An Introduction to Univers

Univers Univers Univers Univers Univers Univers Univers Univers Univers Univers Univers Univers Univers Univers Univers

An Introduction to

Introducing Univers 3

contemporary typefaces.

while also comparing it to other,

explore the characteristics of Univers

of the 20th century. This book will

most influential and popular typefaces

led to Univers becoming one of the

consistent, similar designs. This has

with the goal of forming a family of

one of the first typefaces to be created

designed the typeface Univers. It was

Between 1954 and 1957, Adrian Frutiger

Adrian Frutiger

nial, a modern whose fine serifs are

to advantage in faces such as Centen-

embraced new technology and used it

into no existing type category. He has

wholly comprised of curves and fitting

Breughel is an original face almost

optical character recognition. His 1982

typefaces including OCR-B a type for

Frutiger has created a broad range of

Gill and Johnston types.

sans serif that has been compared to

thaler Linotype in 1976, is a humanistic

for its issue to the trade by Mergen-

known as Roissy but renamed Frutiger

1960’s feel. His airport face, originally

that Univers seemed dated, with a

the Charles de Gaulle Airport at Roissy,

felt, when he came to design a face for

types have Univers as their skeleton he

Although Frutiger has said that all his

designers to create type for film.

and Frutiger—and was one of the first

known being the sans serifs Univers

of many notable faces—the best

since World War II. He is the designer

important type designers to emerge

Adrian Frutiger is one of the most

Adrian Frutiger (pictured left) was one of the most influential type designers of the 20th century.

5

says legibility is solely a matter of habit.1

gothic characters without difficulty and

legibility. He learned to read with

himself is skeptical about theories of

caused legibility problems. Frutiger

neither outdated nor necessarily

that the classical modern face was

earlier his Iridium had demonstrated

in definition. More than ten years

made possible by recent improvements

Attributes of Univers

3p9

4p3

One can see the variation in stroke thickness in Univers when comparing the horizontal and diagonal strokes of the capital Z.

—Adrian Frutiger

“Built up from a geometric basis, the lines must play freely so that the individuals find their own expression and join together in a cohesive structure in word, line, and page.�

7

movement during reading.3

and ‘40s on the mechanics of eye

scientific research done in the 1930s

family followed well-documented

creating a functional and efficient type

dence that Frutiger’s interest in

other typefaces. It is also no coinci-

assessment of visual discrepancies in

and verticals was a response to his

nesses for the horizontal, diagonals,

decision to use different stroke thick-

on the word as a whole.”2 Frutiger’s

shapeless and has a disturbing effect

sented by a perfect circle strikes us as

run, for the vertical ones; an O repre-

character is unacceptable in the long

assumption that “a purely geometric

sans serifs, Frutiger began with the

his study of the limitations of existing

typographical characters. Inspired by

supported by a well-considered set of

approach to type-family design is

case of Univers, this sophisticated

considering the overall system. In the

letterform while simultaneously

be sensitive to the nuances of each

integrated type family, designers must

To achieve the goal of an expansive,

Z

X height

Cap height

“...an O represented by a perfect circle strikes us as shapeless and has a disturbing effect on the word as a whole.�

Ascender

the principles of perception.

made, based on the current knowledge of

form, careful optical adjustments were

maintain the integrity of each letter-

remain distinct from one another. To

important that individual letterforms

satisfying gestalt, he also deemed it

that the assemblage formed a new

letters that fit together so flawlessly

While Frutiger’s goal was to make

O

Diplo

The c is smaller than the o because in open letters the white space achieves greater penetration into the form, thereby appearing larger.

9

allowing for a smooth line flow.4

the overall harmony among letters,

All of these innovations contributed to

more difficult to read than serif type.

the concern that sans-serif type was

provided greater legibility, addressing

increased. Larger x-heights also

typographic norms, and x-heights were

shortened in comparison with existing

Ascenders and descenders were

Descender

o

Baseline

Univers 39 Univers 49 Univers 59 Univers 47 Univers 57 Univers 67 Univers 45 Univers 55 Univers 65 Univers 75 Univers 85 Univers 53 Univers 63 Univers 73 Univers 93

Frutiger originally made 21 fonts for Univers, but has simce expanded to over 40 variaties.

11

nivers 93

nivers 47 nivers 57 nivers 67 nivers 45 nivers 55 nivers 65 nivers 75 nivers 85 nivers 53 nivers 63 nivers 73

Univers

Futura

Gill Sans

Letters in Univers are almost always cut with a horizontal line, as opposed to diagonal or vertical.

treated by each typeface.

and drastic changes in how letters are

will notice how there are both subtle

typefaces, Gill Sans and Futura. One

ed of Univers with two contemporary

Below, there are comparisons present-

competence.5

factual and cool elegance, a rational

great success), Univers expressed a

conspicuous attributes (lending to its

timeless and neutral effect without any

had a general clarity and a modern,

(1958). Whereas Helvetica, for example,

alphabets: Helvetica (1957) and Optima

simultaneously with other successful

Univers font was created almost

SSS

Comparing

Typefaces

When looking at the letters side by side, one can see the drastic differences in how the tail of the Q is treated.

Univers

Gill Sans

f 13

While Univers and Futura have different treatments of the ascender and the crossbar, Gill Sans and Univers share many similarities.

Gill Sans

Futura

Univers

Futura

Q QQ

References Bibliography

collections for this designer.

Note: See the list at special

6 http://www.fonts.com

5 http://www.linotype.com

2000)

Publications, 2000. (A&A: Z250.R45

Roy McKelvey, New York: RC

al.]; edited byPhilip B. Meggs and

essays by Carolyn Annand ... [et

Versions of Classic Typefaces,

4 Revival of the Fittest: Digital

Vault)

(A&A: Z250 A2 C364 1995 and

Britain: Lund Humphries, 2002.

Century Type Designers. Great

3 Carter, Sebastian. Twentieth

.K86 2000 and Vault)

Verlag Niggli AG, 2000. (A&A: Z246

and Microaesthetics. Sulgen:

2 Kunz, Willi. Typography: Macro-

1998 and Vault)

Press, 2004. (A&A: Z250.A2 B59

Type. New Haven: Yale University

1 Blackwell, Lewis. 20th-Century

2005

univers.html Accessed No- vember 1,

http://www.linotype.com/7-267-7-13347/

5 Linotype Library GmbH, Available at

4 Ibid, 173.

(New York: RC Publications), 171.

Digital Versions of Classic Typefaces

3 Jennifer Gibson. Revival of the Fittest:

304.

Typeface (Boston: D.R. Godine, 1990),

2 Alexander S. Lawson, Anatomy of a

Press, 1983), 69-70.

of Typefaces. (Poole, Dorset: Blandford

1 Pincus W. Jaspert, The Encyclopaedia

Designed by Michael Avery Typography I Spring 2017 Body Text: Univers, 9pt font size, 14pt leading.