By Heidrun Osterer, Philipp Stamm
The overseas production of typefaces after 1950 was once decisively prompted via the Swiss variety clothier Adrian Frutiger. His Univers typeface and the machine-readable font OCR-B, which was once followed as an ISO commonplace, are milestones, as is his sort for the Paris airports, which set new criteria for signage forms and advanced into the Frutiger typeface. together with his company kinds, 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 kinds, together with Ondine, Méridien, Avenir, and Vectora.
Based on conversations with Frutiger himself and on vast learn in France, England, Germany, and Switzerland, this book offers a hugely exact and exact account of the kind designer’s creative improvement. All of his varieties – from the layout part to the selling level – are illustrated and analyzed near to the expertise and comparable varieties. Hitherto unpublished varieties that have been by no means learned and a couple of hundred trademarks whole the picture.
This moment, revised and multiplied examine version, which now has an index, makes Frutiger’s success much more obtainable.
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Additional resources for Adrian Frutiger Typefaces: The Complete Works (2nd Edition)
When I started, Deberny & Peignot must have had some 450 people total working there. At the time being I was the only type designer. There were at least 15 engravers, around 100 type-casters and a whole hall full of women packing type for shipping, using all the letters in the required amounts. In addition there were the people in the block-making factory, and on the top ﬂoor was the workshop for blind embossing and foil stamping. The École Estienne was a great school for engraving. There Charles Peignot soon trained ten young engravers, as it was his desire to create a pool of experts who could also cut type /04/ /05/ Deberny & Peignot monogram, presumably designed by Rémy Peignot; advertisement heading in La France Graphique, no.
The brush faces mentioned above are not included, as they were not made as foundry type. Instead they were produced for Typophane 7, which was much faster and cheaper to produce. It would appear that Deberny & Peignot meant to test these fonts first using the simpler technology. Possibly they were specifically aimed at a market outside of printing offices. individual, unconnected elements. Roger Excoffon worked completely differently from the way I did. As it happens, we were good friends and would always meet in Paris at the bistro next door, but the ‘old timers’ weren’t supposed to know that.
All of these experiments eventually led to Ondine, which was produced in 1954. The logo for the company of an acquaintance from my home town of Interlaken dates from this period of writing experiments /03/. Other characters were added later. I’m not sure whether a whole alphabet was ever produced for Kirchhofer, but at any rate the logo is still in use to this day. /04/ Undated proofs of ‘Federduktus’ with alternates and overviews of the characters used in each. Fe de r du ktus 49 Name of typeface Ondine Formal Script 421 • Commissioned by Deberny & Peignot Designer Adrian Frutiger Design | Publication 1953 | 1954 Typesetting technology Handsetting CRT and lasersetting Digital setting PostScript Manufacturer – Deberny & Peignot – D.
Adrian Frutiger Typefaces: The Complete Works (2nd Edition) by Heidrun Osterer, Philipp Stamm