living in France, returning to Switzerland later in life. Career , of the Paris foundry , recruited Frutiger based upon the quality of the illustrated essay / / Lettering: the development of European letter types carved in wood, Frutiger's final project at the Kunstgewerbeschule Zürich. Frutiger's wood-engraved illustrations of the essay demonstrated his skill, meticulousness, and knowledge of letter forms. At Deberny & Peignot foundry, Frutiger designed the typefaces , Méridien, and . In addition, set Frutiger to work upon converting extant typefaces for the new phototypesetting Linotype equipment. Adrian Frutiger's first commercial typeface was — a set of titling capital letters with small, bracketed serifs, released in 1954. A calligraphic, informal, script face, ("wave" in French), also was released in 1954. In 1955, , a glyphic, old-style, serif text face was released. The typeface shows inspiration by Nicolas Jenson, and, in the type, Frutiger's ideas of letter construction, unity, and organic form, are first expressed together. Raph Levien described as a "Frutiger trademark" his common use of an "a" where the loop makes a horizontal line at the top on meeting the vertical. It makes use of narrow wedge serifs, a style sometimes known as Latin which Frutiger would often use in his future serif designs. In 1956, he designed his first-of-three, slab-serif typefaces — Egyptienne, on the Clarendon model; after Univers, it was the second, new text face to be commissioned for photo-composition. Univers envisioned a large, unified font family, that might be set in both the metal and the photo-composition systems. Impressed by the success of the Bauer foundry's Futura typeface, encouraged a new, geometric sans-serif type in competition. Frutiger disliked the regimentation of Futura, and persuaded that the new sans-serif should be based on the realist (neo-grotesque) model. The 1898 face, Akzidenz-Grotesk, is cited as the primary model. To maintain unity across the 21 variants, each weight and width, in roman (upright) and oblique (slanted), was drawn and approved before any matrices were cut. In the Univers font, Frutiger introduced his two-digit numeration; the first digit (3 though 8) indicates the weight, "3" the lightest, "8" the heaviest. The second digit indicates the face-width and either roman or oblique. It was marketed with a design inspired by the periodic table. The response to Univers was immediate and positive; he claimed it became the model for his future typefaces. His slab serif designs Serifa (1967) and Glypha