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Frutiger® famille de polices (Linotype Originals) Données numériques de: Linotype Plus de détails ... haute qualité: retrouvé par Fonte ressemblante mot-clé 'geschft'

Helvetica® famille de polices (Linotype Originals) Données numériques de: Linotype Plus de détails ... haute qualité: retrouvé par Fonte ressemblante mot-clé 'geschft'

Neue Helvetica® famille de polices (Linotype Originals) Plus de détails ... haute qualité: retrouvé par Fonte ressemblante mot-clé 'geschft'

Stempel Garamond™ famille de polices (Linotype Originals) Plus de détails ... haute qualité: retrouvé par Fonte ressemblante mot-clé 'geschft'

Trade Gothic® famille de polices (Linotype Originals) Plus de détails ... haute qualité: retrouvé par Fonte ressemblante mot-clé 'geschft'

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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 [...]

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 [...]

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 ?

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 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 [...]

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 [...]

Robert Granjon – born 1513, died 16. 11. 1589 in Rome, Italy– type founder, punch cutter, publisher.. It is assumed that Robert was the son of the Paris printer and publisher Jean Granjon. Trained as a goldsmith. From 1543 onwards: punch cutter in Paris. 1543–48: works as a steel punch cutter. 1549: his first book is published in Paris, a pocket book edition of the New Testament in Greek and Latin. 1550–51: works with type founder Michel Felandat. 1556–57: works as a punch cutter, type [...]

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. [...]

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 [...]

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 [...]

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 [...]

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 [...]

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: 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: Claude Garamond, 1499–1561 Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the range of contemporary typefaces that bear his name. What is accepted is the influence his work had on other typefaces from the late Renaissance to the present. Fonts named Garamond, or Garamont, are related to the alphabets of Claude Garamond as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In [...]

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: Claude Garamond, 1499–1561 Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the range of contemporary typefaces that bear his name. What is accepted is the influence his work had on other typefaces from the late Renaissance to the present. Fonts named Garamond, or Garamont, are related to the alphabets of Claude Garamond as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In [...]

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 [...]

Not your grandmother’ s medieval type ... meet the “American” Gothic fonts! A breed of no-nonsense typefaces, called “Gothics” in the United States, have been serving as heavy hitters in financial services, business, and newspaper sectors since the late 19th Century. Gothic typefaces – not to be confused with Blackletter typefaces, which look “gothic” in a scary, medieval sort of way – are American sans serifs. Their forms are designed to solve [...]

Claude Garamond Claude Garamond (ca. 1480–1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his Romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they [...]