By Heidrun Osterer, Philipp Stamm
The foreign production of typefaces after 1950 was once decisively stimulated via the Swiss style fashion designer Adrian Frutiger. His Univers typeface and the machine-readable font OCR-B, which used to be followed as an ISO general, are milestones, as is his sort for the Paris airports, which set new criteria for signage varieties and advanced into the Frutiger typeface. along with his company forms, he helped to outline the general public profiles of businesses resembling 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 huge examine in France, England, Germany, and Switzerland, this booklet presents a hugely special and actual account of the kind designer’s creative improvement. All of his varieties – from the layout part to the promoting degree – are illustrated and analyzed as regards to the know-how and similar forms. Hitherto unpublished kinds that have been by no means learned and multiple hundred trademarks whole the picture.
This moment, revised and extended research 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)
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/. 5 This can clearly be seen in the subtle hints of ascenders and descenders and in a few lowercase shapes such as a and d. Particularly pertinent to the lowercase, and all the more so to the general appearance of Frutiger' s Ondine, are written semi-cursive and Gothic cursives, as well as the Civilité A2 typeface by Robert Granjon /04/.
Superior letters (supérieures) are very commonly used in French typography /22/. Abbreviations such as MMe, MLLe, No, St, 1er and 2eMe are set using these. Particular care needs to be taken with the typography for business cards and writing paper, as they serve a representative function. Unusually hole-tearing letter combinations are irritating. Characters with overhangs (sortes crénées), letters which are wider than the body /20/, ought to prevent this from happening. The example here, the business card in the Le Président brochure /01/, once /19/ Initiales Président from the type specimen book compo dp; two different Rs in the ﬁrst line, two different Os in the third line.
I imagined, based on Peignot, transforming uncial and half-uncial shapes into a contemporary typeface. Cassandre didn’t follow, he didn’t really act on my suggestions. We always kind of talked at cross-purposes. Cassandre was an artist; he would take letters and play around with them. Even the way he talked was like an artist who has a head full of ideas. His Bifur typeface is in fact like a picture /07/. On the other hand I was the typographer who saw a skeleton within letters, related to other characters.
Adrian Frutiger Typefaces: The Complete Works (2nd Edition) by Heidrun Osterer, Philipp Stamm
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