![]() After training in Switzerland, where he was born, he settled in Paris and went to work for the type foundry Deberny and Peignot. The spoon and the letter are tools one to take food from the bowl, the other to take information off the page… When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.”įrutiger seems to have developed this approach over time. As Frutiger himself put it, “If you remember the shape of your spoon at lunch, it has to be the wrong shape. One is so busy absorbing the content of the message that the actual form of the message disappears. The designer’s name is now forever attached to the typeface used at Charles de Gaulle.įrutiger’s obituary in the New York Times on September 20 quotes Erik Spiekermann, a German type designer, who notes that the Frutiger typeface “doesn’t call attention to itself…it makes itself invisible, but physically it’s actually incredibly legible.” But not everything can turned into a picture (such as, apparently, an airport lounge, judging by the image above). Now, of course, more and more airports are signed in pictograms. But the ease of finding your plane and your duty-free Veuve Clicquot depends on clear signs. You will look for your gate and the shops and move on. For more previews using your own text as an example, click here.When you arrive at Charles de Gaulle Airport in Paris, one of the first things you will see is the work of a man who died on September 10 of this year: Adrian Frutiger, type designer. Here is a preview of how Univers® Next will look.
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