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
[...]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.
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
[...]
Font Designer: Adrian Frutiger, 1962
The text typeface Apollo™ was designed by Adrian Frutiger in 1964 and produced by Monotype. It is oddly one of the lesser known typefaces of Frutiger®, perhaps due to the extreme fame of some of his other works, like the typefaces Frutiger and Univers®. Stylistically, the very legible and harmonic Apollo is an old face. Frutiger designed it especially for the photosetting used at the time. The Apollo typeface family consists of the
[...]
Font Designer: Adrian Frutiger, 1962
The text typeface Apollo™ was designed by Adrian Frutiger in 1964 and produced by Monotype. It is oddly one of the lesser known typefaces of Frutiger, perhaps due to the extreme fame of some of his other works, like the typefaces Frutiger™ and Univers™. Stylistically, the very legible and harmonic Apollo is an old face. Frutiger designed it especially for the photosetting used at the time. The Apollo typeface family consists of the weights roman
[...]
El texto se muestra en inglés, ya que no está disponible en su idioma.
The text typeface Apollo™ was designed by Adrian Frutiger in 1962-64, and was one of the first fonts produced by Monotype for use on their new phototypesetting machine at that time. The legible and robust Apollo has a small x-height, gently bracketed serifs, moderately open counters, and a primarily oblique axis. Frutiger designed the roman to have enough heartiness to produce a good impression when printed by photolithography on smooth papers, and that strength holds nicely in this digital version. A full family with roman, italic, small caps, Old style figures, and semibold, Apollo is an excellent choice for book typography, magazine work, and headlines.
