By Heidrun Osterer, Philipp Stamm
The overseas construction of typefaces after 1950 used to be decisively inspired by way of the Swiss style dressmaker Adrian Frutiger. His Univers typeface and the machine-readable font OCR-B, which was once followed as an ISO average, are milestones, as is his kind for the Paris airports, which set new criteria for signage forms and developed into the Frutiger typeface. together with his company forms, he helped to outline the general public profiles of businesses similar 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 vast learn in France, England, Germany, and Switzerland, this booklet presents a hugely certain and exact account of the sort designer’s inventive improvement. All of his forms – from the layout part to the promoting degree – are illustrated and analyzed as regards to the expertise and similar forms. Hitherto unpublished varieties that have been by no means learned and multiple hundred trademarks entire the picture.
This moment, revised and increased research variation, which now has an index, makes Frutiger’s fulfillment much more available.
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Extra info for Adrian Frutiger Typefaces: The Complete Works (2nd Edition)
A photo inspired Rémy Peignot to name it Ondine. It shows a young woman with 50 j o b b i n g t y p e fa c e About Ondine Undine, or Ondine in French, is a term for water nymphs. 3 The squared-off appearance connects Adrian Frutiger' s Ondine to the late Middle Ages. There are, however, many historical traits and references apparent, from the majuscule italic of Roman antiquity and the semi-italic to the late gothic italic /04/. Consequently Ondine is not a replica of any specific historical letterform; rather it can be regarded as stylistic pluralism.
It has a similarity of shape to the Phoebus A, which is rounded at the top left-hand corner. The M and N shape variations can also be found in Phoebus. Advertisements were commonly placed in trade publications by type manufacturers to publicise new typefaces. A special kind of marketing strategy can be found in the journal Caractère 3. In the editorial section Rémy Peignot now and again presents an overview of newly released typefaces by Deberny & Peignot, under the title ` Parade typographique' /02/.
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/.