Calligraphy has long been neglected by many professional typographers, but the Type Directors Show suggests that “Lettering” is an important discipline in the field of typography in the United States. The number of fonts inspired by handwriting is growing along with the interest in calligraphy. Linotype presents here a look into the world of calligraphy, written by the internationally known expert, Gottfried Pott.
Gottfried Pott
Gottfried Pott, born 1939, studied graphic design
[...]Trouver d’autres Fonctions de Fontes dans nos Archives de Présentation de Fontes.
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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Johnstemp – une famille de fontes ‘tampon-encreur” inspirée de Linotype Tagesstempel
Il y a quelques années, l’un de nos dessinateurs allemands a créé une famille de fontes symbole appelée Linotype Tagesstempel™. L’on désigne par « Tagesstempel » l’un de ces ustensiles de bureau incontournables, dont on ajuste manuellement la date et l’heure et qui servent à tamponner des documents. Chaque jeu de caractères des quatre fontes Linotype Tagesstempel compte 72
[...]Gottfried Pott is an excellent expert in calligraphic handwriting. He designed famous fonts for Linotype and is author of numerous publications.
More about the fonts:
Arioso™
Arioso stems from an early form of Old Face, developed during the 14th and 15th centuries in Italy. The style mixed Roman capital letter forms with Carolingian minuscule for the lower case. This combination puts it in the same basic family as many other Italic Chancery typefaces, like Hermann Zapf's ITC Zapf
[...]The designer Arthur Baker created the following fonts: Amigo™, Baker Signet™, Kigali™, Marigold™, Oxford™, Pelican™, Sassafras™, Visigoth™.
Fryda Berd designed the font Quake™ in 1989. This font is part of the Linotype Library.
The German designer Ronny Edelstein created the fun font Linotype Mineru™ in 1997. This font is part of the TakeType Library, chosen from the entries of the 2nd International Digital Type Design Contests of 1994 and 1997. Linotype Mineru contains three weights: Linotype Mineru regular, Linotype Mineru bold, Linotype Mineru outline.
The designer Sigrid Engelmann created the font ITC Golden Type® together with Helga Jörgenson and Andrew Newton in 1989. ITC Golden Type is a revival of a font of British designer William Morris. Based on the roman designs of Nicholas Jenson, Golden Type was so named because it was first used to print The Golden Legend in 1892. Hint: this typeface should not be used in small point sizes or with tight letterspacing.
ITC Golden Type contains five weights: ITC Golden Type original, ITC Golden
[...]German designer Helga Jörgenson created the font ITC Golden Type® in 1989 together with Sigrid Engelmann and Andrew Newton. ITC Golden Type is a revival of a font of British designer William Morris. Based on the roman designs of Nicholas Jenson, Golden Type was so named because it was first used to print The Golden Legend in 1892. Hint: this typeface should not be used in small point sizes or with tight letterspacing.
In 1995 Helga Jörgenson created ITC Dinitials™. "When I started drawing the
[...]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).
Designer Bob McGrath created the fonts Elefont™ (1978), Roman Script™ (1979) and Springfield (1978).
Designer Alan Meeks (born 1951 in London) created the following fonts: Ambrose™, Aachen medium and bold (with Colin Brignall, 1969/1977), Algerian™ Condensed (1988), Astoria, Belwe™ Mono (1976/1989), Bertie™ (1985), Bickley™ Script (1986), Bramley™ (1979), Brigade, Burlington™ (1985), Cabaret™ (1980), Campaign™ (1987), Cancellaresca™ Script (1982), Candice™ (1976), Chalfont, Champers™ (1991), Chesterfield™ (1977), Claude™ Sans (1988/1990), Copacabana, Dynamo (with
[...]The British designer Stephan B. Murphy created the font Linotype Tapeside™ in 1997. Linotype Tapeside is part of the Take Type Library, chosen from contestants of Linotype's International Digital Type Design Contests of 1994 and 1997. Murphy created this typeface with light, regular and bold weights, each with its matching italic. Consciously awkward, the characters line themselves up and produce a young, lively image. Linotype Tapeside is best for headlines and shorter texts in point sizes of
[...]The designer Andrew Newton created the font ITC Golden Type® together with Sigrid Engelmann and Helga Jörgenson in 1989. ITC Golden Type is a revival of a font of British designer William Morris. Based on the roman designs of Nicholas Jenson, Golden Type was so named because it was first used to print The Golden Legend in 1892. Hint: this typeface should not be used in small point sizes or with tight letterspacing.
ITC Golden Type contains five weights: ITC Golden Type original, ITC Golden
[...]Gottfried Pott, born 1939, studied graphic design at the Werkkunstschule in Wiesbaden with emphasis in lettering art under Prof. Friedrich Poppl. At the same time studies in painting with Prof. Vincent Weber and studies in music with Peter Kempin. Activities: Exhibits, workshops, development of type faces, as well as limited edition publication of calligraphic works. Since 1988 Professor for Calligraphy and Lettering Design at the University for Applied Science and Art at Hildesheim/Holzminden.
[...]The German designer Till F. Teenck created the font Linotype Mega™ in 1997. Linotype Mega is part of the TakeType Library, chosen from contestants of Linotype's International Digital Type Design Contests of 1994 and 1997. This fun font is available in three weights whose names are word plays in themselves. "Mega in" (which we hope the font will be) contains relatively light, somewhat irregularly-drawn characters which look as though they were printed by hand and the characters are set rather
[...]British designer Gary Tennant created the fonts Sharquefin™ (2004) and Linotype Submerge™ (2002).
Sharquefin is a round, constructed display face, which contains shark fin-like elements that rise out from part of its letterforms. Gary Tennant designed Sharquefin especially for fun uses, like party flyers.
Linotype Submerge is a spaceage-themed family of four fonts created by British designer Gary Tennant. The fonts' oval forms sport strokes that seem to pass by the eye like spaceships from
[...]Designer Jan Tomás created the fonts Linotype Alphabat™, Linotype Element™, Linotype Silver™ and Linotype Startec™ in 1999.
These fonts are part of the Take Type Library, chosen from the entries of the 1999 International Digital Type Design Contest for inclusion on the TakeType 3.1 CD.
When you look closely to Linotype Alphabat, the figures start to change from letters into flying bats and scary faces. Linotype Alphabat can be used for very short texts however it is particularly effective
[...]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
[...]Designer Franko Luin created the following fonts: Ad Hoc, Baskerville™ Classico, Birka™, Bodoni™ Classico, Carniola™, Caslon Classico™, Devin™, Dialog™, Emona™, Esperanto™, Fortuna™, Garamond Classico™, Griffo Classico™, Humana™, Isolde™, Jenson Classico™, Jesper™, Jonatan™, Kalix™, Kasper™, Kis Classico™, Marco Polo™, Memento™, Miramar™, Norma™, Nyfors™, Odense™, Omnibus™, Pax™, Pax™ #2, Persona™, Ragnar™, Res Publica™, Rustika™, Saga™, Semper™, Transport™, Vega™.
Franko Luin, born 6. 4.
[...]William Morris – born 24. 3. 1834 in Walthamston, England, died 3. 10. 1896 in Hammersmith, England – painter, designer, printer, publisher, author, typographer, type designer.
1853–55: studies at Exeter College, Oxford. 1856: works at G. E. Street´s architect´s office in Oxford. Starts painting. 1859: Monks, Marshall, Faulkner & Co. is founded. The company designs and manufactures jewelry, stained glass windows, wallpaper and complete interiors. 1862: the company´s products are exhibited at
[...]Founded by Cynthia Hollandsworth Batty in the mid-1980s with the goal of creating new typefaces. There was some collaboration with the calligrapher Arthur Baker.
Le graphiste allemand Georg John (Kugler) travaille principalement dans l’image, l’écriture et la mise en pages. Diplômé de l’École d’enseignement supérieur des beaux-arts de Braunschweig, il découvre sa passion pour la typographie. Dans le cadre de son travail de fin d’études, il développe une fonte expérimentale qui sera prémonitoire ; cette fonte s’appuyait en effet sur un compromis théorique visant à développer des caractères latins.
Son travail typographique se constitue
[...]The phenomenon of the art of lettering has been with us since the very beginning of writing. This surely comes from the desire to express the content of the text in a very specific way. Each era has had its own forms of artistic expression, and so it is with lettering. The art of lettering is the art of “subtle” notes, as in chamber music, for example, where the fine, in-between notes also become audible or visible. Emanating from England prior to and at the beginning of the 20th
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Font Designer: Frank Marciuliano, 1997
The strictly constructed forms are the first thing about Frank Marciuliano's Linotype Isilda™ to make an impression. Like his other fonts Linotype Lindy™ and Linotype Automat™, the emphasized vertical strokes of Isilda are reminiscent of bars and give text a static feel. Isilda is not recommended for text but is particularly good for headlines in large point sizes, which allow its unusual forms to really stand out.
Following are examples of the work of Gottfried Pott. For a larger view please click on the images.
Johnstemp, Linotype Isilda, Linotype Laika, Linotype Mega, Linotype Mineru, Linotype Sjablony, Linotype Startec, Linotype Tagesstempel, Linotype Tapeside, Lubok, Ruling Script and Sharquefin are trademarks of Linotype GmbH and may be registered in certain jurisdictions.
Quake is a trademark of Adobe Systems Incorporated which may be registered in certain jurisdictions.
Visigoth is a trademark of Alpha Omega Typography.
Freestyle and Glastonbury are trademarks of International Typeface Corporation and may be registered in certain jurisdictions.
ITC Golden Type 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.
Persona is a trademark of Omnibus.
