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
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What are the thinnest hairline fonts available at Linotype.com, and what do they look like? We created an article in the Linotype Matrix to help show you!
In each issue of the Linotype Matrix, we include an article about typographic extremes. The first issue Matrix Vol. 4 No. 1 shined a spotlight on the “Fat Boys,” listing some of are most interesting fat-face types. Our newest issue Matrix Vol. 4 No. 3 examines condensed faces. Matrix Vol. 4 No. 2 had an article entitled
[...]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
[...]Linotype’s Platinum Collection typefaces – Value Packs for the fonts now available
The Platinum Collection is an exclusive series of optimized classic typefaces in the Linotype Library. In close collaboration with world-famous type designers, Linotype has produced reworked, expanded typeface families that are both technologically and aesthetically up to date. These new typeface families have fine, harmonious weights; some have new italic weights and often come complete with Small Caps
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The right fonts for the three official alphabets of the European Union. With the entrance of Bulgaria in January 2007, the Cyrillic script joined the Latin and Greek alphabets to become the Union’s third official alphabet.
Linotype Original Fonts with the “W1G” additional marking meet the character set allocation in accordance with Linotype W1G (World Glyph 1) norm.
Here is a list of all languages supported by W1G fonts (PDF file English/German, 1 mb).
Search our
[...]Adrian Frutiger is considered one of the most important typeface artists of the 20th century. He has been the creator of such internationally renowned typefaces as Avenir™, Linotype Centennial™, Frutiger™, Icone™, Meridien™ and Univers™. Numerous prizes distinguish his pioneering work in the fields of typography and the graphic arts.
More about the fonts:
Apollo™
The text typeface Apollo was designed by Adrian Frutiger in 1962–64, and was one of the first fonts produced by Monotype for
[...]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
[...]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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Frutiger™ Next is Adrian Frutiger's and Linotype's completely new interpretation of the well known typeface Frutiger released in 2000. The family is available in two versions: OpenType, or traditional font formats (PostScript and TrueType). For these revised forms, the areas of application are almost limitless. Frutiger Next can be used for anything from office communications to multimedia to complex printed materials.
The OpenType VersionHere is a "Frutiger" family with small caps, oldstyle figures, and other figure options in every font; Western, Central, and Eastern European glyph coverage is included as well! Adrian Frutiger's eponymous typeface has been used for decades, everywhere from airport signage to book text to corporate logos to the smallest web graphics. Now, customers may order Frutiger Next in OpenType format as well. The OpenType family has seven weights -- an Extra Light weight was created just for the OpenType release -- each in Regular, Italic, and Condensed variants-that's 21 fonts in all! Plus, the fonts include more robust character sets, thanks to their OpenType programming.
The Italics in the original version of Frutiger were based very closely on the Roman forms; in Frutiger Next, they have been re-designed to be
true Italics.
The "Traditional" VersionA system of 18 weights, with priority being placed on retaining the aesthetic aspects of the original characters while optically adjusting the contrast between weights: PostScript and TrueType versions of Frutiger Next are also available for customers who do not use OpenType-savvy applications like the Adobe Creative Suite.
