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

By Heidrun Osterer

The normal paintings at the Swiss style fashion designer: all typefaces - from layout to advertising - have been visually documented and analyzed almost about the know-how and to similar typefaces.

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Possibly they were specifically aimed at a market outside of printing offices. individual, unconnected elements. Roger Excoffon worked completely differently from the way I did. As it happens, we were good friends and would always meet in Paris at the bistro next door, but the ‘old timers’ weren’t supposed to know that. He was a painter and graphic designer and only came to type design through his stepfather 8. Unburdened by theoretical and historical specialist knowledge, he would design using his own creativity and came up with dynamic brush­style letters based on his handwriting for jobbing faces such as Mistral and Choc /06/, but also an unusual sans serif like Antique Olive (see page 355), with its idiosyncratic proportions.

THE SAmE IS TRUE FOR TY PEFACES. POURQUOI TAnT D’ALPHABETS DIFFÉ REnTS ! TOUS SERVEnT AU mÊmE BUT, mAIS A USSI À EXPRImER La DIVERSITÉ DE L’HOmmE. C’EST CETTE mÊmE DIVERSITÉ QUE nOUS RETR OUVOnS DAnS LES VInS DE mÉDOC. 7 pt | 8 pt | 10 phoe b us 45 Type-design project Element-Grotesk 1953 /01/ Sketch of an alphabet composed of elements (above); and sketch of the negative shapes of the elements (below). /02/ Test showing how the widths of characters could be changed by simply adding more of the same elements in the middle of each one.

06/ Selections from the wide range of older shadow faces in the compo dp type specimen book, 1961. 40 j o b b i n g t y p e fa c e Of particular interest in connection with Phoebus is the monogram d & p /04/ in an advertisement by Deberny & Peignot, which appeared in the La France Graphique trade publication, no. 45 from 1950. Like Adrian Frutiger' s Phoebus the monogram has italic Latin shadow letters, although these are lowercase letters with outlined threedimensional shapes. The angle is virtually the same, and even the shadow shapes have the same angle and dimension.

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Adrian Frutiger: Typefaces by Heidrun Osterer

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