By Heidrun Osterer
The typical paintings at the Swiss style fashion designer: all typefaces - from layout to advertising and marketing - have been visually documented and analyzed just about the know-how and to comparable typefaces.
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Extra resources for Adrian Frutiger: Typefaces
Excoffon made his Mistral /05/ in that manner, with connectors that ﬁt together with pinpoint accuracy. It was quite a work of art for its day. For me however, a text face was always composed of Formal derivation of Ondine Ondine’s several historical sources go back to antiquity, to the very beginnings of written Latin. Therefore some shapes correspond to Roman cursive capitals /04/, for instance M and N. One of the main starting points for the uppercase shapes is uncials /04/. A feature typical of this is the round shape of the E, which also has an alternative shape for the foundry version of Ondine /10/.
52 52 52 I 1 O0 phoe b us 43 Typeface comparison The 19th century was rife with various kinds of shadow typefaces. However, there is no shadow face without an outline depicted in Nicolete Gray` s benchmark book Nineteenth Century Ornamented Typefaces. 9 The three typefaces shown below also have something else fundamentally different about them. In Umbra the reversed-out stroke width is very fine, but casts an even deeper shadow. On the other hand, Memphis Luna has an even balance between relief and shadow depth.
He was a painter and graphic designer and only came to type design through his stepfather 8. Unburdened by theoretical and historical specialist knowledge, he would design using his own creativity and came up with dynamic brushstyle letters based on his handwriting for jobbing faces such as Mistral and Choc /06/, but also an unusual sans serif like Antique Olive (see page 355), with its idiosyncratic proportions. Ondine was released to the market very quickly. To be honest, I was never very com fortable with that.
Adrian Frutiger: Typefaces by Heidrun Osterer