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
[...]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
[...]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
[...]Pierre Simon Fournier – born 15. 9. 1712 in Paris, France, died 8. 10. 1768 in Paris, France – type founder, punch cutter, type designer – known as Fournier le Jeune.
Trains at the company of his father, Jean Claude Fournier. 1737: develops a typographical system of measures which F. A. Didot reworks. 1739: opens his own type foundry. 1742: publishes a book of type specimens which is printed by J. J. Barbou. In total, Fournier cuts 60,000 punches for c. 150 of his own alphabets. 1760:
[...]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.
Created by a merger of the two companies Deberny & Cie (founded 1818) and Peignot & fils (founded 1842) in 1923. Its main font designers were A. M. Cassandre and Adrian Frutiger. One of the first practicable phototypesetting machines, the Lumitype, was developed in the 1950s. In 1972, the company was acquired by the Haas foundry (Haas’sche Gießerei) in Münchenstein.
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
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El texto se muestra en inglés, ya que no está disponible en su idioma.
Méridien™ was developed in the mid-1950s, and released by the French foundry Deberny & Peignot in 1957. After studying a typeface from the sixteenth century, the Swiss designer Adrian Frutiger was inspired to create an alphabet without any completely straight strokes, and he hoped the reader of a text set in this typeface would feel as though wandering through a forest. The designer of more than 100 typefaces, Frutiger considers Méridien to be his best. With its slightly flared stems and triangular shaped serifs, Méridien is at once sharp, graceful, arresting, and sensuous; much like a forest. Use the roman when you want to create a distinctive graphic expression in book text. For posters and websites, the italic or the bold weights or even the roman set in all caps will give an impression of quiet dignity.
