A bold sans-serif in three numbered widths of increasing weight:
59, 69, and 89 [1985 Universal-Schriftprobe by Haas].
The sample shows the 69.
Made as foundry type for large scale newspaper headline setting
after requests from the sales department at Deberny &
Peignot. A design from 1963 titled Antique Presse,
Mandel exhibits clear differences. Credited to Ladislas
Mandel with a 1964 date in Etapes Graphiques.
Rejected and reworked along the lines of Univers
– the 59 style was shown as Univers 59 bis (“encore”)
at one point. Later transferred to Haas. Adrian
Frutiger claimed credit in 1988 and reaffirmed the attribution
in 2001 [Osterer
& Stamm 2008].
“Erroneously attributed to Ladislas
Mandel at Deberny &
Peignot in the ’60s, it was later established that Adrian
Frutiger, then art director More…
A bold sans-serif in three numbered widths of increasing weight: 59, 69, and 89 [1985 Universal-Schriftprobe by Haas]. The sample shows the 69.
Made as foundry type for large scale newspaper headline setting after requests from the sales department at Deberny & Peignot. A design from 1963 titled Antique Presse, Mandel exhibits clear differences. Credited to Ladislas Mandel with a 1964 date in Etapes Graphiques. Rejected and reworked along the lines of Univers – the 59 style was shown as Univers 59 bis (“encore”) at one point. Later transferred to Haas. Adrian Frutiger claimed credit in 1988 and reaffirmed the attribution in 2001 [Osterer & Stamm 2008].
“Erroneously attributed to Ladislas Mandel at Deberny & Peignot in the ’60s, it was later established that Adrian Frutiger, then art director of the foundry, was more likely the mind behind Antique Presse. As further proof, Antique Presse quite blatantly follows Frutiger’s Univers pattern on many levels.” [Production Type]
