Aquí hemos recopilado nuestros tipos de letra de estilo chino más famosos. Todos estos diseños parecen letras a pincel. Serán ideales para una amplia gama de productos y clientes que buscan tipografía impregnada por la vitalidad asiática. Y como toque final perfecto para el diseño, pruebe a añadir una de las ilustrativas fuentes Pi.
Los carteles Circus o Wild West - Madame serán su inspiración.
Madame™ se basa en los tipos de madera franceses para rótulos del siglo XIX, específicamente en un ejemplo de 1820 de la Founderie Typographique Française. La fuente tipográfica digital ha sido famosa desde su lanzamiento y nuestros clientes suelen utilizarla como alternativa a Rosewood™ o Zebrawood™. No obstante, en la aplicación de rótulos adecuada, ¡podría plantearse el usar las tres combinadas!
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 designer Arthur Baker created the following fonts: Amigo™, Baker Signet™, Kigali™, Marigold™, Oxford™, Pelican™, Sassafras™, Visigoth™.
David Farey (born 1943) created the fonts ITC Beesknees™ (1991), Bodoni™ Unique, Cachet™, Font, Gabardine, Greyhound™, ITC Highlander® (1993), ITC Johnston™ (with Richard Dawson, 1999), Little Louis, ITC Ozwald® (1992), Virgin Roman, Zemestro™ (2003), Tanseek Modern™ (with Arlette Boutros, Mourad Boutros, Richard Dawson, 2008), Tanseek Traditional™ (with Arlette Boutros, Mourad Boutros, Richard Dawson, 2008), Azbuka™ (with Richard Dawson, 2008).
Karl-Erik Forsberg – born 1914 in Munsö, Sweden, died 1995 – type designer, typographer. Trained at the School for Book Crafts in Sweden.
1938–41: studies at the Akademie für Graphische Künste und Buchgewerbe in Leipzig. 1942–49: designer for the publishers Almqvist & Wiksell, the University of Uppsala press. From 1950 onwards: designer for the publishers P. A. Norstedt & Söner. Besides book designs, Forsberg has designed stamps and produced magazines and stamps. 1954: a bible is published
[...]Michael Harvey was born in 1931. He published several books on the subject of type.
Fonts: Andreas™ (1996), Conga Brava™ (1996), Ellington® (1990), Mentor™ (2005), Mezz™ (1993), Moonglow™ (2000), Strayhorn™, Studz™.
Kris Holmes – born 19. 7. 1950 in Reedly, California, USA – type designer.
1968–71: studies at Reed College in Portland, Oregon (courses include calligraphy under Lloyd Reynolds and Robert Paladino). 1975: studies at the Martha Graham School and the Alwin Nikolai School in New York (modern dance). 1976: studies at the School of Visual Arts in New York (including lettering with Ephram E. Benguiat). 1979: studies at the Rochester Institute of Technology in Rochester, New York (courses include
[...]Designer Barbara Lind created the fonts Cottonwood™ (1991, with Kim Buker Chansler and Joy Redick), Madrone™ (1991), Poplar™ (1990) and Woodtype™ (1990, with Joy Redick).
The designer Andrew Newton created the font ITC Golden Type® together with Sigrid Engelmann and Helga Jörgenson in 1989. ITC Golden Type is a revival of a font of British designer William Morris. Based on the roman designs of Nicholas Jenson, Golden Type was so named because it was first used to print The Golden Legend in 1892. Hint: this typeface should not be used in small point sizes or with tight letterspacing.
ITC Golden Type contains five weights: ITC Golden Type original, ITC Golden
[...]Designer Joy Redick created the following fonts: Blackoak™ (1990), Cottonwood™ (1991, with Barbara Lind and Kim Buker Chansler), Ironwood™ (1990), Juniper™ (1990), Mesquite™ (1990), Willow™ (1990), Woodtype™ Ornaments (with Barbara Lind, 1990).
The Italian designer Francesco Simoncini (died 1967) created the fonts New Aster™ (1958), Simoncini Garamond™ (1961), and Life® (1965).
Carol Twombly – born 13. 6. 1959 in Concord, USA – type designer. Studied at the Rhode Island School of Design and at Stanford University.
1984: is awarded 1st prize in the Morisawa type competition in Japan for he Mirarae typeface. 1988: joins Adobe and designs Adobe’s first original display typefaces (Trajan, Charlemagne and Lithos).
Fonts: Mirarae (1984), Charlemagne™ (1989), Lithos™ (1989), Adobe Trajan™ (1989), Caslon™ (1990), Myriad® (1992), Viva™ (1993), Nueva™ (1994) and
[...]Swedish designer Bo Berndal created the following fonts:
Belltrap™ (1995), Benedikt (1991), Berndal™ (2002), Boberia™ (1994), Boscribe™ (2005), Bosis™, Brigida™ (1995), Buccardi™ (2003), Byngve™ (2002), Carl Beck (1992), Linotype Dala™ (1999), Exlibris (1992), Frisans™ (2005), Golota (1997), Grafilone™ (1994), Grantofte (1995), Johabu (1989), Läckö (1993), Lebensjoy (1993), Logoform (1992), Magellan (1993), Maricava (1994), Naniara (1997), Olaus (1992), Promemoria (1996), Sabellicus,
[...]French designer Hector Guimar (born 10. 3. 1867 in Lyon, died 20. 5. 1942 in New York) created the font Metropolitaines ca. 1905. This art deco style typeface is the one that had been used for the signage of the historic Paris metro stations.
Montral designer Gérard Mariscalchi created the following fonts:
Baylac, Comic Strip, Evita, Lineale Schriftfamilie, Link, Marnie, ITC Redonda, Toots.
Using digital technology, Philip Bouwsma synthesizes contemporary type styles with traditional and historic scripts and symbols from the Middle Ages and Renaissance. A lifelong calligrapher, Bouwsma also expresses his passion for the calligraphic form into his work. He attended the University of California at Berkeley, majoring in history and Greek. His love of letters, however, lured him away from arcane history to a career filled with art, design and the alphabet. Over the years, Bouwsma has
[...]Charles Bigelow (born 1945 in Detroit) created the font families Lucida® Math (with Kris Holmes, 1993), Lucida® Sans (with Kris Holmes, 1985), Lucida® Typewriter Sans (with Kris Holmes, 1985) and Lucida® Serif (with Kris Holmes, 1993).
Founded by Cynthia Hollandsworth Batty in the mid-1980s with the goal of creating new typefaces. There was some collaboration with the calligrapher Arthur Baker.
Jean Lochu (born 1939) is a type designer with roots and training deep in classical tradition. His early love of calligraphy provided the seed that was to grow into a career dedicated to the typographic arts. His first job, at a small printing shop, allowed him to work with type but not to create typeface designs. In 1968, Lochu met the French type designer Albert Hollenstien and began working at Studio Hollenstien. He has been drawing beautiful typefaces ever since.
In 1991 as an experiment, Adam Roe decided to found Lunchbox Studios. Since then, Adam has become president and founder of his second company, Reelhouse Footage and FK in Los Angeles, California.
www.lbox.com
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.
Joseph Gillé created the font Madame™ in 1820.
Madame first appeared in a sample with similar fonts, presented by the Founderie Typographique Francaise in the 19th century. The font consists of three cuts, letters, accents and numericals. The flamboyant Madame is meant for titles and headlines, emphasis in text or as initials. It combines well with both serif and sans serif fonts, but should be used sparsely to maximize the advantages of its ornate forms.
The characters of Madame were
[...]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 combined with one another. Lucida® is suitable for books/text,
[...]Rotis font family
This font family consists of all versions of Rotis®, named by Otl Aicher after the village in the Allgäu where he has lived since 1972. Aicher’s goal was to design a family of fonts which could serve almost any typographical purpose. Rotis® gives an impression of both strength and generosity and all four versions can be used interchangeably with one another. Rotis® is suitable for book/text, documentation/business reports, business correspondence, magazines, newspapers,
[...] 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
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Font Designer: Otl Aicher, 1988
Otl Aicher named his typeface Rotis® after the small village in southern Germany where he has lived since 1972. The goal was to create an aesthetic type family which could fulfil a variety of typographic requirements. The result: a remarkable sans serif and a reserved antiqua with a total of 17 weights which combine extremely well with one another.
This unification of two classic forms was almost revolutionary in 1988. Over centuries, designers had
[...]
Font Designer: Michael Harvey, 1993
Clarinetist Milton “Mezz” Mezzrow (1899–1972) was a remarkable jazz musician, as becomes evident upon reading his autobiography Really the Blues. His sharp tone and serpentine lines inspired English lettering artist and jazz lover Michael Harvey to create a condensed, oblique display typeface with the look of a chiseled alphabet in the musician’s honor. Vertical formats such as book jackets and posters will be invigorated by Mezz
[...]Berling™ Nova Sans joins the enterprising Berling Nova superfamily
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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