Wayfinding----- Adrian Frutiger

Charles de Gaulle Airport's wayfinding = Adrian Frutiger


....nowadays from charles de gaulle airport.

....past charles de gaulle....

This typeface was designed by Adrian Frutiger and was commissioned by the Charles De Gaulle International Airport in Paris for usage on directional signage. Frutiger is a humanist sans-serif, and has become one of Adrian Frutiger’s best-known typefaces, along with Univers. The weight of the forms are much less monotone than Univers, and due to these subtle thicks and thins the typeface has far more character.



Frutiger's goal was to create a sans serif typeface with the rationality and cleanliness of Univers, but with the organic and proportional aspects of Gill Sans. The result is that Frutiger is a distinctive and legible typeface. The letter properties were suited to the needs of Charles De Gaulle – modern appearance and legibility at various angles, sizes, and distances. Ascenders and descenders are very prominent, and apertures are wide to easily distinguish letters from each other.



From Adrian Frutiger's Mouth: "What I may say as a critic, after thirty years of the use of
Roissy (C-de-G) Airport typography, is this: that the Roissy face is too light and too closely set. Moreover there is too little space, too narrow, around the letters, especially in the
signage for the access roads. The first thing the driver sees on arriving is the colored rectangle.
At first, Paul Andreu was very much against the use of pictograms and he persuaded me that the word "Bar" is just as recognizable as a drawing of a wine-glass.



He started with the assumption that the air traveller was familiar with the international language of airport facilities; but we soon found out that the signs for "Ladies" and "Gentlemen" were not always clearly understood. We resisted the idea of using silhouettes of male and female figures, or in the case of left luggage lockers, a suitcase with a key.

In the space of 25 years the problem has completely changed. Nowadays, more and more pictograms are used from the series which has meanwhile been internationally introduced, since more than half of all passengers are tourists from every part of the globe and many of them simply do not know the Latin alphabet. For such people, a language of signs is easier to learn than a set of wordimages."

From his words it's easily understood that he is a far-sighted person, he mentions pictograms for wayfinding etc. how important, because of a person who travels all around the world might not know the words meaning on the panels.

Revised Frutiger font in 2003 is now used nearly in every country not only for the airports, as well as road signs.

Pictograms are in motion....

Animation from airport pictograms.....



Animation for the movie "Catch me if you can"

GARAMOND

The key name behind the Garamond's history is the punch-cutter Claude Garamond, who lived between 1480-1561. Garamond is the name given to a group of old style serif typeFaces. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Sabon, Granjon, Stempel Garamond, and Adobe Garamond. Garamond came to importance in the 1540s, first for a Greek typeface he was commissioned to create for the French king François I, to be used in a series of books by Robert Estienne. After Claude Garamond invented the font there are 6 subsequent typographer and Macintosh.

1. A majority of the typefaces named Garamond are more closely related to the work of a later punch-cutter Jean Jannon (Claude Garamond's apprentice).
2. Garamond based much of the design of his lowercase on the handwriting of Angelo Vergecio, librarian to François I. Who called (to write like an angel!)
3. The italics of most contemporary versions are based on the italics of Garamond’s assistant Robert Grandjon.
4. Contemporary digital versions of Garamond include Adobe Garamond, Monotype Garamond, Simoncini Garamond, and Stempel Garamond.
5. The typefaces Grandjon and Sabon (designed by Jan Tschichold) are also classified as Garamond revivals. An example of Sabon:
6. A version called ITC Garamond, designed by Tony Stan (1917–1988) was released in 1977. The design of ITC Garamond, more than any other digital versions, takes great liberty with Garamond's original design by following a formulary associated with the International Typeface Corporation (ITC), that being an exaggerated increase in the x-height, and a wide range of weights from light to ultra bold, and a condensed width also in weights from light to ultra bold.
7. 
8. Upon the introduction of the Macintosh in 1984, Apple adopted a new corporate font called Apple Garamond. It was a narrow variation of the classic Garamond typeface. Specifically, ITC Garamond (created by Tony Stan in 1977) was condensed to 80% of its normal width. Presumably, Apple felt that the existing ITC Garamond Condensed, at 64%, was too narrow.
   

TRAJAN

History behind the trajan type face:

1. The ancient history:

Trajan, the lettered inscription on the base of Trajan's Column in Rome, is often regarded asone of the best models of the Imperial Roman alphabet.

Trajan’s Column was erected by theSenate and People of Rome as a memorial the Emperor Marcus Ulpius Traianus’ wars, whichslightly extended the Empire’s frontiers even further into “barbarian” territory than it hadalready been.Contrary to the belif of some,the lettering on the base of Trajan’s Column was neither the debut of the Roman Alphabet, nor the first time that it had used serifs.

It is, however, probably the most famous example of both. The letters on Trajan’s Column represent one of the best examples left to us from antiquity. Trajan’s Column, and samples like it, would go on to influence the development of the Roman alphabet, and later typeface design, for the next 2,000 years.

The lettering inscribed on the base of the column is termed scriptura monumentalis or capitalis monumentalis, a form of majuscular (capitals) used for larger architectural inscriptions. Like all capital letters in the Latin alphabet since the second century BC, it is shaded, the vertical strokes twice as thick as the horizontal ones. Here, too, the height of the letter is approximately eight and one-half to nine times the width of the vertical stroke, an ideal ratio for the letter type.

The othe example of "Trajan," a typeface developed by Carol Twombly for Adobe Systems. Modified for printing on paper, the font has stronger serifs than the original, with different stem and bowl weights, the letter "N" being narrower and "S" wider.

Here are the other examples of photos from romans which i shot them on a trip to
Asklepion, Bergama (Perganum) in Turkey.

A Video About Trajan===> A Movie Font

Hollywood star: Trajan (a typeface)

Strengths & Weaknesses

Garamond

Unique chracteristics made the Garamond’s letterforms convey a sense of fluidity and consistency.


Even when you use it like 5pt it can easily be read. For the books, manuals etc. Apple used this fonts revised to apple garamond style in it's marketing.
For example, for almost two decades and formed a large part of Apple's excellent brand recognition. It was not only used in conjunction with the logo, but also in manuals, ads and to label products with model names. Especially lowercase of Garamond's font is one of the most readable one in the field. It looks like a bit old fashion font but still alive.

Trajan

However trajan has no lowercase family but after a revision it has small-caps but this still doesn't work for so many fields but it worked for the film industry. Nearly half of movie trailers, posters, dvd covers, handouts are all designed with Trajan. I think this font is much more famous than the hollywood stars cause trajan still acts nearly in all movies.
It has sharp and strong serif that gives trajan a mystical look with a powerful stand either screen and in movie posters.

Here are some examples from movie posters: