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Documents referring to these items ...
Or why there´s now an Avenir Next
While Adrian Frutiger has created such famous typefaces as Univers® or Frutiger®, another matter has remained very close to his heart – the design of his linear sans serif – the Avenir.
In 1988, the Swiss typeface designer first presented Avenir to the public, which already at that time marked an excellent alternative to other well known typefaces such as Futura® or Avant Garde®. Compared to the mere metric construction of other typefaces, Avenir [...]
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 [...]
The idea to develop a new typeface tailored to the special requirements of annual reports was born out of the "First Heidelberg Forum for Annual Reports 1988".
The challenge was to provide a type system that delivered readability and multiple tonality while maintaining harmony throughout the wide range of different characters required in an annual report.
Linotype worked closely together with Professor Olaf Leu and his Analyse Team at the University of Applied Sciences, Mainz, who have [...]
Frutiger® Next is a Platinum Collection family, exclusively available from Linotype GmH and authorized partners. Released in 2000, it is a revised and extended version of the famous Frutiger typeface.
Frutiger Next is available either as an extended OpenType family, or in traditional PostScript and TrueType formats. The OpenType version includes seven weights (a new, Ultra Light weight was released solely in OpenType format in 2007). Each weight has upright, true Italic, and Condensed [...]
DIN Next: Made in Germany
Introduction
Every year the German business magazine “Manager Magazin” holds a competition to determine the best annual reports published in the German-speaking world. From the submitted public corporations who published their 2005 annual reports in early 2006, Manager Magazin released their jury’s favorites in the October 2006 issue.
Manager Magazin picked the top ten annual reports in six different business categories, and their jury selected an overall top ten as well. Virtually every [...]
The repetition of simple geometric shapes forms a daily part of our environment. Throughout the 20th century – and into the 21st – typefaces whose designs have taken advantage of this have remained popular. But finding exactly the right mood can be tricky. For your convenience, we have grouped some of our favorite geometric typefaces (mostly sans serif and symbol) into four categories: circles, squares, ovals, and triangles.
Introduction
Many typeface catalogs, including our own, group all serif typefaces together under one umbrella-category. But in truth, there are many different kinds of serifs, e.g., Renaissance serifs, baroque serifs, unbracketed modern serifs, Latin serifs, wedge serifs, etc. One of the most popular styles of seriffed letter, especially for display type, remains the slab serif.
The slab serif is a genre of letterforms that has been in use for almost 200 years. Throughout this time, many [...]
Introduction
Every year the German business magazine “Manager Magazin” holds a competition to determine the best annual reports published in the German-speaking world. From the submitted public corporations who published their 2006 annual reports in early 2007, Manager Magazin released their jury’s favorites in the October 2007 issue.
Manager Magazin picked the top ten annual reports in six different business categories, and their jury selected an overall top ten as well. Virtually every [...]
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.
Eurostile extras – Akira Kobayashi’s Eurostile Candy & Eurostile Unicase
Released in early 2008, Eurostile® Next is one of the newest members of Linotype’s Platinum Collection. This family represents a thorough digital rethinking and extension of the typeface. Eurostile Next is yet another of Linotype’s Type Director Akira Kobayashi’s contribution to 21st century digital typography. Yet, designers like Akira have less serious sides as well. To new add-on families to Eurostile [...]
Linotype Compatil® is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights have been merged into a unique typographical network. There are now no limits to the font user's creativity.
The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards.
For [...]
Adrian Frutiger: Right from the beginning, I was convinced that Avenir™ is the better Futura®.
Akira Kobayashi: I share your opinion, but some weights have been missing to make Avenir an all-purpose typeface.
Adrian Frutiger: You mean the condensed weights?
Akira Kobayashi: Yes, with this extension I’m sure Avenir will then be able to cut its own path.
Adrian Frutiger: Then we should get to work putting Avenir onto that path ...
Akira Kobayashi: Yes.
How to order Avenir Next:
Please [...]
14. Frutiger
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 [...]
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.
Biography of Akira Kobayashi:
Studied at the Musashino Art University in Tokyo, and later followed this up with a calligraphy course at the London College of Printing. Freelance type designer since 1997.
Professional experience
April 1983–March 1989
Sha-ken Co. Ltd, Japan Typeface design department
December 1990–June 1993
Jiyu-kobo Ltd, Japan
September 1993–March 1997
TypeBank Co. Ltd, Japan
March 1997–April 2001
Freelance type designer
April 1998–April [...]
Aldo Novarese – born 29.6.1920 in Pontetura Monferrato, Italy, died 16.9.1995 in Turin, Italy – type designer, teacher.
1931-33: Attends the Scuola Arteri Stampatori in Turin, where he learns woodcut, copper engraving and lithography. 1933-36: attends the Scuola Tipografica Guiseppe Vigliandi Paravia in Turin. 1936: joins the Nebiolo type foundry in Turin as a draftsman. 1938: is awarded a gold medal in the national Ludi Juveniles art competition.
1948-58: teaches graphic drawing at the [...]
German designer Hermann Zapf created the following fonts:
Aldus® (1954), Aldus Nova (2005), Aurelia™ (1983), Comenius® Antiqua BQ (1976), Edison™ (1978), Kompakt™ (1954), Marconi® (1976), Medici® Script (1971), Melior® (1952), Noris Script® (1976), Optima® (1958), Optima nova (2002), Orion™ (1974), Palatino™® (1950), Palatino nova (2005), Palatino™ Sans (2006), Saphir™ (1953), Sistina® (1950), Vario™ (1982), Venture™ (1969), Virtuosa® Classic (2009), [...]
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 [...]
First encounter at the airport
When the Roissy Charles de Gaulle Airport was being planned in Paris in the early 1970s, it was clear that the signage needed to be set in a clear and legible typeface. The development of the wayfinding system was assigned to Adrian Frutiger, and the result was so effective that the demand for the typeface rose, both for general printing as well as navigation systems. The typeface entered the Linotype library in 1977 under the name Frutiger™. It set a new [...]
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 [...]
Take a look at some sample pages of Gildemeister’s Annual Report 2005
– For a larger view please click on the images –
Take a look at some sample pages of Gildemeister’s Annual Report 2006
– For a larger view, please click on the images –
Or why there´s now an Avenir Next
While Adrian Frutiger has created such famous typefaces as Univers™ or Frutiger™, another matter has remained very close to his heart – the design of his linear sans serif – the Avenir™.
In 1988, the Swiss typeface designer first presented Avenir to the public, which already at that time marked an excellent alternative to other well known typefaces such as Futura® or Avant Garde®. Compared to the mere metric construction of other typefaces, Avenir was [...]
Find further Font Features in our Font Feature Archive.
Typographic Tip of the Month from Linotype’s Type Director Akira Kobayashi!
May 2006: “Stay away from that button!”
Many programs allow you to press an “Italic” button; but this often* only automatically generates an on-the-go slanted version of the Roman weight.
For better results, select the Italic or Oblique font directly from the program’s Font Menu.
Akira says: This may take [...]
Interactive media – screen pages that are easy to read
Font Designer: Adrian Frutiger, 1976
In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Airport Roissy, later named Charles de Gaulle Airport, in Paris. The font was bolder than original typesetting fonts in order to offer better legibility for the light boxes of the signage system. Adrian Frutiger worked carefully on the letterforms so that characters and words could be recognized even in poor light conditions or when the reader was moving [...]
Font Designer: Adrian Frutiger, 1976
In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Airport Roissy, later named Charles de Gaulle Airport, in Paris. The font was bolder than original typesetting fonts in order to offer better legibility for the light boxes of the signage system. Adrian Frutiger worked carefully on the letterforms so that characters and words could be recognized even in poor light conditions or when the reader was moving [...]
Adrian Frutiger: Right from the beginning, I was convinced that Avenir™ is the better Futura®.
Akira Kobayashi: I share your opinion, but some weights have been missing to make Avenir an all-purpose typeface.
Adrian Frutiger: You mean the condensed weights?
Akira Kobayashi: Yes, with this extension I’m sure Avenir will then be able to cut its own path.
Adrian Frutiger: Then we should get to work putting Avenir onto that path ...
Akira Kobayashi: Yes.
Avenir Next, along with [...]
The need to read and absorb information quickly and easily has never been greater.
The amount of information available to us, either on paper or on screen, grows daily. It is essential to have a typeface that is both extremely legible as well as aesthetically pleasing.
Linotype´s Compatil is the first type system that incorporates such a comprehensive range of typographic features, delivering optimal legibility and design potential.
The metric and visual concept that is used for [...]
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 [...]
Platinum Collection Fonts
Eurostile™ has been with us for decades. Its heritage is a bit obscure. Born in Italy, Eurostile had two designers, and two release dates, even if purists might insist that it really just had one of each. Without a doubt, the typeface has had two official names. Of course, the first of those two names – Microgramma™ – only refers to part of the final design. After many years, Linotype is releasing an extended revision and update, named Eurostile Next. [...]
The “building block” type system Compatil™ provides flexibility, a variety of appearances and levels of distinction as well as immense compatibility since the letterspacing is identical in all styles. The system was inspired by Professor Olaf Leu, who began examining the corporate design of both small and large companies with the goal of raising the overall level of corporate communication – in everything from the business card to the annual report. There was no type family that was capable of [...]
About Platinum Collection ...
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 and Old style figures. All Platinum Collection typeface families have fine-tuned and perfected character fitting and forms.
Aldus and Frutiger 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. Avenir, Compatil and Eurostile are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.
For further information do not hesitate to contact us via:
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| e-mail: | info@linotype.com |
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We reserve the right of errors and changes.
We reserve the right of errors and changes.