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Adrian Frutiger + Matthew Carter

Adrian Frutiger was born in Unterseen near Interlaken, Switzerland, in 1928. Adrian Frutiger is among the best known as a contemporary Swiss type designer. Frutiger has produced some of the most used typefaces of the 20th and 21st century.

Some of his most famous typefaces include Univers, Frutiger, Egyptienne, Serifa and Avenir. After studying type-design in Zürich, Frutiger moved to Paris where he opened his own studio in 1961 and later taught at both the Ecole Estienne and Ecole Nationale Superieure des Art Decoratifs

ADRIAN FRUTIGER Contemporary Swiss Type Designer Univers, Frutiger, Serifa and Avenir

Frutiger soon established an international reputation by designing the Univers family of sans serif faces

Afteran apprenticeship as a compositor in Interlaken, he studied from 1949-51 at the Kunstgewerbeschule, Zurich. In 1952 he as hired by Charles Peignot, of the type foundry Deberny & Peignot, as a artistic director. After initial acclaim for his font Méridien (1954) Other typefaces designed by Frutiger include Avenir, Centennial, Egyptienne, Frutiger, Glyphia, Iridium, Icone, OCR-B (the standard alphabet for optical character recognition) Seifa and Versailles, plus in-house typefaces for corporations such as BP and Shiseido. In 1960, Frutiger established a design studio with Andre Gürtler and Bruno Pfäffli, His 4 I LEGIBILITY READABILITY

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MATTHEW

CARTER Neoclassical English Typographer Bell Centennial , Georgia and Verdana

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Matthew Carter created type by every means historically possible. Carter went through diverse cultures.

Matthew Carter was born in London, England. At nineteen, he went to the Netherlands, where he trained at Enschedé as a punch-cutter. From 1963, he worked as a typographic consultant to Crosfield Electronics and in 1965 moved to Mergenthaler Linotype in New York. During his first visit New York City in 1960, Cater was influenced by progressive designers of New York’s ‘commercial art scene’, such as Milton Glaser.

“ I have always been intrigued by inscriptional lettering with flared terminals to the strokes. ”

Thought out his history, He is the postmodernist and neo-classical typographer. Neo-classical typefaces created within the late 18th century.

When first released, these typefaces were called “classical” designs. Early on, however, it became apparent to printers that these were not updated versions of classic type styles, but altogether new designs. Since the mid 20th century, they have also been classified as neoclassical.

Contrast between thick and thin strokes is abrupt and dramatic. The axis of curved strokes is vertical, with little or no bracketing. These tend to be highly mannered designs, with clearly constructed letters. (Haley Allan). In addition, Postmodernism is a late-20th-century movement in the arts, architecture, and criticism that 6 I LEGIBILITY READABILITY

Frutiger was like scientist or mathematician, meticulously dissecting letters to discover their hidden structures and geometry. When Adrian Frutiger designed the Univers family, he inspired the grotesk style of sanserif, which is commonly used in Swiss design. He used traditional methods like photo type and had great impact on digital typography in the 21st century. The Swiss style is known for its clear lines, inspired several new sansand legibility from distance serif fonts, Adrian’s typeface influenced Helvetica. The Univers shows his inspiration Swiss Style or Swiss Graphic from the Swiss Modernist Design was developed in style of graphic design, which the 1950s in Switzerland.

It remained a major design movement for more than two decades. Swiss style emerged in Switzerland in the 1950s that would become the predominant graphic style in the world by the ‘70s. Because of its strong reliance on typographic elements, the new style came to be known as the International Typographic Style. The style was marked by the use of a mathematical grid to provide an overall orderly and unified structure; sans serif typefaces (especially Helvetica, introduced in 1957) in a flush left and ragged right format; and black and white photography in place of drawn illustration. The overall impression was

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- Adrian Frutiger

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When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.

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We learn history, wherever the person live in, the person’s art will be influenced by what is happening around the person. The artist De Stiji is influenced from contructivism, influenced

by Futurism, influenced

by Cubism and so on.

Consequently, nationality plays an important role in the lives of artist in shaping who they are and how they are influenced.

Origin gives our creativity and originality strength and personality to work.

Adrian Frutiger and Matthew Carter both work as typographer in 20th and 21st Century

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SWISS & ENGLISH 20th and 21st Century’s Typography Modernist and Neo-Classicist

Nationality plays an important role in the lives of artist in shaping who they are and how they are influenced. when is the era of sans-serif typeface development. However their vigorous activities as typographer is little bit different, because of the nationality and origin.

Andrian Frutiger was born in switzerland but spent most of his career in france. As Swiss Modernist typographer, analytical approach to typeface designer with an analytical approach to typeface design.

Frutiger was like scientist or mathematician, meticulously dissecting letters to discover their hidden structures and geometry. When Adrian Frutiger designed the Univers family, he inspired the grotesk style of sanserif, which is commonly used in Swiss design.

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FRUTIGER &UNIVERS Geometric sans serif with a human touch Clear and legible typeface design

Adrian Frutiger has been passionate about typography for his entire life. Some of his most famous typefaces include Univers, Frutiger, Egyptienne, Serifa and Avenir. Frutiger is a Humanist sans-serif typeface by the Swiss type designer Adrian Frutiger. Frutiger has described Avenir as a geometric sans serif with a human touch, unlike the cold mechanical flavor of Futura. In 1968, Adrian Frutiger was commissioned

Frutiger is regarded as a typeface that is extremely easy to read because it is clear and ideal for rapid recognition.”

to develop a sign and directional system for the new Charles de Gaulle Airport in Paris. It was determined that the airport’s signage system had to include the clearest and most legible lettering possible. The Frutiger font not only established new standards for signage, but also for a range of other areas in which a clear and legible typeface is required. Frutiger has described Avenir as a geometric sans serif with a human touch, unlike the cold mechanical flavor of Futura. The typeface family that which emerged as a result of this demand was added into the Linotype library as “Frutiger” in 1977.

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One of His remarkable typefaces is Bell Centennial. Bell Centennial is a sans-serif typeface designed by Matthew Carter in the period 1975-1978. He produced Bell Contennial in 1974 which was commissioned for AT&T. Created to solve the problem for ecumenical reasons for printing small type. Matthew Carter is masterful at attention to the New York Times, the detail. His typefaces are so Washington Post, and sensitive to where they will Yale University. One of be used and their readabilHis remarkable typefaces lity, that he is sought after is Bell Centennial. Bell by organizations such as Centennial is a sans-serif typeface designed by Matthew Carter in the period 1975-1978. He produced Bell Contennial in 1974 which was commissioned for AT&T. Created to solve the problem for ecumenical reasons for printing small type. Carter understood the factors in creating a versatile and ecumenically friendly typeface that could even be applied to newsprint and still be readable using less ink.

These ink traps are not visible unless scaled up and remain beautiful and workable when remained for their use in telephone directories. Also, Georgia is a transition serif typeface designed in 1993 by Matthew Carter and hinted by Tom Ticker for the

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Type is a beautiful group of letters, not a group of beautiful letters.

- Matthew Carter

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Technology also plays an important role in our history and evolution. With the evolution of the computer, the world of type has changed. Technology’s development affected both typographer, Adrian Frutiger and Matthew Carter. Both typographers’ career spans the transition from physical metal type, photo type and digital type. Most of the famous type designers of the first half of the 20th century were first and foremost either letterers or book designers.

There were only a handful of individuals who made their living exclusively

TECHNOLOGY’S

DEVELOPMENT Metal type, Photo type and Digital type

Matthew Cater and Microsoft

Both typographers’ career spans the transition from physical metal type, photo type and digital type. from designing type and, with the notable exception of Frederic W. Goudy, they all worked for type foundries. Even in the era of phototype this situation remained largely unchanged. But with the advent of digital type and non-proprietary type design software it became possible for individuals without the backing of a large company to succeed as full-time type designers. Although the number of such individuals is still quite small, the number of those who have designed at least one font is enormous. Adrian Frutiger has embraced the technology of his time, from hot metal, through phototypesetting to digitisation. Frutiger took advantage of the

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LEGIBILITY & READABILITY Focus on improving many typefaces’ readability and Think about Visual Communication

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From 1965 to 1971, Matthew Carter embraced new photosetting technologies and created such works as Snell RoundHand.

By the time Matthew Carter returned to London, he had already developed numerous classics for Mergentahler such as Olympian, Bell Centennial, and ITC Charter. In 1981, IBM launched the IBM personal computer and later in 1984, Apple computers introduced the Macintosh computer.

Typography is an art form, one that affects our lives every day without us even acknowledging that it’s there

Starting in the mid-’90s Carter worked with Microsoft on a series of “screen fonts” designed to maximize the legibility of type on computer monitors. Something that was critical in his development as a designer, serving as a “wonderful pluralism” with setting of type for print as well as screen. When Carter says, “I can’t think of a period in typography that I would rather be working in,” one realizes that he has grasped the implications of his own talent in its intersection with history.

Typography is an art form, one that affects our lives every day without us even acknowledging that it’s there, staring us in the face, every moment of every day. Matthew carter and Adrian Frutiger were a revolutionary typographer because of 18 I LEGIBILITY READABILITY

WORK CITIED "Font Designer – Adrian Frutiger." Adrian Frutiger. Linotype. Web. 14 Oct. 2014.

Riggs, Tamye. Typeface: Classic Typography for Contemporary Design. New York: Princeton Architectural, 2009. Print.

Haley, Allan. "Type Classifications." Type Classifications. Font.com. Web. "Review of the Complete Works of Type Designer Adrian Frutiger." Eye Magazine.

Eye Magazine, 1 Jan. 2012. Web. 14 Oct. 2014.

Musngi, Rudolph. "What Is Swiss Style Typography?" 1stwebdesigner. N.p., Oct. 2013. Web. 24 Mar. 2014.

"The Influence of Postmodernism on Typography." AVCD 27401. Web. 28 Oct. 2014.

"Reputations: Adrian Frutiger." Reputations: Adrian Frutiger 8.31 (1999). Eye Magazine. Web. “The History of Visual Communication - The Modernists.” The History of Visual Communication - The Modernists. Web. 14 Oct. 2014.

"Verdana." Fonts.com. Font.com. Web. 14 Oct. 2014.

“Creative Bloq.” Creative Bloq. Creative Bloq, 1 Jan. 2011. Web. 14 Oct. 2014.

“Matthew Carter.” Design Indaba. Design Indaba. Web. 14 Oct. 2014.

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COLOPHON DESIGNER IPSAE CHOI TYPEFACES Frugiter, Serifa, Georgia, Big Calson PROJECT Typography Book Design COURSE Typography 3 FACULTY Francheska Guerrero COLLEGE Corcoran College of Art + Design HARDWARE USED Adobe CS6 Indesign, Adobe CS6 Photoshop PRINTER INFO PAPER STOCK INFO