Adrian Frutiger: Typefaces by Heidrun Osterer

By Heidrun Osterer

The common paintings at the Swiss variety clothier: all typefaces - from layout to advertising - have been visually documented and analyzed near to the expertise and to similar typefaces.

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When I first met him he had changed over entirely to the classical side. One can never know what goes on inside someone’s mind. Jan Tschichold simply felt more at /07/ Initiales Cristal by Rémy Peignot, made in 1953 for Typophane transfer sheets, and for handsetting in 1955. /09/ Stridon made in 1952 by the Fonderie Warnery (Paris); advertisement in Bulletin Officiel des Cours professionnels, no. 138, 1955. /08/ Selection of shadow faces from the 1930s and 40s; Gill Sans Shadow and Memphis Luna without contours, Ricardo and Graphique with contours, Profil with an additional outline.

I suggested it because I was taught by Käch and Willimann that the space between letters is important, maybe even more so than the counter spaces. The type founders accepted this at once, after I showed them how ungraceful it looks when a V with no overhang is next to an A – there’s a massive hole. Needless to say there’s a normal V for the other combinations. Initiales Président was very well received in France. Charles Peignot came up with the name. Back then I was still too unaccustomed to the French way of life.

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. Charles Peignot was quick to recognise this and believed in the success of the various new setting methods. He started publicising them with adverts and articles in the French trade publications, in addition to appearances at trade fairs.

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