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,A73?)1'm9;7.;'4?m5'?)D'50'm30>,;50)>A'm+3'm<>?+,5>8AmAC+D0'l?m.;'-020 do lat 70. XX wieku 5m m mm  m m mMm m  m m  mMmmm  m   Mmm mnmm!mm mmNm9 m m m m m  m!Mmmn m  mmm Z QNm3mMm    m   Zm KOLUMNA TEKSTU, m m m m7Nm?

m m Mm m Mm m NmRm Mm m NmSm Nm7  Nm> mZm040&m5'DA0<27m*A0)D,50'mDm30>,;50)>A'm'2'+,40'm<D>?2m90&25C)/mAm2;'27A0,m AC+D0'lm.;'-020m;72m0m+'>' RNm3mMm    m   Zm NAPIS MAKSYMALNY* NA OSI, m m m m7Nm?

m m Mm  m Mm mm m  mmNm7  Nm?

m  Nm> m mRNmmSNZm040&Mm5'DA0<27mI nm O Jm30>,;50)>A7 n .;'-02'Mm+'>' SNm3mMm    m  Zm NAPIS MAKSYMALNY* NA OSI, m m m m7Nm?

m m Mm  m Mm mm m  mmNm9 Mm Nm?

m   N K4   Mmmmmm Mmmm  mm mm  N

08 01

02 09

03

TNm3mMm    m  Zm ZNAK W OTOKU,  mnNm3mMm    m  M n  m  m m m7Nm?

m  MmMm m mm m  mm Nm> Zm m Nm7  m nm 

11

UNm3mMm    m Zm KOLUMNA TEKSTU, n  m  m m m7NmA m  mmmQN 9 m nmMmNm9m N VNm3mMm   m Zm KOLUMNA TEKSTU, n  m  m m m7NmA m  m  N

04 13

WNm3mMm    m  Zm NIEALFABETYCZNY UKĪAD ALFABETU. 3mn  m  m m m7Nm ?

m  MmMm m mm mm Nm7  m nm Nm<nmm  m m m m     mm N 5m    mm  mgmm !m mVPNmmm mWPNmgmn mm m mn  m mm0m Mmm  m  mmMm  mm mMm NNZ

05 14

8. ZNAK WĪASNY, mMm  m mm Nm> N INmQNZm m MmNmRNZm mJ RT

9. EX LIBRIS literniczy, mMm m nmnm mĆN 10. „PANTOGRAM”, mMmIm mmm

 mm m m nmm Nm5  m m mo"pMmnm  mn m"mm

  "Mm m"m mNm  m Nm> N

06

11. „KOREKTA” OKĪADKI,  mmm  m mmn mmnmnMmnm m  m N 12. „KOREKTA” CZCIONKI,  mn m Mmnmm  m  NmAm  m mmo  pm  mnm  m N 15

13. „SĪOWO”, mZ Amm  Mm mnmm Mm m N 14. PLAKAT LITERNICZY, mN 9 mnmm Mm mN 15. KOLUMNA TEKSTU, mZmQNm mI    mm   JM RNmmIdittoJNmDmm mmmmmm mmN

07

16. WIERSZ, nm  m  N 16

<mA m.Ć mn m3m  m   m  m m  m  mm9Nm>mmn mmN 1 m.


od lat 80. XX wieku do poczÄ tku XXI wieku D'+'50'mDm30>,;50)>A'

01

02

07

08

03 09

2. KOLOROWA KOMPOZYCJA INICJAÄŞĂ&#x201C;W (PODZIAÄŞ PÄŞASZCZYZNY LITERÄŚ) â&#x20AC;&#x201C;   ÄŤm m   N - m'Tm Nm> m m  Nm2 m  mInm mm JNm?  mmm m m m mI  m JMm  m"m   m  Mm Mm m  m mm mm m  N 3. WIZYTĂ&#x201C;WKA WÄŞ'<5'mgm   ÄŤa klasyczna dwuelementowa, mm nm  Mmm m  mm m m m7Nm- m'Sm Nm > Mm  Mm  Nm9mmmm   m m  m  m  "m m mI nm Jmm mm Nm;mjn m nm  mm   m mI m mmJNm4 m m  m m  mm  m  m  m Nm?

m  Mmm m   mI  Jm   m m  mINm    mn m  JN 4. KOMPOZYCJA LITERNICZA Z DOMINANTÄŚ â&#x20AC;&#x201C; litera dana, budowa zgodnego zespoÄŤu literniczego. QN - mTRPmrmQTXm Nm> m> Nm3mMm mn Nm 9m mm mm m  m  "mn  m  m m Nm0 m  m "mm     m  mm N RN - mRYWmrmRYWm Nm> m m Nm3mMm mn Nm5  m "m   m m mm mmmn m Nm

04

10

UNm<,5>,5)1'mgm   ÄŤa klasyczna, narzÄ&#x;dziowa. - m'Sm Nm>Mm m nm mmmn  m Nm9 m nmmNm5  m  "m nMm  m Mm  m nm mm m  mI m JNm4 "m m mmm m m Nm ?

m  mm   m  mm Nm 6. KOMPOZYCJA WIERSZA â&#x20AC;&#x201C; litera interpretowana, narzÄ&#x;dziowa. - m(RmNm > m MmNm9 m nmmMm  Mm mNm9  m  Mm ZmMm Mm mNm;m  N

05

11

06

ROK I QNm273?45'm>,2<>?mgm   ÄŤm m   M mMm mjmm  mm m m m7Nm- m'Sm Mm m  m   m NmSm Mm m mmm m m QYm Nm*m m   m(g(TMm mmnmPMUgPMXm Mmm Inm m  JMmm mn  Mm  Nm9m m  m "m m   mm  mm mI m m mJNm?

m  Mm N

ROK II 7. SÄŞOWO W KOLORZE â&#x20AC;&#x201C; litera interpretowana,    m nm   Nm- m UPmrmWPm Mmm nm Nm> m m Nm2  mm m    Nm3Mm  m mm mImÄ&#x2020;JN 8. NAZWISKO (KOMPOZYCJA LITERNICZA) â&#x20AC;&#x201C; litera interpretowana, narzÄ&#x;dziowa. - mUPmrmWPm Nm> mMmmMm  mmNm5m m  m Nm> MmmMmm  Nm5  m"m   m jn mm m   mI mmJMm m  m mI Mm JNm 9. LITERNICZY ZNAK WÄŞASNY â&#x20AC;&#x201C; litera interpretowana, rysowana lub narzÄ&#x;dziowa. - m'TmNm> mm nm m  Nm2mn Nm> mn Mm mNm?  mgm mIm  JMm  m  "m  m m mm "mmm m m  mm    m   m  mIJN 10. OHAMBURGEFONSZ â&#x20AC;&#x201C; litera interpretowana, charakterystyczna. - m QPPmrmQRMUm Nm> m m Nm3mMm mn Nm5  m"m  mmo7/ npm  mm  mMm m

 m NmA "m

mm   m  mm N 11. PLAKAT LITERNICZY. - mWPmrmQPPm Nm> m m Nm9  m   m m  mm Mm m nmm   Mm MmÄ&#x2020; Mm m mNm;mn  N

RU


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4m m. j+n! mgmm mmNm1 m. mgmmn m m  m m mmm mm m  mNmDmm m m m m m  mĆ Ćm  m  m 9m3MmNm(  m7  mmm m mmA m.Ć m Nm

Nm1m.  NmDm m  mmm m mm mnm  Mm  m m QPj m   m   m m A m .Ć Mm 4 m m;nN > mmmnm

m  m m mMm mmĆm   mmmĆNm=m NmA  m  mm mm  mm  mmNm4m. j+n! m  mMm mmmn mm mmNmAmn m  mn m m m nmIm mĆJmm mmm mMmm m m Mm  mmmmm  Nm5m m  m  m   mN Dm ! m m YPNm n m  Mm  m  Mm    Mm  m  m m   m Ćm  m m  Mm    m nm m m m RV

m m. j+n! NmAm   mm mmnmm Nm9m m m  m m   Mm m  m  m   Mm m   m  m Nm 9m mm mMm m   m mm  mm Mm m;m(! Mm m  m Mm mmm m  m  Nm< Mm m  m mm  m m mmmA m.Ć Nm5m mm n m  mmm m mm Mmmmm  mmmm m  m. j+n! N 2 m m  m m  m m  m nm 9m 3Mm m  m  m  m m I9m 3mm>ĆJMm  m mnNm; mm  m m m   mm mm mmĆMm m m ! mm m   m . j+n! Nm ( m m nm Mm m nm  Nm 0m  m Ć m  m  mm  mm m mm"Nm<  m  m m  m m mmA m4 mm;nN +  Mm m m mn  mmmnm  m mm m    m  mm m Mm m m  m m m m  m m   m m  m m n m  Nm 9m gm m  m mmm m mmm mm  mm  m  mm m mm mmgm MmmNmDnmmmm  m"mmnmMmmm  mm m N


lata 1998–2006 D'+'50'mDm97+<>'Am9;71,2>7A'50'm.;'-0)D5,.7 ROK I 1. MAKSYMALNE OBCIĦĩENIE PĪASZCZYZNY. - m'TmNm2  m nm m

 Nm5mn  m m  m "m  mĆm mm  m  m Mmnm  mmm     m  m mm m   m m Nm 01 06

2. KOMPOZYCJA PĪASZCZYZNY (RÓWNOWAGA KOMPOZYCYJNA, LOGIKA KOMPOZYCJI). - m'TmNm2  mI  mMmmmmm  mm n  m JNm5mmn m m  m "mmm m mI nm JmmnmUm m Mmnm m

m Mm m  mmmmmNm 3. PRZESTRZEħ W KOMPOZYCJI. - m'TmNm> mm> mmn  m

Mm m mĆNm4 mm m  mmm Mm   m"m Mm m m   m  mm m  m mNm

02

07

4. ABSTRAKCYJNA KOMPOZYCJA BARWNA Z AKCENTEM „KONTAKT”. - m'Sm Nm> Nm?  m  m Mm  m"m  m

  mm m  NmA m  m  mm m   mm m

mIm m mm JNm9 m Mm  Nm Nm>  m   m m mo  pNm 5. RODZINNOĭĨ FORM GRAFICZNYCH. - m'SmNm> m m Mm  Nm5  m  "mm  Mmmm mmnm  Mm m mm Mm m m  "m m  mm mm  Nm 5  m"m   Mm m m mmI m m m m JNm 6. OKĪADKA NA MUZYCZNĦ PĪYTĮ CD. - mQRPmrmQRPm NmA mm  m

  Mm m  m nmĆmnNm3m Mmm m nm Nm?  mnm m  Mm  mMm  m  "m

 m m)+Mm m mmm nm m  m m "m   Nm5 mm m   mmn"mmm  m n m  Nm9  mmm m

mm m)+N

03

08

04

09

7. ZGODNY ZESPÓĪ LITERNICZY (KOMPOZYCJA LITERNICZA WĪASNEGO IMIENIA). QNm- mTRPmrmQTXm mI m m'SJNm> mmm m mn m Nm'  mm mm Mm  m  "m n  m mI m Jm Mmnm"mm m Nm0 mm m "mmnm    mIm m mmmJmm mmm N RN - mRYWmrmRYWm Nm> m nmm mmmm Nm 2mn Mm mNmDm  mm m  m"m m   Mmm  m mnm mnm Nm) m

  m  mm  m Nm 8. ZNAK WĪASNY (LITERA INTERPRETOWANA). - m'TmNm> mmm

m mn m Nm7  m/Tg/VMm  mMm m Nm SPPmO RMm mn mmMm m  mmSMmĆMm  Nm?  m gmm m mI Jmm Mm  m  "m m m mĆNm9mn"m mm     m  m

 mm m  m m  mN 9. WIELOPĪASZCZYZNOWA KOMPOZYCJA PRZESTRZENNA (NA TEMAT WYBRANEGO ZWIERZĮCIA). - mm mm  m m'TMm  m Mm  mNm> m m Nm9m  Mm  Mm  Mm  Mm Mm Mm m  Mm mmNm4 mm m  m m INm  mmm  JMm Mm  m  mImm m  m m Jmm  m mmmmnm Mm  m"mn  mm  m   mm  mmm m N

05

10

10. WIZUALIZACJA PRZYSĪOWIA. - m'RmNm> m m Nm Ammmnm m  m"m   mm m   Mm m Mmm  mĆMmm"mgmmNm

RW


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m mmm  mm Nm ) mm Mm m m m m Nm4 mmm   Mm

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mmnmm Nm;nm  mm m   m m m mm   mMm  m mo mm  pNmAm m

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The quick brown fox jumps over the lazy dog is an English-language

The quick brown fox jumps over the lazy dog

pangram, that is, a phrase that contains all of the letters of the English

is an English-language pangram, that is,

alphabet. It has been used to test typewriters and computer keyboards,

a phrase that contains all of the letters of the English alphabet. It has been used to test

and in other applications involving all of the letters in the English al-

typewriters and computer keyboards, and in

phabet. Owing to its brevity and coherence, it has become widely

other applications involving all of the letters in

known. The quick brown fox jumps over the lazy dog is an English-

the English alphabet. Owing to its brevity and

language pangram, that is, a phrase that contains all of the letters of

coherence, it has become widely known. The quick brown fox jumps over the lazy dog is an

the English alphabet. It has been used to test typewriters and computer

English-language pangram, that is, a phrase

keyboards, and in other applications involving all of the letters in the

that contains all of the letters of the English

English alphabet. Owing to its brevity and coherence, it has become

alphabet. It has been used to test typewriters

widely known. The quick brown fox jumps over the lazy dog is an Eng-

and computer keyboards, and in other applications involving all of the letters in the English

lish-language pangram, that is, a phrase that contains all of the letters

alphabet. Owing to its brevity and coherence, it

of the English alphabet. The quick brown fox jumps over the lazy dog

has become widely known. The quick brown fox

is an English-language pangram, that is, a phrase that contains all of

jumps over the lazy dog is an English-language

the letters of the English alphabet. It has been used to test typewriters

pangram, that is, a phrase that contains all of the letters of the English alphabet. The

and computer keyboards, and in other applications involving all of the

quick brown fox jumps over the lazy dog is an

letters in the English alphabet. Owing to its brevity and coherence, it

English-language pangram, that is, a phrase

has become widely known. The quick brown fox jumps over the lazy

that contains all of the letters of the English

dog is an English-language pangram, that is, a phrase that contains all of the letters of the English alphabet. It has been used to test type-

alphabet. It has been used to test typewriters and computer keyboards, and in other applications involving all of the letters in the English

2 m MmA m.Ä&#x2020; [ PPPm<nm< mg 4 


-MmA m.Ä&#x2020; [ USQm.´m2  ZmLewiathana


The quick brown fox jumps over the lazy dog is an English-language pangram, that is, a phrase that contains all of the letters of the English alphabet. It has been used to test typewriters and computer keyboards, and in other applications involving all of the letters in the English alphabet. Owing to its brevity and coherence, it has become widely known. The quick brown fox jumps over t

COMPUTER KEYBOARDS, AND IN OTHER APPLICATIONS INVOLVING ALL OF THE LETTERS IN THE ENGLISH ALPHABET. OWING TO ITS BREVITY AND COHERENCE, IT HAS BECOME WIDELY KNOWN. THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG IS AN ENGLISH-LANGUAGE PANGRAM, THAT IS, A PHRASE THAT CONTAINS ALL OF THE LETTERS OF THE ENGLISH ALPHABET. COMPUTER KEYBOARDS, AND IN OTHER APPLICATIONS INVOLVING ALL OF THE LETTERS IN THE ENGLISH ALPHABET. OWING TO ITS BREVITY AND COHERENCE, IT HAS BECOME WIDELY KNOWN. THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG IS AN ENGLISH-LANGUAGE PANGRAM, THAT IS, A PHRASE THAT CONTAINS ALL OF THE LETTERS OF THE ENGLISH ALPHABET. COMPUTER KEYBOARDS, AND IN OTHER APPLICATIONS INVOLVING ALL OF THE LETTERS IN THE ENGLISH ALPHABET. OWING TO ITS BREVITY AND COHERENCE, IT HAS BECOME WIDELY KNOWN. THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG IS AN ENGLISH-LANGUAGE PANGRAM, THAT IS, A PHRASE THAT CONTAINS ALL OF THE LETTERS OF THE ENGLISH ALPHABET. COMPUTER KEYBOARDS, AND IN OTHER APPLICATIONS INVOLVING ALL OF THE LETTERS IN THE ENGLISH ALPHABET. OWING TO ITS BREVITY AND COHERENCE, IT HAS BECOME WIDELY KNOWN. THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG IS AN ENGLISH-LANGUAGE PANGRAM, THAT IS, A PHRASE THAT CONTAINS ALL OF THE LETTERS OF THE ENGLISH ALPHABET. COMPUTER KEYBOARDS, AND IN OTHER APPLICATIONS INVOLVING ALL OF THE LETTERS IN THE ENGLISH ALPHABET. OWING TO ITS BREVITY AND COHERENCE, IT HAS BECOME WIDELY KNOWN. THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG IS AN ENGLISH-LANGUAGE PANGRAM, THAT IS, A PHRASE THAT CONTAINS ALL OF THE LETTERS OF THE ENGLISH ALPHABET. COMPUTER KEYBOARDS, AND IN OTHER APPLICATIONS INVOLVING ALL OF THE LETTERS IN THE ENGLISH ALPHABET. OWING TO

he lazy dog is an English-language pangram, that is, a phrase that contains all of the letters of the English alphabet. It has been used to test typewriters and COMPUTER KEYBOARDS, AND IN OTHER APPLICATIONS INVOLVING ALL OF THE LETTERS IN THE ENGLISH ALPHABET. OWING TO ITS BREVITY AND COHERENCE, IT HAS BECOME WIDELY KNOWN. THE QUICK BROWN

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inspiracje i historia ITC Bauhaus to bezszeryfowy, akcydensowy krĂłj pisma zaprojektowany w ď&#x2122;&#x201E;ď&#x2122;&#x152;ď&#x2122;&#x160;ď&#x2122;&#x2C6; roku w oparciu o â&#x20AC;&#x17E;universal alphabetâ&#x20AC;? stworzony w ď&#x2122;&#x201E;ď&#x2122;&#x152;ď&#x2122;&#x2026;ď&#x2122;&#x2C6; roku przez Herberta Bayera. Jest to nie tyle renowacja pomysĹ&#x201A;u projektanta, a interpretacja wykorzystujÄ&#x2026;ca charakter â&#x20AC;&#x17E;universal alphabetâ&#x20AC;? oraz ďŹ lozoďŹ Ä&#x2122; projektowania Bauhausu. Font bazuje na ksztaĹ&#x201A;tach geometrycznych. Jest prosty ale atrakcyjny. ITC Bauhas wystÄ&#x2122;puje teĹź pod nazwÄ&#x2026; â&#x20AC;&#x17E;Geometric ď&#x2122;&#x160;ď&#x2122;&#x2026;ď&#x2122;&#x2C6;â&#x20AC;? w ďŹ rmie Bitstream, â&#x20AC;&#x17E;BHâ&#x20AC;? w Itek.

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5 11 Ed (Ephram Edward) Benguiat, Benguia at, born 27.10.1927 in New York, USA, type Studied designer, calligrapher. Studie ed at Columbia University, New York and the Workshop School of Advertising Advertisin ng Art, New York. 1953: associate director of â&#x20AC;&#x17E;Esquireâ&#x20AC;? â&#x20AC;&#x17E;Esquireâ&#x20AC;? magazine. Opens his own design studio in New York. 1962: joins Photo-Lettering Photo-Lettering Inc. as typographic design director, a position he still holds today. Typeface 1970: joins the International Ty ypeface Corporation and is made vicepresident; he works on the in-house mag magazine gazine â&#x20AC;&#x17E;U&lcâ&#x20AC;? with Herb Lubalin. Member of the Alliance Graphique Internationale. Internation nale. He has produced logotypes for the â&#x20AC;&#x17E;New York Timesâ&#x20AC;?, â&#x20AC;&#x17E;Playboyâ&#x20AC;?, â&#x20AC;&#x17E;Reader`s â&#x20AC;&#x17E;Reader`s Digestâ&#x20AC;?, â&#x20AC;&#x17E;Sports Illustratedâ&#x20AC;?, â&#x20AC;&#x17E;Esquireâ&#x20AC;? and â&#x20AC;&#x17E;Lookâ&#x20AC;?. He has taught at the School Scchool of Visual Arts in New York since 1961. Fonts: Souvenir (1970), Modern 216 (1982), Avant Garde Gothic (1974), Caslon 224 (1983), Korinna (1974), Panache (1988), Tiffany (1974), Century Handtooled (1992), Bookman (1975), Cheltenham Handtooled (1992), Benguiat (1977/79), Garamond Handtooled (1992), Barcelona (1981), Edwardian Script (1994).

6

tekst w jÄ&#x2122;zyku angiel elskim angielskim zĹ&#x201A;oĹźony zĹ&#x201A;oĹźon ny fontem ITC ba auhaus, bauhaus, odmianÄ&#x2026; odmia anÄ&#x2026; â&#x20AC;&#x17E;lightâ&#x20AC;? o wymiarach wym miarach

Victor Caruso was a Contemporary New York advertising designer associated with Photo-Lettering Inc. and ITC. He designed also: ITC Clearface, ITC Franklin Gothicâ&#x201E;˘, ITC Friz Quadrata bold, Friz Quadrataâ&#x201E;˘ and ITC Kabel.

11pt/13,2 11pt/ /13,2 pt

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ilustracja przedstawia porĂłwn porĂłwnanie nanie litery â&#x20AC;&#x17E;sâ&#x20AC;? dwĂłch bardzo podobnych krojĂłw w pisma ITC Bauhaus (kolor niebieski) oraz Bauhaus 93 (kolor szary) Nazwa fontu pochodzi od jednej jeednej ich z najwaĹźniejszych niemiecki niemieckich szkĂłĹ&#x201A; artystycznych â&#x20AC;&#x201C; Bauha aus. Bauhaus. Bauhaus to uczelnia artystyczna artystyyczna powstaĹ&#x201A;a w Weimarze z poĹ&#x201A;Ä&#x2026;czenia Akademii Rzem miosĹ&#x201A; Artystycznych w ď&#x2122;&#x201E;ď&#x2122;&#x152;ď&#x2122;&#x201E;ď&#x2122;&#x152; roku, później dziaĹ&#x201A;ajÄ&#x2026;ca Sztuk PiÄ&#x2122;knych i SzkoĹ&#x201A;y RzemiosĹ&#x201A; w Dessau i Berlinie. ZostaĹ&#x201A;a utworzona przez Waltera Gropiusa. DziaĹ&#x201A;aĹ&#x201A;a do ď&#x2122;&#x201E;ď&#x2122;&#x152;ď&#x2122;&#x2020;ď&#x2122;&#x2021; uĹźywane jest rĂłwnieĹź potocznie lub nieĹ&#x203A;ciĹ&#x203A;le jako nazwa roku. OkreĹ&#x203A;lenie Bauhaus uĹźywane stworzonego przez niÄ&#x2026; kierunku kierun nku architektonicznego, jednego z odĹ&#x201A;amĂłw niemieckiego modernizmu.


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Jest to seria kroju literniczego, ktĂłreg ktĂłrego go nazwa pochodzi od nazwiska oczštkowo byÂł dostĂŞpny jako bezjego projektanta Adriana Frutigera. P Poczštkowo SZERYFOWY Ă&#x2019;PÂ&#x2DC;Ă&#x;NIEJĂ&#x2019;POSZERZONYĂ&#x2019;OĂ&#x2019;OZDO OBNEĂ&#x2019;SZERYFYĂ&#x2019;KROJÂ&#x2DC;WĂ&#x2019;&RANCJAĂ&#x2019;POSZERYFOWY Ă&#x2019;PÂ&#x2DC;Ă&#x;NIEJĂ&#x2019;POSZERZONYĂ&#x2019;OĂ&#x2019;OZDOBNEĂ&#x2019;SZERYFYĂ&#x2019;KROJÂ&#x2DC;WĂ&#x2019;&RANCJAĂ&#x2019;POtrzebowaÂła nowego systemu oznakow wania dostosowanego do archioznakowania tektury nowego lotniska Charles de G aulle pod ParyÂżem.W 1968 roku Gaulle ZLECONOĂ&#x2019;ZAPROJEKTOWANIEĂ&#x2019;NOWEGOĂ&#x2019;SYS STEMUĂ&#x2019;ZNAKÂ&#x2DC;WĂ&#x2019;WĂĽAĂ&#x153;NIEĂ&#x2019;SZWAJCARZLECONOĂ&#x2019;ZAPROJEKTOWANIEĂ&#x2019;NOWEGOĂ&#x2019;SYSTEMUĂ&#x2019;ZNAKÂ&#x2DC;WĂ&#x2019;WĂĽAĂ&#x153;NIEĂ&#x2019;SZWAJCARskiemu projektantowi Adrianowi Frut tigerowi. Poczštkowo Frutiger rozFrutigerowi. waÂżaÂł zaadaptowanie do tego celu kr roju Univers, ale stwierdziÂł, Âże jest kroju ONĂ&#x2019;ZBYTĂ&#x2019;MOCNOĂ&#x2019;KOJARZONYĂ&#x2019;ZĂ&#x2019;LATAMIĂ&#x2019;SZE EĂ&#x153;Ä&#x20AC;DZIESIĂŚTYMIĂ&#x2019;7Ă&#x2019;KOÄ&#x2020;CUĂ&#x2019;STWORZYĂĽĂ&#x2019; ONĂ&#x2019;ZBYTĂ&#x2019;MOCNOĂ&#x2019;KOJARZONYĂ&#x2019;ZĂ&#x2019;LATAMIĂ&#x2019;SZEĂ&#x153;Ä&#x20AC;DZIESIĂŚTYMIĂ&#x2019;7Ă&#x2019;KOÄ&#x2020;CUĂ&#x2019;STWORZYĂĽĂ&#x2019; NOWYĂ&#x2019;KRÂ&#x2DC;J Ă&#x2019;KTÂ&#x2DC;RYĂ&#x2019;POĂĽĂŚCZYĂĽĂ&#x2019;WĂ&#x2019;SOBIE RACJ CJONALNOĂ&#x153;Ä&#x20AC;Ă&#x2019;IĂ&#x2019;CZYSTOĂ&#x153;Ä&#x20AC;Ă&#x2019;KROJUĂ&#x2019;5NIVERSĂ&#x2019; NOWYĂ&#x2019;KRÂ&#x2DC;J Ă&#x2019;KTÂ&#x2DC;RYĂ&#x2019;POĂĽĂŚCZYĂĽĂ&#x2019;WĂ&#x2019;SOBIEĂ&#x2019;RACJONALNOĂ&#x153;Ä&#x20AC;Ă&#x2019;IĂ&#x2019;CZYSTOĂ&#x153;Ä&#x20AC;Ă&#x2019;KROJUĂ&#x2019;5NIVERSĂ&#x2019; ami fontu Gill Sans (font Gill Sans z bardziej organicznš liniš i proporcja proporcjami byÂł stworzony przez Erica Gill e Edwa arda Johnstona i wykorzystany do Edwarda OZNAKOWANIAĂ&#x2019;LONDYÄ&#x2020;SKIEGOĂ&#x2019;TRANSPORT TUĂ&#x2019;PUBLICZNEGO Ă&#x2019;.OWYĂ&#x2019;KRÂ&#x2DC;J Ă&#x2019;POOZNAKOWANIAĂ&#x2019;LONDYÄ&#x2020;SKIEGOĂ&#x2019;TRANSPORTUĂ&#x2019;PUBLICZNEGO Ă&#x2019;.OWYĂ&#x2019;KRÂ&#x2DC;J Ă&#x2019;POCZATKOWOĂ&#x2019;NAZYWANYĂ&#x2019;2OISSY Ă&#x2019;ZOSTAĂĽĂ&#x2019;UKO KOÄ&#x2020;CZONYĂ&#x2019;WĂ&#x2019;Ă&#x2019;ROKUĂ&#x2019;2Â&#x2DC;WNIEĂŞĂ&#x2019; CZATKOWOĂ&#x2019;NAZYWANYĂ&#x2019;2OISSY Ă&#x2019;ZOSTAĂĽĂ&#x2019;UKOÄ&#x2020;CZONYĂ&#x2019;WĂ&#x2019;Ă&#x2019;ROKUĂ&#x2019;2Â&#x2DC;WNIEĂŞĂ&#x2019; w tym samym roku zostaÂł zastosowan ny na lotnisku. zastosowany

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7Ă&#x2019;Ă&#x2019;ROKUĂ&#x2019;NAĂ&#x2019;ZAMÂ&#x2DC;WIENIEĂ&#x2019;ODLEWN NIĂ&#x2019;3TEMPELĂ&#x2019;!DRIANĂ&#x2019;&RUTIGERĂ&#x2019;DODAĂĽĂ&#x2019;DO 7Ă&#x2019;Ă&#x2019;ROKUĂ&#x2019;NAĂ&#x2019;ZAMÂ&#x2DC;WIENIEĂ&#x2019;ODLEWNIĂ&#x2019;3TEMPELĂ&#x2019;!DRIANĂ&#x2019;&RUTIGERĂ&#x2019;DODAĂĽĂ&#x2019;DOĂ&#x2019; swego kroju nowe odmiany. Wskutek k przejĂŞcia odlewni przez Linotype-Hell AG, a nastĂŞpnie przez koncern koncerrn Heidelberg, Frutiger jest krojem ZASTRZEĂŞONYMĂ&#x2019;PRZEZĂ&#x2019;,INOTYPEĂ&#x2019;*ESTĂ&#x2019;SPR RZEDAWANYĂ&#x2019;TAKĂŞEĂ&#x2019;PRZEZĂ&#x2019;ÂľRMÄ&#x201A;Ă&#x2019;!DOZASTRZEĂŞONYMĂ&#x2019;PRZEZĂ&#x2019;,INOTYPEĂ&#x2019;*ESTĂ&#x2019;SPRZEDAWANYĂ&#x2019;TAKĂŞEĂ&#x2019;PRZEZĂ&#x2019;ÂľRMÄ&#x201A;Ă&#x2019;!DOBEĂ&#x2019;ORAZĂ&#x2019;"ITSTREAMĂ&#x2019;JAKOĂ&#x2019;(UMANISTĂ&#x2019;  Ă&#x2019;+RÂ&#x2DC;JĂ&#x2019;PISMAĂ&#x2019;&RUTIGERĂ&#x2019;DZIÄ&#x201A;KIĂ&#x2019;SWEJĂ&#x2019; BEĂ&#x2019;ORAZĂ&#x2019;"ITSTREAMĂ&#x2019;JAKOĂ&#x2019;(UMANISTĂ&#x2019; Ă&#x2019;+RÂ&#x2DC;JĂ&#x2019;PISMAĂ&#x2019;&RUTIGERĂ&#x2019;DZIÄ&#x201A;KIĂ&#x2019;SWEJĂ&#x2019; SPÂ&#x2DC;JNOĂ&#x153;CIĂ&#x2019;IĂ&#x2019;CZYTELNOĂ&#x153;CIĂ&#x2019;POZWALAĂ&#x2019;NAĂ&#x2019;PRO OSTĂŚĂ&#x2019;I SZYBKĂŚĂ&#x2019;NAWIGACJÄ&#x201A;Ă&#x2019;POĂ&#x2019;CAĂĽYMĂ&#x2019; SPÂ&#x2DC;JNOĂ&#x153;CIĂ&#x2019;IĂ&#x2019;CZYTELNOĂ&#x153;CIĂ&#x2019;POZWALAĂ&#x2019;NAĂ&#x2019;PROSTĂŚĂ&#x2019;IĂ&#x2019;SZYBKĂŚĂ&#x2019;NAWIGACJÄ&#x201A;Ă&#x2019;POĂ&#x2019;CAĂĽYMĂ&#x2019; skomplikowanym kompleksie lotniska. lotniska a. Szybko zostaÂł przyjĂŞty jako ceniony krĂłj pisma do pisemnych system mĂłw nawigacyjnych. systemĂłw

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ADRIAN FRUTIGER

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4ENĂ&#x2019;MISTRZĂ&#x2019;ZNAKUĂ&#x2019;ZNACZNIEĂ&#x2019;PRZYSĂĽUĂŞYĂĽĂ&#x2019;SIÄ&#x201A;Ă&#x2019;SEMIOGRAÂľI Ă&#x2019;CZYLIĂ&#x2019;DZIEDZINIEĂ&#x2019;ZAJMUJĂŚCEJĂ&#x2019;SIÄ&#x201A;Ă&#x2019;FORMĂŚĂ&#x2019;IĂ&#x2019;ZNACZENIEMĂ&#x2019;ZNAKUĂ&#x2019;GRAÂľCZNEGO Frutiger jest laureatem licznych szwajcarskich, francuskich i miĂŞdzynaRODOWYCHĂ&#x2019;NAGRÂ&#x2DC;D Ă&#x2019;TAKICHĂ&#x2019;JAKĂ&#x2019;.AGRODAĂ&#x2019;'UTENBERGAĂ&#x2019;MIASTAĂ&#x2019;-OGUNCJIĂ&#x2019; OTRZYMANAĂ&#x2019;WĂ&#x2019;Ă&#x2019;R Ă&#x2019;7Ă&#x2019;Ă&#x2019;RĂ&#x2019;3ENATĂ&#x2019;!KADEMIIĂ&#x2019;3ZTUKĂ&#x2019;0IÄ&#x201A;KNYCHĂ&#x2019; w Warszawie przyznaÂł Adrianowi Frutigerowi doktorat honoris causa. 7Ă&#x2019;Ă&#x2019;ROKUĂ&#x2019;OTRZYMAĂĽĂ&#x2019;NAGRODÄ&#x201A;Ă&#x2019;%$ !WARDS.

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17

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46

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47

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83 lata Pracowni Liternictwa i Typografii w ASP w Krakowie