Content

6 Adrian – The standard-setter 12 Adrian Frutiger’s teachers and mentors 134 Alphabet Orly 234 Iridium Kurt Weidemann Career path A signalisation without a system The origin of Iridium The noble form in a typeface 7 A typeface is a tool 26 Président 138 Apollo D. Stempel AG Adrian Frutiger About Président Production stages of Apollo ‘Der Mensch und seine Zeichen’ Latins, Runic, Etienne, Renaissance Stylistic elements of Apollo Typeface comparison 8 How we made this book Business card typefaces Apollo as a book typeface Basic forms of & Marketing Apollo 244 Alphabet Métro 10 How to use this book Additions to Président Typeface comparison The Métro in Paris, the Tube in London Typeface comparison as the basis for Métro 148 Alphabet Entreprise Francis Bouygues The arrow 36 Delta Collaboration The ‘Delta’ style 248 Alphabet Centre Georges Pompidou 150 Concorde The typeface Centre Georges Pompidou CGP 38 Phoebus The development of Concorde About Phoebus A dynamic sans 250 Frutiger Swashes The static aspects in the dynamic Concorde A signage type becomes a text type Typophane transfer sheets Frutiger for photosetting Typeface comparison 156 Serifen-Grotesk / Gespannte Grotesk Comparison between Concorde, Roissy, Frutiger An inscriptional roman for text setting Frutiger LT PostScript 46 Element-Grotesk The humane in the grotesque Frutiger for form and the Post Office A new approach to type A true cursive in addition to the grotesque 160 Alphabet Algol Is Frutiger Next really a Frutiger ? 48 Federduktus Typeface for a computer language The digital versions Experiments and designs Imitations of Frutiger 162 Serifa The colour of a typeface 50 Ondine Beginning of Serifa Typeface comparison About Ondine Serifa designs Back to signage type – Astra Frutiger Formal derivation of Ondine Twelve Serifa theses Script by Deberny & Peignot typeface group 268 Glypha Deberny & Peignot market segments Advertising Serifa Serifa versus Glypha Typeface comparison Typeface comparison Differences to Serifa Typeface comparison 60 Méridien 176 OCR-B About Méridien Worldwide standardisation 276 Icone Le Mariage de Figaro Machine-readable typefaces Technical development Rhythm and proportion Character recognition The distortion of type The multitude of originals Designing OCR-B Creative counterattack Dualism of shapes in nature Applications Typeface comparison Typeface comparison Typeface comparison 286 Breughel 74 Caractères Lumitype 190 Univers IBM Composer Typographic designs for Breughel About Lumitype Cooperation with IBM Relationship to Jenson Lumitype classification and typeface quality A typeface suited to digitisation Possibilities of Photon-Lumitype Typeface design for the Composer Leading of a typeface Lumitype range Typeface comparison Em square and units 198 Alphabet EDF- GDF Architecture and 296 Dolmen 88 Univers ‘Delta’ and ‘Dolmen’ About Univers 202 Katalog Curve junctures in ‘Dolmen’ Historical background A strong typeface for newsprint A further ‘Dolmen’ project Univers diagrams Static grotesque 206 Devanagari / Tamil 302 Tiemann Antique Presse and Univad Scripts of the Indian cultures Tiemann-Antiqua at Die Zeit Non-Latin typefaces Indo-European scripts The 20th-century neoclassical antiquas Univers extensions Indian scripts Typeface comparison Linotype Univers Working on the new Devanagari Univers original versus digital A linear Tamil type 308 Versailles Univers adaptations Historically ‘correct’ Latin typeface Frutiger’s thoughts on the new 214 Alpha BP Designing the curve endings Linotype Univers A better or a typeface in its own right ? ITC Latin typefaces at Linotype Typeface comparison Determining the letter-spacing 218 Documenta Typeface comparison 118 F A harmonious OCR typeface A first typeface for photosetting 318 Linotype Centennial Origins of Egyptian typefaces 220 Alphabet Facom Linotype’s demands Problems of photosetting Catalogue design and corporate typeface Characterisation of type Development / adaptation of Egyptienne F A standard neoclassical typeface Formal differences between the versions 224 Alphabet Roissy 100 years of Linotype typesetting The quality of an atypical typeface Projects involving flying Two design sizes Typeface comparison Legibility and choice of typeface Typeface comparison Unambiguous symbol recognition 130 Opéra Information technologies Development of Opéra Formal characteristics 230 Alphabet Brancher A typeface as viscous as honey

01_TITE_37_DE_EN_2014_def.Druck.indd 4 19.02.14 13:56 330 Production of type Logos and wordmarks Addendum Avenir – A humanist linear grotesque 24 Handsetting 128 1957 –1960 421 Notes Studies on the linear grotesque 58 Photosetting Photon-Lumitype 196 1961 –1964 Early geometric sans serif 86 Machine setting – Single-letter casting 232 1965 –1971 438 Index of typefaces A new constructed grotesque 87 Photosetting Monophoto 274 1972 –1978 440 Index of subjects New Wave and Techno 129 Machine setting – Line-casting 316 1979 –1983 442 Index of names Production and marketing 175 OCR technology 360 1984 –1990 443 Index of firms Typeface comparison 189 Strike-on composition 406 1991 – 2008 445 List of literature Avenir Next 223 Transfer type 448 List of illustrations 233 Photosetting Linofilm 346 Westside 275 CRT setting 450 Biography Adrian Frutiger Consistency in Westside 317 Lasersetting 450 Awards and prizes The Italienne subgroup 361 Digital setting 450 Lectures Typeface comparison 451 Exhibitions 452 Publications by Adrian Frutiger 352 Vectora Detail in typography 452 Specialist articles by Adrian Frutiger General remarks on Vectora 262 The colour of a typeface 453 Films / Videos American Gothics as the starting point 292 Leading of a typeface 453 Radio interviews Size and impact of a typeface 312 Determining the letter-spacing 454 Publications about Adrian Frutiger’s work Typeface comparison 321 Characterisation of type 454 Articles on Adrian Frutiger’s work 356 Size and impact of a typeface 456 Typefaces by Adrian Frutiger 362 Linotype 364 Design sizes 456 Typeface manufacturers The genesis of Linotype Didot 458 Places of work and co-workers Design sizes 458 Collaborations with other companies The originals Quotations of Adrian Frutiger Ornaments and decorative fonts 137 Type is like a spoon 460 The authors Typeface comparison 174 Keyhole and key 461 Our thanks 188 The feeling for shapes and a technical grasp 462 Credits 370 Herculanum 201 I make the bricks ‘Type before Gutenberg’ 217 The balance of the counters Historical analysis of Herculanum 222 Like the work of a dressmaker ‘Type before Gutenberg’ type sets 420 The simplicity of abstract symbols Typeface comparison 436 Like a pure tone in music

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

407 Synopsis of Frutiger-Typefaces Typeface classification Principles of form Proportion Stroke weight Formal considerations Punctuation and special characters Numbers Italics

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