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Typography III Book.
Citation preview
FRUTIGER & BRODY
one -modernistM O D E R N I S T
oo
TYPOGRAPHERS ARE KEY TO THE DESIGN
world. If not for them what would people today read?
Type designers Adrian
Frutiger and Neville
Brody both made huge
impacts on today’s
society from the type
designs they created.
Frutiger grew from a
small town in Switzerland
into the most well
known Swiss Modernism
typographer. He affected
a very sophisticated side
of design and never
seemed to slow down.
He was passionate about
typography and decided
to make 66 typefaces
through out his lifetime
time – from Linotype to
Digital. Neville Brody,
on the other hand,
was indeed a fantastic
designer/typographer
but he did not cling to
typography as much
as Frutiger, but what
typography he did create
was utterly inspiring and
useful. Brody did not see
the change in art and
design as drastically as
Frutiger – mainly using
Digital Photo/Type
Setting in the 80’s and
so on. Each generation
has a different effect
and each typographer
has his own style. Both
are truly an inspiration.
Adrian Johann Frutiger was
born on May 24, 1928 in
Unterseen, Switzerland, a
true Swiss designer – born
and raised. By 1944, just
a mere sixteen year old,
he started a “typesetting
apprenticeship at Otto
Schlaeflie AG, printers,
Interlaken, Switzerland”
(Osterer 442). He realized
typography was his true
passion, which helped
him decide to go toKunt-
gewerbeschule (school of
arts and crafts) in Zurich,
Switzerland. Later on in
his career, after working
many years at Deberny &
Peignot in Paris, he was
finally announced Artistic
Director for D and P.
Becoming Art Director was indeed a huge accomplishment,
but Frutiger was even more amazing than that. Starting
in the year 1950 he received awards and prizes. First was
the Federal Department of the Interior Prize;
Chevalier Pans L’orde Des Arts Et Des Leitres; Award
for ‘Most Beautiful Swiss Books’ for Imanfang Au
Commencement in the Beginning; Coat of Arms by city
Interlaken, Switzerland; Paul Haupt Prize from the city of
Bern; Gutenberg Prize from the International Gutenberg
Society; Gold Medal from the Type Director’s Club; Jaggi
Prize; Grand Prix National De La Culture – Graphics; SOTA
Type Award and finally, Prix Designer 2007 – Federal
Office of Culture
Advertising Campaign Award;
Switzerland.
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Neville Brody was born when Frutiger already had a name
for himself. Brody was born on April 23, 1957 in Southgate,
London. He was mainly known for his design work and The
Face, but known as the typographer who designed Arcadia.
Brody grew up in a suburb just north of London. Once he was
ready to leave for school he had to choose (because of his father)
whether to go into art and design or not. “In 1975, Brody went
onto do foundation at Hornsey College of Art and by 1976 Brody
started a three year BA course at the London College of Printing”
(Brody 5). After his education he had designed and created his
own hand drawn type called Typeface One, 1979. This typeface
was specifically designed and used for his magazine The Face.
Brody states, “type is seen as being extra – territorial, but it’s
not; type is used to express an inner feeling and reaction, it has
to be, it’s not a natural phenomenon, it symbolizes a thought
process. It’s organic, in it’s basis, it’s man – created” (Brody 41).
“BY THE LATE 1980’S, NEVILLE BRODY W AS THE BEST KNOWN GRAPHIC DESI GNER OF HIS
GENERATION” (BRODY 5).B r i t i s h
a b c d e f g h i j k l m n o p q r s t u v w x y z
“BY THE LATE 1980’S, NEVILLE BRODY W AS THE BEST KNOWN GRAPHIC DESI GNER OF HIS
GENERATION” (BRODY 5).
Frutiger has more of a positive, very strong outlook on not only design,
but mainly typography – much more than Brody. The difference is not
only age and technology but nationality as well. These three main topics
explain almost fully why each think a certain way and design a certain way.
Adrian Frutiger was a prominent typographer in the 20th century. He was a
Swiss Designer – a very good Swiss Designer – therefore; he produced Swiss
Modernist typography and design. He is famous for quite a few typefaces
that he designed, Univers, Avenir, Frutiger and OCR – B. These are the three
most famous typefaces but through out his career he designed a total of 66
typefaces, starting in the year 1952 and ending in 1993… They include: ‘Initiales President’ year 1952 -54; ‘Initiales Phoebus’
year 1953; ‘Ondine’ year 1953 – 54; ‘Meridien’ year
1953 – 57; ‘Univers’ year 1953 – 57; ‘Egyptienne
F’ year c. 1956 – 58; ‘Opera’ year 1958 – 60;
‘Alphabet Orly’ year 1959 – 61; ‘Apollo’ year 1960
– 64; ‘Concorde’ year 1961 – 64; ‘Antique Presse’
year1962 – 64; ‘Algol’ year 1963; ‘OCR – B’ from
1963, from 1965; ‘Serifa’ year 1963 – 67; ‘Univers
IBM Composer’ year 1964 – 66; ‘Alphabet EDF-
GDF’ year 1964 – 67; ‘Univers Greek’ year 1967;
‘Devanagari/Tamill’ year 1967 – 73; ‘Alpha BP’
Neonscript’ year 1996; ‘Linotype Univers’ year 1996 –
98; ‘Frutiger Next’ year 1998 – 2001; ‘Astra Frutiger’
1999 – 2002; ‘Avenir Next’ year 2002 – 04; year 1990 –
91; ‘Herculanum’ year 1990 – 91; ‘Shiseido’ year 1991;
‘Frutiger Capitalis’ year 1991 – 2005; ‘Pompeijana’ year
1992; ‘Rusticana’ year 1992 – 93; ‘ Frutiger Stones/
Frutiger Symbols’ year 1992 – 98; ‘Frutiger
a b c d e f g h i j k l m n o p q r s t u v w x y z
brody
Frutiger’s most famous typeface – ‘UNIVERS’.
brody
year 1968 – 69; ‘Documenta’ year
1969 – 70; ‘Alphabet Facom’ year
1970 – 71; ‘Alphabet Roissy’ year
1970 – 72; ‘Alphabet Brancher’
year 1971 – 72; ‘Iridium’ year 1972;
‘Alphabet Metro’ year 1973; ‘Roissy-
Solaris’ year 1973 – 74; ‘Univers
Cyrillic’ year 1973 – 76; ‘Alphabet
Centre Georges Pompidou’ year
1974 – 76; ‘Frutiger’ year 1974 – 76;
‘Glypha’ year 1976 – 80; ‘Caracteres
TVP’ year 1978 – 79; ‘Icone’ year
1978 – 80; ‘Breughel’ year 1978 – 82;
‘Tiemann’ year 1982; ‘Versailles’ year
1982 – 84; ‘Frutiger Cyrillic’ year
1985; ‘Linotype Centennial’ year
1985 – 86; ‘Avenir’ year 1987 – 88;
‘Westside’ year 1988 – 89; ‘Vectora’
year 1988 – 91; ‘Linotype Didot’
‘Nami’ year (1952) 2007; ‘Frutiger
Serif’ year (1954) 2008 (Osterer 448).
Each one of these typefaces are
carefully drawn and thought out
by Fruitger himself as well as fully
thought out in the manufacture
department.
The typeface was designed by
Frutiger in the winter of 1953. When
he first designed the typeface he
handset it himself. He was one of
the few who started the Lumitype
setting. The main focus of this
typeface is that it needed to be sans
serif and be “consistent The classical
double loop shape of the g was
rejected for similar reasons, it looks
forced in narrow, small and italic
weights” (Osterer 88).
Frutiger’s most famous typeface – ‘UNIVERS’.
Frutiger also “constructed ‘Univers’ on a vertical axis. That was my starting point (Osterer
92). The type was thought out from inspiration from Peignot’s ‘Futura’ as well as old
historical scripts including Roman Capitals Monumentalis. Charles Peignot and Emil
Ruder are both very responsible for the entire creation of ‘Univers.’ Frutiger in no way,
shape or form would have been able to fix and perfect every detail without them.
The second most famous typeface Adrian Frutiger designed is called ‘Avenir.’ Just like
‘Univers,’ ‘Avenir’ is still used very commonly used today. It was designed and completed
in 1987 – 88. Frutiger used CRY and laser digital typesetting during this time period. He
also used Post Script digital typesetting and OpenType digital typesetting for the 1988
version. The 80’s were much more advanced and the stylistic development was incredibly
different than that of the early 1950’s. Avenir is a sans serif font and was originally
designed to be a geometric font, “the geometric sans was the fundamental idea behind
‘Avenir’ ” (Oysterer 333) – he first designed they typeface using a compass (creating
perfect circles).
Frutiger states “ with this o as a starting point, I drew the entire alphabet in a light
weight. All the strokes had to sit with those of the o. It was about making the tiniest
adjustments” (Oysterer 330).
Then the third most popular, another
sans serif/geometric font is ‘OCR –
B’ It also is an optical character read
typeface. Frutiger designed this in
the 60’s – no specific date.
This typeface was created when only
“thirteen computer and typewriter
manufacturers founded the
‘European Computer Manufactureres
Association’ – EMCMA – based in
Geneva” (Oysterer 176). The grid
that was designed for the typeface
was only used to make copies (OCR
fonts were created for Optical
Character Recognition – to be read
by a computerized device). Quite
a lot went into figuring out the
sizing and placement of the type.
It was also quite expensive back
in this day when they only had a
few people in the design industry.
Frutiger designed/made up this
typeface for the sole purpose to be
legible and easy to use in different
technology such as a typewriter,
a copy machine or full computer
print – outs. When Frutiger started
designing typography it was post –
war time period – when artists went
two separate ways after the two
world wars. “Swiss artists had been
exposed earlier to the movements
and styles flourishing elsewhere
in Europe (De Stijil, Bauhaus and
Constructivism)…” (Swiss Legacy).
Whe used computer composition,typewriter composition and post script.
1977, was beginning to have a major effect upon London life...
1977, was beginning to have a major effect upon London life...
His neo-modernist typefaces from the 80’s include Arcadia,
Industria, Insignia etc... which are all geometric sans serifs. In the
90’s, Brody was much more expressive in type and even design.
He created Blur which is an organic, post-modernist typeface.
Nationality plays a big part in Adrian Frutiger’s design and
typography world. Growing up and going to school in
Switzerland he created the Swiss Old-School Style. As a young
boy, his father was a major influence – he was a Swiss weaver.
This opened Frutiger’s mind to art and how he got in the art and
design field. Swiss Modernism back in the 20th century (following
after Bauhaus) was much more expressive and creative. The
Swiss had a heritage of being more advanced and modern in not
only design but within their entire country.
Neville is a typographer from London. His main influence was the
modern world and how the world was starting to communicate
with the changing of technology etc… Surprisingly (even though
he hated ‘Univers’) was highly influenced by Swiss Designers
such as Adrian Frutiger himself and Cornel Windlin.
As for Neville Brody,
around “1977 punk
rock was beginning
to have a major effect
upon London life,
and as far as Brody
was concerned, this
provided the catalyst
it needed” (Brody 5).
In his design of the
The Face, he needed
to create a typeface
that would fit this
new hip grunge look.
How he created and
was inspired to make
‘Typeface One’ was
‘Helvetica.’
Here is a major
example about the
difference of time
period – the 50’s and
the 80’s. Yes Frutiger
designed past the 80’s
as well, he just had
an earlier, classy and
more redefined look.
One did not agree
with the other. Brody
also designed other
typefaces such as
Insignia, Fuse and Font
Shop. These typefaces
were post-modernist
typefaces. He was both
neo-modernist as well
as a post-modernist.
As the typeface’s progressed, so did the technology that came with them.
Linotype was what Frutiger had to start out with – back in the early 50’s.
Linotype Phototypesetting was a method of setting type. It was setting
type by hand, not by the computer or anything digital yet (sort of by
hand, but typed on a machine). Later on in the 1960’s software was
becoming more common and handy to the common consumer. Brody’s
newer typeface, Univers Platinum was one of his most
successful typefaces. It was based off his original typeface, Univers, and
built on a more contemporary - modern-day level.
Photocomposition processing began in the late 1950’s to early 60’s (photo type) and
then ending using digital type in the most recent typefaces such as ‘University.’
P H O T O C O M P O S I T I O N
During Brody’s time he did not have to deal with the change of technology as
drastically as Frutiger did.
– during the 80’s and 90’s this was the common way to do things. He collaborated
with Erik Spiekermann – also a modern/contemporary
designer and typographer, both using Digital Type (it was the highest form of technology to date at this point). Digital Phototypesetting is when a computer or digital
device sets all type for you. Technology plays a major part in typography because it has
let us experiment and take all typography to an entirely new level, one even Adrian Frutiger could have never
dreamt of back in the 50’s.
Brody was a MODERN/contemporary typographer and used
MODERN Digital TypeIn conclusion Adrian Frutiger and Neville Brody are both
drastically different. Brody did have a lot of experience and
education but not nearly as much as Frutiger. He was not able
to experience the hard work and beauty of Linotype Setting
and the transformation of type through out the ages. Now
Brody may not have had all the experimentation in the world
either but he still was one of the first to create a ‘handwritten’
– like typeface. His type is very expressive and not uniform like
Frutiger – who was very set and put together type designer.
P H O T O C O M P O S I T I O N
712 3 4568 9 0 1234 5 6 7
34
712 3 4568 9 0 3412 4 5
Today in modern day society and in modern education we still use these typefaces from these
TYPOGRAPHERS.
bri l l iant
Today in modern day society and in modern education we still use these typefaces from these
TYPOGRAPHERS.
bri l l iantBRILLIANTbrilliant
abcdefghijklmnopqrstuvwxyz
Frutiger and Brody are two very strong
typographers and designers. As stated earlier,
Frutiger was a prominent typographer in the 20th
century. He was a Swiss Designer – a very good
Swiss Designer – therefore; he produced Swiss
Modernist typography and design. He is famous
for quite a few typefaces that he designed, Univers,
Avenir, Frutiger and OCR – B. Neville Brody was
mainly known for his design work and
but known as the typographer who designed
Arcadia. Design was just as equally important
to Brody as type work was. Frutiger thought
differently... type was his world, it was his job, his
life and who he was as a typographer and designer.
the face
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
abcdefghijklmnopqrstuvwxyz
the face
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ALEXANDRA COLLINS
INSIGNIA. AVENIR. ARCADIA. OCR A STD. TYPEFACE SIX. UNIVERS.
TYPOGRAPHY 3
FRANCHESKA GUERRERO
des igner
typefaces
course
facu l ty
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