During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport’s signage system had to include the clearest and most legible lettering possible. The development of all signage
was put into the hands of Adrian Frutiger
and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as “Frutiger” in 1977.
, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans.
2009’s Neue Frutiger
is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi
in close collaboration with Adrian Frutiger. Despite the various changes, this “New Frutiger” still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence.
Adrian Frutiger and Akira Kobayashi work together on the “Neue Frutiger” font family
Comparison: Frutiger and Neue Frutiger
Search with the keyword for ‘Frutiger’
to find all fonts in the Linotype Library designed by Adrian Frutiger.
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