The catalogue of the 19th International The Poster and Graphic Design Festival of Chaumont arrived. It reveals the 127 posters selected for international competition and presents the various exhibitions who take place during the event. The book already on sale at the bookshop Artdesign.
(via Etapes)
The link to download the Experimental Jetset interview is now working. Sorry for the inconvinience!
Preface to the 2nd edition:
Dear reader. In this document, youwill find the latest version of the graphicmanual of 104 (LeCentQuatre). We decided to keep this updated version very simple:
The first section is the preface; you are reading that preface right now. In the second section, you can find the latest additions to the104 graphic identity, most importantly the new, correct version of the 104 stationery (letterheads, business cards, etc.).
In the third section, you can find the previous graphic manual (the oldmanual), in its entirety. The fourth section is text-only, and exists of a French translation of the old graphic manual.Why have we decided to enclose, in this updated version, the completeOLD version of the graphic manual? The answer is thatwewanted to show the evolution of the graphic identity as awhole. To understand the graphic language of104, it is important to understand the history of that language. So thewhole third section of this document is devoted to the old version of graphicmanual. In it, you will find proposals that have never been realized, a stationery that has nowbeen outdated, and all our plans and hopes for the future. This old version of the graphic manualwas published in October 2007; we are now almost a year further.
As a fourth section,we enclosed the French translation of the old version of the graphic manual. For non-English speakers, theremight be some information in it that could be useful. Although it has to be understood that some of this information is in fact very outdated.Wewill try to come upwith a French translation of the NEW version soon.
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Designers have various styles. As the old saying goes, to each his own. But they are all driven by the desire to make a mark in their profession. Printwork may just do the trick. They allow designers to put their personal stamp on print work, notably publications and promotional materials. Designers distinguish themselves with their works using techniques such as special printing effects. Printwork devotes itself to documenting publications and promotional items such as catalogues, identity, leaflets, packaging, name cards, brochures and more. Whether you are a die hard print work fan or just curious about the trade, you may just find your little prints here.
Edited by Victionary
248 pages
200 x 255mm
Released: April 2008
English edition
Full color throughout
Soft cover
ISBN 978-988-98228-9-7
Price: US$42.00
Born in 1928 near Interlaken, Switzerland, Adrian Frutiger is one of the predominant figures in twentieth century European design. His career has taken him to many countries, and his work has touched designers around the world, inspiring generations of newcomers since the 1950s. On May 24, he will be 80 years old. We at Linotype.com know that our readers and customers would love the opportunity to wish him a happy birthday.
Adrian Frutiger’s career path is legendary. During the late 1940s, while he was still a student in Zürich, he created an extraordinary piece for his graduation project: a woodcut series of lettering styles illustrating the evolution of the Roman alphabet. After Charles Peignot at the Deberny & Peignot foundry in Paris received a copy of the prints, he quickly brought the young Adrian Frutiger to France.
Although he returned to Switzerland many years ago, Adrian Frutiger spent most of his professional career in Paris. For almost a decade, he was employed by Deberny & Peignot, until he set off on his own in 1961. Over the course of three decades, he designed numerous typefaces still used around the world today, including Apollo™, Breughel®, Frutiger®, Meridien®, OCR B, Ondine™, President™, Serifa®, and Univers®. Which one is your favorite?
Along the way, he took the time to teach younger generations and develop on large-scale projects as well, such as typefaces for the signage system at Charles De Gaulle airport in Paris and the Paris Metro. Since the 1980s, Adrian Frutiger has designed typefaces exclusively for release through Linotype, including Avenir®, Avenir® Next, Linotype Centennial®, Frutiger® Capitalis, Frutiger® Stones, Herculanum®, Pompeijana™, Vectora®, and Westside™.
Adrian Frutiger may be most well known for his groundbreaking sans serif typefaces, like Univers and Frutiger. But his work has gone in many other directions, as Meridien®/Frutiger ® Serif, Ondine™, Herculanum®, and Frutiger® Stones all illustrate.
Send your personalized birthday message to Adrian Frutiger here!
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