|
||||||||||||||||||||||||
|
||||||||||||||||||||||||
|
||||||||||||||||||||||||
|
||||||||||||||||||||||||
|
||||||||||||||||||||||||
|
||||||||||||||||||||||||
|
||||||||||||||||||||||||
|
||||||||||||||||||||||||
|
||||||||||||||||||||||||
|
||||||||||||||||||||||||
Documentos que se refieren a estos artículos ...
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 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.
Adrian Frutiger ha trabajado estrechamente con Linotype durante varios decenios. A lo largo de los profusos años de su fructífera colaboración, hemos recopilado un buen número de fotografías de Adrian Frutiger. Estas imágenes nos permiten vislumbrar distintos periodos y puntos culminantes de su vida hasta el momento. Tenemos fotos en las que está trabajando en su estudio, momentos de su vida junto a sus tipos de letra e incluso imágenes más recientes en las que está trabajando con Akira [...]
Los clientes de todo el mundo visitan Linotype.com cada día para adquirir las fuentes. A continuación, encontrará una lista con las 20 familias tipográficas más solicitadas por nuestros clientes en 2008. ¿Las conoce todas?
Aquí encontrará una selección de gemas tipográficas ocultas. Puede que ya conozca algunos de estos diseños … ¿pero los conoce todos?
Esperamos que se divierta navegando por esta selección.
Nadine Chahine, diseñadora de Frutiger® Arabic y la ganadora del premio TDC2, Palatino® Arabic, ha lanzado finalmente sus propios diseños: Koufiya™, Badiya™ y Janna™.
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 [...]
9. Frutiger
Frutiger® – la imparable fuente sans serif classic.
Consiga los originales de Linotype como fuentes únicas, en un Value Pack o en CD.
Acerca de Frutiger
El famoso diseñador tipográfico Adrian Frutiger creó una obra maestra con esta fuente tipográfica. Ante el desafío de diseñar un tipo excepcionalmente legible para las señales del aeropuerto Charles de Gaulle en París, desarrolló lo que ahora es el legendario conjunto Frutiger en 1968. La fuente tipográfica Linotype original no ha [...]
Compre fuentes arábigas en la biblioteca Linotype
Linotype ofrece una gran cantidad de fuentes arábigas nuevas, modernas y tradicionales. Estas fuentes están disponibles en formato OpenType y son compatibles con los idiomas árabe, persa y urdu. Pero eso no es todo: Estas fuentes también incluyen caracteres básicos latinos acordes con el estilo y el peso de los caracteres arábigos y un conjunto adicional de numerales proporcionales. Además responden a los altos niveles de calidad técnica de [...]
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.
"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 [...]
The late Phill Grimshaw was a prolific designer who delighted in the sheer fun and challenge of drawing display typefaces. His fonts reflect his understanding of calligraphy, his own imagination for dynamic letterforms, and his knack for drawing a great variety of styles. After studying at the Royal College of Art in London in the 1970s, he settled in his native Manchester in northern England to work as a lettering artist. He developed a specialization in type design, influenced and encouraged [...]
André Gürtler – born 5. 9. 1936 in Basle, Switzerland – graphic designer, typographer, type designer, teacher.
1952–56: trains as a typesetter. First exercises in calligraphy. 1957: further training as a typographical designer with Emil Ruder. First exercises in type design. 1958–59: letterer for the Monotype Corporation in Salfords, England. 1959–65: type designer and typographer with Adrian Frutiger in Paris. Works for Sofratype SA for two years. Teaches lettering for a year at the [...]
Edward Johnston – born 11. 2. 1872 in San José, Uruguay, died 26. 11. 1944 in Ditchling, England – type designer, calligrapher, author, teacher. Studied medicine at the University of Edinburgh.
1898: obtains his Ph. D. Moves to London. Studies ancient writing techniques in the British Museum. 1899–1913: teaches at the Central School of Arts and Crafts in London in the new lettering department. 1901–40: teaches at the Royal College of Art in London. 1906: his book "Writing and Illuminating [...]
Osman Husseini created the font Badr® ca. 1970.
Badr is a traditional-style Arabic text typeface with two weights: Badr Light and BadrBold. Both of the fonts ship in the OpenType format, and include Latin glyphs (from Cochin® Roman and Cochin Bold) inside the font files, allowing a single font to set text in both most Western European and Arabic languages.
The two Badr fonts incorporate the Basic Latin character set (Western CP 1252 Latin 1/ANSI and Macintosh US Roman) and the [...]
Nadine Chahine is an award winning Lebanese type designer with a special interest in Arabic typography. She studied Graphic Design at the American University of Beirut and Typeface Design at the University of Reading, UK. During her study at Reading, she focused on the relationship of the Arabic and Latin scripts and the possibilities of creating a harmonious relationship between the two. She taught Arabic type design as a visiting lecturer at the American University in Dubai and then joined [...]
Basic Commercial is a font based on historical designs from the hot metal typeface era. It first appeared around 1900, and was created by type designers whose names have not been recorded but whose skills cannot be overlooked. This typeface's design has been popular among groups and movements as diverse as the Bauhaus, Dadaism, and the masters of Swiss/International-Style typography. It influenced for a variety of later grotesque fonts, such as Helvetica and Univers.
Basic Commercial was [...]
Bizarre and naked, sans serif alphabets joined the ranks of typefaces in the early 19th century when an English type foundry produced the first sans serif typeface in 1816.
But between 1810 and 1840, bold antiqua weights inspired by Bodoni and the newly developed slab serif linear antiqua typefaces were still more prominent and widely used in advertisements.
Even the creator of the first sans serif typeface, William Caslon, was not immediately convinced of the success of this new kind [...]
Adrian Frutiger was born in 1928 at Unterseen near Interlaken (Switzerland). After an apprenticeship as a compositor he made further education in type and graphics at the Zurich School of Arts and Crafts (Kunstgewerbeschule) from 1949 to 1951 (teacher: Alfred Willimann and Walter Käch).
Frutiger was called to Paris in 1952 and worked as typeface designer and artistic manager at Deberny & Peignot. He founded his own studio in Arcueil near Paris 1961, together with Bruno Pfäffli and André [...]
These arabic fonts are available from Linotype:
Amer™
Ahmed™
Al Harf Al Jadid™
ASV Codar™
Badr™
Firas™
Hakim Ghazali™
Hassan™
Hisham™
Insan™
Isra™
Jalal™
Karim™
Kufi™
Lotus™
Maged™
Mariam™
Midan™
Mitra™
Mofid Mahdi™
Nazanin™
Qadi™
Sultan Free
Sultan Nahia
Yakout™
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 [...]
Badr™ is a traditional-style Arabic text typeface with two weights: Badr Light and BadrBold. Both of the fonts ship in the OpenType format, and include Latin glyphs (from Cochin™ Roman and Cochin™ Bold) inside the font files, allowing a single font to set text in both most Western European and Arabic languages.
The two Badr fonts incorporate the Basic Latin character set (Western CP 1252 Latin 1/ANSI and Macintosh US Roman) and the Arabic character set (CP 1256), which supports Arabic, [...]
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 [...]
Font Designer: Adrian Frutiger, 1988
About the Font
Avenir® font was developed by the famous Swiss font artist Adrian Frutiger and presented by Linotype in 1988. The design of this font is based on the sans-serif typefaces Futura® and Erbar™. The name Avenir (future) gives us a clue as to Frutiger's intentions, to convey the idea of timelessness in the image of his typeface.
Font Designer: John Baskerville
Baskerville™ was developed in the 18th century by John Baskerville (1706–1775) and its clear, sharp image set it apart from others of its time. John Baskerville was a major figure in the improvement of print technique and typography and his work influenced the work of such famous designers as Didot in France and Bodoni in Italy.
The fonts of John Baskerville were composed of more contrasting elements than any print characters that had been designed [...]
Avenir® was developed by the famous Swiss font artist Adrian Frutiger and presented by Linotype in 1988. The design of this font is based on the sans-serif typefaces Futura® and Erbar™. The name Avenir (future) gives us a clue as to Frutiger's intentions, to convey the idea of timelessness in the image of his typeface.
Banco® was the first typeface work of French designer Roger Excoffon and was released in 1952. The strong forms look as though they were rolled out of sheet metal and feature upright, tapering strokes. The slight slant, the varying heights of stroke ends, and the relationships between line and curve give Banco its sense of liveliness and dynamism. Excoffon did not design a matching lower case alphabet for his capitals, but this was accomplished later by Phill Grimshaw, who also designed the [...]
Font Designer: John Baskerville
Baskerville was developed in the 18th century by John Baskerville (1706–1775) and its clear, sharp image set it apart from others of its time. John Baskerville was a major figure in the improvement of print technique and typography and his work influenced the work of such famous designers as Didot in France and Bodoni in Italy.
The fonts of John Baskerville were composed of more contrasting elements than any print characters that had been designed before. [...]
Font Designer: André Gürtler, 1978
André Gürtler about Basilia®:
"Among the countless typefaces available today, the Modern Face style is relatively underrepresented. During the 19th century and then later with the competition from the mechanized hot metal types and film setting, a number of attractive headline types appeared in this style. For text, however, the available types were limited to those based on tried and true classics like Walbaum, Didot and Bodoni, which were [...]
Font Designer: André Gürtler, 1978
André Gürtler about Basilia®:
"Among the countless typefaces available today, the Modern Face style is relatively underrepresented. During the 19th century and then later with the competition from the mechanized hot metal types and film setting, a number of attractive headline types appeared in this style. For text, however, the available types were limited to those based on tried and true classics like Walbaum, Didot and Bodoni, which were [...]
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 [...]
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 [...]
Acerca de Linotype Originals ...
El texto se muestra en inglés, ya que no está disponible en su idioma.
The Source of the OriginalsWell-known type foundries such as Mergenthaler, Linotype, D. Stempel AG, Haas'sche Schriftgießerei, Deberny & Peignot and others laid the foundations towards the Linotype Library becoming the most extensive collection of original fonts. The library contains world-famous classic fonts such as "Frutiger", "Garamond", "Helvetica", "Optima", "Palatino", "Sabon", "Syntax", "Univers" and "Zapfino", to name but a few. Linotype regards itself as a driving force for helping good font designs to success ¿ giving them the opportunity to become classics, even if they were not developed in-house. "Antique Olive" and "Eurostile" are prime examples of this policy.
The names of the most renowned type designers of the 20th and 21st century, e. g., Neville Brody, Matthew Carter, Adrian Frutiger, Hans-Eduard Meier, Gerard Unger and Prof. Hermann Zapf, represent the excellent quality of these typefaces. In addition, modern typefaces that provide a preview of tomorrow's trends offer you room for experimentation when you want to venture into new territories with unconventional designs. Like all Linotype Originals typefaces, they maintain the highest aesthetic and technical standards, backed by well over 100 years of premium typographical quality from Linotype.
Avenir, Badr and Banco are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Badiya, Barbedor and Basic Commercial are trademarks of Linotype GmbH and may be registered in certain jurisdictions. Basilia 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.
Para más información, no dude en ponerse en contacto con nosotros a través de:
| Teléfono: | +49 (0) 6172 484-418 |
| Fax: | +49 (0) 6172 484-499 |
| Correo electrónico: | info@linotype.com |
Copyright © 2009 Linotype GmbH. Todos los derechos reservados.
Nos reservamos el derecho a errores o cambios.
Nos reservamos el derecho a errores o cambios.