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 FrutigerAvenir
“
Avenir 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 A F
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.
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.
05
INTRODUCT
1
He established his international 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.
2
He received several awards and 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).
3
In the late 1990s, Frutiger began collaborating 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]
4
These modifications were not universally considered improvements: 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]
5 In 2009, Frutiger collaborated with Akira 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.
06
Light Book Medium
Book Black Heavy
Light Oblique Book Oblique
Medium Oblique
ABC abc
Oblique Black Oblique Heavy Oblique
CDE cde
This is Avenir
A B C D E F G H I J K L M N O
P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r
s t u v w x y z
0 1 2 3 4 5 6 7 8 9
16 Light
A B C D E F G H I J K L M N O
P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r
s t u v w x y z
0 1 2 3 4 5 6 7 8 9
16 Book
A B C D E F G H I J K L M N O
P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r
s t u v w x y z
0 1 2 3 4 5 6 7 8 9
16 Medium
A B C D E F G H I J K L M N O
P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r
s t u v w x y z
0 1 2 3 4 5 6 7 8 9
16 Black
A B C D E F G H I J K L M N O
P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q
r s t u v w x y z
0 1 2 3 4 5 6 7 8 9
16 Heavy
11
A B C D E F G H I J K L M N O
P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r
s t u v w x y z
0 1 2 3 4 5 6 7 8 9
16 Light Oblique
A B C D E F G H I J K L M N O
P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r
s t u v w x y z
0 1 2 3 4 5 6 7 8 9
16 Book Oblique
A B C D E F G H I J K L M N O
P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r
s t u v w x y z
0 1 2 3 4 5 6 7 8 9
16 Medium Oblique
A B C D E F G H I J K L M N O
P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r
s t u v w x y z 0 1 2 3 4 5 6 7 8 9
16 Black Oblique
A B C D E F G H I J K L M N O
P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q
r s t u v w x y z
0 1 2 3 4 5 6 7 8 9
16 Heavy Oblique
This is Avenir Oblique
12
This is Avenir
Avenir Light
Avenir Book
Show Time San Francisco Google Maps
Avenir Roman
Macbook Air
Avenir Medium
Avenir Black
Fremont Blvd Red Bull
Avenir Heavy
13
Avenir Light Oblique
Avenir Book Oblique
Avenir Oblique
Avenir Medium Oblique
Avenir Black Oblique
Befor Nine Air Force Full Time Turn Right Best way Hip Hop
Avenir Heavy Oblique
This is Avenir Oblique
14
This is Avenir
Light 19 Point
Book 19 Point
Roman 19 Point
Medium 19 Point
Black 19 Point
Heavy 19 Point
Designed by Adrian Frutiger in 1988. Designed by Adrian Frutiger in 1988. Designed by Adrian Frutiger in 1988. Designed by Adrian Frutiger in 1988. Designed by Adrian Frutiger in 1988. Designed by Adrian Frutiger in 1988.15
Designed by Adrian Frutiger in 1988.
Designed by Adrian Frutiger in 1988.
Designed by Adrian Frutiger in 1988.
This is Avenir Oblique
Designed by Adrian Frutiger in 1988. Designed by Adrian Frutiger in 1988. Designed by Adrian Frutiger in 1988.Light Oblique 19 Point Book Oblique 19 Point Oblique 19 Point Medium Oblique 19 Point Black Oblique 19 Point Heavy Oblique 19 Point 16
11pt 8pt
Avenir Light Avenir Book
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.
14pt
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 TypographyAvenir 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?
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.
03. Start from scratch
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 Black
Avenir 11 Book
Avenir 18 Black
Avenir 11 Roman
Avenir 11
Medium Oblique
Avenir 18
Heavy Oblique
Avenir 14
Light Oblique
20
Â Ä À Å Ã B C Ç D E É Ê Ë È Ð F G H I Í Î Ï Ì Ú Û Ü Ù V W X Y Ý Ÿ Z Ž a á â ´ ä æ à & å ^ ~ d † ‡ ° ¨ ÷ $ ˙ ı e é ê ë è 8 … — –= ð ! ¡ f J K L Ł M N Ñ O Œ Ó Ô Ö Ò Ø Õ P Q R S Š T Þ U @ ã b \ | { } [ ] ˘ ¦ • c ˇ ç ¸ ¢ ˆ : , © ¤ fi 5 fl ƒ 4 ⁄ g ß ` > « » ‹ › h ˝i í î ï ì j ¼ ¹ ª º ø õ p ¶ ( ) % . · ‰ + ± q ? ¿ " „ “ Glyphs Avenir 20 Book 21
’ ‚ ' r ® ˚ s š § ; 7 6 / Á £ t þ 3 ¾ ³ ˜ ™ 2 ² u ú û ü ù _ v w x y ý ÿ ¥ z ž 0 € ˉ ∆ Δ Ω μ π ℓ ℮ ∞ ∂ ∫ √ ∑ ∏ ◊ ≠ ≈ ≤ ∕ ∙ Ā Ă Ć Ċ Đ Ě Ĕ Ğ Ġ Ģ Ĥ Ħ Ĩ Ī Į Ĵ Ķ Ĺ Ľ Ŀ Ń Ň Ņ Ō Ŏ Ő Ŕ Ř Ŗ Ś Ŝ Ş Ș Ť Ţ Ț Ŧ Ũ Ū Ŭ Ů Ű Ų Ŵ Ŷ Ź Ż ā ă ą ć ĉ č ċ ď đ ě ē ĕ ė ę ĝ ğ ġ ģ ĥ ħ ĩ ī į ĵ ķ ĺ ľ ļ ŀ ń ň ņ ʼn ō ŏ ő ŕ ř ś ŝ ş ș ť ţ ț ŧ ũ ū ū ŭ ů ű ų ŵ ŷ ź ż IJ ij A Glyphs Avenir 20 Book 22
Anatomy
Avenir 385 Medium
23
Avenir 164 Medium
Avenir 164 Medium
x-height tail cap height point size body size counter counter counter ear ear
descender 24
AVENIR
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.
Avenir 11 Light Avenir 11 Medium Avenir 11 Book
25
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.
The current set of weights is therefore ultra light, thin, light, regular, medium, demi bold, bold and heavy, in four styles each (two widths and italics for each 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 Next 11 Light Avenir Next 11 Medium Avenir Next 11 Demi Bold Avenir Next 11 Italic
26
Small Change
United States Cool Cat Red Bull
Avenir & Avenir Next
World Champ Tailor Made
Avenir Light Avenir Next Ultra Light Avenir Book Avenir Next Regular Avenir Roman Avenir Next Demi Bold Avenir Medium Avenir Next Medium Avenir Black Avenir Next Bold Avenir Heavy Avenir Next Heavy 27
After
Avenir Oblique & Avenir Next Italic
Avenir Light Oblique Avenir Next Ultra Light Italic Avenir Book Oblique Avenir Next Italic Avenir Oblique Avenir Next Demi Bold Italic Avenir Medium Oblique Avenir Next Ultra Light Avenir Black Oblique Avenir Next Bold Italic Avenir Heavy Oblique Avenir Next Heavy Italic 28
Eight Private Affair Half Time Turn Left Full House State Dinner
is Avenir Great Typography Great Typography Great Typography Great Typography Great Typography Great Typography Great Typography Great Typography 36 Light 36 Oblique 36 Book 36 Roman 36 Medium 36 Black 36 Heavy 36 Heavy Oblique 29
This
This is Avenir Next Great Typography Great Typography Great Typography Great Typography Great Typography Great Typography Great Typography Great Typography 36 Ultra Light 36 Italic 36 Regular 36 Demi Bold 36 Medium 36 Bold 36 Heavy 36 Heavy Italic 30
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 31
By Adrian Frutiger
“
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.”
32
By Adrian Frutiger