Avenir Booklet

By Adrian Frutiger

“ When I put my pen to a blank sheet, black isn’t added but rather the white sheet is deprived of light. [...] Thus I also grasped that the empty spaces are most important aspect of a typeface.”

Adrian Frutiger

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Contents Adrian Frutiger

05

Avenir

07

Avenir Oblique

09

Avenir & Avenir Oblique

11

Four basic weights

17

Avenir in paragraph

19

Glyphs

21

Anatomy

23

Avenir & Avenir Next

25

Comparisons

27

Bibliography

31

SWISS TYPEFACE DESIGNER

INTRODUCT

05

A

drian Frutiger was born in 1928 at Unterseen near Interlaken, Switzerland. After an apprenticeship as a compositor, he continued his training in type and graphics at the Zurich School of Arts and Crafts (Kunstgewerbeschule) from 1949 to 1951, being taught by the two renowned professors, Alfred Willimann and Walter Käch.

F

rutiger went to Paris in 1952 and worked as typeface designer and artistic manager at Deberny & Peignot. His first typeface creations were Phoebus (1953), Ondine (1954) and Meridien (1955), and through the foundry's connections with Photon/Lumitype Frutiger created some of the earliest typefaces for photocomposition.

06 established his international 1 He position as a typeface designer with

his Univers sans-serif font, produced for metal and film in 1957. Together with Bruno Pfäffli and André Gürtler, he founded own studio in Arcueil near Paris in 1961. He was also Professor for ten years at the Ecole Estienne and eight years at the Ecole Nationale Supérieure des Arts Décoratifs, Paris.In addition to his typeface design, Frutiger was a consultant in to IBM and the Stempel typefoundry. He produced the typeface for Paris Charles Gaulle airport during the early 1970s and Linotype subsequently released this in 1977 as Frutiger.

received several awards and 2 He honours: 1986, the Gutenberg Prize of City of Mainz (Germany); 1987, Medal of the Type Directors Club of New York; 1993, Officier de l’Ordre des Arts et des Lettres (Paris); 1993, Grand Prix National des Arts Graphiques (France).

the late 1990s, Frutiger began 3 Incollaborating on refining and

expanding his most famous Univers, Frutiger, and the Avenir families.

The new projects took advantage of improved digital production methods to create a wider range of styles and improved hinting for onscreen display. Univers was the reissued as Linotype Univers with sixty-three variants; Frutiger was reissued Frutiger Next with additional weights. Collaborating with Linotype designer Akira Kobayashi, Frutiger expanded the Avenir font family with light weights, heavy weights, and condensed version that were released as the Avenir Next font.[45][46] Frutiger described the process of restoring Univers as a "personal gift."[47]

modifications were not 4 These universally considered improve-

ments: Frutiger regretted allowing Linotype to substitute a modish 1990s true italic (not drawn Frutiger) onto Frutiger Next instead of the sharper oblique Frutiger preferred throughout his career. In his autobiography, Frutiger commented that resigning himself to it "Maybe I was too soft to say what I really felt... I didn't have the strength and patience anymore."

From a different perspective, type designer Martin Majoor commented that he preferred the italic but described Linotype Univers as "staggering" and "not an improvement" for its return to the very aggressively slanted italic of Frutiger's original drawings: "Redesigning an old successful typeface is something a type designer should maybe never consider."[49] Frutiger commented on the italic that he felt Univers needed to be "snappy" and that it added character.[26]

2009, Frutiger collaborated with 5 InAkira Kobayashi on a second

re-release of Frutiger, Frutiger Neue, which the moved back towards in the original 1970s release.Through his later years, Frutiger collaborated with co-authors Heidrun Osterer and Philipp Stamm on the an extensive autobiography, Typefaces: the Complete Works (2008, republished 2014). In this book, Frutiger discussed his entire career and his completed and abandoned projects.Adrian Frutiger died on 10 September 2015 in Bremgarten bei Bern at the age of 87.

Bo Light Medium

ook

Black

Heavy

ABC

Book O Light Oblique Medium Oblique

abc

CDE

Oblique Heavy Oblique Black Oblique

cde

This is Avenir

ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 16 Light 0123456789 ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 16 Book 0123456789 ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 16 Medium 0123456789 ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 16 Black 0123456789 ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmnopq rstuvwxyz 16 Heavy 0123456789

11

12

ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 16 Book Oblique 0123456789 ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 16 Medium Oblique 0123456789 ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 16 Black Oblique 0123456789 ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmnopq rstuvwxyz 16 Heavy Oblique 0123456789

This is Avenir Oblique

ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 16 Light Oblique 0123456789

This is Avenir

Show Time Avenir Light

San Francisco

Avenir Book

Google Maps

Avenir Roman

Macbook Air

Avenir Medium

Fremont Blvd

Avenir Black

Red Bull

Avenir Heavy

13

14

Befor Nine Avenir Light Oblique

Avenir Book Oblique

Full Time Avenir Oblique

Turn Right Avenir Medium Oblique

Best way

Avenir Black Oblique

Hip Hop Avenir Heavy Oblique

This is Avenir Oblique

Air Force

This is Avenir

Designed by Adrian Frutiger in 1988.

Light 19 Point

Designed by Adrian Frutiger in 1988.

Book 19 Point

Designed by Adrian Frutiger in 1988.

Roman 19 Point

Designed by Adrian Frutiger in 1988.

Medium 19 Point

Designed by Adrian Frutiger in 1988.

Black 19 Point

Designed by Adrian Frutiger in 1988.

Heavy 19 Point

15

16

Designed by Adrian Frutiger in 1988.

Light Oblique 19 Point

Book Oblique 19 Point

Designed by Adrian Frutiger in 1988.

Oblique 19 Point

Designed by Adrian Frutiger in 1988.

Medium Oblique 19 Point

This is Avenir Oblique

Designed by Adrian Frutiger in 1988.

Designed by Adrian Frutiger in 1988.

Black Oblique 19 Point

Designed by Adrian Frutiger in 1988.

Heavy Oblique 19 Point

Avenir Light

Avenir Book

14pt

The four basic weights of Avenir™ are Light (35), Book (45), Roman (55) and Medium (65). These are all intended for text setting and it is hoped that their close gradation will enable the designer or typographer to apply greater subtlety of treatment to the page of text or advertisement.

The four basic weights of Avenir™ are Light (35), Book (45), Roman (55) and Medium (65). These are all intended for text setting and it is hoped that their close gradation will enable the designer or typographer to apply greater subtlety of treatment to the page of text or advertisement.

11pt

The four basic weights of Avenir™ are Light (35), Book (45), Roman (55) and Medium (65). These are all intended for text setting and it is hoped that their close gradation will enable the designer or typographer to apply greater subtlety of treatment to the page of text or advertisement.

The four basic weights of Avenir™ are Light (35), Book (45), Roman (55) and Medium (65). These are all intended for text setting and it is hoped that their close gradation will enable the designer or typographer to apply greater subtlety of treatment to the page of text or advertisement.

8pt

The four basic weights of Avenir™ are Light (35), Book (45), Roman (55) and Medium (65). These are all intended for text setting and it is hoped that their close gradation will enable the designer or typographer to apply greater subtlety of treatment to the page of text or advertisement.

The four basic weights of Avenir™ are Light (35), Book (45), Roman (55) and Medium (65). These are all intended for text setting and it is hoped that their close gradation will enable the designer or typographer to apply greater subtlety of treatment to the page of text or advertisement.

Avenir Roman Avenir Medium The four basic weights of Avenir™ are Light (35), Book (45), Roman (55) and Medium (65). These are all intended for text setting and it is hoped that their close gradation will enable the designer or typographer to apply greater subtlety of treatment to the page of text or advertisement.

The four basic weights of Avenir™ are Light (35), Book (45), Roman (55) and Medium (65). These are all intended for text setting and it is hoped that their close gradation will enable the designer or typographer to apply greater subtlety of treatment to the page of text or advertisement.

The four basic weights of Avenir™ are Light (35), Book (45), Roman (55) and Medium (65). These are all intended for text setting and it is hoped that their close gradation will enable the designer or typographer to apply greater subtlety of treatment to the page of text or advertisement.

The four basic weights of Avenir™ are Light (35), Book (45), Roman (55) and Medium (65). These are all intended for text setting and it is hoped that their close gradation will enable the designer or typographer to apply greater subtlety of treatment to the page of text or advertisement.

The four basic weights of Avenir™ are Light (35), Book (45), Roman (55) and Medium (65). These are all intended for text setting and it is hoped that their close gradation will enable the designer or typographer to apply greater subtlety of treatment to the page of text or advertisement.

The four basic weights of Avenir™ are Light (35), Book (45), Roman (55) and Medium (65). These are all intended for text setting and it is hoped that their close gradation will enable the designer or typographer to apply greater subtlety of treatment to the page of text or advertisement.

18

Avenir 27 Black

How to create your own font: 18 top tips

Avenir 12 Medium

By Jamie Clarke June 28, 2017 Typography

Avenir 14 Book

After many years as a graphic designer and type enthusiast, I decided try my hand at designing a typeface. Much has been written about type design, and there are plenty of great typography tutorials out there. But where exactly do you begin if you want to make your own font? If you're a designer or illustrator new to this discipline, what are the first practical steps, the common software and early considerations to get you going?

Avenir 14 Roman

To get started on the right path, I enrolled in the short Type Design (TDi) course at Reading University, which I can highly recommend. I thought it might be helpful to share some of the insights and practical methods I learnt during the two intensive weeks to help you to make your own font.

Avenir 18 Heavy

01. Start with a brief

Avenir 14 Light

Designing a typeface can be a long journey so it's prudent to have a clear vision of its purpose. You might begin with something purely self-expressive. However, the usual practice is to create a typeface in response to a brief. http://www.creativebloq.com/

19

Developing your own brief will inevitably require research and reflection. How will it be used: is it for a specific project or to personal use only? Is there a problem you might solve? How might your typeface fit into a landscape alongside similar designs? What makes it unique?

The options are vast. Typefaces have been created, for example, specifically for academic texts, to provide the better number systems for engineering documents or as a one-off for public lettering. Only when you know what your typeface will actually be used for can you really get started on the design.

02. Fundamental choices There are a number of choices you need to make early on. Will it be a serif or sans-serif typeface? Will it be based on a writing implement or be more geometric?

Will your design be a text face, comfortable at small sizes and suitable for long documents, or will it be a display face with an imaginative style, that works better a larger size?

20

Avenir 14 Black

Avenir 11 Book

Avenir 18 Black

Avenir 11 Roman

Tip: It was suggested on the course that designing a sans-serif typeface can be more challenging for beginners, because the features that provide these typefaces with their identity are much more subtle.

Avenir 11 Medium Oblique

03. Start from scratch

Avenir 18 Heavy Oblique

You might decide to start by digitising your own handwriting. This is can be a useful for practice exercise, but because handwriting is so individual, without much refinement your typeface could be restricted to personal use.

Avenir 14 Light Oblique

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Glyphs Avenir 20 Book

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21

Glyphs Avenir 20 Book

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22

23

Anatomy

Avenir 385 Medium

ear

point size

counter

cap height x-height Avenir 164 Medium

descender

counter

ear counter

body size

Avenir 164 Medium

tail

24

AVENIR

Avenir 11 Light

Avenir 11 Medium

Avenir 11 Book

25

Avenir is a sans-serif typeface designed by Adrian Frutiger and released in 1988 by Linotype GmbH. The word avenir is French for "future". As the name suggests, the family takes inspiration from the geometric style of sans-serif typeface developed in the 1920s that took the circle as a basis, such as Erbar and Futura. Frutiger intended Avenir to be a more organic interpretation of the geometric style, more even in colour and suitable for extended text, with details recalling more traditional typefaces such as the two-storey 'a' and 't' with a curl at the bottom, and letters such as the 'o' that are not exact, perfect circles but optically corrected.

Frutiger has described Avenir as his finest work.

'The quality of the draughtsmanship – rather than the intellectual idea behind it – is my masterpiece. (...) It was the hardest typeface I have worked on in my life. Working on it, I always had human nature in mind. And what's crucial is that I developed the typeface alone, in peace and quiet – no drafting assistants, no-one was there.

My personality is stamped upon it. I'm proud that I was able to create Avenir.

26

AVENIR NEXT

Between 2004–2007, Frutiger, together with Linotype's in-house type designer Akira Kobayashi, reworked the Avenir family to expand of the range of the weights and features. The result was titled Avenir Next.

The initial release of the typeface family was increased to 24 fonts: six weights, each with a roman and italic version, in two widths (normal and condensed).

Frutiger's numbering system was abandoned in favor of more conventional weight names. The glyph set was expanded to include small caps, text figures, subscript and superscripts, and ligatures.

Two extra font weights (light and thin) were added to the font for the release of Avenir Next W1G, for a total of 32 fonts. This release also added Greek and Cyrillic glyphs in the regular width only.

Avenir Next 11 Light

Avenir Next 11 Medium

Avenir Next 11 Demi Bold

The current set of weights is therefore ultra light, thin, light, regular, medium, demi bold, bold and heavy, in four styles Avenir Next each (two widths and italics for each 11 Italic width). The installation on OS X does not include the thin and light weights, but does include Greek and Cyrillic glyphs in the regular width.

Avenir & Avenir Next

World Champ Avenir Light

Avenir Next Ultra Light

Tailor Made Avenir Book

Avenir Next Regular

Small Change Avenir Roman

Avenir Next Demi Bold

United States Avenir Medium

Avenir Next Medium

Cool Cat Avenir Black

Avenir Next Bold

Red Bull Avenir Heavy

27

Avenir Next Heavy

28

After Eight Avenir Light Oblique

Avenir Next Ultra Light Italic

Private Affair Avenir Book Oblique

Avenir Next Italic

Avenir Oblique

Avenir Next Demi Bold Italic

Turn Left Avenir Medium Oblique

Avenir Next Ultra Light

Full House Avenir Black Oblique

Avenir Next Bold Italic

State Dinner Avenir Heavy Oblique

Avenir Next Heavy Italic

Avenir Oblique & Avenir Next Italic

Half Time

This is Avenir

Great Typography 36 Light

Great Typography 36 Book

Great Typography 36 Roman

Great Typography

36 Oblique

Great Typography 36 Medium

Great Typography

36 Black

Great Typography 36 Heavy

Great Typography 36 Heavy Oblique

29

30

Great Typography 36 Ultra Light

36 Regular

Great Typography 36 Demi Bold

Great Typography 36 Italic

Great Typography 36 Medium

Great Typography 36 Bold

This is Avenir Next

Great Typography

Great Typography 36 Heavy

Great Typography 36 Heavy Italic

31

Bibliography https://en.wikipedia.org/wiki/Avenir_(typeface) https://www.bart.gov/schedules/developers/maps http://www.creativebloq.com/ https://fontsinuse.com/typefaces/3409/avenir https://www.fonts.com/font/linotype/avenir-next https://www.fonts.com/font/linotype/avenir

Student:Lifu Zhao Professor:Julio Martinez Class:DSGD 99 Avenir Specimen Booklet

“ Typography must be as beautiful as a forest, not like the concrete jungle of the tenements It gives the distance between the trees, the room to breathe and allow for life.”

By Adrian Frutiger

32

By Adrian Frutiger