About Linotype Veto

Veto® owes the way its letters remain open to Frutiger®. When you compare Univers® to Frutiger, you see that, for want of a better expression, Frutiger uses less “raw material,” meaning shorter lines, to create the alphabet.

Adrian Frutiger’s milestones Univers (1957) and Frutiger (1976) in comparison with the 20 year younger Veto (1994).

If you then compare the typesets of Frutiger and Veto, you’ll see a similar change: by eliminating many small forms, Veto has moved to the next level in terms of reduction – rather like a fabric that is more loosely woven.

The typeset of Frutiger in comparison with Veto.

Veto’s forms were created on paper, not on a computer screen. Because they were drawn intuitively, they have individual characteristics. Each character was first sketched by hand, then refined repeatedly until it became the finished artwork. After that, I asked Günther Gerhard Lange to run his legendary eye over the Veto designs to see if he could spot any problems. Not even the tiniest detail escaped his merciless analysis. This, together with the great care taken in production, is what has made Veto a font with a future.

more ... An innovative concept

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