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®
[...]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
[...]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
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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 ?
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
[...]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.
Fruit de la fusion des entreprises Deberny & Cie (fondée en 1818) et Peignot & fils (fondée en 1842) en 1923. Les principaux dessinateurs de caractères étaient A. M. Cassandre et Adrian Frutiger. Les années 50 marquèrent la création de l’une des premières machines de photocomposition utilisables, la Lumitype. La fonderie Haas (Haas’sche Gießerei) de Münchenstein acquit la société en 1972.
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
[...]Adrian Frutiger was born in 1928 at Unterseen near Interlaken (Switzerland). After an apprenticeship as a compositor he made further education in type and graphics at the Zurich School of Arts and Crafts (Kunstgewerbeschule) from 1949 to 1951 (teacher: Alfred Willimann and Walter Käch).
Frutiger was called to Paris in 1952 and worked as typeface designer and artistic manager at Deberny & Peignot. He founded his own studio in Arcueil near Paris 1961, together with Bruno Pfäffli and André
[...]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
[...]OpenType is a font format that was collaboratively developed by Adobe and Microsoft during the 1990s. The first specifications were published in 1997, and the first OpenType fonts came onto the market in 2000. Today, most new fonts are released in OpenType format, which can safely be considered the new industry standard.
The OpenType format supports Unicode™, which is why OpenType fonts can contain large character sets. In fact, an OpenType font can contain more than 65,000 glyphs! This is a
[...]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
[...]Trouver d’autres Fonctions de Fontes dans nos Archives de Présentation de Fontes.
L’astuce typographique du mois par Akira Kobayashi, directeur de typographie de Linotype !
Mai 2008 : A la découverte de la méthodologie d’Adrian Frutiger !
« La typographie doit être aussi belle qu’une forêt, et non pas à l’image de la jungle en béton des immeubles ... Il faut laisser de la distance entre les arbres, de l’espace pour y respirer et pour pouvoir y vivre »
[...]Le format de fonte OpenType est une amélioration de TrueType™ et de PostScript® développée conjointement par Adobe Systems Inc. et Microsoft Corporation. OpenType associe ces deux technologies et élargit leurs capacités. Le résultat est cette nouvelle génération de fontes OpenType, avec de meilleures fonctions typographiques et de mise en page, et la possibilité pour l’ensemble d’Unicode™ d’obtenir des jeux de caractères étendus et conformes.
Astuce : pour obtenir une liste des fontes
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Font Designer: Adrian Frutiger, 1957
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
[...]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
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