Human Type - Type Spec Book 15556271

Human Type Adrian Frutiger Nicole Di Nardo

Strategy

1

Margins

2

Grids

3

Colour

4

Typography

5

Page numbering

6

Symbolism

7

Pages / Spreads

8

Front Cover

20

Printing and Finishing

21

1 STRATEGY The intention of the Human Type publication was to showcase Frutiger and his works as a person and a designer who creates and develops based on people’s needs, the human side of him.

The light and washed colour palette was picked after the research on his life and numerous interviews watched. The spacing between paragraphs are based on the way that he used to talk, slowly. Modesty and simplicity were the key words for the whole design, also something really straight forward as it was his way to explain things and also his typefaces designs were very direct and objective. Few graphic shapes were used through the pages as Adrian Frutiger was also recognized for his symbols.

The size and format of the book was chosen based on typefaces anatomy sketches, and the Vitruvian man by Leonardo Da Vinci.

The Frutiger typeface was chosen because of its clarity and in its family is also called ‘Humanist 777’. The blind embossing was picked as a finish for the cover because its subtle and you have to ‘fell’ it, which refers to senses and perception, a human characteristic.

2

Page size: 215.9 x 215.9 mm Horizontal margin: 12.7 mm Vertical margin: 12.7 mm Head: 12.7 mm Bottom: 12.7 mm Inside: 22 mm Outside: 12.7 mm

Orientation: Portrait

3

Column Grid: 3 Baseline Grid: 12 pt Gutter: 4 mm Column Width: 57.7 mm

4 Colour: c=18, m=0, y=0, k=0

Colour: c=16, m=2, y=17, k=0

Colour: c=0, m=0, y=0, k=50

5 TYPOGRAPHY

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

Name: Frutiger Next Pro Size: 9 Designer: Adrian Frutiger Date: 2007 Context: The typeface was chosen according to the idea of Frutiger being a humanist person, as it is also called Humanist 777. The story behind the typeface naming relates to his modest personality, as namIng his own typeface as Frutiger was suggested by his lawyer as a way to copyright it.

6

Page numbering relates to Univers modulated weight system.

1

7 SYMBOLISM

The squares represent Frutiger’s family, the filled square represents him. (second youngest child)

The lines and square refer to the cable car and train tracks landscape that Frutiger could see through his window.

8

The chapter pages are a reference to the fact that Frutiger used to focus on black and white, lights and shadows.

9

The usage of the green block behind the quotes relates to the Mental Health Frutiger Foundation, the grey coloured typeface complements the foundation colour palette.

10

In this page the intention was to picture the panorama of the Berner Alps through type positioning.

11

The text references to balance and symmetry, which was possible to achieve within the shapes complementing the balance like a scale.

12

This spread references to Willimann and Käch, two of Frutiger’s mentors, the colours and alignment of the text are

meant to emphasize the contrast between those two figures.

13

Usage of type positioning referencing to a quote in which Frutiger says that text should stand next to each other like links

14

The Avenir spread emphasizes the fact that this typeface is based on geometric shapes and the O is slightly different than a

perfect circle, also the paragraphs positioning references to different nuances.

15

OCR-B was a typeface that Frutiger created to turn a mechanic shape into a more pleasant shaped type to human eyes, the visual diference

between OCR-A and Frutiger’s OCR-B are on the curves.

The layout and semi-circle emphasizes the OCR-B more subtle and natural form.

16

For the Charles De Gaulle spread, the intention was to design something similar to a timetable, organized, black and white and pretty simple.

17

On Frutiger’s typeface spread, the text starts with two columns because the characters design drawings would start on a large format and then they would be

reduced to a final size. Also, the spread emphasizes the accents, because Frutiger said that some details he would particularly insist to be brought under his control,

like the acute, grave, circumex accents and the cedilla.

18

In the Univers spread the emphasis was on the weight construction diagram and the horizontal-vertical axis that Frutiger constructed the typeface.

Spread 34 is a personal timeline, its differentiated from his awards timeline by its background colour. The information about

his professional withdrawal is emphasized by being out of the first column.

20

COVER

Human Type

Adrian Frutiger

A

Title: Human Type - Adrian Frutiger Treatment: Blind Embossed Typeface: Frutiger Next Pro, 30 pt Material: Hard Back Treatment: Covered in Book Cloth Colour: White

21

PAPER STOCK:

FINISH PRINTING

Spreads: 1 - 44

Hacketts Digital 17 Lower Baggot Street Dublin 2 Ireland

Stock: 170 gsm Uncoated

Machine: Indigo Printer Binding and Embossing: Duffy Bookbinders Seville Terrace Dublin 1