Content -- Adrian Frutiger - The standard-setter -- A typeface is a tool -- How we made this book -- How to use this book -- Adrian Frutiger's teachers and mentors. Career path -- Président -- About Président -- Latins, Runic, Etienne, Renaissance -- Business card typefaces -- Basic forms of & -- Additions to Président -- Typeface comparison -- Delta. The 'Delta' style -- Phoebus -- About Phoebus -- Swashes -- Typophane transfer sheets -- Typeface comparison -- Element-Grotesk. A new approach to type -- Federduktus. Experiments and designs -- Ondine -- About Ondine -- Formal derivation of Ondine -- Script fonts by Deberny & Peignot -- Deberny & Peignot market segments -- Typeface comparison -- Méridien -- About Méridien -- Le Mariage de Figaro -- Rhythm and proportion -- The multitude of originals -- Dualism of shapes in nature -- Typeface comparison -- Caractères Lumitype -- About Lumitype -- Lumitype classification -- Possibilities of Photon-Lumitype -- Lumitype font range -- Em square and units -- Univers -- About Univers -- Historical background -- Univers diagrams -- Static grotesque -- Antique Presse and Univad -- Non-Latin typefaces -- Univers extensions -- Linotype Univers -- Univers original versus digital -- Univers adaptations -- Frutiger's thoughts on the new Linotype Univers -- Typeface comparison -- Egyptienne F -- A first typeface for photosetting -- Origins of Egyptian typefaces -- Problems of photosetting -- Development / adaptation of Egyptienne F -- Formal differences between the versions -- The quality of an atypical typeface -- Typeface comparison -- Opéra -- Development of Opéra -- Formal characteristics -- Alphabet Orly. A signalisation without a system -- Apollo -- Production stages of Apollo -- Stylistic elements of Apollo -- Apollo as a book typeface -- Marketing Apollo -- Typeface comparison.

Alphabet Entreprise Francis Bouygues. Collaboration -- Concorde -- The development of Concorde -- A dynamic sans serif -- The static aspects in the dynamic Concorde -- Serifen-Grotesk / Gespannte Grotesk -- An inscriptional roman for text setting -- The humane in the grotesque -- Alphabet Algol. Typeface for a computer language -- Serifa -- Beginning of Serifa -- Serifa designs -- Twelve Serifa theses -- Slab serif typeface group -- Advertising Serifa -- Typeface comparison -- OCR-B -- Worldwide standardisation -- Machine-readable typefaces -- Character recognition -- Designing OCR-B -- Applications -- Typeface comparison -- Univers IBM Composer -- Cooperation with IBM -- Typesetting and typeface quality -- Typeface design for the Composer -- Alphabet EDF- GDF. Architecture and typography -- Katalog. A strong typeface for newsprint -- Devanagari/Tamil -- Scripts of the Indian cultures -- Indo-European scripts -- Indian scripts -- Working on the new Devanagari -- A linear Tamil type -- Alpha BP. A better Futura or a typeface in its own right ? -- Documenta. A harmonious OCR typeface -- Alphabet Facom. Catalogue design and corporate typeface -- Alphabet Roissy -- Projects involving flying -- Legibility and choice of typeface -- Unambiguous symbol recognition -- Information technologies -- Alphabet Brancher. A typeface as viscous as honey -- Iridium -- The origin of Iridium -- The noble form in a typeface -- D. Stempel AG -- 'Der Mensch und seine Zeichen' -- Typeface comparison -- Alphabet Métro -- The Métro in Paris, the Tube in London -- Univers as the basis for Métro -- The arrow -- Alphabet Centre Georges Pompidou. The typeface Centre Georges Pompidou CGP -- Frutiger -- A signage type becomes a text type -- Frutiger for photosetting -- Comparison between Concorde, Roissy, Frutiger -- Frutiger LT PostScript.

Frutiger for form and the Post Office -- A true cursive in addition to the grotesque -- Is Frutiger Next really a Frutiger ? -- The digital versions -- Imitations of Frutiger -- The colour of a typeface -- Typeface comparison -- Back to signage type - Astra Frutiger -- Glypha -- Serifa versus Glypha -- Differences to Serifa -- Typeface comparison -- Icone -- Technical development -- The distortion of type -- Creative counterattack -- Typeface comparison -- Breughel -- Typographic designs for Breughel -- Relationship to Jenson -- A typeface suited to digitisation -- Leading of a typeface -- Typeface comparison -- Dolmen -- 'Delta' and 'Dolmen' -- Curve junctures in 'Dolmen' -- A further 'Dolmen' project -- Tiemann -- Tiemann-Antiqua at Die Zeit -- The 20th-century neoclassical antiquas -- Typeface comparison -- Versailles -- Historically 'correct' Latin typeface -- Designing the curve endings -- ITC Latin typefaces at Linotype -- Determining the letter-spacing -- Typeface comparison -- Linotype Centennial -- Linotype's demands -- Characterisation of type -- A standard neoclassical typeface -- 100 years of Linotype typesetting -- Two design sizes -- Typeface comparison -- Avenir -- Avenir - A humanist linear grotesque -- Studies on the linear grotesque -- Early geometric sans serif -- A new constructed grotesque -- New Wave and Techno -- Production and marketing -- Typeface comparison -- Avenir Next -- Westside -- Consistency in Westside -- The Italienne subgroup -- Typeface comparison -- Vectora -- General remarks on Vectora -- American Gothics as the starting point -- Size and impact of a typeface -- Typeface comparison -- Linotype Didot -- The genesis of Linotype Didot -- Design sizes -- The originals -- Ornaments and decorative fonts -- Typeface comparison -- Herculanum -- 'Type before Gutenberg'.

Historical analysis of Herculanum -- 'Type before Gutenberg' type sets -- Typeface comparison -- Shiseido. A whiff of a typeface -- Frutiger Capitalis -- Another ancient roman typeface -- Frutiger Capitalis Signs -- Pompeijana -- Further development of 'TBG' -- The design of Pompeijana -- Typeface comparison -- Rusticana -- 'Type before Gutenberg' - Third instalment -- Shape changes in the terminals -- Typeface comparison -- Frutiger Stones/Frutiger Symbols -- From stone to type -- Frutiger Symbols -- Frutiger Neonscript. Neon - A typeface for fluorescent lettering -- Nami -- Half a century in the making -- Typeface comparison -- Synopsis of Frutiger-Typefaces -- Typeface classification -- Principles of form -- Proportion -- Stroke weight -- Formal considerations -- Punctuation and special characters -- Numbers -- Italics -- Production of type -- Handsetting -- Photosetting Photon-Lumitype -- Machine setting - Single-letter casting -- Photosetting Monophoto -- Machine setting-Line-casting -- OCR technology -- Strike-on composition -- Transfer type -- Photosetting Linofilm -- CRT setting -- Lasersetting -- Digital setting -- Detail in typography -- The colour of a typeface -- Leading of a typeface -- Determining the letter-spacing -- Characterisation of type -- Size and impact of a typeface -- Design sizes -- Quotations of Adrian Frutiger -- Type is like a spoon -- Keyhole and key -- The feeling for shapes and a technical grasp -- I make the bricks -- The balance of the counters -- Like the work of a dressmaker -- The simplicity of abstract symbols -- Like a pure tone in music -- Logos and wordmarks -- 1957 -1960 -- 1961 -1964 -- 1965 -1971 -- 1972 -1978 -- 1979 -1983 -- 1984 -1990 -- 1991 - 2008 -- Addendum -- Notes -- Index of typefaces -- Index of subjects -- Index of names -- Index of firms -- List of literature.

List of illustrations -- Biography Adrian Frutiger -- Awards and prizes -- Lectures -- Exhibitions -- Publications by Adrian Frutiger -- Specialist articles by Adrian Frutiger -- Films/Videos -- Radio interviews -- Publications about Adrian Frutiger's work -- Articles on Adrian Frutiger's work -- Typefaces by Adrian Frutiger -- Typeface manufacturers -- Places of work and co-workers -- Collaborations with other companies -- The authors -- Our thanks -- Credits.