By Heidrun Osterer
The general paintings at the Swiss variety clothier: all typefaces - from layout to advertising - have been visually documented and analyzed on the subject of the know-how and to similar typefaces.
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Extra resources for Adrian Frutiger: Typefaces
Such considerations played no part when it came to Ondine. I never felt the need to design a connected handwritten font. For foundry type it was extremely laborious and around three times as costly as normal fonts. 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.
In addition to the standard characters, Frutiger designed some alternative shapes /13/ which are unfortunately no longer available in today' s versions of the face. 4 Even though it was initially unsuccessful, it was taken over in 1981 by D. Stempel AG in Frankfurt am Main and adapted for the photosetting machines of the Mergenthaler Linotype group, as well as for all other new setting methods. Frutiger himself only started to release historically based script fonts in the 1990s, starting with the project Typebefore-Gutenberg (see page 370).
42 j o b b i n g t y p e fa c e Typophane transfer sheets Adrian Frutiger' s early jobbing typefaces Initiales Président, Initiales Phoebus and Ondine are all produced by hot metal setting. Other jobbing faces made by Deberny & Peignot were released as Typophane transfer sheets, which may be regarded as forerunners of the successful Transfer Lettering by Letraset and Mecanorma (see Transfer setting technique, page 223). Typophane presented the graphic studios and advertising agencies with an easy means for headline setting.