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Dokumente, die sich auf diese Artikel beziehen ...
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 [...]
Einleitung
Alljährlich veranstaltet das deutsche Business-Magazin „Manager Magazin” einen Wettbewerb zur Ermittlung der besten Jahresberichte aus dem deutschsprachigen Raum. Von den teilnehmenden Unternehmen, die ihre Geschäftsberichte von 2006 Anfang 2007 veröffentlicht haben, veröffentlichte das Manager Magazin im Oktober 2007 seine Favoriten.
Das Manager Magazin unterteilte die Top Ten-Geschäftsberichte in sechs verschiedene Kategorien, wobei die Jury zusätzlich eine den [...]
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, [...]
Eurostile extras – Eurostile Candy und Eurostile Unicase von Akira Kobayashi
Die Anfang 2008 veröffentlichte Eurostile® Next ist eines der neuesten Mitglieder der Linotype Platinum Collection. Diese Familie ist eine digitale und erweiterte Neuversion der ursprünglichen Schrift. Ferner ist Eurostile Next ein weiterer Beitrag des künstlerischen Leiters von Linotype, Akira Kobayashi, zur Typografie des 21. Jahrhunderts. Natürlich haben Designer wie Akira nicht nur ernsthafte [...]
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® – 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 [...]
Die Schriften der Platinum Collection &ndash jetzt als Value Packs erhältlich.
Die Platinum Collection bildet die Exklusivserie von Linotype, in welcher Klassiker der Linotype Library perfektioniert wurden. In enger Zusammenarbeit mit den berühmtesten Schriftgestaltern entstanden grundlegend überarbeitete, vollständig ausgebaute Schriftfamilien, die technologisch und gestalterisch auf dem neuesten Stand sind. Diese neuen Schriftfamilien haben feine, harmonisch aufeinander abgestimmte [...]
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 [...]
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 –
Hier sehen Sie einige Beispielseiten aus dem Gildemeister-Geschäftsbericht 2006
– Klicken Sie auf die Bilder, um eine vergrösserte Darstellung zu erhalten –
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 [...]
Im Archiv der Font-Beiträge finden Sie weitere Artikel.
Der typografische Tipp des Monats von Akira Kobayashi, dem künstlerischen Leiter bei Linotype!
Mai 2006: „Finger weg von dieser Schaltfläche!”
Viele Programme haben eine Schaltfläche „Kursiv”. Doch allzuoft* erhalten Sie damit nur eine automatisch erzeugte Version des Schriftschnitts „Roman”.
Ein besseres Ergebnis erhalten Sie, wenn Sie die Kursivschrift direkt im Font-Menü des [...]
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 [...]
Schriften der Platinum Collection
Die Schrift Eurostile ist seit Jahrzehnten fester Bestandteil unseres Schriften-Portfolios. Ihr Ursprung ist jedoch ungewiss. Sie wurde in Italien geschaffen und hatte zwei Designer sowie zwei Veröffentlichungsdaten, wenn einige Puristen auch auf das eine oder andere bestehen. Sicher ist jedoch, dass die Schrift zwei verschiedene offizielle Namen hatte. Der erste – Microgramma™ – bezieht sich nur auf einen Teil des endgültigen Designs. Nach vielen Jahren präsentiert [...]
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 [...]
Über Platinum Collection ...
Der folgende Text wird Ihnen in Englisch angezeigt, da er nicht auf Deutsch vorliegt.
The Exclusive CollectionThe 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.
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