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FONT LOUNGE > FONT FEATURES > TYPE – ADAPTED TO EVERYDAY LIFE Go to Font Features Search Portrait Find further Font Features in Type – Adapted to Everyday Life Omnipresent throughout his work our Font Feature Archive. by Klaus-Peter Nicolay FONT OF THE WEEK Serving a purpose FONT DESIGNERS Typography as the highest form of visual communication Necessity is the mother of invention TYPE GALLERY A talk with Adrian Frutiger The last of their guild? FONTS IN USE Portrait Frutiger: a perfectionist FONT FEATURES We can read because we perceive elements and forms which are Forms and counterforms familiar to us. So in order to even recognize words, we must first Give and take LEARN ABOUT TYPE decipher the elements which make up the shapes of the letters – a The written word: a part of our culture MOVIE FONTS process which involves the interplay of myriad aspects. To a certain Fighting "design narcissism" BOOKSHOP degree, many of us are aware of these aspects. Yet Adrian Frutiger Biography of Adrian Frutiger FONT LINKS knows about such shifting dynamics in perception in a way no other person can, as he has been instrumental in researching the subject Fonts of Adrian Frutiger SUBMIT FONTS and over several decades has continuously applied this knowledge to his work. This knowledge, we could say, is the fruit of his unerring Apollo™ awareness of form, his analytic thinking, his technical know-how and Avenir™ his sense of aesthetics, which have all come together to make him Linotype Centennial™ one of the most well-known type artists in the world. Linotype Didot™ Frutiger™ OCR Type has become such an everyday part of our lives, we are hardly Linotype Univers™ aware of it anymore. Who wakes up in the morning and opens the newspaper to exclaim “Behold, here is type!” On the contrary, we Complete font list rarely give type a second thought. In Frutiger’s eyes, for a typeface Related articles to go unnoticed “is the greatest compliment a type designer and a Adrian Frutiger typographer can receive.” Font Feature Adrian Frutiger – Traces “The whole point with type is for you not to be aware it is there,” Font Feature Frutiger says and makes an impressive comparison: “If you The History of Linear, Sans remember the shape of a spoon with which you just ate some soup, then the spoon had a poor shape. Spoons and letters are tools. The Serif Typefaces first we need to ingest bodily nourishment from a bowl, the latter we need to ingest mental nourishment from a piece of paper.”

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FONT LOUNGE > FONT FEATURES > TYPE – ADAPTED TO EVERYDAY LIFE Go to Font Features Search Back to Linotype Homepage Type – Adapted to Everyday Life by Klaus-Peter Nicolay Portrait FONT OF THE WEEK Omnipresent throughout his work FONT DESIGNERS Omnipresent throughout his work Serving a purpose TYPE GALLERY The simplicity of this explanation is what makes it so revealing. Yet there are decades of work and experience with type, shapes and human behavior which have gone into Necessity is the mother of invention FONTS IN USE this seemingly unspectacular comparison. Frutiger was never interested in type for its The last of their guild? FONT FEATURES own sake. He has always considered type to be subordinate to the purpose it has to Frutiger: a perfectionist LEARN ABOUT TYPE fulfill – type is there to serve human needs. As a result, Adrian Frutiger has provided Forms and counterforms the field of typography with decisive impulses in its evolution and to this day is ranked MOVIE FONTS Give and take amongst the elite in type design. Yet fame was never a measure of success for Adrian Frutiger says: “Typography The written word: a part of our culture BOOKSHOP Frutiger. Reader-friendliness and the efficient conveying of content have always been must be as beautiful as a Fighting "design narcissism" FONT LINKS the paramount goals he has pursued, undeterred by the passing fashions of the time. forest – not like the concrete Biography of Adrian Frutiger SUBMIT FONTS deserts of suburbia. A forest Yet it can arguably be said that, when it comes to type and typography, Frutiger has is not a single complex – Fonts of Adrian Frutiger contributed to the visual character of our era as no other. International type classics there are distances between like Univers, Meridien, Avenir, Frutiger, OCR B or Centennial are only a small selection Apollo™ the trees which provide from Frutiger’s rich typographical oeuvre – and only go to show how he has always space to breathe and live.” Avenir™ been at the top of his time. The same holds true for Linotype Centennial™ type. If it is set too Linotype Didot™ Friends and admirers agree: unlike any other, in his artistic work and type design, narrowly, it can no longer be Frutiger™ Frutiger has managed to capture the essence of his time in molding forms which are recognized as type. “You sublime, useful, meaningful, harmonious and goal-oriented, without ever becoming OCR need to leave space for the banal. Bruno Steinert, Managing Director at Linotype Library, describes Frutiger’s Linotype Univers™ reader to breathe.” complete works and overall effect on the industry as epochal. “Through his typefaces, Complete font list Adrian Frutiger is omnipresent – even in the farthest reaches of our planet. His work has dramatically affected the world of communication.” Related articles Font Feature It is enough to look at the many typefaces Frutiger has designed to see that Steinert Adrian Frutiger – Traces is right. In 1994, Kurt Weidemann also noted: “His work with type encompasses a fair number of valid alphabets. And these will outlive telephone books of type samples, Font Feature filled with banalities and irrelevancies.” Unfortunately, only a small circle of experts The History of Linear, Sans truly recognizes his significance. Yet Adrian Frutiger remains a person whose modesty Serif Typefaces can put many other designers to shame: “I have no halo over my head. I was always only a child of my times, over which I had no influence whatsoever,” he said on his 70th birthday. Today as well, at 76, Adrian Frutiger enchants and fascinates his conversation partners without the slightest hint of vanity, luring them into the universe of type and typography, a subject many otherwise find quite dry, with fascinating fables and anecdotes. as for design purposes – or even for signs in public spaces.

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FONT LOUNGE > FONT FEATURES > TYPE – ADAPTED TO EVERYDAY LIFE Go to Font Features Search Portrait Type – Adapted to Everyday Life Omnipresent throughout his work by Klaus-Peter Nicolay FONT OF THE WEEK Serving a purpose FONT DESIGNERS Serving a purpose Necessity is the mother of invention TYPE GALLERY "Typography must be as beautiful as a The last of their guild? forest – not like the concrete deserts of Frutiger: a perfectionist FONTS IN USE suburbia. A forest is not a single Forms and counterforms FONT FEATURES complex – there are distances between Give and take LEARN ABOUT TYPE the trees which provide space to breathe and live.” The same holds true The written word: a part of our culture MOVIE FONTS for type. If it is set too narrowly, it can Fighting "design narcissism" BOOKSHOP no longer be recognized as type. “You Biography of Adrian Frutiger FONT LINKS need to leave space for the reader to Fonts of Adrian Frutiger SUBMIT FONTS breathe,” Frutiger says. That is why he always places utmost importance on Apollo™ making sure the type forms a Avenir™ symbiosis with its surroundings: “Type must be recognizable within fractions of Linotype Centennial™ a second.” And he means in all areas of Linotype Didot™ life. For unlike any other, he has Frutiger™ created typefaces for printing OCR everything from books to departure Linotype Univers™ schedules as well as for design Book type is not very legible when extremely enlarged and Complete font list therefore not suitable for signage. For this purpose, Adrian purposes – or even for signs in public Frutiger reworked his typefaces, paying special attention to spaces. Related articles enlarging the white areas of the letters. In the drawing “ensar”, the difference between Univers (dotted line) and “The grey lines on a book page are Font Feature the typeface for a sign becomes clear. Univers is an read differently than letters on a sign. Adrian Frutiger – Traces enclosed type, the new typeface, however, has open and There is a huge difference to be made Font Feature clearly distinguishable letters which can be quickly between curling up with a good book in The History of Linear, Sans your favorite armchair or when you are recognized from a distance. This can also be seen when old Serif Typefaces and new traffic signs in Switzerland are compared. The new rushing to catch your flight at the signs bear Frutiger’s mark – they are very simply, more airport.” Yet one thing is always true: distinct and quicker to read. “The reader has to feel comfortable,” Frutiger concludes. Type should never scare people away or stress them out.

Frutiger has conducted extensive studies on typefaces (also his own) and come to the realization that, for signage at airports or on highways, book type, even when it is significantly enlarged, is far too closed in its forms. This is what led him to implement his “original” Frutiger for signs at the Charles de Gaulle airport in Paris, only CONTACT to name one example. SITEMAP TERMS OF BUSINESS “Type consists of black and white LICENSE AGREEMENT elements: type bodies, white interiors SECURITY and intermediate spaces. On a sign, IMPRINT/IMPRESSUM type places different demands on readers than when it is in a book. When you are driving a car, or even walking, you have to be able to recognize the letters immediately,” Frutiger explains. The typefaces which he specifically created for these purposes feature open, clearly recognizable letters and symbols which can be quickly and unmistakably grasped. “A letter has to be as clear as an arrow,” Frutiger states and thereby essentially sums up everything which can be said on the subject. Signs which are not legible at first glance only cause confusion, instead of clarifying and providing orientation. This is valid in all fields.

Frutiger’s signature can therefore also be recognized on many street signs in Switzerland. Instead of implementing an existing typeface for these signs, Frutiger created a completely new one which ensured optimal legibility of the sign texts and symbols. The typeface implemented, “Frutiger Astra” from Linotype, is especially characterized by enlarged inner spaces. “In this way, letters like ’e’ or ’a’ can be more readily distinguished, whereas in previous typefaces the letters would only look like white spots from a distance. A car driver would be driving into a white hole of sorts,” Frutiger explains whimsically.

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Vectora has a very good readibility in small font sizes

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FONT LOUNGE > FONT FEATURES > TYPE – ADAPTED TO EVERYDAY LIFE Go to Font Features Search Portrait Type – Adapted to Everyday Life Omnipresent throughout his work by Klaus-Peter Nicolay FONT OF THE WEEK Serving a purpose FONT DESIGNERS The last of their guild? Necessity is the mother of invention TYPE GALLERY Frutiger notes that many designers like to play The last of their guild? around on their screens but essentially do not Frutiger: a perfectionist FONTS IN USE invent anything new. “Typefaces are reconstructed Forms and counterforms FONT FEATURES but new ones are not developed. Yet among these Give and take LEARN ABOUT TYPE young people there are highly talented ones who truly understand the flow of type – while others The written word: a part of our culture MOVIE FONTS just pretend they know what it is.” Fighting "design narcissism" BOOKSHOP Biography of Adrian Frutiger FONT LINKS One cannot help but ask the question if such Fonts of Adrian Frutiger SUBMIT FONTS masters as Adrian Frutiger – one can certainly also name Hermann Zapf in the same breath – are the Apollo™ last of their “guild”: designers who have created Avenir™ typefaces which will continue to excite for generations to come. “I refuse to believe it,” Linotype Centennial™ Frutiger dismisses. “Our basis was and still is text Linotype Didot™ type – especially for print media. But there will Frutiger™ always be people who are able to approach this OCR basis from a new angle and create something truly Linotype Univers™ new.” The top talents, as he calls them, with a Complete font list special focus. Related articles Frutiger has found his personal calling in sans serif fonts – stimulated by his teachers Walter Käch Font Feature and Alfred Willimann at the Kunstgewerbeschule in Adrian Frutiger – Traces Zurich. “It suited my character to make sans serif Font Feature typefaces my mission. On the one hand, it had to The History of Linear, Sans do with the jobs I was being given, but it also had Serif Typefaces a lot to with the techniques I had learned.” One of many experiments which Frutiger performed with typefaces and forms was to layer After all, he had not only developed typefaces for the most widely read text fonts over each other humans but also for machines. “Actually, to determine a kind of elementary form for best computers and computer controlled scanning legibility. His conclusions have proven themselves devices function in a similar way to the human again and again and have provided him with an eye.” The OCR typefaces developed by Frutiger in ideal form for use in defining design parameters. the 1970s are still used to this day for credit cards and money transfer media in banking traffic – there is no typeface which is more legible for computers. “They are more than 100 percent secure.”

In the same way he has developed new typefaces for new purposes, Frutiger is convinced that the CONTACT changing media industry will confront designers SITEMAP with completely unforeseen challenges which TERMS OF BUSINESS demand innovative solutions. “Many things are LICENSE AGREEMENT developed slowly and continuously. Then suddenly SECURITY a turning point comes. So like scientists who IMPRINT/IMPRESSUM discover new methods, typographers will also begin to venture into areas which have not previously been explored.”

Frutiger mentions no examples, but everyone knows that there are plenty of areas in which typography can be improved with new typefaces and new ideas. The Internet is only one example where, still today, the potential of typography is highly neglected. But also in other areas, like in television, there is a lot more which could be done. The point is obvious: all new media require new tools.

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Frutiger has also proven his critical awareness of Related articles the ever changing media world when, for Linotype Library, he fully reworked, improved and Font Feature completed his greatest typeface triumph, Univers. Adrian Frutiger – Traces The result is 63 font weights – a masterpiece Font Feature finally completed. “Univers by Adrian Frutiger is The History of Linear, Sans without a doubt the most significant typeface of Serif Typefaces the last 100 years,” assesses Bruno Steinert, Managing Director at Linotype Library.

In addition, his self-named creation of 1977 has been reworked as well and expanded to create Frutiger Next – now accessible for uses like corporate communication, communication in public spaces and information systems. It should be noted that none of the 18 font weights appears constructed but have been individually designed, also in their display forms.

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FONT LOUNGE > FONT FEATURES > TYPE – ADAPTED TO EVERYDAY LIFE Go to Font Features Search Portrait Type – Adapted to Everyday Life Omnipresent throughout his work by Klaus-Peter Nicolay FONT OF THE WEEK Serving a purpose FONT DESIGNERS Forms and counterforms Necessity is the mother of invention TYPE GALLERY Anyone who is familiar with Frutiger’s The last of their guild? typefaces is not surprised when they see the Frutiger: a perfectionist FONTS IN USE works of art he has created. Many drawings, Forms and counterforms FONT FEATURES wood carvings and objects testify to the work Give and take LEARN ABOUT TYPE of Adrian Frutiger beyond the world of type. His style is defined by extreme minimalism in The written word: a part of our culture MOVIE FONTS form and color, speaking a language made up Fighting "design narcissism" BOOKSHOP of symbols – similar to the symbols of a Biography of Adrian Frutiger FONT LINKS typeface, which could hardly be more Fonts of Adrian Frutiger SUBMIT FONTS abstract. When Frutiger creates his works of art, which he claims are “a way of relaxing” Apollo™ for him, he searches for contemporary Avenir™ symbols as core elements. Linotype Centennial™ As a result, signets, signals, symbols and Linotype Didot™ other forms are manifest with a graphic Frutiger™ stringency which not only have a high OCR Frutiger calls these works Peace, Suffering and aesthetic quality but also infer meditative and Linotype Univers™ philosophical elementary symbols, which can Blessing. On the figure below are Meeting, Delight Complete font list and Surrender, including the “A” from Frutiger Stones. be perceived by each observer in a different way and thereby have a completely different Related articles Anyone familiar with his typefaces is not surprised impact. In these works of art, Frutiger when they see the works of art he has created. Many complements the aesthetics of his Font Feature drawings, wood carvings and objects testify to the typographical creations. Individual forms Adrian Frutiger – Traces work of Adrian Frutiger beyond the world of type. His detach themselves from the alphabet yet Font Feature style is defined by extreme minimalism in form and remain true to Frutiger’s understanding of the The History of Linear, Sans harmonious relationship between black and color, speaking a language made up of symbols – Serif Typefaces vividly demonstrating that there is only a fine line white, a purposefully subtle use of colors separating graphics from type, like Frutiger Stones, interplays with philosophically appearing inner for instance. and outer shapes. These works of art are documented in the book “Hommage à Adrian Frutiger”, including around 250 pictures, available from the publisher Verlag Syndorpress in Cham, Switzerland.

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FONT LOUNGE > FONT FEATURES > TYPE – ADAPTED TO EVERYDAY LIFE Go to Font Features Search Portrait Type – Adapted to Everyday Life Omnipresent throughout his work by Klaus-Peter Nicolay FONT OF THE WEEK Serving a purpose FONT DESIGNERS Give and take Necessity is the mother of invention TYPE GALLERY At the moment, Adrian Frutiger is busy working on a new book which The last of their guild? should be printed next spring. “It’s a subject which has fascinated me for Frutiger: a perfectionist FONTS IN USE quite some time now: the concept of give and take. There is nothing Forms and counterforms FONT FEATURES revolutionary about it, people have been passing on their knowledge for Give and take LEARN ABOUT TYPE ages, the elders teach the young, the father teaches his son, the mother her daughter, the master his apprentice…there has always been this The written word: a part of our culture MOVIE FONTS exchange going on. But of course it was the “take” part of the equation Fighting "design narcissism" BOOKSHOP which mostly defined these relationships.” Frutiger admits that many no Biography of Adrian Frutiger FONT LINKS longer believe this model is relevant, because young people now just sit in Fonts of Adrian Frutiger SUBMIT FONTS front of their computers and effectively screen themselves off from the rest of the world. Yet Frutiger points out that there are distinct signs of a shift Apollo™ taking place. “The times when people thought a computer could do Avenir™ everything are over. It is simply idiotic to believe that computers could ever replace our hands. A computer will never be able to build a violin Linotype Centennial™ which truly sings!” And he elaborates even further: “Why do people still go Linotype Didot™ to concerts? Or go on hikes? Why do people meditate? Because the rush of Frutiger™ our computer age is simply unnatural to humans.” OCR Linotype Univers™ At the same time, Frutiger is convinced, especially in a computer Complete font list dominated age, a common ground for communication is even more important than before. “The technical revolution has radically changed so Related articles many aspects of our lives,” Frutiger explains. “The straightforward simplicity of printing books has been replaced by dozens of individual Font Feature phases from editing to setting, copying and printing. No print media can be Adrian Frutiger – Traces created nowadays without dedicated team work.” In one sense, he is Font Feature critical of these developments, yet he is far from defeatist. According to The History of Linear, Sans Frutiger, “Everything contemporary is based on experiences from the past. Serif Typefaces So the future can already be found in the present.”

In other words, Frutiger sees the past as a significant component of the present. So his intention is to now pass on his legacy to us in the form of a book. And it is also his intention to document many things he feels would otherwise be lost.

For instance, a description of craftsmanship skills like "die sinking", along with a description of the technologies used at the time. “I want to pass on everything I have learned or experienced which is of relevance. This knowledge will be lost if it is not definitively documented.”

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more... Linotype Centennial™ Linotype Didot™ Frutiger™ OCR Linotype Univers™ Complete font list For further information do not hesitate to contact us via: eMail [email protected] Related articles Phone +49 (0) 6172 484 418 Font Feature Fax +49 (0) 6172 484-429 Adrian Frutiger – Traces We reserve the right of errors and changes. Font Feature The History of Linear, Sans © 2005, Linotype Library GmbH, All rights reserved. Serif Typefaces

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Font Feature For further information do not hesitate to contact us via: Adrian Frutiger – Traces eMail [email protected] Font Feature Phone +49 (0) 6172 484 418 The History of Linear, Sans Fax +49 (0) 6172 484-429 Serif Typefaces We reserve the right of errors and changes.

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FONT LOUNGE > FONT FEATURES > TYPE – ADAPTED TO EVERYDAY LIFE Go to Font Features Search Portrait Type – Adapted to Everyday Life Omnipresent throughout his work by Klaus-Peter Nicolay FONT OF THE WEEK Serving a purpose FONT DESIGNERS Biography of Adrian Frutiger Necessity is the mother of invention TYPE GALLERY Adrian Frutiger was born on May 24th, 1928, in Unterseen near Interlaken, The last of their guild? Switzerland. After attending school, he was a typesetter’s apprentice from 1944 to Frutiger: a perfectionist FONTS IN USE 1948 at the printing press Otto Schlaefli AG in Interlaken. After this, he attended the Forms and counterforms FONT FEATURES Kunstgewerbeschule (College of Technical Arts) in Zurich for three years. In 1952, he Give and take LEARN ABOUT TYPE moved to Paris and became the artistic director of the type foundry Deberny & Peignot. After 10 years of successful work, he left the foundry to open a studio for The written word: a part of our culture MOVIE FONTS graphic arts together with Andre Gürtler and Bruno Pfäffli in Arcueil near Paris. Fighting "design narcissism" BOOKSHOP Biography of Adrian Frutiger FONT LINKS Aside from the large number of his now world famous typefaces, he has also created Fonts of Adrian Frutiger SUBMIT FONTS signets, logos, corporate typefaces and corporate identities for various publishers and industrial enterprises. For the airport in Paris Orly and the Paris Metro he conceived Apollo™ new lettering systems and he created a new information system for the Charles de Avenir™ Gaulle airport. And whoever drives on a highway through Switzerland will constantly be confronted with his type as well. Linotype Centennial™ Linotype Didot™ Plus, his computer type OCR B for automatic reading became a worldwide standard in Frutiger™ 1973. Adrian Frutiger was a lecturer for ten years at the Ecole Estienne and for eight OCR years at the Ecole Nationale Superieure des Arts Decoratifs, both in Paris. In addition, Linotype Univers™ he has given numerous seminars around the world. From 1963 to 1981, he was Complete font list responsible for the design and adaptation of typewriter and composer fonts at the IBM World Fair. Related articles

In 1968, Adrian Frutiger became an official advisor for D. Stempel AG in Frankfurt, Font Feature Germany, and therefore also for its successor companies such as Mergenthaler, Adrian Frutiger – Traces Linotype, Linotype-Hell and today the Heidelberg subsidiary, Linotype Library, Bad Font Feature Homburg, for which he has been an active type designer for over thirty years. In this The History of Linear, Sans time, such timeless typefaces have been created like Centennial, Versailles, Frutiger, Serif Typefaces Avenir, Vectora, Univers and many more.

For further information do not hesitate to contact us via: eMail [email protected] Phone +49 (0) 6172 484 418 Fax +49 (0) 6172 484-429 We reserve the right of errors and changes.