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The normal paintings at the Swiss sort fashion designer: all typefaces - from layout to advertising and marketing - have been visually documented and analyzed as regards to the expertise and to comparable typefaces.
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Additional resources for Adrian Frutiger: Typefaces
However, it was never realised. It was a painstaking search. I couldn’t base it around Art Nouveau and its plethora of typefaces, as these were regarded as old-fashioned. I always came back to the classical forms. I never managed to produce a lively script typeface such as Peignot had imagined. I wasn’t capable of designing anything comparable to Excoffon’s typefaces. Also, I prefer pens to brushes. The experiments with a broad pen produced the uncial and half-uncial shapes. I made a paste-up /04/ of the best characters, which differ only in details, in order to test them.
22/ D & P delivered commonly used words cast on blocks, superior characters (supérieures) and capital letters with overhangs (sortes crénées). c. 12 œil 1 c. 12 œil 2 c. 12 œil 3 HHH /23/ The smaller visual sizes within a given point size produced the small caps of the next bigger visual size. 32 j o b b i n g t y p e fa c e again lacks well-balanced word shapes. It is not enough to deal with pairs of letters full of holes simply by setting them tightly. If pairs are too tight they must be letterspaced, extended.
Fe de r du ktus 49 Name of typeface Ondine Formal Script 421 • Commissioned by Deberny & Peignot Designer Adrian Frutiger Design | Publication 1953 | 1954 Typesetting technology Handsetting CRT and lasersetting Digital setting PostScript Manufacturer – Deberny & Peignot – D. Stempel AG | Linotype – Adobe | Linotype Bitstream • URW++ Weights 1 1 1 1 3 ON DIN E In my second year in Paris, Charles Peignot commissioned me to design a sturdy script face in the style of Mistral /05/. Roger Excoffon’s typeface had been released in 1953 by Fonderie Olive in Marseille and was an immediate success.