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
[...]The Helvetica™ (Latin for Swiss) has the objective and functional style which was associated with Swiss typography in the 1950s and 1960s. The font is perfect for international correspondence: no ornament, no emotion, just clear presentation of information. Helvetica™ font is still one of most popular sans-serif fonts.
Helvetica™, the typeface par excellence, can look back on a colorful life. Originally designed for hand composition, it has been adapted over the years for all methods of
[...]Frutiger® Next is a Platinum Collection family, exclusively available from Linotype GmH and authorized partners. Released in 2000, it is a revised and extended version of the famous Frutiger typeface.
Frutiger Next is available either as an extended OpenType family, or in traditional PostScript and TrueType formats. The OpenType version includes seven weights (a new, Ultra Light weight was released solely in OpenType format in 2007). Each weight has upright, true Italic, and Condensed
[...]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
Prolific! Perhaps this is the best word to describe the life and work of Morris Fuller Benton. The creator of over 200 types for ATF, Benton left his mark on 20th Century design. His faces would spread across the globe, and dozens are still in use today.
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 ?
Pan-européenne – Quelles que soient les langues que vous utilisez, Really No 2 est la fonte qu’il vous faut
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
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Font Designer: Linotype Design Studio, 1961
About the Font
Developed and continuously refined by the Haas’sche Schriftgiesserei AG and then D. Stempel AG, both fully owned subsidiaries of Linotype. The key design concepts were drawn by Max Miedinger in 1957.
Apple and Adobe later obtained the licenses from Linotype for the Neue Helvetica® font, which is still one of the most popular typefaces worldwide.
The font Helvetica® (Latin for Swiss) has the objective and functional
[...]The “Neue Helvetica Pro” CD contains all 51 “Neue Helvetica” fonts on a CD for Mac and PC in OpenType CFF format, which is suitable for all platforms (CFF = OpenType PostScript Flavoured).
The character set supports a total of 48 different roman languages.
Background information
Helvetica™ is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Haas
[...]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
[...]
Helvetica™ – still the most popular sans-serif font.
Get the original from Linotype as single fonts, in a Value Pack, or on CD.
Un prix imbattable ! Achetez les 36 graisses Helvetica en un seul coffret, adésormais disponible en téléchargement immédiat.
Vous avez besoin de graisses Helvetica individuelles ? Pas de souci ! Nos graisses individuelles Helvetica sont disponibles en téléchargement immédiat. A partir de
[...]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.
Max Miedinger – born 24.12.1910 in Zurich, Switzerland, died 8.3.1980 in Zurich, Switzerland – type designer.
1926-30: trains as a typesetter in Zurich, after which he attends evening classes at the Kunstgewerbeschule in Zurich. 1936-46: typographer for Globus department store’s advertising studio in Zurich. 1947-56: customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. From 1956 onwards: freelance graphic artist in
[...]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
[...]The Russian designer Alexei Chekoulaev created the font Linotype Bariton™ in 1997. Linotype Bariton is part of the TakeType Library, chosen from contestants of Linotype's International Digital Type Design Contests of 1994 and 1997. Designer Alexej Chekoulaev designed his font in one weight to mirror the Zeitgeist of the early 1930s. The characters of this extremely bold font are based on the form of a rectangle though its rounded edges soften its look a bit. Linotype Bariton should be used only
[...]Eric Gill – born 22. 2. 1882 in Brighton, England, died 17. 11. 1940 in Uxbridge, England – sculptor, graphic artist, type designer. Studied at the Chichester Technical and Art School.
1899–1903: works in an architect’s office. Takes lessons in lettering with Edward Johnston at the Central School of Arts and Crafts in London. 1905–09: produces initials and book covers for Insel publishers in Leipzig. 1906: designs inititals for Ashedene Press. 1907: moves to Ditchling, Sussex. Here he
[...]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
[...]American designer Gary Munch created the fonts Linotype Ergo™ (1997), Linotype Finerliner™ (1997), Linotype Really™ (1999), and Really™ No 2 (2009).
Linotype Ergo is a relatively new font oriented on the form philosophy of Univers™ and Frutiger™, namely, that a font which the eye should see as "correct" cannot be constructed. The eye tends to enlarge horizontals and to perceive verticals as weaker, and the stroke differences of Ergo are therefore designed to accommodate this tendency. Ergo
[...]Albert Boton – born 17. 4. 1932 in Paris, France – type designer, graphic designer, teacher.
1952–55: trains at the Troy studio in Paris. Attends a course in calligraphy at the Ecole Estienne in Paris. 1955–57: type designer for the Deberny & Peignot type foundry in Paris under Adrian Frutiger and Ladislas Mendel. 1957–58: works in the graphics department of the Technès design studio. 1958–66: type designer and graphic designer for the Hollenstein studio in Paris. 1966–68: works for the
[...]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.
[...]Albert Hollenstein (born 1930, died 10. 8. 1974 in Vernazza) created the font ITC Eras® together with Albert Boton.
ITC Eras is a typical sans serif typeface distinguished by its unusual slight forward slant and subtle variations in stroke weight. ITC Eras is an open and airy typeface inspired by both Greek stone-cut lapidary letters as well as Roman capitals.
Johann Christian Bauer founded the Bauersche Gießerei in Frankfurt am Main in 1837. The most important designers employed by Bauer included Emil Rudolf Weiß, Heinrich Wieynck, Heinrich Jost, Lucian Bernhard, Imre Reiner, F. H. E. Schneidler, Konrad F. Bauer and Walter Baum. In 1972, the foundry closed its operations in Frankfurt and moved production to a former subsidiary in Barcelona, Fundición Tipográfica Neufville.
Eurostile® is one of the most important creations of the Italian font designer Aldo Novarese. The font reflects the Zeitgeist of the 1950s and 1960s, giving text a dynamic, modern feel. Eurostile is intended for headlines and small bodies of text.
The complete Eurostile font family is available as Value Pack for instant download for Macintosh or PC. Eurostile contains an integrated Euro symbol.
Order Eurostile as Value Pack for instant download.
The successful font Gill Sans™ was designed by the artist and type designer Eric Gill in 1931. The roots of Gill Sans can be traced back to Old Face typefaces and more directly to his teacher Edward Johnston's London Underground type. Gill’s alphabet is more classical in proportion and contains his signature flared capital R and eyeglass lowercase g. With distinct roots in pen-written letters, Gill Sans is classified as a humanist sans serif, making it very legible and readable in text and
[...]This typeface, designed by Max Miedinger and other project members at the Haas’sche Schriftgiesserei, has become one of the most famous and popular typefaces in the world, thanks to the marketing strategy of Stempel and Linotype. It forms an integral part of many printers and operating systems. The original letterforms of Helvetica™ had to be modified for the Linotype system. Over the years, Helvetica™ was expanded to include many different weights, but these were not coordinated with each
[...]Special features of “Neue Helvetica” Pro
The “Neue Helvetica Pro” CD contains all 51 “Neue Helvetica” fonts on a CD for Mac and PC in OpenType CFF format, which is suitable for all platforms (CFF = OpenType PostScript Flavoured).
The character set supports a total of 48 different roman languages.
Background information
Helvetica™ is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes.
[...]First encounter at the airport
When the Roissy Charles de Gaulle Airport was being planned in Paris in the early 1970s, it was clear that the signage needed to be set in a clear and legible typeface. The development of the wayfinding system was assigned to Adrian Frutiger, and the result was so effective that the demand for the typeface rose, both for general printing as well as navigation systems. The typeface entered the Linotype library in 1977 under the name Frutiger™. It set a new
[...]Bizarre and naked, sans serif alphabets joined the ranks of typefaces in the early 19th century when an English type foundry produced the first sans serif typeface in 1816.
But between 1810 and 1840, bold antiqua weights inspired by Bodoni and the newly developed slab serif linear antiqua typefaces were still more prominent and widely used in advertisements.
Even the creator of the first sans serif typeface, William Caslon, was not immediately convinced of the success of this new kind
[...]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
[...]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 !
Juin 2006: Apostrophes et guillemets
Quel est le bon glyphe : le pouce, l’aigu ou l’apostrophe ? – Cette fonction décrit l’usage correct des signes de ponctuation trompeurs qui servent à signifier les omissions et, dans la langue anglaise, les possessifs et parfois les
[...]Die neue Schrift von Robin Nicholas, Ysobel, ist Text- und Auszeichnungsschrift in einem
Bad Homburg, 6. Oktober 2009 – Linotype hat mit der Ysobel™ eine neue Schrift von Robin Nicholas veröffentlicht. Die Ysobel ist eine Serifenschrift, die von der Anfang des 20. Jahrhunderts erschienenen Century-Schriftfamilie inspiriert wurde. Der Entwurf begann mit der Textversion in vier Schriftstärken. Später erweiterte Nicholas die Familie mit der Ysobel Display um eine komplett neu
[...]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: Aldo Novarese, 1962
Eurostile® is one of the most important creations of the Italian font designer Aldo Novarese. The font reflects the Zeitgeist of the 1950s and 1960s, giving text a dynamic, modern feel. Eurostile is intended for headlines and small bodies of text.
Font Designer: Adrian Frutiger, 1976
In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Airport Roissy, later named Charles de Gaulle Airport, in Paris. The font was bolder than original typesetting fonts in order to offer better legibility for the light boxes of the signage system. Adrian Frutiger worked carefully on the letterforms so that characters and words could be recognized even in poor light conditions or when the reader was moving
[...]
Font Designer: Alexei Chekoulaev, 1997
Linotype Bariton™ is part of the TakeType Library, chosen from the contestants of Linotype’s International Digital Design Contests of 1994 and 1997.
Designer Alexej Chekoulaev designed his font in one weight to mirror the Zeitgeist of the early 1930s. The characters of this extremely bold font are based on the form of a rectangle though its rounded edges soften its look a bit. Linotype Bariton should be used only in larger point sizes in
[...]
Font Designer: Adrian Frutiger, 1976
In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Airport Roissy, later named Charles de Gaulle Airport, in Paris. The font was bolder than original typesetting fonts in order to offer better legibility for the light boxes of the signage system. Adrian Frutiger worked carefully on the letterforms so that characters and words could be recognized even in poor light conditions or when the reader was moving
[...]
Font Designer: Linotype Design Studio, 1983. The key design concepts were drawn by Max Miedinger in 1957.
About the Font
Originally designed in 1957 for hand compostion, Helvetica® font has been adapted over the years for all methods of composition, from hot metal line composition and opto-mechanical photosetting of the first generation to digital typesetters.
The new possibilities offered by CRT and Laser technologies have caused us to have the complete Helvetica™ font family
[...]
Font Designer: Eric Gill, 1931
The successful font Gill Sans® was designed by the artist and type designer Eric Gill in 1931.
The roots of Gill Sans can be traced back to Old Face typefaces and more directly to his teacher Edward Johnston's London Underground type. Gill’s alphabet is more classical in proportion and contains his signature flared capital R and eyeglass lowercase g. With distinct roots in pen-written letters, Gill Sans is classified as a humanist sans serif, making it
[...]
Font Designer: Linotype Design Studio
The abbreviation "DIN" stands for Deutsches Institut für Normung (The German Institute for Industrial Standards). In 1936, this standards committee settled upon DIN 1451 as the primary lettering style for use in the areas of technology, traffic, administration, and business. The committee chose a sans serif design because of its legibility, and because its forms are also easy to reproduce. This face’s design was not foreseen to be used in
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Dessinateur : Gary Munch, 1997
Linotype Ergo™, dessinée par Gary Munch, gagnant du Concours Linotype de dessin numérique international de 1997, a été conçue comme un mélange de concepts traditonnels et modernes. Par sa lisibilité, cette fonte convient aussi bien à des compositions de texte qu’à des affichages animés ou à des sélections de gros titres. Désormais, cette famille comporte 14 nouveaux styles, ce qui la rend plus utile que jamais ! Cinq graisses condensées,
[...]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
[...]Platinum Collection Fonts
