Trouver d’autres Fonctions de Fontes dans nos Archives de Présentation de Fontes.
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.
Pas besoin de sable pour profiter de ces polices sur le thème Beach Party. Ces caractères englobent des images de surfeurs des années 60 au tikis huts et DJ passant de la musique techno sur une plage de sable. Que vous fassiez de la publicité pour une fête, des documents sur des voyages à l’aventure ou l’emballage de produits pour l’été, ces polices de caractère vous donneront certainement le sentiment de « profiter du soleil ».
Nous avons réunis ici les polices de style chinois les plus populaires. Ces polices ont toutes des lettres tracées au pinceau et s’adapteront à de nombreux produits et clients qui recherchent une typographie ayant des accents dynamiques asiatiques. Et pour la touche finale parfaite, essayez l’une des polices d’illustration Pi !
Capturez les esprits d’Halloween avec ces 33 fontes sinistres !
Ces fontes sont faites pour vous ! Que vous organisiez une soirée, cherchiez une maison hantée ou que vous vouliez simplement créer une atmosphère macabre.
L’Halloween Value Pack contient cinq superbes fontes à un tarif unique et avantageux. Y figurent également trois polices de caractères effrayantes et deux fontes Pi terrifiantes !
Nous proposons également beaucoup d’autres graisses individuelles.
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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 !
German graphic designer Ralf Weissmantel created Boogie in 2003. Boogie is an ironic reference to pop art, and to disco lettering from the 1960s and 70s. Its round forms and outlines evoke the flashing, pulsating lights and music of that era. Shipping with five different, width-compatible fonts, the Boogie typeface has four different components: an outlined letterform is the base element, and forms the first font. Three additional fonts may be layered over top of this base, surrounding the
[...]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
[...]Swedish designer Lutz Baar creates noteworthy and well-rounded typefaces with a modern and contemporary vibe.
More about the fonts:
Linotype Atlantis™
Atlantis is classified as a European sans serif. In comparison to its American cousins, which display the heavier influence of an antiqua, the European version usually have strictly constructed forms. Those of Atlantis are based on the geometric forms of the circle, square and rectangle. The a is rather stout and the g has an open descender,
[...]Roger Excoffon – born 7. 9. 1910 in Marseille, France, died 1983 in Paris, France – graphic designer, typographer, type designer.
Studies law at the University of Aix-en-Provence. Studied painting in Paris, works as a graphic designer. 1947: opens his studio. Co-founder of the U + O (Urbi et Orbi) advertising agency in Paris. Art consultant for the Fonderie Olive type foundry in Marseille (until 1959). 1968: designs the symbols for the Winter Olympics in Grenoble. 1972: founds his agency
[...]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
[...]The British designer Ed Bugg created the fonts Linotype Agogo™ (1997), Kanban™ (1992) and Linotype Sunburst™ (1997). Linotype Agogo and Linotype Sunburst are included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
Linotype Agogo is reminiscent of the elegant 1920s and 1930s. It is a calligraphy font with five weights, one regular and four swash. The regular weight alone is clear and legible enough even for longer
[...]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
[...]American designer Stanley Davis created the font Amelia™ in 1965. What sets Linotype Amelia apart from all the rest are its unusual inner spaces. Their teardrop forms lead the readers eye through the line of text. These teardrop shapes can also be seen in the contours of the characters themselves, making the letters look rounded and flexible. Amelia speaks the language of the digital age. The flowing strokes and round forms give it an uncomplicated and lively look.
The British designer Bob Anderton created the fonts ITC Blackadder™ (1996), Lino Cut™ (1990) and ITC Mithras™ (1994).
Born in 1947 in Portsmouth, England and after schooling entered a 5 year apprenticeship with the Metal Box Company, Portsmouth. Trained in Design, Lettering, Calligraphy and Sign Writing under gifted lettering artists Norman March and Dieter Smith. During day release to Portsmouth College of Art & Design studied Fine Typography under Stan Kerry obtaining Full Technological Certificate in City & Guilds, London.
Self taught in further Calligraphy, Illustration and Water Color Painting and
[...]Colin Brignall – born 1940 in Warwickshire, England – photographer, type designer, art director. Started work as photographer for the fashion trade, the press and industry.
1964: joins the Letraset Type Studio as photographic technician. Since 1974: type designer for Letraset International. Since 1980: type director for Esselte Letraset in London.
Fonts: Countdown™ (1965), Aachen™ (1969), Premier™ Lightline (1969), Revue™ (1969), Premier™ shaded (1970), Superstar™ (1970), Octopuss™
[...]The designer Roland John Goulsbra created the fonts Linotype Agrafie™ in 1994. This font family is included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
In 2002 Roland John Goulsbra created the font Linotype Textur™.
The late Phill Grimshaw was a prolific designer who delighted in the sheer fun and challenge of drawing display typefaces. His fonts reflect his understanding of calligraphy, his own imagination for dynamic letterforms, and his knack for drawing a great variety of styles. After studying at the Royal College of Art in London in the 1970s, he settled in his native Manchester in northern England to work as a lettering artist. He developed a specialization in type design, influenced and encouraged
[...]The German designer Bjoern Hansen created the font Linotype Algologfont™ in 1997. This font is part of the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997. Linotype Algologfont contains exclusively capital letters and the forms of the characters look like branches or driftwood bent to form an alphabet and punctuation. The font is very flexible and can give text either a myterious and strange impression or a free and natural
[...]The German designer Jörg Herz created the fonts Linotype Short Story™ (1997), Linotype Afrika™ (1999), Linotype Monday Devils™ (1999), Linotype Dasitzt™ (2003) and Linotype Textra™ (2003).
The German designer Wiebke Hoeljes created the font Linotype Cadavre Exquis™ in 1997. This font is part of the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
The German designer Peter Huschka created the fonts Linotype Sinah™ (1994), Linotype Chineze™ (2002) and Picture Yourself™ (2003, with Karin Huschka).
Linotype Sinah is part of the TakeType Library, chosen from the entries of the 2nd International Digital Type Design Contests of 1994 and 1997.
Picture Yourself was a winner in the 2003 International Type Design Contest, sponsored by Linotype GmbH.
Gerd Sebastian Jakob and Joerg Ewald Meißner created the following fonts which are included in the TakeType Library:
Linotype Dharma™ (1997), Linotype Tiger™ (1997), Linotype CaseStudy No. 1™ (2002), Linotype Puritas™ (2002).
American designer Frank Marciuliano created the following fonts:
Linotype Abstract™ (2002), Linotype Automat™ (2002), Linotype Breeze™ (2002), Linotype Constitution™ (2002), Linotype Isilda™ (2002), ITC Jaft™ (1996), ITC Jambalaya™ (1996), Linotype Labyrinth™ (2002), Linotype Lindy™ (2002), Linotype Mediterraneo™ (2002), ITC Schizoid™ (1997).
Gerd Sebastian Jakob and Joerg Ewald Meißner created the following fonts which are included in the Linotype Library:
Linotype Dharma™ (1997), Linotype Tiger™ (1997), Linotype CaseStudy No. 1™ (2002), Linotype Puritas™ (2002).
The German designer Johannes Plass created the fonts Linotype Animalia™, Linotype Atomatic™ and Linotype Auferstehung™ in 1997. These fonts are included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
Linotype Animalia is full of surprises. It is like a walk through the zoo, where the j is a shark chasing a small fish and the K is a moose gazing at the sky. Linotype Animalia is intended exclusively for use in
[...]Robert Slimbach was born in 1956 in Evanston, Illinois, USA.
Shortly after, he arrived in South California where he spent his childhood and his youth.
After leaving college he developed an interest in graphic design and typefaces while running a small screen printshop for manufacturing posters and greeting cards. This work brought him into contact with "Autologic Incorporation" in Newbury Park, CA.
After training from 1983 to 1985, Robert Slimbach worked as a font designer with
[...]The Swiss designer Isabelle Stutz created Linotype Belle™ Plain in 1999.
Linotype Belle Plain, a casual script face, is a winner font of Linotype’s 3rd International Digital Type Design Contest. The letters in this design have a light, informal nature, and appear as if they were written out quickly, using a writing instrument similar to a ballpoint pen. Linotype Belle has two fonts to offer: Linotype Belle Plain and Linotype Belle Bonus. Linotype Belle Bonus contains more extravagant,
[...]The Dutch designer Mark van Wageningen created the fonts Linotype Cerny™, Linotype Laika™ and Linotype Sjablony™ in 1997. All these fonts are included in the TakeType Library, chosen from the contestants of Linotype's International Digital Type Design Contests of 1994 and 1997.
Van Wageningen designed for Linotype Cerny an alphabet consisting exclusively of capital letters. The font's most distinguishing characteristic is its irregular outer contour, almost as though they were ripped out of
[...]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,
[...]The designer Tony Wenman created the fonts Bottleneck™, Buster™ and Camellia™, all in 1972.
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),
[...]Swedish designer Lutz Baar created the following fonts:
Linotype Atlantis™ (1999), Balder™ (1994), Linotype Feltpen™ (1997), Linotype Kaliber™ (1999), Linotype Nordica™ (1997), Linotype Ordinar™ (1999), Linotype Pisa™ (1997).
Please take a look at the personal designer portrait of Lutz Baar.
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.
The father and son team of Demetrio E. and Leslie Carbarga of New York created the Cabarga™ Cursiva display face in 1982. Coupling luscious curves with a sporty inline, this typeface exudes holiday cheerfulness. Carbarga Cursiva would be a great choice for your holiday newsletter’s headlines.
British designer Jeremy Tankard began Blue Island™ in 1996 with the idea of creating a completely ligature-based roman typeface, an original but complex task that took years to realize. Individually, Blue Island's letters can appear a bit dismembered, but when set together, they are clearly transformed into words which fall in waves down the page. Successfully balancing readability with intriguing decorative forms, Blue Island is especially effective for titling. As for its romantic name, Blue
[...]Gustav Jaeger, son of a printer, studied at the Hochschule für Gestaltung in Offenbach am Main. An enthusiast for type and typography from an early age, he started his career at the Bauer typefoundry, where he developed type specimens promoting the work of Konrad Bauer and Walter Baum. Encouraged by the former, he designed contemporary 1970s display types for H. Berthold AG. He progressed to text types, the first of which, Seneca® BQ, was released by Berthold in 1977. Many others followed,
[...]Leslie Cabarga created the fonts Cabarga™ Cursiva (1982, with Demetrio E. Cabarga) and Central Station™ (1999).
The German designer Peter Huschka has a soft spot for unique fonts, as can be seen in his Linotype creations: Linotype Chineze, Sinah, and Picture Yourself.
More about the fonts:
Linotype Chineze™
Peter Huschka created a family of typefaces that resemble the calligraphic strokes found in Chinese characters. Using a variety of brush-like elements, Linotype Chinese imbues the Roman alphabet with an Eastern flair.
Picture Yourself™
Create your own world with the Picture Yourself
[...]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
[...]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 !
Août 2006 : Utilisez les caractères ornés italiques d’une fonte pour des variations de dessin
De nombreuses fontes sont équipées de caractères ornés italiques destinés à servir d’éléments supplémentaires parmi les outils d’un designer. Cependant, les caractères ornés italiques – des lettres
[...]3rd International Design Contest
The Winners of the Category Text
Linotype Afrika™ One and Two
Designed by Jörg Herz, senior designer "die argonauten" (Munich)
Jörg Herz about Linotype Afrika™:
“Linotype Afrika is a font which was designed after an educational journey through Zimbabwe.
The font was developed from forms which can be found in the streets, especially in Harare where past, present and future co-exist side by side. The font can be used, for an African feel or theme – Africa as described traditionally as well as the modern
[...]
Font Designer: Ed Bugg, 1997
Linotype Agogo™ is a charming script font, allowing you to create unlimited variations thanks to its four swash sets. Adding warmth and a personal touch to your letters and presentations.
Font Designer: Seymour Chwast, 1981
Seymour Chwast is not only a type designer. Chwast has created over 100 posters and authored or illustrated more than 30 children's books. The subject of a monograph, Seymour Chwast: the Left Handed Designer, (Harry Abrams, 1985), he is also co-author of Graphic Style:From Victorian to Postmodern (Harry Abrams, 1987).
His work is in the permanent collections of the Museum of Modern Art (New York), the Metropolitan Musuem of Art (New York), the
[...]
Font Designer: Akira Kobayashi, 2000
Winner typeface from Linotypes 3. Type Design Contest (1. price text category) and from the Type Directors Club Type Design Competition 2001.
The text typeface Conrad® was created by Japanese type designer Akira Kobayashi. Its letters are strong and organic with small, well-placed irregularities which keep it lively. Kobayashi took his inspiration from a print typeface of the 15th century created by two German printers named Konrad Sweynheim
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Font Designer: Johannes Plass, 1997
Please read the honest comment of Johannes Plass, who designed Linotype Animalia™:
“What does a type designer do when he’s allergic to cats, was once bitten by a dog, and had a goldfish that went to a watery grave? Either he gets on with it, uses ordinary types, and animals give him a wide berth. Or else he confronts his fate by generating an animal font or using Linotype Animalia. Woof, yap, snarl …”
Agrafie, Ale, Amelia, Becket, Boogie, Breeze, Cartoon Script, Choc, Contacta, CoolWool, Linotype Abstract, Linotype Afrika, Linotype Agogo, Linotype Albafire, Linotype Algologfont, Linotype Animalia, Linotype Atlantis, Linotype Belle, Linotype Cadavre Exquis, Linotype CaseStudyNo1, Linotype Cerny, Linotype Chineze and Linotype Colibri are trademarks of Linotype GmbH and may be registered in certain jurisdictions. 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.
Andreas, Blue Island and Caflisch Script are trademarks of Adobe Systems Incorporated which may be registered in certain jurisdictions.
Arriba, Avenida, Belwe, Bitmax, Boink, Cabarga, Camellia, Charlotte Sans, Chiller, ITC Arnova, ITC Blackadder, ITC Bradley Hand, ITC Caribbean, ITC Clover, ITC Coconino and ITC Founder's Caslon 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.
