My fonts.
Josef Albers (1888-1976)
German artist, designer and educator. He developed theories relating to the forms of colour, line and geometric.
Albers ideas are in a book he published called Interaction of colour
He also produced some typefaces.
Adrian Frutiger
A well known typeface designer, he experimented with a variety of self-invented scripts and stylized handwriting in reaction to the formal cursive required at the time in Swiss schools.
Click here to see more.
List of type faces designed:
President
Meridien
Egyptienne
Univers
Serifa
OCR-B
Iridium
Frutiger
Glypha
Icone
Breughel
Versailles
Avenir
Vectora
Didot (Linotype)
Giambattista Bodoni (1740-1813)
'Giambattista Bodoni achieved an unprecedented level of technical refinement, allowing him to faithfully reproduce letterforms with very thin "hairlines", standing in sharp contrast to the thicker lines constituting the main stems of the characters. His printing reflected an aesthetic of plain, unadorned style, combined with purity of materials' - wikipedia
Bodoni type family
Roger Excoffon (1910-83)
French self taugh typeface designer. Produced a numerous amount of posters combined with typography.
Antique Olive
Antique Olive (URW)
ITC Banco
ITC Banco Light
Choc
Choc (URW)
Choc Light
Mistral
Mistral (URW)
ITC Mistral Light
MN Olive
Staccato 222
Akidenz Grotesk
Akzidenz Grotesk is a realist sans-serif typeface originally released by the H. Berthold AG type foundry in 1896. Contemporary versions of Akzidenz Grotesk descend from an early-1950s project, directed by Günter Gerhard Lange at Berthold, to enlarge the typeface family, adding a larger character set, but retaining all of the idiosyncrasies of the 1896 face. Some new weights, condensed and extended widths were released under the title Standard. While Günter Gerhard Lange sought to academically retain Akzidenz Grotesk's imperfections, Max Miedinger's 1957 Swiss typeface Helvetica, used it as a model but sought to refine the typeface making it more even and unified. Akzidenz Grotesk also influenced Adrian Frutiger's 1956 typeface Univers. Akzidenz Grotesk is the first sans serif typeface to be widely used.
Click here to see sample
Futura is the fully developed prototype of the twentieth century Geometric Sanserif. The form is ancient, Greek capitals being inscribed by the Cretans twenty-five hundred years ago at the time of Pythagoras in the Gortyn Code, by the Imperial Romans, notably in the tomb of the Scipios, by classical revival architects in eighteenth century London, which formed the basis for Caslon's first sanserif typeface in 1817. Some aspects of the Geometric sanserif survived in the flood of Gothics that followed, particularly in the work of Vincent Figgins. In 1927, stimulated by the Bauhaus experiments in geometric form and the Ludwig & Mayer typeface Erbar, Paul Renner sketched a set of Bauhaus forms; working from these, the professional letter design office at Bauer reinvented the sanserif based on strokes of even weight, perfect circles and isosceles triangles and brought the Universal Alphabet and Erbar to their definitive typographic form. Futura became the most popular sanserif of the middle years of the twentieth century. Ironically, given its generic past, Futura is the only typeface to have been granted registration under copyright as an original work of art, and, further irony, given the key part played by the Bauer letter design office, the full copyright belongs to Renner and his heirs. This decision in a Frankfurt court implies that a further small group of older typefaces may also be covered by copyright in Germany, particularly those designed for Stempel by Hermann Zapf. This situation appears to be limited to this small group of faces in this one country, although protection of designers' rights in newer typefaces is now possible in France and Germany through legislation deriving from the 1973 Vienna Treaty for the protection of typefaces. Mergenthaler's Spartan is a close copy of Futura; Ludlow's Tempo is less close. Functional yet friendly, logical yet not overintellectual, German yet anti-Nazi... with hindsight the choice of Futura as Volkswagen's ad font since the 1960s looks inevitable.
I'll admit this text is stolen but i liked it so i wanted to include it in my blog.
see here for the website
Im going to continue to edit this mind so its no where near finished
