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
[...]Find further Font Features in our Font Feature Archive.
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
[...]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.
Font Designer: Adrian Frutiger, 1977
Glypha® was designed by Adrian Frutiger and appeared with D. Stempel AG in 1977. The font consists of ten cuts and is formally based on its predecessor, Serifa®, although its lower case letters are a bit larger. Like Serifa, Glypha is also based on the general scheme used to design Univers®.
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Glypha™ was designed in 1977 by Adrian Frutiger, and is the condensed extension of
Serifa, his slab serif (or Egyptian) design from the 1960s. Like Serifa, Glypha is modeled from the basic forms of
Univers, with the addition of slab serifs. Glypha has a taller x-height than Serifa, and the proportions of its curves are based on the oval. This family is wonderfully legible and practical, and the fine differentiation between the ten weights offers the graphic designer a variety of application possibilities. Glypha is a particularly good choice for catalogues, advertisements, and magazine work.
