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AF-Typefaces Umschlag DE EN FR Korr.Indd Content 6 Adrian Frutiger – The standard-setter 12 Adrian Frutiger’s teachers and mentors 134 Alphabet Orly 230 Alphabet Brancher Kurt Weidemann Career path A signalisation without a system A typeface as viscous as honey 7 A typeface is a tool 26 Président 138 Apollo 234 Iridium Adrian Frutiger About Président Production stages of Apollo The origin of Iridium Latins, Runic, Etienne, Renaissance Stylistic elements of Apollo The noble form in a typeface 8 How we made this book Business card typefaces Apollo as a book typeface D. Stempel AG Basic forms of & Marketing Apollo ‘Der Mensch und seine Zeichen’ 10 How to use this book Additions to Président Typeface comparison Typeface comparison Typeface comparison 148 Alphabet Entreprise Francis Bouygues 244 Alphabet Métro 36 Delta Collaboration The Métro in Paris, the Tube in London The ‘Delta’ style Univers as the basis for Métro 150 Concorde The arrow 38 Phoebus The development of Concorde About Phoebus A dynamic sans serif 248 Alphabet Centre Georges Pompidou Swashes The static aspects in the dynamic Concorde The typeface Centre Georges Pompidou CGP Typophane transfer sheets Typeface comparison 156 Serifen-Grotesk / Gespannte Grotesk 250 Frutiger An inscriptional roman for text setting A signage type becomes a text type 46 Element-Grotesk The humane in the grotesque Frutiger for phototypesetting A new approach to type Comparison between Concorde, Roissy, Frutiger 160 Alphabet Algol Frutiger LT PostScript 48 Federduktus Typeface for a computer language Frutiger for form and the Post Office Experiments and designs A true cursive in addition to the grotesque 162 Serifa Is Frutiger Next really a Frutiger ? 50 Ondine Beginning of Serifa The digital versions About Ondine Serifa designs Imitations of Frutiger Formal derivation of Ondine Twelve Serifa theses The colour of a typeface Script fonts by Deberny & Peignot Slab serif typeface group Typeface comparison Deberny & Peignot market segments Advertising Serifa Back to signage type – Astra Frutiger Typeface comparison Typeface comparison 268 Glypha 60 Méridien 176 OCR-B Serifa versus Glypha About Méridien Worldwide standardisation Differences to Serifa Le Mariage de Figaro Machine-readable typefaces Typeface comparison Rhythm and proportion Character recognition The multitude of originals Designing OCR-B 276 Icone Dualism of shapes in nature Applications Technical development Typeface comparison Typeface comparison The distortion of type Creative counterattack 74 Caractères Lumitype 190 Univers IBM Composer Typeface comparison About Lumitype Cooperation with IBM Lumitype classification Typesetting and typeface quality 286 Breughel Possibilities of Photon-Lumitype Typeface design for the Composer Typographic designs for Breughel Lumitype font range Relationship to Jenson Em square and units 198 Alphabet EDF- GDF A typeface suited to digitisation Architecture and typography Leading of a typeface 88 Univers Typeface comparison About Univers 202 Katalog Historical background A strong typeface for newsprint 296 Dolmen Univers diagrams ‘Delta’ and ‘Dolmen’ Static grotesque 206 Devanagari / Tamil Curve junctures in ‘Dolmen’ Antique Presse and Univad Scripts of the Indian cultures A further ‘Dolmen’ project Non-latin typefaces Indo-European scripts Univers extensions Indian scripts 302 Tiemann Linotype Univers Working on the new Devanagari Tiemann-Antiqua at Die Zeit Univers original versus digital A linear Tamil type The 20th century neoclassical Antiquas Univers adaptations Typeface comparison Frutiger’s thoughts on the new 214 Alpha BP Linotype Univers A better Futura or a typeface in its own right ? Typeface comparison 308 Versailles 218 Documenta Historically ‘correct’ latin typeface 118 Egyptienne F A harmonious OCR typeface Designing the curve endings A first typeface for photosetting ITC latin typefaces at Linotype Origins of Egyptian typefaces 220 Alphabet Facom Determining the letter spacing Problems of photosetting Catalogue design and corporate typeface Typeface comparison Development / adaptation of Egyptienne F Formal differences between the versions 224 Alphabet Roissy 318 Linotype Centennial The quality of an atypical typeface Projects involving flying Linotype’s demands Typeface comparison Legibility and choice of typeface Characterisation of type Unambiguous symbol recognition A standard neoclassical typeface 130 Opéra Information technologies 100 years of Linotype typesetting Development of Opéra Two design sizes Formal characteristics Typeface comparison 01 TITE_30_EN def_BL.indd 4 22.9.2008 6:35:06 Uhr 330 Avenir Production of type Logos and wordmarks Addendum Avenir – A humanist linear grotesque 24 Handsetting 128 1957 –1960 423 Notes Studies on the linear grotesque 58 Lumitype photosetting 196 1961 –1964 Early geometric sans serif 86 Machine setting – Single-letter casting 232 1965 –1971 442 Biography A new constructed grotesque 87 Monophoto photosetting 274 1972 –1978 442 Awards and prizes New Wave and Techno 129 Machine setting – Line-casting 316 1979 –1983 442 Lectures Production and marketing 175 OCR technology 360 1984 –1990 443 Exhibitions Typeface comparison 189 Strike-on composition 406 1991 – 2008 444 Publications by Adrian Frutiger Avenir Next 223 Transfer type 444 Specialist articles by Adrian Frutiger 233 Linofilm photosetting 445 Films / Videos 346 Westside 275 CRT setting 445 Radio interviews Consistency in Westside 317 Lasersetting 446 Publications about Adrian Frutiger’s work The italienne subgroup 361 Digital typesetting 446 Articles on Adrian Frutiger’s work Typeface comparison 448 Typefaces by Adrian Frutiger 448 Typeface manufacturers 352 Vectora 450 Places of work and co-workers General remarks on Vectora 450 Collaborations with other companies American Gothics as the starting point Size and impact of a typeface 452 List of illustrations Typeface comparison 454 List of literature 458 Our thanks 362 Linotype Didot 459 Credits The genesis of Linotype Didot Design sizes The originals Ornaments and decorative fonts Typeface comparison 370 Herculanum ‘Type before Gutenberg’ Historical analysis of Herculanum ‘Type before Gutenberg’ type sets Typeface comparison 378 Shiseido A whiff of a typeface 380 Frutiger Capitalis Another ancient roman typeface Frutiger Capitalis Signs 384 Pompeijana Further development of ‘TBG’ The design of Pompeijana Typeface comparison 390 Rusticana ‘Type before Gutenberg’ – Third instalment Shape changes in the terminals Typeface comparison 396 Frutiger Stones / Frutiger Symbols From stone to type Frutiger Symbols 400 Frutiger Neonscript Neon – A typeface for fluorescent lettering 402 Nami Half a century in the making Typeface comparison 408 Synopsis of Frutiger-Typefaces Typeface classification Principles of form Proportion Stroke weight Formal considerations Punctuation and special characters Numbers Italics 01 TITE_30_EN def_BL.indd 5 22.9.2008 6:35:06 Uhr Kurt Weidemann Adrian Frutiger – The standard-setter With Gutenberg’s invention of the adjustable hand mould, no less was achieved than the industrial-scale production of a commodity – metal type – in any desired quantity and with consistent quality, effectively ushering in the modern era. Master scribes were re- placed by master printers. This invention would last half a millennium before it, in turn, was pushed aside by photosetting, by information being transmitted at the speed of light. The end result, however, was still a printed letter on a page. Unfortunately a correspond- ingly fast improvement in human comprehension has not been forthcoming. The composi- tion of our brains is basically unchanged since the time of Adam & Eve. An a is an a, and always will be. At the threshold of this new era in printing technology, one name stood out: Adrian Frutiger. The measurer and standard-setter of all things typographic. In his 1951 diploma submission, Adrian Frutiger produced nine wooden panels on which he had engraved, letter by letter, examples of Western alphabets – from Greek inscriptional capitals to humanistic minuscules and cursives. It was already apparent in this work that he was a master of space, proportion and order. It was clear even then that his career path would be characterised by his passion for the criteria of legibility and the beauty of form. During his time in France, typefaces such as Méridien, Serifa, Iridium and Linotype Centennial were produced, typefaces that captured the zeitgeist, and which are still proving their worth today. Around the middle of the last century work began on the production of a typeface family with the name Univers. A system ordered and classified into 21 members was a totally new approach at the time. These 21 members would find their application in every area of use: from gracing posters to appearing on the smallest packaging leaflet. The first step in the generation of every printed product developed by a highly specialised profes- sion is the choice of a typeface and its design. As much for movable type as for photosetting and the compositor, this typeface is still the lynchpin at the end of those 500 years. It represents both the end of an era and the beginning of a new one. If survival down the ages is an important criterion for art, then this is also true for the art of typography. And it is all the more true for a typographic art that neither displays nor has need of modish showiness. With Adrian Frutiger there has always been a seamless transition between applied and fine art. The glyphs of his Indian typeface and of his logotypes have also been applied in his sculptures,
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