Print & Packaging Selection
be installed on a computer for
use with applications.
Licensed per computer.
@font-face rule. They are licensed
for a set number of page views with
no time limitation.
embedded in an eBook, eMagazine or
eNewspaper. Fonts are licensed per issue.
a server and e.g. used by automated
processes to create items.
A license is per server core CPU per year.
on which the font will be installed.
that you can use over time. We’ll let
you know when you’re running low.
installations you want to license.
Some mobile app fonts allow an
unlimited number of installations.
you intend to embed the font in. Each license
is valid for one issue for the life of that issue.
CPUs of the servers on which
the font will be installed.
A license has a term of 1 year.
number of monthly page views
anticipated. The license has no time
limit and does not need to be replaced.
You only pay for additional page views
if your site gets more traffic than expected.
you know when you’re running low.
language support of the font.
the font: W1G (98 languages),
COM (56 languages),
PRO (33 languages) or
STD (21 languages).
available in. These differ in contained
characters and file size. You get all
available versions with your license.
Typecast is a web-based tool to create visual
and semantic designs. Check for readability,
rendering and beauty then share a working
prototype of your design.
Tip: Add fonts to your Favorites, then test your custom selection in Typecast!
Winner Fonts Value Packs
The year of winning fonts: award-winning typefaces at amazing prices – the Winner Fonts Value PacksMany of the fonts in the Linotype Originals have been commended by international juries. And we are sure that you will be just as delighted with these fonts. We have thus decided to christen 2012 the “Year of Winner Fonts”. Every month, we will be presenting our award-winning fonts in thematic Value Packs. But the best is that every font will cost just €9 USD and all Value Packs will be available until the end of 2012. Don’t delay and order your pack of Winner Fonts today!
Value Pack 1: Print & Packaging Selection
This Value Pack contains two matching fonts of the Egyptian Slate™ typeface by Rod McDonald – Egyptian Slate Book and Book Italic. The solid, stylish Egyptian Slate, a Slab Serif font, is very contemporary and would be ideal as the focus of your next print design project. In 2011, Egyptian Slate was one of the winners of the “Second Type Design Competition of the Association Typographique Internationale” ATypI.
This pack also contains a third font, Stencil Moonlight™ by Gustavs Andrejs Grinbergs. Based on a stencil font concept, it is most effective in larger point sizes and can be used in packaging design and in headlines. Stencil Moonlight won the second prize in the “Display” category in the 2003 International Type Design Contest.
More information about Egyptian Slate and Stencil Moonlight.
Value Pack 2: Art & Exhibition Selection
Use the very elegant appearance of the Neue Haas Grotesk™ Display 25 XThin font for your cards, catalogues or posters. Designed by Christian Schwarz and based on the original Helvetica® family of Max Miedinger, Neue Haas Grotesk family was among the winners of the “2nd Type Design Competition of the Association Typographique Internationale“ in 2011.
Linotype Belle™, the second font in the selection, has a significantly more dynamic feel to it. The font, the creation of Swiss designer Isabelle Stutz, consists solely of capital letters and emulates sweeping handwriting written with an ink pen. Linotype Belle was one of the prize-winners in the third International Type Design Contest of Linotype in 2000.
A light swing in the upstroke lends the letters of Luba™ Regular by Hendrik Möller a special note. Very legible, outstandingly developed and equipped with numerous OpenType functions, the font is ideally suited to your texts. Thanks to Cyrillic letters, which are not part of the fonts of this selection, Luba was one of the prize-winners in the Granshan Competition 2009.
More information about Neue Haas Grotesk, Linotype Belle, and Luba.
Value Pack 3: Fantasy Selection
The third Value Pack in our Winning Fonts series opens a door to the world of fairy tales, myths and adventure.
The Carlin Script™ Medium by Hans-Jürgen Ellenberger was inspired by the Carolingian minuscule script. The font is evocative of manuscripts of the period and seems to emanate the mysterious aura of the early Middle Ages at the time of Charlemagne. Carlin Script was one of the winners of the 2003 Type Design Competition of the Type Directors Club.
The unusual shapes of the Marcu San™ Regular typeface, designed by Marcus Leis Allion, are clear and expressive, but have all the romance of a fairy tale. This font, created from various circular forms, won an award at the Second International Type Design Contest in 1997.
The third font in our selection is Julia Borisovna Balasheva’s pictogram font Lubok™ Regular. Among the various animal forms, you will find those of a variety of mythical creatures. Lubok Regular was among the prize winners at the 2003 International Type Design Contest.
More information about Carlin Script, Marcu San, and Lubok.
Value Pack 4: Display Selection
These three prize-winning display fonts will provide the solution to countless design-related needs.
The distinctive Balder™ Regular by Lutz Baar was among the award-winning fonts of the First International Type Design Contest in 1994. This forceful majuscule font looks as it has been written with a thick marker pen and will help give type designs a quite unique quality.
Somewhat more restrained is Ambigue™ Book, which won first prize in the German Kurt Christians-Förderpreis 1997/98 competition. The subtle variations of stroke thickness and the delicate hints of serifs on the otherwise linear Grotesque typeface are particularly effective in the larger font sizes.
Linotype Ergo™ Sketch by Gary Munch can provide texts with a hint of hand-made panache. This apparently roughly drafted outline font was a prize-winner in the 2001 bukva:raz! competition.
More information about Balder, Ambigue, and Linotype Ergo.
Value Pack 5: Text Fonts Selection
In their smaller sizes, text fonts not only need to be clearly and effortlessly legible, but also need to retain their specific characteristics. And this is something that the three versions of the two award-winning script fonts contained in this Value Pack readily achieve.
The Baroque antiqua typeface Bohemia™ Regular by Eduardo Manso retains certain aspects of transitional antiqua typefaces, such as Baskerville, but is more multi-faceted and lively than many of the representatives of this font genre. Bohemia won a major prize at the 2003 International Design Content and was also given an award by the Type Directors Club of New York in 2004.
Also present in this Value Pack are Hildegard™ Regular and Hildegard Italic, two variants of the sans serif Hildegard designed by Jan Sonntag. With its lines reminiscent of calligraphic forms, this font will provide text designs with individual nuances even in its small sizes. Hildegard was one of the prize winners of the 2003 International Type Design Contest.
More information about Bohemia and Hildegard.
Value Pack 6: Headline Selection
A well-designed headline can set the tone of a whole project. The selected typeface should thus have sufficient details to ensure that it grabs the reader’s interest even in larger font sizes. You can be assured that this will be the case with the three prize-winning headline fonts in this Value Pack.
ITC Silvermoon™ Bold by Akira Kobayashi brings back to life the advertising fonts of the 1920s. Influences derived from Art Deco, Futurism and the Far East endow this typeface with a distinctive flair. ITC Silvermoon won the Certificate of Excellence in Type Design at TDC2 1999.
The text font Ginkgo™ Italic by Alex Rütten incorporates many dynamic features in its serifs and line terminals, for example. These give the typeface a quite unique character in the larger font sizes. Ginkgo was awarded the Certificate of Excellence in Type Design at TDC2 2009.
A Polish newspaper originally commissioned Franciszek Otto to design the readily legible Brda™ Bold. It draws attention to itself through its fascinating details, such as the notches in the line terminals. Brda was one of the prize winners of the 2003 International Type Design Contest and also won an award at TDC2 2004.
More information about ITC Silvermoon, Ginkgo, and Brda.
Value Pack 7: Street Art Selection
There is generally something spontaneous but urgent about signs and slogans written using stencils or brushes on walls and fences. Here, it is not the aesthetic effect that is important, but the message. Use the vitality of this type of graffiti to the benefit of your design projects in the form of the three award-winning fonts in our Street Art Selection.
There is something hip, technological and synthetic about Paul van der Laan’s Linotype Rezident™ Three that evokes the virtual world of computer games and the forms of stencil fonts. Its inimitable finesse won Linotype Rezident a prize at the Third International Design Contest in 2000.
Letters written hurriedly with a coarse brush appear to be the inspiration behind Linotype Seven™ Regular by Christian Vornehm. This highly dynamic brush font is full of character and was among the prize-winners at the 1997 Second International Type Design Contest.
Teebrush Paint™ Regular by Tomi Haaparanta combines the spontaneity of a brush font with the advantage of excellent legibility. This font comes with a wide range of glyph alternatives and was one of the winners at the 2005 Linotype Design Contest for Innovative Fonts.
More information about Linotype Rezident, Linotype Seven, and Teebrush Paint.
Value Pack 8: Annual Reports Selection
As business reports are presented in tabular form and include an extensive array of numerical data, they require the use of appropriately versatile fonts. Not only that, but reports can be said to epitomise a corporate image to a far greater extent than any other form of business publication. Our ‘Annual Reports Selection’ will introduce you to three prize-winning fonts that have the necessary effectiveness to assert themselves in the competitive commercial world.
Really™ No 2 Medium is a modified version of Really by Gary Munch. This simple, straight-forward and readily legible text design is both effective and reminiscent of such classics as Baskerville, Bodoni and Caslon. It was among the prizewinners at TDC2 2001, bukva:raz! 2001 and the 3rd International Design Contest 2000.
Originally designed for use in setting newspapers and periodicals, the space-saving yet elegant Ysobel™ Regular by Robin Nicholas and Alice Savoie is the ideal medium for the presentation of extensive text. Ysobel was a prizewinner at TDC2 2010.
Thanks to its origins in the Humanistic concepts of the Renaissance, the sans serif Finnegan® Regular by Jürgen Weltin is an exceptionally individual, dynamic and readily legible text font. Finnegan won a prize at bukva:raz! 2001.
More information about Rezident No 2, Ysobel, and Finnegan.
Value Pack 9: Party Season Selection
A relaxed but dynamic font is the ideal accompaniment to any party, whether used on invitations or the evening’s drinks menu. Use the three prize-winning fonts from our “Party Season Selection” to draw the required attention to your designs.
With its fine concentric outlines, Boogie™ Regular by Ralf Weissmantel is reminiscent of the neon signs displayed in discotheques and clubs in the 1970s. It can be used in combination with other weights, such as Boogie Outline 1 (also present in this Value Pack) to create attractive multicoloured effects. Boogie won an award in the 2003 and 2004 International Type Design Contest.
The monolinear Samba™ Regular by Tony and Caio de Marco was inspired by the fonts of J. Carlos, a Brazilian artist of the early 20th century. The vivacious and quirky Samba was one of the prize-winners at the 2003 International Type Design Contest.
More information about Boogie and Samba.
Value Pack 10: Magazine Selection
There are particularly high requirements when it comes to the typefaces used to set magazine texts. On the one hand, these fonts must be individual, set the tone of the magazine and express its character. At the same time, letter-spacing must be relatively small, legibility in small point sizes is required and there needs to be sufficient scope for designing headlines. Our Magazine Selection Value Pack contains three prize-winning magazine fonts – the basic requirement necessary to enable you to try out your own design concepts.
Electra was designed in 1935 by William A. Dwiggins and blends classical roots with the spirit of the 1930s. The weights of this elegant and individual font supplied in the Value Pack – Electra® Display Cursive and Electra Display Bold – were created in 1994 as part of an update by Alex Kaczun and were awarded the Certificate for Typographic Excellence in Type Design of the Type Directors Club (TDC) New York in 1998.
The Humanist-inspired sans serif Mundo Sans™ Regular by Carl Crossgrove has a lively but restrained effect. This highly legible and adaptable font was among the prize-winners at ATypI letter.2 in 2011.
More information about Electra and Mundo Sans.
Value Pack 11: Special Script Selection
A unique dynamism, either casual or elegant in form - calligraphic scripts are frequently used as stylistic aids to provide design projects with that certain something. The three prize-winning fonts in this Value Pack will ensure that you are equipped to meet a wide range of challenges.
The unrefined but still elegant-seeming characters of Expectation™ Regular by Guido Bittner are generously proportioned and work best in very large point sizes. This typeface was originally developed for use on Christmas cards and was among the award-winners of the 2003 International Type Design Contest.
Texts set in Linotype Notec™ Regular by Franciszek Otto have all the appearance of notes quickly scrawled with a pen. This inventive and expressive typeface won a prize at the 3rd International Design Contest in 2000.
The characters of Werner Schneider’s brush font Sunetta™ Magic seem to dance playfully along the text line. This calligraphic font not only communicates a vest for life, but also something mystical. Sunetta Magic was an award-winner at the 2005 Linotype Design Contest for innovative calligraphic fonts.
More information about Expectation, Linotype Notec and Sunetta.
Value Pack 12: Wedding Selection
On the most important day of your life everything needs to be perfect. And that includes the typeface for the invitations, place cards and thank-you notes. It needs to be stylish, celebratory, individual and elegant. This Value Pack contains three prize-winning fonts with which you simply can’t go wrong.
Based on a logo design by Edward Benguiat, Jim Wasco’s sophisticated and very elegant Elegy™ Regular has all the characteristics of English copperplate script. An extensive range of OpenType features give this typeface a highly diversified appearance. Elegy Regular won an award at the 2011 TDC2.
Pirouette™ Regular combines relatively formal and excellently legible lowercase letters with generously proportioned and extravagant capitals. The most prominent feature of this typeface by Ryuichi Tateno is the distinctive doubling of the lines of the uppercase letters. Piroutte Regular won first prize at the 2003 International Type Design Contest and also won awards at TDC2 2005 and ATypI letter.2 2011.
Inspired by the fonts of the Art Deco era of the early 20th century, Boberia™ Light by Bo Berndal has the somewhat nostalgic, flowing forms that are characteristic of this period. This individual and highly adaptable typeface received an Honourable Mention at the First International Type Design Contest in 1994.
More information about Elegy, Pirouette, and Boberia.
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