Whether Garamond, Baskerville or Bodoni, many of the typefaces produced during the 20th century were revivals of centuries-old models. Not so of Palatino: Hermann Zapf´s new design is an interpretation of our own time.
Designed between 1948 and 1950, Palatino was first released as in lead type form by the German typefoundry D. Stempel AG in Frankfurt, and quickly became one of the world´s most popular typefaces. Palatino was thereafter altered for use on the Linotype machine and in photo-type
[...]La création de Sabon® Next par Jean François Porchez a donné à cette fonte sa troisième vie. En effet, la police originale Sabon, dessinée par Jan Tschichold dans les années 60, était déjà la renaissance contemporaine de caractères dessinés par Claude Garamond au 16ème siècle.
Avec Sabon, non seulement Tschichold a créé l’une des meilleures renaissances de Garamond à ce jour, il a également élaboré ce que l’on pourrait appeler les premières « fontes système ». Commandée par une
[...]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
[...]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®
[...]The idea to develop a new typeface tailored to the special requirements of annual reports was born out of the "First Heidelberg Forum for Annual Reports 1988".
The challenge was to provide a type system that delivered readability and multiple tonality while maintaining harmony throughout the wide range of different characters required in an annual report.
Linotype worked closely together with Professor Olaf Leu and his Analyse Team at the University of Applied Sciences, Mainz, who have
[...]Encore plus de graisses, encore plus d’options. Linotype vous présente Trade Gothic Next.
DIN Next : Made in Germany
Remodelée avec des graisses supplémentaires et un meilleur espacement :
Neue Frutiger par Linotype
Nous avons conçu un mini-site Internet pour mettre en valeur les caractéristiques de Neue Frutiger.
Visitez www.NeueFrutiger.com ! Vous saurez tout sur la dernière famille de fontes signée Adrian Frutiger et Akira Kobayashi.
Lorsque le nouvel aéroport Roissy Charles de Gaulle (Paris) a été construit au début des années soixante-dix, le système de signalisation devait
[...]Introduction
Every year the German business magazine “Manager Magazin” holds a competition to determine the best annual reports published in the German-speaking world. From the submitted public corporations who published their 2005 annual reports in early 2006, Manager Magazin released their jury’s favorites in the October 2006 issue.
Manager Magazin picked the top ten annual reports in six different business categories, and their jury selected an overall top ten as well. Virtually every
[...]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
[...]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
[...]
Comme son nom l’indique, Linotype Syntax™ Serif est une extension de la célèbre famille de caractères Syntax de Hans Eduard Meier. Le concept initial à l’origine de Syntax consistait à créer une fonte qui associe la grâce d’une romane de la Renaissance avec la structure d’une sans serif. Meier commença à travailler sur ce dessin en 1954, lancé en 1968 par la fonderie de caractères D. Stempel AG, en caractères à chaud, dans trois graisses : Light, Semibold et Extra Bold.
En 1995,
[...]
Les 10 nouveautés les plus populaires de l’année 2009
2009 touche à sa fin. C’est le moment de revenir sur les nouveautés qui ont eu le plus de succès cette année. Nous les avons regroupées en trois catégories : sans empattement, avec empattement et scriptes.
Eurostile extras – Les fontes Eurostile Candy & Eurostile Unicase d’Akira Kobayashi
Publiée début 2008, Eurostile® Next est l’une des plus récentes recrues de la Platinum Collection de Linotype. Cette famille est une réédition entièrement nouvelle et numérisée de la fonte. Eurostile Next est en outre une contribution supplémentaire du directeur typographique de Linotype Akira Kobayashi à la typographie numérique du 21ème siècle. Mais même des dessinateurs de l’envergure d’Akira
[...]Retravaillée, agrandie et dotée de nouvelles fonctions OpenType – Découvrez Neue Swift
Swift comme martinet
Le vol du martinet (en anglais: swift) est vif comme l’éclair. Ses droites et ses courbes inspirèrent la main et le crayon du dessinateur. Les ailes longues et gracieuses, le corps robuste et ramassé se retrouvent dans ce caractère, son corps et ses longs empattements. Les lettres de cette police ont des empattements larges et prononcés qui rappellent la silhouette de cet
[...]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
[...]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
[...]Les fontes de la collection Platinum de Linotype – les coffrets promotionnels de ces fontes sont désormais disponibles
La Collection Platinum est une série exclusive de fontes classiques optimisées, issues de la bibliothèque Linotype. En étroite collaboration avec des dessinateurs de caractères de réputation internationale, Linotype a lancé des familles de caractères retravaillées et étendues, qui sont à la page aussi bien sur le plan de la technologie que de l’esthétique. Ces
[...]
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
[...]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.
Biography of Akira Kobayashi:
Studied at the Musashino Art University in Tokyo, and later followed this up with a calligraphy course at the London College of Printing. Freelance type designer since 1997.
Professional experience
April 1983–March 1989
Sha-ken Co. Ltd, Japan Typeface design department
December 1990–June 1993
Jiyu-kobo Ltd, Japan
September 1993–March 1997
TypeBank Co. Ltd, Japan
March 1997–April 2001
Freelance type designer
April 1998–April
[...]"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
[...]Aldo Novarese – born 29.6.1920 in Pontetura Monferrato, Italy, died 16.9.1995 in Turin, Italy – type designer, teacher.
1931-33: Attends the Scuola Arteri Stampatori in Turin, where he learns woodcut, copper engraving and lithography. 1933-36: attends the Scuola Tipografica Guiseppe Vigliandi Paravia in Turin. 1936: joins the Nebiolo type foundry in Turin as a draftsman. 1938: is awarded a gold medal in the national Ludi Juveniles art competition.
1948-58: teaches graphic drawing at the
[...]After training as a graphic designer, during which he focused on type design, Jean François Porchez (1964) worked as a type direcor at Dragon Rouge. By 1994, he had created the new typeface for Le Monde newspapers. Today he designs cusom typefaces for companies such as ratp (public transport in Paris), Peugeot, Cosa Crocieres, France Télécom, as well as disributing internationally his retail typefaces via his www.typofonderie.com website.
He was a jury member of the 3rd Linotype Type Design
[...]Jan Tschichold – born 2.4.1902 in Leipzig, Germany, died 11.8.1974 in Locarno, Switzerland – typographer, calligrapher, author, teacher.
1919–21: studies at the Akademie für Graphische Künste und Buchgewerbe in Leipzig. 1921–23: is one of Walter Tiemann’s master pupils and assistant to Hermann Delitsch.
1925: publication of Tschichold’s special issue of "Typographische Mitteilungen" magazine, entitled "elementare typographie". 1926–33: teaches typography and callygraphy at the
[...]Gerard Unger – born 22. 1. 1942 in Amsterdam, The Netherlands – graphic designer, typographer, type designer, teacher.
1963–67: studies at the Gerrit Rietveld Academie in Amsterdam. Then assistant to Wim Crouwel at Total Design. 1970: starts teaching at the Gerrit Rietveld Academie in Amsterdam. From 1975 onwards: freelance designer. 1981: does typography work for Dutch coins and postage stamps. Redesigns numerous magazines. 1984: designs special digits for the Dutch telephone directories.
[...]Jackson Burke – born 1908 in San Francisco, California, USA, died 1975 – type designer. Studied at the University of California in Berkely.
1949–63: director of type development for Mergenthaler-Linotype. Responsible for the development of the TeleTypesetting System (TTS) for magazines and for the development of fonts for native American languages.
Fonts: Trade Gothic® (1948–60), Majestic (1953–56), Aurora (1960).
* TYPOGRAPHY – An Encyclopedic Survey of Type Design and Techniques
[...]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),
[...]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.
[...]Olaf Leu was born in Chemnitz in 1936. He apprenticed as a typesetter and typographic designer in the art department of the Bauer type foundry. Later, he worked as the assistant to the creative director at the Hanns W. Brose advertising agency in Frankfurt am Main.
In 1959, he began his career as a freelance graphic designer and art director. In 1971, he founded the studio “Olaf Leu Design” in Frankfurt am Main, which became known as “Olaf Leu Design und Partner” in 1976. The studio remained
[...]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 typeface Frutiger™ from the famous font designer Adrian Frutiger is immense popular. Now Linotype offers the complete font family on CD. This enables for the first time to receive the entire font family more easily and inexpensively than buying each font individually.
Euro Symbol: All fonts contain an integrated Euro symbol.
For Frutiger we offer two delivery methods:
– Order the entire Frutiger font family as Value Pack for instant download.
Or
– Order the entire Frutiger font
[...]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
[...]Japanese designer Akira Kobayashi is Type Director at Linotype. Since joining Linotype, he has been responsible for the futher development of classic typefaces like Avenir, Optima, and Zapfino. He has created numerous typefaces of his own, many of which have received prizes from all across the typographic spectrum.
ITC Luna
Akira Kobayashi turned to the designs of the 1930s for his inspiration for both ITC Luna and ITC Silvermoon. "Luna is designed to fill the gap between a pure Art Deco
[...]
