Frutiger Serif by Linotype GmbH

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Frutiger速 Serif Type Specimen

Designer: Adrian Frutiger, Akira Kobayashi, 2008. Available in the OpenType Pro (CFF) format Typestyles overview

Frutiger Serif Light Condensed Frutiger Serif Light Condensed Italic Frutiger Serif Regular Condensed Frutiger Serif Regular Condensed Italic Frutiger Serif Medium Condensed Frutiger Serif Medium Condensed Italic Frutiger Serif Bold Condensed Frutiger Serif Bold Condensed Italic Frutiger Serif Heavy Condensed Frutiger Serif Heavy Condensed Italic Frutiger Serif Light Frutiger Serif Light Italic Frutiger Serif Regular Frutiger Serif Regular Italic Frutiger Serif Medium Frutiger Serif Medium Italic Frutiger Serif Bold Frutiger Serif Bold Italic Frutiger Serif Heavy Frutiger Serif Heavy Italic

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Frutiger® Serif Type Specimen

It’s not everyday that one of the world’s most renowned sans serif type families welcomes into its fold new members – with serifs. Linotype is proud to present Frutiger® Serif, the new font family by Adrian Frutiger and Akira Kobayashi. Frutiger Serif evolved from Frutiger’s classic design Meridien®; redrawn and expanded, it now harmonizes with several of Adrian Frutiger’s sans serif designs. With Frutiger’s support, Linotype’s Type Director Akira Kobayashi took up the challenge to adapt and expand Meridien. Created for the French typefoundry Deberny & Peignot in 1957, Meridien was one of Frutiger’s earliest designs. It is characterized by sharp, but elegant, serifs and no straight lines. Where most fonts have completely straight strokes, Meridien features gentle curves and soft arcs. The existing digital version of Meridien is offered by Linotype, although this interpretation is quite different from the original metal type. Akira Kobayashi had an appreciation for the metal version, so he began Frutiger Serif from some of the earliest, letter-pressed specimens. The spirit of Meridien is still present in Frutiger Serif, although there have been many significant changes. New weights, widths, and styles not only come closer to Frutiger’s original design, but they now correspond better with several of Frutiger’s sans serifs. The Frutiger Serif font family comes in 5 weights ranging from light to heavy and each weight is available in both regular and condensed. This increases the number of fonts in the family to 10; but since each of these also has an italic version, the family actually has a total of 20 fonts. Needless to say, Frutiger Serif also has all weights of italics in condensed as well – an addition that neither the original Frutiger nor Frutiger Next even have yet. With the many weights and styles, the Frutiger Serif family is divers and strong enough to be used on its own. However, its added versatility is revealed when used in combination with other fonts. Frutiger Serif works well with the original Frutiger, Frutiger Next, and Univers – just to name a few. Paring the serif and sans serif families together is perfect for creating complex hierarchies and clear information design. Working with complicated typographic systems – involving elements such as headlines, captions, pull quotes, multilingual text, etc,– is made easy by selecting Frutiger Serif and another of Frutiger’s sans serif families. The designer needs simply to mix and match different weights and styles for the various textual elements to create smart and innovative layouts. All fonts in the Frutiger Serif family support 48 Western, Central and Eastern European languages, including the Baltic languages and Turkish. The OpenType features include ligatures, small caps, as well as a wealth of figures for most numerical needs.

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FrutigerÂŽ Serif Type Specimen

Typography must be as beautiful as a forest â&#x20AC;&#x201C;not like the

CONCRETE JUNGLES of suburbia. A forest is not a single

complex there are distances between the trees that

provide space to breathe and live.

The same holds true for type. If it is set too narrowly, it can no longer be

recognized as type. You need to leave space for the reader to

breathe Version: 1.0

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Frutiger® Serif Type Specimen

Combining Fonts:

Frutiger Serif with Frutiger Next Frutiger Serif works matches well with Frutiger Next in scale and color. This is ideal for setting bi-lingual texts side by side or when you need to slightly differentiate text, while still having it coordinate.

New Frutiger Serif!

Frutiger Next!

Frutiger Serif Light, Light Italic, and Medium

Frutiger Next Pro Light, Light Italic, and Medium

It isn’t every day that one of the world’s most popular sans serif typeface families receives a new serif companion. When this happens, it is certainly reason to celebrate. Linotype is proud to release Frutiger® Serif, a new typeface family from Adrian Frutiger and Akira Kobayashi.

Frutiger Serif Regular, Italic, and Heavy

The idea for Frutiger Serif began as an updated and expanded version of Frutiger’s classic serif typeface Meridien®. Originally released in 1957 for the French foundry Deberny & Peignot, Frutiger always regarded Meridien as the best typeface he ever designed.

Version: 1.0

Nicht jeden Tag bekommt eine der weltberühmtesten serifenlosen Schriftfamilien ein neues Mitglied mit Serifen. Daher ist ein solcher Event zweifelsohne ein Grund zum Feiern. Linotype ist stolz, Ihnen Frutiger® Serif zu präsentieren, die neue Schriftfamilie von Adrian Frutiger und Akira Kobayashi.

Frutiger Next Pro Light, Italic, and Medium

Die Idee für Frutiger Serif entstand zunächst als eine aktualisierte und erweiterte Version von Frutigers klassischer Serifenschrift Meridien®. Die ursprünglich 1957 für die französische Schriftgießerei Deberny & Peignot entworfene Meridien erachtete Frutiger stets als die beste Schrift, die er je geschaffen hat.

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Frutiger® Serif Type Specimen

Combining Fonts:

Frutiger Serif with Frutiger Next Probably the most typical use of a serif & sans serif combo is simply having them mixed on the same page. Frutiger Serif is beautiful at large sizes, but it is also highly legible and comfortable to read in small text sizes. When using the full Frutiger and Frutiger Serif families try playing with different styles and weights for different text elements, such as headlines, subheads, body text, pull quotes, or captions. The combinations are limitless!

Type – Adapted to Everday Life Serving a purpose “Typography must be as beautiful as a forest – not like the concrete deserts of suburbia. A forest is not a single complex – there are distances between the trees which provide space to breathe & live.” The same holds true for type. If it is set too narrowly, it can no longer be recognized as type. “You need to leave space for the reader to breathe,” Frutiger says. That is why he always places utmost importance on making sure the type forms a symbiosis with its surroundings: “Type must be recognizable within fractions of a second.” And he means in all areas of life. For unlike any other, he has created typefaces for

“The most important thing I have learned is that legibility & beauty stand close together and that type design, in its restraint, should be only felt but not perceived by the reader.”

printing everything from books to departure schedules as well as for design purposes – or even for signs in public spaces. “The grey lines on a book page are read differently than letters on a sign. There is a huge difference to be made between curling up with a good book in your favorite armchair or when you are rushing to catch your flight at the airport.” Yet one thing is always true: “The reader has to feel comfortable,” Frutiger concludes. Type should never scare people away or stress them out.

Forms and counterforms Anyone who is familiar with Frutiger’s typefaces is not surprised when they see the works of art he has created. Many drawings, wood carvings and objects testify to the work of Adrian Frutiger beyond the world of type. His style is defined by extreme minimalism in form and color, speaking a lan-

Text by Klaus-Peter Nicolay. See the full article at http://www.linotype.com/2316/typeadaptedtoeverydaylife.html

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Frutiger® Serif Type Specimen

Combining Fonts:

Frutiger Serif with Frutiger The weights in the original Frutiger do not coordinate with Frutiger Serif in the same way as Frutiger Next. However, the proportions and style are still harmonious. This means that Frutiger is still a perfect choice to match with Frutiger Serif, only with some additional color contrast.

New Frutiger Serif!

Frutiger!

Frutiger Serif Regular, Italic, and Heavy

Frutiger 55 Roman, 56 Italic, and 65 Bold

Frutiger Serif Regular, Frutiger 66 Bold Italic, & Frutiger 65 Bold

Frutiger Serif Light Cond, Frutiger 58 Cond It, & Frutiger 67 Bold Cond

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Frutiger® Serif Type Specimen

Combining Fonts:

Frutiger Serif with Frutiger Probably the most typical use of a serif & sans serif combo is simply having them mixed on the same page. Frutiger Serif is beautiful at large sizes, but it is highly legible and comfortable to read in small text sizes. When using the full Frutiger and Frutiger Serif families try playing with different styles and weights for different text elements, such as headlines, subheads, body text, pull quotes, or captions. The combinations are limitless!

Type – Adapted to Everday Life Serving a purpose

“Typography must be as beautiful as a forest – not like the concrete deserts of suburbia. A forest is not a single complex – there are distances between the trees which provide space to breathe & live.” The same holds true for type. If it is set too narrowly, it can no longer be recognized as “The most important thing I type. “You need have learned is that legibility & to leave space the reader beauty stand close together and for to breathe,” that type design, in its restraint, Frutiger says. should be only felt but not per- That is why he always places ceived by the reader.” utmost importance on making sure the type forms a symbiosis with its surroundings: “Type must be recognizable within fractions of a second.” And he means in all areas of

life. For unlike any other, he has created typefaces for printing everything from books to departure schedules as well as for design purposes – or even for signs in public spaces.“The grey lines on a book page are read differently than letters on a sign. There is a huge difference to be made between curling up with a good book in your favorite armchair or when you are rushing to catch your flight at the airport.” Yet one thing is always true: “The reader has to feel comfortable,” Frutiger concludes. Type should never scare people away or stress them out.

Forms and counterforms

Text by Klaus-Peter Nicolay. See the full article at http://www.linotype.com/2316/typeadaptedtoeverydaylife.html

Version: 1.0

www.linotype.com

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Frutiger® Serif Type Specimen

Combining Fonts:

Frutiger Serif & Linotype Univers Frutiger Serif was not specifically intended to coordinate with the weights and forms of Univers. However, the proportions and style are still remarkably harmonious. This means that Univers also a great choice to match with Frutiger Serif. They work particularly well together when they are contrasting, rather than being forced to match.

New Frutiger Serif!

Linotype Univers!

Frutiger Serif Regular, Italic, and Heavy

Linotype Univers 430 Regular, 431 Italic, and 630 Bold

Frutiger Serif Regular, Univers 631 Bold It, & Univers 730 Heavy

Frutiger Serif Light Cond, Univers 231 Thin It, & 720 Heavy Cond

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Frutiger® Serif Type Specimen

Combining Fonts:

Frutiger Serif & Linotype Univers Probably the most typical use of a serif & sans serif combo is simply having them mixed on the same page. Frutiger Serif is beautiful at large sizes, but it is highly legible and comfortable to read in small text sizes. When using the full Univers and Frutiger Serif families try playing with different styles and weights for different text elements, such as headlines, subheads, body text, pull quotes, or captions. The combinations are limitless!

Type – Adapted to Everday Life Serving a purpose

“Typography must be as beautiful as a forest – not like the concrete deserts of suburbia. A forest is not a single complex – there are distances between the trees which provide space to breathe & live.” The same holds true for type. If it is set too narrowly, it can no longer be recognized as type. “You need to leave space for the reader to “The most important thing I breathe,” Frutiger says. That is have learned is that legibility & beauty stand close together why he always places utmost and that type design, in its re- importance on straint, should be only felt but making sure the type forms a not perceived by the reader.” symbiosis with its surroundings: “Type must be recognizable within fractions of a second.” And he means in all areas of life. For unlike any other, he has created typefaces for print-

ing everything from books to departure schedules as well as for design purposes – or even for signs in public spaces. “The grey lines on a book page are read differently than letters on a sign. There is a huge difference to be made between curling up with a good book in your favorite armchair or when you are rushing to catch your flight at the airport.” Yet one thing is always true: “The reader has to feel comfortable,” Frutiger concludes. Type should never scare people away or stress them out.

Forms and counterforms

Anyone who is familiar with Frutiger’s typefaces is not surprised when they see the works of art he has created. Many drawings, wood carvings and objects testify to the work of Adrian Frutiger beyond the world of type. His style is defined by extreme minimalism in form and color, speaking a language made

Text by Klaus-Peter Nicolay. See the full article at http://www.linotype.com/2316/typeadaptedtoeverydaylife.html

Version: 1.0

www.linotype.com

9/15

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Frutiger® Serif Type Specimen

Frutiger Serif Light Condensed abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Light Condensed Italic abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Condensed abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Condensed Italic abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Medium Condensed abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10-12 point text,

Frutiger Serif Medium Condensed Italic abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Version: 1.0

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Frutiger® Serif Type Specimen

Frutiger Serif Bold Condensed abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Bold Condensed Italic abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Heavy Condensed abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Heavy Condensed Italic abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Version: 1.0

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Frutiger® Serif Type Specimen

Frutiger Serif Light abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Light Italic abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Regular abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Italic abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Medium abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10-12 point text,

Frutiger Serif Medium Italic abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Version: 1.0

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Frutiger® Serif Type Specimen

Frutiger Serif Bold abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?) [§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Bold Italic abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Heavy abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?) [§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Heavy Italic abçdéfghijklmñöpqrstuvwxyzæœﬁﬂß ABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

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Frutiger® Serif Type Specimen

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Frutiger® Serif Type Specimen Trademarks © 2004-2008 Linotype GmbH Linotype and Linotype Library are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Frutiger, Meridien and Univers are trademarks of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. We reserve the right of errors and changes.

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Legal Information − Rechtlicher Hinweis − Informations juridiques Copyright © 2008 Linotype GmbH. English We reserve the right of errors and changes. All rights reserved. The contents of this document are the property of Linotype GmbH and may not be reproduced by any method, electronic or photographic, without the expressed written permission of Linotype GmbH and/or its subsidiaries. Linotype, Linotype Library, Frutiger and Univers are trademarks of Linotype GmbH and may be registered in certain jurisdictions. All other products or name brands are trademarks of their respective holders. Throughout this document trademark names are used. Rather than placing a trademark symbol in every occurrence of a trademarked name, we state that we are using the names only in an editorial fashion and to the benefit of the trademark owner with no intention of infringement of the trademark. The information in this document is subject to change without notice. Linotype GmbH assumes no responsibility or liability for information. Recommendations, errors and/or descriptions of third-party products are excluded from responsibility and liability. This document was created using the Linotype Univers typeface family. Deutsch Änderungen und Irrtümer vorbehalten. Alle Rechte vorbehalten. Der Inhalt dieses Dokuments ist Eigentum der Firma Linotype GmbH und darf ohneschriftliche Zustimmung der Linotype GmbH in keiner Weise reproduziert, weder elektronisch noch photografisch, oder an Dritte weitergegeben werden. Linotype, Linotype Library, Frutiger und Univers sind Marken der Linotype GmbH. Alle anderen genannten Produkt- oder Markenbezeichnungen sind Marken der jeweiligen Besitzer. Anstelle der Platzierung von entsprechenden Trademark-Symbolen erklären wir hiermit, dass wir den Markennamen nur zur redaktionellen Verwendung und zum Nutzen des Marken-Besitzers verwendet haben und nicht die Absicht haben, eine Rechtsverletztung der Markevorzunehmen. Änderungen dieses Dokuments unterliegen keiner Informationspflicht. Die Linotype GmbH übernimmt keine Gewährleistung oder Haftung für die in diesem Dokument enthaltenen Informationen. Empfehlungen, mögliche Fehler und Beschreibungen hinsichtlich von drittproduzierten Produkten sind ebenfalls von einer Gewährleistung oder Haftung ausgeschlossen. Dieses Dokument wurde mit Schriften der Linotype Univers Familie erstellt. Français Sous réserve d‘erreurs et de modifications. Sous réserve de tous droits. Le contenu de ce document appartient à la société Linotype GmbH et ne peut être reproduit ni électroniquement ni photographiquement sans l‘accord écrit de Linotype GmbH. Le contenu de ce document ne peut être donné à tiers sans le consentement écrit de Linotype GmbH. Linotype, Linotype Library, Frutiger et Univers sont des noms de marques appartenant à Linotype GmbH. Toutes les autres désignations de produits ou de marques appartiennent à leurs détenteurs respectifs. Des noms de grandes enseignes sont utilisés sur le document. Plutôt que d‘afficher un symbole de grande enseigne chaque fois qu‘apparaît un nom de marque, nous déclarons que nous ‘utilisons les noms de marques qu‘à des fins d‘édition et au profit des détenteurs des noms de marque cités et que nous avons aucunement l‘intention de procéder à des contrefaçons de noms de marques. Les informations divulguées dans ce document peuvent être modifiées à tout moment et sans avertissement. Linotype GmbH n‘assure ni la garantie ni la responsabilité des informations contenues dans ce document. Les suggestions, les éventuelles erreurs et les descriptions concernant les produits fabriqués par tiers sont également exclues de la garantie et de la responsabilité. Ce document a été créé en utilisant les polices émises par Linotype Univers. Last updated: Document ID code:

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