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
[...]Agilita™ ist eine neue humanistische, serifenlose Linearantiqua, entworfen von Jürgen Weltin. Ihre eher klassischen Proportionen mit deutlich ausgeprägten Unter- und Oberlängen formen eindeutige Wortbilder.
Sie ist charakterisiert durch dynamische Einzelformen, die sich jedoch in ein klares und funktionales Gesamterscheinungsbild fügen. Dadurch ist Agilita sowohl eine geeignete Schrift für den Mengensatz als auch für komplexe Aufgaben im Informationsdesign, wie z. B. Leitsysteme.
Folglich
[...]The Helvetica™ (Latin for Swiss) has the objective and functional style which was associated with Swiss typography in the 1950s and 1960s. The font is perfect for international correspondence: no ornament, no emotion, just clear presentation of information. Helvetica™ font is still one of most popular sans-serif fonts.
Helvetica™, the typeface par excellence, can look back on a colorful life. Originally designed for hand composition, it has been adapted over the years for all methods of
[...]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
[...]The idea for Generis™ came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms.
The first design scheme came about in 1997, following the space saving model of American Gothics. As development progressed, a serif face, a slab serif design, and a further simplified sans serif were added.
Consisting in each case of two typographic styles with and without serifs, Generis
[...]Football Jersey Fonts
Football is in the air! Like all great team sports, football (or soccer, if you are in the US) inspires its fans to identify with their favorite team’s players, and sometimes even with a specific city or country. Each football team has its own visual identity, and the appearance of their logos and jerseys are one of the most exciting areas of graphic design. And it is no surprise that fonts play a strong role!
Below are images of just a few of the jerseys known and
[...]
Every year, more and more text is read directly on a computer screen in office applications, or from freshly printed sheets from a copier or laser printer. Clear, legible text faces are more imperative to office communication than ever before. Yet every worker desires a small bit of personality in the corporate world. Most office environments are only equipped with a few basic fonts that are truly optimized for use in text, with laser printers, and on screen.
Akira Kobayashi,
[...]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!
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
[...]
Genau wie das beliebte Compatil® ist das Schriftsystem Generis von Linotype ein Paket mit vier Schriftfamilien. Von jedem Schriftstil, also Generis Serif, Generis Sans, Generis Simple und Generis Slab, gibt es vier verschiedene Gewichtungen und eine Kursivversion. Alle Gewichtungen und Schriftformen basieren auf einer einheitlichen Grundstruktur und daher gewährleistet diese Zusammenstellung ein harmonisches Textbild. Von den serifenlosen Typen gibt es zusätzlich eine Light- und eine
[...]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,
[...]
Kunden aus aller Welt besuchen täglich Linotype.com, um Schriften zu erwerben. Nachstehend finden Sie eine Liste mit den 20 Schriftfamilien, die unsere Kunden im Jahr 2008 am häufigsten gekauft haben. Kennen Sie sie alle?
Hier finden Sie eine Auswahl an verborgenen „Schrift-Schätzen”. Möglicherweise kennen Sie schon einige, aber kannten Sie alle?
Viel Spaß beim Anschauen!
The “Neue Helvetica Pro” CD contains all 51 “Neue Helvetica” fonts on a CD for Mac and PC in OpenType CFF format, which is suitable for all platforms (CFF = OpenType PostScript Flavoured).
The character set supports a total of 48 different roman languages.
Background information
Helvetica™ is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Haas
[...]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
[...]Über die Helvetica
Die Helvetica ist eine der bekanntesten und beliebtesten Schriften der ganzen Welt. Mit ihren geradlinigen, schlichten Formen verleiht sie jedem Text eine große Transparenz und Sachlichkeit. Die Originalschrift lief unter dem Namen Haas Grotesk und wurde 1957 von Max Miedinger für die Schriftgießerei Haas in der Schweiz entworfen. 1960 wurde sie auf den Namen Helvetica umgetauft (in Anlehnung an „Helvetica“, dem lateinischen Namen für die Schweiz). Im Laufe der Jahre
[...]Swedish designer Lutz Baar creates noteworthy and well-rounded typefaces with a modern and contemporary vibe.
More about the fonts:
Linotype Atlantis™
Atlantis is classified as a European sans serif. In comparison to its American cousins, which display the heavier influence of an antiqua, the European version usually have strictly constructed forms. Those of Atlantis are based on the geometric forms of the circle, square and rectangle. The a is rather stout and the g has an open descender,
[...]Wie wäre es mit einer serifenlosen Schrift, einer Schreibschrift, oder vielleicht mit einer Frakturschrift? Jeden Monat stellen wir an dieser Stelle einige andere Schriften aus dem unerschöpflichen Fundus der Linotype-Schriftsammlungen in den Mittelpunkt – hier finden Sie unsere aktuelle Auswahl.
Used in tiny point sizes for pharmaceutical instructions, or enormously as Supermarket signage: the four styles within the Generis type system can all be combined, giving a range of options that stimulates creativity and provides a wide variety of typographic expression.
The elegant serif style, with a classical essence.
The stable slab serif, with technical characteristics.
The clear sans serif, with an objective appearance.
The simplified sans serif, with a contemporary
[...]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
[...]William A. Dwiggins – born 19. 6. 1880 in Martinsville, USA, died 25. 12. 1956 in Hingham, Massachusetts, USA – type designer, printer, typographer, graphic designer – studied at the Frank Holme School of Illustration in Chicago under Frederic W. Goudy.
1903–04: runs his own printing workshop in Cambridge, Ohio. 1905–16: commercial artist in Hingham, Massachusetts. 1917–18: director of Harvard University Press. 1919: founds the Society of Calligraphers in Boston and is their president and
[...]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.
Herb Lubalin (Herbert Frederick) – born 17. 3. 1918 in New York, USA, died 24. 5. 1981 in New York, USA – graphic designer, typographer, type designer, teacher.
1936–39: studies at the Cooper Union in New York. 1939: produces work for the world exhibition in New York. Art director for Deutsch & Shea Advertising (1941–42), Fairchild Publications (1942–43) and Reiss Advertising (1943–45). 1945: vice-president of Sudler & Hennesey Inc. in New York. 1964–69: founds Herb Lubalin Inc. in New York.
[...]Max Miedinger – born 24.12.1910 in Zurich, Switzerland, died 8.3.1980 in Zurich, Switzerland – type designer.
1926-30: trains as a typesetter in Zurich, after which he attends evening classes at the Kunstgewerbeschule in Zurich. 1936-46: typographer for Globus department store’s advertising studio in Zurich. 1947-56: customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. From 1956 onwards: freelance graphic artist in
[...]Paul Renner – geboren am 9.8.1878 in Wernigerode, gestorben am 25.4.1956 in Hödingen – Grafiker, Maler, Schriftendesigner, Autor und Lehrer.
Studium der Architektur und Malerei in Berlin, München und Karlsruhe. Anschließende Tätigkeit als Maler in München. 1907–17: Produktionsassistent und Präsentationsmanager im Georg Müller Verlag München. 1911: Mitgründer einer Privatschule für Illustration in München. 1925–26: Leiter der Sektion Gebrauchsgrafik und Typografie an
[...]Rudo Spemann – born 22. 4. 1905 in Würzburg, Germany, died 11. 7. 1947 in Shepetovka, USSR – calligrapher, artist, teacher.
1924–30: studies at the Kunstgewerbeschule in Munich (under F. H. Ehmcke and Emil Preetorius) and at the Kunstakademie in Stuttgart (under F. H. E. Schneidler). 1930–35: is Schneidler’s assistant at the Kunstakademie in Stuttgart. 1935–37: freelance graphic artist in Munich. 1937–39: lecturer at the Akademie für Graphische Künste und Buchgewerbe in Leipzig. The city of
[...]Jovica Veljovič – born 1. 3. 1954 in Suvi Do, Yugoslavia – type designer, typographer, graphic designer, teacher.
1974–79: studies lettering and graphic design at the Academy of Applied Arts in Belgrade, with a period of research studies from 1981–83. 1987–92: teaches typography at the Academy of Applied Arts in Belgrade. 1992: is made professor of type design and typography at the Department Design of the Hochschule für Angewandte Wissenschaften Hamburg,
[...]Matthew Carter – born 1. 10. 1937 in London, England – type designer.
1956: trains as a punch cutter in the Netherlands. 1963–65: typography consultant for Crossfield Electronics. 1965: moves to the USA and works for Mergenthaler-Linotype in New York. 1971: moves back to England where he continues to work for Linotype. 1980–84: typography consultant to Her Majesty’s Stationery Office. 1981: the Royal Society of Arts make him a Royal Designer for Industry. 1981: he and Mike Parker set up
[...]Ed (Ephram Edward) Benguiat, born 27. 10. 1927 in New York, USA, type designer, calligrapher. Studied at Columbia University, New York and the Workshop School of Advertising Art, New York.
1953: associate director of "Esquire" magazine. Opens his own design studio in New York. 1962: joins Photo-Lettering Inc. as typographic design director, a position he still holds today. 1970: joins the International Typeface Corporation and is made vice-president; he works on the in-house magazine
[...]Morris Fuller Benton – born 30. 11. 1872 in Milwaukee, USA, died 30. 6. 1948 in Morristown, USA – engineer, type designer.
After training as a mechanic and engineer, Benton jointed the ATF, where he became type designer and in-house designer with ATF.
Fonts: Benton developed over 200 alphabets, all of which were published by ATF, including Century roman (with Theodor Low de Vinne, 1885), Mariage (1901), Alternate Gothic (1903), Franklin Gothic (1903–12), Cheltenham® (1904), Clearface®
[...]Jackson Burke – born 1908 in San Francisco, California, USA, died 1975 – type designer. Studied at the University of California in Berkely.
1949–63: director of type development for Mergenthaler-Linotype. Responsible for the development of the TeleTypesetting System (TTS) for magazines and for the development of fonts for native American languages.
Fonts: Trade Gothic® (1948–60), Majestic (1953–56), Aurora (1960).
* TYPOGRAPHY – An Encyclopedic Survey of Type Design and Techniques
[...]Tom Carnase – born 1939 – typographer, type designer, teacher, graphic designer.
1959: after completing his studies, Carnase joins the agency Sudler & Hennessey Inc. in New York. 1964–68: freelance designer. Opens the studio Bonder & Carnase Inc. (WTC). 1969–79: vice-president and partner of the agency Lubalin, Smith, Carnase Inc. 1979: opens the Carnase Computer Typography studio. 1980: co-founder and president of the World Typeface Center Inc., an independent type design agency.
[...]The designer Victor Caruso created the fonts ITC Bauhaus® (with Edward Benguiat, 1975), ITC Clearface®, ITC Franklin Gothic™, ITC Friz Quadrata bold, Friz Quadrata™ and ITC Kabel®.
From Carl’s early interest in calligraphy and drawing, through his youth and college years studying fine arts and book arts, to his eventual degree from Rochester Institute of Technology in Printing/Typography, the constant thread has been Carl’s fascination with letterforms. Before he knew there was such a thing as typeface design, he was assembling alphabets, drawing letters and poring over lettering guides.
At RIT, Carl discovered the world of type design and began digitizing
[...]The designer Erich Gschwind created the font ITC Avant Garde Gothic® in 1977 (with André Gürtler and Christian Mengelt).
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
[...]José Mendoza y Almeida – born 14. 10. 1926 in Sèvres, France – type designer, typographer, teacher. Trained as a photoengraver at the Cliché Union in Paris.
1953–54: works with Maximilian Vox. 1954–59: assistant to Roger Excoffon at the Fonderie Olive in Marseille. From 1959 onwards: freelance typographer and type designer. 1985–90: teaches type design in the Atelier National de Création Typographique (ANCT) at the Imprimerie Nationale in Paris.
Fonts: Pascal (1960), Photina® (1972),
[...]Designer Christian Mengelt (born 1938) created the font ITC Avant Garde Gothic® in 1977 (with André Gürtler and Erich Gschwind).
Friedrich Karl Sallwey – born 16. 10. 1918 in Langen, Germany, died August 11, 2005 – graphic artist, type designer.
1937–39 and 1941–42: studies at the Kunstgewerbeschule in Offenbach. 1948: works at the Bauersche Gießerei as Heinrich Jost´s assistant. From 1951 onwards: freelance graphic artist in Frankfurt am Main.
Fonts: Information (1955), Present® (1974), Sallwey Script™ (1979), Roundy™ (1992).
* TYPOGRAPHY – An Encyclopedic Survey of Type Design and Techniques Throughout
[...]German designer Ole Schäfer (born 1970) created the fonts ITC Officina Sans® and ITC Officina Serif® (1990/1998, with Erik Spiekermann).
Aptifer, Basic Commercial, F2F OCRBczyk, Gavotte, Linotype Ordinar and Stempel Garamond are trademarks of Linotype GmbH and may be registered in certain jurisdictions. Frutiger, Helvetica, Kabel, Trade Gothic and Trump Mediaeval 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. Agilita, Compatil, Generis, Metro, Present, Satero and Times Europa are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Versailles is a trademark of Linotype Corp. and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.
Futura is a registered trademark of Bauer Types.
Origami is a trademark of Carl Crossgrove.
ITC Franklin Gothic and Plaza are trademarks of International Typeface Corporation and may be registered in certain jurisdictions.
Galliard, ITC Avant Garde Gothic, ITC Giovanni, ITC Mendoza Roman, ITC Veljovic, Lubalin Graph, Officina and Zapf Dingbats are trademarks of International Typeface Corporation registered in the U.S. Patent and Trademark Office and which may be registered in certain other jurisdictions.
Norma and Saga are trademarks of Omnibus.
Abadi and Arial are trademarks of The Monotype Corporation registered in the United States Patent and Trademark Office and may be registered in certain jurisdictions.
