Typeface: Caslon aCategory: Transitional A“Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 Universe abcdefghijklmnopqrstuvwxyz 1957 ABCDEFGHIJKLMNOPQRSTUVWXYZ by Adrian Frutiger Sans Serif &!?$¶§( )[]@#% ‹› «»:;.,- – — /“”’”* A typeface family de- the actual typeface names signed by Adrian Frutiger within Univers family and released by his em- include both number and ployer Deberny & Pei- letter suffixes. The design gnot in 1957 was developed from 1953 a b c d Based on the model of to a final release in 1957. 0123456789 nineteenth-century Ger- man typefaces such as Like most grotesque and Akzidenz-Grotesk, it was neo-grotesque sans-serifs, notable for its availability Univers’s slanted form is from the moment of its an oblique, in which the launch in a comprehen- letterforms are slanted, sive range of weights and with minor correc- widths. tions but no other major The design concept of alterations. This is dif- Univers was intended to ferent from a true italic, take advantage of the new in which the letterforms e f g h technology of phototype- become modified to setting, in which fonts resemble handwriting were stored as glass discs more.[8] In the original rather than as solid metal design, Frutiger chose type and matrices for obliques with the ex- every size to be used. tremely aggressive slant of sixteen degrees, which Different weights and was reduced to twelve in variations within the type some later releases. family are designated by the use of numbers rather Frutiger himself has com- i j k l than names, a system mented: “Helvetica is the since adopted by Frutiger jeans, and Univers the for other type designs. dinner jacket. Frutiger envisioned a large family with mul- tiple widths and weights &!?$¶§( )[]@#% ‹› that maintained a unified design idiom. However, «»:;.,- – — “Golden/“”’”* Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 A typeface family designed by Adrian handwriting more.[8] In the original Frutiger and released by his employer design, Frutiger chose obliques with Deberny & Peignot in 1957 the extremely aggressive slant of sixteen Based on the model of nineteenth- degrees, which was reduced to twelve in century German typefaces such as some later releases. Akzidenz-Grotesk, it was notable for its availability from the moment of its Frutiger himself has commented: “Hel- launch in a comprehensive range of vetica is the jeans, and Univers the din- weights and widths. ner jacket. A typeface family designed “The quick brown fox jumps over the lazy dog” The design concept of Univers was by Adrian Frutiger and released by his intended to take advantage of the new employer Deberny & Peignot in 1957 technology of phototypesetting, in Based on the model of nineteenth- which fonts were stored as glass discs century German typefaces such as A typeface family designed by Adrian Frutiger and released by his employer De- rather than as solid metal type and ma- Akzidenz-Grotesk, it was notable for berny & Peignot in 1957 trices for every size to be used. its availability from the moment of its Based on the model of nineteenth-century German typefaces such as Akzidenz- launch in a comprehensive range of Grotesk, it was notable for its availability from the moment of its launch in a com- Different weights and variations within weights and widths. prehensive range of weights and widths. the type family are designated by the The design concept of Univers was The design concept of Univers was intended to take advantage of the new technol- use of numbers rather than names, a intended to take advantage of the new ogy of phototypesetting, in which fonts were stored as glass discs rather than as solid system since adopted by Frutiger for technology of phototypesetting, in metal type and matrices for every size to be used. other type designs. Frutiger envisioned which fonts were stored as glass discs a large family with multiple widths and rather than as solid metal type and ma- Different weights and variations within the type family are designated by the use of weights that maintained a unified design trices for every size to be used. numbers rather than names, a system since adopted by Frutiger for other type de- idiom. However, the actual typeface signs. Frutiger envisioned a large family with multiple widths and weights that main- names within Univers family include Different weights and variations within tained a unified design idiom. However, the actual typeface names within Univers both number and letter suffixes. The- de the type family are designated by the family include both number and letter suffixes. The design was developed from 1953 sign was developed from 1953 to a final use of numbers rather than names, a to a final release in 1957. release in 1957. system since adopted by Frutiger for other type designs. Frutiger envisioned Like most grotesque and neo-grotesque sans-serifs, Univers’s slanted form is an Like most grotesque and neo-grotesque a large family with multiple widths and oblique, in which the letterforms are slanted, with minor corrections but no other sans-serifs, Univers’s slanted form is an weights that maintained a unified design major alterations. This is different from a true italic, in which the letterforms become oblique, in which the letterforms are idiom. However, the actual typeface modified to resemble handwriting more.[8] In the original design, Frutiger chose slanted, with minor corrections but no names within Univers family include obliques with the extremely aggressive slant of sixteen degrees, which was reduced other major alterations. This is different both number and letter suffixes. The- de to twelve in some later releases. from a true italic, in which the letter- sign was developed from 1953 to a final forms become modified to resemble release in 1957. Frutiger himself has commented: “Helvetica is the jeans, and Univers the dinner &!?$¶§( ) [ jacket. ] @ #% ‹› « abcdefghijklmnopqrstuvwxyz » :;.,- – — ABCDEFGHIJKLMNOPQRSTUVWXYZ A“Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 /“”’”* A typeface family designed by is different from a true italic, in sign idiom. However, the actual A typeface family designed by is different from a true italic, in sign idiom. However, the actual Adrian Frutiger and released which the letterforms become typeface names within Univers Adrian Frutiger and released which the letterforms become typeface names within Univers by his employer Deberny & modified to resemble hand- family include both number by his employer Deberny & modified to resemble hand- family include both number Peignot in 1957 writing more.[8] In the original and letter suffixes. The design Peignot in 1957 writing more.[8] In the original and letter suffixes. The design Based on the model of design, Frutiger chose obliques was developed from 1953 to a Based on the model of design, Frutiger chose obliques was developed from 1953 to a nineteenth-century German with the extremely aggressive final release in 1957. nineteenth-century German with the extremely aggressive final release in 1957. typefaces such as Akzidenz- slant of sixteen degrees, which typefaces such as Akzidenz- slant of sixteen degrees, which Grotesk, it was notable for its was reduced to twelve in some Like most grotesque and neo- Grotesk, it was notable for its was reduced to twelve in some Like most grotesque and neo- availability from the moment later releases. grotesque sans-serifs, Univers’s availability from the moment later releases. grotesque sans-serifs, Univers’s of its launch in a compre- slanted form is an oblique, in of its launch in a compre- slanted form is an oblique, in hensive range of weights and Frutiger himself has com- which the letterforms are slant- hensive range of weights and Frutiger himself has com- which the letterforms are slant- widths. mented: “Helvetica is the jeans, ed, with minor corrections but widths. mented: “Helvetica is the jeans, ed, with minor corrections but The design concept of Univers and Univers the dinner jacket. no other major alterations. This The design concept of Univers and Univers the dinner jacket. no other major alterations. This was intended to take advan- A typeface family designed by is different from a true italic, in was intended to take advan- A typeface family designed by is different from a true italic, in tage of the new technology Adrian Frutiger and released which the letterforms become tage of the new technology Adrian Frutiger and released which the letterforms become of phototypesetting, in which by his employer Deberny & modified to resemble hand- of phototypesetting, in which by his employer Deberny & modified to resemble hand- fonts were stored as glass discs Peignot in 1957 writing more.[8] In the original fonts were stored as glass discs Peignot in 1957 writing more.[8] In the original rather than as solid metal type Based on the model of design, Frutiger chose obliques rather than as solid metal type Based on the model of design, Frutiger chose obliques and matrices for every size to nineteenth-century German with the extremely aggressive and matrices for every size to nineteenth-century German with the extremely aggressive be used. typefaces such as Akzidenz- slant of sixteen degrees, which be used. typefaces such as Akzidenz- slant of sixteen degrees, which Grotesk, it was notable for its was reduced to twelve in some Grotesk, it was notable for its was reduced to twelve in some Different weights and varia- availability from the moment later releases. Different weights and varia- availability from the moment later releases. tions within the type family are of its launch in a compre- tions within the type family are of its launch in a compre- designated by the use of num- hensive range of weights and Frutiger himself has com- designated by the use of num- hensive range of weights and Frutiger himself has com- bers rather than names, a sys- widths.