By Heidrun Osterer
The normal paintings at the Swiss style fashion designer: all typefaces - from layout to advertising - have been visually documented and analyzed with regards to the expertise and to similar typefaces.
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Extra info for Adrian Frutiger: Typefaces
Stempel AG, is shown here as a scan. Hofstainberg Umbra Robert Hunter Middleton 1932 AG KMOS56 Memphis Luna Rudolf Wolf 1937 HOFSTAINBERG Phoebus Adrian Frutiger 1954 AGKMOS56 A Asymmetrical shape, rounded top 44 j o b b i n g t y p e fa c e G Spurless stem K Arms do not touch the stem M Slightly spread legs, visible stroke contrast in up- and downstrokes O Inner and outer shadows overlap S Continuous shadow on the diagonal stroke 5 Bar with serif 6 Diagonal shape, circle appears geometrically linear Font production : Digitised by Dalton Maag / Linotype Phoebus™ Linotype 1 weight Font format : OpenType Pro ABCDEFGHIJKLMmN nOPQ RS TUVWX YZ& 1 2 3 4 5 6 7 8 90 YOU mAY ASK ÅBÇDÈFG HIJKLMÑ ÔPQRŠTÜ VWXYZ& ÆŒ ¥$£ € 123456 7890 mnæœø łð [ .
M. Cassandre’s genius and my typographic knowledge would come up with something. Thus we met three or four times in 1954 / 55. In my opinion a new typeface had to be built on the foundations of a classical typeface. I imagined, based on Peignot, transforming uncial and half-uncial shapes into a contemporary typeface. Cassandre didn’t follow, he didn’t really act on my suggestions. We always kind of talked at cross-purposes. Cassandre was an artist; he would take letters and play around with them.
Goudy 1903, and Engravers Roman14 by Robert Wiebking 1899. Business card typefaces intend to radiate dignity; they are supposed to appear elegant and respectable. The epitome of fine type and printing would have to be engravers' fonts and copperplate engraved writing paper and business cards, more than a few of which involve some intricate embossing. Type foundries liked to emulate this quality, giving rise to an abundance of business card typefaces that are often placed in separate indexes in catalogues.