Swiss Foundation Type and Typography

Heidrun Osterer

Philipp Stamm

The international creation of typefaces after 1950 was decisively influenced by the Swiss type designer Adrian Frutiger. His Univers typeface and the machine-readable font OCR-B, which was adopted as an ISO standard, are milestones, as is his type for the Paris airports, which set new standards for signage types and evolved into the Frutiger typeface. With his corporate types, he helped to define the public profiles of companies such as the Japanese Shiseido line of cosmetics. In all he created some fifty types, including Ondine, Méridien, Avenir, and Vectora. Based on conversations with Frutiger himself and on extensive research in France, England, Germany, and Switzerland, this publication provides a highly detailed and accurate account of the type designer’s artistic development. For the first time, all of his types – from the design phase to the marketing stage – are illustrated and analyzed with reference to the technology and related types. Hitherto unpublished types that were never realized and more than one hundred logos complete the picture.

The Complete Works

Adrian Frutiger – Typefaces

Das internationale Schriftschaffen nach 1950 wurde maßgeblich geprägt vom Schweizer Adrian Frutiger. Sein Schriftprogramm Univers und die zum ISO-Standard erklärte, maschinenlesbare Schrift OCR-B sind ebenso Meilensteine wie die zur Frutiger weiterentwickelte Schrift der Pariser Flughäfen – ein Qualitätsstandard für Signalisationsschriften. Mit den Corporate Types prägte er Firmenauftritte wie den der japanischen Kosmetiklinie Shiseido. Insgesamt entstanden rund 50 Schriften, darunter Ondine, Méridien, Avenir undVectora. Auf Gesprächen mit Frutiger basierend sowie auf umfangreichen Recherchen in Frankreich, England, Deutschland und der Schweiz, zeichnet die Publikation den gestalterischen Werdegang des Schriftkünstlers exakt nach. Es werden alle Schriften – vom Entwurf bis zur Vermarktung – abgebildet sowie mit Bezug zu Technik und zu artverwandten Schriften analysiert. Bisher unveröffentlichte, nicht realisierte Schriften sowie über 100 Logos vervollständigen das Bild. Mit dieser zweiten Auflage, einer korrigierten und durch einen Index erweiterten Studienausgabe, lässt sich Frutigers Werk noch besser erschließen.

Das Gesamtwerk

Adrian Frutiger - Schriften

Fondation Suisse Caractères et Typographie

L'œuvre complète

Adrian Frutiger – Caractères

Adrian Frutiger Typefaces

The Swiss type designer Adrian Frutiger decisively influenced the international creation of typefaces after 1950. His Univers typeface and the machine-readable font OCR-B are milestones, as is his type for the Paris airports, which evolved into the Frutiger typeface. All set new standards for signage types. In all, he created some fifty types, including Ondine, Méridien, Avenir, and Vectora. Based on conversations with Frutiger himself and on extensive research, this publication provides a highly detailed and accurate account of the type designer’s artistic development. All of his types – from the design phase to the marketing stage – are illustrated and analyzed with reference to the technology and related types. Hitherto unpublished types that were never realized and more than one hundred logos complete the picture.

Complete Works

The Swiss type designer Adrian Frutiger decisively influenced the international creation of typefaces after 1950. His Univers typeface and the machine-readable font OCR-B are milestones, as is his type for the Paris airports, which evolved into the Frutiger typeface. All set new standards for signage types. In all, he created some fifty types, including Ondine, Méridien, Avenir, and Vectora. Based on conversations with Frutiger himself and on extensive research, this publication provides a highly detailed and accurate account of the type designer's artistic development. All of his types - from the design phase to the marketing stage - are illustrated and analyzed with reference to the technology and related types. Hitherto unpublished types that were never realized and more than one hundred logos complete the picture.

Adrian Frutiger - Typefaces

The international creation of typefaces after 1950 was decisively influenced by the Swiss type designer Adrian Frutiger. His Univers typeface and the machine-readable font OCR-B, which was adopted as an ISO standard, are milestones, as is his type for the Paris airports, which set new standards for signage types and evolved into the Frutiger typeface. With his corporate types, he helped to define the public profiles of companies such as the Japanese Shiseido line of cosmetics. In all he created some fifty types, including Ondine, Méridien, Avenir, and Vectora. Based on conversations with Frutiger himself and on extensive research in France, England, Germany, and Switzerland, this publication provides a highly detailed and accurate account of the type designer’s artistic development. All of his types – from the design phase to the marketing stage – are illustrated and analyzed with reference to the technology and related types. Hitherto unpublished types that were never realized and more than one hundred logos complete the picture. This second, revised and expanded study edition, which now has an index, makes Frutiger’s achievement even more accessible.

Schweizerische Stiftung Schrift und Typographie

Das internationale Schriftschaffen nach 1950 wurde massgeblich geprägt vom Schweizer Adrian Frutiger. Sein Schriftprogramm Univers und die zum ISO-Standard erklärte maschinenlesbare Schrift OCR-B sind Meilensteine wie auch die zur Frutiger weiterentwickelte Schrift der Pariser Flughäfen – ein Qualitätsstandard für Signalisationsschriften. Mit den Corporate Types prägte er Firmenauftritte wie jenen der japanischen Kosmetiklinie Shiseido. Insgesamt entstanden rund 50 Schriften, darunter Ondine, Méridien, Avenir, Vectora. Auf Gesprächen mit Frutiger basierend sowie auf umfangreichen Recherchen in Frankreich, England, Deutschland und der Schweiz zeichnet die Publikation den gestalterischen Werdegang des Schriftkünstlers exakt nach. Erstmals werden alle Schriften – vom Entwurf bis zur Vermarktung – abgebildet sowie mit Bezug zu Technik und zu artverwandten Schriften analysiert. Bisher unveröffentlichte, nicht realisierte Schriften sowie über 100 Logos vervollständigen das Bild.

Heidrun Osterer

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