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
[...]Linotype Univers® is a completey reworked version of the original Univers typeface family designed by Adrian Frutiger forty years ago. It includes 59 Linotype Univers weights and 4 monospaced Linotype Univers Typewriter weights. All fonts contain the Euro currency symbol. Starting with Version 3.0, Linotype Univers will also be available with optimized screen display in TrueType format.
Linotype Univers®, along with Avenir® Next, Compatil®, Eurostile® Next, Frutiger®
[...]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
[...]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!
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
Prolific! Perhaps this is the best word to describe the life and work of Morris Fuller Benton. The creator of over 200 types for ATF, Benton left his mark on 20th Century design. His faces would spread across the globe, and dozens are still in use today.
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?
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
[...]Brazilian designer Eduardo Omine designed his Beret family of typefaces in an attempt to create a warm counterpart to the clean, minimalist sans serif of the 20th Century. The most individual characteristics of Beret are the terminals at the ends of its vertical strokes. They are slightly "bent", simulating a subtle flare. Like many classic sans-serif typefaces (e.g., the original Syntax and Univers), this family does not include true (calligraphic) italics. Instead, a masterful set of obliques
[...]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
[...]The high-quality fonts of renowned Dutch designer Gerard Unger offer versatile application in typography today.
More about the fonts:
Demos™
Gerard Unger designed Demos for the German technology corporation Dr.-Ing Rudolf Hell* in 1976. Originally intended for use in the typesetting of newspapers, Demos was one of the new digital generation's first typefaces, well suited for book printing as well. Its robust forms and rounded corners make this face particularly legible and flexible, it
[...]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
[...]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
[...]Veto
The underlying intention in the case of Veto® was to create a new and original sans serif font. For example, the lower case Veto letters are of normal width, while the upper case letters are quite clearly much narrower in proportion. This is because Marco Ganz considers that if miniscule letters are too narrow they are difficult to read (see Rotis®) while majescules that are too wide not only have an outmoded effect but take up too much space (see Helvetica®).
Which font
[...]
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
[...]Rudolf Koch – born 20.11.1876 in Nuremberg, Germany, died 9.4.1934 in Offenbach, Germany – type designer, typographer, calligrapher, teacher.
1892-96: trains as an engraver in Hanau. 1896-97: trains as an art teacher at the Kunstgewerbeschule in Nuremberg and at the Technische Hochschule in Munich.
1911-24: publishes the "Rudolfinische Drucke" with Rudolf Gerstung. 1921: founds the Offenbacher Werkgemeinschaft at the Technische Lehranstalt Offenbach. 1930: is awarded a honorary doctorate
[...]"Am 30. Dezember 1922 kam ich in der Schweiz, in Horgen am Zürichsee, zur Welt. In einem grossen Haus mit grossem Garten verbrachte ich meine Jugend, und viel Freizeit verbrachte ich auf dem See mit Segeln, Paddeln, Schwimmen und Fischen. Zeichnen und Malen waren aber seit meiner frühesten Kindheit meine Lieblingsbeschäftigungen.
Nach den Schulen absolvierte ich eine Lehre als Schriftsetzer. Anschliessend besuchte ich die Fachklasse für Typografie und die Fachklasse für Grafik an der Schule
[...]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
[...]Gerard Unger – born 22. 1. 1942 in Amsterdam, The Netherlands – graphic designer, typographer, type designer, teacher.
1963–67: studies at the Gerrit Rietveld Academie in Amsterdam. Then assistant to Wim Crouwel at Total Design. 1970: starts teaching at the Gerrit Rietveld Academie in Amsterdam. From 1975 onwards: freelance designer. 1981: does typography work for Dutch coins and postage stamps. Redesigns numerous magazines. 1984: designs special digits for the Dutch telephone directories.
[...]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®
[...]Chauncey H. Griffith – born 1879 in Irontown/Ohio, USA, died 1956 in Butler/N.Y., USA – typesetter, machine compositor.
1915: – becomes assistant to the president of Mergenthaler Linotype Company. Newspaper typesetting specialist. 1936: vice president of Mergenthaler Linotype with responsibility for typographic development.
Fonts: Ionic No 5 (1926), Ionic Condensed (1927), Papst (1928–1931), Poster Bodoni™ (1929), Textype (1929), Granjon® bold (1930), Excelsior® (1931), Janson
[...]The German designer Jörg Herz created the fonts Linotype Short Story™ (1997), Linotype Afrika™ (1999), Linotype Monday Devils™ (1999), Linotype Dasitzt™ (2003) and Linotype Textra™ (2003).
Robert Hunter Middleton – born 6. 5. 1898 in Glasgow, Scotland, died 3. 8. 1985 in Chicago, USA – type designer, printer.
1908: moves to the USA. Studies painting at the Art Institute of Chicago. From 1923 onwards: type designer for the Ludlow Typograph Company. Works with Ernst F. Detterer and starts producing new weights and versions of Detterer’s Eusebius typeface in 1923. 1933–71: art director of the Ludlow Typograph Company. 1944: founds the Cherryburn Press.
Fonts: Eusebius
[...]The Austrian designer Michael Neugebauer created the fonts Cirkulus™ (1970), Litera (1983) and Squire™ (1980).
F. H. Schneidler – born 14. 2. 1882 in Berlin, Germany, died 6. 1. 1956 in Gundelfingen, Germany – typographer, calligrapher, type designer, illustrator, painter, teacher.
1902–03: studies architecture at the Technische Hochschule in Berlin-Charlottenburg. 1904–05: studies at the Kunstgewerbeschule in Düsseldorf under Peter Behrens and F. H. Ehmcke. 1905–06: teaches at the Fachschule in Solingen. 1907–20: professor and head of the Graphische Fachschule at the Kunstgewerbeschule in Barmen.
[...]The German designer Jochen Schuss created the fonts ITC Aspirin™ (2000), ITC Kokoa™ (1996), ITC Out of the Fridge™ (1996), Linotype Paint It™ (1997), ITC Schuss Hand™ (2000), ITC Vino Bianco™ (1998), Linotype Textra™ (2003) and ITC Whiskey™ (1999).
Robert Slimbach was born in 1956 in Evanston, Illinois, USA.
Shortly after, he arrived in South California where he spent his childhood and his youth.
After leaving college he developed an interest in graphic design and typefaces while running a small screen printshop for manufacturing posters and greeting cards. This work brought him into contact with "Autologic Incorporation" in Newbury Park, CA.
After training from 1983 to 1985, Robert Slimbach worked as a font designer with
[...]Walter Tiemann – born 29. 1. 1876 in Delitzsch, Germany, died 12. 9. 1951 in Leipzig, Germany – type designer, typographer, painter, teacher. Studied painting at the art academy in Leipzig.
1898: starts working for various publishers, including S. Fischer, Reclam and Rütten & Loening. 1903: teaches at the Staatliche Akademie für Graphische Künste in Leipzig. Works with the Insel publishing house. 1905: meets Karl Klingspor. 1907: founds the Janus Presse with C. E. Poeschel.
[...]Rudolf Wolf – born 2. 1. 1895 in Hechingen, Germany, died 7. 9. 1942 in Frankfurt am Main, Germany – advertising manager, type designer, teacher. Studied at the university in Frankfurt am Main. Ph. D.
1922–42: works as advertising manager for D. Stempel AG in Frankfurt am Main, where he is responsible for type design.
Font: Memphis® (1930).
Publication: "Fraktur und Antiqua", Frankfurt am Main 1934.
* TYPOGRAPHY – An Encyclopedic Survey of Type Design and Techniques Throughout
[...]American designer Gary Munch created the fonts Linotype Ergo™ (1997), Linotype Finerliner™ (1997), Linotype Really™ (1999), and Really™ No 2 (2009).
Linotype Ergo is a relatively new font oriented on the form philosophy of Univers™ and Frutiger™, namely, that a font which the eye should see as "correct" cannot be constructed. The eye tends to enlarge horizontals and to perceive verticals as weaker, and the stroke differences of Ergo are therefore designed to accommodate this tendency. Ergo
[...]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),
[...]Type designer Eduardo Omine was born in 1981 in São Paulo where he still lives. Eduardo Omine graduated from the School of Architecture and Urbanism, São Paulo University (FAUUSP) in 2002. The font Beret™ is his first typeface to be commercially released.
Eduardo Omine designed his Beret family of typefaces in an attempt to create a warm counterpart to the clean, minimalist sans serif of the 20th Century. The most individual characteristics of Beret are the terminals at the ends of its
[...]Designer Veronika Grüger (born 1972) created the font Veronika™ in 2004. This series of text faces have near-uniform stroke widths, but still maintain some calligraphic aspects in their forms, which add dynamic and movement-like qualities to text. Veronika’s proportions allow it to function very well in long amounts of copy set in small sizes. However, only when you design larger headlines, logos, or other elements with Veronika, will you notice all of the type’s special qualities, such as its
[...]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.
[...]
