Corporation registered in the U.S. Patent and Trademark Office and which may be registered in certain other jurisdictions.
Antique Olive is a trademark of Madame Marcel Olive.
Sassoon is a registered trademark of Sassoon & Williams.
New Aster is a trademark of Simoncini.
