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Designed for the Kieler Woche festival in Kiel, Germany.
(L) c1963 - Design by Hans Michel
(R)c1960 - Design by Walter Breker
Type set in Adrian Frutiger's Univers
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The covers of this series of Prisma dictionaries were designed by C. van Dorland for the publisher Spectrum in 1969.
Univers was, as this 1964 advert notes, designed by Adrian Frutiger for his employers the French typefopundry of Deberny & Peignot and issued in 1957. It was designed to be a large 'family' of variations on the typeface, available in a wide range of weights and sizes. It became very widely used in the 1960s and '70s, licensed to Monotype amongst others. Although issued as metal type Univers was amongst the first typeface designed with modern phototypesetting in mind.
A page from the Arts & Metiers Graphiques "Lettres" number of 1954 showing the typefaces of the renowned French typefoundery of Deberny et Peignot. This page shows synopsis of Président and Phoebus typefaces. Both were designed for the company by the Swiss type designer Adrian Frutiger, Phoebus issued in 1953 and Président in 1954.
Adrian Frutiger was born near Interlaken, Switzerland, the son of a weaver. As a boy, he experimented with invented scripts and stylized handwriting in negative reaction to the formal, cursive penmanship then required by Swiss schools. His early interest in sculpture was discouraged by his father and by his secondary school teachers; they encouraged him to work in printing. Though in the world of print, he maintains the love of sculpture that has influenced his type forms.
Frutiger's typefaces include:
* Ondine (1954)
* President (1954)
* Meridien (1955)
* Egyptienne (1956)
* Univers (1957)
* Apollo (1962)
* Serifa (1967)
* OCR-B (1968)
* Iridium (1975)
* Frutiger (designed 1975 for Charles de Gaulle Airport, issued by Linotype in 1976)
* Glypha (1977)
* Icone (1980)
* Breughel (1982)
* Versailles (1982)
* Linotype Centennial (1986)
* Avenir (1988)
* Westside (1989)
* Herculanum (1990)
* Vectora (1990)
* Linotype Didot (1991)
* Pompeijana (1992)
* Rusticana (1993)
* Frutiger Stones (1998)
* Frutiger Symbols (1998)
* Linotype Univers (1999)
* Frutiger Next (2000)
* Nami (2006)
* Frutiger Arabic (2007)
* Frutiger Serif (2008)
Read more
TypographyShop's newest shirt, Across the Univers has been as big a hit as our first shirt. New product is finally on its way.
Photo by Tony Ward.
A page from the Arts & Metiers Graphiques "Lettres" number of 1954 showing the typefaces of the renowned French typefoundery of Deberny et Peignot. This page shows synopsis of Contact and Ondine typefaces. Ondine was designed for the company by by the Swiss type designer Adrian Frutiger.
Designed for the Kieler Woche festival in Kiel, Germany.
(L) c1957 - Design by Gerd Brunck
(R)c1975 - Design by Otto Treumann
Type set in Adrian Frutiger's Univers
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I took this photograph during a visit in 2002. At that time he lived in Bremgarten (near Bern) and had a nice studio as part of his lovely house.
Type face Ondine by Swiss designer Adrian Frutiger. Issued in 1957
Deberny and Peignot type specimen booklet. includes specimens by Adrian Frutiger,A M Cassandre, Charles Peignot, Marcel Jacno and Remy Peignot.
c2008 grain edit
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Adrian Frutiger, "Lettre de l'Inde: National Design Institute Ahmedabad, mars 1967 / Brief aus Indien: National Design Institute Ahmedabad, März 1967," Typographische Monatsblätter, Nr. 6/7, June/July 1967. 86th year. St. Gallen. Pages 502–505.
Bad photograph of part of the first and second pages of a 1967 article by Adrian Frutiger in Typographische Monatsblätter. I guess that the magazine is about A4 sized. The article is about Frutiger's visit to an Indian design school in Ahmedabad, and ideas about the reform of the Devanagari script. The article is in French, with a German translation by Max Walther. There is no English translation in the issue.
Vectora is the corporate font for SML Universe. SML picked it mostly for his love for Adrian Frutiger. Another criteria which makes Vectora special is that Frutiger designed it after realizing that there was a need for sans serif type that could be read easily at small sizes, which in many ways make it ideal for designers who love setting tiny type. Yet more of importance to SML, is that it is not a very popular font, as such the typography set by SML would not look like everyone else’s, yet its character has all the sweetness seen in other more popular Frutiger fonts such as of course the Frutiger and Avenir family. The only unfortunate thing with using a not-so-popular font is that it does not have the niceties which SML cares about, such as real small caps and figure numerals (aka x-height numerals). So SML is considering drawing his own some time soon unless of course Linotype would be so kind to consider creating Vectora Next or equivalent.
www.linotype.com/1577/Vectora-family.html
Corporate font for SML Universe: Vectora by Adrian Frutiger, Linotype / SML.20130324.SC.Linotype.Vectora
/ #SMLScreenshots #CCBY #SMLOpinions #SMLUniverse #SMLBrands
/ #Vectora #typography #identity #design #branding #Frutiger #AdrianFrutiger #Linotype #opinions #fonts #screenshots #hongkong #china #corporateidentity #brands
David vs Goliath
→ 1 Samuel 17
2009.10, Adobe Illustrator, Adobe Photoshop.
•
David – Univers (1954), Adrian Frutiger.
Goliath – Helvetica (1957), Max Miedinger, Eduard Hoffman.
Main locations such as check-in, terminals and gates are in the sans serif typeface Univers, secondary locations such as toilets, restaurants, café’s are in the serif typeface Sabon.
TM Typographische Monatsblätter
SGM Schweizer Graphische Mitteilungen
RSI Revue suisse de l'lmprimerie
Nr.8/9 August/September, Août/Septembre 1959, 78. Jahrgang
INHALT:
Satz, la composition
432 Die Seite der Sprache
433 Nützliche Angaben zum Gebrauch des Intertype-Ersatzteilkataloges in englischer Sprache
440 Kompositionen, Ernst von Aesch, Bern
442 Klassifikationsentwurf für Druckschriften DIN 16518
445 Emil Ruder, Arbeiten von Adrian Frutiger
459 Marcel Hignette, Paris. Usage de l'image
466 Deux docteurs es machines à composer s'expliquent...
467 La composition de formules à la linotype sur corps de machine á écrire
469 Maurice Grand, Lausanne. Les embûches du participe passé
Druck, l'impression
435 Paul Kunz, Der Universalaufzug für Hochdruckmaschinen
437 Bern, Eine Führung durch den Betrieb von Louis Cerutti
438 Albert Filiinger, Die Technik im Naß-auf-Naß-Druck
464 Roland Lienhardt, Condor, une nouvelle deux-tours rapide
Betriebsführung, l'organisation
429 A. Troxler, Die Stellenanzeige
431 Adolf Wälti, Mit dem kann man ja nicht arbeiten…
431 Die erste elektronische Buchungsmaschine der Welt
444 Neues in Kürze
455 Les entreprises suisses à l'heure du clocher européen
468 Le couché-machine. Le papier pour Illustration de l'avenir
470 Graphibref
Ausbildung, l’éducation
430 Erfolgreiche Schweizer im Ausland
430 Ausbildungsschwierigkeiten bei den Stereotypeuren
440 Die Bedeutung der Handwerkslehre
441 Aus fremden Gärten
Herausgegeben vom Schweizerischen Typographenbund zur Förderung der Berufsbildung
Editée par la Fédération suisse des typographes pour l’éducation professionnelle
Druck und Administration:
Zollikofer & Co. AG, St. Gallen
Hauptredaktor: Rudolf Hostettler
Redaktionskommission:
Vorsitzender Fritz Schürch, Emil Hofstetter, Albert Filiinger,
Hermann Strehler (SGM),
Gaston Burnand, Ch.-Henri Cornaz, Charles Castioni (RSI)
»Univers
Die erfolgreiche Goteskschrift von Adrian Frutiger ist neben den gut ausgebauten Garnituren um Linotype-Fotosatz* jetzt auch als Univers mit Halbfetter für den Bleisatz lieferbar. Die dritte Umschlagseite dieses Heftes wurde auf einer Linotype-Delta mit Univers-Matritzen gesetzt.
* Im Linotype-Fotosatz sind folgende Univers-Garnituren vorhanden:
Univers leicht
Univers leicht kursiv
Univers
Univers kursiv
Univers halbfett
Univers halbfett kursiv
Univers fett
Univers fett kursiv
Univers schmal
Univers schmal kursiv
Univers schmal halbfett
Univers Cyrillisch
In: Linotype-Post Heft 44 Mai 1974
Brescia, 14/05/2013, ore 15.44
“Il filo e lo spago uniscono il mistero dell'illimitata lunghezza alla capacità di essere avvolti attorno al fuso in uno spazio limitato. Allo stesso tempo hanno qualcosa della spirale, del movimento circolare perpetuo, dello svolgersi della vita. Il processo successivo, che trasforma il filo in stoffa tessuta, annodata o intrecciata, conservandone la lunghezza, conferisce al filo un'attrattiva particolare, quasi completamente scomparsa nei tessuti moderni.
L'oggetto filato, lungo e flessibile, invita mano e mente al lavoro. Il risultato può essere bello e ornamentale o, al contrario, nel caso in cui sia tutto ingarbugliato e pieno di nodi, rievocare il serpente del mito e il suo simbolismo negativo.
Le donne hanno la capacità di intrecciare artisticamente i capelli, come la pasta dei dolci, i gambi delle cipolle per conservarle d'inverno.”
Adrian Frutiger, Segni & simboli, 1981.
Internationale Zeitschrift für Grafik und verwandte Gebiete /
International Review of Graphic Design and related subjects /
Revue internationale du graphisme et des domains annexes
Ausgabe Juli 1959
Inhalt
— Richard P. Lohse, Zürich: Expo 58
— Max Bill, Zürich: Kataloge für Kunstausstellungen 1936-1958
— Gérard Ifert, Paris: Grafiker der neuen Generation
— Fritz Keller, Zürich: Vorfabrizierte Elementefür Schaufenster und Ausstellungen
— Hans Neuburg, Zürich: Italienische Gebrauchsgrafik
— Emil Ruder, Basel, Fachlehrer für Typografie an der Gewerbeschule Basel: Univers, eine neue Grotesk von Adrian Frutiger
— Ulrich Hitzig, Zürich, Schweizer Fernsehdienst: Wettbewerb für ein neues Signet des Schweizer Fernsehdienst
Issue for July 1959
Contents
— Richard P. Lohse, Zurich: Expo 58
— Max Bill, Zurich: Catalogues of Art Exhibitions
— Gérard Ifert, Paris: Graphic Designers of the new Generation
— Fritz Keller, Zurich: Prefabricated Parts for Showcases and Exhibitions
— Hans Neuburg, Zurich: Italian Industrial Design
— Emil Ruder, Basel: Univers, a new sans-serif type by Adrian Frutiger
— Ulrich Hitzig, Zurich, Schweizer Fernsehdienst: Competition for a New Symbol for Swiss Television
Juillet 1959
Table des matières
— Richard P. Lohse, Zurich: Expo 58
— Max Bill, Zurich: Catalogues pour expositions de beaux-arts 1936-1958
— Gérard Ifert, Paris: Graphistes de la generation nouvelle
— Fritz Keller, Zurich: Eléments préfabriquées pour vitrines et expositions
— Hans Neuburg, Zurich: Graphisme italien appliqué
— Emil Ruder, Basel: Univers, une nouvelle grotesque d'Adrian Frutiger
— Ulrich Hitzig, Zurich, Schweizer Fernsehdienst: Concours destiné à créer une marque distinctive de la Télévision suisse
Herausgeber und Redaktion / Editors and Managing Editors / Editeurs et rédaction:
Richard P. Lohse SWB/VSG, Zürich
J. Müller-Brockmann SWB/VSG, Zürich
Hans Neuburg SWB/VSG, Zürich
Carlo L. Vivarelli SWB/VSG, Zürich
Druck/Verlag / Printing/Publishing / Imprimerie/Edition:
Verlag Otto Walter AG, Olten
Cover Designer
Carlo Vivarelli (1919–1986)
The posters for the Kieler Woche usually are recognized as highlights of German graphic design. The design guidelines describe Univers as the typeface to be used. This probably saved us from a lot of hipster design and other crappy stuf. Unfortunately someone forgot to specify that letters should not be stacked vertically.
www.kieler-woche.de/service/corporate_design/
This design seems to be future telling on how typography will look like in the next century. On their website, the Kieler Woche predicts that by 2102, not only ‘Kieler Woche’, but also the year in which it is held will be written vertically.
www.kieler-woche.de/service/corporate_design/cd2012/_sieg...