Anzeigen Grotesk™ is a heavy, condensed sans serif face drawn in the style of typefaces popular during the early 20th Century. It was originally intended for use in advertising design, a field for which it is still well suited. Anzeigen Grotesk (which means “advertising sans serif” in German) is best used in larger point sizes. |
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Bronx™ is a contemporary, highly stylized script typeface that captures the effect of quickly rendered brush lettering. The capitals are intended only for initialing purposes but may be joined with the lowercase letters, which can be linked together to reproduce the look of handwriting. This design has great potential for use in work associated with the fashion industry.
British designer David Quay originally produced Bronx for Letraset in 1986, and it is just one of the many styles of type developed by this talented and renowned designer.
Take a look at our Bronx usage sample |
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Codex™ was designed by Georg Trump and introduced by the font foundry C. E. Weber in 1954. Based on the German Gothic script of the 13th century, this font has the character of handwriting. Its capital letters are extremely big in comparison with the lower case, hence good for contrast in short text, however, this characteristic makes the font better suited to languages which use fewer capital letters. |
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Linotype Dinosaures™, created by the French designer Boul Yvan, is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the Take Type 3 CD. This font is a must for dinosaur lovers, as it brings back to life a variety of these huge reptiles. Besides figures of complete dinosaurs there are also a number of ’portraits’ and poses. A creative combination of dinosaur figures allows the depiction of various situations, fighting, eating, etc. Have fun!
Take a look at our Linotype Dinosaures usage sample |
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Linotype Ego™, from German designer Jörn Rings, is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. The letters look as though they were quickly put on paper with a sure hand and have all the distinguishing characteristics of a calligraphic font. Texts written with Linotype Ego will have a personal touch... even if your handwriting is not so neat and clean as this font. Even in smaller point sizes, text remains legible and Linotype Ego is therefore suited to short to middle length texts and headlines.
Take a look at our Linotype Ego usage sample |
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Ex Ponto®, designed by type designer Jovica Veljovic, is a spirited script typeface based on the rhythm of Veljovic’s handwriting. The typeface combines the vigor of handwritten letters with the grace of meticulously crafted script typography. Veljovic began by drawing calligraphic characters on rough paper and then carefully modifed these ragged-edged letterforms to produce graceful, balanced characters. All along its weight axis, from light to bold, Ex Ponto sparkles with the nuances of the handwriting from which it originated. Designed primarily for use at display sizes, Ex Ponto also works well in text as small as 12 points. The vibrant intensity of Ex Ponto will rivet your readers to the page or poster or package.
Take a look at our Ex Ponto usage sample |
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New York designers Ed Benguiat, Victor Caruso, and the staff at Photo Lettering, Inc. developed the ITC Korinna typeface family during the 1970s. ITC Korinna™ is based on an older German design that was originally cast at the beginning of the 20th century. That ITC Korinna was created speaks to the status that Art Nouveau had for designers during the 1960s and 70s. Thanks to their keen reviving of this ever-popular style, computer users can still use this type style today.
ITC Korinna is perfect for display and advertising typography, as well as for headlines in newsletters and magazines. |
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Jochen Schuss designed Linotype Paint It™ in 1997 with exclusively capital letters and in two weights. The best way to describe the weight Paint It might be to compare it with a labyrinth in which the figures only become clear to the reader dedicated to finding them. The second weight, Paint It black, is almost the solution to this puzzle. The characters are black and stand out strikingly from the background. Linotype Paint It is particularly good for headlines in large point sizes or wherever a text should display a playful character. |
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The highly legible Shannon™ font family was designed by Janice Prescott Fishman and Kris Holmes exclusively for Compugraphic in 1982. Its design blends ancient Irish calligraphy from the Book of Kells and contemporary letterforms. Shannon is a modified sans serif typeface with slightly flared terminals that give the effect of serifs, thus aiding readability. Shannon is ideal for a whole range of uses: advertising and magazines to slides and data sheets. |
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LuMarc™ is an elegant, 1920s style engraved typeface that Marc Lubbers designed in 1994. Very fine serifs adorn LuMarc’s letters, which are open and legible. Nevertheless, LuMarc should not be used to set large amounts of small body text. Its design is too elegant for such everyday treatment. Treat LuMarc to a graceful invitation or thank you note, and pay special attention to the type’s great numerals!
The LuMarc Font Family is part of the Take Type Library. |
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Pelican™ was designed by Arthur Baker and released by Agfa Compugraphic in 1989.
Pelican is a calligraphic typeface that is distinguished by the irregular shapes of the lowercase letters. The rough-edged quality of Pelican makes it a good choice for informal display work and short texts. |
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Strumpf™ was created by Portuguese designer Mario Feliciano. Late in 1994, Feliciano began work on a typeface that would capture the look and feel of his favorite comic strip. He believed this design should follow alphabetic tradition as little as possible yet remain legible. True to its comic strip inspiration, Strumpf is highly animated. Every letter has its own bouncy personality. Consistency is provided by the rounded shapes and outlines rather than a formal letterform structure. The two variations, open and contour, have different outline treatments, but the letters are encouraged to touch in both, enhancing their interplay and jocular disposition. Use fun-loving Strumpf for setting single light-hearted words or phrases, rather than lengthy headlines or text. |
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Westside™ was designed by Adrian Frutiger in 1989 and can be classified as a “wood type.” It is reminiscent of dusty streets, Wild West heroes and swinging saloon doors. The origins of wood types are found in the early nineteenth century, when such types really were cut in wood, and printed on hand presses. Westside has big fat serifs and heavy horizontals that are much thicker than the skinny vertical strokes. When the letters are set together, the heavy serifs build dark horizontal bands. As most of Frutiger’s other fonts are serious text faces and modern classics, one might be surprised that he turned his vision sideways and designed this playful, spirited typeface. But Frutiger has always been interested in patterns, and the kind of pattern that a wood type creates must have been irresistible to this consummate designer. Use Westside at large point sizes to create a distinctive effect in headlines for banners, posters, and magazines. Ride ’em, cowboy! |
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