Adrian Frutiger has spent decades working very closely with Linotype. In the many years of this fruitful collaboration, we’ve accumulated a number of photographs of Adrian Frutiger. These images show glimpses of the different periods and highlights of his life so far, including pictures of him working in his studio, moments of him along with his typefaces, and even more recent shots of him working together with Akira Kobayashi.
We hope that you enjoy browsing through these images.
Frutiger® – the sans serif classic.
Get the original from Linotype as single fonts, in a Value Pack, or on CD.
About Frutiger
Famous type designer Adrian Frutiger created a masterpiece with this typeface. Faced with the challenge of designing an exceptionally legible type for the signs of the Charles de Gaulle Airport in Paris, he developed the now legendary Frutiger in 1968. The original Linotype typeface has since been expanded to include 14 weights and is of course not just
[...]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 printing company still exists under the name Firmin Didot, Societe Nouvelle.
Firmin Didot – born 1764
[...]Über die Lesbarkeit
Unter dem Einfluss der verschieden Druckverfahren hat die lateinische Textschrift subtile Formveränderungen erfahren. Grundsätzlich neue Formen sind jedoch keine entstanden. Als Demonstration dafür sind acht a in den meistgelesenen Schriftstilen mit einem Drehraster versehen und übereinander kopiert. Das Resultat zeigt eine erstaunliche Übereinstimmung.
Linotype previously had three design studios located around the globe:
Mergenthaler Linotype, in the United States, was founded in Brooklyn, but later moved to Melville, NY, and then to Hauppauge, NY. Mergenthaler Linotype's design studio employed at varying times up to 80 designers under the direction of Chauncey H. Griffith, Jackson Burke, Mike Parker, and Matthew Carter.
In continental Europe, Linotype typefaces were produced by the D. Stempel AG typefoundry in Frankfurt, Germany.
[...]Portrait
We can read because we perceive elements and forms which are familiar to us. So in order to even recognize words, we must first decipher the elements which make up the shapes of the letters – a process which involves the interplay of myriad aspects. To a certain degree, many of us are aware of these aspects. Yet Adrian Frutiger knows about such shifting dynamics in perception in a way no other person can, as he has been instrumental in researching the subject and over several decades
[...]Find further Font Features in our Font Feature Archive.
Typographic Tip of the Month from Linotype’s Type Director Akira Kobayashi!
June 2006: “Apostrophes and Quotation Marks”
Which glyph is correct: the inch, the acute, or the apostrophe? – This feature describes the poper use of the pesky punctuation mark that signifies omission and forms the possessive (and sometimes plurals).
Apostrophes
Prime symbol, used here to incorrectly create the
[...]
For about 100 years in the eighteenth and nineteenth centuries, several members of the Didot family were active in Paris as designers. They were also printers, publishers, typefounders, inventors, writers and intellectuals. Around 1800, the Didot family owned the most important print shop and font foundry in France. Pierre Didot published books and prints set in typefaces designed and punchcut by his brother, Firmin Didot. The statuesque, clear forms of the Didot alphabets are representative of the time, and are quite similar to those designed by Giambattista
Bodoni around the same time in Italy. These types are in the style known as "modern" - meaning they are characterized by extreme vertical stress and fine hairlines contrasted by bold main strokes. Linotype Didot™ was drawn by Adrian Frutiger in 1991, and is based on the fonts cut by Firmin Didot between 1799 and 1811. Frutiger also studied the Didot types in a book printed by the Didots in 1818, "La Henriade" by Voltaire. This beautifully drawn family has 12 weights including Old style Figures, a headline version, and superb graphic ornaments. Linotype Didot is the right choice for elegant book and magazine designs, as well as advertising with a classic touch.
