Morris Sans® famille de polices

Morris Sans® Light (Linotype Originals) Plus de détails ... Ajouter au panier Prix à partir de: 65,00 US$

Morris Sans® Medium (Linotype Originals) Plus de détails ... Ajouter au panier Prix à partir de: 65,00 US$

Morris Sans® Heavy (Linotype Originals) Plus de détails ... Ajouter au panier Prix à partir de: 65,00 US$

Morris Sans® Light Condensed (Linotype Originals) Plus de détails ... Ajouter au panier Prix à partir de: 65,00 US$

Morris Sans® Medium Condensed (Linotype Originals) Plus de détails ... Ajouter au panier Prix à partir de: 65,00 US$

Morris Sans® Heavy Condensed (Linotype Originals) Plus de détails ... Ajouter au panier Prix à partir de: 65,00 US$

Morris Sans Complete Family Pack (Linotype Originals) Plus de détails ... Ajouter au panier Prix à partir de: 351,00 US$

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 Prolific! Perhaps this is the best word to describe the life and work of Morris Fuller Benton. The creator of over 200 types for ATF, Benton left his mark on 20th Century design. His faces would spread across the globe, and dozens are still in use today.

La fonte sans originale, redessinée – Bank Gothic et Morris Sans La fonte Bank Gothic a été publiée en 1930 par l’American Type Founders (ATF). C’est Morris Fuller Benton, dessinateur en chef de l’ATF, qui créa cette famille. ATF Bank Gothic était originellement une famille de cinq fontes : léger, moyen, gras, étroit léger et étroit moyen. Elles étaient fondues en métal, pour des compositions manuelles, et furent ainsi utilisées pendant des décennies (voir illustration 1).

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® [...]

Dan Reynolds est ingénieur en fontes et expert typographe à Linotype GmbH, à Bad Homburg, en Allemagne. Né à Baltimore, c’est lors de sa première visite à Mainz qu’il décida de devenir dessinateur de caractères. Pendant son temps libre, il s’occupe d’aider à organiser le Offenbach Typostammtisch (qu’il a contribué à fonder en 2004), sert de modérateur sur site Typophile.com et participe à Slanted, un magazine allemand de typographie. Dan est membre de l’AtypI et possède un diplôme BFA en [...]

Not your grandmother’ s medieval type ... meet the “American” Gothic fonts! A breed of no-nonsense typefaces, called “Gothics” in the United States, have been serving as heavy hitters in financial services, business, and newspaper sectors since the late 19th Century. Gothic typefaces – not to be confused with Blackletter typefaces, which look “gothic” in a scary, medieval sort of way – are American sans serifs. Their forms are designed to solve [...]

Morris Sans is a newly revised and extended version of a small geometric family of typefaces originally produced by Morris Fuller Benton in 1930 for ATF. His initial design consisted of an alphabet of squared capital letters with a unique twist that characterized its appearance: corners with rounded exteriors and right-angle interiors. The types were intended for use in the fine print found on business cards, banking or financial forms, and contracts. But over the ensuing decades, this design became a popular element in all sorts of design environments, and several foundries revived the typeface in digital form. Since digital fonts are bicameral, with slots for both upper and lowercase letters, new cuts of the type opted filled the lowercase slots with small caps.

In 2006, Linotype commissioned its own version of the typeface-an extension for 21st century use. Under the advisement of Linotype's type director Akira Kobayashi, Dan Reynolds redrew the uppercase and added an original lowercase for the first time. Additionally, a number of extras were brought into the fonts, including six figure styles (tabular and proportional lining figures, tabular and proportional oldstyle figures, and special tabular and proportional "small cap" figures). Small caps, which have become an iconic element over time, are accessible in each font as an OpenType feature. To differentiate this version from the original, Linotype's new family is named Morris Sans, in honor of Morris Fuller Benton.

All fonts in the Morris Sans family are OpenType Com fonts; they include a character set capable of setting 48 European languages that employ the Roman alphabet, including all Central and Eastern Europe languages, those from the Baltics, and Turkish. This glyph coverage extends to the small caps as well.

Morris Sans is a wide typeface, especially in its regular widths; the condensed faces set a more conventional line of text. The new lowercase letters are less geometric than the uppercase, except for those that share the same basic forms (e.g., c, o, and s). Instead of following this geometric trend, the new lowercase tends to strengthen the humanist elements that were present in several characters from the original type, including the uppercase D and the figures 5, 6, and 9. Morris Sans also sports a number of glyphic flares, like the stroke found on the original uppercase Q.

Morris Sans is a clean, modern design best suited for headlines, advertising, posters, expressive signage (especially on storefronts), and corporate identity work.