Univers Typeface

I UN

S R E V

a long time ago in Deberny & Peignot type foundry in France a spectacular typeface was released....

Univ

vers

195

57

ÂŽ

The Univers typeface family is one of the most prolific grotesque sans-serif typefaces of the century.

About Univers Univers owes its existence to the courage and progressive spirit of Charles Peignot, who had the foresight to back such an unprecedented project. For the first time ever a large typeface family was launched without first testing a few weights on the market.

Frutiger’s sans serif design from his time as a student at the Kunstgewerbeschule in Zurich in 1950 / 51 served as the starting point.

Made easier by new inexpensive type production methods for Lumitype photosetting, 21 weights were conceived in the sense and knowledge of a demand for a functional, contemporary typeface.

In the Swiss Typographic Magazine TM / STM 5 / 1957, Emil Ruder writes that “it seemed hopeless to embark upon such a huge venture that would try the endurance of both the designers and the company.

What convinced us that it would be a success? We believe in the need for a big step in the field of type design. One can feel the urge to rise above the superficiality of the day and create something of real substance. Moreover, we believe in a sans serif renaissance.”

Emil Ruder is talking about sans serif in the sense of a universal typeface for all kinds of uses including book and newspaper setting.

He thought Univers was proving versatile enough to fit the bill, and it was proved so when TM editor, Rudolf Hostettler, started setting his magazine entirely in Univers from 1961 onward. Other exemplary designs and publications followed, particularly from the Basel school, giving Univers ever more exposure and so contributing to the worldwide reputation of “Swiss Typography”. Special merit goes to Emil Ruder and some of his Basel students who would go on to be famous typographers: Fritz Gottschalk, Hans Jürg Hunziker, Hans Rudolf Lutz, Bruno Pfäffli and Helmut Schmid to name but a few.

In the plain, objective, unembellished world of Swiss Style, asymmetrically arranged and set in only a few, contrasting weights and point sizes, the elegance of Univers was especially noticeable.

Univers brought international fame to Adrian Frutiger. It showed that a great type designer was at work.

u u uu u u

uu u uu u

u u u uu u uu

u

Bruno Pfäffli’s diagram shows in a clever and concise manner the relational system of the 21 cuts of Univers.

Historical background Greek lapidary script is the origin of sans serif type. The idea was seized upon some 2000 years later for typefaces in the early 19th century. In France, sans serifs are known as antiques, about their ancient origin, and some contemporary typefaces include it in their names, such as Antique Olive by Fonderie Olive, or Antique Presse by Deberny & Peignot. Univers too, before being named, was known simply as Antique at Deberny & Peignot.

The Roman formal ordering principle of letters, based on a square, circle, triangle and upright double square, may seem an ideal archetype for Univers, but impractical for planning a typeface family made up of four different widths (compressed, condensed, regular, extended) and two slopes. Frutiger brought the cap widths into line like Greek lapidary script and unlike Futura, which is based on the Roman principle of Capitalis Monumentalis. In doing this, he confirmed to the neoclassical sans serif proportions of the 19th century.

Uncials originated in the 3rd century AD. The use of parchment paper and pen changed the shapes of capitals. They became rounder and softer, and some ascenders and descenders started to appear. Small letters began to emerge from the capitals.

This was perfect in the Irish Roman half uncials, where the curve terminals are broader and horizontal. This is what Adrian Frutiger is referring to when he speaks of uncial terminals in Univers.

Adrian Frutiger always lets his visual intuition guide him, and only afterwards does he try to find principles to explain the facts.

A comparison he made between the proportions of classic and modern typefaces relates them to classic and contemporary architecture (Greek temples, Bauhaus). The missing serifs mean that sans serif faces do not have equal spaces for counters and side bearings any more as they had before. The counters are more open, the spaces between letters (sidebearings) narrower.

This reflects the thoughts of his tutor, Walter Käch. Frutiger adopted some of the essential form principles of Univers from Walter Käch.

Archaic Greek letter Alpha from the region Athens - Attica. The Greek ancient alphabet has been used to write the Greek language since the late 9th or early 8th century BC. It was derived from the earlier Phoenician alphabet and was the first alphabetic script to have distinct letters for vowels as well as consonants.

Univers diagrams The “HE monde” diagram shows the 21 Univers weights in a first updated slightly rough depiction. The handwritten names of each weight in two languages are still numberless on the yellowed photographic print. Two slightly reworked diagrams in English titled “Universal family” and “Sanseri” probably followed soon after, accompanying a memorandum by Louis Rosenblum from February 1956. The weights have different names in all three samples, which shows how problematic the definitions were. In the same note, some names are mooted about for the new “Sans Serif” by Deberny & Peignot. “Universal”, Constellation and Cosmos are suggested.

In TM / STM 5 / 1957 there is an improved, more clearly arranged version. It is the first to include Adrian Frutiger’s (Lumitype) numbering system, integrated into the “monde” diagram. This weights diagram would become a sort of trademark for Univers. D & P, ATF, and, later on, Haas foundry used it for type samples and advertisements. Rémy Peignot, in particular, created innovative versions of this diagram: sometimes the rectangles are frames, sometimes they are black or coloured areas, and sometimes they serve as a window to the universe. Rémy was also responsible for the univers diagram with empty spaces for possible extensions of the type family. It served to demonstrate the dimensions of the Univers concept.

Bruno Pfäffli, typographic designer and colleague (later to be studio partner) of Adrian Frutiger’s, also made a Univers diagram which later became a real trademark of Univers. Designed for American Type Founders ATF in 1962, it was first displayed in Monotype Newsletter 130 / 1963. Reduced to the essentials, with only the letter u in all weights, he takes on the task of designing the arrangement of the diagram. What stands out is the 16 °incline of the Univers italic weight, unusual for a sans serif. Along with its large variety of weights, this eye-catching italic became one of the main typographic merits of Univers, as can be seen in the advertisements for Monotype by Hans Rudolf Lutz, but also as a working typeface. Words set in Univers italics can be found most easily in text bodies, which, sadly, usually is not the case with other sans serifs.

monde 53

monde 63

monde 73

monde 83

monde 39

monde

monde

monde

monde

monde

45

46

47

48

49

monde

monde

monde

monde

monde

55

56

57

58

59

monde

monde

monde

monde

65

66

67

68

monde

monde

75

76

The diagram from TM 5 / 1957 has the correct arrangement of the 21 Univers weights, which are numbered accordingly.

Cap height / Ascender height For the Univers type family the ascender height is the same as

counter

tittle

the cap height.

Sophis Descender height

X-height

Anatomy To achieve the goal of an expansive, integrated type family, designers must be sensitive to the nuances of each letterform while simultaneously considering the overall system. In the case of Univers, this sophisticated approach to type family design is supported by a well-considered set of typographical characters. Inspired by his study of the limitations of existing sans serifs, Frutiger began with the assumption that “a purely geometric character is unacceptable in the long run, for the vertical ones; an O represented by a perfect circle strikes us aa shapeless and has a disturbing effect on the word as a whole.”

descender

o Baseline

The letter ‘o’ was designed so that it was especially not a perfect geometric circle.

Instead, the form is more of an ellipse both in the counter form and the bowl.

spine

Angled ascender. The ascender of the lowercase ‘t’ does not reach the cap height unlike the other ascenders.

bowl

cross bar

ascender

ticated Some letters have an overhang to appear as if all letters sit upon the same baseline.

Qb Just like the ‘o’, many of the letters are not perfectly geometrical. These details, such as the tail of the ‘Q’ and the stem of the ‘b’ give the typeface character.

finial

AI However, many letters do use purely geometric forms. This creates an integrated sans-serif typeface that has a sophisticated and robust character.

‫بط‬ ‫كلا‬

‫ةعاب‬ ‫نوك‬

Typeface comparison

Hofstainberg Linotype Univers Adrian Frutiger 1957

The fact that Univers, Helvetica and Folio were released practically at the same time demonstrates that there was a real need for a modern sans serif face. Univers, unlike Helvetica and Folio, was conceived of and developed as a large family right from the beginning.

All three typefaces have similar characters to traditional 19th century sans serif faces. The closed shape of the curves, which is unlike other existing sans serifs, is a typical feature, as are the consistently balanced character widths and ascenders reduced to the cap height through-out the typeface. The x-height of Univers is halfway between that of Helvetica and Folio, although all three have rather tall x-heights. Helvetica regular is slightly heavier than Univers, whereas Folio is lighter. The fact that there is no Folio roman weight has to be taken into account.

Hofstainberg

Folio Konrad F. Bauer / Walter Baum 1957

In the example shown Folio light is used. That Univers has something lively about it in spite of its static appearance is due to its stroke width contrast, which is highly pronounced.

Hofstainberg

On the whole, Univers is the most balanced typeface of the three, due not only to its optimal black and white relationship but also to its clear shapes free of excess elements, most clearly visible in G K a and y.

Hh = Hw = Hs = Hq =

10.00 cm 7.77 1.30 1.02

nh = nw = ns = nq =

Helvetica Max Miedinger 1957

oh = ow = os = oq =

6.99 cm 5.96 1.21 0.93

7.31 cm 6.90 1.31 0.89

Hno nq

Hq

oq

Hh

nh

Hs

os

ns

Hw

nw

Hh : Hw2= 1 : 0.77 Hw : Hs = 1 : 0.16 Hs : Hq = 1 : 0.78

ow

Hh : Hw2= 1 : 0.77 Hw : Hs = 1 : 0.16 Hs : Hq = 1 : 0.78

Measurements of stroke widths and proportions of the Linotype Univers 430 Basic Regular weight.

GKQatyß12 Angular connection to the stem, stem without spur

Legs come to an angle

Horizontal tail with slightly concave shape

Straight connection into stem

Oblique start, end of curve is vertical

Horizontal terminal

Ligatureform long s and round s

Upstroke on 1 slightly hollow; arc on 2 with straight finish

G K Q a t y ß 1 2 GKQatyß12 HÔhxp7

1.00 0 cm

0 cm

1.00 0 cm

4.3

-26

3.7

127 100 64

5.6

-35

5.5

130 100 73

3.7

-29

4.0

10

Linotype Univers 19.75 pt

HÔhxp7

1.00

128 100 70

The black and white relation of Univers is optimally balanced when compared with the other two typefaces.

10

Folio 20 pt

HÔhxp7 Helvetica 19.95 pt

10

Height comparison showing the differences of x-heights to ascenders and descenders the cap height is the starting point.

27 Univers® Std 45 Li

Univers® Std 45 Li

Univers® Std 55

Univers® Std 55

Univers® Std 65

Univers® Std 65

Univers® Std 75

Univers® Std 75

Univers® Std 85

Univers® Std 85

Univers® Std 47 Light

Univers® Std 47 Light

Univers® Std 57 Con

Univers® Std 57 Con

Univers® Std 67 Bold

Univers® Std 67 Bold

UNIVERS FAMILY Univers® Std 39 Thin Ultra Condensed Univers® Std 49 Light Ultra Condensed Univers® Std 59 Ultra Condensed

Univers® Std 53 Ext

Univers® Std 53 Ext

Univers® Std 63

Univers® Std 63

Univers® Std 73

Univers® Std 73

Univers® Std 93

Univers® Std 93

‫هللا مالك هّنأب نونمؤيو نوملسملا هُمِّظَعُي ‪،‬مالسإلا يف يسيئرلا باتكلا وه ميركلا نآرقلا وأ نآرقلا‬ ‫يف ظوفحم هنأ نوملسملا نمؤي ثيح رتاوتلاب هنع لوقنملا ‪،‬زاجعإلاو نايبلل دمحم هيبن ىلع لّزنملا‬ ‫فحص دعب ةيوامسلا بتكلا رخآ وهو‪،‬هتوالتب دبعتملا وهو ‪،‬فيرحت وأ سم لك نم روطسلاو رودصلا‬ ‫امل ‪،‬ةينيدو ةيوغل ةميق ةيبرعلا بتكلا ىقرأ نآرقلا ّدعي امك ‪.‬ليجنإلاو ةاروتلاو روبزلاو ميهاربإ‬ ‫اهبادآو ةیبرعلا ةغللا ريوطتو ديحوت يف لضف رثأ نآرقللو ‪.‬ةحاصفلاو نايبلاو ةغالبلا نم هعمجي‬ ‫ذإ ‪،‬ةيبرعلا ةغللا دعاوقل ساسألا تانبّللا تيبثتو ديحوتو عضوو ‪،‬ةيوحنلاو ةيفرصلا اهمولعو‬ ‫ليلخلاو يلؤدلا دوسألا وبأ ةمالعلاو هيوبيسك ةيبرعلا ةغللا ةلحاطف لكل ًاساسأو ًاعجرم ربتعي‬ ‫ةغللا ريوطت يف نييوغللا ةلحاطفلا تامهاسم لك هيلع زكترت ثيح ‪،‬مهريغو يديهارفلا دمحأ نب‬ ‫دمحأ نم ءادتبا ‪،‬ثيدحلا رصعلا يف رجهملا بدأ ةبقح ىلإ نيثدحملا وأ ءامدقلا دنع ءاوس ‪،‬ةيبرعلا‬ ‫عفدلا ةلواحم يف ريبك رود مهل ناك نيذلا مهريغو ناربج ليلخ ناربجو يروخلا ميلس ديشر ىلإ يقوش‬ ‫لوزن ىلإ ةیبرعلا ةغللا ديحوت يف لضفلا دوعيو ‪.‬ثيدحلا رصعلا يف يبرعلا ثارتلاو ةغللا ءايحإب‬ ‫نآرقلا لزن نأ ىلإ ‪،‬ةنورمو ًینغ تاذ تناك اهنأ مغر دهعلا اذه لبق ةدَحّوم نکت مل ثيح ‪،‬ميركلا نآرقلا‬ ‫ةغالبلا نمو ‪ِ،‬عْجَّسلا ةبوذعو كبسلا نسح نم ًالیس ةيبرعلا ةغللا یطعأو ‪،‬هنایبب عومجلا ىدحتو‬ ‫نم اهظفحو ًالماک ًادیحوت ةيبرعلا ةغللا ميركلا نآرقلا دحو دقو ‪،‬برعلا ءاغلب هنع زجع ام نايبلاو‬ ‫ترثدناو ةدئاب تاغل تحضأ يتلا ‪،‬ىرخألا ةيماّسلا تاغللا نم ديدعلا عم ثدح امك ‪،‬ضارقنالاو يشالتلا‬ ‫تابذاجتلاو تارييغتلا ةرياسم ىلع ةردقلا مدع يلاتلابو ‪،‬طاطحنالاو فعضلا اهلاط تاغل وأ نمزلا عم‬ ‫ةيّكم ىلإ فنصت ةروس ىلع نآرقلا يوتحيو ‪.‬ثيدحلاو ميدقلا ملاعلا بوعشو ةراضحلا اهفرعت يتلا‬ ‫كلملا ناسل ىلع هللا هلزنأ نآرقلا نأ نوملسملا نمؤيو ‪.‬اهب يحولا لوزن نامزو ناكمل ًاقفو ةيندمو‬ ‫هتافو ىتحو ‪،‬نيعبرألا نس دمحم يبنلا غلب نأ دعب ‪ً،‬ابيرقت ةنس ىدم ىلع دمحم يبنلا ىلإ ليربج‬ ‫دمحم يبنلا ىلع يحولا لزن نأ دعب ‪،‬ةباحصلا دي ىلع ‪،‬ةقدب ظفُح نآرقلا نأب نوملسملا نمؤي امك ‪.‬ماع‬ ‫‪،‬نورقلا لك يف ةفاك لايجألا بطاخي هنأو تالصفم تامكحم هتايآ نأو ‪،‬هتباحص ىلع هأرقو هظفحف‬ ‫رمأب دحاو فحصم يف نآرقلا عمُج دمحم يبنلا ةافو دعب ‪.‬لاوحألا لكب طيحيو تابسانملا لك نمضتيو‬ ‫ةفيلخلا ةافو دعبو ‪.‬باطخلا نب رمع يباحصلا نم حارتقال ًاقفو قيدصلا ركب وبأ لوألا ةفيلخلا نم‬ ‫ىأر نأ ىلإ ‪،‬رمع تنب ةصفح نينمؤملا مأ ىدل ةظوفحم ةخسنلا كلت تلظ ‪،‬باطخلا نب رمع يناثلا‬ ‫ةصفح لأسف ‪،‬مهتاجهل فالتخال تاءارقلا يف نيملسملا فالتخا نافع نب نامثع ثلاثلا ةفيلخلا‬ ‫‪،‬ةيسايقلا ةجهللا نوكتل شيرق ةجهلب بوتكملاو اهتزوحب يذلا فحصملا مادختساب هل حمست نأب‬ ‫ديحوتل فحصملا نم خسن ةدع خسنب نامثع رمأو ‪Visual Representation of Univers Next Arabic Regular‬‬ ‫هسفنل ظفتحاو راصمألا ىلع خسنلا كلت عيزوتب رمأو ‪،‬فحصملا كلذ فلاخي ام مادعإب رمأو ‪،‬ةءارقلا‬ ‫ةيلاحلا خسنلا نأ ءاملعلا مظعم دكؤيف اذل ‪.‬ينامثعلا فحصملاب نآلا ىلإ خسنلا هذه فرعت ‪.‬هنم ةخسنب‬ ‫نوملسملا نمؤي ‪.‬ركب وبأ اهعمج يتلا ةيلصألا ةخسنلا نم خوسنملا صنلا سفن ىلع يوتحت نآرقلل‬ ‫‪،‬هلثم ةروسب وأ هلثمب اوتأي نأب نيملاعلا ىدحتت هتايآ نأو ‪،‬نيملاعلل دمحم يبنلا ةزجعم نآرقلا نأ‬ ‫ًاقفو ‪،‬تأدب يتلا ةيوامسلا تالاسرلا نم ةلسلسل ًاجيوتتو ‪،‬هتوبن ىلع ًاليلد هنوربتعي امك‬ ‫ليجنإ ىلإ ًالوصو ‪،‬دواد روبزو ‪،‬ىسوم ةاروتو ‪،‬ميهاربإ فحصب ًارورم مدآ فحص عم ‪،‬نيملسملا ةديقعل‬ ‫لاقُي ‪،‬مضلاو عمجلا ىنعمب ءرَقلا نم هلصأو ٍ انآرق ةءارق أرقي أرق [ردصملا نم نآرق ةملك قتشُت ‪.‬ىسيع‬ ‫نآرقلا لوقي ناك هنأ يعفاشلا نع يورو ‪.‬ضعب ىلإ اهضعب مضيو روسلاو تايآلا عمجي هنأل اًنآرق نآرقلا ى‬ ‫نأل نئارقلا نم قتشم وه ءاّرفلا لاقو ‪.‬هللا باتكل مسا هنكلو ‪،‬تأرق نم ذخؤي ملو زومهمب سيلو مسا‬ ‫نارفغك نالعف نزو ىلع نآرقلا ‪.‬نئارق يهو اضعب اهضعب هباشيو ‪،‬اضعب اهضعب قدصي هنم تايآلا‬ ‫لداعيو ‪.‬ريثك نبا ةءارق يف امك نارق فيفختلاب أرقُيو ‪،‬ءارقلا روهمج ةءارق يف امك زومهم وهو ‪،‬ناركشو‬ ‫مظعم نأ مغرو ‪.‬سردلا وأسدقملا باتكلا ةءارق ينعت يتلاو انايرق ةملك ةينايرسلا يف ةملكلا ردصم‬ ‫نيملسملا ءاملع ةيبلاغ نأ الإ ‪،‬ةينايرسلا ةملكلا ىلإ ةملكلا لصأ نوعجرُي نييبرغلا نيثحابلا‬

‫هّنأب نونمؤيو نوملسملا هُمِّظَعُي ‪،‬مالسإلا يف يسيئرلا باتكلا وه ميركلا نآرقلا وأ نآرقلا‬ ‫نوملسملا نمؤي ثيح رتاوتلاب هنع لوقنملا ‪،‬زاجعإلاو نايبلل دمحم هيبن ىلع لّزنملا هللا مالك‬ ‫بتكلا رخآ وهو ‪،‬هتوالتب دبعتملا وهو ‪،‬فيرحت وأ سم لك نم روطسلاو رودصلا يف ظوفحم هنأ‬ ‫ةيبرعلا بتكلا ىقرأ نآرقلا ّدعي امك ‪.‬ليجنإلاو ةاروتلاو روبزلاو ميهاربإ فحص دعب ةيوامسلا‬ ‫ديحوت يف لضف رثأ نآرقللو ‪.‬ةحاصفلاو نايبلاو ةغالبلا نم هعمجي امل ‪،‬ةينيدو ةيوغل ةميق‬ ‫تانبّللا تيبثتو ديحوتو عضوو ‪،‬ةيوحنلاو ةيفرصلا اهمولعو اهبادآو ةیبرعلا ةغللا ريوطتو‬ ‫هيوبيسك ةيبرعلا ةغللا ةلحاطف لكل ًاساسأو ًاعجرم ربتعي ذإ ‪،‬ةيبرعلا ةغللا دعاوقل ساسألا‬ ‫تامهاسم لك هيلع زكترت ثيح ‪،‬مهريغو يديهارفلا دمحأ نب ليلخلاو يلؤدلا دوسألا وبأ ةمالعلاو‬ ‫بدأ ةبقح ىلإ نيثدحملا وأ ءامدقلا دنع ءاوس ‪،‬ةيبرعلا ةغللا ريوطت يف نييوغللا ةلحاطفلا‬ ‫ناربج ليلخ ناربجو يروخلا ميلس ديشر ىلإ يقوش دمحأ نم ءادتبا ‪،‬ثيدحلا رصعلا يف رجهملا‬ ‫رصعلا يف يبرعلا ثارتلاو ةغللا ءايحإب عفدلا ةلواحم يف ريبك رود مهل ناك نيذلا مهريغو‬ ‫ةدَحّوم نکت مل ثيح ‪،‬ميركلا نآرقلا لوزن ىلإ ةیبرعلا ةغللا ديحوت يف لضفلا دوعيو ‪.‬ثيدحلا‬ ‫یطعأو ‪،‬هنایبب عومجلا ىدحتو نآرقلا لزن نأ ىلإ ‪،‬ةنورمو ًینغ تاذ تناك اهنأ مغر دهعلا اذه لبق‬ ‫ءاغلب هنع زجع ام نايبلاو ةغالبلا نمو ‪ِ،‬عْجَّسلا ةبوذعو كبسلا نسح نم ًالیس ةيبرعلا ةغللا‬ ‫‪،‬ضارقنالاو يشالتلا نم اهظفحو ًالماک ًادیحوت ةيبرعلا ةغللا ميركلا نآرقلا دحو دقو ‪،‬برعلا‬ ‫وأ نمزلا عم ترثدناو ةدئاب تاغل تحضأ يتلا ‪،‬ىرخألا ةيماّسلا تاغللا نم ديدعلا عم ثدح امك‬ ‫يتلا تابذاجتلاو تارييغتلا ةرياسم ىلع ةردقلا مدع يلاتلابو ‪،‬طاطحنالاو فعضلا اهلاط تاغل‬ ‫ةيّكم ىلإ فنصت ةروس ىلع نآرقلا يوتحيو ‪.‬ثيدحلاو ميدقلا ملاعلا بوعشو ةراضحلا اهفرعت‬ ‫ناسل ىلع هللا هلزنأ نآرقلا نأ نوملسملا نمؤيو ‪.‬اهب يحولا لوزن نامزو ناكمل ًاقفو ةيندمو‬ ‫‪،‬نيعبرألا نس دمحم يبنلا غلب نأ دعب ‪ً،‬ابيرقت ةنس ىدم ىلع دمحم يبنلا ىلإ ليربج كلملا‬ ‫يحولا لزن نأ دعب ‪،‬ةباحصلا دي ىلع ‪،‬ةقدب ظفُح نآرقلا نأب نوملسملا نمؤي امك ‪.‬ماع هتافو ىتحو‬ ‫لايجألا بطاخي هنأو تالصفم تامكحم هتايآ نأو ‪،‬هتباحص ىلع هأرقو هظفحف دمحم يبنلا ىلع‬ ‫دمحم يبنلا ةافو دعب ‪.‬لاوحألا لكب طيحيو تابسانملا لك نمضتيو ‪،‬نورقلا لك يف ةفاك‬ ‫يباحصلا نم حارتقال ًاقفو قيدصلا ركب وبأ لوألا ةفيلخلا نم رمأب دحاو فحصم يف نآرقلا عمُج‬ ‫ىدل ةظوفحم ةخسنلا كلت تلظ ‪،‬باطخلا نب رمع يناثلا ةفيلخلا ةافو دعبو ‪.‬باطخلا نب رمع‬ ‫نيملسملا فالتخا نافع نب نامثع ثلاثلا ةفيلخلا ىأر نأ ىلإ ‪،‬رمع تنب ةصفح نينمؤملا مأ‬ ‫نأب ةصفح لأسف ‪،‬مهتاجهل فالتخال تاءارقلا يف ‪Visual Representation of Univers Next Arabic Bold‬‬ ‫‪،‬ةيسايقلا ةجهللا نوكتل شيرق ةجهلب بوتكملاو اهتزوحب يذلا فحصملا مادختساب هل حمست‬ ‫‪،‬فحصملا كلذ فلاخي ام مادعإب رمأو ‪،‬ةءارقلا ديحوتل فحصملا نم خسن ةدع خسنب نامثع رمأو‬ ‫نآلا ىلإ خسنلا هذه فرعت ‪.‬هنم ةخسنب هسفنل ظفتحاو راصمألا ىلع خسنلا كلت عيزوتب رمأو‬ ‫صنلا سفن ىلع يوتحت نآرقلل ةيلاحلا خسنلا نأ ءاملعلا مظعم دكؤيف اذل ‪.‬ينامثعلا فحصملاب‬ ‫دمحم يبنلا ةزجعم نآرقلا نأ نوملسملا نمؤي ‪.‬ركب وبأ اهعمج يتلا ةيلصألا ةخسنلا نم خوسنملا‬ ‫ًاليلد هنوربتعي امك ‪،‬هلثم ةروسب وأ هلثمب اوتأي نأب نيملاعلا ىدحتت هتايآ نأو ‪،‬نيملاعلل‬ ‫‪،‬نيملسملا ةديقعل ًاقفو ‪،‬تأدب يتلا ةيوامسلا تالاسرلا نم ةلسلسل ًاجيوتتو ‪،‬هتوبن ىلع‬ ‫ةملك قتشُت ‪.‬ىسيع ليجنإ ىلإ ًالوصو ‪،‬دواد روبزو ‪،‬ىسوم ةاروتو ‪،‬ميهاربإ فحصب ًارورم مدآ فحص عم‬ ‫هنأل اًنآرق نآرقلا ى لاقُي ‪،‬مضلاو عمجلا ىنعمب ءرَقلا نم هلصأو ٍ انآرق ةءارق أرقي أرق [ردصملا نم نآرق‬ ‫سيلو مسا نآرقلا لوقي ناك هنأ يعفاشلا نع يورو ‪.‬ضعب ىلإ اهضعب مضيو روسلاو تايآلا عمجي‬ ‫تايآلا نأل نئارقلا نم قتشم وه ءاّرفلا لاقو ‪.‬هللا باتكل مسا هنكلو ‪،‬تأرق نم ذخؤي ملو زومهمب‬ ‫‪،‬ناركشو نارفغك نالعف نزو ىلع نآرقلا ‪.‬نئارق يهو اضعب اهضعب هباشيو ‪،‬اضعب اهضعب قدصي هنم‬ ‫ردصم لداعيو ‪.‬ريثك نبا ةءارق يف امك نارق فيفختلاب أرقُيو ‪،‬ءارقلا روهمج ةءارق يف امك زومهم وهو‬

63 Univers®Next 130

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UNIVERS NEXT FAMILY Univers®Next 140

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Univers®Next 340 Univers®Next 341 Univers®Next 440 Univers®Next 441 Univers®Next 540 Univers®Next 541 Univers®Next 640 Univers®Next 641 Univers®Next 740 Univers®Next 741 Univers®Next 840 Univers®Next 841 Univers®Next 940 Univers®Next 941

TM 1 / 1961 is devoted entirely to Univers – A. Frutiger, E. Ruder and P. Heuer write about its conception and production over 60 pages

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TM 5 / 1961 is devoted entirely to Univers – A. Frutiger, E. Ruder and P. Heuer write about its conception and production over 60 pages

typographischemonatsblätter typographische monatsblätter typographische monatsblätter typographische monatsblätter typographische monatsblätter typographische monatsblätter typographische monatsblätter typographische monatsblätter typographische

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NOPQRST

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GHIJKLM

TUVWXYZ

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E H T Y A M VERS I N U H T I

W BE

U O Y

COLOPHON This specimen book is an exploration of Adrian Frutiger’s Univers font family, designed by Stavros Giannoulakis at RMIT University in Melbourne, Australia in October 2018 Typography in Design, a subject within the Bachelor of Design (Communication Design) program in the School of Media and Communication.

Typeset in Univers font family designed by Adrian Frutiger Linotype, Univers Next family designed by Adrian Frutiger and Linotype Design Studio in 2010. Univers Next Arabic designed by Adrian Frutiger and Nadine Chahine in 2011.

Typesets: Monotype subscription.

Body text, Univers 55 Roman 8/11 pt Words 1432 Pages 36 BIBLIOGRAPHY Osterer, H. Stamm, P. (2018) Adrian Frutiger Typefaces, The Complete Works. Basel, Switzerland. Birkhäuser (p 87 - 117)

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REFERENCES https://www.linotype.com/1212814/univers-family.html https://www.linotype.com/680064/univers-next-family.html https://www.linotype.com/769962/univers-next-arabic-family.html https://issuu.com/linotype/docs/linotypeunivers

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