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
[...]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
[...]The high-quality fonts of renowned Dutch designer Gerard Unger offer versatile application in typography today.
More about the fonts:
Demos™
Gerard Unger designed Demos for the German technology corporation Dr.-Ing Rudolf Hell* in 1976. Originally intended for use in the typesetting of newspapers, Demos was one of the new digital generation's first typefaces, well suited for book printing as well. Its robust forms and rounded corners make this face particularly legible and flexible, it
[...]Frutiger™ Capitalis
At first glance, Frutiger Capitalis Regular and Outline may seem related to the roman type Capitalis Monumentalis, but upon closer examination, the fonts reveal a vitality unknown to the characters the Romans etched in stone. Frutiger confesses that creating Capitalis was "a liberation." After working on so many sophisticated and meticulously designed typefaces, Capitalis was a breath of fresh air.
Stylistically, Frutiger Capitalis Outline forms a bridge to Frutiger
[...]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.
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.
[...]The American designer Chris Costello created the font Papyrus® in 1983. This unusual roman typeface merges effectively the elegance of a traditional roman letterform with the hand-crafted look of highly skilled calligraphy. It includes an extra set of initialing capitals to enhance its unique style.
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
[...]The American designer Robert E. Smith (born 1910 in Chicago) created the fonts Brush Script™ (1942) and Park Avenue® Script (1933).
Nick Curtis (born 22. 2. 1948 in Chicago) created the following fonts: ITC Atelier™ Sans, ITC CuppaJoe™ (2001), ITC Jeepers™ (2002), ITC Mister Chuckles™, Mustang Sally™, ITC Photoplay™, ITC Scram Gravy™ (2002), Tugboat Annie™, Woodley Park™, and ITC Zinzinnati™ (2002).
Sean Fermoyle created the font Process.
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
[...]Prof. Karlgeorg Hoefer was one one the most influential calligraphers of the 20th Century. Aside from leading numerous workshops inside the United States, as well as abroad, he taught for decades at the Hochschule für Gestaltung in Offenbach am Main (Germany). One of his most representative typefaces is Salto, which he developed in 1952 for the Klingspor foundry in Offenbach.
More about the fonts:
Beneta™
Karlgeorg Hoefer designed Beneta in 1991, inspired by the Littera beneventana, the
[...]OCR™
OCR A and OCR B are standardized, monospaced fonts designed for "Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display
[...]
Font Designer: Robert E. Smith, 1942
Brush Script™ is a lively calligraphy typeface with brush character designed by Robert E. Smith in 1942. Its figures are peppy and dynamic and flow easily into words and sentences. The marked stroke contrast and consciously hurried stroke bring the letters to life. Even today, Brush Script can be seen in advertisements and sales material, especially in the areas of luxury and consumer articles.
Designer Michael Gills (born 1962 in London) created the following fonts: Charlotte™ (1992), Elysium™ (1992), Figural™ (1992), Fling™ (1995), ITC Forkbeard™ (1998), Frances Uncial (1995), Gilgamesh™ (1994), Hand Drawn™ (1993), Isis (1990), Katfish™ (1994), Prague™ (1991), Type Embellishments One (with Colin Brignall, 1993).
These fonts are included in the Linotype Library.
Initial concepts for comprehensive type systems surfaced as early as the 1930s, yet they remained the exception. In the days of hot-metal typesetting, handbooks generally recommended creating typeface mixtures from a single type family, a family being understood as including all of a typeface’s weights, such as light, normal, semi-bold, and bold, and including all of the italic weights as well. A well-rounded type family also includes small caps, tabular and old-style figures. These days, the
[...]
Herculanum, Park Avenue and Praxis are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Pompeijana, Rusticana and Salto are trademarks of Linotype GmbH and may be registered in certain jurisdictions.
Prague is a trademark of International Typeface Corporation and may be registered in certain jurisdictions.
Papyrus is a trademark of International Typeface Corporation registered in the U.S. Patent and Trademark Office and which may be registered in certain other jurisdictions.
Woodley Park is a trademark of Monotype Imaging Inc. and may be registered in certain jurisdictions.
Brush Script is a trademark of The Monotype Corporation and may be registered in certain jurisdictions.
