Univers by hirofuji

Univers

Univers The Type Book

Y u k i h i r o

F u j i t a

Ru t g e r s Un i versi t y Press, U niver sit y Ave, Newar k 07102

Pu b l i s h e d i n the U ni te d S t ates by Rut ger s Univer sit y Pr ess, New Jer s ey

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L i b r a r y o f C on g ress C at al o g ing in Publicat ion Dat a Fu j i t a , Yuki hi ro

I S BN 4 - 2 6 5 4 -2 3 4 7-3 (E ng l i sh ed.: acid-f r ee paper ). ( A r t E d . : aci d-fre e p ap e r) N d 5 5 3 . T 7H 39 2 013 7 5 9 . 4 - d c 2 179 -3 7 3 9

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Pu b l i c a t i on o f th i s bo o k h as been aided by a gr ant f r om Depar t ment of Ar t s , M edi a , a nd Cul tur e of Ru t g e r s St ate U ni versi t y o f Newar k.

Pr i n t e d a nd b o u n d by B l urb Pr int ing

Table of Contents

Introduction

Comparing Type

Using Univers

p 12

Univers Variations

p 15

Introduction

Comparison of Type

Typ e Co m p aris o n

Over the years, there ahve been different updates of the original Univers. Within the family are up to 44 different variations of Univers, ; within the family there are multiple widths and weights that maintain the same style, but the main focus is of 21 different variations. Univers 55 being the main focus of the typeface with 16 uniquely numbered weight, width, and position combinations. This typeface has 20 fonts have oblique positions, 8 fonts support Central European character set, 8-support Cyrillic character set. Univers has become a designers’ tool over the years. Univers has become a non-bias font (neutral), not leaning towards anything. The characteristics of the letter ‘A’ and ‘i’ has improved differently from others. This typography is basically very simple; there is not much curves or extra edges. Univers also has the ability to use different weights of the same fonts; giving many possibilities to the designer world -- heavy to light, thin to thick, etc.

Ty p e C o m p a riso n

The paragraphs are all in the light font of a different typeface family. In the design industry, all of those fonts are considered to be a somewhat non-biased (neutral) typeface. Futura is geometric sansserif typeface designed in 1927 by Paul Renner. Renner was trying to design a font that created efficiency to readers. Then in 1957, Max Miedinger and Eduard Hoffmann created a sans-serif typeface called Helvetica. Their goal was to make another typeface as successful AkzidenzGrotesk; today Helvetica is widely used typeface. In text body, there is a small difference between the typefaces; Futura has a more forwardness feeling, Helvetica has no real characteristic feeling, and Univers is a combination of both feelings.

The paragraphs are all in the light font of a different typeface family. In the design industry, all of those fonts are considered to be a somewhat non-biased (neutral) typeface. Futura is geometric sans-serif typeface designed in 1927 by Paul Renner. Renner was trying to design a font that created efficiency to readers. Then in 1957, Max Miedinger and Eduard Hoffmann created a sans-serif typeface called Helvetica. Their goal was to make another typeface as successful Akzidenz-Grotesk; today Helvetica is widely used typeface. In text body, there is a small difference between the typefaces; Futura has a more forwardness feeling, Helvetica has no real characteristic feeling, and Univers is a combination of both feelings.

Light 10 Pt

Futura

45 Light 10 Pt

Univers

Helvetica

Light 10 pt

The paragraphs are all in the light font of a different typeface family. In the design industry, all of those fonts are considered to be a somewhat non-biased (neutral) typeface. Futura is geometric sans-serif typeface designed in 1927 by Paul Renner. Renner was trying to design a font that created efficiency to readers. Then in 1957, Max Miedinger and Eduard Hoffmann created a sans-serif typeface called Helvetica. Their goal was to make another typeface as successful Akzidenz-Grotesk; today Helvetica is widely used typeface. In text body, there is a small difference between the typefaces; Futura has a more forwardness feeling, Helvetica has no real characteristic feeling, and Univers is a combination of both feelings.

Typ e Co m p aris o n

This chart shows the unique differences of certain letters of the three different typefaces; Helvetica, Univers, and Futura.

Using Univers

Us in g Un iver s

Creating with type is known as typography,

Univers is very useful in the art of typography because there are many

different variations within the typeface family.

Univers has many different fonts that are strategically organized in numerical order, which allows the designer to create hierarchy with ease. The use of hierarchy lets

weight point size

is more important than others by letter case or

viewers know which

, direction,

U s i n g Un ive rs Playing with Typography

Univers Variations

U n i ve rs Variatio n

U U U U U U U U 53

U U U U U U U U U U UU U This chapter is going to show the organized classification of the different fonts of the type family Univers. The organization of the chart shows the bottom as the heaviest weight or thickest and the top is the lightest weight or thinnest. The chart above shows the weight difference by the circle thickness. The shape of the circle also expresses the type style; the wide circles represent the extended, the diagonal circles represent the oblique, the perfect circles represent the standard, and the thin circles represents the condensed. The next pages show the characters of each font in same point size so one can see the difference between fonts.

Un iver s Variat io n

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 < > ( ) ] [ : ; , . / ? ’ \ 39 Thin Ultra Condensed 20 pt

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 < > ( ) ] [ : ; , . / ? ’ \ 49 Light ultra Condensed 20 pt

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 < > ( ) ] [ : ; , . / ? ’ \ 59 Ultra Condensed 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 47 Light Condensed 20 pt 19

U n i ve rs Variatio n

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 < > ( ) ] [ : ; , . / ? ’ \ 47 Light Condensed Oblique 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 57 Condensed 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 57 Condensed Oblique 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 67 Bold Condensed 20 pt 20

Un iver s Variat io n

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 67 Bold Condensed Oblique 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 12 3 4 5 6 7 8 9 0 < > ( ) ] [ : ; , . / ? ’ \ 45 Light 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 12 3 4 5 6 7 8 9 0 < > ( ) ] [ : ; , . / ? ’ \ 45 Light Oblique 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 55 Roman 20 pt 21

U n i ve rs Variatio n

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 55 Oblique 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 65 Bold 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 65 Bold Oblique 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 75 Black 20 pt 22

Un iver s Variat io n

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 75 Black Oblique 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 85 Extra Black 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 85 Extra Black Oblique 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 53 Extended 20 pt 23

U n i ve rs Va riatio n

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 53 Extended Oblique 20 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 63 Bold Extended 24 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 63 Black Extended Oblique 24 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 73 Black Extended 24 pt 24

Un iver s Variat io n

A B C D EFGH I J K L MN O P Q R S TU V WX YZ ab c d e f g h i j k l m n op q r s t u v wx y z 1234567890< > ( ) ] [ : ; , . / ? ’ \ 73 Black Extended Oblique 24 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 93 Extra Black Extended 24 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890<>()][:;,./?’\ 93 Extra Black Extended Oblique 24 pt

This variation of Univers has 27 different fonts within the family. This family still has the organized classification system that shows light to thick, and thin to extended. As you can tell from the pages, the types eventually get wider and thicker. Through these examples one can clearly see the differences between fonts

25 25

As a designer, univers is one of the most useful typefaces to use. Not is it only organized but it is a neutral typeface. It is not as neutral as Helvetica but it has more character and not as popularly used. Personally, univers is a mixture of Futura and Helvetica; it is not too geometric and direct but also not too rounded and neutral. The organization of the typeface creates an easy useful way of type hierarchy. From 21 different variations of fonts of the standard Univers come many options for designers. A designer can use this typeface for a whole project if needed to. This typeface shows that it has a subtle unique characteristic features that reflect as a system. The Univers system creates a comfortable design for any viewer to see.

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When it is good design, the reader has to feel comfortable because the letter is banal and beautiful.

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Adrian Frutiger