By Heidrun Osterer, Philipp Stamm
The foreign construction of typefaces after 1950 used to be decisively encouraged through the Swiss variety dressmaker Adrian Frutiger. His Univers typeface and the machine-readable font OCR-B, which was once followed as an ISO typical, are milestones, as is his sort for the Paris airports, which set new criteria for signage forms and developed into the Frutiger typeface. together with his company varieties, 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 wide study in France, England, Germany, and Switzerland, this book presents a hugely specified and exact account of the kind designer’s inventive improvement. All of his varieties – from the layout part to the promoting degree – are illustrated and analyzed near to the expertise and similar varieties. Hitherto unpublished kinds that have been by no means learned and a couple of hundred emblems entire the picture.
This moment, revised and accelerated learn variation, which now has an index, makes Frutiger’s fulfillment much more available.
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Additional resources for Adrian Frutiger Typefaces: The Complete Works (2nd Edition)
Sample text
I showed Charles Peignot a few words I’d pieced together, and along with Marcel Mouchel, our engraver, I tried engraving a couple of these stick-like individual elements from which proofs were then made /02/. The x-height became equal to the cap height /07/, which at this point had nothing to do with the search for a uni-case typeface. The shapes of individual characters, round on the outside and square on the inside, arose from the system. Some of the upper- and lowercase letters could be set using the same elements /06/, which reduced the huge amount of individual elements somewhat.
35/ Although the letter shapes are relatively similar, the test word ‘Hofstainberg’ clearly shows Président’s width. Augustea Alessandro Butti / Aldo Novarese 1951 Président Adrian Frutiger 1954 K Serifs concave, legs not connected, with bottom serif HOFSTAINBERG Friz Quadrata Ernst Friz 1965 34 j o b b i n g t y p e fa c e M Splayed stems, top shoulder with serifs Q Wide oval shape, tail in the centre with horizontal finish R Downstroke swerves out of the top bowl S Fairly wide form, rather shallow curve Y Short stem, symmetrical shape with top serifs 4 Slightly flattened top, deep horizontal stroke with a halfserif 8 Double-decker form, slender waist KMQR SY48 Font production : Digitised by Linotype Font format : PostScript Type 1 President ™ Linotype 1 weight Also available : TrueType OpenType Com AB C D E FGH IJ KLM N O P Q R S T UVW XYZ & ab c d efgh ij klmnopqr stuvwxyz123456789 0 You may ask ÅB Ç D È F G H IJ K L M Ñ Ô PQ R Š T Ü VWXYZ& ÆŒ¥$£€ 1234567890 åb ç d é fg h ij klm ñ ô pq r š tü v w xy z ß fi flæ œ ø ł ð [.
A typical trait of Ondine is the at tempt to draw lowercase letters as open gestures where possible. Apart from b and p this worked for all lowercase and, needless to say, for numerals. The inner spaces of the letters are a special detail of Ondine. Only uppercase A B D, the 8 and the & /17/ have closed shapes. Really I wanted all characters to have an opening. I wanted air to enter them. That was practically impossible for B and D, but the O, an equally typically closed shape, has a gap at the top left.