Frutiger in 2002 Born ( 1928-05-24)24 May 1928,, Switzerland Died 10 September 2015 ( 2015-09-10) (aged 87),, Switzerland Nationality Swiss Alma mater Occupation & Notable work, and Adrian Frutiger (24 May 1928 – 10 September 2015) was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century. His career spanned the, and eras.

Until his death, he lived in. Frutiger's most famous designs,, and, are landmark families spanning the three main genres of sans-serif typefaces:, and. Univers was notable for being one of the first sans-serif faces to form a consistent but wide-ranging family, across a range of widths and weights. Frutiger described creating sans-serif types as his 'main life's work,' partially due to the difficulty in designing them compared to. Univers Bold Condensed on a London street sign Charles Peignot envisioned a large, unified font family, that might be set in both the metal and the photo-composition systems.

Impressed by the success of the Bauer foundry's typeface, Peignot encouraged a new, geometric sans-serif type in competition. Frutiger disliked the regimentation of Futura, and persuaded Peignot that the new sans-serif should be based on the realist (neo-grotesque) model. The 1896 face,, is cited as the primary model. To maintain unity across the 21 variants, each weight and width, in roman (upright) and (slanted), was drawn and approved before any matrices were cut. In the font, Frutiger introduced his two-digit numeration; the first digit (3 though 8) indicates the weight, '3' the lightest, '8' the heaviest. The second digit indicates the face-width and either roman or oblique.

Kostenlose englische Download - Vokabeln zum Langenscheidt Vokabeltrainer. Vorschau der Vokabeldatei 'Englisch - Alltag' (Englisch - Deutsch).

It was marketed with a design inspired by the. The response to Univers was immediate and positive; he claimed it became the model for his future typefaces. His designs Serifa (1967) and Glypha (1977) are directly based upon it. Univers attracted attention to Frutiger's work outside continental Europe, and he was commissioned by to create Apollo, their first typeface specifically created for, which was released in 1964. Frutiger [ ]. Main article: In 1988, Frutiger completed the family. Frutiger intended the design to be a more human version of geometric sans-serif types popular in the 1930s such as and, and it is named Avenir ('future' in French) as a reference to the latter.

In a complete reverse, his next design Westside was a wild-west themed, inspired by French Clarendons of the late 19th century. Late designs [ ] In 1991, Frutiger finished Vectora, a design influenced by 's type faces and. The resultant face has a tall and is legible in small-point sizes. Frutiger's 1991 release Linotype Didot was an elegant revival of the typeface adapted to display use, which remains popular; it is the version of Didot bundled with, for example. While Frutiger continued to be involved in adaptations and expansions of pre-existing families and smaller projects, he described Didot in 1998 as his 'last typeface design'. The roots of letters [ ]. Sample of the font Frutiger Stones Linotype launched a font series named Type Before Gutenberg in 1989 and in the 1990s, Frutiger released as part of it a series of designs inspired by pre-printing alphabets, such as Herculanum and Pompeijana, inspired by Roman brush lettering, Rusticana, inspired by Roman carving.

He later also created Frutiger Stones (no connection to ), a playful design inspired by the shapes of pebbles. Parts of this design were finalised by Linotype's team; it was based on an alphabet drawn by Frutiger on a 1992 Christmas card. He also created Capitalis, inspired by brush lettering but without a specific historical source. Download Tarzan Psx Ita. Nami, an uncial design Frutiger had been considering since 1992, followed in 2007.

Remastered releases [ ]. Frutiger Symbols: a group of designs inspired by Stone Age art drawn on pebbles. • Frutiger Stones (1998) • Frutiger Symbols (1998) • Linotype Univers (1999) • (2000) • Nami (2006): a playful unicase sans. Acoustic Research Aw721 Manual Woodworkers. Based on sketches from the 1980s and developed in collaboration with Akira Kobayashi. • Frutiger Arabic (2007): designed by Lebanese designer Nadine Chahine in consultation with Frutiger.

It is based on the Kufi style. • Frutiger Serif (2008) • Neue Frutiger (2009) • Univers Next (2010) Prizes and awards [ ].

The book with pluridisciplinary essays and mostly unpublished material invites the reader to revisit this major helvetic exhibition in 1964. It aims to be a hybrid of academic reader and beautiful picture book with a design that is characterized by careful picture editing and typography. Four inserts of diverse historical images presented bled off on heavy paper form the introduction to each section of essays. The essays are based on a strict system of image and text positioning. The simple cover design shows an image of the highly controversial army pavilion. Format 143 × 230 mm, 440 pages, 225 illustrations, published by PPUR. Designed and published in 2014.

LL Moderne (former RH Pluto) is inspired by humanist sans serifs such as Antique Olive, Balance and Frutiger while defining its own distinctive identity. Developed from scratch starting in early 2013 Moderne is coming in Light, Book, Regular, Medium, Bold, Black and Fat, each with matching italics. The weight graduation, especially between Book, Regular and Medium, is relatively close, offering the choice depending on the particular shade of grey desired for mass text. The straightforward design combined with it’s subtle and controlled details brings a font with own personality and charm, suitable for use in both small and big text.

Licensing and distribution information on lineto.com. This richly illustrated book guides the reader through the history of the TM journal between 1960 and 1990. The book begins with a series of double-page photos, each of which shows several covers of TM by a single designer arranged into groups. The main section provides glimpses of numerous spreads and pages. The layout is based on a strict grid and is very repetitive with the attention focused on the written and illustrated content. Between the main section and the appendix an overview of the covers is shown as thumbnails in chronological order. The shiny silver cover with black foil stamped text referrs to the pilot issue of TM published in 1932, known as the Silver Issue.

Format 215 × 315 mm, 276 pages, 476 illustrations, hardcover. Published by Lars Mueller. Designed in collaboration with the main author Louise Paradis in 2013. Micro identity for the Sonia Kacem exhibition “Night Shift” at the Centre d’art contemporain Geneva in 2016. Kacem is mostly known for installation works, however during a studio visit, a collection of paper collage works were discovered.

These roughly photocopied and partially blurred collages of a sofa were used as the key elements for the compositions, and it was decided not to show any installation works within the identity, thus creating a more surprising experience when visiting the exhibition. Originally inspired by a german sans serif typeface specimen from 1890, the main characteristics of RH Inter come from the differences in design between lower and uppercase letters, and its heterogeneous shape groups. Inter was first used in the book “Architecture from the Arab World 1914 – 2014” designed for the Kingdom of Bahrain’s National Participation at the 14th International Architecture Exhibition la Biennale di Venezia.

The development of Inter began in 2014, it is currently being extended to regular, medium and bold cuts with matching italics. Design for the pocketbook series “Cahier de recherche” published by ECAL. The series periodically collects and publishes a selection of the thesis papers from students of the Masters programmes, the first issue contains essays by students of the Master Product Design. The design is functional and straight forward, focusing on easy readability and a simple production approach making it possible to print entirely with the school’s facilities.

Format 122 × 195 mm, 146 pages, 40 illustrations, b/w inside, duotone cover with highgloss laminage and foil stamped title. Designed in 2014. Vacheron Constantin asked 12 students from the MAS LUX at ECAL to combine their creativity with that of an experienced craftsmen. Three projects for each season defined the basic editorial structure of the brochure.

Each season has it’s own background for the full bleed still-life photographs shot by Jonas Marguet. Portraits of the artisan’s and work in progress images preceed and finish each of the season sections. Particular importance was attached on the rich materiality of the final object printed with 4 different papers and finished as a classic Swiss brochure. Format 220 × 315 mm, 52 pages, 86 illustrations.

Designed in 2015. The book with pluridisciplinary essays and mostly unpublished material invites the reader to revisit this major helvetic exhibition in 1964. It aims to be a hybrid of academic reader and beautiful picture book with a design that is characterized by careful picture editing and typography.

Four inserts of diverse historical images presented bled off on heavy paper form the introduction to each section of essays. The essays are based on a strict system of image and text positioning.

The simple cover design shows an image of the highly controversial army pavilion. Format 143 × 230 mm, 440 pages, 225 illustrations, published by PPUR.

Designed and published in 2014. LL Moderne (former RH Pluto) is inspired by humanist sans serifs such as Antique Olive, Balance and Frutiger while defining its own distinctive identity. Developed from scratch starting in early 2013 Moderne is coming in Light, Book, Regular, Medium, Bold, Black and Fat, each with matching italics. The weight graduation, especially between Book, Regular and Medium, is relatively close, offering the choice depending on the particular shade of grey desired for mass text. The straightforward design combined with it’s subtle and controlled details brings a font with own personality and charm, suitable for use in both small and big text. Licensing and distribution information on lineto.com.

This richly illustrated book guides the reader through the history of the TM journal between 1960 and 1990. The book begins with a series of double-page photos, each of which shows several covers of TM by a single designer arranged into groups.

The main section provides glimpses of numerous spreads and pages. The layout is based on a strict grid and is very repetitive with the attention focused on the written and illustrated content. Between the main section and the appendix an overview of the covers is shown as thumbnails in chronological order. The shiny silver cover with black foil stamped text referrs to the pilot issue of TM published in 1932, known as the Silver Issue. Format 215 × 315 mm, 276 pages, 476 illustrations, hardcover. Published by Lars Mueller. Designed in collaboration with the main author Louise Paradis in 2013.

Micro identity for the Sonia Kacem exhibition “Night Shift” at the Centre d’art contemporain Geneva in 2016. Kacem is mostly known for installation works, however during a studio visit, a collection of paper collage works were discovered. These roughly photocopied and partially blurred collages of a sofa were used as the key elements for the compositions, and it was decided not to show any installation works within the identity, thus creating a more surprising experience when visiting the exhibition. Originally inspired by a german sans serif typeface specimen from 1890, the main characteristics of RH Inter come from the differences in design between lower and uppercase letters, and its heterogeneous shape groups. Inter was first used in the book “Architecture from the Arab World 1914 – 2014” designed for the Kingdom of Bahrain’s National Participation at the 14th International Architecture Exhibition la Biennale di Venezia.

The development of Inter began in 2014, it is currently being extended to regular, medium and bold cuts with matching italics. Design for the pocketbook series “Cahier de recherche” published by ECAL. The series periodically collects and publishes a selection of the thesis papers from students of the Masters programmes, the first issue contains essays by students of the Master Product Design.

The design is functional and straight forward, focusing on easy readability and a simple production approach making it possible to print entirely with the school’s facilities. Format 122 × 195 mm, 146 pages, 40 illustrations, b/w inside, duotone cover with highgloss laminage and foil stamped title. Designed in 2014. Vacheron Constantin asked 12 students from the MAS LUX at ECAL to combine their creativity with that of an experienced craftsmen. Three projects for each season defined the basic editorial structure of the brochure. Each season has it’s own background for the full bleed still-life photographs shot by Jonas Marguet.

Portraits of the artisan’s and work in progress images preceed and finish each of the season sections. Particular importance was attached on the rich materiality of the final object printed with 4 different papers and finished as a classic Swiss brochure. Format 220 × 315 mm, 52 pages, 86 illustrations. Designed in 2015.