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.
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 !
Italian designer Alessio Leonardi creates experimental typefaces that capture the Zeitgeist of the 1990s, and are full of charm and wit to boot!
More about the fonts:
F2F Al Retto™
Like a game of Tertis gone awry, Alessio Leonardi’s F2F Al Retto is an alphabet full of boxy, outlined squares that seem to move across lines of text. This typeface should be set large, so that its subtle movement-like qualities may best be observed.
F2F Allineato™
A double wavy outline roughly defines
[...]Biography of Akira Kobayashi:
Studied at the Musashino Art University in Tokyo, and later followed this up with a calligraphy course at the London College of Printing. Freelance type designer since 1997.
Professional experience
April 1983–March 1989
Sha-ken Co. Ltd, Japan Typeface design department
December 1990–June 1993
Jiyu-kobo Ltd, Japan
September 1993–March 1997
TypeBank Co. Ltd, Japan
March 1997–April 2001
Freelance type designer
April 1998–April
[...]Seymour Chwast – born 18. 8. 1931 in New York, USA – graphic designer, illustrator, type designer, teacher.
1948–51: studies at the Cooper Union in New York. 1954: opens the Push Pin Studio in New York with Milton Glaser. 1955–81: art director of the in-house magazine "Push Pin Graphic". 1982: director of "Push Pin Lubalin Peckolik" in New York. 1983: is elected into the New York Art Directors Hall of Fame. 1985: becomes director of The Pushpin Group. Numerous book illustrations, record
[...]Gail Blumberg created the font Cutout™. She was inspired by Matisse’s aer cutouts. The biggest challenge was to keep each Cutout design in scale. "It’s not easy to make a standing figure, like 'Y', to be the same size as a curled up figure, like 'G'," Gail says.
Cutout is part of the Linotype Library.
San Francisco designer and illustrator Craig Frazier created the font Critter™. The clever creatures of Critter tell you their names by the letter they represent. A helpful hint: "x" is for xenopus.Critter contains one weight.
This font is part of the Linotype Library.
Designer Dick Jones created the fonts Crillee™ (1980, 1981) and Princetown™ (1981).
Crillee is a font whose slight lean to the right and geometric forms create a feeling of power and speed. Crillee should be spaced closely in word settings and is perfect for anything which should have a cool, modern appearance.
Princetown is an all caps typeface with strong, geometric letterforms. The design was inspired by college and university sportswear with its blocky forms and heavy outline. Princetown
[...]Designer Erwin Koch created the following fonts: Angro™, Dalcora™ (1989) and Monanti (1989).
The designer Peter O’Donnell created the fonts Crillee™ (1986/87, with Vince Whitlock, original font created by Dick Jones in 1980/81), Demian™ (1987, original font created by Jan van Dijk in 1986), Odessa™ (1988) and Van Dijk™ (1986, original font created by Jan van Dijk in 1982).
Ralf Weissmantel created the fonts Linotype Contacta™ (1994) and Boogie™ (2003).
Linotype Contacta is part of the TakeType Library, chosen from contestants of Linotype's International Digital Type Design Contests of 1994 and 1997. Weissmantel designed this font to display no stroke contrast at all. Instead of using conventional letter forms, Contacta is a more designed-oriented font, with some characters recognizable only in context, not necessarily at first glance. The technical,
[...]Designer Vince Whitlock created the following fonts: Academy Engraved™ (1989), Crillee™ (with Peter O’Donnell, 1986/1987), Equinox™ (1988), Gillies Gothic extra bold shaded (with Philip Kelly, 1982), Lexikos™ (1990), Quixley™ (1991), Retail Script™ (1987), Strobos™ (1990), Tropica Script™ (1988).
Italian designer Alessio Leonardi created the following fonts:
F2F Al Retto™ (1996), F2F Allineato™ (1995), F2F CoolWool™ (1994), HaManga Irregular™ (1994), F2F Madame Butterfly™ (1996), F2F Mekanik Amente™ (1993), F2F Mekkaso Tomanik™ (1994), F2F Metamorfosi™ (1995), F2F Poison Flowers™ (1994), F2F Prototipa Multipla™ (1996), F2F Provinciali™ (1995), F2F Tagliatelle Sugo™ (1996), F2F Ale™ (1994), F2F Simbolico™ (1994).
Take a look at the personal designer portrait of Alessio Leonardi.
German designer Hans-Jürgen Ellenberger created the following fonts:
Linotype Albafire™ (2002), Linotype Albatross™ (2002), Linotype Albawing™ (2002), Linotype Aspect™ (1999), Linotype Beluga™ (2003), Cajoun™ (2002), Carlin Script™ (2002), Linotype Colibri™ (1999), Linotype Escript™ (2003), Linotype Inagur™ (1999), Mateo™ (1994), Linotype Pegathlon™ (1999), Linotype Rana™ (1997), Linotype Traco™ (1999), Linotype Biosymbols™ (2003), Linotype Chemsymbols™ (2003), Linotype Chemtools™ (2003),
[...]German designer Gudrun Zapf von Hesse created the following fonts:
Alcuin® (1991), Ariadne® (1954), Carmina® (1986), Christiana® (1991), Colombine® (1991), Diotima® (1952), Diotima® Classic (2008), Nofret® (1984) Shakespeare™ (1968), Smaragd™ (1953).
Please take a look at the personal designer portrait of Gudrun Zapf von Hesse.
Japanese designer Akira Kobayashi is Type Director at Linotype. Since joining Linotype, he has been responsible for the futher development of classic typefaces like Avenir, Optima, and Zapfino. He has created numerous typefaces of his own, many of which have received prizes from all across the typographic spectrum.
ITC Luna
Akira Kobayashi turned to the designs of the 1930s for his inspiration for both ITC Luna and ITC Silvermoon. "Luna is designed to fill the gap between a pure Art Deco
[...]3rd International Design Contest
The Winners of the Category Text
Chwast Buffalo, Colombine and Conrad are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Choc, Contacta, CoolWool, Dalcora and Linotype Colibri are trademarks of Linotype GmbH and may be registered in certain jurisdictions.
Critter and Cutout are trademarks of Adobe Systems Incorporated which may be registered in certain jurisdictions.
Crillee, Croissant, Cult, Dancin', Data 70, ITC Clover, ITC Coconino and ITC Cyberkugel are trademarks of International Typeface Corporation and may be registered in certain jurisdictions.
Chromium One is a trademark of International Typeface Corporation registered in the U.S. Patent and Trademark Office and which may be registered in certain other jurisdictions.
