Or why there´s now an Avenir Next
While Adrian Frutiger has created such famous typefaces as Univers® or Frutiger®, another matter has remained very close to his heart – the design of his linear sans serif – the Avenir.
In 1988, the Swiss typeface designer first presented Avenir to the public, which already at that time marked an excellent alternative to other well known typefaces such as Futura® or Avant Garde®. Compared to the mere metric construction of other typefaces, Avenir
[...]Die Calligraphy wurde von professionellen Typografen jahrelang vernachlässigt und in die kunsthandwerkliche Ecke gestellt. In den Vereinigten Staaten dagegen – so zeigen seit Jahren die Ergebnisse der Type-Directors-Show – gilt "Lettering" als wichtige Disziplin – auch in der Werbung. Mit dem zunehmenden Einsatz von Handschriften und handschriften-inspirierten Schriftfonts ist auch das Interesse an der Calligraphy neu erwacht. Nachfolgend einige Einblicke in die Welt der Calligraphy, verfaßt
[...]Calligraphy has long been neglected by many professional typographers, but the Type Directors Show suggests that “Lettering” is an important discipline in the field of typography in the United States. The number of fonts inspired by handwriting is growing along with the interest in calligraphy. Linotype presents here a look into the world of calligraphy, written by the internationally known expert, Gottfried Pott.
Gottfried Pott
Gottfried Pott, born 1939, studied graphic design
[...]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
[...]
Introduction
Voici l’occasion rêvée pour revoir les plus belles fontes Linotype des dix dernières années ; « revoir » est certainement le terme qui convient, car ces dessins font partie de votre environnement visuel depuis déjà quelque temps.
Depuis la fin des années 90, Linotype a enrichi le marché de nouveaux caractères qui ont changé la façon dont le monde communique. Nombreuses sont nos fontes installées sur les ordinateurs du monde entier, certaines sont même devenues
[...]Agilita™ is a new humanistic sanserif typeface designed by Jürgen Weltin. The mulitilingual OpenType font family has rather classical proportions, to give it more distinct word shapes through clear descenders and ascenders.
This new face has a dynamic, yet strong and very functional appearance with a fine but clear emphasis on the horizontals.
The classical approach of Agilita makes it a versatile typeface for largescale textsetting but it can also be used in complex information design
[...]Five fonts of the famous Sassoon font family for only .
The Sassoon font family is a smashing success in England! Buy its five most versatile styles now, for just !
The flexibility of this Sassoon family of types makes using it a lot of fun. Our Sassoon Value Pack contains the following five fonts: Sassoon Book Regular, Sassoon Infant Regular, Sassoon Primary Regular, Sassoon Sans Regular, and Sassoon Sans Slope Regular.
British designer Rosemary Sassoon these fonts in 1995, after a
[...]Football Jersey Fonts
Football is in the air! Like all great team sports, football (or soccer, if you are in the US) inspires its fans to identify with their favorite team’s players, and sometimes even with a specific city or country. Each football team has its own visual identity, and the appearance of their logos and jerseys are one of the most exciting areas of graphic design. And it is no surprise that fonts play a strong role!
Below are images of just a few of the jerseys known and
[...]The repetition of simple geometric shapes forms a daily part of our environment. Throughout the 20th century – and into the 21st – typefaces whose designs have taken advantage of this have remained popular. But finding exactly the right mood can be tricky. For your convenience, we have grouped some of our favorite geometric typefaces (mostly sans serif and symbol) into four categories: circles, squares, ovals, and triangles.
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
[...]
Comme la très populaire Compatil®, le système de caractères Generis de Linotype est une matrice de quatre familles de fontes. Les graisses Generis Serif, Generis Sans, Generis Simple et Generis Slab sont quadruplexes pour chaque style de caractère. Ainsi vous pouvez changer tout volume de texte composé dans un style de Generis en un autre, sans affecter l’enroulement des lignes. Par exemple, vous pouvez souligner quelques mots d’un texte composé en Generis Serif à l’aide de Generis Simple,
[...]Pendant des décenies, Adrian Frutiger a travaillé en étroite collaboration avec Linotype. Au cours de ces nombreuses années, nous avons accumulé de nombreuses photographies d’Adrian Frutiger. Ces images donnent des aperçus des différentes périodes et moments forts de sa vie jusqu’à aujourd’hui, y compris des photos de lui à l’œuvre dans son studio, seul face à ses familles de caractères et même des photos plus récentes de lui travaillant avec Akira Kobayashi.
Nous espérons que cette balade
[...]Capturez les esprits d’Halloween avec ces 33 fontes sinistres !
Ces fontes sont faites pour vous ! Que vous organisiez une soirée, cherchiez une maison hantée ou que vous vouliez simplement créer une atmosphère macabre.
L’Halloween Value Pack contient cinq superbes fontes à un tarif unique et avantageux. Y figurent également trois polices de caractères effrayantes et deux fontes Pi terrifiantes !
Nous proposons également beaucoup d’autres graisses individuelles.
[...]
Des clients du monde entier affluent chaque jour sur le site Linotype.com pour acheter les fontes. Voici une liste des 20 familles de fontes que nos clients ont acquis au cours de 2008. Les connaissez-vous toutes ?
Voici une sélection de fontes que nous venons de redécouvrir. De véritables pépites. Vous en connaissez peut-être déjà certaines … mais êtes-vous sûr que vous les connaissez toutes ?
Nous espérons que vous apprécierez cette sélection !
Formes pures, classicisme et simplicité : la famille Aeonis signée Erik Faulhaber
Après Generis™, Aeonis™ est la deuxième grande famille de polices créée par Erik Faulhaber. La lettre grecque lapidaire créée au neuvième siècle avant JC a servi de modèle à la forme de base sans empattement d’Aeonis. La forme ouverte de la majuscule A est typique de cette fonte qui est souvent utilisée parce qu’elle est claire. Les courbes d’Aeonis s’inspirent d’un plafonnier conçu par le
[...]Nadine Chahine, la graphiste de Frutiger® Arabic et TDC2 et du primé Palatino® Arabic, a finalement créé ses propres polices : Koufiya™, Badiya™ et Janna™.
Adrian Frutiger: Right from the beginning, I was convinced that Avenir™ is the better Futura®.
Akira Kobayashi: I share your opinion, but some weights have been missing to make Avenir an all-purpose typeface.
Adrian Frutiger: You mean the condensed weights?
Akira Kobayashi: Yes, with this extension I’m sure Avenir will then be able to cut its own path.
Adrian Frutiger: Then we should get to work putting Avenir onto that path ...
Akira Kobayashi: Yes.
How to order Avenir Next:
Please
[...]
Choisissez les fontes dont vous avez besoin pour votre logiciel Microsoft Office en visitant notre site Internet, qui vous propose plus de 9 000 fontes originales et de haute qualité, de la plus classique à la plus tendance. Ici, vous trouverez toutes les fontes classiques originales les plus célèbres, comme Helvetica®, Frutiger® ou Univers®, aainsi qu’une bibliothèque en constante expansion, pleine de polices innovantes et inédites, en arrivage direct des ateliers de
[...]
Choisissez les fontes dont vous avez besoin pour votre logiciel Microsoft Office en visitant notre site Internet, qui vous propose plus de 9 000 fontes originales et de haute qualité, de la plus classique à la plus tendance. Ici, vous trouverez toutes les fontes classiques originales les plus célèbres, comme Helvetica®, Frutiger® ou Univers®, ainsi qu’une bibliothèque en constante expansion, pleine de polices innovantes et inédites, en arrivage direct des ateliers de
[...]Frutiger® – la fonte classique sans serif que rien n’arrête.
Demandez l’originale chez Linotype, en fontes individuelles, en coffret de promotion ou sur CD.
À propos de Frutiger
Cette police est le chef d’œuvre du célèbre dessinateur de caractères typographiques Adrian Frutiger. Confronté au défi de dessiner une fonte d’une lisibilité exceptionnelle pour les panneaux de l’aéroport Charles de Gaulle de Paris, il a créé la désormais célèbre Frutiger en 1968. La fonte Linotype
[...]Gottfried Pott is an excellent expert in calligraphic handwriting. He designed famous fonts for Linotype and is author of numerous publications.
More about the fonts:
Arioso™
Arioso stems from an early form of Old Face, developed during the 14th and 15th centuries in Italy. The style mixed Roman capital letter forms with Carolingian minuscule for the lower case. This combination puts it in the same basic family as many other Italic Chancery typefaces, like Hermann Zapf's ITC Zapf
[...]Faudrait-il mieux un sans serif, un caractère de texte, une fonte scripte ou peut-être une gothique ? Chaque mois, des fontes uniques sont choisies depuis les fins fonds de la Collection Linotype pour que vous puissiez les consulter. Venez découvrir notre florilège de ce mois !
Achetez vos fontes Arabic auprès de la Bibliothèque Linotype
Linotype vous propose plein de nouvelles fontes Arabic, modernes et traditionnelles. Ces fontes, disponibles au format OpenType, sont compatibles avec l’arabe, le persan et l’ourdou. Et ce n’est pas tout : elles également les caractères latins correspondant en style et en graisse aux caractères arabes, ainsi qu’un lot supplémentaire de chiffres proportionnels, respectant les plus hauts critères de qualité technique de
[...]
Les vrais caractères utilisés dans les trois alphabets officiels de l’Union Européenne. Avec l’adhésion de la Bulgarie en janvier 2007, le cyrillique vient compléter les deux autres alphabets (latin et grec) utilisés dans l’UE.
Les fontes originales de Linotype qui portent la mention « W1G » complètent le jeu de caractères et respectent la norme Linotype W1G (World Glyph 1).
Découvrez les langues qui prennent en charge les fontes W1G (Fichier pdf
[...]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
[...]Giabattista Bodoni – born 16. 2. 1740 in Saluzzo, Piedmont, Italy, died 30. 11. 1813 in Parma, Italy – engraver, type designer, typographer, printer, publisher.
1758–66: typesetter in the Vatican’s Propaganda Fide printing works. 1766: the Duke of Parma invites Bodoni to set up an run a printing works. 1768: begins working in the Stamperia Reale. 1770: opens his own type foundry. 1771: publishes his first typographical contribution "Fregi e Majuscole". 1782: Charles III of Spain names Bodoni
[...]Georges Auriol (real name: Jean Georges Huyot) – born 1863 in Beauvais, France, died 1938 in Paris, France – type designer, graphic artist, painter, author.
1883: joins the editorial staff of the magazine "Chat Noir", the literary organ of the cabaret of the same name in Paris. 1900: Auriol designs several alphabets at the request of Georges Peignot, director of the type foundry Peignot & Sons. Friends with Th.-A. Steinlen and H. de Toulouse Lautrec.
Fonts: Auriol® (1901–1904), La
[...]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.
"Am 30. Dezember 1922 kam ich in der Schweiz, in Horgen am Zürichsee, zur Welt. In einem grossen Haus mit grossem Garten verbrachte ich meine Jugend, und viel Freizeit verbrachte ich auf dem See mit Segeln, Paddeln, Schwimmen und Fischen. Zeichnen und Malen waren aber seit meiner frühesten Kindheit meine Lieblingsbeschäftigungen.
Nach den Schulen absolvierte ich eine Lehre als Schriftsetzer. Anschliessend besuchte ich die Fachklasse für Typografie und die Fachklasse für Grafik an der Schule
[...]Neville Brody – born 23. 4. 1957 in London, England – graphic designer, art director, type designer.
1975: studies painting at Hornsey College and from 1976–79 at the London College of Printing. Numerous record covers. 1981–86: art director of the English magazine "The Face". 1983–87: covers for the London magazine "City Limits". 1987–90: works for the "Arena" magazine. Art director for the magazines "Per Lui" and "Lei" of the Condé Nast Publications in Milan and the French magazine
[...]Matthew Carter – born 1. 10. 1937 in London, England – type designer.
1956: trains as a punch cutter in the Netherlands. 1963–65: typography consultant for Crossfield Electronics. 1965: moves to the USA and works for Mergenthaler-Linotype in New York. 1971: moves back to England where he continues to work for Linotype. 1980–84: typography consultant to Her Majesty’s Stationery Office. 1981: the Royal Society of Arts make him a Royal Designer for Industry. 1981: he and Mike Parker set up
[...]Morris Fuller Benton – born 30. 11. 1872 in Milwaukee, USA, died 30. 6. 1948 in Morristown, USA – engineer, type designer.
After training as a mechanic and engineer, Benton jointed the ATF, where he became type designer and in-house designer with ATF.
Fonts: Benton developed over 200 alphabets, all of which were published by ATF, including Century roman (with Theodor Low de Vinne, 1885), Mariage (1901), Alternate Gothic (1903), Franklin Gothic (1903–12), Cheltenham® (1904), Clearface®
[...]Dutch designer Julius de Goede created the following fonts: Amadeo™, Augusta™ (1999), Bernhardt Standard™ (2003), Frakto™ (2003), Linotype Gaius™ (2002), Julius Primary™ (1998) and Rockner™ (2003).
Chauncey H. Griffith – born 1879 in Irontown/Ohio, USA, died 1956 in Butler/N.Y., USA – typesetter, machine compositor.
1915: – becomes assistant to the president of Mergenthaler Linotype Company. Newspaper typesetting specialist. 1936: vice president of Mergenthaler Linotype with responsibility for typographic development.
Fonts: Ionic No 5 (1926), Ionic Condensed (1927), Papst (1928–1931), Poster Bodoni™ (1929), Textype (1929), Granjon® bold (1930), Excelsior® (1931), Janson
[...]The late Phill Grimshaw was a prolific designer who delighted in the sheer fun and challenge of drawing display typefaces. His fonts reflect his understanding of calligraphy, his own imagination for dynamic letterforms, and his knack for drawing a great variety of styles. After studying at the Royal College of Art in London in the 1970s, he settled in his native Manchester in northern England to work as a lettering artist. He developed a specialization in type design, influenced and encouraged
[...]André Gürtler – born 5. 9. 1936 in Basle, Switzerland – graphic designer, typographer, type designer, teacher.
1952–56: trains as a typesetter. First exercises in calligraphy. 1957: further training as a typographical designer with Emil Ruder. First exercises in type design. 1958–59: letterer for the Monotype Corporation in Salfords, England. 1959–65: type designer and typographer with Adrian Frutiger in Paris. Works for Sofratype SA for two years. Teaches lettering for a year at the
[...]Karlgeorg Hoefer was born on February 6th, 1914 in Schlesisch-Drehnow. Following schooling in Schlesien and Hamburg, he served a four-year typesetting apprenticeship from 1930-1934 in Hamburg. After two years of military service, he studied at the Kunstgewerbeschule (School of Arts and Crafts) in Offenbach am Main and then worked in Potsdam. From 1939 until 1945 he was in active military service and was also a prisoner of the Russians.
His activities as a calligrapher began after his
[...]Edward Johnston – born 11. 2. 1872 in San José, Uruguay, died 26. 11. 1944 in Ditchling, England – type designer, calligrapher, author, teacher. Studied medicine at the University of Edinburgh.
1898: obtains his Ph. D. Moves to London. Studies ancient writing techniques in the British Museum. 1899–1913: teaches at the Central School of Arts and Crafts in London in the new lettering department. 1901–40: teaches at the Royal College of Art in London. 1906: his book "Writing and Illuminating
[...]Designer Erwin Koch created the following fonts: Angro™, Dalcora™ (1989) and Monanti (1989).
English designer Isaac Moore created the font Baskerville Old Face in 1768. Baskerville Old Face is based on one developed by the renowned 18th-century typographer John Baskerville. Tell-tale differences, including the characteristic squarish curves in the capital C and G, identify it as the version first issued by the Fry type foundry, established by the Fry family after they succeeded in the chocolate business.
The Italian designer Antonio Pace created the font Linotype Gianotten™ in 2000. Linotype Gianotten is a new interpretation of the classic Bodoni font. For this adaptation of the modern face, Antonio Pace went back to Giambattista Bodoni’s original punches, kept in a museum in Parma, and reinterpreted the 200-year-old characters for the world of modern digital technology. Rigorous design and the organic, unadorned construction of the individual characters give Linotype Gianotten a contemporary,
[...]Gottfried Pott, born 1939, studied graphic design at the Werkkunstschule in Wiesbaden with emphasis in lettering art under Prof. Friedrich Poppl. At the same time studies in painting with Prof. Vincent Weber and studies in music with Peter Kempin. Activities: Exhibits, workshops, development of type faces, as well as limited edition publication of calligraphic works. Since 1988 Professor for Calligraphy and Lettering Design at the University for Applied Science and Art at Hildesheim/Holzminden.
[...]The Italian designer Francesco Simoncini (died 1967) created the fonts New Aster™ (1958), Simoncini Garamond™ (1961), and Life® (1965).
Jürgen Weltin was born on May 8th, 1969 in Constance. After schooling and swimming a lot in the Lake of Constance he worked in a publishing house before he started to study graphic design at the Technical College in Würzburg. After an apprenticeship in design company Stankowski + Duschek and after one term at Bournemouth & Poole College of Art and Design he graduated in Würzburg under Reinhard Haus from Linotype presenting the beginning of the new typeface Linotype Finnegan®.
Then he
[...]German designer Hermann Zapf created the following fonts:
Aldus® (1954), Aldus Nova (2005), Aurelia™ (1983), Comenius® Antiqua BQ (1976), Edison™ (1978), Kompakt™ (1954), Marconi® (1976), Medici® Script (1971), Melior® (1952), Noris Script® (1976), Optima® (1958), Optima nova (2002), Orion™ (1974), Palatino™® (1950), Palatino nova (2005), Palatino™ Sans (2006), Saphir™ (1953), Sistina® (1950), Vario™ (1982), Venture™ (1969), Virtuosa® Classic (2009),
[...]German designer Gudrun Zapf von Hesse created the following fonts:
Alcuin® (1991), Ariadne® (1954), Carmina® (1986), Christiana® (1991), Colombine® (1991), Diotima® (1952), Diotima® Classic (2008), Nofret® (1984) Shakespeare™ (1968), Smaragd™ (1953).
Please take a look at the personal designer portrait of Gudrun Zapf von Hesse.
Adrian Williams began his career converting many established metal designs for the new filmsetting devices in1969; an era when other equipment manufacturers offered their devices, each with its own kind of unit system for the operating program. During the 70s he became involved with converting typefaces to digitised systems and is responsible for many original designs which he redrew, working with each manufacturer to make fonts for their unique formats. This led to the production of custom
[...]The type foundry Otto Weisert in Stuttgart created Kalligraphia (1902) and Arnold Boecklin™ (1904).
Traces of the floral forms of the Jugendstil can still be seen in Arnold Boecklin. Alphabets of this type were mainly meant for larger point sizes, as on posters. A decorative feel was much more important than legibility and Arnold Boecklin was of particular importance to the book design of the Jugendstil movement. Today the font is often used to remind people of ‘the good old
[...]The German designer Roman Sehrer created the font Ad Pro™ in 2004.
Roman Sehrer has digitized his handwriting to create a family of three fonts to meet your free-feeling and laid back design needs. He recommends that you try this family out on posters, logos, and restaurant menus, where in each case it will offer a great combination and contrast to traditional sans serifs like Helvetica® or like Univers®.
Anders Bodebeck, graphic designer from Gothenburg, Sweden, recently completed his first typeface Bodebeck™ in addition to his daily work with logotypes and calligraphic book covers. He has also been working as a teacher in graphic design at HDK – School of Design and Crafts at Gothenburg University. Anders Bodebeck will be represented in the annual book from Type Directors Club 2004. At the moment he is working with a new typeface.
AdPro, Aeonis, Al Harf Al Jadid, Ambigue, Angro, Anno, Anuparp Thai, Anzeigen Grotesk, Aptifer, Arioso, Arnold Boecklin, Badiya, Barbedor, Basic Commercial, Bazar, Becket, Bell Gothic, Beneta, Bernhardt Standard, Bodebeck, Diverda, Linotype Aperto, Linotype Aroma and Linotype Nautilus are trademarks of Linotype GmbH and may be registered in certain jurisdictions. Aldus, Arcadia, Basilia, Metrolite, Palatino and Syntax are trademarks 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. ASV Codar, Agilita, Alcuin, Amer, Ariadne, Arsis, Auriol, Avenir, Badr, Banco, Generis, Linotype, Metro and Satero are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Aurelia is a trademark of Linotype Corp. and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.
Penumbra is a trademark of Adobe Systems Incorporated which may be registered in certain jurisdictions.
Lucida is a registered trademark of Bigelow & Holmes.
Legacy, Officina and Stone are trademarks of International Typeface Corporation registered in the U.S. Patent and Trademark Office and which may be registered in certain other jurisdictions.
Antique Olive is a trademark of Madame Marcel Olive.
Sassoon is a registered trademark of Sassoon & Williams.
New Aster is a trademark of Simoncini.
