...the age of sixteen, he was apprenticed for four years, as a compositor, to the printer Otto Schaerffli in Interlaken; between 1949 and 1951 he studied under Walter Käch and Alfred Willimann in the Kunstgewerbeschule (school of applied arts) in Zürich, where students studied monumental inscriptions from Roman forum rubbings. At the Kunstgewerbeschule, Frutiger primarily concentrated on calligraphy — a craft favouring the nib and the brush, instead of drafting tools. ------------------------------------------------- Work summary[edit] Specimens of typefaces by Adrian Frutiger. An Illustration showing the typefaces Frutiger Serif and Frutiger Next in use. Charles Peignot, of the Paris foundry Deberny Et Peignot, recruited Frutiger based upon the quality of the illustrated essay Schrift / Écriture / Lettering: the development of European letter types carved in wood. Frutiger's wood-engraved illustrations of the essay demonstrated his skill, meticulousness, and knowledge of letterforms. At Deberny & Peignot foundry, Frutiger designed the typefaces "Président", "Méridien", and "Ondine". In the event, Charles Peignot set Frutiger to work upon converting extant typefaces for the new phototypesetting Linotype equipment. Adrian Frutiger's first commercial typeface was Président — a set of titling capital letters with small, bracketed serifs, released in 1954. A calligraphic, informal, script face, Ondine ("wave" in French), also was released in 1954. In 1955, Méridien, a glyphic...
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...Typographic Heavyweights: Adrian Frutiger This essay will discuss a designer called Adrian Frutiger who was born on 24th of May 1928 in Switzerland. When he was young he experimented with script and decorative typestyles in a negative reaction to the formal typefaces used in the schools at that time. After his high school he started working as a compositor, then he continued to get trained at the Zurich school of Arts and Crafts from 1949 to 1951. In 1952 got an invitation from Charles Peignot to administer the drawing office at Deberny & Peignot in Paris which was the foundry who produced metal type and fonts for Lumitype/Photon phototype setting systems. He is a mainly a typeface designer and his work continues to influence the designers and the typographic work in 21st century. Throughout his career when he designed his first official typeface in 1954 which was called Ondine, he designed about 31 different typefaces and his last official typeface was released in 2009 which was called Neue Frutiger. He designed a number of different typefaces but the most known typefaces he designed were Univers and Frutiger. He designed Univers in 1954 and currently includes over 40 typefaces, Universe was his most significant contribution in France which he created for filmsetting and it was also available in different weights and heights. Similar to the typeface Gill Sans which was designed by Eric Gill in 1926, Univers did more to help He produced his first typeface by cutting and pasting...
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...Adrian Frutiger Adrian Frutiger was born on May 24, 1928 and is a very famous Swiss typographer who has created more than 60 fonts in his career. (Identifont, Fonts Designed by Adrian Frutiger) Some of his most famous fonts are: Frutiger, Meridien, the OCR series, Univers, and Serifa, to name a few. He and a couple of colleagues founded their own studio near Paris in order to design, create and distribute their font-work. His work with typography has landed him a few awards and honors; 1986, the Gutenberg Prize of the City of Mains (Germany); 1987, Medal of the Type Directors Club of New York; 1993, Officier de loordre des Arts et des Lettres (Paris); 1993, Grand Prix National des Arts Graphiques (France). (Wikipedia, Awards) Combining his Univers font, along with influences from the font Gill Sans, he created ‘Roissy,’ which ended up being used at the Charles de Gaulle airport in Paris, France. The company Linotype ended up renaming the font that he used to his last name – ‘Frutiger,’ and released it for the public to use in 1976. (Wikipedia, Work Summary) Frutiger attended college at the Zurich School of Arts and Crafts and was taught by two renowned professors, Alfred Willimann and Walter Kach. He then went on as a professor for ten years at the Ecole Estienne, and eight years at the Ecole Nationale Superieure des Arts Decoratifs, in Paris. (Identifont, Adrian Frutiger) A lot of his works are used in both metal and photocomposition systems. His most recent work was in 2008...
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...BACC – Bangkok Art and Culture Centre The Bangkok Art and Culture Centre is the cutting edge mid-town contemporary art centre where artists come and unite. Started in 1995 by The Artists’ United Front of Thailand who propose the idea of a contemporary art centre for Thailand to dedicate to His Majesty the King Bhumipol Adulyadej. However, conflict between the artists and the governor prevent the project for going further due to the governor’s vision of wanting to turn the art centre into a shopping mall with the art centre being a minor part of it. It was not until the new elected Bangkok Governor; Mr.Apirak Kosayodhin approved the project in September of 2004 that the project restarted with budget of 509 million baht. In July of 2008 the projected was completed and the official opening in 2009. The style of Bangkok Art and Culture Centre is a combination of both modern and historic reference of Thai forms and shapes. Narrow and small windows are used as a remark of tradition Thai style windows but were adapted to create a modern look. A sloped slanted wall of the exterior looks simple and modern but was actually used by Thai architecture over the years. Thai roof and the form of Thai traditional dance positions inspired the curved profile of the interior. Feelings of open space are affected by the use of high ceilings and window panels. The building consists of 9 floors, with the main gallery beginning from the 5th floor. The floors beneath are for small galleries, coffee...
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...Univers was designed by Adrian Frutiger in 1956 and released by the Deberny & Pe ignot type foundry in 1957. It is a neo-grotesque sans serif; it features optica lly even stroke weights and a large x-height to improve legibility. It s become kn own for the variety of weights and set-widths included in the family. At the tim e it was designed it included 21 variations, and was the first type family to im plement a numbering system as opposed to using names. Today there are over 27 di fferent variations of Univers available. Univers is an extremely diverse typefac e that has the ability to work very well at large display sizes for applications such as headlines and mastheads as well as in small sizes for body copy. During the 1990s, Adrian Frutiger worked together with Linotype to expand his cl assic Univers family. The result, Linotype Univers, includes 63 different weight s, each drawn carefully to ensure compatibility with all the others. > http://typophile.com/node/13516 ================================================================================ Adrian Frutiger is best known as a type-designer. He has produced some of the mo st well known and widely used typefaces. He was born in 1928 in Interlaken, Swit zerland, and by the age of 16 was working as a printer's apprentice near his hom e town. Following this he moved to Zurich where he studied at the Zurich School of Arts and Crafts, under Professor Walter Kach. After his education in Zurich, Frutiger moved to Paris where he started...
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...Univers (French pronunciation: [ynivɛʁ], "ünivair") is the name of a realist sans-serif typeface designed by Adrian Frutiger in 1954.[1] Originally conceived and released by Deberny & Peignot in 1957, the type library was acquired in 1972 by Haas. Haas'sche Schriftgiesserei (Haas Type Foundry) was later folded into the D. Stempel AG and Linotype collection in 1985 and 1989 respectively. Contents [hide] 1 Visual Distinctive Characteristics 2 Characteristics 2.1 Univers Cyrillic, Univers Pro Cyrillic (2010) 3 Linotype Univers 3.1 Linotype Univers Typewriter 4 Univers Next (2010) 4.1 Univers Next W1G 5 Univers Next Arabic (2011) 6 The Frutiger numbering system 7 Linotype numbering system 8 Usage 9 In popular culture 10 Comparison with Akzidenz-Grotesk, Folio, and Helvetica 11 References 12 External links [edit] Visual Distinctive Characteristics Characteristics of this typeface are: lower case: square dot over the letter i. double storey a. upper case: dropped horizontal element on A. [edit] Characteristics Univers is one of a group of neo-grotesque sans-serif typefaces, all released in 1957,[2] that includes Folio and Neue Haas Grotesk (later renamed Helvetica). These three faces are sometimes confused with each other, because each is based on the 1898 typeface Akzidenz-Grotesk. These typefaces figure prominently in the Swiss Style of graphic design. Different weights...
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...of contemporary design work. This particular style has its roots formed by the modernist movement that started a few decades before it emerged. The style was later called The International Typographic style because it was mainly built on the use of typography. There are two typefaces that are the big stars of the Swiss style, the so called “Sans Serif Twins”, Univers and Helvetica. Both of them gained huge popularity among typographers right after their emergence and up to date they are still one of the most favorable typefaces in the world. How can that be possible? How can typefaces designed half a century ago still be used in contemporary practice? Both Helvetica and Univers are special in their own way. Univers was designed by Adrian Frutiger in 1954 in Paris and...
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...influential and notorious typefaces today. It not only gives the name of the designer and the year when it was first published, but also groups it into families and classes like serif, sans-serif, display, grotesque, didone or geometric, which helps to get a clearer picture. I found that a good start for research and googled many of the mentioned designers. I stopped at Erik Spiekermann (the type”face” behind Audi, Bosch, Sky TV, Nokia, …) Matthew Carter (internet/screen standard fonts Verdana/Tahoma, Georgia), Max Miedinger (Neue Haas Grotesk = Helvetica), Edward Johnston (ITC Johnston, P22 Underground for the London tube), Paul Renner (Futura), Tobias Frere-Jones (Gotham - Obama election campaign 2008, Asphalt Black), Adrian Frutiger (Linotype Didot, Univers, Frutiger, Avenir), Stanley Morison (Times). These are mainly type faces which serve in headlines as well as in the body copy. If chosen for the right reasons (style of typeface fitting style of article, text, ...) the quality of these fonts have a chance to deliver what the Craig Ward poster on top of this text asks typography to do – to be invisible – meaning to fit a purpose so perfect that it seems to belong to it as part of its nature. In most cases people should not talk about the type faces and graphic design, but the message it transports. I also researched some typographers, who became known mainly for their display typefaces: Luke Lucas (Lukano, Aeroplane, Sleaze, Inline Hell), Steve Buffoni (Nu Classic Typo, Shock)...
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...Spacing 10. Use Appropriate Line Lengths 11. Use Line Spacing that is Readable 12. Use Flush Left Type Alignment 13. Create Effective Rags 14. Clearly Indicate Paragraphs 15. Avoid Widows and Orphans 16. Emphasize Elements within the text 17. Never distort the Type 18. Align Letters and Word on the Baseline 19. Use Maximum Contrasts between the Type and the Background 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 19 Rules of Typography RULE 1 Use Classical Typeface For optimum legibility, choose classical, time-tested typefaces. These typefaces should be drawn and crafted with consistency among characters, and exhibit highly legible proportions. Examples include: Baskerville, Bembo, Bodoni, Caslon, Centaur, Franklin Gothic, Frutiger, Futura, Garamond, Gill Sans, Goudy Old Style, Helvetica, News Gothic, Palatino, Perpetua, Sabon, Times New Roman, and Universe. RIGHT WRONG SMART PEOPLE SMART PEOPLE 19 Rules of Typography 2 RULE 2 Use Maximum Two Typefaces Be mindful not to use too many different typefaces at any one time. The main reason for using more than one typeface is to create emphasis or to separate one part of the text from another. When too many different typefaces are used, the reader is unable to determine what is and what is not important. RIGHT WRONG BAN CLUSTER BOMBS SIGN THE TREATY THIS DECEMBER BAN CLUSTER BOMBS SIGN THE TREATY THIS DECEMBER 19 Rules of Typography 3 RULE 3 Use Typefaces that are Different...
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...ACE2006 Agricultural Economics Guidelines for poster assessment You must decide on a research hypothesis and then extract the data you need to test that hypothesis from the Farm Business Service (FBS) dataset. This dataset contains a large number of variables, including measurements of farm income, farm size, total costs, fixed and variable costs, total revenue, revenue from farming, subsidies, farm diversification and agri-environment payments. It also contains details of farm location, enterprise revenue and variable costs (and gross margins), farm type. It is up to you to decide what data you need to test your research hypothesis. For example, you might wish to examine the economies/diseconomies of scale theory, or you may wish to show how farm business income varies with region and within region by farm type (or size). You may wish to determine which farm types earn what % of total revenue from agri-environment payments or from diversification payments. You could examine the labour used on different farms, and correlate this with a measure of farm income. There are endless possibilities. You are asked to decide on a research hypothesis yourself and to work alone this is individual work so DO NOT work in groups. The poster that you will present your research hypothesis and data analysis is described below, this exercise is assessed and is worth 20% of the module mark. This document contains guidelines for extracting data, and the pro-forma which you...
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...Proton (automobile) From Wikipedia, the free encyclopedia Jump to: navigation, search Proton Holdings Berhad The Proton Company logo Type Public (Bursa Malaysia: Proton) Industry Automotive Founded May 7, 1983 Headquarters Shah Alam, Selangor Malaysia Key people Mohd Khamil Bin Jamil (Executive Chairman) Products Car, Automotive Parts Employees 12,000 Subsidiaries Lotus Cars Website www.proton.com Proton Holdings Berhad (stylized PROTON) is a Malaysian automobile manufacturer. It is headquartered in Shah Alam, Selangor and operates an additional manufacturing plant in Tanjung Malim, Perak. The company was established in 1983 as the sole national car company until the advent of Perodua in 1993. Proton is a Malay acronym for Perusahaan Otomobil Nasional Sendirian Berhad. (English: National Automobile Company Private Limited). Proton was largely a manufacturer of badge engineered vehicles from Mitsubishi Motors between 1985 and the early 2000s. The company has since produced several indigenously designed models and operates in at least 26 countries today, of which the majority are in Asia. Proton was formerly owned by Khazanah Nasional, the investment holding arm of the government of Malaysia. In January 2012, it was taken over by DRB-HICOM, a Malaysian conglomerate in a transaction amounting RM1.2 billion. Proton, predominantly reliant on its domestic market is currently undergoing structural and internal changes, as evident in the appointment of...
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...Proton (automobile) Proton Holdings Berhad (stylised PROTON) is a Malaysian automobile manufacturer. It is headquartered in Shah Alam, Selangor and operates an additional manufacturing plant in Tanjung Malim, Perak. The company was established in 1983 as the sole national car company until the advent of Perodua in 1993. Proton is a Malay acronym for Perusahaan Otomobil Nasional Sendirian Berhad. (National Automobile Company Private Limited). approved by the Cabinet in 1982, leading to the official founding of Proton on 7 May 1983. The company was initially wholly owned by the government of Malaysia through Khazanah Nasional and was headed by its founder, Dr. Mahathir. Proton approached Mitsubishi Motors between 1983 and 1984 and brokered a joint venture between both companies for the production of the first Malaysian car. The result of the collaboration was the Proton Saga, which launched on 9 July 1985.[3] It was based on the second generation 1983 Mitsubishi Lancer Fiore 4-door saloon and powered by a 1.3-litre Mitsubishi Orion 4G13 engine. The first Proton Saga to roll off the production line in Shah Alam is preserved in the Muzium Negara as a symbol of the beginning of the Malaysian automotive industry. Sales of the new Saga outstripped supply and Proton struggled to meet the growing demand, but by mid-1986 it had captured a 64% majority domestic market share in the Below 1600cc segment.[4] Later in October 1987, a hatchback variant called the Proton Saga...
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...Study Guide to Accompany Meggs’ History of Graphic Design Fourth Edition Prepared by Susan Merritt Professor and Head of Graphic Design School of Art, Design, and Art History San Diego State University (SDSU) With assistance from Chris McCampbell and Jenny Yoshida John Wiley & Sons, Inc. i DISCLAIMER The information in this book has been derived and extracted from a multitude of sources including building codes, fire codes, industry codes and standards, manufacturer’s literature, engineering reference works, and personal professional experience. It is presented in good faith. Although the authors and the publisher have made every reasonable effort to make the information presented accurate and authoritative, they do not warrant, and assume no liability for, its accuracy or completeness or fitness for any specific purpose. The information is intended primarily as a learning and teaching aid, and not as a final source of information for the design of building systems by design professionals. It is the responsibility of users to apply their professional knowledge in the application of the information presented in this book, and to consult original sources for current and detailed information as needed, for actual design situations. This book is printed on acid-free paper. Copyright © 2006 by John Wiley and Sons. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced...
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...Gismália Marcelino Mendonça Manual de Normalização para Apresentação de Trabalhos Acadêmicos Salvador UNIFACS 2009 © 2009 Gismália Marcelino Mendonça Direitos dessa edição cedidos à Universidade Salvador - UNIFACS APRESENTAÇÃO A realidade moderna do ponto de vista socioeconômico compreende uma Sociedade do Conhecimento e a Economia Tecnológica subjacente a ela. Neste tipo de realidade as Universidades são instituições centrais, seja por formarem os recursos humanos a ela necessários, seja por produzirem conhecimento científico e tecnológico, sendo este o principal bem, em termos de valor, desta economia. Este conhecimento tecnológico é produzido em escala industrial, ou seja, em grande quantidade e com alta qualidade, por um aparato produtivo complexo. Frequentemente os avanços tecnológicos geram mudanças paradigmáticas, alterando inesperadamente para melhor as condições de funcionamento da sociedade, mas exigindo de todos um contínuo esforço de adaptação às novas possibilidades. Esta também tem sido a tônica no campo específico da produção de trabalhos acadêmicos, onde aparecem novos recursos, como base de dados, portais de publicações científicas, disponibilização de trabalhos na Internet para crítica e interação entre pesquisadores etc. No caso da Unifacs temos procurado acompanhar estas novas possibilidades na produção de trabalhos acadêmicos. Para isso o nosso Sistema de Bibliotecas possui um grande acervo de material de orientação para trabalhos acadêmicos, sejam trabalhos...
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...Gismália Marcelino Mendonça Manual de Normalização para Apresentação de Trabalhos Acadêmicos Salvador UNIFACS 2009 © 2009 Gismália Marcelino Mendonça Direitos dessa edição cedidos à Universidade Salvador - UNIFACS APRESENTAÇÃO A realidade moderna do ponto de vista socioeconômico compreende uma Sociedade do Conhecimento e a Economia Tecnológica subjacente a ela. Neste tipo de realidade as Universidades são instituições centrais, seja por formarem os recursos humanos a ela necessários, seja por produzirem conhecimento científico e tecnológico, sendo este o principal bem, em termos de valor, desta economia. Este conhecimento tecnológico é produzido em escala industrial, ou seja, em grande quantidade e com alta qualidade, por um aparato produtivo complexo. Frequentemente os avanços tecnológicos geram mudanças paradigmáticas, alterando inesperadamente para melhor as condições de funcionamento da sociedade, mas exigindo de todos um contínuo esforço de adaptação às novas possibilidades. Esta também tem sido a tônica no campo específico da produção de trabalhos acadêmicos, onde aparecem novos recursos, como base de dados, portais de publicações científicas, disponibilização de trabalhos na Internet para crítica e interação entre pesquisadores etc. No caso da Unifacs temos procurado acompanhar estas novas possibilidades na produção de trabalhos acadêmicos. Para isso o nosso Sistema de Bibliotecas possui um grande acervo de material de orientação para trabalhos acadêmicos, sejam trabalhos...
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