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Linotype Univers® Com 210 Compressed Thin
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| Precio: | 79.00 US$ |
| ... pertenece a Linotype Univers® Font Family, que incluye 63 fuentes en formato OpenType Com. |
| Características del conjunto de caracteres: |
    388 caracteres 
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| Tablas de caracteres: | Tabla de codificación | |||
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Linotype Univers® 210 Compressed Thin
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| Precio: | 79.00 US$ |
| ... pertenece a Linotype Univers® Font Family, que incluye 63 fuentes en formato Windows TrueType. |
| Características del conjunto de caracteres: |
244 caracteres
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| Tablas de caracteres: | Tabla de codificación | |
| Productos incluidos en: | En este formato, sólo está disponible como fuente individual. | |
| Especificaciones técnicas | ||
Linotype Univers® 210 Compressed Thin
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| Precio: | 79.00 US$ |
| ... pertenece a Linotype Univers® Font Family, que incluye 63 fuentes en formato Windows PostScript. |
| Características del conjunto de caracteres: |
246 caracteres
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| Tablas de caracteres: | Tabla de codificación | |
| Productos incluidos en: | En este formato, sólo está disponible como fuente individual. | |
| Especificaciones técnicas | ||
Linotype Univers® 210 Compressed Thin
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| Precio: | 79.00 US$ |
| ... pertenece a Linotype Univers® Font Family, que incluye 63 fuentes en formato Mac PostScript. |
| Características del conjunto de caracteres: |
247 caracteres
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| Tablas de caracteres: | Tabla de codificación | |
| Productos incluidos en: | En este formato, sólo está disponible como fuente individual. | |
| Especificaciones técnicas | ||
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A continuación, se muestran Linotype Univers® 210 Compressed Thin u otros tipos de letra de Linotype Univers® Font Family en usos reales ...
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Documentos que se refieren a este producto ...
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 [...]
Linotype Univers® is a completey reworked version of the original Univers typeface family designed by Adrian Frutiger forty years ago. It includes 59 Linotype Univers weights and 4 monospaced Linotype Univers Typewriter weights. All fonts contain the Euro currency symbol. Starting with Version 3.0, Linotype Univers will also be available with optimized screen display in TrueType format.
Linotype Univers®, along with Avenir® Next, Compatil®, Eurostile® Next, Frutiger® [...]
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 [...]
5. Frutiger
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 [...]
Linotype’s Platinum Collection typefaces – Value Packs for the fonts now available
The Platinum Collection is an exclusive series of optimized classic typefaces in the Linotype Library. In close collaboration with world-famous type designers, Linotype has produced reworked, expanded typeface families that are both technologically and aesthetically up to date. These new typeface families have fine, harmonious weights; some have new italic weights and often come complete with Small Caps [...]
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.
Linotype previously had three design studios located around the globe:
Mergenthaler Linotype, in the United States, was founded in Brooklyn, but later moved to Melville, NY, and then to Hauppauge, NY. Mergenthaler Linotype's design studio employed at varying times up to 80 designers under the direction of Chauncey H. Griffith, Jackson Burke, Mike Parker, and Matthew Carter.
In continental Europe, Linotype typefaces were produced by the D. Stempel AG typefoundry in Frankfurt, Germany. [...]
For over 40 years, Univers has remained one of the most used sanserifs. It binds the rational and economic elements of typography with a timeless elegance and modern grace. Its systematic construction and almost unlimited applications made Unviers a success in all corners of the world.
Due to the translation of typefaces from hot-metal setting to phototype, and shortly thereafter to digital typesetting, many new Univers families, some of which differed considerably from the original, [...]
The font Univers™ is one of the greatest typographic achievements of the second half of the 20th century The typeface has the advantage of having a variety of weights which even combined give an impression of steadiness and homogeneity. The clear, objective forms of Univers™ make this a legible font suitable for almost any typographic need.
In 1954 the type foundry Deberny & Peignot wanted to add a linear sans serif antiqua in serveral weights to the range of the Lumitype-fonts. Adrian [...]
The Univers® family of fonts designed by Adrian Frutiger more than forty years ago is one of the most innovative type creations of the modern age. Its introduction prompted a reappraisal of the sans serif.
While the forms of the Univers have their roots in the old grotesque types, they also combine features which rebel against the past. They carry in them the knowledge that type is part of the cultural heritage handed down from our forefathers, a heritage which we should neither ignore or [...]
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 [...]
Westside™
Westside can be classified as a "wood type." It is reminiscent of dusty streets, Wild West heroes and swinging saloon doors. The origins of wood types are found in the early nineteenth century, when such types really were cut in wood, and printed on hand presses. Westside has big fat serifs and heavy horizontals that are much thicker than the skinny vertical strokes. When the letters are set together, the heavy serifs build dark horizontal bands. As most of Frutiger's other fonts are [...]
Consulte más características de las fuentes en nuestro Archivo de características de las fuentes.
Typographic Tip of the Month from Linotype’s Type Director Akira Kobayashi!
Junio 2006: Apóstrofos y comillas
¿Qué glifo es correcto: la tilde, el acento agudo o el apóstrofo? - Aquí se describe el uso correcto del molesto signo de puntuación que significa omisión y forma el posesivo (y a veces el plural).
Apóstrofos
El símbolo de comillas se usa aquí incorrectamente [...]
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 [...]
Initial concepts for comprehensive type systems surfaced as early as the 1930s, yet they remained the exception. In the days of hot-metal typesetting, handbooks generally recommended creating typeface mixtures from a single type family, a family being understood as including all of a typeface’s weights, such as light, normal, semi-bold, and bold, and including all of the italic weights as well. A well-rounded type family also includes small caps, tabular and old-style figures. These days, the [...]
Acerca de Linotype Univers® 210 Compressed Thin ...
Diseñador: Adrian Frutiger / Linotype Design Studio, 1999
Linotype Univers® 210 Compressed Thin pertenece a Linotype Univers® Font Family que es parte de Platinum Collection.
El texto se muestra en inglés, ya que no está disponible en su idioma.
Linotype Univers™ is a completely reworked version of the original Univers Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. The systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings.Buscar este producto o similares con las siguientes palabras clave: anno 1995, Frutiger, Lexica, Nineties, OpenType, OT, Platinum, Platinum Collection, Sans Serif, Static.
Univers is a trademark of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.
Quality features
La Platinum Collection es una serie exclusiva de tipos de letra clásicos optimizados de la Biblioteca Linotype.
Las fuentes XSF (Excellent Screen Fonts) son caracteres OpenType o TrueType con un aspecto fabuloso en la pantalla a baja resolución o tamaño pequeño – diseñadas y optimizadas como caracteres fácilmente legibles en la pantalla para ordenadores con sistemas operativos Microsoft® Windows.
Las fuentes XSF (Excellent Screen Fonts) son caracteres OpenType o TrueType con un aspecto fabuloso en la pantalla a baja resolución o tamaño pequeño – diseñadas y optimizadas como caracteres fácilmente legibles en la pantalla para ordenadores con sistemas operativos Microsoft® Windows.
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OpenType outline flavour
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