Avenir® 1 Value Pack

By Adrian Frutiger Much has been written about the evolution of type: how the forms of our letters took shape, from the roman capitals to the Carolingian minuscules, and how the Latin alphabet was then, essentially, finalized for eternity by the first printing presses of the Renaissance Age. Looking back from where we stand now, we could say that the original forms of our uppercase letters are around 2,000 years old, while those of our lowercase letters would be over 1,000 years old. And [...]

The repetition of simple geometric shapes forms a daily part of our environment. Throughout the 20th century – and into the 21st – typefaces whose designs have taken advantage of this have remained popular. But finding exactly the right mood can be tricky. For your convenience, we have grouped some of our favorite geometric typefaces (mostly sans serif and symbol) into four categories: circles, squares, ovals, and triangles.

Seit Jahrzehnten arbeitet Adrian Frutiger eng mit Linotype zusammen. In den vielen Jahren dieser wertvollen Zusammenarbeit sind zahlreiche Fotos von Adrian Frutiger entstanden. Diese Bilder vermitteln Eindrücke der verschiedenen Phasen und Höhepunkte seines bisherigen Lebens. Es sind Fotos, die ihm bei der Arbeit in seinem Studio zeigen, Aufnahmen zusammen mit seinen Schriften, sowie aktuellere Schnappschüsse, auf denen er bei der Zusammenarbeit mit Akira Kobayashi zu sehen ist. Wir hoffen, [...]

Kunden aus aller Welt besuchen täglich Linotype.com, um Schriften zu erwerben. Nachstehend finden Sie eine Liste mit den 20 Schriftfamilien, die unsere Kunden im Jahr 2008 am häufigsten gekauft haben. Kennen Sie sie alle?

Adrian Frutiger: Right from the beginning, I was convinced that Avenir™ is the better Futura®. Akira Kobayashi: I share your opinion, but some weights have been missing to make Avenir an all-purpose typeface. Adrian Frutiger: You mean the condensed weights? Akira Kobayashi: Yes, with this extension I’m sure Avenir will then be able to cut its own path. Adrian Frutiger: Then we should get to work putting Avenir onto that path ... Akira Kobayashi: Yes. How to order Avenir Next: Please [...]

Frutiger® – der Klassiker unter den serifenlosen Schriften. Das Original gibt es direkt von Linotype als Einzelfont, Value Pack oder auf CD. Über die Frutiger Mit der Frutiger schuf der renommierte Schriftdesigner Adrian Frutiger ein wahres Meisterwerk. Beauftragt mit der Entwicklung des Leitsystems für den Pariser Flughafen Charles de Gaulle in Paris, bei dem gute Lesbarkeit oberstes Gebot war, erstellte Frutiger im Jahr 1968 die inzwischen legendäre Frutiger. Die ursprüngliche [...]

Adrian Frutiger is considered one of the most important typeface artists of the 20th century. He has been the creator of such internationally renowned typefaces as Avenir™, Linotype Centennial™, Frutiger™, Icone™, Meridien™ and Univers™. Numerous prizes distinguish his pioneering work in the fields of typography and the graphic arts. More about the fonts: Apollo™ The text typeface Apollo was designed by Adrian Frutiger in 1962–64, and was one of the first fonts produced by Monotype for [...]

Über die Lesbarkeit Unter dem Einfluss der verschieden Druckverfahren hat die lateinische Textschrift subtile Formveränderungen erfahren. Grundsätzlich neue Formen sind jedoch keine entstanden. Als Demonstration dafür sind acht a in den meistgelesenen Schriftstilen mit einem Drehraster versehen und übereinander kopiert. Das Resultat zeigt eine erstaunliche Übereinstimmung.

Find further Font Features in our Font Feature Archive.

Portrait We can read because we perceive elements and forms which are familiar to us. So in order to even recognize words, we must first decipher the elements which make up the shapes of the letters – a process which involves the interplay of myriad aspects. To a certain degree, many of us are aware of these aspects. Yet Adrian Frutiger knows about such shifting dynamics in perception in a way no other person can, as he has been instrumental in researching the subject and over several decades [...]

Or why there´s now an Avenir Next While Adrian Frutiger has created such famous typefaces as Univers™ or Frutiger™, another matter has remained very close to his heart – the design of his linear sans serif – the Avenir™. In 1988, the Swiss typeface designer first presented Avenir to the public, which already at that time marked an excellent alternative to other well known typefaces such as Futura® or Avant Garde®. Compared to the mere metric construction of other typefaces, Avenir was [...]

Font Designer: Adrian Frutiger, 1988 About the Font Avenir® font was developed by the famous Swiss font artist Adrian Frutiger and presented by Linotype in 1988. The design of this font is based on the sans-serif typefaces Futura® and Erbar™. The name Avenir (future) gives us a clue as to Frutiger's intentions, to convey the idea of timelessness in the image of his typeface.

Avenir® was developed by the famous Swiss font artist Adrian Frutiger and presented by Linotype in 1988. The design of this font is based on the sans-serif typefaces Futura® and Erbar™. The name Avenir (future) gives us a clue as to Frutiger's intentions, to convey the idea of timelessness in the image of his typeface.

Adrian Frutiger: Right from the beginning, I was convinced that Avenir™ is the better Futura®. Akira Kobayashi: I share your opinion, but some weights have been missing to make Avenir an all-purpose typeface. Adrian Frutiger: You mean the condensed weights? Akira Kobayashi: Yes, with this extension I’m sure Avenir will then be able to cut its own path. Adrian Frutiger: Then we should get to work putting Avenir onto that path ... Akira Kobayashi: Yes. Avenir Next, along with [...]

With the invention of the printing press, a longing for formal refinement began to awaken. First leaning on the bold and distinct typography of incunabula, styles gradually progressed to culminate in the decorative classical fonts of the 17th and 18th centuries. This growing preoccupation with ever greater refinement was also reflected in the architecture of the times, as well as in objects of daily use, especially furniture. But also the fashionable attire worn by the upper classes of each [...]

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