By Heidrun Osterer (ed.), Philipp Stamm (ed.)
The normal paintings at the Swiss kind fashion designer: all typefaces — from layout to advertising and marketing — have been visually documented and analyzed on the subject of the expertise and to comparable typefaces.
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Extra info for Adrian Frutiger Typefaces: The Complete Works
Designing Phoebus was fun, but success was not forthcoming. It didn’t sell as well as expected. It did however enrich Deberny & Peignot’s range of typefaces. All in all it was a busy year for work. I also found time to help Rémy Peignot with the ﬁnal artwork for his titling typeface Initiales Cristal /07/. This very delicate typeface works well in larger point sizes, though unfortunately it’s seldom used as a headline face. At least it meant Rémy had his own typeface, that was enough for him and it made me happy.
MRW MRW /31/ /32/ /33/ Both hot metal R shapes with vertical and virtually diagonal downstroke, as well as its current shape in the Linotype Library. Comparison of the Œ ligature in hot metal and digital setting – its shape is noticeably wider in the original version. The curve of the J is more delicate in its current version, while the K’s inner space is tighter and the top left serif of the N is noticeably thinner. R Œ A JKN pr É s i de nt 33 Typeface comparison Président is compared both to Augustea by the Italians Alessandro Butti and Aldo Novarese, and to ITC Friz Quadrata by the Swiss Ernst Friz.
Tout est dans la nuance du b ouquet. Il en est de même pour les caractères ! Sie fragen sich warum es notwendig ist, so viele Schriften zur Verfügung zu haben. Sie dienen alle zum selben, aber machen die Vielfalt des Menschen aus. Dies e Vielfalt ist wie beim Wein. Ich habe einmal eine Weinkarte studiert mit sechzig Médoc-Weinen aus dem selben Jahr. Das ist ausnahmslos Wein, aber doch nicht alles der gleiche Wei n. Es hat eben gleichwohl Nuancen. So ist es auch mit der Sc hrift. You may ask why so many different typefaces.