Adrian Frutiger Typefaces: The Complete Works (2nd Edition) by Heidrun Osterer, Philipp Stamm

By Heidrun Osterer, Philipp Stamm

The overseas production of typefaces after 1950 was once decisively motivated by means of the Swiss style fashion designer Adrian Frutiger. His Univers typeface and the machine-readable font OCR-B, which was once followed as an ISO regular, are milestones, as is his sort for the Paris airports, which set new criteria for signage kinds and advanced into the Frutiger typeface. together with his company forms, he helped to outline the general public profiles of businesses similar to the japanese Shiseido line of cosmetics. In all he created a few fifty kinds, together with Ondine, Méridien, Avenir, and Vectora.

Based on conversations with Frutiger himself and on wide examine in France, England, Germany, and Switzerland, this booklet offers a hugely precise and actual account of the kind designer’s creative improvement. All of his kinds – from the layout part to the promoting degree – are illustrated and analyzed just about the know-how and comparable varieties. Hitherto unpublished varieties that have been by no means discovered and multiple hundred emblems whole the picture.

This moment, revised and elevated examine variation, which now has an index, makes Frutiger’s success much more available.

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Additional resources for Adrian Frutiger Typefaces: The Complete Works (2nd Edition)

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138, 1955. 3, 1954. 42 j o b b i n g t y p e fa c e Typophane transfer sheets Adrian Frutiger' s early jobbing typefaces Initiales Président, Initiales Phoebus and Ondine are all produced by hot metal setting. Other jobbing faces made by Deberny & Peignot were released as Typophane transfer sheets, which may be regarded as forerunners of the successful Transfer Lettering by Letraset and Mecanorma (see Transfer setting technique, page 223). Typophane presented the graphic studios and advertising agencies with an easy means for headline setting.

Over four to six pages, using specially designed examples, he demonstrates how the advertised typefaces can be employed /12/. A very nice use of Phoebus can be seen on the front page of Caractère 12, 1954 /01/. Presumably Rémy Peignot was responsible for this design, but there is no reference to its author anywhere in the publication. An article in the German trade journal Der Polygraph from 1955/56 states that Initiales Phoebus was released in 1953, with Président and Ondine following in 1954.

Friz Quadrata has an equally variable character pitch, though not according to roman principles. The S is set wider, the N somewhat narrower. The axis of contrast runs vertically in Augustea and Pré­ sident, whereas it is slightly slanted in Friz Quadrata. In general Augustea and Friz Quadrata seem more dynamic due to the extended terminals of the K and R. This is made even stronger by the asymmetry of the Y. Augustea and Président are capitals-only typefaces, Friz Quadrata also has lowercase. For this typeface comparison Augustea Open was transformed into a ` Plain' weight, since the regular weight of Augustea is only available for handsetting, but not digitally.

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