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
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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.
Diotima Classic – Gudrun Zapf von Hesse recrea una favorita de postguerra
En 2008-2009, Akira Kobayashi trabajó con Gudrun Zapf von Hesse para recuperar y reinterpretar Diotima®, uno de los tipos más hermosos que jamás se hayan fundido en metal. El resultado es Diotima Classic.
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),
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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
[...]The high-quality fonts of renowned Dutch designer Gerard Unger offer versatile application in typography today.
More about the fonts:
Demos™
Gerard Unger designed Demos for the German technology corporation Dr.-Ing Rudolf Hell* in 1976. Originally intended for use in the typesetting of newspapers, Demos was one of the new digital generation's first typefaces, well suited for book printing as well. Its robust forms and rounded corners make this face particularly legible and flexible, it
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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
[...]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
[...]The Didot family were active as designers for about 100 years in the 18th and 19th centuries. They were printers, publishers, typeface designers, inventors and intellectuals. Around 1800 the Didot family owned the most important print shop and font foundry in France. Pierre Didot, the printer, published a document with the typefaces of his brother, Firmin Didot, the typeface designer.
The printing company still exists under the name Firmin Didot, Societe Nouvelle.
Firmin Didot – born 1764
[...]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.
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.
[...]Gerard Unger – born 22. 1. 1942 in Amsterdam, The Netherlands – graphic designer, typographer, type designer, teacher.
1963–67: studies at the Gerrit Rietveld Academie in Amsterdam. Then assistant to Wim Crouwel at Total Design. 1970: starts teaching at the Gerrit Rietveld Academie in Amsterdam. From 1975 onwards: freelance designer. 1981: does typography work for Dutch coins and postage stamps. Redesigns numerous magazines. 1984: designs special digits for the Dutch telephone directories.
[...]The American designer Peter Dom (original name Peter Dombrezian) created the font Dom™ in 1951. Dom Casual is an informal script typeface that looks brushwritten. Dom Casual should be used to create a friendly, informal look in signs, advertising, and invitations.
Designer Erwin Koch created the following fonts: Angro™, Dalcora™ (1989) and Monanti (1989).
The German designer Wilhelm Pischner (born 5. 1. 1904 in Offenbach, died 7. 7. 1989 in Offenbach) created the font DIN Neuzeit® Grotesk in 1929.
The German Standards Committee suggested the ‘light Neuzeit-Grotesk’ font in 1970 for use in official signage, traffic directional systems, etc. The typeface had been designed by Wilhelm Pischner and appeared with the font foundry D. Stempel in 1928. The font Neuzeit Grotesk was once the standard in the print industry, as a timeless
[...]Martin Wilke was born in 1903 in Berlin, went to school in Stettin and Stargard in Pommern, studied handcrafts and fine arts for two years in Stettin and spent another two years attending the classes of Professor Emil Orlik at the State Museum of Fine Arts in Berlin.
Wilke was initially interested in painting, drawing, and typeface design, but his tendency toward typefaces gradually overshadowed the others. Inflation eventually made further study impossible for him. He showed his modest
[...]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 Designer
After completing an apprenticeship as an engraver, Daniel Lanz – who was born in 1958 in Schaffhausen (Switzerland) – spent 20 years carving letterforms and contours into metal. A second apprenticeship in typographic design – with intensive study of works by Gill, Meier, and Frutiger – considerably depend his interest in the forms and effects of typography.
Digitizing hand-drawn sketches into the skeletal forms of the alphabet, Lanz began developing various ideas for broader
[...]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.
[...]Howard Kettler (born 1919, died 1999) designed Courier in 1955 for IBM.
Everyone recognizes it as the face originally designed for use on typewriters. A typical characteristic of older typewriters is that all characters are given the same amount of space regardless of their width. Hence, an i receives just as much room as an m, even though it is much thinner. This principle defined the look of Courier font. A line in this typeface has “holes” in what would otherwise be a
[...]Rudolf Hell GmbH was founded by Rudolf Hell (1901–2002); the company constructed the world’s first digital typesetter in 1965, the Digiset. Typefaces for this machine were produced in the corporate design studio. Both Gerard Unger and Hermann Zapf were among the designers to work for Hell. In 1990, the company merged with Linotype AG, forming the Linotype–Hell AG corporation.
Adrian Frutiger was born in 1928 at Unterseen near Interlaken (Switzerland). After an apprenticeship as a compositor he made further education in type and graphics at the Zurich School of Arts and Crafts (Kunstgewerbeschule) from 1949 to 1951 (teacher: Alfred Willimann and Walter Käch).
Frutiger was called to Paris in 1952 and worked as typeface designer and artistic manager at Deberny & Peignot. He founded his own studio in Arcueil near Paris 1961, together with Bruno Pfäffli and André
[...]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
[...]Consulte más características de las fuentes en nuestro Archivo de características de las fuentes.
Typographic Tip of the Month from Linotype’s Type Director Akira Kobayashi!
Junio 2006: Apóstrofos y comillas
¿Qué glifo es correcto: la tilde, el acento agudo o el apóstrofo? - Aquí se describe el uso correcto del molesto signo de puntuación que significa omisión y forma el posesivo (y a veces el plural).
Apóstrofos
El símbolo de comillas se usa aquí incorrectamente
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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: Adrian Frutiger, 1991, Firmin Didot, 1784
The Didot family were active as designers for about 100 years in the 18th and 19th centuries. They were printers, publishers, typeface designers, inventors and intellectuals. Around 1800 the Didot™ family owned the most important print shop and font foundry in France. Pierre Didot, the printer, published a document with the typefaces of his brother, Firmin Didot (1764–1836), the typeface designer.
The strong clear forms of this
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Font Designer: Georg Trump, 1951
Prof. Georg Trump (1896-1985) was a teacher of graphics and a type designer with a particular interest in scripts.
His major work was the old face type family, Trump Mediaeval.
Delphin®, designed for hot metal type setting, features very small capital letters in an upright position in contrast to the lower case alphabets being right angled.
This font has a calligraphic feel, especially the lower cases showing the artist's handwriting with a
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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.
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
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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
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Font Designer: Linotype Design Studio
The abbreviation "DIN" stands for Deutsches Institut für Normung (The German Institute for Industrial Standards). In 1936, this standards committee settled upon DIN 1451 as the primary lettering style for use in the areas of technology, traffic, administration, and business. The committee chose a sans serif design because of its legibility, and because its forms are also easy to reproduce. This face’s design was not foreseen to be used in
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Font Designer: Daniel Lanz, 2004
Diverda™ is a geometric type family that is free of ornamentation. The x-heights are low, and the differences between curved, square, and triangular elements is very clear. Like the more calligraphic typefaces of the past, Diverda´s strokes exhibit contrast that is inspired by movements of the pen on paper; down strokes are heavier than up strokes. The family contains both slab serif and sans serif styles; the sans serifs form the basis of the
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Font Designer: Martin Wilke, 1938
Fonts based on handwritten forms enjoyed a revival in popularity in the 1930s. Diskus® was designed by Martin Wilke in 1938 for D. Stempel AG and exhibits many traits of modern script and brush typefaces. The informal and energetic Diskus is a script and brush font for daily use and the capitals can be used as initials mixed with other fonts. Diskus is particularly good for titles or texts in middle to larger point sizes.
Font Designer: Akira Kobayashi
Cosmiqua® is a lively serif family from Linotype's Type Director, Akira Kobayashi. Inspired by advertising design from the 1950s, Kobayashi began to closely examine his favorite letterforms from this genre, particularly those headline faces that appear to live in the space between formal italic types and casual handwriting. These letterforms exude a certain hope for the future, and also appear to be a little odd, or kitschy, to our 21st century eyes.
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Jaguar (1964)Poster (1927)
Fuentes Serif
Satero
Created for extreme legibility, Satero®, designed by Werner Schneider, is a new type system with serif and sans serif variants! Observe the letters’ clear forms; the minimal curves stress their horizontal movement across the line. If you need more convincing, compare the lowercase letters a, c, e, r, and s to those from other typefaces; you will be able to discern and read them quicker with Satero.
Initial concepts for comprehensive type systems surfaced as early as the 1930s, yet they remained the exception. In the days of hot-metal typesetting, handbooks generally recommended creating typeface mixtures from a single type family, a family being understood as including all of a typeface’s weights, such as light, normal, semi-bold, and bold, and including all of the italic weights as well. A well-rounded type family also includes small caps, tabular and old-style figures. These days, the
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