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
[...]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
[...]Still searching for the perfect font or ornament for this year’s Christmas cards or holiday party invitations? Allow us to come to the rescue! Before you give up hope, make sure to visit our new X-Mas Font Feature page. Here we’ve collected images showing great ways to use a number of appropriate text, headline, and symbol fonts. We are sure to have the style you are looking for!
Trouver d’autres Fonctions de Fontes dans nos Archives de Présentation de Fontes.
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.
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
[...]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
[...]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
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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.
Paul Renner – né le 9 août 1878 à Wernigerode, en Allemagne, mort le 25 avril 1956 à Hödingen, en Allemagne – graphiste, peintre, typographe, auteur et enseignant.
A étudié l’architecture et la peinture à Berlin, Munich et Karlsruhe. Puis a travaillé comme peintre à Munich. 1907–17 : assistant de production et directeur de présentation pour Georg Müller Verlag à Munich. 1911 : cofondateur d’une école privée d’illustration à Munich. 1925–26 : directeur
[...]Ed (Ephram Edward) Benguiat, born 27. 10. 1927 in New York, USA, type designer, calligrapher. Studied at Columbia University, New York and the Workshop School of Advertising Art, New York.
1953: associate director of "Esquire" magazine. Opens his own design studio in New York. 1962: joins Photo-Lettering Inc. as typographic design director, a position he still holds today. 1970: joins the International Typeface Corporation and is made vice-president; he works on the in-house magazine
[...]Morris Fuller Benton – born 30. 11. 1872 in Milwaukee, USA, died 30. 6. 1948 in Morristown, USA – engineer, type designer.
After training as a mechanic and engineer, Benton jointed the ATF, where he became type designer and in-house designer with ATF.
Fonts: Benton developed over 200 alphabets, all of which were published by ATF, including Century roman (with Theodor Low de Vinne, 1885), Mariage (1901), Alternate Gothic (1903), Franklin Gothic (1903–12), Cheltenham® (1904), Clearface®
[...]Designer Phillip Kelly created the following fonts: Algerian™ (1988), Cortez (1977), Croissant™ (1978), Gillies Gothic™ extra bold shaded (1982, with Vince Whitlock), Pump™ (1976), University™ Roman (1977/1991, at Esselte Letraset LTD with Timothy Donaldson), Windsor™ ultra heavy (1975), Windsor™ extra bold condensed (1971), Zipper™ (1970).
Helmut Matheis was born 1917 in Speyer. Studied with Prof. E. von Dombrowski at the Staatsschule für angewandte Künste (State School of Applied Arts) in Munich from 1942 to 1945, then with Prof. F. H. Ehmcke from 1945 to 1947 (in 1946 the Akademie der bildenden Künste (Academy of Plastic Arts) and Staatsschule für angewandte Künste merged to form the Hochschule der bildenden Künste (College of Plastic Arts)). From 1950 freelance graphic designer in Munich and Starnberg. Has been living in
[...]Designer Alan Meeks (born 1951 in London) created the following fonts: Ambrose™, Aachen medium and bold (with Colin Brignall, 1969/1977), Algerian™ Condensed (1988), Astoria, Belwe™ Mono (1976/1989), Bertie™ (1985), Bickley™ Script (1986), Bramley™ (1979), Brigade, Burlington™ (1985), Cabaret™ (1980), Campaign™ (1987), Cancellaresca™ Script (1982), Candice™ (1976), Chalfont, Champers™ (1991), Chesterfield™ (1977), Claude™ Sans (1988/1990), Copacabana, Dynamo (with
[...]The designer Peter O’Donnell created the fonts Crillee™ (1986/87, with Vince Whitlock, original font created by Dick Jones in 1980/81), Demian™ (1987, original font created by Jan van Dijk in 1986), Odessa™ (1988) and Van Dijk™ (1986, original font created by Jan van Dijk in 1982).
The American designer Edwin W. Shaar created the fonts Flash™ (1939), Futura® Script (1954), Gazette® (1977), Nuptial Script™ (app. 1952) and Okay (1939).
The American designer David Siegel created the fonts Eaglefeather, Graphite® and Tekton™.
Kurt Weidemann – born 15. 12. 1922 in Eichmedien, Germany (today Poland) – typographer, graphic designer, author, teacher.
1950–52: trains as a typesetter in Lübeck. 1953–55: studies book graphics and typography at the Staatliche Akademie der Bildenden Künste in Stuttgart. 1955: starts freelancing as a graphic designer, advertising consultant and copywriter. Clients include COOP, Zeiss, Merck AG, Mercedes-Benz AG, Daimer-Benz AG, Deutsche Aerospace AG and Deutsche Bahn AG. Designs books for
[...]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),
[...]Designer William S. Gillies (born 1911, died 2000) created the font Gillies Gothic™ in 1935.
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.
[...]Gaynor Goffe has worked with calligraphy since 1974. The traditional skills of fine penmanship can introduce a distinctive atmosphere for a wide range of contemporary applications. Commissioned calligraphic, work has included: letter-head, invitation, greetings card, book jacket, logo and packaging design, illuminated presentation and memorial panels, design and inscribing of certificates and diplomas. Gaynor is particularly interested in the more personal, creative aspect of calligraphy,
[...]Henning Skibbe is a graphic and type designer from Hamburg, Germany. His thesis project the typeface family “Haptic”™ received a “Certificate of Excellence in Type Design” from the TDC in 2009. Currently he is working with Factor Design in Hamburg and there revised the FF Dingbats into FF Dingbats 2.0.
Presented by the Bauerschen Giesserei in 1928, Futura® font has been commonly known as the font development of the Bauhaus.
Although there was no direct association, Renner's Futura® font was indeed based on the simple forms of circle, triangle and square. Futura® is a geometrically constructed typeface which reflects the ideas of the Bauhaus and the 'New Typography'.
Over time, Paul Renner made some changes to make Futura® font more legible. It has long ascenders and descenders and therefore
[...]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
[...]Venture™
Venture Script reflects Hermann Zapfs handwriting. It was originally written with a Japanese feltpen. And like with Zapfs typeface Noris Script™ he wanted to preserve the rough outline of the handwritten form in the final drawings. Venture Script was made also for the Linofilm photocomposing system and released in 1969.
ITC Zapf Book®
Zapf Book font is a blend of the characteristics of Walbaum, Melior™ and the contrasting weights of Bodoni. It is a typical Zapf font, distinction
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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
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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
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Font Designer: Paul Renner, 1928
About the Font
Presented by the Bauerschen Giesserei in 1928, Futura® font has been commonly known as the font development of the Bauhaus.
Although there was no direct association, Renner's Futura font was indeed based on the simple forms of circle, triangle and square. Futura is a geometrically constructed typeface which reflects the ideas of the Bauhaus and the éNew Typography'.
Over time, Renner made some changes to make Futura font more
[...]
Font Designer: Helmut Matheis, 1997
Helmut Matheis created the font Charme™ in 1957. Charme is a flowing, informal script font. Due to ist fresh and lively look, Charme works well when used frugally on letterhead, invitations, packaging, and in other casual display situations.
Font Designer: Helmut Matheis, 1957
Helmut Matheis created the font Charme™ in 1957. Charme is a flowing, informal script font. Due to ist fresh and lively look, Charme works well when used frugally on letterhead, invitations, packaging, and in other casual display situations.
Font Designer: David Siegel, 1990
Tekton™ font is based on the hand lettering of West Coast architect Frank Ching, who wrote out the text for his books. It is an Adobe Originals typeface designed by David Siegel in 1989. Tekton is ideal for architectural drawing/design software, to match the feel of the type with the designer´s plans, or to give the page an architectural or informal handwritten flavor. Tekton multiple master, released in 1993, has increased the usefulness of the
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Font Designer: David Siegel, 1990
Tekton™ font is based on the hand lettering of West Coast architect Frank Ching, who wrote out the text for his books. It is an Adobe Originals typeface designed by David Siegel in 1989. Tekton is ideal for architectural drawing/design software, to match the feel of the type with the designer´s plans, or to give the page an architectural or informal handwritten flavor. Tekton multiple master, released in 1993, has increased the usefulness of the
[...]In the mood for more samples of our fonts?
Our Font Gallery displays numerous examples of Linotype fonts. Search alphabetically or by category.
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
Une scripte du 21ème siècle – Présentation de Hamada
La fonte Hamada™ de Linotype est un dessin script puissant qui fait entrer l’œuvre de la calligraphe anglaise Gaynor Goffe dans l’ère numérique. Travaillant directement à partir de l’écriture de Goffe, Akira Kobayashi, directeur de typographie chez Linotype, a numérisé les formes de lettre sous la forme de ce dessin. La fonte Hamada, résultat de ce travail, capture l’impression d’un stylo sur une page ; l’encre se faufile hors
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