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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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Sassoon Sans®

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18 fonts from $35.00
Sassoon Sans® Sassoon Sans®

Sassoon was designed in 1995 by Rosemary Sassoon in the style of typefaces found in schoolbooks in the early 20th century. The font exhibits a harmony between the space within and outside of the letters. The forms have soft, round forms which give text an almost ornamental character.

Caslon Open Face

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1 font from $35.00
Caslon Open Face Caslon Open Face

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. Caslon achieved a level of craft that enabled his recognition as the first great English punchcutter. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name.

Fette Fraktur™

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4 fonts from $35.00
Fette Fraktur™ Fette Fraktur™

This font is one of the most used broken letter fonts today. Fette Fraktur is used to invoke a nostalgic or rustic feeling and found often on restaurants with ‘hearty homemade food’ or breweries who use the ‘good old recipes’ of the founder. The font was designed in the 19th century and from the beginning intended as an advertisement typeface. The lower case letters have a gothic character with only the ornamental flourishes making them broken letters, while the capital letters are more characteristic of broken letter typefaces. One could say Fette Fraktur is a true mix of styles, not unusual for typefaces created at the turn of the 19th century.

Arsis®

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2 fonts from $35.00
Arsis® Arsis®

Arsis is a condesed modern headline face that was originally produced and cast in hot metal by the Dutch type foundry Lettergieterij Amsterdam.
The Arsis font family was designed by Gerry Powell in 1937. Arsis is a Serif (Antiqua) Modern Style font. Arsis font family attributes include roman serif, Didone, elegant, formal, modern style, feminine.

Quitador

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14 fonts from $55.00
Quitador Quitador

Quitador, designed by German designer Arne Freytag (b. 1967), is a constructed Slab Serif typeface family with a humanistic touch especially the Italics. The typeface family has a high x-height, respectively shorter top and bottom lengths.

It is suitable for Reading, Headlines, Poster, Magazines, Advertising, Logos Web and Mobile Devices.

Akko Std™

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12 fonts from $65.00
Akko Std™ Akko Std™

Akko is named after its designer, Linotype’s type director Akira Kobayashi, who began working on the type family in early 2010. “I originally planned to design a sans serif font with rounded corners,” he explains. “But then I became attracted to the idea of an industrial, engineered design, something similar to the rectilinear form of DIN Next™, but with curved strokes and soft proportions.”

Stymie™

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6 fonts from $35.00
Stymie™ Stymie™

In 1931, Morris Fuller Benton created the Stymie typeface for the American Type Founders (ATF). Stymie is a reworking of a slab serif type that was popular in Europe at that time, Memphis. For the past one hundred fifty years, slab serif types (sometimes called Egyptian or Egyptienne-style faces) have been a popular choice for headline text in newspapers, magazines, and advertising.

Sabon® Next

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60 fonts from $79.00
Sabon® Next Sabon® Next

Macbeth™

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2 fonts from $35.00
Macbeth™ Macbeth™

Times Europa®

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4 fonts from $35.00
Times Europa® Times Europa®

Barbedor™

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11 fonts from $35.00
Barbedor™ Barbedor™

The Swiss designer, Hans Eduard Meier, originally designed Barbedor for the Hell Digiset machine.

Present®

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16 fonts from $35.00
Present® Present®

This lively calligraphic font was designed by Friedrich K. Sallwey and appeared with Linotype in 1974.

Metro Office®

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4 fonts from $79.00
Metro Office® Metro Office®

The Metro Office family is designed after the model of the original sans serif family – Metro No.1 – produced by W.A. Dwiggins and Mergenthaler Linotype’s design studio during the late 1920s and 1930s. A distinctly new interpretation of the sans serif idea, Metro was a thoroughly “American” sans serif when it was released. However, over the ensuing decades, it became a favorite the world over. Moreover, it is one of the first “humanist” sans serif typefaces designed.

Savoye™

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1 font from $45.00
Savoye™ Savoye™

Fruitygreen™

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6 fonts from $65.00
Fruitygreen™ Fruitygreen™

Linotype Spitz™

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5 fonts from $65.00
Linotype Spitz™ Linotype Spitz™

Bodebeck™

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5 fonts from $65.00
Bodebeck™ Bodebeck™

Linotype Authentic Serif™

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16 fonts from $35.00
Linotype Authentic Serif™ Linotype Authentic Serif™

Berling Nova™

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6 fonts from $45.00
Berling Nova™ Berling Nova™

Swedish designer Karl-Erik Forsberg created the original Berling typeface in 1951. Owned by Verbum in Sweden, Berling was completely redesigned and released in 2004, under the name Berling Nova.

Kuenstler Script®

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7 fonts from $35.00
Kuenstler Script® Kuenstler Script®

The historical roots of this font are found in the lithographic movement of the 19th century. Like intricate handwriting put to paper with a feather and an inkwell, this font will distinguish your text with an unmatched elegance.

Metro #2®

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6 fonts from $65.00
Metro #2® Metro #2®

In 1929 Chauncey Griffith at Mergenthaler commissioned W.A. Dwiggins to design a warmer and less mechanical Geometric Sanserif to compete with Futura. Dwiggins’ best efforts proved that human warmth had little to do with cool geometry; for twelve years, until the introduction of Spartan, Mergenthaler lost ground to Intertype’s licensed version of Futura.

Belshaw™

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1 font from $35.00
Belshaw™ Belshaw™

Nick Belshaw designed Belshaw in 1980 as a nostalgic tribute to Jugendstil mixed with a 1980s feel. Belshaw is a headline font and should not be used with a smaller point size than 12. It is a good font for initials in magazines or on posters as well as for very short texts. It combines well with sans serif fonts. Belshaw gives a strong and lively feel to any text.

Univers® Next Arabic

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3 fonts from $165.00
Univers® Next Arabic Univers® Next Arabic

DIN Next Arabic™

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7 fonts from $129.00
DIN Next Arabic™ DIN Next Arabic™

Linotype Cutter™

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2 fonts from $35.00
Linotype Cutter™ Linotype Cutter™

Eurostile® Unicase

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1 font from $79.00
Eurostile® Unicase Eurostile® Unicase

Linotype Atomatic™

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1 font from $35.00
Linotype Atomatic™ Linotype Atomatic™

Linotype Atomatic is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. German artist Johannes Plass designed his font in one strongly-crafted weight. Linotype Atomatic seems to mirror the fast pace and technology of modern times. The slight lean to the right gives an impression of speed and movement. Linotype Atomatic is intended exclusively for headlines in larger point sizes.

Camellia™

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1 font from $35.00
Camellia™ Camellia™

Frutiger Arabic®

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8 fonts from $129.00
Frutiger Arabic® Frutiger Arabic®

Railroad Gothic™

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1 font from $65.00
Railroad Gothic™ Railroad Gothic™

News Gothic™

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4 fonts from $35.00
News Gothic™ News Gothic™

News Gothic was created by Morris Fuller Benton in 1908 and presented by the American font foundry American Typefounders. Despite, or perhaps because of, the font’s unconventional relationships in proportion and form, News Gothic has long been a popular typeface for almost any use.

Linotype Atlantis™

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5 fonts from $35.00
Linotype Atlantis™ Linotype Atlantis™

Lutz Baar was born in Berlin, now living in Gothenburg, Sweden. He is an art director at his own advertising and Web design studio Miraculus.

Among his typeface designs you find the award winning Linotype Pisa, the hand tooled looking Linotype Atlantis, and the strictly Linotype Ordinar, designed for Web usage.

Flyer™

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4 fonts from $35.00
Flyer™ Flyer™

Kursivschrift™

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10 fonts from $65.00
Kursivschrift™ Kursivschrift™

Frutiger Serif Pro™

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20 fonts from $79.00
Frutiger Serif Pro™ Frutiger Serif Pro™

Nuptial Script™

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2 fonts from $35.00
Nuptial Script™ Nuptial Script™

Handel Gothic

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Albums

6 fonts from $35.00
Handel Gothic Handel Gothic

Levato Pro

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Albums

10 fonts from $65.00
Levato Pro Levato Pro

Engravers™

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2 fonts from $35.00
Engravers™ Engravers™

Engravers is a typeface based on styles of engraved lettering that were popular at the end of the nineteenth century in America and abroad. American Type Founders, Inc. (ATF) released a successful ancestor of this design in 1903.

Compatil Text®

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12 fonts from $79.00
Compatil Text® Compatil Text®

ITC Souvenir Monospaced™

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2 fonts from $35.00
ITC Souvenir Monospaced™ ITC Souvenir Monospaced™

Souvenir font was originally drawn by Morris Fuller Benton in 1914 as a single weight for the American Type Founders company. It was revived in 1967 by Photo-Lettering and optimized for phototypesetting equipment. ITC was formed in 1971 and, with the help of Photo-Lettering, introduced ITC Souvenir as one of its first font families. ITC Souvenir font was designed by Ed Benguiat and comes in four weights, each with a matching italic.

Blackmoor™

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1 font from $45.00
Blackmoor™ Blackmoor™

Noted British type designer David Quay designed Blackmoor in 1983. Based on an old English letter style, this textura-style Blackletter evokes a mediaeval character, expertly mixing a gothic lowercase together with Lombardic capitals. Blackmoor’s rough, distressed features make it ideal for a variety of applications, from serious historical publications to horror movies, and comics.

Opal™

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4 fonts from $79.00
Opal™ Opal™

Opal Pro is a text family designed by Hannes von Döhren in 2008. It gives every text a noble character. The typeface has long ascenders that clearly rise above the capital letters and a low x-height. Opal’s letters sport inktraps at stroke junctions, which on one hand create a cutout feeling and on the other hand strengthens the image in larger point sizes. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to the Italic and Bold, the Opal type family includes a Script face, whose letterforms include connections, similar to handwriting. On top of that, the typeface possesses swash letters for italic and script, small caps, many ligatures and borders & ornaments.

Linotype Aroma No. 2™

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24 fonts from $45.00
Linotype Aroma No. 2™ Linotype Aroma No. 2™

Linotype Aroma No.2 appears straightforward in form, completely sans serif, yet with a trace of humanistic features that gives it that extra edge.

Chesterfield™

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2 fonts from $35.00
Chesterfield™ Chesterfield™

Bohemia™

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4 fonts from $35.00
Bohemia™ Bohemia™

Auriol®

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9 fonts from $35.00
Auriol® Auriol®

This type, released by Peignot in 1901, was based on the handwriting of the art nouveau painter and designer, Georges Auriol. The Peignot drawing office insisted on a more normal appearance in the boldface, calling it Robur. Matthew Carter has returned to Auriol’s original design for the whole series. The type is accompanied by the third of the three great series of type flowers, Auriol’s art nouveau patterns.

Linotype Agogo™

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6 fonts from $35.00
Linotype Agogo™ Linotype Agogo™

Linotype Agogo is part of the Take Type Library, chosen from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. Designed by British artist Ed Bugg, the font 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 texts, although when used with swash characters, the texts should be shorter or headlines.

Mariage

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2 fonts from $35.00
Mariage Mariage

Morris Fuller Benton, the principal designer of the American Type Founders, designed Mariage in 1901. Mariage, which has been sold under a plethora of different names during the last century, is a blackletter typeface belonging to the Old English category. The term blackletter refers to typefaces that stem out of the historical printing traditions of northern Europe. These letters, called gebrochene Schriften, or “broken type” in German, are normally elaborately bent and distorted. Their forms often print large amounts of ink upon the page, creating text that leaves a heavy, black impression. The Old English style is a subset of blackletter type that dates back to 1498, when Wynken de Worde introduced textura style printing to England. Continental printers had been printing with textura style letters since Gutenberg’s invention of the printing press fifty years earlier. Italian printers stopped using them around 1470. For northern Europeans, texturas remained the most popular form of typeface design until the invention of the fraktur style in Nuremberg.
Mariage is heavily classicized sort of Old English type. During the Victorian era, designers admired the Middle Ages for its chivalric, community-based values and its pre-industrial lifestyle. Yet they also found the basic medieval textura letterform too difficult to read by present standards. They desired to modernize this old style. Today, this sort of update is often referred to not as “modernization” but as classicism.

Wilke™

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6 fonts from $35.00
Wilke™ Wilke™

This font is a late work of the famous Berlin font artist Martin Wilke. Presented by Linotype AG in 1988, Wilke is a lively font with eccentric, playful forms. Wilke was influenced in part by the letters of the Irish handwriting in the Book of Kells, written in the late 8th century, while the pronounced contrast in strokes goes back to the styles of the 18th century. the font’s uniqueness is particularly emphasized when used in larger point sizes.

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