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
[...]Still searching for the perfect font or ornament for this year’s Christmas cards or holiday party invitations? Allow us to come to the rescue! Before you give up hope, make sure to visit our new X-Mas Font Feature page. Here we’ve collected images showing great ways to use a number of appropriate text, headline, and symbol fonts. We are sure to have the style you are looking for!
The Linotype Easter Font Selection
The change of seasons brings a breath of fresh air into our daily routine. It is time to open the windows and let the sun in! Invite your neighbors over for tea, or if the weather is right, a BBQ! The fonts you’ll need are now all viewable here in this specially edited selection.
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
[...]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
[...]No hace falta arena para disfrutar de esta colección playera, Beach Party. Estos diseños combinan imágenes desde los surferos de los años 1960 hasta las cabañas tiki pasando por DJ mezclando música tecno en la playa. Así que no importa si quiere usarlos para promocionar una fiesta, documentar aventuras de un viaje o diseñar paquetes de productos estivales, estos tipos de letra sabrán transmitir esa sensación de “placer bajo el sol”.
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
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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
[...]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
[...]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.
Sumner Stone – born 9. 6. 1945 in Venice, Florida, USA – type designer, graphic designer.
1966: studies at Reed College in Portland, Oregon. Takes calligraphy lessons with Lloyd Reynolds. Then works as a type designer for Hallmark Cards in Kansas City for two years. 1972: opens his type studio, Alpha and Omega Press, in Sonoma, California. At the same time he studies mathematics at Sonoma State University. 1979: works for Autologic Inc. in Boston as director of typography. He later holds the
[...]Berthold Wolpe – born 29. 10. 1905 in Offenbach, Germany, died 5. 7. 1989 in London, England – typographer, type designer, teacher.
1924–27: studies at the Kunstgewerbeschule in Offenbach under Rudolf Koch. Then trains as a goldsmith in Pforzheim. 1929–33: teaches at the Kunstgewerbeschule in Offenbach and from 1930–33 at the art school in Frankfurt am Main. Designs commemorative reports, trademarks, posters, book covers and typefaces. 1932: meets Stanley Morison. 1935: emigrates to England.
[...]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
[...]Ron Carpenter – born 1950 in Dorking, England – type designer.
1967: works as a cartographer. 1968: trains in Monotype Corporation’s type department. 1976: works on the quality control of Monotype fonts. 1980: helps Robin Nicolas to design the italics for his Nimrod typeface. 1984: senior type designer of the Monotype Corporation. Designs supplementary weights of Times New Roman™.
Fonts: Cantoria® (1986), Calisto®, Amasis™ (1992), Dante® (1993).
* TYPOGRAPHY – An
[...]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).
Ong Chong Wah (born 1955 in Malaysia) created the fonts Abadi® (1987), Bookman Old Style™ (2005), Delima™ (1993), Footlight® (1986), Mahsuri Sans, Ocean Sans® (1993).
These fonts are part of the Monotype Library OpenType Edition.
Chris Brand (1921–1998) and Frank E. Blokland created the font Albertina™ for Monotype.
Albertina Font Family is part of the Monotype Library OpenType Edition.
Frank E. Blokland has a strong aversion to typefaces that are casually made, or careless re-works of earlier designs. His uncompromising opinions about type are evident not only in the many articles he has written, but also in the typefaces he has drawn.
An Award-Winning Start
Blokland studied graphic and typographic design at the Royal Academy of Arts in The Hague from 1978 to 1982. While still a student he founded the successful working group Letters, from which many well-known Dutch type
[...]Tom Rickner created the fonts Amanda™ and Buffalo Gal™.
In 1987, while still a student at the Rochester Institute of Technology, Tom Rickner began his career in type design by editing bitmaps for a local corporation. The following year, with bachelor’s degree in hand, he started at Imagen Corporation, where he constructed and hinted outline fonts. By the end of the next year, Rickner supervised production of the first TrueType as lead typographer at Apple. After leaving Apple and working
[...]Designer Steve Matteson created the fonts Andale® Mono, Andy™, Blueprint™, Curlz® (1995), Fineprint™, Kidprint™ and Truesdell.
Early on, Matteson planned a career in printing management, but a college job editing font bitmaps quickly changed his mind. That’s when he discovered the world of typeface design and font technology, an irresistibly fascinating convergence of left- and right-brain processes. Sensitively designed letters and their digital representations soon became
[...]Kevin Simpson was five years old when the stylized “E” of the Electrolux logo caught his eye. This is the earliest recollection of an interest in what was to ultimately become an obsession. Years later in his graduating presentation at Ravensbourne College, UK, a strong type and calligraphy bias manifested itself and he earned an honors degree in graphic design.
Four years later, having become frustrated with the limitations imposed while working for a small independent type
[...]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,
[...]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
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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
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Alisal is a trademark of Carter & Cone Type Inc. and may be registered in certain jurisdictions.
Jeunesse is a trademark of Johannes Birkenbach and may be registered in certain jurisdictions.
Amadeo is a trademark of Julius de Goede and may be registered in certain jurisdictions.
Antique Roman, Mentor, Slate and Tanseek are trademarks of Monotype Imaging Inc. and may be registered in certain jurisdictions.
Albany, Linex Sans, Neo and Rotis are trademarks of Monotype Imaging Inc. registered in the U.S. Patent & Trademark Office and may be registered in certain jurisdictions.
Sassoon is a registered trademark of Sassoon & Williams.
Arepo is a trademark of Stone Type Foundry Inc. and may be registered in certain jurisdictions.
Albertina, Almanac, Amasis, Andy, Apollo, Aqua Life and Arabesque are trademarks of The Monotype Corporation and may be registered in certain jurisdictions.
Abadi, Albertus and Andale are trademarks of The Monotype Corporation registered in the United States Patent and Trademark Office and may be registered in certain jurisdictions.
Amanda is a trademark of Thomas A Rickner and may be registered in certain jurisdictions.
