Download e-book for iPad: Adrian Frutiger: Typefaces by Heidrun Osterer

By Heidrun Osterer

The average paintings at the Swiss kind clothier: all typefaces - from layout to advertising - have been visually documented and analyzed almost about the know-how and to comparable typefaces.

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Extra resources for Adrian Frutiger: Typefaces

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The shapes of individual characters, round on the outside and square on the inside, arose from the system. Some of the upper- and lowercase letters could be set using the same elements /06/, which reduced the huge amount of individual elements somewhat. The typeface was never produced either. It is pretty daring to break up letters into their constituent components. More than anything, the typesetters wouldn’t have had much fun with it. /04/ Chaillot by Marcel Jacno, a typeface produced for Typophane transfer sheets, released by Deberny & Peignot, 1954.

08/ Selection of shadow faces from the 1930s and 40s; Gill Sans Shadow and Memphis Luna without contours, Ricardo and Graphique with contours, Profil with an additional outline. Gill Shadow phoe b us 41 /10/ Advertisement for the Starlettograph headline setting machine for setting continuous sizes on photographic material – Caractère, 1963. /11/ Advertisement with marketing text for Initiales Phoebus – Bulletin Officiel des Cours professionnels, no. 138, 1955. 3, 1954. 42 j o b b i n g t y p e fa c e Typophane transfer sheets Adrian Frutiger' s early jobbing typefaces Initiales Président, Initiales Phoebus and Ondine are all produced by hot metal setting.

I produced precise drawings from these, used white transfer paper to copy the type to black card, and then cut the letters out with scissors. That way I could spread them out in front of me. If a detail was incorrect I would cut something off or do letters again if need be. That way I quickly produced black and white originals, my speedy method for final artwork. Rémy Peignot alone knew that I worked in this manner, as his office where he designed the specimens was next to mine. Cutting out things seems to be in my blood.

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Adrian Frutiger: Typefaces by Heidrun Osterer


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