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G

p l a Gy h

Erika Hedgecock

LT STD


a blast the

from

past

In the year 1977, the average cost of a new home was $49,300. The average income was 15,000. A gallon of gas was a mere $0.65. Jimmy Carter was Presdient of the United States, and warned Americans to make changes in oil consumption. Reverend Martin Luther King Jr. was awarded the The Medal of Freedom. The World Trade Center in New York City is completed. The US population reached 216 billion. Apple computers, commercial flights, and the first MRI scanners were sold. Elvis Presley passed away. Popular films were Star Wars, Rocky, Saturday Night Fevere, King Kong, and Annie Hall. Popular bands and artists wee Rod Stewart, Stevie Wonder, The Eagles Fleetwood Mac, and Wings. Designed by Adrian Frutiger in 1977 for Linotype. During the times of Flettwood Mac’s “Rumours”, The Wings, “Maybe I’m Amazed”, and the first epidode of Jay Leno on The Tonight Show. It is both a slab serif, and square serifs type. It can be used in both type and display functions. It is highly legible, and convenient for usage in projects that have space limits. The strokes vary slightly. It is modeled from the basic froms of Univers, however with an addition of the slab serifs. It is the condensed extended version of Serifa, from the 1960s. Glypha has a taller x-height, and the proportions of curves are based o the oval, unlike Serifa. The differation between weights offer a diverse use, and is incredibly legible, and practical. It is a reccomend use for catalogues, advertisements, and magazine work.


About the

Adrian

Frutiger

designer:

From the beginning, Frutiger was also aware of letters, and their forms. At the age of 15, he rebelled against his teacher’s instructions to write in the Hulliger method, and became interested in the works of Ernst Eberhart, a writer and teacher, known for his free sense of handwriting. Frutiger created his own way to write. He broke down his pen into a “broad nib” in order to make his letterforms round, and more open.

I longed for a distant, sunny land, and for a metropolis where I could achieve something big.

born:

Unterseen,

Switzerland

1928

Frutiger attended compulsory school, and after apprenticed as a compositor. He then went on to continue his studies at the Zurich School of Arts and Crafts during the years 1949-1951. In 1952, Frutiger was asked to oversee drawing at Deberny & Peignot in Paris, France. Here he saw the production of metal fonts and type for the Lumitype/Photon phototypesetting systems.


the Frutiger’s work continued to use Swiss influence, although he was studying away from his homeland. He was interested with woodcut techniques, and the paper silhouettes of the Bernese Oberland. He was ispired by the black and white contrast. He then designed Ondine, by cutting and pasting black shapes of paper.

The contrast conveys the absolute construction of an image. Taking black away means adding white. In this way, the space between an R and an S becomes like a sculpture for me.

In the 1950’s, Frutiger went on to design Meridien, and Phoebus. These fonts were some of the earliest examples used for photocomposition printing. In 1957, Frutiger solidified himself as a successful type designer, with Univers. Frutiger, aside from designing type, is an accomplished painter, sculptor, sybologist, and mathematician. He is an author of many type, and design books. He has been honored with numerous awards for his work with typography, including the Gutenberg Prize, the Type Director’s Club Medal, the French Grand Prix National des Arts Graphiques, and the Society of Typographic Aficionados Typography Award.

works of Adrian Frutiger Ondine Univers Meridien Egyptienne Apollo Serifa Frutiger

Glypha Versailles Avenir Herculanum Didot Pompeijana Rusitcana


meet the typefaces

crisp, clean, and legible, with a little bit of sass. i’m great for magazines, and even catalogues. i am often used in projects with space limits. considered highly in the practical sense. I can be big, and bold, too. use me, and abuse me.


1 2 3 4 5 6 7 8 9 0 !@ # $ % ^ & * ? {

a fewtinnies short a slab of

Glypha is characterized as a Slab Serif, also called mechanisitic, square serif, or Egyptian. The slab serif’s are the thick, block like additions to the letters endings (identified in the images in red). Thay can range from blunt, angular, or rounded. Some consider it to be a subset of modern serif typefaces. Most commonly used in large headlines, and advertisements.

A EFM Slab Serif fonts were created solely for the use in advertising, posters, and flyers. It dates back to 1815, under the design of Vincent Figgins. It showed how print materials were branching out from just books. The four sub groups of slabserif fonts are Clarendon model, neo-grotesque model, Italienne model, and typewriter typefaces. Clarendon actually has some bracketing and contrast in size, unlike normal slabs-serifs. Neo-grotesque are evenly weighed, and have no bracketing, the most common type. The Italienne model focuses on a heavier serif than stem, which creates a dramatic effect. Typewriter typefaces include the exact same amount of spacing for each letter and character.


“

From all these experiences the most important thing I have learned is that legibility and beauty stand close together and that type design, in its restraint, should be only felt but not perceived by the reader.

�

Adrian Frutiger

Glypha: A Font Book  

A book about the typeface Glypha, and the many types of Adrian Frutiger.

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