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Documentos que se refieren a estos artículos ...
Adrian Frutiger ha trabajado estrechamente con Linotype durante varios decenios. A lo largo de los profusos años de su fructífera colaboración, hemos recopilado un buen número de fotografías de Adrian Frutiger. Estas imágenes nos permiten vislumbrar distintos periodos y puntos culminantes de su vida hasta el momento. Tenemos fotos en las que está trabajando en su estudio, momentos de su vida junto a sus tipos de letra e incluso imágenes más recientes en las que está trabajando con Akira [...]
2. Frutiger
Frutiger® – la imparable fuente sans serif classic.
Consiga los originales de Linotype como fuentes únicas, en un Value Pack o en CD.
Acerca de Frutiger
El famoso diseñador tipográfico Adrian Frutiger creó una obra maestra con esta fuente tipográfica. Ante el desafío de diseñar un tipo excepcionalmente legible para las señales del aeropuerto Charles de Gaulle en París, desarrolló lo que ahora es el legendario conjunto Frutiger en 1968. La fuente tipográfica Linotype original no ha [...]
Frutiger™ Capitalis
At first glance, Frutiger Capitalis Regular and Outline may seem related to the roman type Capitalis Monumentalis, but upon closer examination, the fonts reveal a vitality unknown to the characters the Romans etched in stone. Frutiger confesses that creating Capitalis was "a liberation." After working on so many sophisticated and meticulously designed typefaces, Capitalis was a breath of fresh air.
Stylistically, Frutiger Capitalis Outline forms a bridge to Frutiger [...]
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.
"Type is made to be read", he reminded, "and that implies a reader. It may usefully be asked what does that all-important but often disregarded person expect? He expects nothing but to be left in optical ease while he pursues his reading."
Rudolf Ruzicka (1883–1978) was a consultant to Mergenthaler Linotype Company for 50 years. Considered a distinguished engraver in wood and metal and an accomplished and versatile artist and designer of his time, he was recommended to C. H. Griffith, [...]
Sumner Stone – born 9. 6. 1945 in Venice, Florida, USA – type designer, graphic designer.
1966: studies at Reed College in Portland, Oregon. Takes calligraphy lessons with Lloyd Reynolds. Then works as a type designer for Hallmark Cards in Kansas City for two years. 1972: opens his type studio, Alpha and Omega Press, in Sonoma, California. At the same time he studies mathematics at Sonoma State University. 1979: works for Autologic Inc. in Boston as director of typography. He later holds the [...]
Justus Erich Walbaum – born 25. 1. 1768 in Steinlah, Germany, died 31. 1. 1839 in Weimar, Germany – type founder, type designer, punch cutter. Trained as a spice merchant and pastry cook in Braunschweig. Further trainig as a form cutter, music engraver and punch cutter. Cut and cast commemorative coins.
1796: buys printer Ernst Wilhem Kircher’s type foundy in Goslar. 1803: the type foundry moves to Weimar. 1828: Walbaum hands over the type foundry to his son, Theodor, who is killed in an [...]
Eric Gill – born 22. 2. 1882 in Brighton, England, died 17. 11. 1940 in Uxbridge, England – sculptor, graphic artist, type designer. Studied at the Chichester Technical and Art School.
1899–1903: works in an architect’s office. Takes lessons in lettering with Edward Johnston at the Central School of Arts and Crafts in London. 1905–09: produces initials and book covers for Insel publishers in Leipzig. 1906: designs inititals for Ashedene Press. 1907: moves to Ditchling, Sussex. Here he [...]
José Mendoza y Almeida – born 14. 10. 1926 in Sèvres, France – type designer, typographer, teacher. Trained as a photoengraver at the Cliché Union in Paris.
1953–54: works with Maximilian Vox. 1954–59: assistant to Roger Excoffon at the Fonderie Olive in Marseille. From 1959 onwards: freelance typographer and type designer. 1985–90: teaches type design in the Atelier National de Création Typographique (ANCT) at the Imprimerie Nationale in Paris.
Fonts: Pascal (1960), Photina® (1972), [...]
The British designer Robert Norton (born 24. 5. 1929 in London, died 7. 3. 2001 in West Huntspill, Somerset) created the fonts Else NPL™ (1982), Horley Old Style® (1977) and Raleigh (1978).
Robert Slimbach was born in 1956 in Evanston, Illinois, USA.
Shortly after, he arrived in South California where he spent his childhood and his youth.
After leaving college he developed an interest in graphic design and typefaces while running a small screen printshop for manufacturing posters and greeting cards. This work brought him into contact with "Autologic Incorporation" in Newbury Park, CA.
After training from 1983 to 1985, Robert Slimbach worked as a font designer with [...]
Designer Franko Luin created the following fonts: Ad Hoc, Baskerville™ Classico, Birka™, Bodoni™ Classico, Carniola™, Caslon Classico™, Devin™, Dialog™, Emona™, Esperanto™, Fortuna™, Garamond Classico™, Griffo Classico™, Humana™, Isolde™, Jenson Classico™, Jesper™, Jonatan™, Kalix™, Kasper™, Kis Classico™, Marco Polo™, Memento™, Miramar™, Norma™, Nyfors™, Odense™, Omnibus™, Pax™, Pax™ #2, Persona™, Ragnar™, Res Publica™, Rustika™, Saga™, Semper™, Transport™, Vega™.
Franko Luin, born 6. 4. [...]
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. [...]
Olaf Leu was born in Chemnitz in 1936. He apprenticed as a typesetter and typographic designer in the art department of the Bauer type foundry. Later, he worked as the assistant to the creative director at the Hanns W. Brose advertising agency in Frankfurt am Main.
In 1959, he began his career as a freelance graphic designer and art director. In 1971, he founded the studio “Olaf Leu Design” in Frankfurt am Main, which became known as “Olaf Leu Design und Partner” in 1976. The studio remained [...]
Created by a merger of the two companies Deberny & Cie (founded 1818) and Peignot & fils (founded 1842) in 1923. Its main font designers were A. M. Cassandre and Adrian Frutiger. One of the first practicable phototypesetting machines, the Lumitype, was developed in the 1950s. In 1972, the company was acquired by the Haas foundry (Haas’sche Gießerei) in Münchenstein.
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 [...]
OCR™
OCR A and OCR B are standardized, monospaced fonts designed for "Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display [...]
Consulte más características de las fuentes en nuestro Archivo de características de las fuentes.
Typographic Tip of the Month from Linotype’s Type Director Akira Kobayashi!
Agosto 2006: Utilice los caracteres floreados de un tipo de letra para variar el diseño
Muchos tipos de letra están equipados con caracteres floreados alternativos concebidos como elemento adicional en la caja de herramientas de los diseñadores. Aún así, los caracteres floreados (letras elaboradas y [...]
The origins of the font Versailles™ go back to the 19th century in France when, with the introduction of lithography, alphabets could contain freer forms. The basic forms are Modern Face with triangular serifs. The direct influence for Versailles was the writing on the back of the memorial to Charles Garnier, the architect of the Paris Opera. Versailles is a classic font for advertisements, perfect for shorter texts and titles/headlines and it makes an impression of elegance and strength.
Fairfield, Linotype Centennial and Meridien are trademarks of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. Versailles is a trademark of Linotype Corp. and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.
Utopia is a trademark of Adobe Systems Incorporated which may be registered in certain jurisdictions.
Stone is a trademark of International Typeface Corporation registered in the U.S. Patent and Trademark Office and which may be registered in certain other jurisdictions.
Else is a trademark of Norton Photosetting Ltd.
Emona and Res Publica are trademarks of Omnibus.
Joanna and Photina are trademarks of The Monotype Corporation registered in the United States Patent and Trademark Office and may be registered in certain jurisdictions.
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Nos reservamos el derecho a errores o cambios.
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