By Heidrun Osterer, Philipp Stamm
The overseas production of typefaces after 1950 used to be decisively stimulated by way of the Swiss sort clothier Adrian Frutiger. His Univers typeface and the machine-readable font OCR-B, which used to be followed as an ISO common, are milestones, as is his style for the Paris airports, which set new criteria for signage kinds and developed into the Frutiger typeface. together with his company kinds, he helped to outline the general public profiles of businesses comparable to the japanese Shiseido line of cosmetics. In all he created a few fifty forms, together with Ondine, Méridien, Avenir, and Vectora.
Based on conversations with Frutiger himself and on broad learn in France, England, Germany, and Switzerland, this booklet offers a hugely distinctive and exact account of the sort designer’s creative improvement. All of his varieties – from the layout part to the selling level – are illustrated and analyzed just about the know-how and similar kinds. Hitherto unpublished forms that have been by no means discovered and a couple of hundred emblems whole the picture.
This moment, revised and multiplied examine variation, which now has an index, makes Frutiger’s success much more available.
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Extra info for Adrian Frutiger Typefaces: The Complete Works (2nd Edition)
Stempel AG type foundry. One year prior to Phoebus, Stridon /09/ from the Paris type foundry Fonderie Warnery et Cie was released. In contrast to the above-mentioned typefaces, Stridon – like Phoebus – is a slanting shadow-only typeface. /06/ Selections from the wide range of older shadow faces in the compo dp type specimen book, 1961. 40 j o b b i n g t y p e fa c e Of particular interest in connection with Phoebus is the monogram d & p /04/ in an advertisement by Deberny & Peignot, which appeared in the La France Graphique trade publication, no.
The numerals were meant to have the same character as the letters, only very slightly narrower. Therefore there’s no great difference between the capital O and the zero, both adhere to the same principle /34/. I wanted as much white space as possible, that’s why the 2 is drawn so tall – maybe somewhat schoolboylike. The wide A clearly shows a Latin inﬂuence. The K doesn’t quite /21/. pr É s i de nt 31 conform, it’s different from Latin Ks /25/. Its arms are the same length optically and don’t touch the stem.
Excoffon made his Mistral /05/ in that manner, with connectors that ﬁt together with pinpoint accuracy. It was quite a work of art for its day. For me however, a text face was always composed of Formal derivation of Ondine Ondine’s several historical sources go back to antiquity, to the very beginnings of written Latin. Therefore some shapes correspond to Roman cursive capitals /04/, for instance M and N. One of the main starting points for the uppercase shapes is uncials /04/. A feature typical of this is the round shape of the E, which also has an alternative shape for the foundry version of Ondine /10/.