Introducción
Vuelva a disfrutar de las mejores fuentes Linotype de los últimos 10 años. Y decimos vuelva porque ha estado en contacto con estos diseños en su entorno visual durante mucho tiempo.
Desde finales de los 90 del siglo pasado, Linotype ha introducido nuevas fuentes tipográficas en el mercado que han cambiado la forma en la que se comunica el mundo. Muchas de nuestras fuentes se pueden encontrar en ordenadores de cualquier rincón del globo y unas pocas se han convertido en
[...]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
[...]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
[...]Introduction
Prolific! Perhaps this is the best word to describe the life and work of Morris Fuller Benton. The creator of over 200 types for ATF, Benton left his mark on 20th Century design. His faces would spread across the globe, and dozens are still in use today.
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
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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.
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
[...]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!
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
[...]Pierre Simon Fournier – born 15. 9. 1712 in Paris, France, died 8. 10. 1768 in Paris, France – type founder, punch cutter, type designer – known as Fournier le Jeune.
Trains at the company of his father, Jean Claude Fournier. 1737: develops a typographical system of measures which F. A. Didot reworks. 1739: opens his own type foundry. 1742: publishes a book of type specimens which is printed by J. J. Barbou. In total, Fournier cuts 60,000 punches for c. 150 of his own alphabets. 1760:
[...]John Baskerville – born 28. 1. 1706 in Wolverley, Worcestershire, England, died 8. 1. 1775 in Birmingham, Warwickshire, England – type designer, writing master, printer.
1725: moves to Birmingham. 1733–37: writing master in Birmingham. 1750: sets up his own type foundry and printing works. 1757: his first printed book is published, an edition of Virgil. 1758: publishes an edition of John Milton’s "Paradise Lost". 1758: appointed printer to the University of Cambridge. Here he produces
[...]Giabattista Bodoni – born 16. 2. 1740 in Saluzzo, Piedmont, Italy, died 30. 11. 1813 in Parma, Italy – engraver, type designer, typographer, printer, publisher.
1758–66: typesetter in the Vatican’s Propaganda Fide printing works. 1766: the Duke of Parma invites Bodoni to set up an run a printing works. 1768: begins working in the Stamperia Reale. 1770: opens his own type foundry. 1771: publishes his first typographical contribution "Fregi e Majuscole". 1782: Charles III of Spain names Bodoni
[...]William Caslon I:
William Caslon I – born 1692 in Cradley, Worcestershire, England, died 1766 in Bethnal Green, England – engraver, type founder, type designer.
1706: begins a seven-year apprenticeship as an engraver with a London harness-maker. 1716: self-employed engraver. 1721: the Society for Promoting Christian Knowledge commissions Caslon to cast Arabic alphabets. 1725: sets up his own type foundry. 1734: Caslon’s first one-page specimen is produced which illustrates 47 of his
[...]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.
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
[...]The French designer Georges Peignot (born 24. 6. 1872, died 28. 9. 1915) created the fonts Cochin® (1914) and Nicolas Cochin® (1912).
Georges Peignot designed Cochin based on copper engravings of the 18th century and Charles Malin cut the typeface in 1912 for the Paris foundry Deberny & Peignot. The font is named after the French engraver Charles Nicolas Cochin (1715–1790) although its style had little to do with that of the copper artist's. The font displays a curious mix of style
[...]Georg Trump – born 10. 7. 1896 in Brettheim, Germany, died 21. 12. 1985 in Munich, Germany – graphic artist, typographer, type designer, painter, teacher.
1912–14: studies at the Kunstgewerbeschule in Stuttgart under J. V. Cissarz and from 1919–23 under F. H. E. Schneidler. 1921: assistant at the school. 1923–26: ceramic artist in Italy. 1926–29: professor at the Kunstgewerbeschule in Bielefeld. 1930–35: works with the H. Berthold AG type foundry in Berlin and from 1937 onwards with the C.
[...]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
[...]Hermann Eidenbenz – born 4. 9. 1902 in Cannanore, India, died 25. 2. 1993 in Basle, Switzerland – graphic artist, teacher.
1918–22: studies at the Kunstgewerbeschule in Zurich. 1923–25: graphic artist for Wilhelm Deffke in Berlin. 1925–26: graphic artist for Ol H. W. Hadank in Berlin. 1926–32: teacher of type and graphics at the Kunstgewerbeschule Magdeburg. 1932_53: has a graphics studio in Basle with his brothers Reinhold and Willy. 1937: works on the Swiss pavilion for the world
[...]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®
[...]Seymour Chwast – born 18. 8. 1931 in New York, USA – graphic designer, illustrator, type designer, teacher.
1948–51: studies at the Cooper Union in New York. 1954: opens the Push Pin Studio in New York with Milton Glaser. 1955–81: art director of the in-house magazine "Push Pin Graphic". 1982: director of "Push Pin Lubalin Peckolik" in New York. 1983: is elected into the New York Art Directors Hall of Fame. 1985: becomes director of The Pushpin Group. Numerous book illustrations, record
[...]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 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
[...]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 Swiss designer/typographer Felix Arnold designed Cisalpin™ during the late 1990s, after he had challenged himself to create a contemporary typeface that could be used for cartographic uses. Arnold came to the subject of cartographic typefaces after analyzing many maps and atlases, and discovering that there was no standard typeface for these types of documents.
Like any good cartographic type, Cisalpin is very legible at small sizes. While he was drawing this typeface on his computer,
[...]Penumbra™ was designed by Lance Hidy in 1994, an all-capital multiple master font with two design axes: weight and style. The style axis progresses from a sans serif display design to a full serif design, with flare serifs and half serifs, and everything in between. The weight axis ranges from light to bold. Penumbra’s style range from a Futura-like sans serif to a Sistina-like serif can be successfully used in myriad display situations.
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.
[...]E. A. Neukomm (born 1906, died 1948) designed Chevalier™ in 1946.
Chevalier is a set of shaded capitals and figures, modern face or fat face in design. Ideal for business cards and classical letterheads.
Olaf Leu was born in Chemnitz in 1936. He apprenticed as a typesetter and typographic designer in the art department of the Bauer type foundry. Later, he worked as the assistant to the creative director at the Hanns W. Brose advertising agency in Frankfurt am Main.
In 1959, he began his career as a freelance graphic designer and art director. In 1971, he founded the studio “Olaf Leu Design” in Frankfurt am Main, which became known as “Olaf Leu Design und Partner” in 1976. The studio remained
[...]Created by a merger of the two companies Deberny & Cie (founded 1818) and Peignot & fils (founded 1842) in 1923. Its main font designers were A. M. Cassandre and Adrian Frutiger. One of the first practicable phototypesetting machines, the Lumitype, was developed in the 1950s. In 1972, the company was acquired by the Haas foundry (Haas’sche Gießerei) in Münchenstein.
Bizarre and naked, sans serif alphabets joined the ranks of typefaces in the early 19th century when an English type foundry produced the first sans serif typeface in 1816.
But between 1810 and 1840, bold antiqua weights inspired by Bodoni and the newly developed slab serif linear antiqua typefaces were still more prominent and widely used in advertisements.
Even the creator of the first sans serif typeface, William Caslon, was not immediately convinced of the success of this new kind
[...]Portrait
We can read because we perceive elements and forms which are familiar to us. So in order to even recognize words, we must first decipher the elements which make up the shapes of the letters – a process which involves the interplay of myriad aspects. To a certain degree, many of us are aware of these aspects. Yet Adrian Frutiger knows about such shifting dynamics in perception in a way no other person can, as he has been instrumental in researching the subject and over several decades
[...]The renowned British designer Matthew Carter has worked as a type designer for over 40 years. His designs are suitable for an astonishing array of applications; many of them are already world-famous and the recipients of countless awards.
More about the fonts:
Bell Centennial
Bell Centennial font was created by Matthew Carter in 1976 for the American telephone company Bell. Its bold, clear characters make it an extremely legible and distinctive font.
Cascade Script™
Cascade Script
[...]Die neue Schrift von Robin Nicholas, Ysobel, ist Text- und Auszeichnungsschrift in einem
Bad Homburg, 6. Oktober 2009 – Linotype hat mit der Ysobel™ eine neue Schrift von Robin Nicholas veröffentlicht. Die Ysobel ist eine Serifenschrift, die von der Anfang des 20. Jahrhunderts erschienenen Century-Schriftfamilie inspiriert wurde. Der Entwurf begann mit der Textversion in vier Schriftstärken. Später erweiterte Nicholas die Familie mit der Ysobel Display um eine komplett neu
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Font Designer: Georges Peignot
Georges Peignot designed Cochin® based on copper engravings of the 18th century and Charles Malin cut the typeface in 1912 for the Paris foundry Deberny & Peignot. The font is named after the French engraver Charles Nicolas Cochin (1715–1790) although its style had little to do with that of the copper artist's. The font displays a curious mix of style elements and could be placed as a part of the typographical Neorenaissance movement. Cochin is
[...]
Font Designer: Kris Holmes and Charles Bigelow, 1985
Lucida® is a family of fonts with one basic design, but offered in more variations than normally available for one font. It has both serif and sans serif characters, as well as weights designed specifically for a particular purpose. One weight will print out clearly even on fax machines, another offers the possibility to present a text with black letter characters. The different weights are extremely versatile and can generally be
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Font Designer: Seymour Chwast, 1981
Seymour Chwast is not only a type designer. Chwast has created over 100 posters and authored or illustrated more than 30 children's books. The subject of a monograph, Seymour Chwast: the Left Handed Designer, (Harry Abrams, 1985), he is also co-author of Graphic Style:From Victorian to Postmodern (Harry Abrams, 1987).
His work is in the permanent collections of the Museum of Modern Art (New York), the Metropolitan Musuem of Art (New York), the
[...]
Font Designer: Rosemary Sassoon, 1995
Sassoon® was designed in 1999 by Rosemary Sassoon in the style of typefaces found in schoolbooks in the early 20th century. The font exhibits a harmony between the space within and outside of the letters. The letters have soft, round forms which give text an almost ornamental character. This flexible font can be used for headlines or text, in small or large point sizes.
In the mood for more samples of our fonts?
Our Font Gallery displays numerous examples of Linotype fonts. Search alphabetically or by category.
Font Designer: Hellmut G. Bomm, 1999
Hellmut G. Bomm about Linotype Nautilus™:
"Nautilus is based on a handwritten type used for the text "Li. Das Helle, Klare" from the I Ging (screenprint, 1981, see Fig. 1).
The intention was to create a clear, highly legible typeface. While the even strokes of sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus lends the type its legibility. The characters were drawn with a broad tipped pen, and
[...]
Font Designer: Hellmut G. Bomm, 1999
Hellmut G. Bomm about Linotype Nautilus:
"Nautilus is based on a handwritten type used for the text "Li. Das Helle, Klare" from the I Ging (screenprint, 1981, see Fig. 1).
The intention was to create a clear, highly legible typeface. While the even strokes of sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus lends the type its legibility. The characters were drawn with a broad tipped pen, and like
[...]
Font Designer: E. A. Neukomm, 1946
The first metal type version of Chevalier™ was released by the Haas Type Foundry in Switzerland. In 1946, E. A. Neukomm created the original design – the striped version in all capitals. The family was later expanded to include two more variations: one of initials and the other of an open version without the horizontal lines. In addition to these, all three fonts now have small caps in the lowercase slots, increasing their versatility.
The
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Jaguar (1964)Poster (1927)
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
[...]Fuentes Sans Serif
