Typographers Book

Twentieth-CenturyTypo-graphy.

ADRIAN FRUTIGER + HOEFLER & FRERE–JONES

20

1 | Adrian & Frere-Jones Adrian & Frere-Jones | 2

1989

HOEFLER & FRERE-JONES

Since 1989, Jonathan Hoefler and Tobias Frere-Jones have helped

some of the world’s foremost publications, corporations, and insti-

tutions develop their unique voice through typography. Their body

of work includes some of the world’s most famous designs, type-

faces marked by both high performance and high style. In 2004,

The Hoefler Type Foundry entered its sixteenth year as Hoefler &

Frere-Jones. H&FJ continues to work with brand leaders in every

sector, developing original typefaces and licensing fonts from its

library of more than a thousand designs, and it publishes fonts ex-

clusively through its New York sales office and its web site at typog-

raphy.com.


1928

ADRIAN FRUTIGER

Adrian Frutiger is best known as a type-designer. He has produced

some of the most well known and widely used typefaces. He was

born in 1928 in Interlaken, Switzerland, and by the age of 16 was

working as a printer’s apprentice near his home town. Following

this he moved to Zurich where he studied at the Zurich School of

Arts and Crafts, under Professor Walter Kach. After his education

in Zurich, Frutiger moved to Paris where he started to work at the

Deberny & Peignot typefoundry. Here he helped the foundry move

classic typefaces used with traditional printing methods to newer

phototypesetting technologies.

1 | Adrian & Frere-Jones

:modern classic typography

/ avenir/ apollo/ glypha/ frutiger/ univers

/ archer/ didot/ gotham/ hoefler text / ideal sans

“

”

Avenir is a geometric sans-serif typeface de-signed by Adrian Frutiger in 1988, and re-leased by Linotype GmbH, now a subsidiary of Monotype Corporation. The name Avenir is French for “future,” and takes inspiration from early geometric sans-serif typefaces Erbar (1922) designed by Jakob Erbar, and Futura (1927) designed by Paul Renner. Frutiger in-tended Avenir to be a more organic, humanist interpretation of these highly geometric types. While similarities can be seen with Futura, the two-story lowercase a is more like Erbar, and also recalls Frutiger’s earlier namesake type-face Frutiger. Avenir was originally released in 1988 with three weights, each with a roman and oblique version, and used Frutiger’s two-digit weight and width convention for names: 45 (book); 46 (book oblique); 55 (text weight); 56 (text weight oblique); and, 75 (bold) and 76 (bold oblique). The typeface family was later expanded to six weights, each with a roman and oblique version.

Adrian Fruiter is the designer of the avenir. He designed this in 1988. Avenir font basically is the typeface. The word of the avenir is de-rived from the French word which means fu-ture. The avenir is basically originated from the Rebar type font. This rebar font is designed by the Jacob erbar. But the main difference be-tween the avenir and the ancestor version of the avenir means the erbar is that the avenir is more organic then it. In earlier days there are the three forms of the avenir and these all three forms are with the three different ver-sions. Two very important version of the avenir font is the roman and the oblige. But now days there are 6 different forms of the avenir font is present. He developed more than one hun-dred and seventy typefaces, of which many have become standard fonts, are now in daily use, and shape our reading habits. Frutiger is regarded as a typeface that is extremely easy to read because it is clear and ideal for rapid recognition. Switzerland possesses a rich tra-dition in graphic arts; several Swiss painters and graphists are internationally well-known for their work, principally for the creation of posters, banknotes, and fonts for printing

Adrian & Frere-Jones | 4


The Geometric is a twentieth-century riposte to the Antique. Informed by the same kind of rationalist thinking that inspired the great sans serifs of the Bauhaus, Geometrics abandon tradi-tional forms in favor of mathematical strategies. A Geometric’s O is circular rather than elliptical, and its forms shed their residual contrast between thicks and thins. Geometrics usually apply this same rationalism to the woollier parts of the alphabet, replacing the alphabet’s beaks and tails and ball terminals with a program of matching serifs. While these faces can sometimes be bracingly modern, they’re often monotonous, and many Geometrics suffer from an astrin-gent sting that makes them difficult to use and unwelcome to read.


“From all these experiences the most important thing I have learned is that legibility and beauty stand close together and that type de-sign, in its restraint, should be only felt but not perceived by the reader.” Adrian Frutiger

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// early twentith century

Traditional Printing Methods

When Adrian Frutiger designed the Univers family, he got the most inspiration and ideas from the Grotesk style of sanserif, which is originated in Swiss and com-monly used in the Swiss design. He used traditional printing methods like photo type and has a great im-pact on digital typography in the 21st century. The typefaces designed by Adrian Frutiger are Apollo, Brueghel, Egyptienne, Frutiger, Icone, Iridium, OCR-B, Ondine, Serifa, Univers, and Avenir.

01


// late twentith century

Digital Typography

When Jonathan Hoefler founded the company in 1989, digital typography was in its infancy. Few of the great type foundries had embraced electronic publishing in any significant way, and those that had were just begin-ning to tentatively remaster their most famous fonts for use on personal computers. Manufacturing their most important faces first, at a time when their production processes were at their weakest, meant that some of the world’s greatest typefaces were quickly becom-ing some of the world’s worst fonts. It is no wonder that mossbacked traditionalists were so skeptical of the computer. Ideal Sans is a handmade typeface for a machine-made age.

// early twentith century

0201

02


Typographic Geometric Sans Serif

Geometry in Typography


Typographic Geometric Sans Serif

Fascinated with geometric shapes and wanting to design a san serif with a large, matched, family of weights, Frutiger designed the twenty-one weights

of Univers which were issued in 1955. Aside from type design, Frutiger also designs books, periodicals, and lec-tures. Among his writings is Type, Sign, Symbol. Jonathan Hoefler is an American typeface designer born in 1970 and a founder of Hoefler & Frere-Jones, a type foundry estab-lished in 1989, New York. Tobias Frere-Jones is a prolific type designer who works at Hoefler & Frere-Jones in New York City with fellow type designer Tobias Frere-Jones. Jonathan Hoefler & Tobias Frere Jones designed over five hundred typefaces for retail publication, custom clients, and experimental research. Jonathan Hoefler and Tobias Frere-Jones have helped some of the world’s foremost publications, corporations, and institutions develop their unique voice through typography. Their body of work in-cludes some of the world’s most famous designs, and typefaces marked by both high performance and high style. They both continue to influence the direction of digi-tal typography in the 21st century.


/serif

DIDOTDIDOTDIDOT

DiDot is the name of a family of french printers, punch-cutters anD publishers. through its achievements anD aDvancements in printing, publishing anD typography, the family has lent its name to typographic measurements DevelopeD by françois-ambroise DiDot anD the DiDot typeface DevelopeD by firmin DiDot.


/serif

DIDOTDIDOTDIDOT

DiDot is the name of a family of french printers, punch-cutters anD publishers. through its achievements anD aDvancements in printing, publishing anD typography, the family has lent its name to typographic measurements DevelopeD by françois-ambroise DiDot anD the DiDot typeface DevelopeD by firmin DiDot.

LEGIBILITY + FUNCTIONAL TYPOGRAPHY.GOTHAM HAS BEEN USED IN NOTABLE PLACESDUE TO ITS HIGH VISIBILITY.

FRUTIGER IS A DISTINCTIVE AND LEGIBLE TYPEFACE.

When Adrian Frutiger designed the Univers family, he got the most inspiration

and ideas from the Grotesk style of sanserif, which is originated in Swiss and com-

monly used in the Swiss design. He used traditional printing methods like photo

type and has a great impact on digital typography in the 21st century. The type-

faces designed by Adrian Frutiger are Apollo, Brueghel, Egyptienne, Frutiger,

Icone, Iridium, OCR-B, Ondine, Serifa, Univers, and Avenir. Frutiger’s other de-

signs do not confine themselves to sans serifs. Apollo is new transitional, Serifa is

a slab serif, and OCR-B could be termed experimental.


The face, named after him, Frutiger, was developed from a design he used at Roissy Airport near Paris. While its weights follow the numbered form of Univers, it is much more humanistic in feel. Frutiger is a sans-serif typeface and was commissioned in 1968 by the newly built Charles De Gaulle International Airport at Roissy, France, which needed a new directional sign system. Instead of using one of his previously designed typefaces like Univers, Frutiger chose to design a new one. The new typeface, originally called Roissy, was completed in 1975 and installed at the airport the same year. Frutiger’s goal was to create a sans serif typeface with the rationality and cleanliness of Univers, but with the organic and proportional aspects of Gill Sans. The result is that Frutiger is a distinctive and legible typeface. The letter properties were suited to the needs of Charles De Gaulle – modern appearance and legibility at various angles, sizes, and distances. Ascenders and descenders are very prominent, and apertures are wide to easily distinguish letters from each other.

Frutiger’s simple and legible, yet warm and casual character has made it popular today in advertising and small print. Univers is one of a group of neo-grotesque sans-serif typefaces released in 1957. And that includes Folio and Neue Haas Grotesk, later renamed Helvetica. These three faces are sometimes confused with each other, because each is based on the typeface Akzidenz-Grotesk. These typefaces figure prominently in the Swiss Style of graphic design. Different weights and variations within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large fam-ily with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suffixes. Currently, Univers type family consists of 44 faces, with 16 uniquely numbered weight, width, position combinations. twenty fonts have oblique positions. Avenir is a geometric sans-serif typeface released in 1988, and by Linotype GmbH, now a subsidiary of Monotype Corpora-tion. Frutiger intended Avenir to be a more organic, humanist interpretation of these highly geometric types. The name Avenir is French for “future,” and takes inspiration from early geomeric sans-serif typefaces Erbar designed by Jakob Erbar, and Futura designed by Paul Renner. While similarities can be seen with Futura, the two-story lowercase “a” is more like Erbar, and also recalls Frutiger’s earlier namesake typeface Frutiger.

LEGIBILITY + FUNCTIONAL TYPOGRAPHY.


Swiss design:

/ avenir/ apollo/ glypha/ frutiger/ univers

/ archer/ didot/ gotham/ hoefler text / ideal sans

(1957)Univers (1988)Avenir


Both Adrian Frutiger and Hoefler & Frere- are modern typeface de-signers who had a great impact on digital type throughout twenty Century.

Adrian’s typeface Univers shows his inspiration from the Swiss Modernist style of graphic design which is known for its clear lines and legibility from distance and has influence on Helvetica later on.

Hoefler & Frere-Jones’ most fa-mous typeface Gotham is also san-serif which was designed based on geometric shape. Like Univers has enjoyed massive popularity in the Swiss modern-ist movement in the 1960s and 1970s, consistently used by de-signers.

//Geometric sans-serif

(2000)Gotham


HUnivers is one of a group of neo-grotesque sans-serif typefaces, all released in 1957,

O TV E

GA

U N VI(1957)Univers

(1988)Avenir

Adrian Frutiger

Adrian Frutiger

Hoefler & Frere-Jones

(2000)Gotham Gotham’s letterforms are inspired by a form of architectural signage that achieved popularity in the mid-twentieth century

Avenir is a geometric sans-serif typeface designed by Adrian Frutiger in 1988, and released by Linotype GmbH, now a subsidiary of Monotype Corporation.

RM

NH

IA

E R SUnivers is one of a group of neo-grotesque sans-serif typefaces, all released in 1957,

V

Gotham’s letterforms are inspired by a form of architectural signage that achieved popularity in the mid-twentieth century

Avenir is a geometric sans-serif typeface designed by Adrian Frutiger in 1988, and released by Linotype GmbH, now a subsidiary of Monotype Corporation.

“About Us.” Hoefler & Frere-Jones. <http://www.typography.com/about/?path=head>.

“Designworkplan – Beautiful and Inspiring Designers Quotes.” Designworkplan. <http://www.designworkplan.com/de-sign/inspiring-quotes.htm>.

“Eye | Feature.” Eye : the International Review of Graphic Design. <http://www.eyemagazine.com/feature.php?id=119>.

Perfect, Christopher, and Gordon Rookledge. “Appendix 2: Biographical Notes on Leading Type Designers by Sarah Rookledge.” Rookledge’s International Typefinder: the Essential Handbook of Typeface Recognition and Selection. Mount Kisco, NY: Moyer Bell, 1991. 270. Print.

“Top 20 Most Influential Fonts in Graphic Design | Art School Guide.” Art Schools, Best Online Art & Design Degrees, Top Fashion Design Schools, Interior Design Schools. <http://www.artdesignschools.com/careers/top-20-most-influential-fonts-in-graphic-design/>.

“The Differences between Akzidenz, Univers, Helvetica and Arial.” Fred Design. Web. <http://www.freddesign.co.uk/2010/04/archive/the-differences-between-akzidenz-univers-helvetica-and-arial/>.

//colophon

Designer: Soyeon Kim

Class: Typography III

Typefaces used: Avenir, Univers, Apollo, Archer, Frutiger, Hoefler Text, and Gotham

Professor: Francheska Guerrero

Typographers BookADRIAN FRUTIGER//HOEFLER & FRERE-JONES//

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