LEADER 05770nam 22005655 450 001 9910554201703321 005 20211006013047.0 010 $a3-0356-2363-5 024 7 $a10.1515/9783035623635 035 $a(CKB)5590000000444162 035 $a(DE-B1597)574066 035 $a(DE-B1597)9783035623635 035 $a(MiAaPQ)EBC6568130 035 $a(Au-PeEL)EBL6568130 035 $a(OCoLC)1249475541 035 $a(OCoLC)1248759613 035 $a(EXLCZ)995590000000444162 100 $a20210421h20212021 fg 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAdrian Frutiger - Typefaces $eComplete Works /$fHeidrun Osterer, Philipp Stamm; Museum für Gestaltung Zürich 205 $a2nd ed. 210 1$aBasel : $cBirkhäuser, $d[2021] 210 4$d©2021 215 $a1 online resource (468 p.) 311 $a3-0356-2362-7 327 $tFrontmatter -- $tContent -- $tAdrian Frutiger - The standard-setter -- $tA typeface is a tool -- $tIntroduction : How we made this book -- $tHow to use this book -- $tAdrian Frutiger's teachers and mentors. Career path -- $tPrésident -- $tDelta -- $tPhoebus -- $tElement-Grotesk: A new approach to type -- $tFederduktus: Experiments and designs -- $tOndine -- $tMéridien -- $tCaractères Lumitype -- $tUnivers -- $tEgyptienne F -- $tOpéra -- $tAlphabet Orly: A signalisation without a system -- $tApollo -- $tAlphabet Entreprise Francis Bouygues: Collaboration -- $tConcorde -- $tSerifen-Grotesk / Gespannte Grotesk -- $tAlphabet Algol: Typeface for a computer language -- $tSerifa -- $tOCR-B -- $tUnivers IBM Composer -- $tAlphabet EDF- GDF: Architecture and typography -- $tKatalog: A strong typeface for newsprint -- $tDevanagari / Tamil -- $tAlpha BP : A better Futura or a typeface in its own right ? -- $tDocumenta: A harmonious OCR typeface -- $tAlphabet Facom: Catalogue design and corporate typeface -- $tAlphabet Roissy -- $tAlphabet Brancher: A typeface as viscous as honey -- $tIridium -- $tAlphabet Métro -- $tAlphabet Centre Georges Pompidou : The typeface Centre Georges Pompidou CGP -- $tFrutiger -- $tGlypha -- $tIcone -- $tBreughel -- $tDolmen -- $tTiemann -- $tVersailles -- $tLinotype Centennial -- $tAvenir -- $tWestside -- $tVectora -- $tLinotype Didot -- $tHerculanum -- $tShiseido : A whiff of a typeface -- $tFrutiger Capitalis -- $tPompeijana -- $tRusticana -- $tFrutiger Stones / Frutiger Symbols -- $tFrutiger Neonscript: Neon - A typeface for fluorescent lettering -- $tNami -- $tSynopsis of Frutiger-Typefaces -- $tNotes -- $tLists -- $tBiography Adrian Frutiger -- $tAwards and prizes -- $tLectures -- $tExhibitions -- $tPublications by Adrian Frutiger -- $tSpecialist articles by Adrian Frutiger -- $tFilms / Videos -- $tRadio interviews -- $tPublications about Adrian Frutiger's work -- $tArticles on Adrian Frutiger's work -- $tTypefaces by Adrian Frutiger -- $tTypeface manufacturers -- $tPlaces of work and co-workers -- $tCollaborations with other companies -- $tThe authors -- $tOur thanks -- $tCredits 330 $aAdrian Frutiger hat das internationale Schriftschaffen seit 1950 maßgeblich geprägt. Sein Schriftprogramm Univers und die maschinenlesbare Schrift OCR-B sind Meilensteine der Typografie wie auch die Frutiger, die er ursprünglich für die Pariser Flughäfen entworfen hatte und mit der er einen Qualitätsstandard für Signalisationsschriften schuf. Insgesamt entstanden rund 50 Schriften, darunter Ondine, Méridien, Avenir, Vectora.Auf Gesprächen mit Frutiger und auf umfangreichen Recherchen basierend, dokumentiert die Publikation den gestalterischen Werdegang des Schriftkünstlers. Erstmals werden alle Schriften - vom Entwurf bis zur Vermarktung - abgebildet sowie mit Bezug zu Technik und zu artverwandten Schriften analysiert. Unveröffentlichte, nicht realisierte Schriften sowie über 100 Logos vervollständigen das Bild. 330 $aThe Swiss type designer Adrian Frutiger decisively influenced the international creation of typefaces after 1950. His Univers typeface and the machine-readable font OCR-B are milestones, as is his type for the Paris airports, which evolved into the Frutiger typeface. All set new standards for signage types. In all, he created some fifty types, including Ondine, Méridien, Avenir, and Vectora. Based on conversations with Frutiger himself and on extensive research, this publication provides a highly detailed and accurate account of the type designer's artistic development. All of his types - from the design phase to the marketing stage - are illustrated and analyzed with reference to the technology and related types. Hitherto unpublished types that were never realized and more than one hundred logos complete the picture. 606 $aARCHITECTURE / Design, Drafting, Drawing & Presentation$2bisacsh 615 7$aARCHITECTURE / Design, Drafting, Drawing & Presentation. 676 $a686.224092 700 $aOsterer$b Heidrun, $4aut$4http://id.loc.gov/vocabulary/relators/aut$01219584 701 $aDanaher$b Tim$01166529 701 $aDickel$b Susanne$01166528 701 $aSpiekermann$b Dylan$01219585 701 $aSpiekermann$b Erik$01219586 702 $aFrutiger$b Adrian, $4ctb$4https://id.loc.gov/vocabulary/relators/ctb 702 $aMuseum für Gestaltung Zürich$b , $4edt$4http://id.loc.gov/vocabulary/relators/edt 702 $aStamm$b Philipp, $4aut$4http://id.loc.gov/vocabulary/relators/aut 702 $aWeidemann$b Kurt, $4ctb$4https://id.loc.gov/vocabulary/relators/ctb 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910554201703321 996 $aAdrian Frutiger - Typefaces$92819954 997 $aUNINA