Frutiger® Capitalis Font Family

Frutiger® Capitalis Regular (Linotype Originals) More details ... Add to shopping cart Price from: US$ 54.00

Frutiger® Capitalis Outline (Linotype Originals) More details ... Add to shopping cart Price from: US$ 54.00

Frutiger® Capitalis Signs (Linotype Originals) More details ... Add to shopping cart Price from: US$ 54.00

Frutiger Capitalis Complete Family Pack (Linotype Originals) More details ... Add to shopping cart Price from: US$ 162.00

Now is a great time to get reacquianted with the best Linotype faces from the last 10 years; reaquaint is certainly the best word, as you’ve already gotten to know these designs in your visual enviroment for some time. Since the late 1990s, Linotype has brought new typefaces onto the market that have changed the way the world communicates. Many of our fonts are found on computers in all parts of the globe, and a few have even become household names – at least among graphic [...]

Still searching for the perfect font or ornament for this year’s Christmas cards or holiday party invitations? Allow us to come to the rescue! Before you give up hope, make sure to visit our new X-Mas Font Feature page. Here we’ve collected images showing great ways to use a number of appropriate text, headline, and symbol fonts. We are sure to have the style you are looking for!

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 [...]

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 [...]

Font Designer: Adrian Frutiger, 2005 Adrian Frutiger has created an entire typeface universe. He is especially well-known for his highly readable faces for longer texts (Meridien®, Univers®, Glypha®, Centennial® etc.), but has also produced many popular decorative alphabets, such as Ondine™, Phoebus and President™, which he created in Paris in 1953. More recently, he has applied his skills to the typefaces of the Linotype Project Type before Gutenberg". These include [...]

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 [...]

Find further Font Features in our Font Feature Archive. Typographic Tip of the Month from Linotype’s Type Director Akira Kobayashi! October 2007: A few words on letter spacing Optical Spacing Option in Adobe InDesign In Adobe InDesign, there is an Optical Spacing option available for the spacing between individual glyph pairs, or kerning. The Optical Spacing selection overrides the metrics information stored in the font file itself, or specific values that one enters [...]

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Adrian Frutiger has created an entire typeface universe. He is especially well-known for his highly readable faces for longer texts (Meridien, Univers, Glypha, Linotype Centennial, etc.), but has also produced many popular decorative alphabets, such as Ondine, Phoebus, and President, which he created in Paris in 1953.

More recently, he has applied his skills to the typefaces of the Linotype Project Type before Gutenberg. These include the light-footed and extravagant Herculanum, the narrow Pompeijana with its diamond-shaped serifs and the robust Rusticana, all derived from Roman origins.

Frutiger Capitalis Regular and Outline belong in this group as well; however, they are not based on direct historical sources. At first glance, they may seem related to the roman type Capitalis Monumentalis, but opon 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 Capitalis Signs -- a whole universe of its own. Frutiger Capitalis Signs is a personal cosmos of symbols, many are immediately "legible", others leave room for interpretation. Some of the symbols are the product of Frutiger"s imagination, such as his "Life Signs" -- soft, hand drawn figures whose lines have no apparent beginning or end, creating both interior and exterior spaces, new forms emerging at each glance. These contoured drawings have accompanied Frutiger throughout his professional life -- a fantasy garden which has provided an important balance to his many years of disciplined typeface design. Yet he does not consider himself an artist. Frutiger says he simply "wants to tell stories, to draw thin lines, create contours of signs: that is my style."