Die Calligraphy wurde von professionellen Typografen jahrelang vernachlässigt und in die kunsthandwerkliche Ecke gestellt. In den Vereinigten Staaten dagegen – so zeigen seit Jahren die Ergebnisse der Type-Directors-Show – gilt "Lettering" als wichtige Disziplin – auch in der Werbung. Mit dem zunehmenden Einsatz von Handschriften und handschriften-inspirierten Schriftfonts ist auch das Interesse an der Calligraphy neu erwacht. Nachfolgend einige Einblicke in die Welt der Calligraphy, verfaßt
[...]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
[...]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.
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.
¡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
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Una familia tipográfica timbrada basada en Linotype Tagesstempel
Hace años, uno de nuestros diseñadores tipográficos alemanes creó una familia tipográfica de símbolos llamada Linotype Tagesstempel™. Un “Tagesstempel” es una de esas necesidades burocráticas que permite fijar la fecha y la hora y después sellarla en los documentos. Los conjuntos de caracteres de las cuatro fuentes Linotype Tagesstempel incluían 72 glifos cada una. En principio, los glifos eran varias versiones
[...]Revisada, ampliada y con más funciones OpenType – Descubra la nueva Neue Swift
Swift – debe su nombre a un pájaro
Los veloces vencejos (swift en inglés) dibujan líneas y asombrosos arcos en el aire – un ejemplo para la mano y el lápiz del diseñador. Sus alas largas y gráciles y sus cuerpos cortos y firmes conforman una silueta sorprendente que se rescata en estas letras de grandes gracias y pronunciadas formas.
Sería difícil describir la Neue Swift como un re-diseño de la
[...]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
[...]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
[...]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 German designer Christian Bauer created the display font Linotype Compendio™ in 1997. This font is based on the basic forms of Transitional faces of the 17th century. The outer contours of the letters are purposely raw and irregular, much like alphabets printed on low-quality paper. The legibility of the font is thus reduced, making it necessary to use this font only for shorter texts or headlines, but it is exactly this characteristic which lends Linotype Compendio its distinctiveness.
The British designer Timothy Donaldson created the following fonts: ITC Airstream™ (1995), ITC Angryhog™ (1997), Banshee™, Coriander™, Cult™ (1995), ITC Cyberkugel™ (1997), ITC Digital Woodcuts™ (1995), Etruscan™ (1995), ITC Farmhaus™ (1995), Flight™ (1995), Green™ (1995), ITC Humana™ Serif (1995), ITC Humana™ Sans (1995), ITC Humana™ Script (1995), Immi™, ITC Jellybaby™ (1997), John Handy™ (1995), Klee™ (1992), ITC Musclehead™ (1997), Neo Neo™ (1995), Orange™ (1995), Pink™ (1994), Pneuma™
[...]The designer Arthur Baker created the following fonts: Amigo™, Baker Signet™, Kigali™, Marigold™, Oxford™, Pelican™, Sassafras™, Visigoth™.
Fryda Berd designed the font Quake™ in 1989. This font is part of the Linotype Library.
Grafik-Designer AGD
Stuttgarter Straße 128
71522 Backnang
Telefon (0 71 91) 6 31 11
Fax (0 71 91) 8 60 83
E-mail: h.g.bomm@t-online.de
Geboren 1948 in Backnang, Baden-Württemberg
1972–1975 Studium am Institut für Buchgestaltung der Staatlichen Akademie der Bildenen Künste Stuttgart bei Walter Brudi, Kurt Weidemann, Günter Jacki.
Seit 1975 eigenes Grafik-Design Studio in Backnang.
Please take a look at a digital exhibition of works of Hellmut G. Bomm and at his personal
[...]Colin Brignall – born 1940 in Warwickshire, England – photographer, type designer, art director. Started work as photographer for the fashion trade, the press and industry.
1964: joins the Letraset Type Studio as photographic technician. Since 1974: type designer for Letraset International. Since 1980: type director for Esselte Letraset in London.
Fonts: Countdown™ (1965), Aachen™ (1969), Premier™ Lightline (1969), Revue™ (1969), Premier™ shaded (1970), Superstar™ (1970), Octopuss™
[...]The French designer Jean-Renaud Cuaz (born 1959) created the Fonts ITC Cerigo™ (1993) and ITC Ellipse™ (1996).
ITC Cerigo is the result of a challenge which Jean-Renaud Cuaz set for himself: to create a typeface with the grace of Renaissance calligraphy but different from the numerous Chancery scripts. He calls Cerigo a 'vertical italic' and based it on 15th century calligraphic forms. The weights are carefully designed to complement each other and are made more flexible by a number of
[...]The German designer Ronny Edelstein created the fun font Linotype Mineru™ in 1997. This font is part of the TakeType Library, chosen from the entries of the 2nd International Digital Type Design Contests of 1994 and 1997. Linotype Mineru contains three weights: Linotype Mineru regular, Linotype Mineru bold, Linotype Mineru outline.
The designer Sigrid Engelmann created the font ITC Golden Type® together with Helga Jörgenson and Andrew Newton 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
[...]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).
German designer Helga Jörgenson created the font ITC Golden Type® in 1989 together with Sigrid Engelmann and Andrew Newton. 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.
In 1995 Helga Jörgenson created ITC Dinitials™. "When I started drawing the
[...]German designer Andreas Karl created the fonts Linotype Fluxus™ and Linotype Mailbox™ in 1997. Both fonts are included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
The wavy contours of Linotype Fluxus give the font a restless, choppy feel. Its relatively strong strokes make Linotype Fluxus particularly good for headlines.
Linotype Mailbox has an entire alphabet, only lower case letters, with the look of @
[...]American designer Frank Marciuliano created the following fonts:
Linotype Abstract™ (2002), Linotype Automat™ (2002), Linotype Breeze™ (2002), Linotype Constitution™ (2002), Linotype Isilda™ (2002), ITC Jaft™ (1996), ITC Jambalaya™ (1996), Linotype Labyrinth™ (2002), Linotype Lindy™ (2002), Linotype Mediterraneo™ (2002), ITC Schizoid™ (1997).
Designer Bob McGrath created the fonts Elefont™ (1978), Roman Script™ (1979) and Springfield (1978).
Designer Alan Meeks (born 1951 in London) created the following fonts: Ambrose™, Aachen medium and bold (with Colin Brignall, 1969/1977), Algerian™ Condensed (1988), Astoria, Belwe™ Mono (1976/1989), Bertie™ (1985), Bickley™ Script (1986), Bramley™ (1979), Brigade, Burlington™ (1985), Cabaret™ (1980), Campaign™ (1987), Cancellaresca™ Script (1982), Candice™ (1976), Chalfont, Champers™ (1991), Chesterfield™ (1977), Claude™ Sans (1988/1990), Copacabana, Dynamo (with
[...]The unusual and noticeable Linotype Grassy™ was created by German designer Inka Menne during her communication design studies at the FH Potsdam. One project involved the development of a writing utensil. Menne designed a wooden stylus with a rubber eraser as the writing tip. "The result of this pen and a bit of 'puffing' were the basis for Grassy... As I found out that Grassy had won a prize in the 3rd International Type Design Contest, I decided to extend the typeface family to include three
[...]Serbian designer Slobodan Miladinov created the fonts ITC Beorama™ (1998), ITC Coconino™ (1998) and ITC Freemouse™ (1996).
American designer James Montalbano created the fonts ITC Freddo™ (1996), ITC Nora™ (1997) and ITC Orbon™ (1995).
ITC Freddo was inspired by a sign lettering manual from the 1930s. James Montalbano liked the character shapes illustrated in this manual but found many of the proportions odd. So he reinterpreted them to produce capitals and lower case letters which, according to today's standards, better complement one another.
ITC Nora was designed by James Montalbano when he was on a 1930s
[...]The British designer Stephan B. Murphy created the font Linotype Tapeside™ in 1997. Linotype Tapeside is part of the Take Type Library, chosen from contestants of Linotype's International Digital Type Design Contests of 1994 and 1997. Murphy created this typeface with light, regular and bold weights, each with its matching italic. Consciously awkward, the characters line themselves up and produce a young, lively image. Linotype Tapeside is best for headlines and shorter texts in point sizes of
[...]The Austrian designer Michael Neugebauer created the fonts Cirkulus™ (1970), Litera (1983) and Squire™ (1980).
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
[...]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 German designer Till F. Teenck created the font Linotype Mega™ in 1997. Linotype Mega is part of the TakeType Library, chosen from contestants of Linotype's International Digital Type Design Contests of 1994 and 1997. This fun font is available in three weights whose names are word plays in themselves. "Mega in" (which we hope the font will be) contains relatively light, somewhat irregularly-drawn characters which look as though they were printed by hand and the characters are set rather
[...]British designer Gary Tennant created the fonts Sharquefin™ (2004) and Linotype Submerge™ (2002).
Sharquefin is a round, constructed display face, which contains shark fin-like elements that rise out from part of its letterforms. Gary Tennant designed Sharquefin especially for fun uses, like party flyers.
Linotype Submerge is a spaceage-themed family of four fonts created by British designer Gary Tennant. The fonts' oval forms sport strokes that seem to pass by the eye like spaceships from
[...]Designer Jan Tomás created the fonts Linotype Alphabat™, Linotype Element™, Linotype Silver™ and Linotype Startec™ in 1999.
These fonts are part of the Take Type Library, chosen from the entries of the 1999 International Digital Type Design Contest for inclusion on the TakeType 3.1 CD.
When you look closely to Linotype Alphabat, the figures start to change from letters into flying bats and scary faces. Linotype Alphabat can be used for very short texts however it is particularly effective
[...]The Dutch designer Mark van Wageningen created the fonts Linotype Cerny™, Linotype Laika™ and Linotype Sjablony™ in 1997. All these fonts are included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
Van Wageningen designed for Linotype Cerny an alphabet consisting exclusively of capital letters. The font's most distinguishing characteristic is its irregular outer contour, almost as though they were ripped out of
[...]The British designer Tony Watson created the fonts Highlight™ (1981) and Laura™ (1990).
Highlight is an airy, three-dimensional typeface based on a refined brush stroke style. Capitals can be used alone or in combination with the complementing lowercase and letters should be spaced closely. Highlight™ is ideal when a restrained, informal look is required.
Laura is a brush style typeface with an effective three-dimensional look. The forms are a little more formal than those of many other
[...]Swiss designer Silvan Kaeser created the font Seebad™ in 2002.
Silvan Kaesar designed Seedbad after observing the unique sign lettering along the shores of Lake Geneva’s bathing area. Seebad's four different settings represent the cutting edge new style of Swiss design, which spans the bridge between modern and contemporary. Containing geometrically forms, Seebad has a narrow base. Some characters (the lowercase “t”, for example) display unicase, even uncial-like tendencies.
[...]American designer Daniel Pelavin created the fonts ITC Anna™ (1991) and ITC Kulukundis™ (1997).
Daniel Pelavin designed ITC Anna for his wedding invitation and reused it on the birth announcement of his first child, Anna, whose namesake it is. The simple geometric forms and their proportions create a unique font appropriate for any special occasion.
ITC Kulukundis is a square, connecting script font which looks as though it could have been cast in shiny chrome for the side of a 1950s
[...]Designer Franko Luin created the following fonts: Ad Hoc, Baskerville™ Classico, Birka™, Bodoni™ Classico, Carniola™, Caslon Classico™, Devin™, Dialog™, Emona™, Esperanto™, Fortuna™, Garamond Classico™, Griffo Classico™, Humana™, Isolde™, Jenson Classico™, Jesper™, Jonatan™, Kalix™, Kasper™, Kis Classico™, Marco Polo™, Memento™, Miramar™, Norma™, Nyfors™, Odense™, Omnibus™, Pax™, Pax™ #2, Persona™, Ragnar™, Res Publica™, Rustika™, Saga™, Semper™, Transport™, Vega™.
Franko Luin, born 6. 4.
[...]Albert Boton – born 17. 4. 1932 in Paris, France – type designer, graphic designer, teacher.
1952–55: trains at the Troy studio in Paris. Attends a course in calligraphy at the Ecole Estienne in Paris. 1955–57: type designer for the Deberny & Peignot type foundry in Paris under Adrian Frutiger and Ladislas Mendel. 1957–58: works in the graphics department of the Technès design studio. 1958–66: type designer and graphic designer for the Hollenstein studio in Paris. 1966–68: works for the
[...]William Morris – born 24. 3. 1834 in Walthamston, England, died 3. 10. 1896 in Hammersmith, England – painter, designer, printer, publisher, author, typographer, type designer.
1853–55: studies at Exeter College, Oxford. 1856: works at G. E. Street´s architect´s office in Oxford. Starts painting. 1859: Monks, Marshall, Faulkner & Co. is founded. The company designs and manufactures jewelry, stained glass windows, wallpaper and complete interiors. 1862: the company´s products are exhibited at
[...]Albert Hollenstein (born 1930, died 10. 8. 1974 in Vernazza) created the font ITC Eras® together with Albert Boton.
ITC Eras is a typical sans serif typeface distinguished by its unusual slight forward slant and subtle variations in stroke weight. ITC Eras is an open and airy typeface inspired by both Greek stone-cut lapidary letters as well as Roman capitals.
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.
Ramiz Guseynov created the fonts Cargo, Compass, Decima, Decima Mono, Dina, Egon, Fermo, Fermo-Uni, Fox Sans, Fox, Octa, Septa, and Volt.
El diseñador gráfico alemán Georg John (Kugler) trabaja principalmente en los sectores Diseño gráfico/Diseño tipográfico/Composición. Estudió en la Escuela Superior de Artes Plásticas de Braunschweig donde descubrió su pasión por la tipografía. Su proyecto de graduación fue un experimento de escritura para predecir el futuro. Se trataba de un análisis teórico del desarrollo de los caracteres latinos.
La clave de su trabajo tipográfico es la tipografía gráfica, pasar de escritura a imágenes
[...]The phenomenon of the art of lettering has been with us since the very beginning of writing. This surely comes from the desire to express the content of the text in a very specific way. Each era has had its own forms of artistic expression, and so it is with lettering. The art of lettering is the art of “subtle” notes, as in chamber music, for example, where the fine, in-between notes also become audible or visible. Emanating from England prior to and at the beginning of the 20th
[...]3rd International Design Contest
The Winners of the Category Fun
Font Designer: Andreas Karl, 1997
This fun font was designed by German artist Andreas Karl. Its wavy contours give the font a restless, choppy feel. Its relatively strong make Linotype Fluxus™ particularly good for headlines.
Font Designer: Slobodan Miladinov, 1996
Very different from his earlier ITC faces, Slobodan Miladinov’s ITC Freemouse™ is still the result of the tension between the computer and the hand. "Freemouse was my first experiment in creating type using only the computer as a design tool", says Miladinov. "I wanted to sublimate the spontaneity and expressivity of calligraphic writing with the modern, slightly digital outlook of a completely on-screen generated typeface." He started by
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