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Univers® Schriftfamilie (Linotype Originals) Digitale Daten von: Linotype Details ... Treffer-Qualität: gefunden durch erweiternde Suche in Produktname 'Univers® Font Family'

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 [...]

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® [...]

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 [...]

Seit Jahrzehnten arbeitet Adrian Frutiger eng mit Linotype zusammen. In den vielen Jahren dieser wertvollen Zusammenarbeit sind zahlreiche Fotos von Adrian Frutiger entstanden. Diese Bilder vermitteln Eindrücke der verschiedenen Phasen und Höhepunkte seines bisherigen Lebens. Es sind Fotos, die ihm bei der Arbeit in seinem Studio zeigen, Aufnahmen zusammen mit seinen Schriften, sowie aktuellere Schnappschüsse, auf denen er bei der Zusammenarbeit mit Akira Kobayashi zu sehen ist. Wir hoffen, [...]

Kunden aus aller Welt besuchen täglich Linotype.com, um Schriften zu erwerben. Nachstehend finden Sie eine Liste mit den 20 Schriftfamilien, die unsere Kunden im Jahr 2008 am häufigsten gekauft haben. Kennen Sie sie alle?

Frutiger® – der Klassiker unter den serifenlosen Schriften. Das Original gibt es direkt von Linotype als Einzelfont, Value Pack oder auf CD. Über die Frutiger Mit der Frutiger schuf der renommierte Schriftdesigner Adrian Frutiger ein wahres Meisterwerk. Beauftragt mit der Entwicklung des Leitsystems für den Pariser Flughafen Charles de Gaulle in Paris, bei dem gute Lesbarkeit oberstes Gebot war, erstellte Frutiger im Jahr 1968 die inzwischen legendäre Frutiger. Die ursprüngliche [...]

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.

Entstanden durch Zusammenschluß der Firmen Deberny & Cie (gegr. 1818) und Peignot & fils (gegr. 1842) im Jahre 1923. Die wichtigsten Schriftdesigner waren A. M. Cassandre und Adrian Frutiger. In den 50er Jahren wird eine der ersten brauchbaren Fotosetzmaschinen, die Lumitype, gebaut. Im Jahre 1972 erwarb die Haas’sche Gießerei in Münchenstein die Firma.

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 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 [...]

Westside™ Westside can be classified as a "wood type." It is reminiscent of dusty streets, Wild West heroes and swinging saloon doors. The origins of wood types are found in the early nineteenth century, when such types really were cut in wood, and printed on hand presses. Westside has big fat serifs and heavy horizontals that are much thicker than the skinny vertical strokes. When the letters are set together, the heavy serifs build dark horizontal bands. As most of Frutiger's other fonts are [...]

Im Archiv der Font-Beiträge finden Sie weitere Artikel. Der typografische Tipp des Monats von Akira Kobayashi, dem künstlerischen Leiter bei Linotype! Mai 2008: Die Methodik von Adrian Frutiger! „Typografie muss anmutig sein, wie ein Wald und nicht wie ein Beton-Dschungel von Mietskasernen. Sie bestimmt den Abstand zwischen den Bäumen, den Freiraum zum Atmen, die Luft zum Leben.” – Adrian Frutiger (in einem Interview mit Klaus-Peter Nicolay, aus Druckmarkt, [...]

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 [...]