Under the influence of the synthetic typefaces of the Bauhaus era in the 1920s, Arne Freytag decided to create Linotype Freytag™. His objective was never to create an accurate digital reproduction of an historical original - he developed his own new characters, always with an eye to their legibility and contemporary typographic design. For these very narrow characters, Arne Freytag employed a combination of rounded and angular elements but without blindly following a predetermined design principle. With the aid of small divergences, he has managed to give each character a form appropriate to its visual requirements and has thus produced a harmonised effect. For example, the vertical elements that surround the internal areas of the “O”, the “D” and the “G” are very slightly convex to ensure that the counters remain sufficiently open. And there is also slight variation in the width of individual characters of Linotype Freytag to provide for a uniform typographic effect. The net result is that Linotype Freytag appears cold and mechanical, but still retains its elegance. Almost ten years after publishing the regular, upright style, Arne Freytag returned to his font to add italics. As is standard practice for a monolinear Grotesque, the letters are inclined. In addition, the lowercase “a” is given a closed form. The wide range of available styles is unusual for a display font; Linotype Freytag is available in the weights Ultra Light, Light, Regular and Bold. All weights come with matching italics. As these are OpenType Pro fonts, they include, in additional to the glyphs required for setting texts in Western European languages, those required to set Eastern European texts. Thanks to its sophisticated design, which combines the synthetic character of the Bauhaus era with good legibility and a homogeneous typographic appearance, Linotype Freytag must be considered one of the best Bauhaus-style fonts currently available. Its excellent range of styles, with its various weights and the new, corresponding italics, mean that this font has an unusually wide range of potential applications. It is ideal, for example, for flyers and posters, for advertisements and the headlines to magazine texts.
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Font Designer: Arne Freytag