By Adrian Frutiger
Much has been written about the evolution of type: how the forms of our letters took shape, from the roman capitals to the Carolingian minuscules, and how the Latin alphabet was then, essentially, finalized for eternity by the first printing presses of the Renaissance Age.
Looking back from where we stand now, we could say that the original forms of our uppercase letters are around 2,000 years old, while those of our lowercase letters would be over 1,000 years old. And
[...]Seit Jahrzehnten arbeitet Adrian Frutiger eng mit Linotype zusammen. In den vielen Jahren dieser wertvollen Zusammenarbeit sind zahlreiche Fotos von Adrian Frutiger entstanden. Diese Bilder vermitteln Eindrücke der verschiedenen Phasen und Höhepunkte seines bisherigen Lebens. Es sind Fotos, die ihm bei der Arbeit in seinem Studio zeigen, Aufnahmen zusammen mit seinen Schriften, sowie aktuellere Schnappschüsse, auf denen er bei der Zusammenarbeit mit Akira Kobayashi zu sehen ist.
Wir hoffen,
[...]Text Category 1st Prize
Sultan Free by Sultan Maktari (Yemen)
Judge's choice for Dr. Fiona Ross
Text Category 2nd Prize
Midan™ by Kameel Hawa, Director of Almohtaraf assaudi (Lebanon)
Judge's choice for Hermann Zapf
Honorary Mention 3rd Prize
RSIexquisite by Ramzi Ibrahim
Honorary Mention 4th Prize
Fluid by Omar Safa
Honorary Mention 5th Prize
Sultan by Sultan Maktari
Display Category 1st prize
Isra™ by Almamoun Ahmed (Sudan)
Judge's choice for Mamoun
[...]Frutiger® – der Klassiker unter den serifenlosen Schriften.
Das Original gibt es direkt von Linotype als Einzelfont, Value Pack oder auf CD.
Über die Frutiger
Mit der Frutiger schuf der renommierte Schriftdesigner Adrian Frutiger ein wahres Meisterwerk. Beauftragt mit der Entwicklung des Leitsystems für den Pariser Flughafen Charles de Gaulle in Paris, bei dem gute Lesbarkeit oberstes Gebot war, erstellte Frutiger im Jahr 1968 die inzwischen legendäre Frutiger. Die ursprüngliche
[...]Erwerben Sie arabische Schriften aus der Linotype Library
Unser Angebot umfasst eine ganze Reihe neuer, moderner sowie traditioneller arabischer Schriften. Diese sind im OpenType-Format erhältlich und unterstützen die Sprachen Arabisch, Persisch und Urdu. Aber das ist nicht alles: Diese Schriften enthalten auch einen lateinischen Zeichensatz („Basic Latin”), der dem arabischen Zeichensatz in Stil und Fette angepasst ist, sowie einen Satz proportionale Ziffern. Sie entsprechen in
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Die richtigen Schriften für die drei offiziellen Amtschriften der Europäischen Union.
Mit dem Beitritt von Bulgarien im Januar 2007 ist neben dem lateinischen und griechischen Alphabets nun auch das kyrillsche Alphabet die dritte Schrift der Union.
Die Linotype Original-Fonts mit der Zusatzbezeichnung „W1G” erfüllen die Zeichensatzbelegung gemäß Linotype Norm W1G (World Glyph 1).
Sehen Sie hier, welche Sprachen mit den W1G-Fonts unterstützt werden (PDF-Dokument
[...]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.
Max Miedinger – born 24.12.1910 in Zurich, Switzerland, died 8.3.1980 in Zurich, Switzerland – type designer.
1926-30: trains as a typesetter in Zurich, after which he attends evening classes at the Kunstgewerbeschule in Zurich. 1936-46: typographer for Globus department store’s advertising studio in Zurich. 1947-56: customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. From 1956 onwards: freelance graphic artist in
[...]Designer Tim Holloway created the fonts Karim® (1994) and Mitra® (1975). Tim Holloway worked for a time at Linotype Ltd. in the UK, where he was a colleague of Fiona Ross.
Karim was designed in response to a demand for a traditional text face adapted to setting Quranic commentaries. Karim font is the standard character set version.
Within the constraints of the standard character set and typesetting program, the design aims to recall the style and fluency of manuscript Naskh
[...]Walter Tracy – born 14. 2. 1914 in England, died 1995 – type designer.
1930–35: trains and works as a typesetter. 1935–38: typographer for Barnard Press. 1938–46: works for Notley Advertising. 1947: freelance designer. Works for Art & Technics publishing house which issues "Alphabet and Image" magazine, among others. 1948–78: works for Linotype England as head of the department for type development. 1973: made a Royal Designer for Industry by the Royal Society of Arts. Since 1978: has
[...]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.
[...]Ismet Chanbour created the fonts Al Harf Al Jadid™ (1980) and Mariam® (1992).
Al Harf Al Jadid is a traditional-style Arabic display typeface. Al Harf Al Jadid Two is an outline version of Al Harf Al Jadid One. Although their design is ultra bold, its forms remain a readable Naskh, in response to the needs of secular lettering for emphatic headlines and signs. Al Harf Al Jadid One and Two are characterized by a distinctive, strong baseline-stroke, reminiscent of a similar
[...]Ahmed Lakhdar-Ghazal, Director of the Morocco Institute of Research et Studies on Arabization, created the font ASV Codar® in 1999.
ASV Codar is a modern Arabic text typeface with two weights: ASV Codar Light and ASV Codar Bold. Both of the fonts ship in the OpenType format, and include Latin glyphs (Palatino® Roman and (Palatino Bold inside the font files, allowing a single font to set text in both most Western European and Arabic languages.
The two ASV Codar fonts include the
[...]Osman Husseini created the font Badr® ca. 1970.
Badr is a traditional-style Arabic text typeface with two weights: Badr Light and BadrBold. Both of the fonts ship in the OpenType format, and include Latin glyphs (from Cochin® Roman and Cochin Bold) inside the font files, allowing a single font to set text in both most Western European and Arabic languages.
The two Badr fonts incorporate the Basic Latin character set (Western CP 1252 Latin 1/ANSI and Macintosh US Roman) and the
[...]Abbas Al-Baghdadi created the font Firas™ in 2005.
Firas is a traditional Kufi and a winner in Linotype’s first Arabic Typeface Design Competition. The design is very geometric and bold with very high level of contrast. This makes it suitable for large display sizes, especially in the area of advertising. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.
Firas is part
[...]Hakim Ghazali created the font Hakim Ghazali™ in 2005.
Hakim Ghazali, designed by Hakim Ghazali in 2005, is an Arabic typeface in the style of Maghribi and a winner in Linotype’s first Arabic Typeface Design Competition. This style, which originated in western North Africa, is characterized by a strong baseline and long, fluid, and curvaceous curves. It can be used in headlines or in text and gives a very fresh and calligraphic look. The font includes a matching Latin design and
[...]Hassan Sobhi Mourad was born 1942 in Syria.
1970 Graduation from Damascus University.
1974 M. A. Degree in Arabic Calligraphy.
Fonts: Hassan® (1996).
Hassan is a traditional-style Arabic text face designed by Mr. Hassan Sobhi Mourad, an experienced calligrapher and teacher of the art. First produced by the Linotype Design Studio (U.K.) as a PostScript font in 1993, the family is now available in OpenType format.
An individual Naskh style, Hassan cleverly combines elegant
[...]Lebanese calligrapher Ahmed Maged created the font Hisham® in 1993.
Hisham is a modern Arabic headline face. Originally developed by Linotype-Hell AG, Hisham is now available in OpenType format.
The Hisham design has a distinctive style with a strong baseline, relieved by strategic cut-away effects, which is counterbalanced by the bold vertical strokes and some strong diagonals. This somewhat compact font adds a new style to the range of Linotype´s Arabic headline fonts.
This
[...]Ihsan Al-Hammouri, born 1973 in Zeroa, Jordan, created the font Insan™ in 2005.
Insan is a modern Arabic typeface in three different weights. The design is based on simplified Naskh with a very low modulated stroke treatment. It is suited for text settings, especially in brochures and magazines. It is characterized by a large body height and open counters and as such can be used in small sizes. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also
[...]Almamoun Ahmed created the font Isra™ in 2005.
Isra is a modern Kufi and a winner in Linotype’s first Arabic Typeface Design Competition. The highly geometric and condensed form make it ideal for magazine headlines, advertising, and general display usage, while the large body height and clear forms make it suitable for short text settings. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the
[...]Margaret Tan created the font Jalal® in 1977.
Jalal is a modern Arabic text typeface with two weights: Jalal Light and Jalal Bold. Both of the fonts ship in the OpenType format, and include Latin glyphs (from Optima® Demi Bold and Optima Bold) inside the font files, allowing a single font to set text in both most Western European and Arabic languages.
The Jalal fonts incorporate the Basic Latin character set (Western CP 1252 Latin 1/ANSI and Macintosh US Roman) and the Arabic
[...]Georges Dib created the font Kufi™ in 1987.
Kufi is a traditional-style Arabic headline face available in two styles, Kufi and Kufi Outline. Both of the OpenType fonts include Latin glyphs from Kabel® Heavy inside the font files, allowing a single font to set text in both most Western European and Arabic languages
The two Kufi OpenType fonts incorporate the Basic Latin character set (Western CP 1252 Latin 1/ANSI and Macintosh US Roman) and the Arabic character set (CP 1256), which
[...]Kameel Hawa, Director of Almohtaraf assaudi, created the font Midan™ in 2005.
Midan is a modern Arabic typeface based on simplified Naskh with a slightly modulated stroke treatment. It is suited for text settings, especially in brochures and magazines. It is characterized by a large body height and open counters and as such can be used in small sizes. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for
[...]Moufid Al Mehdi created the font Mofid Mahdi® in 1976.
Mofid Mahdi is a distinctive, bold Arabic display face, suitable for heading and titling work in Arabic newspaper and magazine composition. In this typeface the rounded internal counters and dots contrast with the angular and more robust outlines of the letterforms to give a decorative, harlequin-like appearance.
The design was originally developed for use in dry-transfer format, and was first produced as a digital font by
[...]Mr. Haghighi created the font Nazanin® in 1978.
Nazanin, originally named Haghighi, is a modern Arabic text face first produced by Linotype in 1978. Its popular design was converted into OpenType format in 2005, taking full advantage of digital technology to allow accurate positioning of diacriticals and kerning refinements.
The counters and inter-character proportions of Nazanin are characteristic of Persian display lettering and typography. This is particularly true of Nazanin bold,
[...]Sultan Maktari created the fonts Sultan Free and Sultan Nahia™ in 2005.
Sultan Free is a freestyle Ruqaa. The design is open, calligraphic, and very dynamic. This makes it suitable for large display sizes, especially in the area of advertising, while still functioning well as a text face. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.
Sultan Nahia is a modern Kufi.
[...]Nadine Chahine is an award winning Lebanese type designer with a special interest in Arabic typography. She studied Graphic Design at the American University of Beirut and Typeface Design at the University of Reading, UK. During her study at Reading, she focused on the relationship of the Arabic and Latin scripts and the possibilities of creating a harmonious relationship between the two. She taught Arabic type design as a visiting lecturer at the American University in Dubai and then joined
[...]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
[...]Ahmed™ is a modern Arabic headline face, first produced by Linotype-Hell Ltd. in the early 1980s.
Originally developed as a simplified face, its design recalls the inscriptional and decorative tile work lettering of the medieval period. The strong treatment of the tails of certain characters departs from the more traditional style of tapering these finials, introducing a modern feel to the design.
The contrasting proportions of the tall vertical strokes and the rather elongated counters
[...]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
[...]Amer™ is a modern Arabic headline face, distributed in OpenType format. This OpenType font includes Latin glyphs from Kabel™ Book, allowing users to set text in both most Western European and Arabic languages without switching between fonts.
Amer includes the Basic Latin character set (Western CP 1252 Latin 1/ANSI and Macintosh US Roman) and the Arabic character set (CP 1256), which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu
[...]Award Winning Typefaces by Linotype
Bad Homburg, 23 April 2007. Linotype has once again received critical recognition for their commitment to exploring the cultural and technological frontiers of typography. The accolades came at the culmination of this year’s Type Directors Club Type Design Competition – TDC2 2007 – at which two pioneering Linotype fonts were awarded the celebrated Certificate of Typographic Excellence in Type Design. Representing the breadth and the depth of Linotype’s
[...]Corporate design across the global market requires a universal typographic identity. The prize-winning Helvetica Linotype is the latest revision to our world famous Helvetica typeface. Offering support for important linguistic groups, such as Arabic, Cyrillic, Greek, Hebrew, and Vietnamese, Helvetica Linotype allows worldwide usability within a single font! The powerful Unicode technology behind the fonts’ OpenType format makes Helvetica Linotype the only standard font to include such a broad
[...]With the invention of the printing press, a longing for formal refinement began to awaken. First leaning on the bold and distinct typography of incunabula, styles gradually progressed to culminate in the decorative classical fonts of the 17th and 18th centuries. This growing preoccupation with ever greater refinement was also reflected in the architecture of the times, as well as in objects of daily use, especially furniture. But also the fashionable attire worn by the upper classes of each
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Die seit 30 Jahren weltweit berühmte Schrift Frutiger® hat nun einen arabischen Gefährten bekommen. Ebenso wie seinen westlichen Vorgänger können Designer in aller Welt jetzt Frutiger Arabic für Schilder, Dokumente, Logos und Veröffentlichungen von Unternehmen verwenden.
Die von Nadine Chahine entworfene Schrift basiert auf dem Kufi-Stil, enthält aber auch Ansätze von Ruqaa und Naskh Zeichenformen. Adrian Frutiger hat Nadine bei der Erstellung der Zeichen beratend zur Seite
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