By Heidrun Osterer
The normal paintings at the Swiss sort clothier: all typefaces - from layout to advertising - have been visually documented and analyzed almost about the expertise and to comparable typefaces.
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Additional info for Adrian Frutiger: Typefaces
However, the appearance of typesetting machines by Mergenthaler Linotype and Monotype increasingly ate up that market in the 20th century. In addition, from the 1950s onwards design work started shifting away from the printers to the design studios. Deberny & Peignot reacted to this with two measures: For one thing, they invested in typesetting technology with the adoption of the Photon-Lumitype photosetting machine (see page 58) and the introduction of the Typophane letter transfer sheets (see page 223).
I would never have dared to go straight to the type foundry with the ﬁnal artwork. First I needed to secure an overall impression for myself. I would assemble letters together into words and whole sentences – I wanted to see how they worked together. Phoebus had a couple of alternate letters: I designed an upper- and lowercase shape for M and for N /13/. V and W are also somewhat lowercase in shape as they’re not pointed /14/. That arose from the basic premise of the Peignot typeface by A. M. Cassandre, who played around with this mix very consistently.
If a detail was incorrect I would cut something off or do letters again if need be. That way I quickly produced black and white originals, my speedy method for ﬁnal artwork. Rémy Peignot alone knew that I worked in this manner, as his ofﬁce where he designed the specimens was next to mine. Cutting out things seems to be in my blood. After all, my name refers to the Frutig valley in the Bernese Oberland where scissor work is traditional. All of my uncommissioned artistic work 2 was cut from paper.
Adrian Frutiger: Typefaces by Heidrun Osterer