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UNIVERS UNIVERS

4

4

UNIVERS UNIVERS FONT FONT FAMILY

The Art of Typography

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Univers hasadvantage the advantage of having a Univers has the of having a variety of weights it homogenity variety of weights whichwhich givesgives it homogenity and steadiness making it a suitable typeface and steadiness making it a suitable typeface for almost any typographical for almost any typographical need.need.

Univers Univers 75 75

Successful Successful Project Project

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the counters, the counters, on card on in card thein the final artwork. final artwork.

That’sThat’s how how Univers Univers was made, was made, after after manymany constructive constructive discusdiscussionssions with Emil with Ruder.

Emil Ruder.

Univers Univers 55 is my 55 ismost my most We looked We looked at it inatthe it in the successful ‘Medium’.

‘Medium’. reduction reduction and discussed and discussed it for it forsuccessful a longa time, long time, how the howwidth the width The choice of name of name was was should should be in be relation in relation to height to heightThe choice important commercially. commercially.

It It and white and white space. space.

He’d written He’d writtenimportant his corrections, his corrections, like opening like opening I determined I determined the regular the regular weight weight of Univers of Univers together together with Emil with Ruder.

Emil Ruder.

He was Heawas a greatgreat help to help me. to me.

uu uu uu uu u u uu uu uu uu u u uu uu uu uu u u uu uu u u 45

45

53

53

55

55

63

63

65

65

73

73

75

75

93

93

Extended Extended

Normal Normal

46

56

66

76

Oblique Oblique

66

56

46

47

47

57

57

67

67

48

58

68

68

76

Condensed Condensed Condensed Condensed Oblique Oblique

58

48

UNIVERS UNIVERS

fserif ok Book

was talked aboutabout early early on, when the project was first the was talked on, when the project waslaid firston laid on the table table and journalists started to write aboutabout it. and journalists started to write it.

By 1956 it couldn’t simply be called the ‘the By 1956 it couldn’t simply be called thenew ‘the sans new serif sans by serif by Deberny & Peignot’ any longer.

General director Stanislas Deberny & Peignot’ any longer.

General director Stanislas Boyer, Charles and Rémy Peignot and I and chose the name.

Boyer, Charles and Rémy Peignot I chose the name.

uu uu 49

Light Light

59

The Art of Typography

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49

tra Condensed Ultra Condensed

Roman Roman

Bold Bold

BlackBlack

Extra Extra Black Black

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Comparison Comparison

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The descender The descender of Univers of Univers is is muchmuch shorter shorter than that thanof that of Helvetica Helvetica Neue.Neue.

It alsoItcuts also cuts off atoff a 90 atdegree a 90 degree angleangle as it as it is a sans-serif is a sans-serif typeface. typeface.

Hevetica Hevetica BoldBold

Univers Univers 63 Bold 63 Bold

Univers Univers Univers Univers 53 Extended 53 Extended 55 Oblique 55 Oblique

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The Art of Typography

fserif ok Book

Univers Univers 57 Condenced 57 Condenced

Univers Univers 93 Extra 93 Extra Black Black Extended Extended

Typeface designed b

HELVE

by Max Miedinger

ETICA

Max Max Miedinger Miedinger

Helvetica 75 Bold

Helvetica 75 Bold

Max Miedinger Max Miedinger was awas Swiss a Swiss Between Between 1926 and 19261930, and 1930, Max Max became became a customer a customer counselor counselor typeface typeface designer. designer.

He was He was was trained was trained as a typesetter as a typesetter in in and typeface and typeface sales sales representarepresentafamous famous for creating for creating Neue Neue Haas Haas Zürich, Zürich, after which after which he attended he attended tive fortive thefor Haas’sche the Haas’sche SchriftSchriftGrotesk Grotesk typeface typeface in 1957 in which 1957 which evening evening classes classes at theat the gießerei gießerei in Münchenstein in Münchenstein near near was renamed was renamed Helvetica Helvetica in 1960. in 1960.Kunstgewerbeschule Kunstgewerbeschule in Zürich. in Zürich. Basel,Basel, until 1956, until 1956, wherewhere he he Marketed Marketed as a symbol as a symbol of of Later,Later, he became he became a typographer a typographerbecame became a freelance a freelance graphic graphic cutting-edge cutting-edge SwissSwiss technology, technology, for Globus for Globus department department store'sstore's artist in artist Zürich. in Zürich.

Helvetica Helvetica went global went global at once. at once. advertising advertising studiostudio in Zürich, in Zürich, and and

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Helvetica Helvetica

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Helvetica Helvetica was developed was developed in 1957 in by 1957 Max

by Miedinger Max Miedinger with Eduard with Eduard Hoffmann Hoffmann at theatHaas'sche the Haas'sche Schriftgiesserei Schriftgiesserei

Switzerland, Switzerland, Helvetica Helvetica Helvetica Helvetica was developed was developed by by Max Miedinger Max Miedinger with Ed端ard with Ed端ard Hoffmann Hoffmann in 1957 in for 1957 thefor Haas the Haas Type Foundry Type Foundry in M端nchenstein, in M端nchenstein, Switzerland.

Switzerland.

In theIn 1950s, the 1950s, the European the European designdesign world world saw asaw revival a revival of of older sans-serif older sans-serif typefaces typefaces such such as theas German the German face Akzidenz face Akzidenz Grotesk.

Grotesk.

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Helvetica Helvetica

Helvetica Bold / Helvetica 55 roman

Helvetica Bold / Helvetica 55 roman

Helvetica is probably the the Helvetica is probably most most successful successful typeface in all in of all history. typeface of history.

Helvetica Helvetica Switzerland.

Switzerland.

1957

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Typeface Typeface designe desig

FUTU FUTU

ed by by Paul Paul Renner Renner

URA URA

Helvetica Helvetica

PaulPaul Renner Renner

Futura Bold

Futura Bold

Paul Renner Paulwas Renner a typeface was a typeface Renner was Renner was of a friend a friend the of the designer,designer, most notably most of notably Futura.of Futura. eminent German typographer eminent German typographer Jan Tschichold and a key Jan Tschichold and a key He admired He admired the functionalist the functionalist participant participant in the heated in the heated strain in modernism. strain in modernism.

Thus, Thus, ideological anddebates artistic debates ideological and artistic Renner can Renner be seen can as be aseen bridge as a bridge of that time. of that time. between between the traditional the traditional (19th (19th century) and century) the modern. and the modern.

The Sans-s Fonts

FuturaFutura

The Art of Typography

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