Adrian Frutiger: Typefaces by Heidrun Osterer

By Heidrun Osterer

The ordinary paintings at the Swiss style clothier: all typefaces - from layout to advertising - have been visually documented and analyzed just about the know-how and to similar typefaces.

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I also drew a shaded narrow sans serif as a test, ‘Rodin hat uns’/05/. In the end though, I found it too conventional. To make it more special, one would have had to add an italic, a semibold and so on. The italic Latin shape took my fancy a good deal more; all the up- and downstrokes presented an opportunity to add a little triangle. I started to sketch a titling face with deep shadows, but it looked somewhat banal standing straight up, so I tried an italic. The typeface gained a lot in dynamic thanks to the slanting character shapes against the slant of the deep shadows.

I OnCE SAW A LIST OF mÉDOC WInES FEATURInG SIXTY DIFFEREnT mÉDOCS ALL OF THE SA mE YEAR. ALL OF THEm WERE WInES BUT EACH WAS DIFFEREnT FROm THE OTHERS. IT’S THE nUAnCES TH AT ARE ImPORTAnT. THE SAmE IS TRUE FOR TYPEFACES. POURQUOI TAnT D’ALPHA BETS DIFFÉREnTS ! TOUS SERVEnT AU mÊmE BUT, mAIS AUSSI À EXPRImER La DIVE RSITÉ DE L’HOmmE. C’EST CETTE mÊmE DIVERSITÉ QUE nOUS RETROUVOnS DAnS LES VInS DE mÉDOC. J’AI PU, Un JOUR, RELEVER SOIXAnTE CRUS, TOUS DE LA mÊmE AnnÉE. IL S’AGISSAIT CERTES DE VInS, mAIS TOUS ÉTAIEnT DIFFÉREnTS.

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. I was glad to help him, after all of the many times he had helped me.

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