Adrian airport, on a road sign or even in

Adrian Frutiger1928-2015Adrian Frutiger at 15 years old Frutiger in his studiohttp://image. Adrian Frutiger in his studio, later in lifehttp://www.historygraphicdesign.

com/images/006/V7.jpg The designer I chose to investigate further, is AdrianFrutiger. When looking through the sample work provided in the module, I wasimmediately attracted to the colourful boxes all containing the word Univers(Figure 31, page 16 of the module). The connection that I felt with this workwas one related to logic, order and geometry. The bright colours lifted myspirit and made me want to look again.

I have not come across this image ordesigner before. The work was not therefore recognisable to me, but yes, Idefinitely wanted to investigate the work and learn more about the designer whocreated it.The Univers grid that first attracted me to the work ofAdrian Frutiger Having come from an accounting background, logic, method andorder are important concepts to me. Seeing how this merges with creativity anddesign is an area which I would like to explore further.

Also, I have for along time been excited at the concept of choosing different fonts for variousprojects. Delving deeper into the world of typography is a thrilling prospectfor this accountant soon to be designer!Frutiger has created some of the most well known and wellused fonts in the world. There would not be many people around who haven’tencountered a Frutiger typeface, whether in a magazine, at an airport, on aroad sign or even in an app.

  As we willsee, the beauty of Frutiger’s work is that it is almost not noticeable! Heworked hard during his life as a type designer to create works that helped theuser to understand a message without being overwhelmed by its design.Adrian Frutiger was born in Unterseen, Switzerland in May 1928.He studied in Switzerland but then moved to France where he spent most of hisworking life, before returning to Switzerland.

Frutiger died there in September2015, at the age of 87.Frutiger trained as a typesetter in Interlaken. From 1949 to1951 he studied calligraphy and type design at the Kunstgewerbeschule Zurich (aschool for vocational/applied arts). At that school, he was taught by Walter Käch,lithographer and graphic designer. He was able to use the skills that helearned in his typesetting apprenticeship, and during his study in Zurich tocreate the many typefaces for which he is now famous.In 1952, Adrian Frutiger moved to Paris where he spent manyyears.

His first work there was as a font designer at the Deberny & Peignotfont foundry. This was where he created many lead typefaces including Président,Phoebus, Ondine and Méridien. The first typeface that Frutiger created for phototypesetting, was Egyptienne.The font for which Frutiger is most well-known, and the onewhich I was initially attracted to, is Univers.

This was ground breaking at thetime. Instead of the ‘usual’ few sets of typefaces (regular, bold and italic –which was the standard), Frutiger presented Univers in 1954 with no less than21 sets! This means that there was the expected regular, bold and italic, butalso a myriad of other weights and styles. This has come to be known asuper-family of fonts because of the large number of styles included.Early drawings of Univers by Adrian Frutigerhttp://www. The font was presented as a grid with a numbering systemwhere each font was given a two-digit number. The first indicated the weight ofthe characters, and the second digit indicated the width. This wasrevolutionary! The first time a type designer had done this. And this was whatinitially drew my attention to Univers. Having a mathematically designedframework for this typeface appeals to the accountant in me!The dominant design style at the time that Frutiger createdUnivers, was the International Typographic Style (or Swiss Style).

This designmethodology featured a number of characteristics: the use of mathematical gridsfor design layouts, the use of predominantly sans-serif typefaces, asymmetricallayouts and use of photography and typography as the key design elements.Frutiger’s Univers was perfect for the InternationalTypographic Style. The large number of variations meant that a designer couldeasily create a design using only one font, but in various weights and styles.

Univers’s lack of any distracting features meant that it enhanced thereadability, and legibility of designs that used it.Univers was only one of Frutiger’s most famous workshowever. His other most well-known typefaces include one named after him,Frutiger, Glypha, Vectora and Avenir.The Frutiger font family

uk/eCD/images/Frut_x9_560.gif Frutiger’s working life spanned many decades. His firsttypefaces were completed during the 1950s. The 1950s were a time of greatchange in the world generally, but also in the design world. The second worldwar was over, and people were willing to step out and try new things.

The InternationalTypographic Style movement was in full swing, and the need for stylish, modernsans-serif fonts was ever apparent. Frutiger and many others were a part ofthis.As the years progressed, the world became a smaller place,in the sense that there was increased trade and increased communication betweendifferent parts of the world.

It became important that communication was clearand effective. Having fonts that achieved that became a priority for AdrianFrutiger.He is known for his typefaces being on signage in variousairports and roads around the world. He did much research in order to createfonts that would be easy to read from a distance and on all sorts of angles –as would happen when moving quickly through an airport, or travelling at speedon a road.The Frutiger typeface used on airport signage at Charles de Gaulle Airport in Paris

jpg?w=640&h=265Univers in use on a street sign in London Fruitiger’s last designs were completed in the 2000s. Helived through exciting and varied times. His early works as well as his laterworks are revered by those in the design community.

His fonts have stood thetest of time. They are just as favoured today as when they were first created.This success points to Frutiger’s design philosophy.

Adrian Frutiger’s design philosophy is, in his own words,”the most important thing I have learned is that legibility and beauty standclose together and that type design, in its restraint, should only be felt butnot perceived by the reader”.To me, the words balance, order, simplicity, legibility,objectivity and clarity define Frutiger’s design philosophy.  He himself famously said “The whole point withtype is for you not to be aware is is there” …….Type is a means of communicating with the reader withoutbeing too ‘obvious’. Frutiger was concerned with how a typeface worked, morethan with its appearance. This is not to say that he didn’t care how it looked,but its usefulness in achieving its aim was his primary concern. When a persondoesn’t notice a typeface, it “is the greatest compliment a type designer and atypographer can receive”………Frutiger was most definitely a part of the InternationalTypographic Style design movement. He didn’t start it, it was well under waywhen he started developing typefaces, but he was a major contributor asmentioned earlier.

This style of design originated in Switzerland during the1940s and was the foundation of much of the development in graphic design inthe decades to come. The contemporary design scene I believe has its roots in theInternational Typographic Style. Today’s Flat Style graphic design displays aclean, minimalist approach to design. Avenir, one of Frutiger’s iconic works,has been used by Apple in their Apple Maps application. This is clear evidenceof his works fitting in quite nicely with current trends and contemporarydesign.

It is important to note that Adrian Frutiger was not theonly type designer creating works to fit the design developments of his time.One of the world’s most well-known fonts is Helvetica, created by one ofFrutiger’s contemporaries. There were many people then that were travellingdown a similar design road, as there are today.A type designer that I believe may have been inspired byAdrian Frutiger is Rene Bieder with his design of Galano Grotesque. Thissans-serif font has a modern clean look, along the same lines as Univers andFrutiger. Bieder has produced a font that can be used for both text anddisplay.

He has also produced a large family of styles and sizes, in the sameway that Frutiger shocked the typography world with the Univers family offonts.Galano Grotesque font×360/384/0/197101.jpg Svet Simov’s Uni Sans also has a modern look with many varietiesof weight and width etc. Samples of Uni Sans, demonstrating some of the many stylesand variations availablehttps://cdn.×360/279/0/142859.png Hannes von Dohren, the creator of Brandon Grotesque hasdesigned an attractive, clean A sample of Brandon Grotesque The Elementar font, created by Gustavo Ferreira, is a fontsuper-family along the same lines as Univers.

Elementar however, has beendesigned for digital screens. It’s ‘look’ is very different to any ofFrutiger’s fonts, but the concept of having a large variety of styles is what Ithink makes them comparable. Elementar is a family of thousands of fonts indifferent sizes, styles, widths and weights. I think Ferreira would have beeninfluenced, if not inspired by the work of Frutiger. The Elementar font system displayed ‘on-screen’ Frutiger had a long and fruitful career in typedesign.

His typefaces have been very successful, and have I believe achievedthe purpose for which he created them. His designs are an inspiration to me,and I will now always be ‘on the lookout’ for a Frutiger font. I will alsoendeavour to apply some of his design philosophies in my own work. He has beeninspirational to many designers, including me, and was well loved as the manytributes to him on his death have shown. ReferencesWebsites”Elementar” Typotheque December 10, 2017>”Adrian Frutiger” Design is History December 10, 2017 Emily Potts “9 Type Designers to Watch” PRINT MagazineDecember 10, 2017>Amber Leigh Turner “The history of flat design: How efficiency andminimalism turned the digital world flat” The Next Web December 9,2017Padraig Cahill “Graphic Design Styles” Online Design TeacherDecember 9, 2017 Jürgen Siebert “Adrian Frutiger 1928-2015” FontShop December9, 2017

com/content/adrian-frutiger-1928-2015>Alex Bigman “What exactly is Swiss Design, anyway?” 99Designs December 9, 2017“Adrian Frutiger made the world of typography a betterplace” Typeroom December 10, 2017 “Adrian Frutiger” History of Graphic Design December 10,2017 Philippa Campsie “Designer of the invisible”Parisian Fields December 10, 2017 Rob Alderson “Adrian Frutiger Obituary” De Zeen December 9,2017>”Adrian Frutiger” Wikipedia December 1, 2017 Yvonne Schwemer-Scheddin “Reputations: Adrian Frutiger” EyeMagazine December 8, 2017>Walter Greisner “AdrianFrutiger Remembered” Linotype December 7, 2017 Sara Mazzoni “Adrian Frutiger” Shillington December 5, 2017

com/blog/adrian-frutiger-tbt/>BooksCatherine McDermott. Modern Design. South Australia: CameronHouse, 2008.Ellen Lupton. Thinking with Type. New York: PrincetonArchitectural Press, 2010.

David Dabner, Sandra Stewart, Eric Zempol and AbbieVickress. Graphic Design School. United Kingdom: Thames & Hudson Ltd, 2017.Lakshmi Bhaskaran. Designs of the Times. Switzerland: Roto VisionSA, 2005.Philip B.

Meggs and Alston W. Purvis. Meggs’ History ofGraphic Design. New Jersey: John Wiley & Sons, Inc.

, 2016. Univers