...Typographic Heavyweights: Adrian Frutiger This essay will discuss a designer called Adrian Frutiger who was born on 24th of May 1928 in Switzerland. When he was young he experimented with script and decorative typestyles in a negative reaction to the formal typefaces used in the schools at that time. After his high school he started working as a compositor, then he continued to get trained at the Zurich school of Arts and Crafts from 1949 to 1951. In 1952 got an invitation from Charles Peignot to administer the drawing office at Deberny & Peignot in Paris which was the foundry who produced metal type and fonts for Lumitype/Photon phototype setting systems. He is a mainly a typeface designer and his work continues to influence the designers and the typographic work in 21st century. Throughout his career when he designed his first official typeface in 1954 which was called Ondine, he designed about 31 different typefaces and his last official typeface was released in 2009 which was called Neue Frutiger. He designed a number of different typefaces but the most known typefaces he designed were Univers and Frutiger. He designed Univers in 1954 and currently includes over 40 typefaces, Universe was his most significant contribution in France which he created for filmsetting and it was also available in different weights and heights. Similar to the typeface Gill Sans which was designed by Eric Gill in 1926, Univers did more to help He produced his first typeface by cutting and pasting...
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...Adrian Frutiger Adrian Frutiger was born on May 24, 1928 and is a very famous Swiss typographer who has created more than 60 fonts in his career. (Identifont, Fonts Designed by Adrian Frutiger) Some of his most famous fonts are: Frutiger, Meridien, the OCR series, Univers, and Serifa, to name a few. He and a couple of colleagues founded their own studio near Paris in order to design, create and distribute their font-work. His work with typography has landed him a few awards and honors; 1986, the Gutenberg Prize of the City of Mains (Germany); 1987, Medal of the Type Directors Club of New York; 1993, Officier de loordre des Arts et des Lettres (Paris); 1993, Grand Prix National des Arts Graphiques (France). (Wikipedia, Awards) Combining his Univers font, along with influences from the font Gill Sans, he created ‘Roissy,’ which ended up being used at the Charles de Gaulle airport in Paris, France. The company Linotype ended up renaming the font that he used to his last name – ‘Frutiger,’ and released it for the public to use in 1976. (Wikipedia, Work Summary) Frutiger attended college at the Zurich School of Arts and Crafts and was taught by two renowned professors, Alfred Willimann and Walter Kach. He then went on as a professor for ten years at the Ecole Estienne, and eight years at the Ecole Nationale Superieure des Arts Decoratifs, in Paris. (Identifont, Adrian Frutiger) A lot of his works are used in both metal and photocomposition systems. His most recent work was in 2008...
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...years, as a compositor, to the printer Otto Schaerffli in Interlaken; between 1949 and 1951 he studied under Walter Käch and Alfred Willimann in the Kunstgewerbeschule (school of applied arts) in Zürich, where students studied monumental inscriptions from Roman forum rubbings. At the Kunstgewerbeschule, Frutiger primarily concentrated on calligraphy — a craft favouring the nib and the brush, instead of drafting tools. ------------------------------------------------- Work summary[edit] Specimens of typefaces by Adrian Frutiger. An Illustration showing the typefaces Frutiger Serif and Frutiger Next in use. Charles Peignot, of the Paris foundry Deberny Et Peignot, recruited Frutiger based upon the quality of the illustrated essay Schrift / Écriture / Lettering: the development of European letter types carved in wood. Frutiger's wood-engraved illustrations of the essay demonstrated his skill, meticulousness, and knowledge of letterforms. At Deberny & Peignot foundry, Frutiger designed the typefaces "Président", "Méridien", and "Ondine". In the event, Charles Peignot set Frutiger to work upon converting extant typefaces for the new phototypesetting Linotype equipment. Adrian Frutiger's first commercial typeface was Président — a set of titling capital letters with small, bracketed serifs, released in 1954. A calligraphic, informal, script face, Ondine ("wave" in French), also was released in 1954. In 1955, Méridien, a glyphic, old-style, serif text face was released. The...
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...It’s about a person who recalls his inconsiderate doing as a sixteen year-old of stealing a watermelon. The boy had just moved to a new home with his parents and had stolen a watermelon from the fiery Mr. Wills, whom nobody dares to touch his crops.Mr. Wills had raised the biggest watermelon in the country and was guarding his patch with a gun. When the boys and his friends passed by Mr. Will’s patch one night, the boy successfully manages to steal the great seed melon and enjoy it with his friends. Mr. Wills soon discovers about his stolen watermelon and becomes desperate and angry; the boy is touched when he discovers that Mr. Wills wanted to give it to his sickly wife to make her feel better. He decides to collect the seeds and go confess to Mr. Wills with his father, expecting Mr. Wills to try to shoot him. Instead, Mr. Wills makes a deal with the boy that they’ll grow together next year instead of this one, which is ruined. I’ve found The Taste of Melon a very entertaining 16-page read.The end is very ironic and witty. This short story is worth reading. Actually the boys hadn't just passed by, they went swimming that night after the moon rose and Mr. Will's was actually keeping that that melon for his sickly wife to make her feel better by letting her share it with averybody in town not only so that it would make HER feel better. Also it wasn't only Mr. Will's who made the deal with the boy, they young boy presented the deal to Mr. Will's and Mr. Will's...
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...Vast Hell “A small town is a vast hell” The quote above describes how badly some people perceive small towns. There could be many reasons behind this strong dislike. One of them could be that small towns are often seen as these tight and small communities where everybody know each other in one way or another and are noisy with too much time on their hands, which resolves in gossip spreading out quickly in town when something happens. But what do you do when you try to move past the gossip, and stumble upon the ugly truth? We see this in the novel “Vast Hell” by author Guillermo Martinez, where the quote is also from. The story takes place in a small village, and resolves around a man that thinks back to the arrival of a nameless young boy in the small-town, that manages to become the talk of town, when rumour starts spreading that he is romantically involved with the wife of one of the two barbers in town, who people call “the French Woman” for unknown reasons. Fuel is added to the fire when the boy and the French Woman disappear, leading half the town to believe they ran off together and the other half to believe that the barber somehow did away with them. Further investigation into the case gives the story a whole different turn, because after digging in the ground to see if the barber had buried them there, they do find dead bodies, but not the bodies of the boy and the French woman, but of a lot of unknown people. The story is told with a first person narrator...
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...TASTE OF A WATERMELON It’s about a person who recalls his inconsiderate doing as a sixteen year-old of stealing a watermelon. The boy had just moved to a new home with his parents and had stolen a watermelon from the fiery Mr. Wills, whom nobody dares to touch his crops.Mr. Wills had raised the biggest watermelon in the country and was guarding his patch with a gun. When the boys and his friends passed by Mr. Will’s patch one night, the boy successfully manages to steal the great seed melon and enjoy it with his friends. Mr. Wills soon discovers about his stolen watermelon and becomes desperate and angry; the boy is touched when he discovers that Mr. Wills wanted to give it to his sickly wife to make her feel better. He decides to collect the seeds and go confess to Mr. Wills with his father, expecting Mr. Wills to try to shoot him. Instead, Mr. Wills makes a deal with the boy that they’ll grow together next year instead of this one, which is ruined. I’ve found The Taste of Melon a very entertaining 16-page read.The end is very ironic and witty. This short story is worth reading. Actually the boys hadn't just passed by, they went swimming that night after the moon rose and Mr. Will's was actually keeping that that melon for his sickly wife to make her feel better by letting her share it with averybody in town not only so that it would make HER feel better. Also it wasn't only Mr. Will's who made the deal with the boy, they young boy presented the deal to Mr. Will's and Mr...
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...Adrian Frutiger was born on May 24, 1928 and is a very famous Swiss typographer who has created more than 60 fonts in his career. (Identifont, Fonts Designed by Adrian Frutiger) Some of his most famous fonts are: Frutiger, Meridien, the OCR series, Univers, and Serifa, to name a few. He and a couple of colleagues founded their own studio near Paris in order to design, create and distribute their font-work. His work with typography has landed him a few awards and honors; 1986, the Gutenberg Prize of the City of Mains (Germany); 1987, Medal of the Type Directors Club of New York; 1993, Officier de loordre des Arts et des Lettres (Paris); 1993, Grand Prix National des Arts Graphiques (France). (Wikipedia, Awards) Combining his Univers font, along with influences from the font Gill Sans, he created ‘Roissy,’ which ended up being used at the Charles de Gaulle airport in Paris, France. The company Linotype ended up renaming the font that he used to his last name – ‘Frutiger,’ and released it for the public to use in 1976. (Wikipedia, Work Summary) Frutiger attended college at the Zurich School of Arts and Crafts and was taught by two renowned professors, Alfred Willimann and Walter Kach. He then went on as a professor for ten years at the Ecole Estienne, and eight years at the Ecole Nationale Superieure des Arts Decoratifs, in Paris. (Identifont, Adrian Frutiger) A lot of his works are used in both metal and photocomposition systems. His most recent work was in 2008, when he helped...
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...Univers was designed by Adrian Frutiger in 1956 and released by the Deberny & Pe ignot type foundry in 1957. It is a neo-grotesque sans serif; it features optica lly even stroke weights and a large x-height to improve legibility. It s become kn own for the variety of weights and set-widths included in the family. At the tim e it was designed it included 21 variations, and was the first type family to im plement a numbering system as opposed to using names. Today there are over 27 di fferent variations of Univers available. Univers is an extremely diverse typefac e that has the ability to work very well at large display sizes for applications such as headlines and mastheads as well as in small sizes for body copy. During the 1990s, Adrian Frutiger worked together with Linotype to expand his cl assic Univers family. The result, Linotype Univers, includes 63 different weight s, each drawn carefully to ensure compatibility with all the others. > http://typophile.com/node/13516 ================================================================================ Adrian Frutiger is best known as a type-designer. He has produced some of the mo st well known and widely used typefaces. He was born in 1928 in Interlaken, Swit zerland, and by the age of 16 was working as a printer's apprentice near his hom e town. Following this he moved to Zurich where he studied at the Zurich School of Arts and Crafts, under Professor Walter Kach. After his education in Zurich, Frutiger moved to Paris where he...
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...Univers (French pronunciation: [ynivɛʁ], "ünivair") is the name of a realist sans-serif typeface designed by Adrian Frutiger in 1954.[1] Originally conceived and released by Deberny & Peignot in 1957, the type library was acquired in 1972 by Haas. Haas'sche Schriftgiesserei (Haas Type Foundry) was later folded into the D. Stempel AG and Linotype collection in 1985 and 1989 respectively. Contents [hide] 1 Visual Distinctive Characteristics 2 Characteristics 2.1 Univers Cyrillic, Univers Pro Cyrillic (2010) 3 Linotype Univers 3.1 Linotype Univers Typewriter 4 Univers Next (2010) 4.1 Univers Next W1G 5 Univers Next Arabic (2011) 6 The Frutiger numbering system 7 Linotype numbering system 8 Usage 9 In popular culture 10 Comparison with Akzidenz-Grotesk, Folio, and Helvetica 11 References 12 External links [edit] Visual Distinctive Characteristics Characteristics of this typeface are: lower case: square dot over the letter i. double storey a. upper case: dropped horizontal element on A. [edit] Characteristics Univers is one of a group of neo-grotesque sans-serif typefaces, all released in 1957,[2] that includes Folio and Neue Haas Grotesk (later renamed Helvetica). These three faces are sometimes confused with each other, because each is based on the 1898 typeface Akzidenz-Grotesk. These typefaces figure prominently in the Swiss Style of graphic design. Different weights...
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...lot of contemporary design work. This particular style has its roots formed by the modernist movement that started a few decades before it emerged. The style was later called The International Typographic style because it was mainly built on the use of typography. There are two typefaces that are the big stars of the Swiss style, the so called “Sans Serif Twins”, Univers and Helvetica. Both of them gained huge popularity among typographers right after their emergence and up to date they are still one of the most favorable typefaces in the world. How can that be possible? How can typefaces designed half a century ago still be used in contemporary practice? Both Helvetica and Univers are special in their own way. Univers was designed by Adrian Frutiger in 1954 in Paris and...
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...influential and notorious typefaces today. It not only gives the name of the designer and the year when it was first published, but also groups it into families and classes like serif, sans-serif, display, grotesque, didone or geometric, which helps to get a clearer picture. I found that a good start for research and googled many of the mentioned designers. I stopped at Erik Spiekermann (the type”face” behind Audi, Bosch, Sky TV, Nokia, …) Matthew Carter (internet/screen standard fonts Verdana/Tahoma, Georgia), Max Miedinger (Neue Haas Grotesk = Helvetica), Edward Johnston (ITC Johnston, P22 Underground for the London tube), Paul Renner (Futura), Tobias Frere-Jones (Gotham - Obama election campaign 2008, Asphalt Black), Adrian Frutiger (Linotype Didot, Univers, Frutiger, Avenir), Stanley Morison (Times). These are mainly type faces which serve in headlines as well as in the body copy. If chosen for the right reasons (style of typeface fitting style of article, text, ...) the quality of these fonts have a chance to deliver what the Craig Ward poster on top of this text asks typography to do – to be invisible – meaning to fit a purpose so perfect that it seems to belong to it as part of its nature. In most cases people should not talk about the type faces and graphic design, but the message it transports. I also researched some typographers, who became known mainly for their display typefaces: Luke Lucas (Lukano, Aeroplane, Sleaze, Inline Hell), Steve Buffoni (Nu Classic Typo, Shock)...
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...Study Guide to Accompany Meggs’ History of Graphic Design Fourth Edition Prepared by Susan Merritt Professor and Head of Graphic Design School of Art, Design, and Art History San Diego State University (SDSU) With assistance from Chris McCampbell and Jenny Yoshida John Wiley & Sons, Inc. i DISCLAIMER The information in this book has been derived and extracted from a multitude of sources including building codes, fire codes, industry codes and standards, manufacturer’s literature, engineering reference works, and personal professional experience. It is presented in good faith. Although the authors and the publisher have made every reasonable effort to make the information presented accurate and authoritative, they do not warrant, and assume no liability for, its accuracy or completeness or fitness for any specific purpose. The information is intended primarily as a learning and teaching aid, and not as a final source of information for the design of building systems by design professionals. It is the responsibility of users to apply their professional knowledge in the application of the information presented in this book, and to consult original sources for current and detailed information as needed, for actual design situations. This book is printed on acid-free paper. Copyright © 2006 by John Wiley and Sons. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced...
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...Gismália Marcelino Mendonça Manual de Normalização para Apresentação de Trabalhos Acadêmicos Salvador UNIFACS 2009 © 2009 Gismália Marcelino Mendonça Direitos dessa edição cedidos à Universidade Salvador - UNIFACS APRESENTAÇÃO A realidade moderna do ponto de vista socioeconômico compreende uma Sociedade do Conhecimento e a Economia Tecnológica subjacente a ela. Neste tipo de realidade as Universidades são instituições centrais, seja por formarem os recursos humanos a ela necessários, seja por produzirem conhecimento científico e tecnológico, sendo este o principal bem, em termos de valor, desta economia. Este conhecimento tecnológico é produzido em escala industrial, ou seja, em grande quantidade e com alta qualidade, por um aparato produtivo complexo. Frequentemente os avanços tecnológicos geram mudanças paradigmáticas, alterando inesperadamente para melhor as condições de funcionamento da sociedade, mas exigindo de todos um contínuo esforço de adaptação às novas possibilidades. Esta também tem sido a tônica no campo específico da produção de trabalhos acadêmicos, onde aparecem novos recursos, como base de dados, portais de publicações científicas, disponibilização de trabalhos na Internet para crítica e interação entre pesquisadores etc. No caso da Unifacs temos procurado acompanhar estas novas possibilidades na produção de trabalhos acadêmicos. Para isso o nosso Sistema de Bibliotecas possui um grande acervo de material de orientação para trabalhos acadêmicos, sejam trabalhos...
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...Gismália Marcelino Mendonça Manual de Normalização para Apresentação de Trabalhos Acadêmicos Salvador UNIFACS 2009 © 2009 Gismália Marcelino Mendonça Direitos dessa edição cedidos à Universidade Salvador - UNIFACS APRESENTAÇÃO A realidade moderna do ponto de vista socioeconômico compreende uma Sociedade do Conhecimento e a Economia Tecnológica subjacente a ela. Neste tipo de realidade as Universidades são instituições centrais, seja por formarem os recursos humanos a ela necessários, seja por produzirem conhecimento científico e tecnológico, sendo este o principal bem, em termos de valor, desta economia. Este conhecimento tecnológico é produzido em escala industrial, ou seja, em grande quantidade e com alta qualidade, por um aparato produtivo complexo. Frequentemente os avanços tecnológicos geram mudanças paradigmáticas, alterando inesperadamente para melhor as condições de funcionamento da sociedade, mas exigindo de todos um contínuo esforço de adaptação às novas possibilidades. Esta também tem sido a tônica no campo específico da produção de trabalhos acadêmicos, onde aparecem novos recursos, como base de dados, portais de publicações científicas, disponibilização de trabalhos na Internet para crítica e interação entre pesquisadores etc. No caso da Unifacs temos procurado acompanhar estas novas possibilidades na produção de trabalhos acadêmicos. Para isso o nosso Sistema de Bibliotecas possui um grande acervo de material de orientação para trabalhos acadêmicos, sejam trabalhos...
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...IMPRINT Imprint © 2013 Smashing Media GmbH, Freiburg, Germany ISBN: 978-3-94454016-0 Cover Design: Ricardo Gimenes PR & Press: Stephan Poppe eBook Strategy and Editing: Vitaly Friedman Technical Editing: Cosima Mielke Planning and Quality Control: Vitaly Friedman, Iris Lješnjanin Tools: Elja Friedman. Syntax Highlighting: Prism by Lea Verou. Idea & Concept: Smashing Media GmbH Preface Over the past few years, our eBook collection has grown steadily. With more than 50 eBooks already available and counting, we made the decision half a year ago to bundle all of this valuable content into one big lovely package: The Smashing Library1. As a humble gift to you, dear reader, we have now put together this Editor’s Choice eBook. It’s a little Smashing Library treat, featuring some of the most memorable and useful articles that have been published on Smashing Magazine in the last few years — all of them carefully selected and thoroughly edited. Ranging from heavily discussed topics such as responsive Web design, to ideas on UX, to trusty mainstays like nifty Photoshop tricks, to hands-on business advice and design inspiration, this eBook is a potpourri as diverse as your work as a Web designer. We hope you enjoy reading it as much as we do editing and creating each and every eBook page that finds a home in our Smashing Library. — Cosima Mielke, Smashing eBook Producer 1. http://smashed.by/library 2 TABLE OF CONTENTS Designing For The Reading Experience...
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