Ondine™ Font Family

Ondine™ Regular (Linotype Originals) Más detalles ... Añadir al carrito Preciodesde: 26.00 US$

Ondine™ Central European Regular (Linotype Originals) Más detalles ... Añadir al carrito Preciodesde: 26.00 US$

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 [...]

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 [...]

OCR™ OCR A and OCR B are standardized, monospaced fonts designed for "Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display [...]

In 1952, Charles Peignot made a bold and fortuitous move: he invited a young Swiss designer to Paris to be the art director of the Deberny & Peignot type foundry. This started the professional type design career of Adrian Frutiger; and since then he has designed an astonishing range of masterful typefaces. One of his earliest was Ondine™ in 1954, a script face reminiscent of gothic cursive writing from the middle ages. Frutiger understood historic letterforms well; as a student he'd made a series of prize-winning woodcuts showing the development of the western alphabet. As part of the design process for Ondine, Frutiger actually used scissors to cut the forms out of a piece of black paper, a technique that requires the vision and skill of an artist to exploit its apparent simplicity. Ondine was a sea nymph from Nordic mythology. Like her namesake, Ondine the typeface has gently swelling main strokes, sharp terminals, un-closed bowls in round letters, and the illusion of a very slight backslant. This font is sometimes used to give an air of Arabian exoticism, but Ondine works well for any display typography usage. Try it in point sizes of 12 and larger for book titles, advertising, or signage.