ISTD 2015 by Megan Brown

Adrian Frutiger A Tribute

Introducing: Adrian Frutiger Adrian Frutiger is one of the most notable typeface designers of the 20th century.

drian Frutiger has created some of the most used typefaces of the 20th and 21st century. Athough interested in many fields including woodcut and paper sillhouettes, Frutiger has been passionate about typography for his entire life. Spending most of his career working for Deberny & Peignot updating typefaces and preparing them for photo-typesetting, as well as designing typefaces of his own accord, he has created almost 30 typefaces. Some of his most famous typefaces include Univers, Frutiger (created for the Charles de Gaulle airport), Egyptienne, Serifa and Avenir. Frutiger is one of only a few typographers whose career spans across hot metal, photographic and digital typesetting. He has also been instrumental in refining his own typefaces to include more weights and true italics, some eamples are Frutiger Next and Avenir Next. Social media offers so many different ways for young creatives to present their work to the world, and most importantly, people within the industry. Whether you are a graphic designer, or illustration, or you work in motion graphics there is a way you can share your work. Communication through images. Platforms such as Instagram can be used by users to post images of their work. How is this positive for the artist? Mister Dress Up – over summer my work was seen by a company called Mister Dress Up from Canada, this wouldn’t have happened if it wasn’t for social media. In my conclusion I will come to an informed decision as to whether social media becoming the best way to getting your work seen as a young professional. Is it a platform which can be used on it’s own or do you need to pair it with traditional ways of getting employment such as printed portfolios and cvs. How the world has changed thanks to the increase in social media. For my dissertation I am going to explore how young creatives, like myself, can use social media to get their work seen by people

in the industry. I will investigate how - and why - social media has increasingly become a positive platform, or tool, for people to use to expose their work to a wider audience. I will research how things have changed in recent years to allow people to be seen and heard across the world – how people “have a voice” now. For more than 45 years the Swiss type designer Adrian Frutiger, born in 1928, has been a hugely influential figure in typography. After an 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 youthful artistic director. After initial acclaim for his font Méridien (1954) Frutiger soon established an international reputation by designing the Univers family of sans serif faces (1954-57). Other typefaces designed by Frutiger include Avenir, Centennial, Egyptienne, 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 commissions have included logotypes, signage systems and maps, with clients such as Air France, IBM and the Swiss Post Office.Mister Dress Up – over summer my work was seen by a company called Mister Dress Up from Canada, this wouldn’t have happened if it wasn’t for social media. In my conclusion I will come to an informed decision as to whether social media becoming the best way to getting your work seen as a young professional. Is it a platform which can be used on it’s own or do you need to pair it with traditional ways of getting employment such as printed portfolios and cvs. How the world has changed thanks to the increase in social media.

Univers is classified as a neo-grotesque typeface.

Introducing: Univers I

n 1954 the type foundry Deberny & Peignot wanted to add a linear sans serif antiqua in serveral weights to the range of the Lumitype-fonts. Adrian Frutiger suggested refraining from adapting an existing alphabet and instead to develop a new font that would, above all, be suitable for the typesetting of longer texts. Using his old sketches from the School for the Applied Arts, he creates Univers font, which was published with Deberny & Peignot in 1957 and, afterwards, was produced by Linotype. Derberny & Peignot was acquired in 1924 by D. Stempel AG/ Linotype and Adrian Frutiger continued to work for Linotype until today. Univers font was created almost simultaneously with other successful alphabets: Helvetica (1957) and Optima (1958). Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights. In 1954 the type foundry Deberny & Peignot wanted to add a linear sans serif antiqua in serveral weights to the range of the Lumitype-fonts. Adrian Frutiger suggested refraining from adapting an existing alphabet and instead to develop a new font that would, above all, be suitable for the typesetting of longer texts. Using his old sketches from the School for the Applied Arts, he creates Univers font, which was published with Deberny & Peignot in 1957 and, afterwards, was produced by Linotype. Derberny & Peignot was acquired in 1924 by D. Stempel AG/

Linotype and Adrian Frutiger continued to work for Linotype until today. Univers font was created almost simultaneously with other successful alphabets: Helvetica (1957) and Optima (1958). Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights.

One of Adrian Frutiger’s most notable typefaces For more than 45 years the Swiss type designer Adrian Frutiger, born in 1928, has been a hugely influential figure in typography. After an 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 youthful artistic director. After initial acclaim for his font Méridien (1954) Frutiger soon established an international reputation by designing the Univers family of sans serif faces (1954-57). Other typefaces designed by Frutiger include Avenir, Centennial, Egyptienne, 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 commissions

have included logotypes, signage systems and maps, with clients such as Air France, IBM and the Swiss Post Office.Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights. In 1954 the type foundry Deberny & Peignot wanted to add a linear sans serif antiqua in serveral weights to the range of the Lumitype-fonts. Adrian Frutiger suggested refraining from adapting an existing alphabet and instead to develop a new font that would, above all, be suitable for the typesetting of longer texts. Using his old sketches from the School for the Applied Arts, he creates Univers font, which was published with Deberny & Peignot in 1957 and, afterwards, was produced by Linotype. Derberny & Peignot was acquired in 1924 by D. Stempel AG/ Linotype and Adrian Frutiger continued to work for Linotype until today. Univers font was created almost simultaneously with other successful alphabets: Helvetica (1957) and Optima (1958). Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights.

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In 1954 the type foundry Deberny & Peignot wanted to add a linear sans serif antiqua in serveral weights to the range of the Lumitype-fonts. Adrian Frutiger suggested refraining from adapting an existing alphabet and instead to develop a new font that would, above all, be suitable for the typesetting of longer texts. Using his old sketches from the School for the Applied Arts, he creates Univers font, which was published with Deberny & Peignot in 1957 and, afterwards, was produced by Linotype. Derberny & Peignot was acquired in 1924 by D. Stempel AG/ Linotype and Adrian Frutiger continued to work for Linotype until today. Univers font was created almost simultaneously with other successful alphabets: Helvetica (1957) and Optima (1958). Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights. For more than 45 years the Swiss type designer Adrian Frutiger, born in 1928, has been a hugely influential figure in typography. After an 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 youthful artistic director. After initial acclaim for his font Méridien (1954) Frutiger soon established an international reputation by designing the Univers family of sans serif faces (1954-57). Other typefaces designed by Frutiger include Avenir, Cen-

tennial, Egyptienne, 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 commissions have included logotypes, signage systems and maps, with clients such as Air France, IBM and the Swiss Post Office.Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights. He has written several books about typography, signs and symbols, including Signs and Symbols (Ebury Press), Development of Western Type, Typografie and Geometry of Feelings (Syndor Press). He taught for ten years at the Ecole Estienne, Paris, and for eight years at the Ecole Nationale Supérieure des Arts Décoratifs, Paris. Significant honours include the Chevalier de l’Order des Arts et Lettres, the Gutenburg Prize of the city of Mainz and the 1986 Type Medal of the Type Directors Club of New York. Frutiger has always embraced the technology of his time, from hot metal, through phototypesetting to digitisation. We wee his traces everywhere. In Paris for example. arriving at Charles de Gaulle airport, you are welcomed by signage in the sans serif face called Frutiger. You take the train to the centre: linear bands of rope-drawn signs of script in concrete at the railway station. And when you travel the city on

Who has used Univers? •

Swiss International Airlines

•

Fox television stations

•

Deutsche Bank

•

Ebay

•

Frankfurt International Airport

•

YESCO

•

Walt Disney World

•

ICICI Bank

•

World Book Encylopedia (1974 - 1987)

•

London Boroughs (road signs)

•

CNN International

•

Montreal Metro System

•

CNN Domestic

•

Ordnance Survey

•

ESPN

•

George Bush (campaign logos 2000 and 2004)

the Metro, the station signage uses Frutiger’s Métro alphabet. Throughout the modern world, from megastore to corner shop, text set in Frutiger’s Univers sings out from a thousand different magazine, books, posters and CD covers. Univers is proving to be one of the most important and enduring typefaces of the twentieth century, a masterpiece of structured diversity. This relaxed and wide-ranging conversation took place during the 1998 ATypI conference, held last October in Lyons, France. Yvonne Schwemer-Scheddin: You developed the first drawings for Univers during your studies at the Kunstgewerbeschule [Arts and Crafts School] in Zürich. Why a sans serif and not a roman face? Was this the influence of Bauhaus? Adrian Frutiger: Typography in Switzerland was more oriented to the sans serif than to Roman type. At the school they worked with Akzidenz Grotesque and Neue Haas Grotesque and I lived for about ten years in this sans serif environment. But we didn’t like the Bauhaus much; the work was too constructed and rigid. We needed something more contemporary, nearer to the roman.

Typography in Switzerland was more oriented to the sans serif than to the Roman type. - Adrian Frutiger

u u u

Type Families

U 11

ifferent weights and variations within the type family are designated by the use of numbers rather than names, a Wsystem since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design

Univers was the first typeface Frutiger ever created a type family for

idiom. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype.

39 45 47 48

Univers LT Std Thin Ultra Condensed

Univers LT Std Light

Univers LT Std light Condensed

Univers LT Std Thin Ultra Condensed

49 53 55 57

Univers LT Std Light Ultra Condensed

Univers LT Std Extended

Univers LT Std Roman

Univers LT Std Condensed

58 59 63 65

Univers LT Std 58

Univers LT Std Untlra Condensed

Univers LT Std Bold Extended

Univers LT Std Bold

67 68 73 75

Univers LT Std Bold Condensed

Univers LT Std extended

Univers LT Std Blackk Extended

Univers LT Std Black

frutiger

Charles de Gaule Airport

n 1976, Adrian Frutiger was commisioned to make a typeface for the Signage at Charles de Gaule Airport, then named Airport Roissy. The typeface he developed was called Roissy. He decided that Roissy wasn’t legible enough for the signs so he developed a new font, Frutiger, name after himself. For my dissertation I am going to explore how young creatives, like myself, can use social media to get their work seen by people in the industry. I will investigate how - and why - social media has increasingly become a positive platform, or tool, for people to use to expose their work to a wider audience. I will research how things have changed in recent years to allow people to be seen and heard across the world – how people “have a voice” now. Frutiger has always

Frutiger was commisioned to make a typeface for the airport signage embraced the technology of his time, from hot metal, through phototypesetting to digitisation. We wee his traces everywhere. In Paris for example. arriving at Charles de Gaulle airport, you are welcomed by signage in the sans serif face called Frutiger. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype.

Frutiger Roissy

Introducing: Frutiger Univers is classified as a neo-grotesque typeface.

Frutiger has a lot of varying versions Univers font was created almost simultaneously with other successful alphabets: Helvetica (1957) and Optima (1958). Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights. In 1954 the type foundry Deberny & Peignot wanted to add a linear sans serif antiqua in serveral weights to the range of the Lumitype-fonts. Adrian Frutiger suggested refraining from adapting an existing alphabet and instead to develop a new font that would, above all, be suitable for the typesetting of

longer texts. Using his old sketches from the School for the Applied Arts, he creates Univers font, which was published with Deberny & Peignot in 1957 and, afterwards, was produced by Linotype. Derberny & Peignot was acquired in 1924 by D. Stempel AG/ Linotype and Adrian Frutiger continued to work for Linotype until today. Univers font was created almost simultaneously with other successful alphabets: Helvetica (1957) and Optima (1958). Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights. For more than 45 years the Swiss type designer Adrian Frutiger, born in 1928, has been a hugely influential figure in typography. After an 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 youthful artistic director. After initial acclaim for his font Méridien (1954) Frutiger soon established an international reputation by designing the Univers family of sans serif faces (1954-57). Other typefaces designed by Frutiger include Avenir, Centennial, Egyptienne, 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 commissions have included logotypes, signage systems and maps,

with clients such as Air France, IBM and the Swiss Post Office.Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights. In 1954 the type foundry Deberny & Peignot wanted to add a linear sans serif antiqua in serveral weights to the range of the Lumitype-fonts. Adrian Frutiger suggested refraining from adapting an existing alphabet and instead to develop a new font that would, above all, be suitable for the typesetting of longer texts. Using his old sketches from the School for the Applied Arts, he creates Univers font, which was published with Deberny & Peignot in 1957 and, afterwards, was produced by Linotype. Derberny & Peignot was acquired in 1924 by D. Stempel AG/ Linotype and Adrian Frutiger continued to work for Linotype until today. Univers font was created almost simultaneously with other successful alphabets: Helvetica (1957) and Optima (1958). Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights. For more than 45 years the Swiss type designer Adrian Frutiger, born in 1928, has been a hugely influ-

ential figure in typography. After an 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. In 1954 the type foundry Deberny & Peignot wanted to add a linear sans serif antiqua in serveral weights to the range of the Lumitype-fonts. Adrian Frutiger suggested refraining from adapting an existing alphabet and instead to develop a new font that would, above all, be suitable for the typesetting of longer texts. Using his old sketches from the School for the Applied Arts, he creates Univers font, which was published with Deberny & Peignot in 1957 and, afterwards, was produced by Linotype. Derberny & Peignot was acquired in 1924 by D. Stempel AG/ Linotype and Adrian Frutiger continued to work for Linotype until today. Univers font was created almost simultaneously with other successful alphabets: Helvetica (1957) and Optima (1958). Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights. In 1954 the type foundry Deberny & Peignot wanted to add a linear sans serif antiqua in serveral weights to the range of the Lumitype-fonts. Adrian Frutiger suggested refraining from adapting an existing alphabet and instead to develop a new font that would, above all, be suitable for the typesetting of longer texts. Using his old sketches from the School

for the Applied Arts, he creates Univers font, which was published with Deberny & Peignot in 1957 and, afterwards, was produced by Linotype. Derberny & Peignot was acquired in 1924 by D. Stempel AG/ Linotype and Adrian Frutiger continued to work for Linotype until today. Univers font was created almost simultaneously with other successful alphabets: Helvetica (1957) and Optima (1958). Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence.

a humanist sans-serif typeface The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights. For more than 45 years the Swiss type designer Adrian Frutiger, born in 1928, has been a hugely influential figure in typography. After an 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 youthful artistic director. After initial acclaim for his font Méridien (1954) Frutiger soon established an international reputation by designing the Univers family of sans serif faces (1954-57). Other typefaces designed by Frutiger include Avenir, Centennial, Egyptienne, 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 commissions have included logotypes, signage systems and maps, with clients such as Air France, IBM and the Swiss Post Office.Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence. The Univers font family was completely redesigned as a joint project between Adrian Frutiger and Linotype. The result: Linotype Univers – available with 59 weights. In 1954 the type foundry Deberny & Peignot wanted to add a linear sans serif antiqua in serveral weights to the range of the Lumitype-fonts. Adrian Frutiger suggested refraining from adapting an existing alphabet and instead to develop a new font that would, above all, be suitable for the typesetting of longer texts. Using his old sketches from the School for the Applied Arts, he creates Univers font, which was published with Deberny & Peignot in 1957 and, afterwards, was produced by Linotype. Derberny & Peignot was acquired in 1924 by D. Stempel AG/ Linotype and Adrian Frutiger continued to work for Linotype until today. Univers font was created almost simultaneously with other successful alphabets: Helvetica (1957) and Optima (1958). Whereas Helvetica, for example, had a general clarity and a modern, timeless a neutral effect without any conspicuous attributes (lending to its great success), Univers expressed a factual and cool elegance, a rational competence.