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2 Newsletter.Indd n 1954, Frutiger designed the ever popular type- German word ‘Mond’ for moon, more human quality, he would be able to turn Trending Men’s face Univers. Released in 1957, the sans-serif the name was rejected. Galaxy Avenir into a humanist typeface. Using the ‘O’ typeface was classifi ed to be neo-grotesque and and Universal were also consid- Transitional as a starting point, he based the entire alphabet ISwiss style. It was based on the Berthold Type ered, but fi nally, Univers, the on it, making the slightest adjustments in the Foundry’s Akzidenz-Grotesk of 1898. It was one French word for ‘universe’ Wardrobe Mixed horizontal and vertical stroke weights. of three typefaces that were based on this fami- was chosen by Charles Peignot. Avenir was given its name due to its Aft er many successful years, Frutiger de- ly of fonts. Th e other two being Folio and Neue Since Univers was designed translation in French as ‘future.’ Frutiger has signed the typeface Avenir in 1988, by Haas Grotesk, now widely known as Helvetica. based on varying weights and admitted that this was a conscious decision Linotype. Although Avenir was inspired Frutiger’s Univers earned him great distinction, widths, it was designed on an Medium as Futura was Latin for future. Although by geometric fonts like Erbar of 1922 by because it was one of the fi rst to be available in axis. Eventually, a diag ram of Get comfortable out of your comfort zone. Put together a new the two popular typefaces have the same Jakob Erbar and Futura of 1927 by Paul a variety of weights and styles with consistency, the original twenty-one styles look by just switching up fabrics & textures this fall and winter. name meaning, Frutiger’s intention was not Renner, Frutiger envi- currently totaling in forty-four fac- of Univers was cr e ated to work the typeface into diff erent languages, to compete with the already known Futura. sioned for Avenir to also es. Earlier sans-serif typefaces either show how each variation built Univers really is striving to be universal. Instead, he simply wanted to take a nod at be a more organic rendi- had drastic diff erences in weights or off one another. It was also Aft er many successful years, Frutiger de- his design inspiration, but at the same time tion of the two. Because were given diff erent names to express designed to be fl exible with signed the typeface Avenir in 1988, released make it known that it indeed has a more of this, the sans-serif Ave- that they were of separate families. the addition of any other m by Linotype. Although Avenir was in- human touch to the geometrics of Futura. .co nir has been classifi ed to Universe became one of the pioneer possible weights. Frutiger’s 9 e From 2004-2007 together with Linotype’s r spired by geometric fonts like Erbar be geometric and hu- u typefaces to introduce this familial original name Monde is t a of 1922 by Jakob Erbar and Futura designer Akira Kobayashi, Frutiger set out to manist. At fi rst release, n style of fonts. Because Univers’ goal seen in use in the origi- g i of 1927 by Paul Renner, Frutiger release a better version of Avenir, to be lat- S Avenir consisted of three was to achieve modularity, having nal diagrams, thus it be- t a envisioned for Avenir to also be a er called Avenir Next. Th e reworkings were e weights, each with roman a compatible range of weights and ing called the Monde dia- s a more organic rendition of the two. called for to fi nally acknowledge the problems h and oblique versions that grams. In 1962, Frutiger’s c styles allowed for documents to be r u Because of this, the sans-serif Avenir of on-screen displays. Currently, Avenir Next p followed the two-digit read more consistently by using one colleague Bruno Pfäffl i de- r consists of twenty-four faces with six weights, o has been classifi ed to be geomet- f weight and wid- th system typeface family. Th us, it became in- signed a modern ver sion of e l ric and humanist. At fi rst release, each with roman and italic variants, and in b Frutiger had created for creasingly popular in the type world. the Monde diagram that is a l i Avenir consisted of three weights, two widths, those being normal and con- a his conception of Univ- Th e variety of weights and styles now a trademark of Univers. v a each with roman and oblique densed. Th e new generation of Avenir may ad- ers. Th e two number combinations that Univers was originally g amongst Univers is organized by numbers and Univers was originally n i versions that followed the dress old on-screen h were off ered are as follow: 45 for book, letters instead of names. Frutiger would later on designed and released un- t designed and released un- y r two-digit weight and issues and provide e 55 for roman, and 85 for bold. Later on, use this system with his other typefaces. As of der Deberny Et Peignot v “classic, E more variations, but width system Frutiger three more weights were added: 35 for present, Univers is made up of forty-four faces. in 1957, but since it was had created for his con- timeless Frutiger’s two-digit light, 65 for medium, and 95 for black. Sixteen are numbered weight, width, and po- bought out by the Haas ception of Univers. Th e system was reject- At one point, Frutiger stated that, “It sition combinations. Twenty have oblique po- Type Foundry in 1972, two number combos that pieces ed. Later on Avenir [Avenir] was the hardest typeface that I sitions. Eight of the faces reinforce the Central ownership of the type- were off ered are as follow: Next W1G was re- have worked on in my life. Working on European character set, while another eight sup- face was transferred. Th en 45 for book, 55 for roman, make the leased to support it, I always had human nature in mind. port the Cyrillic character set. Frutiger’s num- in 1985, it was merged and 85 for bold. Later on, Greek and Cyrillic. And what’s crucial bering system ranges from one to ten, ascending into D. Stempel AG, three more weights were outfit” Two weights, light is that I developed from ultra light and ultra extended to black and then into Linotype in added: 35 for light, 65 for medium, and and thin were added as well, giving Avenir the typeface alone, ultra condensed. Th e numbers used to express 1989. In 1997, Frutiger 95 for black. a total count of thirty-two faces. in peace and quiet this is an assembling of two numbers, the fi rst released Univers with At one point, Frutiger stated that, “It Th ere is no doubt both Univers and Avenir – no draft ing assis- specifying the weight while the send the width a total of sixty-three [Avenir] was the hardest typeface that I have have both impacted the typography and de- tants, no-one was and position. Universe 55 became the regu- faces. More intense worked on in my life. Working on it, I always sign realm in the most positive ways. Th ese there. My personal- lar weight of the typeface with Frutiger stating weights were intro- had human nature in mind. And what’s crucial is two universal typefaces can be found recently ity is stamped upon that, “I thought, what is at the centre of the grid? duced and because that I developed the typeface alone, in peace and in the most established works seen by many. it. I’m proud that I Th ere is 50 for the weight and 5 for the width, of its variations of quiet – no draft ing assistants, no-one was there. Univers was especially popular during was able to cre- these being the two criteria for a font. So 55 be- Univers, the orig- My personality is stamped upon it. I’m proud the 60s and 70s when numerous corporations ate Avenir.” Before comes the version for copy text.” inal system of two that I was able to create Avenir.” Before diving used a varied version of the typeface to repre- diving headfirst into When Frutiger set out to begin designing digits was now headfi rst into designing, Frutiger constructed a sent their brand. Aft er Swissair, user of Futura, designing, Frutiger Univers in 1954, it was visualized as a universal made into three. list of grotesque typefaces available at the time, ceased operations in 2002 and was succeeded constructed a list of typeface, suitable for all. At the time, Frutiger Since then, oth- categorizing them into old and new as a means by Swiss International Air Lines, a refashioned grotesque typefac- was under care of Deberny & Peignot or known er renditions of to study. When he was ready to design, he start- version of Avenir was used in their logotype. es available at the time, categorizing them in French as Fonderie Deberny et Peignot. Th e Univers was de- ed off with a circle, observing how mechanical it From 1995 to 2012, e-commerce company eBay into old and new as a means to study. typeface had to be given a name to emphasize signed. Amongst was to have to use a compass to achieve the per- used their recognizable baseline shift logotype.
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