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292:, where he studied under Walter KĂ€ch, Karl Schmid, and Alfred Willimann until 1951. Students there studied monumental inscriptions from Roman forum rubbings. At the Kunstgewerbeschule ZĂŒrich, Frutiger concentrated on calligraphy â a craft favouring the nib and the brush, instead of drafting tools, but also began sketches for what would become Univers, influenced by the sans-serif types popular in contemporary graphic design.
268:, the son of a weaver. As a boy, he experimented with invented scripts and stylized handwriting in a negative reaction to the formal, cursive penmanship then required by Swiss schools. His father and his secondary school teachers encouraged him to pursue an apprenticeship rather than pure art. After initially planning to train as a pastry chef, Frutiger secured an apprenticeship at the Otto Schlaefli printing house in
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698:), a playful design inspired by the shapes of pebbles. Parts of this design were finalised by Linotype's team; it was based on an alphabet drawn by Frutiger on a 1992 Christmas card. He also created Capitalis, inspired by brush lettering but without a specific historical source. Nami, an uncial design Frutiger had been considering since 1992, followed in 2007.
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Frutiger married
Paulette FlĂŒckiger in 1952, who died in 1954 after the birth of their son StĂ©phane. He married the theologian Simone Bickel in 1955. They had two daughters, who both experienced mental health problems and committed suicide as adolescents. Disappointed by the standard of mental health
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In 1961â64, Frutiger created with AndrĂ© GĂŒrtler a sans-serif font named
Concorde for news use in regular and bold styles for Parisian printing company Sofratype. Required to create a design clearly different from Univers, the design based on classical capitals with a greater classical influence than
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for onscreen display. Univers was reissued as
Linotype Univers with sixty-three variants; Frutiger was reissued as Frutiger Next with additional weights. Collaborating with Linotype designer Akira Kobayashi, Frutiger expanded the Avenir font family with light weights, heavy weights, and a condensed
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commented that he preferred the italic but described
Linotype Univers as "staggering" and "not an improvement" for its return to the very aggressively slanted italic of Frutiger's original drawings: "Redesigning an old successful typeface is something a type designer should maybe never consider."
248:. Univers was notable for being one of the first sans-serif faces to form a consistent but wide-ranging family, across a range of widths and weights. Frutiger described creating sans-serif types as his "main life's work," partially due to the difficulty in designing them compared to
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Linotype launched a font series named "Type before
Gutenberg" in 1989 and in the 1990s, Frutiger released as part of it a series of designs inspired by pre-printing alphabets, such as Herculanum and Pompeijana, inspired by Roman brush lettering, Rusticana, inspired by
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Frutiger preferred throughout his career. In his autobiography, Frutiger commented that in resigning himself to it "Maybe I was too soft to say what I really felt... I didn't have the strength and patience anymore." From a different perspective, type designer
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font, Frutiger introduced his two-digit numeration; the first digit (3 though 8) indicates the weight, "3" the lightest, "8" the heaviest. The second digit indicates the face-width and either roman or oblique. It was marketed with a design inspired by the
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In the late 1990s, Frutiger began collaborating on refining and expanding his most famous
Univers, Frutiger, and Avenir families. The new projects took advantage of improved digital production methods to create a wider range of styles and improved
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typeface, Peignot encouraged a new, geometric sans-serif type in competition. Frutiger disliked the regimentation of Futura, and persuaded
Peignot that the new sans-serif should be based on the realist (neo-grotesque) model. The 1898 face,
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suburb of Paris. The "way-finding-signage" commission brief required a typeface both legible from afar and from an angle. Frutiger decided to adapt
Concorde using legibility research as a guide, and titled the new design Roissy.
565:
Frutiger's 1984 typeface
Versailles is an old-style serif text with capitals like those in the earlier Président. Versailles is a Latin design with sharp wedge serifs, based on a popular genre in 19th-century printing.
1069:, India. Originally, the institute was named National Design Institute, however, the institute renamed itself to match Adrian Frutiger's stylized NID logotype alongside the name "National Institute of Design."
288:, also taking classes in woodcuts and drawing at the Gewerbeschule in Bern under Walter Zerbe, followed by employment as a compositor at Gebr. Fretz in ZĂŒrich, Switzerland. In 1949 he transferred to the
547:. Frutiger's intention was more unusual: to create a design that could be modified by computer, through extreme slanting, morphing or changing stroke width, without seeming as if it had been distorted.
348:. Frutiger's wood-engraved illustrations of the essay demonstrated his skill, meticulousness, and knowledge of letter forms. At Deberny & Peignot foundry, Frutiger designed the typefaces Président,
359:
Adrian
Frutiger's first commercial typeface was PrĂ©sident â a set of titling capital letters with small, bracketed serifs, released in 1954. A calligraphic, informal, script face, Ondine (
558:
signage. He created a Univers font variation â a set of capitals and numbers specifically for white-on-dark-blue backgrounds in poor light. He also designed a slab serif font for the
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Westside (1989): a complete departure, a Wild West-themed slab serif on the French Clarendon model. Frutiger had been considering creating such a design for many years before its release.
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543:
In the 1970s, Frutiger designed Icone, a wedge-serif design with mild stroke modulation, which has many similarities in basic letter structure to Frutiger, and in overall effect to
201:; 24 May 1928 â 10 September 2015) was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century. His career spanned the
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Charles Peignot envisioned a large, unified font family, that might be set in both the metal and the photo-composition systems. Impressed by the success of the Bauer foundry's
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Univers, partially influenced by a serif design Opéra he had worked on in the interim. The design failed to attract attention and was withdrawn from sale after a few years.
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in 1976. Extremely legible at a distance or at small size, Frutiger became hugely influential on the development of future humanist sans-serif typefaces; font designer
381:, a style sometimes known as Latin which Frutiger would often use in his future serif designs. In 1956, he designed his first-of-three, slab-serif typefaces â
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described as a "Frutiger trademark" his common use of an "a" where the loop makes a horizontal line at the top on meeting the vertical. It makes use of narrow
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In 2009, Frutiger collaborated with Akira Kobayashi on a second re-release of Frutiger, Frutiger Neue, which moved back towards the original 1970s release.
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commissioned Frutiger to develop a print version of Roissy with improvements such as better spacing, which was released for public use under the name of
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661:, for example. While Frutiger continued to be involved in adaptations and expansions of pre-existing families and smaller projects, he described
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in French), also was released in 1954. In 1955, MĂ©ridien, a glyphic, old-style, serif text face was released. The typeface shows inspiration by
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789:(1955): a text face, again with a crisp wedge-serif design and a gradual flare on ascenders. Frutiger Serif (below) is an update and expansion.
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Frutiger designed a number of other signage projects in the 1970s. These included an adaptation of Univers for the Paris MĂ©tro, after the
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These modifications were not universally considered improvements: Frutiger regretted allowing Linotype to substitute a modish 1990s
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serif text face. Its flared style suggests the irregularity of metal type, an approach that would become very popular in the 1990s.
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Through his later years, Frutiger collaborated with co-authors Heidrun Osterer and Philipp Stamm on an extensive autobiography,
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In 2003, the Swiss watchmaker Ventura commissioned him to design a new watch face for a limited-edition line of wristwatches.
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version that were released as the Avenir Next font. Frutiger described the process of restoring Univers as a "personal gift."
310:
Frutiger spent most of his professional career working in Paris and living in France, returning to Switzerland later in life.
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373:, and, in the MĂ©ridien type, Frutiger's ideas of letter construction, unity, and organic form, are first expressed together.
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Nami (2006): a playful unicase sans. Based on sketches from the 1980s and developed in collaboration with Akira Kobayashi.
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416:, is cited as the primary model. To maintain unity across the 21 variants, each weight and width, in roman (upright) and
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87:
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600:. Frutiger intended the design to be a more human version of geometric sans-serif types popular in the 1930s such as
536:, unlike the double of Gill Sans, and has square dots on the letters, but has a generally humanist design with wide
385:, on the Clarendon model; after Univers, it was the second, new text face to be commissioned for photo-composition.
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429:. The response to Univers was immediate and positive; he claimed it became the model for his future typefaces. His
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532:, Edward Johnston's type for the London Transport, and Roger Excoffon's Antique Olive: like Univers it uses a
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For the Fondation Frutiger he created a set of symbols as an abstract presentation of the Foundation's work.
352:, and Ondine. In addition, Charles Peignot set Frutiger to work upon converting extant typefaces for the new
32:
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and is legible in small-point sizes. Frutiger's 1991 release Linotype Didot was an elegant revival of the
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Frutiger commented on the italic that he felt Univers needed to be "snappy" and that it added character.
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Univers attracted attention to Frutiger's work outside continental Europe, and he was commissioned by
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752:(2008). In this book, Frutiger discussed his entire career and his completed and abandoned projects.
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described it as "the best choice for legibility in pretty much any situation" at small text sizes.
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care at the time, Frutiger and his wife founded the Adrian and Simone Frutiger Foundation (French:
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2013:
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780:
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Président (1954): a wedge-serif titling face in capitals and small capitals; somewhat similar to
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1971 â Silver medal in competition for "Most Beautiful Swiss Books" with Bruno PfĂ€ffli for
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typeface adapted to display use, which remains popular; it is the version of Didot bundled with
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Chevalier dans l'ordre des Arts et des Lettres, MinistĂšre de la Culture et de la Communication
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3141:"Gebet- und Gesangbuch Palmsonntag bis Ostern (CG II) â Christkatholische Kirche der Schweiz"
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300:) to fund psychology and neuroscience research and developments in mental health support.
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Icone (1980): a wedge serif design. Almost monoline, but with a gentle flare of strokes.
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Schrift / Ăcriture / Lettering: the development of European letter types carved in wood
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To celebrate Swiss graphic design he designed three stamps for the Swiss post office.
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Schweiz. Stiftung Schrift und Typographie, Heidrun Osterer, Philipp Stamm (Eds.):
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Typography: An Encyclopedic Survey of Type Design and Techniques Through History.
3003:
1960:
1932:
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Symbole. Geheimnisvolle Bilder-Schriften, Zeichen, Signale, Labyrinthe, Heraldik
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Frutiger Symbols: a group of designs inspired by Stone Age art drawn on pebbles.
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1974 â Honoured with a coat of arms by the city of Interlaken, Switzerland
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Frutiger is an amalgamation of Univers tempered with organic influences of the
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1988:
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Adrian Frutiger also designed small vignettes for the book of prayers of the
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Gutenberg Prize of the International Gutenberg Society and the City of Mainz
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56:
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3163:"Christkatholisch 2015-17 by Christkatholische Kirche der Schweiz - Issuu"
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650:
554:, the public transport authority of Paris, asked Frutiger to examine the
101:
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1950 â Federal department of the Interior Prize, Bern, Switzerland
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Frutiger Next in use with Frutiger Serif, an adaptation of his earlier
694:
Roman carving. He later also created Frutiger Stones (no connection to
621:
In a complete reverse, his next design Westside was a wild-west themed
421:
420:(slanted), was drawn and approved before any matrices were cut. In the
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113:
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340:, recruited Frutiger based upon the quality of the illustrated essay
3358:
1884:"Microsoft's ClearType Font Collection: A Fair and Balanced Review"
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732:(not drawn by Frutiger) onto Frutiger Next instead of the sharper
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480:
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249:
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families spanning the three main genres of sans-serif typefaces:
3352:'Portrait with word' of Adrian Frutiger by Mark-Steffen Goewecke
1304:, a design aesthetic named for Adrian Frutiger and his typefaces
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1186:
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Breughel (1982): an old-style serif inspired by the Renaissance.
658:
444:
to create Apollo, their first typeface specifically created for
2132:"Philosophies of Form in Seriffed Typefaces of Adrian Frutiger"
1440:"Adrian Frutiger Dies at 87; His Type Designs Show You the Way"
1324:"Adrian Frutiger Dies at 87; His Type Designs Show You the Way"
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1984 â Paul-Haupt Prize from the city of Bern, Switzerland
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Ondine (1954): a display design inspired by Arabic calligraphy.
280:
At the age of sixteen, he was apprenticed for four years, as a
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to increase legibility, decided on after legibility research.
3366:
Philosophies of Form in Seriffed Typefaces of Adrian Frutiger
2654:
Adrian Frutiger Dies at 87; His Type Designs Show You the Way
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1262:
mit Adrian Frutiger durch die Welt der Zeichen und Buchstaben
985:
1987 â Gold Medal of the Type Directors Club of New York
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in consultation with Frutiger. It is based on the Kufi style.
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Font Designer â Adrian Frutiger â Adrian Frutiger Remembered
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In 1991, Frutiger finished Vectora, a design influenced by
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Apollo (1962): created for Monotype, somewhat similar to
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In 1970, Frutiger was asked to design signage at the new
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517:
described it as "the best general typeface ever" while
469:, a condensed variant of Frutiger, on a road sign near
1782:
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1227:
Adrian Frutiger â Der Mann von Schwarz und Weiss
908:
Frutiger Arabic (2007): designed by Lebanese designer
969:, International Book Art Exhibition, Leipzig, Germany
437:(1967) and Glypha (1977) are directly based upon it.
2983:"Frutiger honored with prestigious typography award"
1955:
1953:
1739:
Friedrich Miescher Institute for Biomedical Research
1212:
Adrian Frutiger â Typefaces. The Complete Works
3216:Friedl, Frederich, Nicholas Ott and Bernard Stein.
1378:"Adrian Frutiger (24 May 1928 â 12 September 2015)"
179:
127:
107:
93:
83:
64:
42:
23:
3067:"Adrian Frutiger develops watch dials for Ventura"
3004:TDC2 2006 : Winning Entries TDC2 awards page
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2747:
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816:(1967): a slab serif based on the Univers family.
303:In an interview, Frutiger described himself as a
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2183:
2181:
2136:Fine Print: The Review for the Arts of the Book
1282:Adrian Frutiger â Typefaces. The Complete Works
2585:(2 ed.). Walter de Gruyter. p. 260.
1032:, Federal Office of Culture, Bern, Switzerland
997:MinistĂšre de la Culture et de la Communication
403:Univers Bold Condensed on a London street sign
1658:"Wedding announcement (collectables listing)"
1092:Adrian Frutiger â Formen und Gegenformen
8:
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3310:, Capital Transport, London, November 2008.
3233:Signs and Symbols: Their Design and Meaning.
2081:"Type Q&A: Steve Matteson from Monotype"
1983:
1981:
1349:"Schweizer Typograf Adrian Frutiger ist tot"
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629:French Clarendons of the late 19th century.
3308:Paris Metro Style in map and station design
991:Officier de l'Ordre des Arts et des Lettres
686:
1165:Adrian Frutiger â Schriftengestalter
31:
20:
3395:People from Interlaken-Oberhasli District
3347:Postage stamp designed by Adrian Frutiger
3328:Publications by and about Adrian Frutiger
2536:"Akira Kobayashi, Linotype type director"
2510:"Custom Fonts and Custom Typeface Engine"
1023:in the Type System / Superfamily category
939:Adrian Frutiger's font Frutiger Capitalis
618:in French) as a reference to the latter.
322:Specimens of typefaces by Adrian Frutiger
2852:"Linotype: notes on Iridium font family"
1615:. Basel: BirkhÀuser Verlag. p. 442.
1280:Heidrun Osterer, Philipp, Stamm (Eds.),
1077:Christian Catholic Church of Switzerland
947:1960 â Advertising campaign award,
485:Frutiger in use by the Dutch rail system
317:
196:
3045:"Kulturpreisverleihung Berner Oberland"
2154:
2152:
1402:Spiekermann, Erik (13 September 2015).
1314:
1006:Grand Prix National des Arts Graphiques
760:Frutiger died on 10 September 2015, in
667:in 1998 as his "last typeface design".
596:In 1988, Frutiger completed the family
151: 1952; died 1954)
1713:"Fondation Frutiger â Simone Frutiger"
1012:2006 â Typography Award from The
3400:Swiss typographers and type designers
2677:"77 font families by Adrian Frutiger"
1061:He also designed a word mark for the
795:(1956): a humanist slab-serif design.
7:
3405:Zurich University of the Arts alumni
2560:"Traces: Adrian Frutiger on Univers"
1790:. Fondation Frutiger. Archived from
1735:"Adrian & Simone Frutiger Prize"
1404:"Nachruf: Eine Epoche in Buchstaben"
528:, a humanist sans-serif typeface by
284:, to the printer Otto Schlaeffli in
198:[ËaËdriaËnËjoËhanËfruËtÉȘÉĄÉr]
3330:in the catalogue Helveticat of the
1438:Fox, Margalit (20 September 2015).
1322:Fox, Margalit (18 September 2015).
1147:Nachdenken ĂŒber Zeichen und Schrift
1125:Adrian Frutiger, Horst Heiderhoff:
298:Fondation Adrian et Simone Frutiger
213:eras. Until his death, he lived in
16:Swiss typeface designer (1928â2015)
3119:"Symboles: Formes et Contreformes"
1284:, third edition, BirkhÀuser 2021,
1014:Society of Typographic Aficionados
679:Sample of the font Frutiger Stones
344:, Frutiger's final project at the
14:
3337:Monotype Imaging: Adrian Frutiger
3264:Cassell Paperback, London; 2001.
3220:Black Dog & Leventhal: 1998.
3195:Lund Humphries Publishers: 2002.
3047:. Volkswirtschaft Berner Oberland
2130:Bigelow, Charles (October 1988).
838:Glypha (1977): similar to Serifa.
276:Formative years and personal life
2985:. Linotype News. 1 November 2006
2962:"Adrian Frutiger « MyFonts"
1079:, performing the work pro bono.
1044:Kulturpreis Berner Oberland 2013
649:. The resultant face has a tall
220:Frutiger's most famous designs,
3342:Adrian Frutiger's 80th Birthday
3211:, No. 31, Vol. 8, Spring 1999.
2581:Frutiger, Adrian (8 May 2014).
2302:Frutiger, Adrian (8 May 2014).
2262:Frutiger, Adrian (8 May 2014).
2215:Frutiger, Adrian (8 May 2014).
2159:Shaw, Paul (10 February 2011).
2105:Frutiger, Adrian (8 May 2014).
1861:"Font designer Adrian Frutiger"
1835:Frutiger, Adrian (8 May 2014).
1687:Frutiger, Adrian (8 May 2014).
1567:Frutiger, Adrian (8 May 2014).
1115:, Schlaefli & Maurer 2003,
168:
148:
2304:Typefaces â the complete works
2289:Typefaces â the complete works
2264:Typefaces â the complete works
2217:Typefaces â the complete works
2107:Typefaces â the complete works
2040:Typefaces â the complete works
1913:. American Type Founders. 1968
1837:Typefaces â the complete works
1569:Typefaces â the complete works
1543:"Biography of Adrian Frutiger"
1518:"Reputations: Adrian Frutiger"
1255:Anja Bodmer und JĂŒrg BrĂŒhlmann
772:Frutiger's typefaces include:
448:, which was released in 1964.
1:
3278:Yale University Press: 2006.
2583:Typefaces: The Complete Works
1613:Typefaces. The Complete Works
1097:, Syndor Press 1998; Niggli:
994:(Order of Arts and Letters),
750:Typefaces: the Complete Works
507:Mergenthaler Linotype Company
3260:Jaspert, Berry and Johnson.
3193:20th Century Type Designers.
2014:"Adrian Frutiger Remembered"
1129:Der Mensch und seine Zeichen
1063:National Institute of Design
1037:European Design Hall of Fame
260:Adrian Frutiger was born in
3410:Swiss expatriates in France
3262:EncyclopĂŠdia of Type Faces.
2608:"My type design philosophy"
1516:Schwemer-Scheddin, Yvonne.
3426:
2704:. Linotype. Archived from
2512:. Monotype. Archived from
850:Linotype Centennial (1986)
608:, and it is named Avenir (
589:
455:
392:
3276:An AâZ of Type Designers.
1689:Schriften: Das Gesamtwerk
1628:"Rois de la restauration"
1611:Frutiger, Adrian (2008).
1111:Ein Leben fĂŒr die Schrift
495:Charles de Gaulle Airport
346:Kunstgewerbeschule ZĂŒrich
290:Kunstgewerbeschule ZĂŒrich
88:Kunstgewerbeschule ZĂŒrich
30:
951:, Amsterdam, Netherlands
3248:Forms and Counterforms.
3023:"2009: Adrian Frutiger"
1095:/Forms and Counterforms
896:Linotype Univers (1999)
893:Frutiger Symbols (1998)
336:, of the Paris foundry
3357:
3332:Swiss National Library
3293:Lund Humphries: 1995.
2161:"Overlooked Typefaces"
1268:Hochparterre BĂŒcher AG
1261:
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1128:
1110:
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890:Frutiger Stones (1998)
886:
806:
716:
712:
687:
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587:
486:
478:
404:
323:
297:
194:Swiss Standard German:
190:Adrian Johann Frutiger
3291:Typographers on Type.
2243:. St Bride Foundation
1910:Univers specimen book
1788:"Historique (French)"
1764:fondationfrutiger.ch/
1471:Moran, James (1968).
1354:Neue Luzerner Zeitung
1251:0000-0001-83B9-0000-W
1189:0000-0000-D4FB-0000-F
966:Das Hohe Lied Salomos
938:
915:Frutiger Serif (2008)
884:
709:
678:
577:
484:
465:
402:
338:Deberny & Peignot
321:
3121:. Fondation Frutiger
2763:on 21 September 2015
2485:"Frutiger Capitalis"
2306:. pp. 308â315.
2219:. pp. 276â285.
1760:"Fondation Frutiger"
1715:. Fondation Frutiger
1231:, DVD Artfilm 2005,
1133:, Marixverlag 2004,
671:The roots of letters
639:Morris Fuller Benton
582:of French president
356:Linotype equipment.
3235:Ebury Press: 1998.
3191:Carter, Sebsatian.
3169:. 18 September 2015
2266:. pp. 244â49.
2053:Spiekermann, Erik.
2042:. pp. 224â229.
1668:on 26 December 2015
1409:SĂŒddeutsche Zeitung
1357:. 12 September 2015
1214:, BirkhÀuser 2009,
1083:Select bibliography
926:Univers Next (2010)
762:Bremgarten bei Bern
702:Remastered releases
578:Avenir used by the
458:Frutiger (typeface)
215:Bremgarten bei Bern
211:digital typesetting
76:Bremgarten bei Bern
3359:Fondation Frutiger
3246:Frutiger, Adrian.
3231:Frutiger, Adrian.
3009:2012-09-08 at the
2287:Frutiger, Adrian.
2188:Frutiger, Adrian.
2038:Frutiger, Adrian.
1445:The New York Times
1328:The New York Times
1029:Prix Designer 2007
941:
887:
825:Iridium (1975): a
781:Copperplate Gothic
764:at the age of 87.
717:
681:
588:
487:
479:
405:
324:
138:Paulette FlĂŒckiger
3316:978-1-85414-322-8
3299:978-0-85331-657-2
3274:Macmillan, Neil.
3201:978-0-85331-851-4
3097:"Frutiger Stamps"
3025:. European Design
2940:"Adrian Frutiger"
2433:"Frutiger Stones"
2291:. pp. 248â9.
2079:Matteson, Steve.
1636:Tribune de GenĂšve
1480:Monotype Recorder
1473:"Stanley Morison"
1290:978-3-0356-2362-8
1276:978-3-909928-09-5
1220:978-3-7643-8581-1
1192:Adrian Frutiger:
1143:Adrian Frutiger:
1107:Adrian Frutiger:
1088:Erich Alb (Ed.):
931:Prizes and awards
874:Pompeijana (1992)
862:Herculanum (1990)
847:Versailles (1982)
689:capitalis rustica
592:Avenir (typeface)
584:François Hollande
580:election campaign
187:
186:
68:10 September 2015
3417:
3362:
3179:
3178:
3176:
3174:
3159:
3153:
3152:
3150:
3148:
3137:
3131:
3130:
3128:
3126:
3115:
3109:
3108:
3106:
3104:
3093:
3087:
3086:
3084:
3082:
3073:. Archived from
3063:
3057:
3056:
3054:
3052:
3041:
3035:
3034:
3032:
3030:
3019:
3013:
3001:
2995:
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2990:
2979:
2973:
2972:
2970:
2968:
2958:
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2936:
2930:
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2914:
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2892:
2886:
2885:
2883:
2881:
2870:
2864:
2863:
2861:
2859:
2848:
2842:
2841:
2839:
2837:
2826:
2820:
2819:
2817:
2815:
2804:
2798:
2797:
2795:
2793:
2786:"Frutiger Serif"
2782:
2773:
2772:
2770:
2768:
2759:. Archived from
2753:"Adobe Meridien"
2749:
2740:
2739:
2737:
2735:
2724:
2718:
2717:
2715:
2713:
2708:on 1 August 2015
2698:
2692:
2691:
2689:
2687:
2673:
2667:
2662:
2656:
2651:
2645:
2644:
2642:
2640:
2625:
2619:
2618:
2616:
2614:
2606:Majoor, Martin.
2603:
2597:
2596:
2578:
2572:
2571:
2569:
2567:
2556:
2547:
2546:
2544:
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2500:
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2455:
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2403:
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2318:
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2293:
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2259:
2253:
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2250:
2248:
2237:
2231:
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2212:
2206:
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2203:
2201:
2185:
2176:
2175:
2173:
2171:
2156:
2147:
2146:
2144:
2142:
2127:
2121:
2120:
2102:
2096:
2095:
2093:
2091:
2076:
2070:
2069:
2067:
2065:
2050:
2044:
2043:
2035:
2026:
2025:
2023:
2021:
2010:
2004:
2003:
2001:
1999:
1985:
1976:
1975:
1973:
1971:
1957:
1948:
1947:
1945:
1943:
1929:
1923:
1922:
1920:
1918:
1905:
1899:
1898:
1896:
1894:
1879:
1873:
1872:
1870:
1868:
1857:
1851:
1850:
1832:
1826:
1825:
1823:
1821:
1814:"Frutiger at 80"
1810:
1804:
1803:
1801:
1799:
1794:on 5 August 2020
1784:
1775:
1774:
1772:
1770:
1756:
1750:
1749:
1747:
1745:
1731:
1725:
1724:
1722:
1720:
1709:
1703:
1702:
1684:
1678:
1677:
1675:
1673:
1664:. Archived from
1662:Buch-Antiquariat
1654:
1648:
1647:
1645:
1643:
1632:
1623:
1617:
1616:
1608:
1583:
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1428:
1426:
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1399:
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1392:
1390:
1388:
1376:Twardoch, Adam.
1373:
1367:
1366:
1364:
1362:
1345:
1339:
1338:
1336:
1334:
1319:
1264:
1259:Read Me â
1230:
1198:
1167:
1149:
1131:
1113:
1094:
1046:
1031:
1008:
999:
993:
968:
959:
949:De Arbeiderspers
922:
877:Rusticana (1993)
809:
715:
692:
666:
627:reverse-contrast
617:
614:
611:
534:single-story 'g'
515:Erik Spiekermann
446:phototypesetting
414:Akzidenz-Grotesk
368:
365:
362:
354:phototypesetting
335:
207:phototypesetting
200:
195:
172:
170:
152:
150:
110:
71:
52:
50:
37:Frutiger in 2002
35:
21:
3425:
3424:
3420:
3419:
3418:
3416:
3415:
3414:
3375:
3374:
3370:Charles Bigelow
3324:
3289:McLean, Ruari.
3188:
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3028:
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3021:
3020:
3016:
3011:Wayback Machine
3002:
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2695:
2685:
2683:
2675:
2674:
2670:
2663:
2659:
2652:
2648:
2638:
2636:
2629:"Frutiger Neue"
2627:
2626:
2622:
2612:
2610:
2605:
2604:
2600:
2593:
2580:
2579:
2575:
2565:
2563:
2558:
2557:
2550:
2540:
2538:
2534:
2533:
2529:
2519:
2517:
2516:on 1 March 2012
2508:
2507:
2503:
2493:
2491:
2483:
2482:
2478:
2468:
2466:
2459:"Pompeijana LT"
2457:
2456:
2452:
2442:
2440:
2431:
2430:
2426:
2416:
2414:
2407:"Herculanum LT"
2405:
2404:
2400:
2390:
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2375:
2365:
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2346:
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2321:
2314:
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2239:
2238:
2234:
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2209:
2199:
2197:
2187:
2186:
2179:
2169:
2167:
2158:
2157:
2150:
2140:
2138:
2129:
2128:
2124:
2117:
2109:. p. 183.
2104:
2103:
2099:
2089:
2087:
2078:
2077:
2073:
2063:
2061:
2052:
2051:
2047:
2037:
2036:
2029:
2019:
2017:
2012:
2011:
2007:
1997:
1995:
1987:
1986:
1979:
1969:
1967:
1959:
1958:
1951:
1941:
1939:
1931:
1930:
1926:
1916:
1914:
1907:
1906:
1902:
1892:
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1881:
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1854:
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1834:
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1807:
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1785:
1778:
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1753:
1743:
1741:
1733:
1732:
1728:
1718:
1716:
1711:
1710:
1706:
1699:
1691:. p. 450.
1686:
1685:
1681:
1671:
1669:
1656:
1655:
1651:
1641:
1639:
1630:
1626:Simon, Sophie.
1625:
1624:
1620:
1610:
1609:
1586:
1579:
1566:
1565:
1561:
1551:
1549:
1541:
1540:
1536:
1526:
1524:
1515:
1514:
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1469:
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1437:
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1401:
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1396:
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1375:
1374:
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1347:
1346:
1342:
1332:
1330:
1321:
1320:
1316:
1311:
1298:
1085:
1053:
1000:, Paris, France
960:, Paris, France
933:
770:
758:
704:
673:
643:Franklin Gothic
635:
615:
612:
609:
594:
572:
560:Centre Pompidou
460:
454:
397:
391:
366:
363:
360:
329:
327:Charles Peignot
316:
278:
258:
232:, are landmark
193:
175:
174:
171: 1955)
166:
162:
154:
146:
142:
139:
108:
84:Alma mater
79:
73:
69:
60:
54:
48:
46:
38:
26:
25:Adrian Frutiger
17:
12:
11:
5:
3423:
3421:
3413:
3412:
3407:
3402:
3397:
3392:
3387:
3377:
3376:
3373:
3372:
3363:
3354:
3349:
3344:
3339:
3334:
3323:
3322:External links
3320:
3319:
3318:
3302:
3287:
3272:
3258:
3255:978-3721204407
3244:
3241:978-0091864828
3229:
3214:
3204:
3187:
3184:
3181:
3180:
3154:
3132:
3110:
3099:. Katran Press
3088:
3077:on 31 May 2013
3058:
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3014:
2996:
2974:
2953:
2931:
2909:
2887:
2865:
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2821:
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2741:
2719:
2693:
2668:
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2646:
2620:
2598:
2592:978-3038212607
2591:
2573:
2548:
2527:
2501:
2476:
2450:
2424:
2398:
2373:
2344:
2328:"Adobe Avenir"
2319:
2312:
2294:
2279:
2272:
2254:
2232:
2225:
2207:
2177:
2165:Print magazine
2148:
2122:
2115:
2097:
2071:
2055:"Twitter post"
2045:
2027:
2005:
1977:
1949:
1924:
1900:
1882:Levien, Raph.
1874:
1852:
1846:978-3038212607
1845:
1839:. p. 22.
1827:
1805:
1776:
1751:
1726:
1704:
1698:978-3038212638
1697:
1679:
1649:
1618:
1584:
1577:
1571:. p. 12.
1559:
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1222:
1208:
1200:, Haupt 2008,
1190:
1159:
1151:, Haupt 2005,
1141:
1123:
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1081:
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910:Nadine Chahine
906:
903:
897:
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878:
875:
872:
869:Linotype Didot
866:
865:Vectora (1990)
863:
860:
857:
851:
848:
845:
842:
839:
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830:
823:
817:
811:
802:
796:
790:
784:
777:
769:
766:
757:
754:
703:
700:
672:
669:
641:'s type faces
634:
631:
625:, inspired by
590:Main article:
571:
568:
519:Steve Matteson
467:ASTRA-Frutiger
456:Main article:
453:
450:
427:periodic table
393:Main article:
390:
387:
371:Nicolas Jenson
315:
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277:
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266:Canton of Bern
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72:(aged 87)
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3313:
3309:
3306:
3305:Ovenden, Mark
3303:
3300:
3296:
3292:
3288:
3285:
3284:0-300-11151-7
3281:
3277:
3273:
3271:
3270:1-84188-139-2
3267:
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2898:. Linotype
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3167:issuu.com
3147:18 August
2830:"Iridium"
2356:"Vectora"
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982:(Germany)
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