Read e-book online Adrian Frutiger: Typefaces PDF

By Heidrun Osterer

The commonplace paintings at the Swiss sort fashion designer: all typefaces - from layout to advertising and marketing - have been visually documented and analyzed just about the expertise and to similar typefaces.

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That same picture was put on the front page of the brochure /08/, which was later often reproduced in trade magazines. Ondine is a mix of different forms. I used uncials /04/ as a starting point for the capital letters, although I also designed alternative letters which are based on early Roman hand­ written capitals. The lowercase letters have elements of uncials, Carolingian and Gothic minuscules in addition to a certain semblance to Schneidler’s Legende /05/, which in my opinion remains one of the best typefaces of its kind.

A later model, Staromat, was also put on the French market by Deberny & Peignot. home with the classics towards the end. For me classical typography is something lasting. Nevertheless I was wholly on Emil Ruder’s side, typographically speaking, at that time. I’m sure that stemmed from my upbringing and schooling – under Willimann, no less – even though my apprenticeship was steeped in the classics. Although we had different precepts, I got on very well with Jan Tschichold, though I probably appreciated him more than he did me.

Ondine was released to the market very quickly. To be honest, I was never very com­ fortable with that. I always had the feeling I was harming my teachers, Willimann even more so than Käch. My type conscience plagued me. I told Peignot that I simply mustn’t get ahead of myself and that he shouldn’t require anything of me that I couldn’t do. I worked on Ondine for six weeks at the most. I basically regarded it as a waste of time and effort. I knew it wouldn’t compete with Mistral, not in France, but Peignot didn’t mind, he merely wanted a handwritten font.

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Adrian Frutiger: Typefaces by Heidrun Osterer


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