R G I T U R IF F ER E
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a IAby: M R D ed
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R G I U T R F E IF R S E
ADRIAN FRUTIGER
Mason Mushinski Book Design:Frutiger Adrian
FRUTIGER SERIF TYPEFACE © 1950s // LINOTYPE FOUNDRY // LINOTYPE.COM
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TABLE OF CONTENTS Introduction...................................................8 Chapter One: About The Designer........... 11 Chapter Two: Type Specimen.................... 15 Chapter Three: Type Anatomy................. 27 Colophon...................................................... 35
T o R I N
Adrian Frutiger was a Swiss typeface designer who influenced the direction of digital typography in the second half of the 20th century and into the 21st. His career spanned the hot metal, phototypesetting, and digital typesetting eras.
CHAPTER 1 ABOUT THE DESIGNER
Adrian Frutiger was born on May 24th, 1928
kept his love for sculpting alive by incorporating
in Switzerland. After attending school, he
the sculpture designs in his typefaces. He began
was a typesetter’s apprentice from 1944 to
his apprenticeship, at the age of sixteen, as a
1948 at the printing press, Otto Schlaefli AG.
compositor to the printer Otto Schaerffli, for
After his apprenticeship, he attended the Kunstgewerbeschule, College of Technical Arts, in Zurich for three years. In 1952, he moved to Paris and became the art director for the Deberny & Peignot Type Foundry. After 10 years of successful work, he left the foundry to open a Graphic Design studio with Andre Gartlerand Bruno Pffli in Arcueil near Paris. At the very young age, he
four years. He also attended school of applied arts, Kunstgewerbeschule in Zurich. Here he thrived under the supervision of art instructors like Walter Koch and Alfred Willimann. Frutiger studied monumental inscriptions from Roman forum rubbings, although he primarily focused on calligraphy rather than drafting tools. Frutiger illustrated an essay about the
began experimenting with stylized handwriting
development of European letter types carved
and invented scripts, defying the formal, cursive
in wood, which earned him a job offer at the
penmanship taught at Swiss schools. He was also
French foundry Deberny Et Peignot. His
interested in sculpture. His interest in sculpting
wood-engraved essay illustrations displayed his
was not met with very encouraging views by his
meticulous skills and knowledge of letterforms.
father and teachers. However, they supported the idea of him going into the print industry. Consequently, he entered the world of print yet
At the foundry, he designed various typefaces including Ondine and Meridien.
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Upon witnessing his marvelous work, Charles
for the new Charles de Gaulle International
Peignot assigned Frutiger to convert extant
Airport. He was required to design a way-finding
typefaces for the new Linotype equipment,
signage alphabet and in such way that is both
phototypesetting. In 1954, Frutiger’s first
legible from afar and from any angle. Frutiger
commercial typeface, President, was released.
first decided to adapt the Univers typeface but
It was designed in a manner that showcased a
then relinquished the idea considering a little
set of titling capital letters with small, bracketed
outdated. He took a different approach to the
serifs. Then Meridien appeared the following
matter and altered the Univers typeface. The
year, illustrating a glyphic, old-style, serif text
resultant typeface was originally titled, Roissy,
face. The typefaces were inspired by Nicholas
though it was named after Frutiger in 1976,
Jenson’s work. Frutiger clearly demonstrated his
when it was released for public use. Plus, his
ideas of letter construction, unity, and organic
computer type OCR automatic reading became a
form in Meridien. In a few years, he designed
worldwide standard in 1973. Adrian Frutiger was
slab-serif typefaces. In 1968, Adrian Frutiger
a lecturer for ten years at the Ecole Estienne and
became an official advisor for D. Stempel AG
for eight years at the Ecole Nationale Superieure
in Frankfurt, Germany, and therefore also for
des Arts Decoratifs, both in Paris. In addition,
its successor companies such as Mergenthaler,
he has given numerous seminars around the
Linotype, and today the Heidelberg subsidiary,
world. From 1963 to 1981, he was responsible
Linotype, Bad Homburg. During early 1970s, upon the request of the public transport authority of Paris, Frutiger inspected the Paris Metro signage. Moreover, he recreated the Univers typeface in a variant font. It was a set
for the design and adaptation of typewriter and composer fonts at the IBM World Fair. Adrian Frutiger had been an active type designer for over thirty years. In this time, he created timeless typefaces such asAvenir, Versailles, and
of capitals and numbers designed for white-on-
Vectora. He also tried to expand and modify
dark-blue backgrounds visible especially under
these typefaces. He created sixty-three variants
poor lighting. Upon the successful reception
of Univers and he reissued Frutiger Next as
of this modern typeface, the French airport
an extension of Frutiger with true italic and
authority commissioned him yet again to work for the new Charles de Gaulle International Airport. He was required to design a way-finding signage alphabet and in such way that is both
additional weights. He won several awards for his contribution to typography such as The
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Gutenberg Prize, Medal of the Type Directors Club and Typography Award from SOTA.
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CHAPTER 2 TYPE SPECIMEN
“Frutiger Serif works brilliantly for large amounts of text & also at small point sizes. With its many weights and styles, this family is strong enough for most typographic projects. However, its added versatility is revealed when used in combination with other fonts. Frutiger Serif works well with the original Frutiger, Frutiger Next, and Univers just to name a few. Pairing these serif and sans serif families together is perfect for creating complex hierarchies and clear information design. Working with complicated typographic systems involving elements such as headlines, captions, pull quotes, multilingual text, etc - is made easy by selecting Frutiger Serif and another of Frutiger’s sans serif families.”
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BOLD
Jj
Jj
CONDENSED “Jazz is smooth and cool. Jazz is rage. Jazz flows
Jj
like water. Jazz never seems to begin or end. Jazz isn’t methodical, but
Jj
jazz isn’t messy either. Jazz is a conversation, a give and take. Jazz is the connection and communication between
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Jj
musicians.”
Jj
— Nat Wolff
BOLD CONDENSED Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0 1 2 3 4 5 6 7 8 9 0 {
,
!
@
# “ ; .
+ }
17 17
BOLD
18 18
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0 1 2 3 4 5 6 7 8 9 { , ! @ # “ ; . + }
BOLD
Aa
“In fact, jazz has such a great feeling and great emotional
Aa
content that it really doesn’t require you
Aa
to have technical understanding of it. I think you just have to allow your feelings to go with
Aa
the music and you will find yourself carried along by it fairly quickly.”
-Dave Holland
Aa
Aa
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Zz
BOLD ITALIC Zz
“Jazz is all about
Zz
improvisation and it’s about the moment in
Zz
time, doing it this way now, and you’ll never do it this way twice. I’ve studied the masters.”
Zz 20 20
Zz
- Brian McKnight
BOLD ITALIC Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0 1 2 3 4 5 6 7 8 9 { , ! @ # “ ; . + }
21 21
ITALIC Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0 1 2 3 4 5 6 7 8 9 { , ! @ # “ ; . + }
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ITALIC
Zz
Zz “Writing is like jazz. It can be learned, but it can’t be taught.”
-Paul Desmond
Zz Zz
Zz Zz
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Yy
REGULAR Yy
Yy Yy 24 24
Yy
“Jazz music is America’s past and its potential, summed up and sanctified and accessible to anybody who learns to listen to, feel, and understand it. The music can connect us to our earlier selves and to our better selves-to-come. It can remind us of where we fit on the time line of human achievement, an ultimate value of art.”
-Wynton Marsalis
Yy
REGULAR Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0 1 2 3 4 5 6 7 8 9 { , ! @ # “ ; . + }
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CHAPTER 3 TYPEFACE ANATOMY
“Frutiger® Serif is a re-envisioning of Meridien,a
best. With its slightly flared stems and triangular
typeface first released by Deberny & Peignot
shaped serifs, Meridien is at once sharp, graceful,
during the 1950s. Working closely with Adrian Frutiger, Linotype’s Type Director Akira
arresting, and sensuous; much like a forest. Frutiger considers Meridien to be his best. With
Kobayashi expanded the original metal type
its slightly flared stems and triangular shaped
version of Meridien into a new digital family
serifs, Meridien is at once sharp, graceful,
of 20 variants. Renamed Frutiger Serif, this up-to-date Meridien has new weights, widths, and styles that correspond better with several other of Frutiger’s designs. After studying a typeface from the sixteenth century, the Swiss designer Adrian Frutiger was inspired to create
arresting, and sensuous; much like a forest. Use the roman when you want to create a distinctive graphic expression in book text. For posters and websites, the italic or the bold weights or even the roman set in all caps will give an impression of quiet dignity.”
an alphabet without any completely straight strokes, and he hoped the reader of a text set in this typeface would feel as though wandering through a forest. The designer of more than 100 typefaces, Frutiger considers Meridien to be his
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1
2
3
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1 - Eye · 2 - Ear · 3 - Chin
1
2
“Jazz is about being in the moment.” 3
4
5
1
Apex
TYPEFACE ANATOMY
2
Head Serif
3
Shoulder
4
Loop
5
Foot
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2
1
4
30
3
30
1 - Tie · 2 - Collar · 3 - Cuffs · 4 - Button
1
2
“Jazz has its very own language.” 3
4
5
TYPEFACE ANATOMY 1
Terminal
2
Spine
3
Shoulder
4
Vertex
5
Descender
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1
2
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1 - Pants · 2 - Shoes
2
“It comes from deep in your soul.” 1
3
4
5
TYPEFACE ANATOMY 1
Stem
2
Crossbar
3
Counter
4
Baseline
5
Mean Line
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ER FAM G I T ILY U R F
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COLOPHON This book has been designed by Mason Mushinski, in St. Augustine, Florida. The typeface used throughout the book is Frutiger Serif which was designed by Adrian Frutiger. Mushinski illustrated the book with influence from Cliff Roberts’ illustrations and by listening to jazz music. The paper is textured cardstock and the book was printed and trimmed at PIP Printing in St. Augustine, Florida. The book’s binding was done by Mason Mushinski.
SOURCES linotype.com
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F
RUTIG R E
S RIF E
This book was designed in order to showcase the Frutiger Serif typeface which was designed by Adrian Frutiger. With hopes of appealing to graphic designers, the applications of jazz help creatives envision a practical use for this typeface.