Football Jersey Fonts
Football is in the air! Like all great team sports, football (or soccer, if you are in the US) inspires its fans to identify with their favorite team’s players, and sometimes even with a specific city or country. Each football team has its own visual identity, and the appearance of their logos and jerseys are one of the most exciting areas of graphic design. And it is no surprise that fonts play a strong role!
Below are images of just a few of the jerseys known and
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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 ?
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
[...]Eric Gill – born 22. 2. 1882 in Brighton, England, died 17. 11. 1940 in Uxbridge, England – sculptor, graphic artist, type designer. Studied at the Chichester Technical and Art School.
1899–1903: works in an architect’s office. Takes lessons in lettering with Edward Johnston at the Central School of Arts and Crafts in London. 1905–09: produces initials and book covers for Insel publishers in Leipzig. 1906: designs inititals for Ashedene Press. 1907: moves to Ditchling, Sussex. Here he
[...]Edward Johnston – born 11. 2. 1872 in San José, Uruguay, died 26. 11. 1944 in Ditchling, England – type designer, calligrapher, author, teacher. Studied medicine at the University of Edinburgh.
1898: obtains his Ph. D. Moves to London. Studies ancient writing techniques in the British Museum. 1899–1913: teaches at the Central School of Arts and Crafts in London in the new lettering department. 1901–40: teaches at the Royal College of Art in London. 1906: his book "Writing and Illuminating
[...]The successful font Gill Sans™ was designed by the artist and type designer Eric Gill in 1931. The roots of Gill Sans can be traced back to Old Face typefaces and more directly to his teacher Edward Johnston's London Underground type. Gill’s alphabet is more classical in proportion and contains his signature flared capital R and eyeglass lowercase g. With distinct roots in pen-written letters, Gill Sans is classified as a humanist sans serif, making it very legible and readable in text and
[...]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
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Font Designer: Eric Gill, 1931
The successful font Gill Sans® was designed by the artist and type designer Eric Gill in 1931.
The roots of Gill Sans can be traced back to Old Face typefaces and more directly to his teacher Edward Johnston's London Underground type. Gill’s alphabet is more classical in proportion and contains his signature flared capital R and eyeglass lowercase g. With distinct roots in pen-written letters, Gill Sans is classified as a humanist sans serif, making it
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La célèbre police de caractères Gill Sans® est l'œuvre de l'artiste anglais Eric Gill. Elle a été publiée par Monotype entre 1928 et 1930. Ses origines remontent à la police qu'Edward Johnston, professeur d'Eric Gill, avait créée pour la signalisation du métro londonien en 1918. L'alphabet Gill Sans® est plus classique et contient les fameux R majuscule et g minuscule facilement reconnaissables. Il s'agit d'une police humaniste et sans empattement, au style britannique, dont les structures sont légèrement géométriques. Lisibles et modernes, quoique parfois amusantes et idiosyncrasiques, les graisses légères sont idéales pour les textes, tandis que les graisses épaisses sont plus adaptées aux affichages. Gill Sans est en outre disponible pour Macintosh, pour PC ou sur un CD hybride pour les deux plates-formes.
