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
[...]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.
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
[...]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
[...]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
[...]
Popular throughout the world for over 30 years, the Frutiger® typeface now has companion Arabic fonts. Just like its predecessor has been used in the West, now designers the world over can use Frutiger Arabic for signage systems, documents, logos, and corporate identity work.
Developed by Nadine Chahine, Frutiger Arabic is based on the Kufi style, but its design incorporates aspects of Ruqaa and Naskh forms as well. Adrian Frutiger acted as Nadine's advisor during the creation
[...]
El texto se muestra en inglés, ya que no está disponible en su idioma.
Frutiger Arabic is designed by Lebanese designer Nadine Chahine as a companion to the Latin typeface Frutiger and with the consulting of Adrian Frutiger. It is based on the Kufi style but incorporates aspects of Ruqaa and Naskh in the letter form designs. This results in what could be labeled as a humanist Kufi, a Kufi style that refers to handwriting structures and slight modulation to achieve a more informal and friendly version of the otherwise highly structured and geometric Kufi styles. As with the Latin Frutiger, the design is targeted towards signage applications but is also quite suited for various applications from low resolution display devices to advertising headlines to corporate identity and branding applications. The font includes the basic Latin part of Frutiger and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.
