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
[...]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 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.
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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Des clients du monde entier affluent chaque jour sur le site Linotype.com pour acheter les fontes. Voici une liste des 20 familles de fontes que nos clients ont acquis au cours de 2008. Les connaissez-vous toutes ?
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 !
Eurostile extras – Les fontes Eurostile Candy & Eurostile Unicase d’Akira Kobayashi
Publiée début 2008, Eurostile® Next est l’une des plus récentes recrues de la Platinum Collection de Linotype. Cette famille est une réédition entièrement nouvelle et numérisée de la fonte. Eurostile Next est en outre une contribution supplémentaire du directeur typographique de Linotype Akira Kobayashi à la typographie numérique du 21ème siècle. Mais même des dessinateurs de l’envergure d’Akira
[...]With this Typeface, Curling Up with a Good Book is Lots of Fun
The creation of a new sanserif, monoline font as a text face – this was the starting point for Linotype Finnegan®. Easy and comfortable legibility in large-scale text setting was the foremost concern. Usually, sanserifs are not optimal for reading longer texts because their neutrality and functionality lead quickly to fatigue and disinterest in the reader. This was the exciting challenge for designer Jürgen Weltin: to create a
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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®, 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
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Les vrais caractères utilisés dans les trois alphabets officiels de l’Union Européenne. Avec l’adhésion de la Bulgarie en janvier 2007, le cyrillique vient compléter les deux autres alphabets (latin et grec) utilisés dans l’UE.
Les fontes originales de Linotype qui portent la mention « W1G » complètent le jeu de caractères et respectent la norme Linotype W1G (World Glyph 1).
Découvrez les langues qui prennent en charge les fontes W1G (Fichier 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
[...]Pierre Simon Fournier – born 15. 9. 1712 in Paris, France, died 8. 10. 1768 in Paris, France – type founder, punch cutter, type designer – known as Fournier le Jeune.
Trains at the company of his father, Jean Claude Fournier. 1737: develops a typographical system of measures which F. A. Didot reworks. 1739: opens his own type foundry. 1742: publishes a book of type specimens which is printed by J. J. Barbou. In total, Fournier cuts 60,000 punches for c. 150 of his own alphabets. 1760:
[...]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
[...]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.
Aldo Novarese – born 29.6.1920 in Pontetura Monferrato, Italy, died 16.9.1995 in Turin, Italy – type designer, teacher.
1931-33: Attends the Scuola Arteri Stampatori in Turin, where he learns woodcut, copper engraving and lithography. 1933-36: attends the Scuola Tipografica Guiseppe Vigliandi Paravia in Turin. 1936: joins the Nebiolo type foundry in Turin as a draftsman. 1938: is awarded a gold medal in the national Ludi Juveniles art competition.
1948-58: teaches graphic drawing at the
[...]"Type is made to be read", he reminded, "and that implies a reader. It may usefully be asked what does that all-important but often disregarded person expect? He expects nothing but to be left in optical ease while he pursues his reading."
Rudolf Ruzicka (1883–1978) was a consultant to Mergenthaler Linotype Company for 50 years. Considered a distinguished engraver in wood and metal and an accomplished and versatile artist and designer of his time, he was recommended to C. H. Griffith,
[...]The designer Erich Fehrle created the font Linotype Fehrle Display® in 1976. He designed this robust alphabet for headlines and titles in 1976. The constructed figures of Linotype Fehrle Display were built on the geometric form of the rectangle. Lines of text look closed and compact. The letter forms are the result of fine open spaces.
Design-specific characteristics of Linotype Fehrle Display are its serif-like additions to the strokes of the figures a, c, G or M, and the alternating rounded
[...]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
[...]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.
[...]German designer Norbert Reiners created the fonts Linotype Eirinn™ and Linotype Octane™ in 1994. Linotype Octane is included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
Walter Tracy – born 14. 2. 1914 in England, died 1995 – type designer.
1930–35: trains and works as a typesetter. 1935–38: typographer for Barnard Press. 1938–46: works for Notley Advertising. 1947: freelance designer. Works for Art & Technics publishing house which issues "Alphabet and Image" magazine, among others. 1948–78: works for Linotype England as head of the department for type development. 1973: made a Royal Designer for Industry by the Royal Society of Arts. Since 1978: has
[...]The German designer Robert Wiebking (born 1870 in Schwelm, Germany, died 1927 in Chicago, USA) created the font Engravers in 1899.
Jürgen Weltin was born on May 8th, 1969 in Constance. After schooling and swimming a lot in the Lake of Constance he worked in a publishing house before he started to study graphic design at the Technical College in Würzburg. After an apprenticeship in design company Stankowski + Duschek and after one term at Bournemouth & Poole College of Art and Design he graduated in Würzburg under Reinhard Haus from Linotype presenting the beginning of the new typeface Linotype Finnegan®.
Then he
[...]American designer Gary Munch created the fonts Linotype Ergo™ (1997), Linotype Finerliner™ (1997), Linotype Really™ (1999), and Really™ No 2 (2009).
Linotype Ergo is a relatively new font oriented on the form philosophy of Univers™ and Frutiger™, namely, that a font which the eye should see as "correct" cannot be constructed. The eye tends to enlarge horizontals and to perceive verticals as weaker, and the stroke differences of Ergo are therefore designed to accommodate this tendency. Ergo
[...]German designer Hermann Zapf created the following fonts:
Aldus® (1954), Aldus Nova (2005), Aurelia™ (1983), Comenius® Antiqua BQ (1976), Edison™ (1978), Kompakt™ (1954), Marconi® (1976), Medici® Script (1971), Melior® (1952), Noris Script® (1976), Optima® (1958), Optima nova (2002), Orion™ (1974), Palatino™® (1950), Palatino nova (2005), Palatino™ Sans (2006), Saphir™ (1953), Sistina® (1950), Vario™ (1982), Venture™ (1969), Virtuosa® Classic (2009),
[...]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
[...]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.
[...]Founded in St. Louis in 1894 by the sons of the owners of the Central Type Foundry, the Inland Type Foundry was the first company to introduce a standard baseline, an idea that would later be adopted the world over. In 1911, the company liquidated and the inventory was dived between American Type Founders and Barnhart Bros. & Spindler.
Eurostile® is one of the most important creations of the Italian font designer Aldo Novarese. The font reflects the Zeitgeist of the 1950s and 1960s, giving text a dynamic, modern feel. Eurostile is intended for headlines and small bodies of text.
The complete Eurostile font family is available as Value Pack for instant download for Macintosh or PC. Eurostile contains an integrated Euro symbol.
Order Eurostile as Value Pack for instant download.
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
[...] 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
[...]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
[...]Hermann Zapf is renowned the world over as a master calligrapher and type designer. Throughout his tremendous life, he has contributed volumes to the history of typography. His oeuvre encompasses text faces, symbol fonts, and even script designs, such as the new classic Zapfino. So many of his typefaces have entered our daily lives that it is impossible to image contemporary design without them. Below are all of his digital designs for Linotype.
More about the fonts:
Aldus™
This typeface
[...]Trouver d’autres Fonctions de Fontes dans nos Archives de Présentation de Fontes.
L’astuce typographique du mois par Akira Kobayashi, directeur de typographie de Linotype !
Juin 2006: Apostrophes et guillemets
Quel est le bon glyphe : le pouce, l’aigu ou l’apostrophe ? – Cette fonction décrit l’usage correct des signes de ponctuation trompeurs qui servent à signifier les omissions et, dans la langue anglaise, les possessifs et parfois les
[...]Le format de fonte OpenType est une amélioration de TrueType™ et de PostScript® développée conjointement par Adobe Systems Inc. et Microsoft Corporation. OpenType associe ces deux technologies et élargit leurs capacités. Le résultat est cette nouvelle génération de fontes OpenType, avec de meilleures fonctions typographiques et de mise en page, et la possibilité pour l’ensemble d’Unicode™ d’obtenir des jeux de caractères étendus et conformes.
Astuce : pour obtenir une liste des fontes
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Font Designer: Aldo Novarese, 1962
Eurostile® is one of the most important creations of the Italian font designer Aldo Novarese. The font reflects the Zeitgeist of the 1950s and 1960s, giving text a dynamic, modern feel. Eurostile is intended for headlines and small bodies of text.
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: Gottfried Pott, 1999
About the typeface:
Duc De Berry™ is characterized by two major traits: on one hand, the subdued, closed forms of the lower case characters; on the other, the lively lines of the capitals.
These seemingly opposing forces make the tension in Duc De Berry especially appealing. Each individual capital letter could also serve as an initial to add interesting emphasis to modern typography.
Historical note:
Next to the Gothic Minuscule,
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Font Designer: Rudolf Ruzicka, 1939
"Writing is there to be read… The reader expects visual assistance when reading. He doesn't want to be distracted while trying to understand the thought processes within a text…", says type designer Rudolf Ruzicka.
Ruzicka's Fairfield®, from 1939, was based closely on historical predecessors, but also expresses the spirit of the 30s and 40s. A departure from ornament and imitation of style and a lean towards clear simplicity was to give rise to
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Font Designer: Linotype Design Studio, 1994
Venecian Old Face fonts had a strong influence on typeface design in the 1930s and 1940s in England. Such influence is evident in the font Electra®, designed by William A. Dwiggins for Linotype in 1935. Electra combines its classic roots with the Zeitgeist of the 1930s, also displaying characteristics of the Bauhaus and Art Deco styles.
