Logo book by Sup Lee

Supâ&#x20AC;&#x2122;s type study book

Contents

01. Akzidenz

06. Caslon

02. Akizidenz Bold

07. Centaur

03. Akizidenz Light

08. Clarendon

04. Baskerville

09. Frutiger Regular

05. Bodoni

10. Frutiger Bold

11. Frutiger Light

16. Helvetica Light

21. Optima

12. Futra Book

17. Jenson

22. Sabon

13. Futra Light

18. Minion

23. Times New Roman

14. Helvetica Regular

19. Meta Normal

24. Univers Regular

15. Helvetica Bold

20. Meta Bold

25. Univers Bold Condenced

Akzidenz

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H. Berthold AG is a typefoundry founded in 1858 by Hermann Berthold in Berlin as an institute for electrotype. In 1878, Berthold established a new standard system for typographical measurement where 1 point was 0.376065 mm. In 1967, H. Berthold AG introduced the Diatronic, its first keyboard-controlled phototypesetting machine. The growth of H. Berthold AG’s large and distinguished library of original typefaces of uniform excellence has been directed by Günter Gerhard Lange. In the 1980s, the company began converting its library into digital format and produced digital versions of their entire library using the Ikarus system. In 1991, Adobe Systems and H. Berthold AG announced the release of first PostScript versions of the Berthold Exklusiv. These PostScript versions of the 365 Berthold Exklusiv typefaces are 8.5/11 w 18p5

H. Berthold AG is a typefoundry founded in 1858 by Hermann Berthold in Berlin as an institute for electrotype. In 1878, Berthold established a new standard system for typographical measurement where 1 point was 0.376065 mm. In 1967, H. Berthold AG introduced the Diatronic, its first keyboard-controlled phototypesetting machine. The growth of H. Berthold AGâ&#x20AC;&#x2122;s large and distinguished library of original typefaces of uniform excellence has been directed by GĂźnter Gerhard Lange. In the 1980s, the company began converting its library into digital format and produced digital versions of their entire library using the Ikarus system. In 1991, Adobe Systems and H. Berthold AG announced the release of first PostScript versions of the Berthold Exklusiv. These PostScript versions of the 365 Berthold Exklusiv typefaces are known as Adobe Berthold BE. H. Berthold AG also created PostScript versions of the entire Berthold Exklusiv Collection between 1991 and 1993. These PostScript versions are known as the Berthold BQ fonts. 8.7/11.5 W 24p11

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Akzidenz Bold

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H. Berthold AG is a typefoundry founded in 1858 by Hermann Berthold in Berlin as an institute for electrotype. In 1878, Berwthold established a new standard system for typographical measurement where 1 point was 0.376065 mm. In 1967, H. Berthold AG introduced the Diatronic, its first keyboard-controlled phototypesetting machine. The growth of H. Berthold AG’s large and distinguished library of original typefaces of uniform excellence has been directed by Günter Gerhard Lange. In the 1980s, the company began converting its library into digital format and produced digital versions of their entire library using the Ikarus system. In 1991, Adobe Systems and H. Berthold AG announced the release of first PostScript versions of the Berthold Exklusiv. These PostScript versions of the 8.5/11 w 18p5

H. Berthold AG is a typefoundry founded in 1858 by Hermann Berthold in Berlin as an institute for electrotype. In 1878, Berthold established a new standard system for typographical measurement where 1 point was 0.376065 mm. In 1967, H. Berthold AG introduced the Diatronic, its first keyboard-controlled phototypesetting machine. The growth of H. Berthold AGâ&#x20AC;&#x2122;s large and distinguished library of original typefaces of uniform excellence has been directed by GĂźnter Gerhard Lange. In the 1980s, the company began converting its library into digital format and produced digital versions of their entire library using the Ikarus system. In 1991, Adobe Systems and H. Berthold AG announced the release of first PostScript versions of the Berthold Exklusiv. These PostScript versions of the 365 Berthold Exklusiv typefaces are known as Adobe Berthold BE. H. Berthold AG also created PostScript versions of the entire Berthold Exklusiv Collection between 1991 and 1993. These PostScript versions are known as the Berthold BQ fonts. 8.7/11.5 W 24p11

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Akzidenz Light

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H. Berthold AG is a typefoundry founded in 1858 by Hermann Berthold in Berlin as an institute for electrotype. In 1878, Berthold established a new standard system for typographical measurement where 1 point was 0.376065 mm. In 1967, H. Berthold AG introduced the Diatronic, its first keyboardcontrolled phototypesetting machine. The growth of H. Berthold AG’s large and distinguished library of original typefaces of uniform excellence has been directed by Günter Gerhard Lange. In the 1980s, the company began converting its library into digital format and produced digital versions of their entire library using the Ikarus system. In 1991, Adobe Systems and H. Berthold AG announced the release of first PostScript versions of the Berthold Exklusiv. These PostScript versions of the 365 Berthold Exklusiv typefaces are known as Adobe Berthold BE. 8.5/11 w 18p5

H. Berthold AG is a typefoundry founded in 1858 by Hermann Berthold in Berlin as an institute for electrotype. In 1878, Berthold established a new standard system for typographical measurement where 1 point was 0.376065 mm. In 1967, H. Berthold AG introduced the Diatronic, its first keyboard-controlled phototypesetting machine. The growth of H. Berthold AGâ&#x20AC;&#x2122;s large and distinguished library of original typefaces of uniform excellence has been directed by GĂźnter Gerhard Lange. In the 1980s, the company began converting its library into digital format and produced digital versions of their entire library using the Ikarus system. In 1991, Adobe Systems and H. Berthold AG announced the release of first PostScript versions of the Berthold Exklusiv. These PostScript versions of the 365 Berthold Exklusiv typefaces are known as Adobe Berthold BE. H. Berthold AG also created PostScript versions of the entire Berthold Exklusiv Collection between 1991 and 1993. These PostScript versions are known as the Berthold BQ fonts.

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Baskerville

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John Baskerville was born in 1706 near Worcestershire. He is most well known for his typeface ‘Baskerville.’ Created in 1757, Baskerville is known as a transitional serif typeface, positioned between the old style typeface ‘Caslon’ and the modern style of Didot and Bodoni. Baskerville wanted to improve on the typefaces of William Caslon. He increased the contrast between thick and thin strokes, while also creating a more vertical axis for rounded letters. During his life, Baskerville also created different inks and a smoother kind of paper, which would make his typefaces more legible. In 1758, Benjamin Franklin met John Baskerville and decided to start using his typeface in federal government publishing. The

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Bodoni

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Giambattista Bodoni (1740–1813) was an Italian engraver, publisher, printer and typographer of high repute remembered for designing a typeface which is now called Bodoni. Bodoni was one of the first cutters of a modern face, that is, a typeface which has hairline serifs at right angles to the uprights, vertical stress and abrupt contrast between thick and think strokes. He took French types, such as Fournier’s and those of the Didot’s as his model. Bodoni was, in his day, the best known printer in Europe. Bodoni set out his principles of typography (although stated in vague and general terms) in his Manual Tipografico. This book was completed by his wife who published it in 1818, five years after his death. The modern faces of Bodoni and the Didots ousted the old style face for most of the nineteenth century. Such types appeared in many poor recuttings and these debased moderns caused a deterioration in the standard of book

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Giambattista Bodoni (1740–1813) was an Italian engraver, publisher, printer and typographer of high repute remembered for designing a typeface which is now called Bodoni. Bodoni was one of the first cutters of a modern face, that is, a typeface which has hairline serifs at right angles to the uprights, vertical stress and abrupt contrast between thick and think strokes. He took French types, such as Fournier’s and those of the Didot’s as his model. Bodoni was, in his day, the best known printer in Europe. The modern faces of Bodoni and the Didots ousted the old style face for most of the nineteenth century. Such types appeared in many poor recuttings and these debased moderns caused a deterioration in the standard of book design. The subsequent revival of interest in earlier faces was a response to this. Bodoni’s face appear today in two main recuttings: Amercian Typefounders’ and Bauer. The ATF versioin was cut by M.F.Benton and copied with minor variation by The Monotype Corporation, Haas, Linotype, Intertype, and Ludlow, while the more delicate Bauer version is used by Bauer alone. Today, both versions are available in PostScript 8/11 W 22p9

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Caslon

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William Caslon I put an end to England’s dependency on seventeenth century imported Dutch typefaces. Caslon began his career as an engraver for gun barrels. He was discovered by William Bowyer who gave him enough money to start his own type foundry. After a commission from London printers who asked him for an Arabic font size specifically for a New Testament that would be used to promote Christianity, Caslon’s typefaces became widely popular. His typefaces were inspired by Dutch designs but his letterforms were more elegant and delicate. His first roman typeface was the Pica Roman which was modeled after type by Dutch designer Dirck Voskens. Caslon’s typefaces soon spread to America and 9.5/12 w 18p5

William Caslon I put an end to England’s dependency on seventeenth century imported Dutch typefaces. Caslon began his career as an engraver for gun barrels. He was discovered by William Bowyer who gave him enough money to start his own type foundry. After a commission from London printers, Caslon’s typefaces became widely popular. His typefaces were inspired by Dutch designs but his letterforms were more elegant and delicate. His first roman typeface was the Pica Roman which was modeled after type by Dutch designer Dirck Voskens. His typefaces soon spread to America and eventually the 1776 USA Declaration of Independence was in the Caslon typeface. Some characteristics of his Caslon typeface include the hollowed apex of the ‘A’, the tail of the ‘J’, and the ear of the ‘g’. Today, his most popular typface is Adobe Caslon Pro. 10/13 W 24p11

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Centaur

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A typographic designer named Frederic Warde (18941939) was born in Wells, Minnesota. From 1917 to 1918, he went to the Army School of Military Aeronautics at the University of California, Berkeley. He was best recognized as the graphic designer and associating with the Arrighi typeface. He was also known as a writer, an editor, and a perfumer. He worked as an editor at Macmillan & Co. and afterwards began his career in printing by joining The Printing House of William Edwin Rudge to learn about typecasting machines. Then Warde became the Printer for Princeton University where he published Bruce Rogers, Designer of Books in 1925. In the late 1924 in England, Warde was offered work by Stanley

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A typographic designer named Frederic Warde (1894-1939) was born in Wells, Minnesota. From 1917 to 1918, he went to the Army School of Military Aeronautics at the University of California, Berkeley. He was best recognized as the graphic designer and associating with the Arrighi typeface. He was also known as a writer, an editor, and a perfumer. He worked as an editor at Macmillan & Co. and afterwards began his career in printing by joining The Printing House of William Edwin Rudge to learn about typecasting machines. Then Warde became the Printer for Princeton University where he published Bruce Rogers, Designer of Books in 1925. In the late 1924 in England, Warde was offered work by Stanley Morison, a typographer designing for The Fleuron and the Monotype Recorder. Warde spent years in Europe where his projects included overseeing Giovanni Mardersteigâ&#x20AC;&#x2122;s Officina Bodoni. Warde then designed a revival of the chancery cursive letter forms of 10.5/12.5 W 24p11

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Clarendon

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Robert Besley lived from 1794 to 1876. He was well known as the creator of Clarendon typeface in 1845 and the Lord Mayor of London in 1869. Besley joined the Fann Street Foundry in 1838. The Fann Street Foundry was the home of William Thorowgood who was a typographer and the creator of Grotesque typeface. When Besley created Clarendon he had it copyright by England that had passed a bill allowing that. However, the typeface became very popular, which soon caused a copyright problem that was broken by people creating

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Frutiger Roman

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Adrian Frutiger was born on May 24, 1928 in Interlaken, Switzerland. At the age of sixteen, he was a printer apprentice for Otto Schaerffli. He then attended Zurich School of Arts and Crafts, where he studied under Walter Kach. Following his education in Zurich, he worked for a type foundry in Paris, Deberny & Peignot. Frutiger’s played a significant role in Deberny & Peignot’s transition from traditional printing techniques to phototypesetting methods. By this time, Frutiger started to design his own typefaces. His well-known typefaces include Univers and Frutiger. The Charles de Gaulle International Airport asked Frutiger to reinvent their signage. The airport wanted their new signage to be noticeable from far away and also at an angle. Univers and Gill Sans influenced Frutiger’s new typeface. Frutiger originally named his typeface Roissy, after the Roissy suburbs where the International Airport is located. However, in 1976, it was renamed to Frutiger after it was released for public use. 9/12 W 24p11

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Frutiger Bold

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Frutiger Light

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Paul Renner (1878 – 1956) is an Austrianborn designer and teacher most known for inventing the geometric sans-serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. He also taught with Georg Trump and Jan Tschichold at the printing

Paul Renner (1878 – 1956) is an Austrian-born designer and teacher most known for inventing the geometric sans-serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. He also taught with Georg Trump and Jan Tschichold at the printing school. Renner lived through tumultuous industrial and political changes in Germany during the twentieth-century. Nazis were fascinated with Gothic type while Renner believed that Roman type was more German than Gothic. He created Futura as a new form of Grotesk and a balance between capitals and lower case, more effective than Herbert Bayer’s “universal alphabet.” Unfortunately, Renner’s affinity towards Roman typefaces would eventually lead to his dismissal from his teaching post in 1933 by the Nazis. Paul Renner (1878

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Futura Book

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Paul Renner (1878 - 1956) is an Austrian-born designer and teacher most known for inventing the geometric sans-serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. There he also taught with Georg Trump and Jan Tschichold at the printing school. Renner lived through tumultuous industrial and political change in twentieth-century Germany. This was the time the Nazis were fascinated by the effect of sans serif and Gothic type on their national identity. While Renner believed that Roman type was more German than Gothic. Renner created Futura both as a new form of Grotesk and as a means of striking a balance between capitals

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Paul Renner (1878 - 1956) is an Austrian-born designer and teacher most known for inventing the geometric sans-serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. There he also taught with Georg Trump and Jan Tschichold at the printing school. Renner lived through tumultuous industrial and political change in twentieth-century Germany. Nazis were fascinated with Gothic type while Renner believed that Roman type was more German than Gothic. He created Futura both as a new form of Grotesk and as a means of striking a balance between capitals and lower case more effective than that of Herbert Bayer’s “universal alphabet” Unfortunately, Renner’s affinity towards Roman typefaces would eventually lead to his dismissal from his teaching post in 1933 by the Nazis. 9.5/12 W 24p11

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Futura Light

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Paul Renner (1878 1956) is an Austrianborn designer and teacher most known for inventing the geometric sans-serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. There he also taught with Georg Trump and Jan Tschichold at the

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Paul Renner (1878 - 1956) is an Austrian-born designer and teacher most known for inventing the geometric sans-serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. There he also taught with Georg Trump and Jan Tschichold at the printing school. Renner lived through tumultuous industrial and political change in twentieth-century Germany. Nazis were fascinated with Gothic type while Renner believed that Roman type was more German than Gothic. He created Futura both as a new form of Grotesk and as a means of striking a balance between capitals and lower case more effective than that of Herbert Bayer’s “universal alphabet” Unfortunately, Renner’s affinity towards Roman typefaces would eventually lead to his dismissal from his teaching post in 1933 by the Nazis. 9.5/12 W 24p11

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Helvetica Regular

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Max Miedinger, type designer, was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, He attended classes at the Kunstgewerbeschule in Zurich and then after, he worked at Globus department store’s advertising studio in Zurich as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became freelance graphic artist in Zurich. Eduard Hoffmann, swiss director who in the fifties established the Haas Typefoundry as the center of the Swiss movement in design of typefaces, entrusted Miedinger to develop a new sans-serif typeface. In 1957, He produced the Haas-Grotesk face. After 2

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Helvetica Bold

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Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas Typefoundry, entrusted Miedinger to develop a new sans-serif typeface. In 1957, He produced the HaasGrotesk face. After 2 years, he introduced the full series of weights and the typeface changes its name from Neue Haas Grotesk to Helvetica™. In 1983, Linotype published its Neue Helvetica®, based on the earlier Helvetica™. It is

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Max Miedinger was born in Zurich, Switzerland, on December 24, 1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas Typefoundry, entrusted Miedinger to develop a new sans-serif typeface. In 1957, he produced the Haas-Grotesk face. After 2 years, he introduced the full series of weights and the typeface changed its name from Neue Haas Grotesk to Helvetica™. It is considered the official typeface of the twentieth century. Helvetica is simple and well proportioned and one of the most popular typefaces of all time. 8.5/12 W 25p0

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Helvetica Light

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Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas Typefoundry, entrusted Miedinger to develop a new sans-serif typeface. In 1957, He produced the Haas-Grotesk face. After 2 years, he introduced the full series of weights and the typeface changes its name from Neue Haas Grotesk to Helvetica™. In 1983, Linotype published its Neue Helvetica®, based on the earlier Helvetica™. It is considered the official typeface of the twen-

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Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas Typefoundry, entrusted Miedinger to develop a new sans-serif typeface. In 1957, He produced the Haas-Grotesk face. After 2 years, he introduced the full series of weights and the typeface changes its name from Neue Haas Grotesk to Helvetica™. In 1983, Linotype published its Neue Helvetica®, based on the earlier Helvetica™. It is considered the official typeface of the twentieth century. Helvetica is simple and well proportioned and one of the most popular typefaces of all time. 8.5/11 W 25p0

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Janson

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Claude Garamond, born in 1499 in Paris, France, was a Parisian publisher and one of the leading type designers of his time. In about 1510, Garamond became apprenticed to Antoine Augerau and by 1520, he was working with the typefounder Geoffroy Tory. Both his first roman fonts and his grecs du roi typeface were cut for the firm of Robert Estienne. Garamond was among the first punch cutters, someone who cuts letter punches in steel, to work separately from the printers. His roman fonts, cut from 1531 forward, exceeded the best existing romans in grace and clarity and influenced European punch cutters for 150 years. His Greek type set the precedent for Greek printing up until the early 19th century. The modern typefaces that are named after him are based on other typefaces that were mistakenly attributed to Garamond. In 1545 he began to publish books, however

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Nicholas Kis was a Transylvanian protestant, who studied theology. He was sent to Holland by the Transylvanian church to supervise the printing of their Bible in the last quarter of the seventeenth century. While he was there he became captivated by the process and decided to learn the skills himself. He began making his own Bible using his own designs and he soon became one of the leading punchcutters of his time. Kis produced some of the greatest typefaces in the Dutch Old Style, such as Berthold Kis BQ, Janson Text, and Kis Classico, which have been used as models for a number of 20th century typefaces. When he arrived back in Hungary, he started a printing press. However, soon afterward, those who opposed his new orthography and his cheap textbooks threatened his life. In 1698, he wrote an Apologia, a defence of his lifeâ&#x20AC;&#x2122;s work. The Church Synod sentenced him to public penance and withdrew his Apologia. He died in extreme poverty at the age of 52.

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Minion

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Robert Slimbach, born in 1956 in Illinois, grew up in California. He started out working in a small printshop which exposed him to graphic and type design and Autologic type department in Newbury Park, CA. He developed and improved his type design and calligraphic skills there for two years from 1983-85. After working for Autologic, he designed ITC Slimbach and ITC Giovanni specifically for the NY International Typeface Corporation. In 1987, he began work at Adobe, focusing his time more on designing typefaces fit for technology and gaining inspiration from old typefaces. Drawing inspiration from the original Garamond typefaces, he

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Meta Normal

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Erik Spiekermann is a designer and typographer in Germany. He studied art history at the Free University in Berlin. He begain his career working as a freelance graphic designer in London. He returned to Berlin and started MetaDesign with two partners. With them he created information design and corporate design systems. He also founded the company FontShop, with his wife, which has evolved into Font Shop International. Started in 1989, FontShop was the first mail-order distributor for digital fonts. He has designed many typefaces in addition to the famous Meta. Many are part of the FF, or Font Font, range of typefaces, but he has also designed typefaces for corporate branding. In 2001 Spiekermann left MetaDesign, and started the United Designers Networks, now known as EdenSpiekermann. In addition to creating widely-used fonts, he co-authored the book Stop Stealing Sheep & Find Out How Type Works, and has created many corporate identities and and redesigns. Spiekermann has won awards including the German Design Award in 2006, the European Designers Hall of Fame in 2007, and was awarded an honorary doctorship from Art Center College of Design in 2006. 8.5/11 W 24p11

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Optima Regular

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Herman Zapf is a prolific type designer and a notable writer on type. He spent the early part of his career working for the Stemple foundry in Germany and his work helped to fill the shortage of design for roman typefaces that existed in West Germany after the war. When Zapf returned from the war he took over the design directorship of Stempel. In 1958 he designed Optima, often referred to as a ‘stressed sans’ but one which Zapf himself called a ‘serifless roman’. It was inspired by inscriptional lettering he had seen in Florence, and has proved especially popular with calligraphers and carvers. Zapf has created typefaces for a number of other companies including Berthold, Hell Digiset and ITC. He has designed new faces for film setting and digitization as well was overseeing the transfer

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Jan Tschichold was a typographer who taught, wrote and designed books about principles in typography. He was born on April 2, 1902 in Leipzig, Germany. His childhood was spent training in calligraphy, under his father who was a sign writer. Unlike other typographers who studied architecture or the fine arts, Tschicholdâ&#x20AC;&#x2122;s artisan background set him apart. After escaping from Nazi Germany, he spent a few years in England to redesign the Penguin Books and eventually settled in Switzerland. At first, he was a leading advocate of Modernist design and published the book, Die neue Typographie, which condemned all fonts but sans serif. He advocated non-centred design, the use of standardised paper sizes and clearly explained how to use different sizes and weights of type to easily convey information. However, he eventually denounced Die neue Typographie as being too

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Times New Roman was the typeface specifically designed for the British newspaper, The Times in 1931. The original typeface used was Times Old Roman - an outdated typeface no longer suited for the modern day. Stanley Morison acted as the supervisor and Victor Larden as the artist hand. Times New Roman made its debut in The Times on October 3, 1932, and was used for another forty years. Today, the typeface is widely used in book typography, and is well known as a standard or default

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Adrian Frutiger is best known as a type-designer. He was born in 1928 in Switzerland. After his education in Zurich, Frutiger moved to Paris where he started to work at the Deberny & Peignot typefoundry. Here he helped the foundry move classic typefaces used with traditional printing methods to newer phototypesetting technologies.At the same time Frutiger started to design his own typefaces, a few of which became very significant, and this earned him his status as a great type designer. Today his typefaces are readily available from a number of different foundries. He is still alive (2005) and has worked on revisions with Linotype of a number of his typefaces. Such recent

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Adrian Frutiger is best known as a type-designer. He was born in 1928 in Switzerland. After his education in Zurich, Frutiger moved to Paris where he started to work at the Deberny & Peignot typefoundry. He helped the foundry move classic typefaces used with traditional printing methods to new phototypesetting technologies. At the same time, Frutiger started to design his own typefaces, a few of which became very significant, and earned him the status as a great type designer. Today his typefaces are readily available from a number of different foundries. He is still alive and has worked on Linotype revisions with a number of

Adrian Frutiger is best known as a type-designer. He was born in 1928 in Switzerland. After his education in Zurich, Frutiger moved to Paris where he started to work at the Deberny & Peignot typefoundry. He helped the foundry move classic typefaces used with traditional printing methods to new phototypesetting technologies. At the same time, Frutiger started to design his own typefaces, a few of which became very significant, and earned him the status as a great type designer. Today his typefaces are readily available from a number of different foundries. He is still alive and has worked on Linotype revisions with a number of his typefaces. Such recent collaborations have resulted in Frutiger Next and Avenir Next, which includes refined forms and true italics. Frutiger now lives in Berlin, Germany and is working with woodcuts.

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Adrian Frutiger is best known as a type-designer. He was born in 1928 in Switzerland. After his education in Zurich, Frutiger moved to Paris where he started to work at the Deberny & Peignot typefoundry. He helped the foundry move classic typefaces used with traditional printing methods to new phototypesetting technologies. At the same time, Frutiger started to design his own typefaces, a few of which became very significant, and earned him the status as a great type designer. Today his typefaces are readily available from a number of different foundries. He is still alive and has worked on Linotype revisions with a number of his typefaces. Such recent collaborations have resulted in Frutiger Next and Avenir Next, which includes refined forms and true italics. Frutiger now lives in Berlin, Germany and is working with woodcuts.

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