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Avenir is a geometric sans-serif typeface designed by Adrian Frutiger in 1987 [1] and released in 1988 by Linotype GmbH.. The word avenir is French for ' future '.As the name suggests, the family takes inspiration from the geometric style of sans-serif typeface developed in the 1920s that took the circle as a basis, such as Erbar and Futura.
Typeface Family Spacing Weights/Styles Target script Included from Can be installed on Example image Aharoni [6]: Sans Serif: Proportional: Bold: Hebrew: XP, Vista
The typeface Avenir Next in condensed and regular widths. Some typefaces include fonts that vary the width of the characters (stretch), although this feature is usually rarer than weight or slope. Narrower fonts are usually labeled compressed, condensed or narrow. In Frutiger's system, the second digit of condensed fonts is a 7.
Univers was reissued as Linotype Univers with sixty-three variants; Frutiger was reissued as Frutiger Next with additional weights. Collaborating with Linotype designer Akira Kobayashi, Frutiger expanded the Avenir font family with light weights, heavy weights, and a condensed version that were released as the Avenir Next font.
Skia: Light, Light Condensed, Light Extended, Condensed, Extended, Bold, Black, Black Condensed, Black Extended (Matthew Carter; system previously only included regular) Sukhumvit Set: Thin, Light, Text, Medium, SemiBold, Bold (Anuthin Wongsunkakon; previously used as a system font for iOS 7.0 [1]) Bitstream Symbols; Trattatello (James Grieshaber)
Samples of sans-serif typefaces Typeface name Example 1 Example 2 Example 3 Agency FB Designer: Caleigh Huber & Morris Fuller Benton Class: Geometric Akzidenz-Grotesk Designer: Günter Gerhard Lange
The typefaces in the Linotype type library are the artwork of some of the most famous typeface designers of the 20th century. The library contains such famous trademarked typefaces as Palatino and Optima by Hermann Zapf; Frutiger, Avenir and Univers by Adrian Frutiger; and Helvetica by Max Miedinger and Eduard Hoffman. Linotype GmbH frequently ...
Much imitated was the Thorowgood "grotesque" face of the early 1830s. This was arrestingly bold and highly condensed, quite unlike the classical proportions of Caslon's design, but very suitable for poster typography and similar in aesthetic effect to the (generally wider) slab serif and "fat faces" of the period. It also added a lower-case.