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Linotype

Linotype has made an enormous impact on the type industry for over a century, continuously producing high-quality, world-renowned fonts.

Part of the secret to the longevity of Linotype’s success is the fact that the company has been under the leadership of some of the industry’s most prominent figures. One such leader was Mike Parker, a trailblazer in type, who played a major part in turning type design into a digital medium. It was because of innovative thinkers like him that Linotype’s Helvetica typeface became one of the world’s most-used typefaces.

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1,172 font families from Linotype

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Helvetica® Neue

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85 fonts from $35.00
Helvetica® Neue Helvetica® Neue

This typeface, designed by Max Miedinger and other project members at the Haas’sche Schriftgiesserei, has become one of the most famous and popular typefaces in the world, thanks to the marketing strategy of Stempel and Linotype. It forms an integral part of many printers and operating systems. The original letterforms of Helvetica had to be modified for the Linotype system. Over the years, Helvetica was expanded to include many different weights, but these were not coordinated with each other.

Linotype Didot®

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23 fonts from $35.00
Linotype Didot® Linotype Didot®

The Didot family were active as designers for about 100 years in the 18th and 19th centuries. They were printers, publishers, typeface designers, inventors and intellectuals. Around 1800 the Didot family owned the most important print shop and font foundry in France. Pierre Didot, the printer, published a document with the typefaces of his brother, Firmin Didot, the typeface designer. The strong clear forms of this alphabet display objective, rational characteristics and are representative of the time and philosophy of the Enlightenment. Adrian Frutiger’s Didot is a sensitive interpretation of the French Modern Face Didot. Another model for this design is the Henriade, an historical printing of the original Didot from 1818. The font Didot gives text a classic and elegant feel.

Helvetica® Neue Pro

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59 fonts from $45.00
Helvetica® Neue Pro Helvetica® Neue Pro

This typeface, designed by Max Miedinger and other project members at the Haas’sche Schriftgiesserei, has become one of the most famous and popular typefaces in the world, thanks to the marketing strategy of Stempel and Linotype. It forms an integral part of many printers and operating systems. The original letterforms of Helvetica had to be modified for the Linotype system. Over the years, Helvetica was expanded to include many different weights, but these were not coordinated with each other.

Times®

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19 fonts from $35.00
Times® Times®

Janson® Text

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12 fonts from $35.00
Janson® Text Janson® Text

A faithful recreation of one of the great seventeenth century Dutch typefaces cut by the protestant Transylvanian Nicolas Kis. The matrices survive at Stempel; their value was recognized by Chauncey Griffith at Mergenthaler Linotype, who used Kis’ 14 point to undertake the revival for composing machines while following a Voskens italic better suited to the Linotype than the Kis italics. George Ostrochulski adapted the face for photocomposition at Mergenthaler, returning to the original italics.

Helvetica® Neue Com

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51 fonts from $45.00
Helvetica® Neue Com Helvetica® Neue Com

This typeface, designed by Max Miedinger and other project members at the Haas’sche Schriftgiesserei, has become one of the most famous and popular typefaces in the world, thanks to the marketing strategy of Stempel and Linotype. It forms an integral part of many printers and operating systems. The original letterforms of Helvetica had to be modified for the Linotype system. Over the years, Helvetica was expanded to include many different weights, but these were not coordinated with each other.

Clearface Gothic™

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5 fonts from $35.00
Clearface Gothic™ Clearface Gothic™

New Century Schoolbook™

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17 fonts from $35.00
New Century Schoolbook™ New Century Schoolbook™

Fairfield®

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20 fonts from $35.00
Fairfield® Fairfield®

Another personal version of the Transitional roman designed for Griffith by Rudolph Ruzicka.

Excelsior®

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8 fonts from $35.00
Excelsior® Excelsior®

Six years after the introduction of Ionic No.5, Griffith removed any remaining awkwardness to produce at Linotype Excelsior, which many believe to be the best newspaper text face of all time. It has retained its popularity in Europe, where newspaper columns are wide. Opticon and Paragon are slightly heavier and slightly lighter versions designed for newspapers that deliberately underink to favor halftones, or overink to favor text and headlines.

Helvetica® Inserat

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4 fonts from $35.00
Helvetica® Inserat Helvetica® Inserat

Electra®

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14 fonts from $35.00
Electra® Electra®

This is W.A. Dwiggins’ personal version of the Transitional roman, designed for C.H. Griffith at Mergenthaler.

Rundfunk Grotesk™

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1 font from $65.00
Rundfunk Grotesk™ Rundfunk Grotesk™

Rundfunk Grotesk was produced together with Rundfunk Antiqua by the Linotype Design Studio in 1933-1935. The combination was originally intended for small point sizes and shorter texts. Unfortunately, this typeface was never completed and consists only of Antiqua roman and Grotesk bold. This unusual combination was chosen because small newspaper ads often use a semi bold for the headlines and a regular antique for the text. Rundfunk Grotesk is intended to be used exclusively in headlines and reflects in its unique character the spirit of the 1930s.

Spartan®

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2 fonts from $35.00
Spartan® Spartan®

This typeface is Mergenthaler Linotype’s unlicensed version of Futura, copied weight by weight from Bauer. It was produced in 1939 when Metro failed to gain a significant share of the market, and was later adopted by ATF. The small sizes of Book and Heavy cut for classified are original.

LinoLetter™

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20 fonts from $35.00
LinoLetter™ LinoLetter™

LinoLetter is a fresh new interpretation of a newspaper text font. The impression this font makes is of clarity and objectivity, making it suitable for anything from basic text to multimedia applications.

Rundfunk Antiqua™

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1 font from $65.00
Rundfunk Antiqua™ Rundfunk Antiqua™

Rundfunk-Antiqua was originally designed as a font for small point size and shorter texts. It was presented 1933/35 by Linotype Designstudio but unfortunately never developed as a font family, including only Antiqua roman and sans-serif bold. Such an unusual combination resulted from the font combinations common during that time. The font’s basic forms tend toward the Transitional style but its details come from the influence of Jugendstil.

Linotype EuroFont™

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4 fonts from $35.00
Linotype EuroFont™ Linotype EuroFont™

Albums

1 font
Qadi® Qadi®

Qadi is a modern Arabic display face that includes the traditional range of letterforms. These extra bold shapes are striking, graceful, and confidently calligraphic. Produced in the mid 1980s under the design direction of the noted British typographer Walter Tracy, Qadi proved to be a very popular typeface for magazine and newspaper publications. Qadi has been updated to take full advantage of digital technology for accurate diacritical positioning and kerning refinements, ensuring high quality Arabic typesetting.

Luthersche Fraktur™

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3 fonts from $65.00
Luthersche Fraktur™ Luthersche Fraktur™

Frutiger®

by Adobe
  |  available for Desktop

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14 fonts from $35.00
Frutiger® Frutiger®

In 1968, Adrian Frutiger was commissioned to develop a signage system suited to the architecture of the new Charles de Gaulle Airport outside Paris. His final design for the client, implemented in 1975, is a simple, clean, robust sans serif type that is highly legible. In 1976, Frutiger completed the family for the Stempel foundry.

DIN Schriften™

by Adobe
  |  available for Desktop

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2 fonts from $35.00
DIN Schriften™ DIN Schriften™

The letters DIN refer to the Deutsche Industrie-Norm, the German Industrial Standard; among their many uses, these typefaces are seen on most road signs and license plates in what was formerly West Germany. One of the primary criteria for the DIN Schriften design was a facility for reproduction. There are four geometric sans serif typefaces, of roughly the same weight but of various widths, from quite round to condensed.

Gothic No.13®

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1 font from $29.00
Gothic No.13® Gothic No.13®

A dark, condensed, nineteenth century sanserif made popular by Linotype, the capitals deriving from Barnhart Brothers and Spindler, the lowercase from Farmer.

Engravers LH™

by Adobe
  |  available for Desktop

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1 font from $35.00
Engravers LH™ Engravers LH™

Linotype’s Engravers Bold Face—with its wide set, extreme contrast, and sharp serifs—is instantly recognizable as a turn-of-the-century American business typeface. It is based on a typeface designed for the American Type Founders in 1902 by Morris Fuller Benton. It was frequently seen on broadsides, business cards, and letterheads and suits those purposes equally well today.

Linotype® European Pi

by Adobe
  |  available for Desktop

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4 fonts from $35.00
Linotype® European Pi Linotype® European Pi

The four European pi fonts in this package include a variety of basic symbols such as mathematical signs, numbers in circles, geometric shapes, and arrows. These characters are typically used in newspaper and trade publishing.

Border Pi

by Adobe
  |  available for Desktop

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1 font from $35.00
Border Pi Border Pi

This typeface consists of individual pieces that can be combined to make a wide variety of borders. For each border design, the pieces generally include four corners, a vertical section, and a horizontal section.

Linotype® Decoration Pi

by Adobe
  |  available for Desktop

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2 fonts from $35.00
Linotype® Decoration Pi Linotype® Decoration Pi

Linotype Decoration Pi contains two styles of typographic ornaments that can add visual interest and personality to newsletters, magazines, and advertising work.

Linotype® Warning Pi

by Adobe
  |  available for Desktop

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1 font from $35.00
Linotype® Warning Pi Linotype® Warning Pi

Audio Pi and Warning Pi make symbols easier to use for designers working in the recording and broadcast industries and for signs and maps where clear indication of hazards is important.

Linotype® Holiday Pi

by Adobe
  |  available for Desktop

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3 fonts from $35.00
Linotype® Holiday Pi Linotype® Holiday Pi

This package contains three sets of symbols for a variety of vacation-related subjects, including sports, travel, hobbies, weather, dining, and entertainment.

Linotype® Game Pi

by Adobe
  |  available for Desktop

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4 fonts from $35.00
Linotype® Game Pi Linotype® Game Pi

These four sets of game symbols include chess, dice, dominoes, and two styles of playing cards—French (plain) and English (includes the card name).

Linotype® Audio Pi

by Adobe
  |  available for Desktop

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1 font from $35.00
Linotype® Audio Pi Linotype® Audio Pi

Audio Pi and Warning Pi make symbols easier to use for designers working in the recording and broadcast industries and for signs and maps where clear indication of hazards is important.

Linotype® Astrology Pi

by Adobe
  |  available for Desktop

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2 fonts from $35.00
Linotype® Astrology Pi Linotype® Astrology Pi

Astrology Pi contains two fonts with different sets of astrological symbols: simple and ornate.

Stempel Schneidler®

  |  available for Desktop and Web

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10 fonts from $35.00
Stempel Schneidler® Stempel Schneidler®

Bigband™

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3 fonts from $35.00
Bigband™ Bigband™

Bigband was designed by Karlgeorg Hoefer in 1974. The font lends text a sense of unpredictablility and change due to the irregular design of the inner areas and outer contours of the characters. Bigband is available in two weights, Bigband and Bigband Terrazzo, which can be combined effectively. Bigband is a striking and modern display font which lends itself to numerous applications.

Avenir®

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12 fonts from $35.00
Avenir® Avenir®

Adrian Frutiger designed Avenir in 1988, after years of having an interest in sans serif typefaces. In an interview with Linotype, he said he felt an obligation to design a linear sans in the tradition of Erbar and Futura, but to also make use of the experience and stylistic developments of the twentieth century.

Trade Gothic®

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36 fonts from $35.00
Trade Gothic® Trade Gothic®

The first cuts of Trade Gothic were designed by Jackson Burke in 1948. He continued to work on further weights and styles until 1960 while he was director of type development for Mergenthaler-Linotype in the USA.

Univers®

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72 fonts from $35.00
Univers® Univers®

Univers was designed by Adrian Frutiger on Swiss principles for Charles Peignot at Deberny & Peignot.

Avenir® Next Pro

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32 fonts from $79.00
Avenir® Next Pro Avenir® Next Pro

In 2004, Frutiger, together with Linotype in-house type designer Akira Kobayashi, reworked the Avenir family to address on-screen display issues. The result was titled Avenir Next. The typeface family was increased to 32 fonts: 8 weights, each with a roman and italic version, in 2 widths: normal and condensed. Frutiger’s numbering system was abandoned in favor of more conventional weight names.

Frutiger®

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66 fonts from $35.00
Frutiger® Frutiger®

In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Charles de Gaulle Airport in Paris. Though everyone thought he would want to use his successful Univers font family, Frutiger decided instead to make a new sans serif typeface that would be suitable for the specific legibility requirements of airport signage: easy recognition from the distances and angles of driving and walking. The resulting font was in accord with the modern architecture of the airport.

DIN Next™

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49 fonts from $79.00
DIN Next™ DIN Next™

The name DIN refers to the Deutsches Institut für Normung (in English, the German Institute for Standardization). The typeface began life as the DIN Institute’s standard no. DIN 1451, published in 1931. It contained several models of standard alphabets for mechanically engraved lettering, hand-lettering, lettering stencils and printing types. These were to be used in the areas of signage, traffic signs, wayfinding, lettering on technical drawings and technical documentation. Rooted in earlier designs for Germany’s railway companies, the alphabets were based on geometric shapes in order to be easily reproducible using compass and ruler.

Helvetica®

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102 fonts from $35.00
Helvetica® Helvetica®

This typeface was initially released as Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas’sche Schriftgiesserei (Haas Type Foundry) in Switzerland.

Neue Haas Grotesk™

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44 fonts from $65.00
Neue Haas Grotesk™ Neue Haas Grotesk™

The first weights of Neue Haas Grotesk were designed in 1957-1958 by Max Miedinger for the Haas’sche Schriftgiesserei in Switzerland, with art direction by the company’s principal, Eduard Hoffmann. Neue Haas Grotesk was to be the answer to the British and German grotesques that had become hugely popular thanks to the success of functionalist Swiss typography. The typeface was soon revised and released as Helvetica by Linotype AG.

PMN Caecilia®

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16 fonts from $45.00
PMN Caecilia® PMN Caecilia®

Optima™

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30 fonts from $35.00
Optima™ Optima™

Initially conceiving this face as a competitor for Ludwig & Mayer’s Colonia, Walter Cunz at Stempel guided Hermann Zapf to the creation of this most elegant and legible of twentieth century sanserifs.

Linotype’s cautious licensing policies encouraged a number of unauthorized copies, none of which can be said to have added to the original.

Sabon®

  |  available for Desktop, Web, App, Epub and Server

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21 fonts from $35.00
Sabon® Sabon®

In the early 1960s, the German masterprinters’ association requested that a new typeface be designed and produced in identical form on both Linotype and Monotype machines so that text and technical composition would match. Walter Cunz at Stempel responded by commissioning Jan Tschichold to design the most faithful version of Claude Garamond’s serene and classical roman yet to be cut. The boldface and particularly the italic are limited by the twin requirements of Linotype and Monotype hot metal machines. Bitstream’s Cursive is a return to the form of one of Garamond’s late italics, recently identified. Punches and matrices for the romans survive at the Plantin-Moretus Museum.

VAG Rounded™

  |  available for Desktop, Web, App, Epub and Server

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16 fonts from $35.00
VAG Rounded™ VAG Rounded™

Praxis®

  |  available for Desktop, Web, App, Epub and Server

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20 fonts from $79.00
Praxis® Praxis®

Univers® Next

  |  available for Desktop, Web, App, Epub and Server

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87 fonts from $79.00
Univers® Next Univers® Next

Univers Next is a completely reworked version of the original Univers typeface family by Adrian Frutiger. Based on a student project he drew in the late 1940s, Frutiger completed the Univers family in 1957 for Deberny and Peignot, where he was a staff designer. As the first large type family to be conceived in a wide range of widths and weights right from its inception, with a unique systemized numbering system, Univers was truly a trailblazer.

DIN Next Rounded™

  |  available for Desktop, Web, App, Epub and Server

Albums

4 fonts from $79.00
DIN Next Rounded™ DIN Next Rounded™

The name DIN refers to the Deutsches Institut für Normung (in English, the German Institute for Standardization). The typeface began life as the DIN Institute’s standard no. DIN 1451, published in 1931. It contained several models of standard alphabets for mechanically engraved lettering, hand-lettering, lettering stencils and printing types. These were to be used in the areas of signage, traffic signs, wayfinding, lettering on technical drawings and technical documentation. Rooted in earlier designs for Germany’s railway companies, the alphabets were based on geometric shapes in order to be easily reproducible using compass and ruler.

DIN Next Slab

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14 fonts from $55.00 - some free
DIN Next Slab DIN Next Slab

The new DIN Next Slab:
Now even more design possibilities with the popular DIN Next. With its technical and neutral character, DIN Next has earned a permanent place in contemporary typography. Now, DIN Next Slab expands the font family further, offering new design potential.
Now comes the next step, DIN Next Slab, also produced under the direction of Akira Kobayashi. On a team with Sandra Winter and Tom Grace, Kobayashi is creating the new font variant based on the optimized shapes of DIN Next. The expansion will make the popular font all the more flexible and versatile. Apart from that, the geometric slab serifs underline the technical and formal nature of the font and emphasize a central design element of DIN Next.
However, the team did have some challenges to overcome. While it is relatively easy to imagine DIN Next Light with slab serifs, the amount of available space quickly disappears when it comes to the Black styles. Winter explains that many tests and trials were necessary to find a compromise between space, letters and the serif shapes. Experiments with modified contrast in the weight or only one-sided serifs were quickly abandoned. The central, technical and powerful character of the font changed too much. Nevertheless, it was necessary to simplify slightly the shape of some letters, such as the ‘k’ or ‘x’, for example. These changes, first developed in the Black styles, were applied to all weights in order to lend the font a consistent appearance.
Like DIN Next, DIN Next Slab also has seven weights, which cover the range from Ultralight to Black, each with matching italic. There are various character sets in all of the styles and the four middle weights have small capitals available.
DIN Next Slab harmonizes perfectly with the styles of DIN Next: the basic letterforms and weights are identical. Both versions of the font can work together perfectly, not just in headlines and body text, but also within a text; they complement each other very well as design variations. With the new DIN Next Slab, Monotype expands the DIN Next super family consistently. With DIN Next Slab, you can underscore the technical and formal nature of the understated font not only in headlines, but in texts, as well. In this way, you have new and diverse potential for application, thanks to the way the different styles of DIN Next combine perfectly.

Optima Nova®

  |  available for Desktop, Web, App, Epub and Server

Albums

60 fonts from $79.00
Optima Nova® Optima Nova®

With the clear, simple elegance of its sans serif forms and the warmly human touches of its tapering stems, the Optima family has proved popular around the world.

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