This document provides biographical information about typographer Adrian Frutiger and discusses some of his most famous typeface designs. It notes that Frutiger was born in 1928 in Switzerland and trained as a typeface designer. One of his most popular and widely used typefaces is Univers, created in 1957, which was designed with a numerical classification system. Another famous typeface by Frutiger is Frutiger, created in 1976 for airport signage in Paris for its clarity and legibility from a distance. The document discusses the anatomy and characteristics of Frutiger typefaces and their widespread usage.
5. Frutiger
Copyright 息 2012 by Florencia Dina Ariesta
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10. Bor n in 1928 i n
interlaken, Swit-zerland.
Adr i a n
Frutiger wa s t r a ined a t
the kuns tgewe rbe s chul e
in Zur i ch be for mov ing t o
P a r i s . He wa s inspi red by the
s impl i c i t y of the a r t s and c r a f t s
of hi s home region, and de v e lope d
an appre c i a t ion for the re l a t ionshi p
between black and white. Balance be-twe
en t int and shade and the Yin and
Yang became par t of Frutigers design phi -
losophy.
I n 1952, Charled Peignot of Deperny & Peignot-offered
Frutiger a job whe re he qui c k l y began hi s
ascent to one of the few e l i t e i n the world of typog-r
aphy. Hi s f i r s t s e r ious t ype f a c e wa s Me r idi en, de s igne d
in 1955.
One of the most popular typefaces ever developed i s Univ-
11. 10
e r s , a Frutiger c re a t ion f rom 1957. Uni v e r s wa s de s igned in a wide
range of weights and s t y l e s with a potentially revolutionary refer-ence
system of numbers meant to describe specific fonts instead
of the conventional naming system that included names such as
Extra Bold Condensed. Each font has two numbers, the first
referring to the weight and the second referring to the style.
the rest of the design and typography community unfortu-nately
did not adopt Frutigers system.
Fame is something Adrian Frutiger most definitely
gained, but it was not his goal. He wanted to create
typefaces that were legible and efficient, and suc-ceeded
extraordinarly. Univers, Frutiger, and Avenir
are perfect examples of the product of his philosophy
the most important thing I have learned is that legibil-ity
and beauty stand close together and that type design,
in its restraint, should be only felt but not perceived by the
reader.
If the signage in the Charled de Gaulle airport of Roissy (near
paris), France is visually pleasing to you, thank Adrian Frutiger.
His self-titled sans-serif typeface, Frutiger, is all over it. Origi-
12. 11
nally named Roissy. Frutiger was designed in 1976
speciffically for the Char les de Gaul le ai rpor t s ignage
with an important purpose - Clarity and legibility, espe-cially
from a significant distance.
With only sl ight differences in character shape from univ-ers,
Frutiger s tands alone as a completely useful typeface.
I t s curved let ter s such as C, G, J , c, e, g, and s are more open,
which allows for greater legibility from a distance. Frutiger
comes in several weight s and s tyles , and uses the same numer ical
naming sys tem as univer s . Perceived as warm and f r iendly as far as
typefaces go, Frutiger is widely used and considered a classic type-face
with a timeless quality. One i s likely to find i t anywhere in swit-zer
land, as i t used for t raff ic s igns throughout the count ry due
to i t s legibi l i ty as demos t rated at Char les de Gaul le in France.
Frutiger i s al so used by the Swi s s Pos t , as wel l as swi s scom, a
leading international telecommunication company.
Letterforms for true i t a l i c faces of frutiger were developed
in 1999 as par t of the revi sed ver s ion t i t led f rut iger NEXT
.The original frutiger i tal ics were jus t s lanted roman
fonts rather than unique italic.
16. From the begin-ning,
Adrian F r u t i -
ger env i s ioned a new
s y s t em of font we ight
and s t y l e denot a t ion
ba s ed on numbe r s r a the r
The Frut ig er
Numbering System
than impre c i s e name s such a s
bold, l ight , i t a l i c , condens ed,
and e xpanded. Ins t e ad, e a ch font
i s a s s igned a two-digi t numbe r.
The f i r s t digi t or P re f i x denot e s the
we ight of the font f rom the l ight e s t (2) t o
the heaviest ( 9 ) . The second d i g i t or suf-f
i x indicates wight of the font f rom most ex-panded
( 2 ) to the most condensed ( 9 ) . I n addi-t
ion, odd numbe red suf f i x e s indi c a t e upr ight l e t t e r
forms whe re a s e v en numbe red suf f i x e s a re obl ique .
In both c a s e s , 5 di s c r ibe s the mos t norma l or roma n
attribute.
18. 17
4
5
6
7
8
9
8
7
6
5
4
Ultra Condensed
Condensed Oblique
Condensed
Oblique
Roman
Extended
STYLE
WEIGHT
Light
Roman
Medium
Bold
Heavy
Extra Black
19. 18
Ascender ?
the upward vertical stem on some lowercase letters, such as h and b, that extends
above the x-height is the ascender. The height of the ascenders is an identifying
characteristic of many typefaces.
F-----------------------------------r--------------------------------u---------------------------------------------t---------------------------------------------------------------------------------------------------------------------------------------------------------------------Size
Ascender
Type -------------------------------------------------------------------------------------------------------------------------------Descender
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Descender ?
The por t ion of some lowe r cas e l e t t e r s, such as g and y, that e x t ends or
de s c ends be low the bas e l ine i s the de s c ende r. The l ength and shape of the
de s c ende r can af f e c t r eadabi l i t y of l ine s of t ype and i s an ident i f y ing fac tor
for some typefaces.
20. 19
Cap Height ?
The height of a capital letter measured from the baseline. In typography, cap height
refers to the height of a capital letter above the baseline for a particular typeface.
It specifically refers to the height of capital letters that are flat
t--------------------------------------i----------------------------g------------------------------------------e------------------------------------------r----------------
-------------------------------------------------------------------------------------------------------------------------------------------
Counter
-------------------------------------------------------------------------------------------------------------------------------------------
Neck
-------------------------------------------------------------------------------------------------------------------------------------------------------
Cap Height
X - Height
Base Line
Baseline ?
bas e l ine i s the imaginar y l ine upon whi ch a l ine of t e x t r e s t s. In mos t
t ype fac e s, the de s c ende r s on charac t e r s such as g or p e x t end down
below the baseline while curved l e t t e r s such as c o r o extend ever-so-slightly
below the baseline.
22. 21
Neck ?
A stroke that connects the top and bottom
bowls of lowercase double-story gs. Definition:
In typeface anatomy, the link is that small, usually
curved stroke that connects the bowl and loop of a
double-storey g. Also Known As: Link, terminal A con-necting
element or factor.
Counter ?
The open space in a fully or partly closed area within
a letter. Definition: In typography, the enclosed or
partially enclosed circular or curved negative space
(white space) of some letters such as d, o, and s
is the counter. The term counter may sometimes
be used to refer only to closed space
23. 22
Paris ..........................................
Frutiger 47 Light Condensed
Miami ............................................
Frutiger 57 Condensed
Amsterdam ..............
Frutiger 67 Bold Condensed
New York ..............
Frutiger 77 Black Condensed
Las Vegas ...
Frutiger 87 Extra Black Condensed
Philadelphia ........................
Frutiger 45 l i g h t
Dubai ........................................
Frutiger 46 Light Italic
24. 23
Frutiger 55 Roman .......................
Melbourne
Frutiger 56 Italic .................................
Adelaide
Frutiger 65 Bold ..........................................
Sydney
Frutiger 66 Bold Italic ...................
Cambridge
Frutiger 75 Black .................
Puerto Rico
Frutiger 76 Black Italic .........................
Canada
Frutiger 95 Ultra Black ............
Maldives
25. 24
UNIVERS
1954
55 gg
More open letters are
meant to be warm &
friendly as compared
to Univers objective
rationalism.
descenders tend to sink
lower, while ascenders
tend to rise higher.
26. 25
hh cc
1975
FRUTIGER
thick & thin strokes are
nearly identical.
lowercase c & e are less
closed to differentiate
easier from lowercase o.
30. On thi s P age we
wi l l t a l k about
the usage of F r u t i -
ger t ype f a c e and a l s o
my portofolios. I have a l -
re ady made a br i t i sh edi t ion
The Frut ig er
Usage & Po r t f o l i o
monopol y, 4 page s of F a shy
F a shion Webs i t e, and l a s t but
not l e a s t Wedding de cor a t ions for
the env i ronment de s ign. The y a re not
conne c t ed wi th e a ch othe r s , but i t wi l l
shows i t s own theme and pe r sona l i t y.
There are also some usage of frutiger type-f
a c e in adv e r t i s ing and a i rpor t s ignage . So many
v a r i e t i e s , wi th di f f e rent purpos e . I t a l l shown the
power of Frutiger typeface.
31. 30
Scotia Bank
Frutiger t ype f a c e ha s be en us e d
for S cot i a Bank adv e r t i s ement .
The y us ed thi s t ype f a c e be c aus e
S cot i a bank want to show tha t
the i r bank c an be us ed by anyone .
32. 31
Charles
De Gaulle
Frutiger ha s be en us e d
for the f i r s t t ime i n
Charles De Gaulle air-por
t , S inc e then thi s
t ype f a c e ha s be come
famous.
33. 32
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Frutiger
Portofolios
2
Wedding Environment
Decorations
3
34. 33
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Wedding
Decorations
Wedding i s the mos t im-por
t ant moment s for bot h
girls and boys. So its kin-da
impor t ant to prepa re i t
as good as you can.
In this case I have de-s
igned some de cor a t ions
for wedding re c ept ions .
The re a re menus , t abl e
numbe r, Name of f r i ends
and f ami l y, and a l so Br ide
and groom board.
HERE COMES
THE
MISS
JESSY
MR
PARK
39. 38
HERE COMES
THE 7
with Chesse Flat Bread
STEVANIE
VICKY
2014
14 . 02
Salmon Sashimi
with Cawan Mushi
with Meatball Spagethi
American Favorite Pizza
Original with Chuka Japanese Kurage
Ramen
Brazilian Paella
with prunchella
Grilled Turkey
with Mashed Potato
or
Strawberry Chessecake
Chocolate / Vanilla Ice Cream
Red Wine / Sparkling wine
Premium Tea / Mineral Water /
Macaroni Clear Soup
a cootie catcher
style menu