![]() ![]() ![]() Upon the successful reception of this modern typeface, the French airport authority commissioned him yet again to work for the new Charles de Gaulle International Airport. It was a set of capitals and numbers designed for white-on-dark-blue backgrounds visible especially under poor lighting. Moreover, he recreated Univers typeface in a variant font. Egyptienne was one of those typefaces that had him commissioned for photocomposition.ĭuring early 1970s, upon the request of the public transport authority of Paris, Frutiger inspected the Paris Metro signage. In a few years, he designed slab-serif typefaces. Frutiger clearly demonstrated his ideas of letter construction, unity, and organic form in Méridien. The typefaces were inspired by Nicholas Jenson’s work. Then Méridien appeared the following year, illustrating a glyphic, old-style, serif text face. It was followed by Ondine, a calligraphic, informal, script face which translated as Wave in French. It was designed in a manner that showcased a set of titling capital letters with small, bracketed serifs. In 1954, Frutiger’s first commercial typeface Président was released. Upon witnessing his marvelous work, Charles Peignot assigned Frutiger to convert extant typefaces for the new Linotype equipment, phototypesetting. At the foundry, he designed various typefaces including Ondine, Méridien, and Président. His wood-engraved essay illustrations displayed his meticulous skills and knowledge of letterforms. The design may be protected in certain jurisdictions.Frutiger illustrated the essay, Schrift / Écriture / Lettering: the development of European letter types carved in wood, which earned him a job offer at the French foundry Deberny Et Peignot by Charles Peignot. This typeface is original artwork of Adrian Frutiger and Linotype Design Studio. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. This font software may not be reproduced, modified, disclosed or transferred without the express written approval of Linotype GmbH. The Univers Next Family is a part of the Linotype Platinum Collection and was formerly named Linotype Univers.Ĭopyright 1997 - 2010 Linotype GmbH, All rights reserved. Frutiger was successful in staying true to his initial aims the new Linotype Univers does indeed work in longer texts as well as for display settings. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. The systemized numbering system has also been updated. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. The bold and condensed weights were reworked for improved legibility and on-screen application. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. ![]() All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. After a long process of painstakingly detailed revision, Adrian Frutiger and the design team at Linotype completed this large joint project in 1997. Univers Next is a completely reworked version of the original Univers family of typefaces designed by Adrian Frutiger in 1957. ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 abcdefghijklmnopqrstuvwxyz is a trademark of Linotype Corp. ![]()
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