By Heidrun Osterer, Philipp Stamm
The foreign construction of typefaces after 1950 used to be decisively stimulated through the Swiss style fashion designer Adrian Frutiger. His Univers typeface and the machine-readable font OCR-B, which was once followed as an ISO usual, are milestones, as is his sort for the Paris airports, which set new criteria for signage varieties and advanced into the Frutiger typeface. together with his company forms, he helped to outline the general public profiles of businesses corresponding to the japanese Shiseido line of cosmetics. In all he created a few fifty varieties, 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 unique and actual account of the kind designer’s creative improvement. All of his forms – from the layout section to the promoting degree – are illustrated and analyzed on the subject of the expertise and comparable kinds. Hitherto unpublished kinds that have been by no means learned and a couple of hundred trademarks entire the picture.
This moment, revised and improved 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)
Brush by R. Smith, 1942 Bravo by E. A. Neukomm, 1945 Impuls by L. Zimmermann, 1954 Choc by R. Excoffon, 1955 Brush /04/ Historical scripts: Roman cursive capitals, 2nd century, uncial, early form, 4th/5th century, semi-cursive, c. 700, Gothic cursive, mid-15th century, Civilité, printing type, mid-16th century 52 j o b b i n g t y p e fa c e Choc Script fonts by Deberny & Peignot One trend of the 1940s and 1950s was towards the flighty spontaneity of written type. These light-hearted and individual seeming typefaces sought to break with the austere uniformity and order of the Second World War and post-war period.
Most romans have the looped roman capital shape; italic in addition have the italic capital and italic lowercase shapes. 16 Type designers are sometimes trying to create a shape that looks more drawn as opposed to written. This should be simple and sleek like the curves and counters of letters and numerals. An example of this form – loop-oriented but simplified – is Clearface Gothic /13/ from c. 1907 by Morris Fuller Benton. It was a shape taught by Walter Käch, Adrian Frutiger' s tutor at the Kunstgewerbeschule in Zurich /15/.
I’ve always been especially interested in the development of the transition of uppercase into lowercase shapes. 1 A line of letters ought to have a lowercase feel, in spite of the ‘capital’ G, R and T in it. I sketched different shapes for some of the letters /03/. I named the typeface ‘Delta’ because I liked the word; it sounded classical and ﬁt the shapes. Its style – one could call it an uncial sans serif – has stuck with me throughout my whole life. Charles Peignot had always dreamt of a new kind of typeface that would unite upperand lowercase in one alphabet.