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,
[...]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
[...]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.
Richard Isbell, a contemporary graphic designer and type designer of Detroit, Michigan, created the fonts Americana® (1965) and ITC Isbell® (1981, with Jerry Cambell). He designed Americana in honor of the then upcoming U.S. Bicentennial. The most distinguishing feature about Americana is its extremely large x-height. The letter proportions are very wide, with short ascenders and descenders. Americana works well for short texts, such as headlines or ad copy.
ITC Isbell, is a highly
[...]The designer Arthur Baker created the following fonts: Amigo™, Baker Signet™, Kigali™, Marigold™, Oxford™, Pelican™, Sassafras™, Visigoth™.
Designer Fred Lambert created the fonts Annlie™ (1966) and Compacta™ (1963).
Designer Alan Meeks (born 1951 in London) created the following fonts: Ambrose™, Aachen medium and bold (with Colin Brignall, 1969/1977), Algerian™ Condensed (1988), Astoria, Belwe™ Mono (1976/1989), Bertie™ (1985), Bickley™ Script (1986), Bramley™ (1979), Brigade, Burlington™ (1985), Cabaret™ (1980), Campaign™ (1987), Cancellaresca™ Script (1982), Candice™ (1976), Chalfont, Champers™ (1991), Chesterfield™ (1977), Claude™ Sans (1988/1990), Copacabana, Dynamo (with
[...]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),
[...]The type foundry Otto Weisert in Stuttgart created Kalligraphia (1902) and Arnold Boecklin™ (1904).
Traces of the floral forms of the Jugendstil can still be seen in Arnold Boecklin. Alphabets of this type were mainly meant for larger point sizes, as on posters. A decorative feel was much more important than legibility and Arnold Boecklin was of particular importance to the book design of the Jugendstil movement. Today the font is often used to remind people of ‘the good old
[...]Chris Brand (1921–1998) and Frank E. Blokland created the font Albertina™ for Monotype.
Albertina Font Family is part of the Monotype Library OpenType Edition.
Frank E. Blokland has a strong aversion to typefaces that are casually made, or careless re-works of earlier designs. His uncompromising opinions about type are evident not only in the many articles he has written, but also in the typefaces he has drawn.
An Award-Winning Start
Blokland studied graphic and typographic design at the Royal Academy of Arts in The Hague from 1978 to 1982. While still a student he founded the successful working group Letters, from which many well-known Dutch type
[...]Founded by Cynthia Hollandsworth Batty in the mid-1980s with the goal of creating new typefaces. There was some collaboration with the calligrapher Arthur Baker.
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
[...]Hermann Zapf is renowned the world over as a master calligrapher and type designer. Throughout his tremendous life, he has contributed volumes to the history of typography. His oeuvre encompasses text faces, symbol fonts, and even script designs, such as the new classic Zapfino. So many of his typefaces have entered our daily lives that it is impossible to image contemporary design without them. Below are all of his digital designs for Linotype.
More about the fonts:
Aldus™
This typeface
[...]
Aldus is a trademark 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. Arnold Boecklin is a trademark of Linotype GmbH and may be registered in certain jurisdictions.
Andreas is a trademark of Adobe Systems Incorporated which may be registered in certain jurisdictions.
Amigo is a trademark of Alpha Omega Typography.
Academy, Algerian Condensed, Annlie, Aquinas, Aquitaine, Arriba, ITC American Typewriter and ITC Angryhog are trademarks of International Typeface Corporation and may be registered in certain jurisdictions.
Americana is a registered trademark of Kingsley/ATF.
Albertina and Apollo are trademarks of The Monotype Corporation and may be registered in certain jurisdictions.
Albertus is a trademark of The Monotype Corporation registered in the United States Patent and Trademark Office and may be registered in certain jurisdictions.
