By Heidrun Osterer, Philipp Stamm
The overseas construction of typefaces after 1950 used to be decisively encouraged by way of the Swiss style clothier 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 variety for the Paris airports, which set new criteria for signage forms and developed into the Frutiger typeface. along 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 broad study in France, England, Germany, and Switzerland, this ebook offers a hugely distinct and actual account of the sort designer’s inventive improvement. All of his varieties – from the layout section to the promoting degree – are illustrated and analyzed just about the expertise and similar kinds. Hitherto unpublished varieties that have been by no means discovered and a couple of hundred trademarks whole the picture.
This moment, revised and improved learn version, which now has an index, makes Frutiger’s success much more obtainable.
Read or Download Adrian Frutiger Typefaces: The Complete Works (2nd Edition) PDF
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Additional resources for Adrian Frutiger Typefaces: The Complete Works (2nd Edition)
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. 6 Frutiger, however, looked to historical forms written with a broad quill for his Ondine designs, thus setting himself apart from the trend. Ondine could not compete with the popular brush-like fonts Mistral /05/ and Choc /06/ by the Fonderie Olive. It is only since the 1990s that it has been used a lot, mostly for company branding and shop fronts of Asian and Arabic origin.
Yet there are no faces which are shadow-only apart from Initiales Phoebus in either that book or in the compo dp type specimen book from 1961. Well known shadow-only faces available today would be the two sans serif faces Gill Sans Shadow /08/ by Eric Gill 1936, which previously existed in three versions,5 and Umbra 6 /23/ from 1935 by Robert H. Middleton. In 1937 Rudolf Wolf designed Memphis Luna 7 /08/, based on his own slab serif Memphis, for the D. Stempel AG type foundry. One year prior to Phoebus, Stridon /09/ from the Paris type foundry Fonderie Warnery et Cie was released.
Vial, 1954 Cover of the four-page Ondine type specimen brochure from 1956 with character set and sample text. ondine 53 lack of success was no great misfortune for the foundry. Nobody criticised me in any way. The only company to choose Ondine for its corporate design in the end was a mustard factory in Dijon, which used it on their tubes. I’ve always laughed about that and called it my mustard typeface. It’s interesting that the typeface is so successful now. Ondine can’t be properly clas siﬁed, it has too many quirks, but that seems to be exactly what people now like about it.
Adrian Frutiger Typefaces: The Complete Works (2nd Edition) by Heidrun Osterer, Philipp Stamm