o ernist
ne -mod MODERNIST FRUTIGER & BRODY
e creat he did y h d p n ra ing a typog inspir ee terly t u not s s wa dy did o r B l. and usefu in art ange h y as c e th sticall s dra a g n ly usin desig main – r e ype Frutig oto/T d al Ph 0’s an Digit 8 the in g ion t in Sett enera ach g E . n c e t so o nt eff iffere d her a has ograp h typ c a oth e B and style. own is ion. h t a s ha inspir n a r was uly rutige are tr ann F h o J in n , 1928 Adria ay 24 M n n nd, a o zerla Adria born , Swit ners n ig e s e born e s r d ner – Unte eville Type desig nd N s a is e r w just g e 944, true S de hu Frutig . By 1 h ma d t e o is b a y r old, and r ay’s Brod n yea n tod ixtee o s s e t r e etting c a me e typ impa types h “ t a m d to arte ty fro ed. at Ot he st socie creat eship they ic t s n rs, n e a e r t app desig from , prin grew ie AG nd ” r fl la e e r e la ig la r nd Sch Frut Switz witze wn in en, S lized k o t a la e r ll r e ll Int sma 2). He st we 4 o 4 e m r m re nis he is tru (Oste oder into t was h y iss M h d p w e a t S r n elped affec typog know ich h r. He n, wh untside raphe io g s d s o e a t p o toK a p ty e to g histic p id c o s e ol of y ever (scho him d a ver chule and n s n e . b ig n r rich, s w gewe in Zu of de w do rafts) t c to slo u o d d in b n e a er on arts a seem nate d. Lat assio n d p e la r s id e in a k g Switz d dec He w r wor hy an r, afte e p e a r r s rny & a g e his c Debe typo pefac 66 ty ars at e e e y k was im y a t man to m is, he is life in Par out h t o t h o g n rtistic e u p A Peig thro inoty nced L u o m n o an – fr . dy, finally time and P le Bro Nevil r for D o l. t a c it , e nd Dir Dig er ha ic e oth ntast on th a f a r deed raphe was in g o p y ner/t g to desig t clin o n e did ch but h as mu raphy g o hat p w y t r, but utige as Fr
TYPOGRAPHERS ARE KEY TO THE DESIGN
world. If not for them what would people today read?
Becoming Art Director was indeed a huge accomplishment, but Frutiger was even more amazing than that. Starting in the year 1950 he received awards and prizes. First was the Federal Department of the Interior Prize;
Advertising Campaign Award; Chevalier Pans L’orde Des Arts Et Des Leitres; Award for ‘Most Beautiful Swiss Books’ for Imanfang Au Commencement in the Beginning; Coat of Arms by city Interlaken, Switzerland; Paul Haupt Prize from the city of Bern; Gutenberg Prize from the International Gutenberg Society; Gold Medal from the Type Director’s Club; Jaggi Prize; Grand Prix National De La Culture – Graphics; SOTA Type Award and finally, Prix Designer 2007 – Federal Office of Culture
Switzerland.
B
k L a cV t u
B
a c dEfg h iJ O P Q r s w y z
mn
X
Neville Brody was born when Frutiger already had a name for himself. Brody was born on April 23, 1957 in Southgate, London. He was mainly known for his design work and The Face, but known as the typographer who designed Arcadia.
“BY THE LATE 1980’S, NEVILLE BRODY W KNOWN GRAPHIC DESI GENERATION”
British
Brody grew up in a suburb just north of London. Once he was ready to leave for school he had to choose (because of his father) whether to go into art and design or not. “In 1975, Brody went onto do foundation at Hornsey College of Art and by 1976 Brody started a three year BA course at the London College of Printing” (Brody 5). After his education he had designed and created his own hand drawn type called Typeface One, 1979. This typeface was specifically designed and used for his magazine The Face. Brody states, “type is seen as being extra – territorial, but it’s not; type is used to express an inner feeling and reaction, it has to be, it’s not a natural phenomenon, it symbolizes a thought process. It’s organic, in it’s basis, it’s man – created” (Brody 41).
AS THE BEST GNER OF HIS (BRODY 5).
Frutige r has m ore of but ma a posit inly typ ive, very o graphy strong only ag – much outloo e and te k on no more th chnolo t only d an Brod explain gy but esign, y. The d almost nationa ifferenc fully wh lity as w e is no y each th e ll t . T h ink a ce ese thre rtain wa e main Adrian y and d to Frutige pics esign a r was a certain Swiss D promin way. ent typ esigner ograph – a very Modern er in th good S e 20th c ist typo wiss De entury. g ra signer – phy and that he He was therefo design. designe a re; he p H e d , is Univers roduce fa m most fa o u , Avenir s for qu d Swiss mous ty , Frutig ite a few pefaces er and typefac typefac but thro OCR – es es, start ugh ou B. Thes ing in th t e are th h is caree e year 1 e three r he de 952 and signed ending a total in 1993 of 66 … They include ‘Initiale : s Presid ent’ yea year 19 r 1952 -5 53; ‘On 4; ‘Initia dine’ ye les Pho 1953 – a r 1953 – ebus’ 57; ‘Un 5 4; ‘Meri ivers’ ye dien’ ye F’ year ar 1953 ar c. 1956 – 57; ‘E – 58; ‘O gyptien ‘Alphab pera’ ye n e et Orly’ ar 1958 year 19 – 60; – 64; ‘C 59 – 61 oncord ; ‘Apollo e’ year ’ year 19 year196 1961 – 60 64; ‘An 2 – 64; tique P ‘Algol’ resse’ 1963, fr year 19 om 196 63; ‘OC 5; ‘Serifa R – B’ fr IBM Co om ’ year 1 mpose 963 – 6 r’ year 1 7; ‘Univ GDF’ y 964 – 6 ers ear 196 6 ; ‘Alpha 4 – 67; bet ED ‘Univers ‘Devan Fagari/T Greek’ amill’ y year 19 ear 196 Neonsc 67; 7 – 73; ript’ ye ‘Alpha ar 1996 BP’ 98; ‘Fru ; ‘Linoty tiger N pe Univ ext’ yea ers’ yea 1999 – 2 r 1998 – r 1996 – 002; ‘Av 2001; ‘A enir Ne stra Fru 91; ‘Herc xt’ year tiger’ 2002 – 0 ulanum ’ year 19 4; year ‘Frutige 1990 – 90 – 91; r Capita ‘S hiseido lis’ year ’ year 19 1992; ‘R 1991 – 2 91; ustican 005; ‘Po a mpeijan ’ y ear 199 Frutige a’ year 2 – 93; r Symb ‘ Frutig ols’ yea er Ston r 1992 – es/ 98; ‘Fru tiger
bro
year 1968 – 69; ‘Documenta’ year
‘Nami’ year (1952) 2007; ‘Frutiger
1969 – 70; ‘Alphabet Facom’ year
Serif’ year (1954) 2008 (Osterer 448).
1970 – 71; ‘Alphabet Roissy’ year
Each one of these typefaces are
1970 – 72; ‘Alphabet Brancher’
carefully drawn and thought out
year 1971 – 72; ‘Iridium’ year 1972;
by Fruitger himself as well as fully
‘Alphabet Metro’ year 1973; ‘Roissy-
thought out in the manufacture
Solaris’ year 1973 – 74; ‘Univers
department.
Frutiger’s most famous typeface – ‘UNIVERS’. Cyrillic’ year 1973 – 76; ‘Alphabet Centre Georges Pompidou’ year
ody
1974 – 76; ‘Frutiger’ year 1974 – 76;
‘Glypha’ year 1976 – 80; ‘Caracteres TVP’ year 1978 – 79; ‘Icone’ year
1978 – 80; ‘Breughel’ year 1978 – 82;
‘Tiemann’ year 1982; ‘Versailles’ year
The typeface was designed by
1982 – 84; ‘Frutiger Cyrillic’ year
Frutiger in the winter of 1953. When
1985; ‘Linotype Centennial’ year
he first designed the typeface he
1985 – 86; ‘Avenir’ year 1987 – 88;
handset it himself. He was one of
‘Westside’ year 1988 – 89; ‘Vectora’
the few who started the Lumitype
year 1988 – 91; ‘Linotype Didot’
setting. The main focus of this typeface is that it needed to be sans serif and be “consistent The classical double loop shape of the g was rejected for similar reasons, it looks forced in narrow, small and italic weights” (Osterer 88).
Frutiger also “constructed ‘Univers’ on a vertical axis. That was my starting point (Osterer 92). The type was thought out from inspiration from Peignot’s ‘Futura’ as well as old historical scripts including Roman Capitals Monumentalis. Charles Peignot and Emil Ruder are both very responsible for the entire creation of ‘Univers.’ Frutiger in no way, shape or form would have been able to fix and perfect every detail without them. The second most famous typeface Adrian Frutiger designed is called ‘Avenir.’ Just like ‘Univers,’ ‘Avenir’ is still used very commonly used today. It was designed and completed in 1987 – 88. Frutiger used CRY and laser digital typesetting during this time period. He also used Post Script digital typesetting and OpenType digital typesetting for the 1988 version. The 80’s were much more advanced and the stylistic development was incredibly different than that of the early 1950’s. Avenir is a sans serif font and was originally designed to be a geometric font, “the geometric sans was the fundamental idea behind ‘Avenir’ ” (Oysterer 333) – he first designed they typeface using a compass (creating perfect circles).
Frutiger states “ with this o as a starting point, I drew the entire alphabet in a light weight. All the strokes had to sit with those of the o. It was about making the tiniest adjustments” (Oysterer 330).
Then the third most popular, another
It was also quite expensive back
sans serif/geometric font is ‘OCR –
in this day when they only had a
B’ It also is an optical character read
few people in the design industry.
typeface. Frutiger designed this in
Frutiger designed/made up this
the 60’s – no specific date.
typeface for the sole purpose to be
This typeface was created when only
legible and easy to use in different
“thirteen computer and typewriter
technology such as a typewriter,
manufacturers founded the
a copy machine or full computer
‘European Computer Manufactureres
print – outs. When Frutiger started
Association’ – EMCMA – based in
designing typography it was post –
Geneva” (Oysterer 176). The grid
war time period – when artists went
that was designed for the typeface
two separate ways after the two
was only used to make copies (OCR
world wars. “Swiss artists had been
fonts were created for Optical
exposed earlier to the movements
Character Recognition – to be read
and styles flourishing elsewhere
by a computerized device). Quite
in Europe (De Stijil, Bauhaus and
a lot went into figuring out the
Constructivism)…” (Swiss Legacy).
sizing and placement of the type.
W
he used computer composition,typewriter composition and post script.
1977, was beginning to have a major effect upon London life...
ajor is a m the Here bout ple a m a x im t e e e of d renc e f if 0’s an ia, d rcad the 5 – er the d de A ig lu t c u r in perio ifs. In 80’s Yes F s ser ’s . e n 0 ’s h a n. 8 t 0 s e desig the 8 from etric st th eom d pa aces even f g e e d n ll . n p d a e ig y a des efac st ha ype nist t h are t typ he ju e in t whic oder is , . d iv , n ll . m . y r s n e c s e d a o t e od Bro as w ssy xpre nia e His n ville ost-m ore e er, cla . Insig r Ne earli look nic, p ch m tria, a unk s u n d g p u a e r m As fo d and 7 n o s In 197 sign y wa edefi is an nd “ ree ore r r’s de Brod hich ning g , e m w a ’s arou in r ig t 0 g t o 9 be Fru t ol in y d Blu did n was ng scho effec drian Brod reate One rock a you ajor g to He c ther. t in A r in m o a o . As a e p g r le e th y ve d ig t h , a n h t e b S e h a v it o l f a a r. w to ed hoo on li g up lays s we d esign ld-Sc owin Lond Swis lity p d r y a O s n a o rt an G d n a s o s . o ls is io r a a up the a such Nat t e Sw world he w s in r as B n g h y e – t t a o f c in h o F e d a s p f is a gra he g and ollow eate uenc type d, th and typo how r infl ury (f he cr Fuse s erne t , d jo e c n d n a t c ia n e n s a a n c o m f c erla he 0th ataly Insig o art type as a was Switz the 2 ive. T the c ind t hese her w not r’s m creat ck in ided rnist y 5). is fat e a op. T e d h d b h ig n rn in d , o t S y a e r o prov m u o d r B e ( m is b F o iv n t ” h r s s t d m e e po pres s bo e and eded Mod open were ced e wa it ne of th re ex wiss This dvan es. H h mo ld. S ell a esign c c d e a d w u e e f fi r s d e m is n typ nee ist a In h . g mo was desig , he e dern bein aus) untry . Face as th e of o-mo rnist Bauh face ire co g e e t r e a n d n e The p it t o e r y f nce w t e a m ir e h a e u t s a h fl e t po eat in in hin icate is s had as a to cr mun is ma fit th ut wit Swis h com k. on. H ould ign b o s o d t w e n t lo houg g d o a th ven t only unge tartin om L e r r s ( f g s r ly a e d w hip ers raph rising d an new world Surp eate esign ypog w the tc… ke iss D is a t he cr o a e w h w le y m S il d o g n H by Nev nolo ed to rld a nced tech dlin. s n wo inspir influe g of l Win e’ wa was oder ly in n h g n m r O n ig o e a e h h C c s c a a f d w the ‘Type elf an ers’) with .’ hims Univ etica iger ted ‘ t a u r h ‘Helv F he drian as A such
As the typeface’s progressed, so did the technology that came with them. Linotype was what Frutiger had to start out with – back in the early 50’s.
Photocomposition processing began in the late 1950’s to early 60’s (photo type) and then ending using digital type in the most recent typefaces such as ‘University.’ Linotype Phototypesetting was a method of setting type. It was setting type by hand, not by the computer or anything digital yet (sort of by hand, but typed on a machine). Later on in the 1960’s software was becoming more common and handy to the common consumer. Brody’s newer typeface, Univers Platinum was one of his most successful typefaces. It was based off his original typeface, Univers, and built on a more contemporary - modern-day level.
Durin
g Bro dy’s tim e he d not ha id ve to deal w chang ith the e of te chnolo drastic gy as ally as Frutig er did .
Brod y cont was a M e typ o mp orary ODERN/ MODE grapher a RN Di gital nd used Type
– durin g the 80’s an this w d 90’s as the comm do thin on wa y to gs. He collab with E orated rik Sp iekerm In con ann – a mod clusio also ern/co n Adr ntemp d ian Fr desig rastica orary utiger ner an lly diffe d typo and N re n e t. Brod d eville graph u c both u a t io Brody er, y did n but sing D have a are bo not ne igital to exp th lot of (it was a r T ly e y p rience as mu e exper the hig c t h h ience e a a h s n h e d the ard w Frutig st form and of tec o transfo er. He rk and hnolo was n rmatio beaut gy to Brody ot able n of ty y of Lin date may n at this pe thro otype ot hav point). either ugh o Settin e had Photo Digita but he ut the g typese all the l ages. s t tting is e ill was x p – e li Now r k im e type one o when e a com n t a face. H tion in f the fi puter rst to Frutig device the w is type or dig orld create er – w ital sets a is very ho wa a ‘han ll type e Techn x pressiv s very dwritt for yo ology e and set an en’ u. plays not un d put a majo in typ iform toget ograp r part her ty li ke hy be pe de cause let us signer. it has exper iment all typ and ta ograp ke hy to an en new le tirely vel, on e even Frutig Adrian er cou ld have n dream ever t of ba ck in t he 50 ’s.
6
12 3 45 812 9 0
3
34
Today in modern day society and in modern education we still use these typefaces from these
bril TYPOGRAPHERS.
liant bri l i a nt BRILLIANT
abcdefghijklmn
ABCDEFGHIJKLM Frutiger and Brody are two very strong typographers and designers. As stated earlier, Frutiger was a prominent typographer in the 20th century. He was a Swiss Designer – a very good Swiss Designer – therefore; he produced Swiss Modernist typography and design. He is famous for quite a few typefaces that he designed, Univers, Avenir, Frutiger and OCR – B. Neville Brody was
the face
mainly known for his design work and
but known as the typographer who designed Arcadia. Design was just as equally important to Brody as type work was. Frutiger thought
differently... type was his world, it was his job, his life and who he was as a typographer and designer.
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designer typefaces course faculty
ALEXANDRA COLLINS INSIGNIA. AVENIR. ARCADIA. OCR A STD. TYPEFACE SIX. UNIVERS. TYPOGRAPHY 3 FRANCHESKA GUERRERO