Fonts of Adrian Frutiger in the Linotype Library

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 use on their new phototypesetting machine at that time. The legible and robust Apollo has a small x-height, gently bracketed serifs, moderately open counters, and a primarily oblique axis. Frutiger designed the roman to have enough heartiness to produce a good impression when printed by photolithography on smooth papers, and that strength holds nicely in this digital version. A full family with roman, italic, small caps, oldstyle figures, and semibold, Apollo is an excellent choice for book typography, magazine work, and headlines.


Avenir™
Adrian Frutiger designed Avenir™ in 1988, after years of having an interest in sans serif typefaces. In an interview with Linotype, he said he felt an obligation to design a linear sans in the tradition of Erbar™ and Futura®, but to also make use of the experience and stylistic developments of the twentieth century. The word Avenir means ’future’ in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura , Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an "o" that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines.


Avenir™ Next
Avenir™ Next is a Linotype Platinum Collection font family, recently released as a major improvement and extension to the existing Avenir. It includes new small caps, newly designed true italics, and a complete new range of condensed weights. Avenir Next is a versatile sans serif family, ready for large and complex projects from books to signage to advertising.
Get more information about Avenir Next.


Breughel™
Adrian Frutiger came up with this unusually purposeful and strong design in 1981 for Linotype. Early humanistic typefaces of the sixteenth century, especially Jenson, served as models for Breughel. The right sides of the stems are vertical and at right angles to the baseline while the left sides of the stem curve into the serifs, making the typeface look as though it slants to the right, and giving it a sense of movement and liveliness. The ductus of the broad-edged pen is reflected in the flow, rhythm, and texture of text set in Breughel, but at the same time this design has a regularity of form that is typographically solid. Breughel is an ideal typeface for the designer with skill and vision. Use it to create innovative publications, posters, and advertisements.


Linotype Centennial™
Linotype Centennial was designed and released in 1986 for the celebration of Linotype’s 100th anniversary. Adrian Frutiger was influenced by Century, a type designed by Linn Boyd Benton and his son Morris F. Benton for the American Type Founders Company at the end of the nineteenth century. Linotype Centennial is quite close in concept to Century, but it also has the characteristic Frutiger enhancements for contemporary elegance and legibility. It has a vertical stress, slightly condensed forms, a tall x-height, and fairly high contrast between thick and thin strokes. Linotype Centennial is available in several weights and includes small caps, oldstyle figures, and Central European accents. This sturdy, clean and tasteful font is an excellent choice for books, magazines, and newspapers.


Egyptienne F™
Adrian Frutiger designed Egyptienne F for the Deberny & Peignot Foundry in 1956. "Egyptian" or "Egyptienne" is a typographic designation for roman typefaces with slab (or square or rectangular) shaped serifs; and those that have bracketing between main stroke and serifs (like this one) are known as "Clarendon-style Egyptians." This was the first of several Egyptians designed by Frutiger, see also Glypha and Serifa. Egyptienne F has a medium x-height and excellent character spacing for setting text in small point sizes. Legible, flexible, and neutral in appearance, Egyptienne F is a good choice for books, magazines, and on-screen presentations.


Frutiger™
In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Charles de Gaulle Airport in Paris.
Though everyone thought he would want to use his successful Univers™ font family, Frutiger decided instead to make a new sans serif typeface that would be suitable for the specific legibility requirements of airport signage: easy recognition from the distances and angles of driving and walking. The resulting font was in accord with the modern architecture of the airport.
In 1976, he expanded and completed the family for D. Stempel AG in conjunction with Linotype, and it was named Frutiger.
The Frutiger family is neither strictly geometric nor humanistic in construction; its forms are designed so that each individual character is quickly and easily recognized. Such distinctness makes it good for signage and display work. Although it was originally intended for the large scale of an airport, the full family has a warmth and subtlety that have, in recent years, made it popular for the smaller scale of body text in magazines and booklets.
The family has 14 weights and 14 companion fonts with Central European characters and accents. Another 14 Cyrillic companion fonts are available as well.


Frutiger™ Next
Frutiger Next is Adrian Frutiger’s and Linotype’s completely new interpretation of the well known typeface "Frutiger", released in 2000.
The goal was to create a complete system of 18 weights, and priority was placed on retaining the aesthetic aspects of the original characters while optically adjusting the contrast between weights.
The italics in the original Frutiger were based very closely on the roman forms, and in the new Frutiger Next, they are re-designed to be true italics.
The expansion and harmonization of the palette in regular, italic and condensed allows a wider range of application; now each regular typeface has a companion italic. With the re-worked forms the areas of application are almost limitless, and Frutiger Next can be used for anything from office communications to multimedia to complex printed materials.
Get more information about Frutiger Next.