Love letter to Adrian Frutiger

Most of us think there are only two typefaces in this world: Times, the one that looks old fashioned, and Arial, the modern one. If you are on a Mac Helvetica will probably have Arial. All the other fonts on the computer are irrelevant. And yes, me too I was like that until I dipped deeper into the matter.
Today there are thousands of different fonts on any machine so most people drop the matter and just stick to Arial or Times. It is just like watching satellite TV. It is no fun so you go back to the two channels you already know. But not me…

I remember very well the day many years ago when I was walking around Charles de Gaulle airport in Paris and there it was, it hit me:  Those signs. This was graphic design at its best, putting order into chaos, clean and clear, leading multi cultured crowds towards their destinations. Pictograms that need no words and a modern typeface that looked so modern but subtle. Totally essential ! Zen ! 

"What typeface is this ?"

I thought.

Years later I found out that this was UNIVERS. I also discovered that there was a reworked, updated typeface based upon this font called FRUTIGER. And Frutiger is his father´s name.

by CANM605, Picassa

Adrian Frutiger, born 1928 close to Interlaken, still alive and kicking, is little known outside the neighborhood of graphic and type design. Most have never even heard his name. Interestingly there is hardly anyone on the planet that has NOT been exposed to his work ! In his life he designed over 50 typefaces with Univers, Frutiger and the machine readable OCR font standing out. He is a living monument ! A great artist ! Frutiger is the guru of type design. 

So what makes his typefaces so special ? What is Frutiger´s magic ? What does his typefaces have that other typefaces don´t ?

"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," 


said he. And yes, it is true, unlike fashionable typefaces that stand out, Frutigers fonts are very subtle. They never grow old, they are invisible but are highly readable.
At the Kunstgewerbeschule Zürich he was a pupil of Walter Käch who was obsessed about perfection in type design. He sent his students into the historic museum to copy roman inscriptions that are the basis of todays "Times Roman" and taught them to look at type with special care. This has been the foundation from where Frutiger ventured out.

Frutiger approaches type design with an emphasis on contrast. "For me, the black-and-white 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."

When modern typesetting replaced the cast type that had existed ever since Gutenberg, Frutiger was one of the first to design type for this new technology.

"For normal text faces in particular, the weight of the downstroke is a very important factor in determining the basic structure of a typeface. A kind of standard for this stroke weight already existed in the Carolingian minuscule and became fully established with the first humanistic romans. It is a quite specific ratio of black to white which gives the x-height band of a typeset line a grey value which the reader finds to be "normal". 
These proportions are perceived with astonishing sensitivity. It often happened that a type foundry had to supplement an existing typeface with a "Book", "Medium" or "Heavy" version, which would be accepted in text setting as "normal" or "suitable for reading". It is not easy to quantify these standard values. The black value is influenced by the weight of the horizontals, also the serifs in the case of roman faces"

So what is his secret ? What is his secret ingredient ? Well, ladies and gentlemen, here it is:

"As an average value, it may be taken that the stroke thickness is multiplied by about 5.5 times in the x-height. The normal width of a sans serif face consists approximately of a side bearing of 3 stroke thicknesses and a lateral "beard" of one stroke thickness. If, to balance out the black value of the horizontal, 0.5 stroke thickness is subtracted from the x-height, the result is a theoretical x-height band of 5 stroke thicknesses. The grey value is composed of 2/7 surface coverage and 5/7 white space, corresponding to a density of rather less than 30 per cent."

Thank you, Mr Frutiger, for revealing us your secret ! You are the man !

Skateboard culture & design

The goddesses of skateboarding by fashion and beauty photographer Chenman

As much as the surf culture in the sixties and seventies the skateboard culture has had a tremendous influence on design ever since the nineteen eighties.

Although Skateboarding has come in and out of mainstream it never diluted the core of the skateboarding scene. It is that scene, on the outside of conformism and often on the edge of society, that, with its own rules of conduct and its very unique identity, has again and again redefined design.

Skateboarding is a crude sensation, it delivers emotions that are hard to describe. It makes one feel like getting closer to god ! The idea of flying has always been man´s dream. Ikarus would have been a skateboarder, was he born today. It is this awesomeness that stuns the spectator again and again. It is this very sensation that makes Skateboarding so interesting for design and advertising.



As a trendsetter Skateboarding has defined fashion, graphic design and industrial design.

Who skates with those shoes ?

Fashion design

With Skateboarders, those street fighters, being today´s heros it is obvious that there is an urge by the young generation to be like them. That starts by dressing up like them.
On the other side there is the need for those on their skateboards to make a living. It often starts by printing some T-shirts and sometimes ends up in big business.
As soon as a skate style has become fashion and is pulling the whole scene into mainstream the core of the skateboarding scene moves quickly away from that trend and invents a new identity.
Apart from the genuine skateboard fashion brands a lot of traditional firms have added skateboards to their products. Young models usually hold a few skateboards, sometimes they stand on one. The result looks often quite fake.

Graphic design

The skateboarding magazines had an impact on the grunge and trash graphic style which moved away from the vectorial cleanliness that are the signature of graphic design software. Typography was badly photocopied and then hand cut and glued to pages to be scanned back into the computer for production. The artwork reflected the torn jeans and worn out Vans of the skater.
Skateboard decks are an ever changing inspiration of cutting edge design.
The deck is a screen printed piece of multiplex plywood. The same screen printer that provided the T-shirts printed on the first decks. As the printing techniques evolved it became possible to do more photorealistic full color art. Instead of a two color screen print we find an array of all kinds of imagery on decks today.

Furniture design

It must have started with the need to keep the old skateboards. Every skater is emotionally attached to his deck, which has provided him with many strong emotions. It is difficult to let it go, even after its lifecycle. Here are some interesting pieces of skate furniture:

by Zanini de Zanine Caldas and others

The skateboard culture has been threatened and was damaged by its own success and the wash-up of easy money. But as it moved in and out of mainstream these streams of revenue dried up again and again bringing Skateboarding back to its creative roots giving birth to new trends.

"Skate or die" will prove again and again that Skateboarding is not dead but always on the edge - good for the next trend.

Dieter Rams - Gestalten

A master on design

Kitsch or Design

You have seen it, a little girlande here, an underline there, and why not add a little shadow effect to make it look nice ? The page fills up and the eye wonders where to look first.
Look around you and you will see it everywhere. Horror ! It shows a lack of grasping the concepts of design. It is cosmetics ! Maquillage ! And it results in kitsch !

Good design is logical. It never looses the objective out of sight: Getting the message across. Beautiful design is not the objective. Effective design with impact is. And often, as a result, effective design turns out to be amazingly beautiful. But that is just a side effect !

Sometimes good communication design is not beautiful. Take advertising for a supermarket for example. The design must reflect the value-for-money offer and will be bold and crude. The design looks as cheap as the products. The logo appears in Arial bold and primary aggressive Pantone 032 red, typesize 96, and prices appear crossed out, underlined, and bold. And yet it is very effective and works for the client.

At other times the purification process of communication design creates products that are beautiful and timeless. By sticking to the classical concepts of typography, laws used already by Bodoni and Baskerville, delving deep into the message and structuring the logical sequence for the reader we designers help the reader to enter the document, make absorption as uninterrupted and smooth as possible.

We only have text, colors, images, and the support to strengthen the objective. EVERYTHING that doesn´t reinforce the message, has to be eliminated. It is a distillation process that at the end only leaves the essential.The result is strong and efficient design ! And Impact !

Just like we like design to be...