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
[...]In Layout in Advertising, published in October 1928, W. A. Dwiggins pointedly left sans serifs out of his survey of advertising typefaces. Gothic the newspaper standby in its various manifestations has little to commend it, he wrote, except simplicity; it is not overly legible, it has no grace. Gothic capitals are indispensable, but there are no good Gothic capitals. The typefounders will do a service to advertising if they will provide a Gothic of good design. In February 1929, Harry Gage,
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Introduction
Voici l’occasion rêvée pour revoir les plus belles fontes Linotype des dix dernières années ; « revoir » est certainement le terme qui convient, car ces dessins font partie de votre environnement visuel depuis déjà quelque temps.
Depuis la fin des années 90, Linotype a enrichi le marché de nouveaux caractères qui ont changé la façon dont le monde communique. Nombreuses sont nos fontes installées sur les ordinateurs du monde entier, certaines sont même devenues
[...]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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Comme la très populaire Compatil®, le système de caractères Generis de Linotype est une matrice de quatre familles de fontes. Les graisses Generis Serif, Generis Sans, Generis Simple et Generis Slab sont quadruplexes pour chaque style de caractère. Ainsi vous pouvez changer tout volume de texte composé dans un style de Generis en un autre, sans affecter l’enroulement des lignes. Par exemple, vous pouvez souligner quelques mots d’un texte composé en Generis Serif à l’aide de Generis Simple,
[...]Pendant des décenies, Adrian Frutiger a travaillé en étroite collaboration avec Linotype. Au cours de ces nombreuses années, nous avons accumulé de nombreuses photographies d’Adrian Frutiger. Ces images donnent des aperçus des différentes périodes et moments forts de sa vie jusqu’à aujourd’hui, y compris des photos de lui à l’œuvre dans son studio, seul face à ses familles de caractères et même des photos plus récentes de lui travaillant avec Akira Kobayashi.
Nous espérons que cette balade
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Voici une sélection de fontes que nous venons de redécouvrir. De véritables pépites. Vous en connaissez peut-être déjà certaines … mais êtes-vous sûr que vous les connaissez toutes ?
Nous espérons que vous apprécierez cette sélection !
Choisissez les fontes dont vous avez besoin pour votre logiciel Microsoft Office en visitant notre site Internet, qui vous propose plus de 9 000 fontes originales et de haute qualité, de la plus classique à la plus tendance. Ici, vous trouverez toutes les fontes classiques originales les plus célèbres, comme Helvetica®, Frutiger® ou Univers®, aainsi qu’une bibliothèque en constante expansion, pleine de polices innovantes et inédites, en arrivage direct des ateliers de
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Choisissez les fontes dont vous avez besoin pour votre logiciel Microsoft Office en visitant notre site Internet, qui vous propose plus de 9 000 fontes originales et de haute qualité, de la plus classique à la plus tendance. Ici, vous trouverez toutes les fontes classiques originales les plus célèbres, comme Helvetica®, Frutiger® ou Univers®, ainsi qu’une bibliothèque en constante expansion, pleine de polices innovantes et inédites, en arrivage direct des ateliers de
[...]Frutiger® – la fonte classique sans serif que rien n’arrête.
Demandez l’originale chez Linotype, en fontes individuelles, en coffret de promotion ou sur CD.
À propos de Frutiger
Cette police est le chef d’œuvre du célèbre dessinateur de caractères typographiques Adrian Frutiger. Confronté au défi de dessiner une fonte d’une lisibilité exceptionnelle pour les panneaux de l’aéroport Charles de Gaulle de Paris, il a créé la désormais célèbre Frutiger en 1968. La fonte Linotype
[...]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
[...]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
[...]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 A. Dwiggins – born 19. 6. 1880 in Martinsville, USA, died 25. 12. 1956 in Hingham, Massachusetts, USA – type designer, printer, typographer, graphic designer – studied at the Frank Holme School of Illustration in Chicago under Frederic W. Goudy.
1903–04: runs his own printing workshop in Cambridge, Ohio. 1905–16: commercial artist in Hingham, Massachusetts. 1917–18: director of Harvard University Press. 1919: founds the Society of Calligraphers in Boston and is their president and
[...]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.
Peter Matthias Noordzij – born 27.1.1961 in The Hague, The Netherlands – typographer, type designer, teacher.
1980–85: studies at the Koninklijke Academie vor Beeldende Kunsten in The Hague. Courses include lettering under his father, Gerrit Noordzij. 1983: produces preliminary sketches for his PMN Caecilia™ typeface during his third year of study. 1985–86: period of practical training at a printing works. 1986: starts working as a typographer. Clients include the publishers Querido,
[...]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
[...]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®
[...]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).
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
[...]Karlgeorg Hoefer was born on February 6th, 1914 in Schlesisch-Drehnow. Following schooling in Schlesien and Hamburg, he served a four-year typesetting apprenticeship from 1930-1934 in Hamburg. After two years of military service, he studied at the Kunstgewerbeschule (School of Arts and Crafts) in Offenbach am Main and then worked in Potsdam. From 1939 until 1945 he was in active military service and was also a prisoner of the Russians.
His activities as a calligrapher began after his
[...]English designer Isaac Moore created the font Baskerville Old Face in 1768. Baskerville Old Face is based on one developed by the renowned 18th-century typographer John Baskerville. Tell-tale differences, including the characteristic squarish curves in the capital C and G, identify it as the version first issued by the Fry type foundry, established by the Fry family after they succeeded in the chocolate business.
The Italian designer Antonio Pace created the font Linotype Gianotten™ in 2000. Linotype Gianotten is a new interpretation of the classic Bodoni font. For this adaptation of the modern face, Antonio Pace went back to Giambattista Bodoni’s original punches, kept in a museum in Parma, and reinterpreted the 200-year-old characters for the world of modern digital technology. Rigorous design and the organic, unadorned construction of the individual characters give Linotype Gianotten a contemporary,
[...]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.
[...]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,
[...]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
[...]Anders Bodebeck, graphic designer from Gothenburg, Sweden, recently completed his first typeface Bodebeck™ in addition to his daily work with logotypes and calligraphic book covers. He has also been working as a teacher in graphic design at HDK – School of Design and Crafts at Gothenburg University. Anders Bodebeck will be represented in the annual book from Type Directors Club 2004. At the moment he is working with a new typeface.
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.
Gustav Jaeger, son of a printer, studied at the Hochschule für Gestaltung in Offenbach am Main. An enthusiast for type and typography from an early age, he started his career at the Bauer typefoundry, where he developed type specimens promoting the work of Konrad Bauer and Walter Baum. Encouraged by the former, he designed contemporary 1970s display types for H. Berthold AG. He progressed to text types, the first of which, Seneca® BQ, was released by Berthold in 1977. Many others followed,
[...]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
[...]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
[...]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
[...]Prof. Karlgeorg Hoefer was one one the most influential calligraphers of the 20th Century. Aside from leading numerous workshops inside the United States, as well as abroad, he taught for decades at the Hochschule für Gestaltung in Offenbach am Main (Germany). One of his most representative typefaces is Salto, which he developed in 1952 for the Klingspor foundry in Offenbach.
More about the fonts:
Beneta™
Karlgeorg Hoefer designed Beneta in 1991, inspired by the Littera beneventana, the
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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: John Baskerville
Baskerville™ was developed in the 18th century by John Baskerville (1706–1775) and its clear, sharp image set it apart from others of its time. John Baskerville was a major figure in the improvement of print technique and typography and his work influenced the work of such famous designers as Didot in France and Bodoni in Italy.
The fonts of John Baskerville were composed of more contrasting elements than any print characters that had been designed
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Font Designer: John Baskerville
Baskerville was developed in the 18th century by John Baskerville (1706–1775) and its clear, sharp image set it apart from others of its time. John Baskerville was a major figure in the improvement of print technique and typography and his work influenced the work of such famous designers as Didot in France and Bodoni in Italy.
The fonts of John Baskerville were composed of more contrasting elements than any print characters that had been designed before.
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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: Bo Berndal, 2004
Inspired by calligraphic styles from 15th century Italy, master Swedish typographer Bo Berndal designed the Byngve™ font family. With four styles – Regular, Italic, Bold, and Bold Italic – Byngve proudly shows its process: Berndal wrote out the entire family by hand before digitizing it and converting its beauty into a typeface. Byngve is most suited for advertising uses, and for greeting cards.
The name Byngve comes from Bo Berndal’s two Christian
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Font Designer: Bo Berndal, 2004
Inspired by calligraphic styles from 15th century Italy, master Swedish typographer Bo Berndal designed the Byngve™ font family. With four styles – Regular, Italic, Bold, and Bold Italic – Byngve proudly shows its process: Berndal wrote out the entire family by hand before digitizing it and converting its beauty into a typeface. Byngve is most suited for advertising uses, and for greeting cards.
The name Byngve comes from Bo Berndal’s two Christian
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Font Designer: Anders Bodebeck, 2002
The Swedish designer/typographer Anders Bodebeck designed the Bodebeck™ type family in 2002. The family, which includes five different styles, is primarily intended for use as a titling, or display face, and belongs to the neo-transitional style of typefaces. Transitional style type first appeared in England during the late 1750s, when John Baskerville released his first sets of type. Bodeck bears similarities to another, later transitional
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Font Designer: Gustav Jaeger, 1980
Gustav Jaeger’s Becket typeface embodies a retro-medieval aesthetic. Base letterforms that might have been at home with a writer of Irish uncials have been streamlined according to late 20th century tastes to create a timeless effect.
Becket is the perfect font for headlines, posters or invitations.
Dessinateur: Gottfried Pott
Carolina&trade fait partie du programme de 1990 «Type before Gutenberg». Elle est l’une des œuvres des douze dessinateurs de fontes contemporaines, qui représentent des styles de toutes les époques: de la cursive romaine à la minuscule humaniste. Le lot entier est disponible sur notre site www.linotype.com.
Gottfried Pott a dessiné la fonte Carolina dans la tradition de la minuscule carolingienne, qui était le standard typographique sous l’empire de
[...]Seit Schrift geschrieben wird, gibt es das Phänomen des künstlerischen Schreibens. Dahinter steht das Verlangen, dem Inhalt besonderen Ausdruck zu verleihen. Jede Zeit sucht die ihr entsprechenden künstlerischen Ausdrucksformen auch für die Schrift. Schriftkunst ist eine Kunst der "leisen" Töne, mit der Kammermusik vergleichbar; auch die feinen Zwischentöne werden hörbar bzw. sichtbar gemacht. Zu Beginn des 20. Jahrhunderts sind, ausgehend von England, durch die Schriftreformer William Morris,
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