Issuu by Kaitlen Staab

ADRIAN

FRUTIGER KAITLEN STAAB

ADRIAN

FRUTIGER KAITLEN STAAB

CONTENTS: 1 Introduction 3 Lifetime Family Education Career 8 Design Theory Technique Technology 14 Typefaces Univers OCR-B Frutiger 19 Awards & Recognition 20 Bibliography 22 Colophon

ADRIAN FRUTIGER

Designed with scientific precision: Adrian Frutiger Photograph of Adrian Frutiger for his 85th birthday © PICTURE-ALLIANCE / DPA

Photograph of Adrian Frutiger examining a Lumitype disc © Photography: Hansueli Trachsel

INTRODUCTION: Adrian Frutiger is a highly accomplished Swiss typographer. His regard to legibility and custom has attributed to the creation of more than twenty alphabets. The development of Univers transformed the world of type by being the first typeface to combine mechanical and optical invention to design twenty-one different variations.1 By embracing technological advancements, he set new global standards to design a typeface allowing computers to become literate. Frutiger’s contributions to typography permit him to be one of the finest typesetters within the design world.2 1, 2. Mervyn Kurlansky, Masters of the 20th century: ICOGRADA design hall of fame. (New York: Graphis, 2001), 279.

ADRIAN FRUTIGER

Portion of a sans-serif design in three weights completed under the direction of Walter KĂ¤ch, 1950-1951, india ink on Bristol Board ÂŠ Adrian Frutiger, Bremgarten/Bern

LIFETIME

3 LIFETIME: FAMILY Adrian Frutiger was born on May 24, 1928 in Interlaken, Switzerland. His mother Johanna kept the house and raised Adrian along with his sister Charlotte and two brothers Roland and Erich.3 In 1934, Adrian’s father, Johannon, founded a handloom workshop named Frutiger Heimtextil. Stating that it was socialistic and economically insufficient, his father continually rejected Adrian’s pursuit of art and design. Ironically, Adrian would create the logo for his family’s business in 1980.4 3, 4. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basl: Birkhäuser, 2009), 12.

ADRIAN FRUTIGER

4 EDUCATION At a young age, Adrian Frutiger enjoyed drawing, painting, and reading. He especially loved the drawings and paintings sheltered in Ernst Eberhard’s children’s books. So intrigued, he decided to contact Eberhard, hoping to receive a response. Eventually, Eberhard replied with an offer for young Adrian Frutiger to visit him in Unterseen. This originated a father-like mentoring relationship between Adrian and Ernst that would last years into the future.5 After completing secondary school at fifteen, Frutiger’s heart was set on a clear destination towards typography and design.6 Unfortunately, his father Johann disapproved of his longing for education asserting, “first you learn a trade, then you can do what you want.”7 Eberhard encourage young Adrian to apprentice under Ernst Jordi and Walter Zwerbe at Otto Schaefli AG, a book and fine art printer in Interlaken. By then end of his time with Jordi and Zwerve Adrian Frutiger printed two publications that lead up to a final project in 1948. Die Kirchen am Thunersee was a handset book set in black letter that included twelve woodcuts. Adrian Frutiger printed 1000 copies. Twenty-five of which were bound in linen and colored by hand.8 Adrian Frutiger also took several courses in Kunstgewerbeschule. in Zurich under professors Alfred Willimann and Walter Käch who

LIFETIME

both taught lettering.9 For his final publication Frutiger created an accordion book that was pressed with cut wooden letter plates.10 After submission he sent out examples that eventually lead him to a forty-year stint in France.11 5, 6. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basl: BirkhĂ¤user, 2009), 12. 7, 8, 9. Ibid., 14. 10. Ibid., 18 11. Ibid., 20

Final Diploma submission for Kunstgewerbeschule in Zurich, 1951, Woodcut ÂŠ Fritz Kern. Photography: Philippe Karrer, Angelo A Ludin

ADRIAN FRUTIGER

6 CAREER His yearning to travel and explore his artistic and design abilities has allowed Adrian Frutiger to expand his presence in the design world. From freelance designs to architectural sculpture Adrian Frutiger has dabbled with everything design.12 In 1951, after completing schooling in Zurich, Frutiger was hired as a typeface designer in Deberny et Peignot in France where he was encouraged to design in a French style.13 During this time he also began teaching at École Estienne, a college for graphic arts. Frutiger’s teachings of lettering, symbol design, and type design led to the creation of the book Type Sign Symbol as well as numerous articles and lectures.14 In 1959 he became a freelance typeface and symbol designer for companies such as IBM, Metro de Paris, and Air France. In his thirties and forties Frutiger established a typographic advertising design studio with Andre Gürtler and Bruno Pfäffli.15 Frutiger is also known for his work with new technologies. From setting and reworking classic typefaces for the Lumitype photosetting machine to creating a computer readable typeface in 1963.16 In his

Final artwork with baseline and widths marked, black ink on card with corrections in pencil © Adrian Frutiger

LIFETIME

forties, Adrian Frutiger found himself designing signage systems for the Charles de Gaulle airport that would later become the typeface Frutiger, one of the most legible signage typefaces of today.17 Adrian Frutiger’s immersion within the design world has contributed to the production of twelve jobbing typefaces, twenty-seven body typefaces, eight signage typefaces, and five corporate typefaces.18 12, 13 15. Mervyn Kurlansky, Masters of the 20th century: ICOGRADA design hall of fame. (New York: Graphis, 2001), 279. 14. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basel: Birkhäuser, 2009), 22. 16, 18. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basel: Birkhäuser, 2009), 23. 17. “Adrian Frutiger,” Monotype Imaging. Accessed February 21, 2014. http://monotypeimaging.com/productsservices/TypeDesignerShowcase/AdrianFrutiger.

ADRIAN FRUTIGER

8 DESIGN: THEORY While studying under Walter Käch, Adrian Frutiger analyzed Roman lettering.19 He noticed the letters had upper strokes that were thinner than the down strokes that creating beautiful, eye-catching instances within letterforms.20 His personal studies and education have contributed greatly towards Adrian Frutiger’s ability to construct beautiful, legible typefaces allowing him to flourish at a period when typefaces were incessantly being invented and terminated.21 Frutiger focused specifically on legibility and how it directly corresponded with concepts of beauty. The more legible a typeface the more comfort the eye experiences, lending to a satisfaction. Adrian Frutiger stated, “From all these experiences the most important thing I have learned is that legibility and beauty stand close together and that type design, in its restraint, should be only felt but not perceived by the reader.”22 From this Frutiger was able to develop rules about typography and the construction of letters. His rules are not compilations of formulas and ratios but rather a sense of awareness for the appropriate measures.23 One example is that all sizes of readability have the same rule pertaining to counters and side-bearings.24 Another deals with thinness and thickness of letterforms; the contrasts within forms show the construction of an image.25 While designing Frutiger always considered where the design market was at or where it was heading.26 Prior to designing he would develop each typeface’s features; serif or sanserif, thick or thin stroke, width ratios, and proportions.27

DESIGN

Frutiger aimed to challenge himself when developing symbols. Like letterforms, the symbols have both positive and negative areas. Within the symbols the areas do not interfere with each other and there is no beginning or end.28 When asked about the creation of his personal work Frutiger expressed that, “It is a completely different world. Perhaps my spontaneous drawings are a kind of psychological analysis of whatever is inside me. I find no words for that which moves me inside, I simply draw it. This comes from deep inside, simply through the hand instead of through the mouth. It is a gift.”29 Adrian Frutiger’s concept of both art and design is one without self-inflicted restriction but with systematic functions. Without impeding barriers Frutiger can compose and construct beautiful compositions that are both intelligible and timeless. 19. Ibid., 18. 20, 27. Yvonne Schwemer-Scheddin, “Reputations: Adrian Frutiger.” Eye Magazine. Last modified 1999. http://www. eyemagazine.com/feature/article/reputations-adrian-frutiger. 21. Steven Heller and Philip B. Meggs. Texts on type: critical writings on typography. (New York: Allworth Press, 2001), 88. 22, 25. “Adrian Frutiger,” Monotype Imaging. Accessed February 21, 2014. http://monotypeimaging.com/productsservices/TypeDesignerShowcase/AdrianFrutiger. 23. Erik Spiekermann, “Adrian Frutiger: Mr. Univers.” The Font Feed. Last modified September 2, 2008. http://www. fontfeed.com/archives/adrian-frutiger-mr-univers. 24. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basel: Birkhäuser, 2009), 6. 26. Adrian Frutiger, Maurice Besset, Emil Ruder, and Hans Rudolf Schneebeli. Type, sign, symbol, (Zurich: ABC Edition, 1980), 16.

ADRIAN FRUTIGER

10 TECHNIQUE Born and raised in Switzerland, Adrian Frutiger was highly influenced by the Swiss-German style.30 While designing at Deberny et Peignot in France, Frutiger was encouraged to dilute the Swiss influence and stimulate the French.31 His final project in Otto Schaefli AG was to design a book that utilized twelve woodcuts.32 Prior to this his studies required hands on woodcuts of classic typefaces.33 Woodcuts, etchings, and engravings are the traditional means of printing.34 The woodcuts were usually carved out of beech wood. Its tradition goes back for centuries and was made prominent by German artist Albrech Durer in the fifteenth century.35 Frutiger was also interested in the paper silhouette techniques of the Bernese Oberland tradition.36 Throughout his career he maintained these hands on traditions, once stating, “I think it is possible that a deep-seated appreciation of black-and-white contrasts, achieved through the practice of cutout

Diagram depicting the form principles of Serifa Reworking of original, 1979 © Adrian Frutiger, Bremgarten/Bern

DESIGN

Inscriptional capitals, carved in stone by Frutiger while studying in Zurich, 1949 © Adrian Frutiger, Bremgarten/Bern

techniques, was present in the genes of the Bernese people and was inherited by me.”37 While rooted in Swiss-German Adrian Frutiger was unafraid to absorb many developing techniques and dabble with new technological advances, which contribute to his extreme versatility as a typographer.38 30, 36, 37. “Adrian Frutiger,” Monotype Imaging. Accessed February 21, 2014. http://mon=otypeimaging.com/productsservices/TypeDesignerShowcase/AdrianFrutiger. 31. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basel: Birkhäuser, 2009), 22. 32. Ibid., 14. 33. Adrian Frutiger, Maurice Besset, Emil Ruder, and Hans Rudolf Schneebeli. Type, sign, symbol, (Zurich: ABC Edition, 1980), 7. 34 35. “Woodcuts: Type of Printmaking,” Encyclopedia of Art Education. Accessed March 9, 2014. http://www.visualarts-cork.com/printmaking/woodcuts.htm 38. Adrian Frutiger, Maurice Besset, Emil Ruder, and Hans Rudolf Schneebeli. Type, sign, symbol, (Zurich: ABC Edition, 1980), 38.

ADRIAN FRUTIGER

12 TECHNOLOGY Adrian Frutiger’s ingenuity and embracement of technology is what sets him apart from other designers. To Frutiger it is of the utmost importance to be flexible with technology and embrace its adaptations.39 Frutiger made certain to take technological intellect of both previous and upcoming generations into account when designing.40 The world was introduced to various technologies for design including new typesetting technologies. Photosetting machines were becoming popular.41 Companies wanted newer typefaces with variation and the machines needed reworking of old typefaces. Adrian Frutiger answered their call. He redrafted classic typefaces and created new ones for Linotype.42 His work with Linotype led to the creation of Univers, a typeface with twenty-one variations that rivaled popular

Lumitype 200 disc, 14 fonts arranged on 7 rings © Linotype AG, Bad Homburg

DESIGN

Golfball made of nickel-plated plastic showing monospace or proportional font © Swiss Foundation Type and Typography, Bern Photography: Philippe Karrer, Angelo A Ludin, Basel

Helvetica.43 With Univers’ creation Frutiger created a new international standard of typographic systems.44 Partnering with ECMA, he created the OCR-B typeface that could be analyzed by machine.45 The OCR-B typeface can be found on ID cards and on book ISBN codes. 39, 40. Adrian Frutiger, Maurice Besset, Emil Ruder, and Hans Rudolf Schneebeli. Type, sign, symbol, (Zurich: ABC Edition, 1980), 38-40. 41, 42, 45. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basel: Birkhäuser, 2009), 23. 43. Yvonne Schwemer-Scheddin, “Reputations: Adrian Frutiger.” Eye Magazine. Last modified 1999. http://www. eyemagazine.com/feature/article/reputations-adrian-frutiger. 44. Adrian Frutiger, Maurice Besset, Emil Ruder, and Hans Rudolf Schneebeli. Type, sign, symbol, (Zurich: ABC Edition, 1980), 22. 46. Ibid., 176.

ADRIAN FRUTIGER

14 TYPEFACES: UNIVERS The typeface, Univers, transformed the world of design by combining mechanical and optical construction to create a typeface with twentyone varieties.47 It was first sketched when Adrian Frutiger was studying at Kunstgewerbeschule in Zurich however; it was released in 1957 by Deberny et Peignot.48 Frutiger wanted to create a typeface that would address the present needs in design, the requirement for more expression through text.49 He began Universâ&#x20AC;&#x2122; creation at twelve points and designed all variations from it, a convention not seen in type design until then.50 He developed it on Bristol board with white paint adjusting and reworking his designs until it was ideal.51 Its vertical axis was located on the right side of the stem and was designed with horizontal terminals.52 Frutiger maintained legibility by designing the capitals to only be slightly heavier than the lowercase letters.53 Since Univers was designed for both hot metal and Lumitype Frutiger was presented with several limitations, or rather, design necessities. Due to phototypesetting requests Frutiger designed

Retouched paste-up design with markings for the digitized Linotype Univers ÂŠ Adrian Frutiger

TYPEFACES

Univers with open thickenings.54 He also had to carefully increase the weight of i-dots and points in the lighter variations.55 The final product for Lumitype had only twenty variations rather than the full twenty-one due to the lack of legibility at the lowest point size.56 47. Mervyn Kurlansky, Masters of the 20th century: ICOGRADA design hall of fame. (New York: Graphis, 2001), 279. 48. Yvonne Schwemer-Scheddin, “Reputations: Adrian Frutiger.” Eye Magazine. Last modified 1999. http://www. eyemagazine.com/feature/article/reputations-adrian-frutiger. 49, 50. Adrian Frutiger, Maurice Besset, Emil Ruder, and Hans Rudolf Schneebeli. Type, sign, symbol, (Zurich: ABC Edition, 1980), 15. 51, 52, 56. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basel: Birkhäuser, 2009), 92- 95. 53, 54, 55. Adrian Frutiger, Maurice Besset, Emil Ruder, and Hans Rudolf Schneebeli. Type, sign, symbol, (Zurich: ABC Edition, 1980), 18-20.

Bruno Pfaffli’s design displaying the original arrangement of Univers’ 21 weights © Typographische Monatsblatter 5 (1957)

ADRIAN FRUTIGER

16 OCR-B As the world of technology swiftly advanced, computers were in demand of a typeface that was legible for machines and aesthetically pleasing to humans.57 The United States of America had previously developed a typeface called OCR-A.58 Europe resisted using it due to the uncomfortable rigid, robotic forms.59 Together with the European Computer Manufacturers Association Adrian Frutiger were able to develop OCR-B,60 Optical Character Recognition â&#x20AC;&#x201C; Class B, that was based on traditional typesetting rules and utilize necessary mathematical calculations.61 Computers do not use letters and numbers to process information but rather magnetic impulses.61 Consequently, it was mandatory that Adrian Frutiger designed each letter to be dissimilar and distinguishable from one another.63 To generate a design that fulfilled the requirements of computers Frutiger designed on a grid with a total of 266 cells.64 In 1973, Adrian Frutigerâ&#x20AC;&#x2122;s design became a world standard.65 Due to further technologic advancements OCR-B

OCR-B drawing depicting reference points, 1965 ÂŠ Adrian Frutiger, Bremgarten/Bern

TYPEFACES

is no longer used for reading letters but more so numbers.66 It can be found on paying-in forms in France and Switzerland as well as ISBN codes on books.67 57, 58. Adrian Frutiger, Maurice Besset, Emil Ruder, and Hans Rudolf Schneebeli. Type, sign, symbol, (Zurich: ABC Edition, 1980), 50- 52. 59. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basel: Birkhäuser, 2009), 176. 60, 61, 62, 63. Adrian Frutiger, Maurice Besset, Emil Ruder, and Hans Rudolf Schneebeli. Type, sign, symbol, (Zurich: ABC Edition, 1980), 50-54. 64. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basel: Birkhäuser, 2009), 178. 65, 66. Yvonne Schwemer-Scheddin, “Reputations: Adrian Frutiger.” Eye Magazine. Last modified 1999. http://www.eyemagazine.com/feature/article/reputations-adrian-frutiger. 67. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basel: Birkhäuser, 2009), 184.

A 1974 machine used to read OCR-B, reading speed could reach 500 Characters per second © Adrian Frutiger: The Complete Works, 175

ADRIAN FRUTIGER

18 FRUTIGER In his forties Adrian Frutiger accepted the challenge to develop a system or signage for the Charles de Gaulle airport in the 1970s.68 From its conception Frutiger was planned to have a total of eight variations, four of which that were regular and four that were oblique.69 Originally, Adrian Frutiger considered planning the typeface based off of geometry to mimic the architecture of the airport. However, the use of geometry wouldn’t produce the results Adrian Frutiger was intending.70 The airport required clear information that individuals could read quickly while looking for their gates or picking up their luggage.71 Adrian Frutiger settled on using a hefty sans serif that could be seen from distances rather than an elongated or condensed variation.72 He planned capital letters and numbers to be smaller to not break the scanning pattern of reading eyes.73 Initially Adrian Frutiger called the typeface “Roissy” but changed it to “Frutiger” to protect his typeface from duplication.74

Comparison of the stroke weight and proportion of the n of Frutiger (black) and Concorde (brown left) and Roissy (brown right) © Adrian Frutiger, Bremgarten/Bern

TYPEFACES

19 AWARDS & RECOGNITION: Adrian Frutiger’s inventiveness and active pursuit for beauty and legibility has led to several transformations within the world of design. He has been rewarded for his many accomplishments during his career including; a coat of arms by the city of Interlaken, Switzerland in 1974, a Gutenberg Prize from the International Gutenberg Society and the city of Mainz, Germany in 1986, as well as a Typography Award from The Society of Typographic Aficionados in 2006.75 Adrian Frutiger’s commitment to typography and its ever changing field has aroused the minds of designers from many generations and will continue to sculpt the minds for generations to come. 68. “Adrian Frutiger,” Monotype Imaging. Accessed February 21, 2014. http://monotypeimaging.com/productsservices/TypeDesignerShowcase/AdrianFrutiger. 69. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basel: Birkhäuser, 2009), 252. 70, 71 72, 73. Adrian Frutiger, Maurice Besset, Emil Ruder, and Hans Rudolf Schneebeli. Type, sign, symbol, (Zurich: ABC Edition, 1980), 80-82. 74. Adrian Frutiger, Heidrun Osterer, and Philipp Stamm. Adrian Frutiger typefaces: the complete works, (English ed. Basel: Birkhäuser, 2009), 254 75. Ibid., 442.

ADRIAN FRUTIGER

20 BIBLIOGRAPHY: Abbasi, Majid. “The black and white world of Adrian Frutiger.” Neshan Magazine. Accessed February 21, 2014. http://www.neshanmagazine. com/articlesasp?id=155. “Adrian Frutiger.” Monotype Imaging. Accessed February 21, 2014. http://monotypeimaging.com/productsservices/ TypeDesignerShowcase/AdrianFrutiger. Frutiger, Adrian, Maurice Besset, Emil Ruder, and Hans Rudolf Schneebeli. Type, sign, symbol. Zurich: ABC Edition, 1980. Heller, Steven, and Philip B. Meggs. Texts on type: critical writings on typography. New York: Allworth Press, 2001. Kurlansky, Mervyn. Masters of the 20th century: ICOGRADA design hall of fame. New York: Graphis, 2001. Schwemer-Scheddin, Yvonne. “Reputations: Adrian Frutiger.” Eye Magazine. Last modified 1999. http://www.eyemagazine.com/feature/ article/reputations-adrian-frutiger. Spiekermann, Erik. “Adrian Frutiger: Mr. Univers.” The Font Feed. Last modified September 2, 2008. http://www.fontfeed.com/archives/ adrian-frutiger-mr-univers.

BIBLIOGRAPHY

22 COLOPHON: Designed and written by Kaitlen Staab Hand bound in Spring 2014 Professor Nahid Tootoonchi Printed by Staples Towson Typeset using: Frutiger LT Std Univers LT Std

COLOPHON