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Neue Frutiger®

By Linotype

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.
Frutiger Next, 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. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif.
Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

The Frutiger typestyle is a classic. The design dates back to 1968, when Adrian Frutiger was commissioned to develop a typeface for the signage of the then-new Charles de Gaulle International Airport at Roissy, France. Frutiger's goal was to create a sans serif typeface with the rationality and clean lines of his Univers, softened with organic, almost calligraphic, nuances. The result was a seminal design that changed forever how we looked at sans serif type. The Frutiger typestyle is logical though not rigid, distinctive without being mannered, and warm with no loss of sophistication.

The typeface design was completed in 1975, installed at Charles de Gaulle Airport the same year, and released as film fonts the following year. Since then, Frutiger has been translated into digital fonts, all the while becoming one of the most popular typefaces for branding, advertising and corporate communication.

The Frutiger family was modified in 1997 for signage at the Alte Pinakothek art museum in Munich. The new version, named Frutiger Next, incorporated a number of subtle detail changes, and a few not so subtle – like the creation of a cursive italic that replaced the oblique roman of Frutiger’s original. While this new design met the needs of the Alte Pinakothek, Adrian Frutiger preferred the earlier version.

Ten years later, in collaboration with Akira Kobayashi, the master type designer accepted the challenge of revitalizing and improving the family’s range. In doing so, Frutiger went back to his original work for the design foundation. He took the cursive italic back to its simple, sloped roman roots and made countless careful adjustments to character shapes and proportions. He and Kobayashi also added five new weights to the family, vastly widening its range of use and improving the gradation between designs in the series. In addition, Frutiger and Kobayashi took Frutiger Serif into account when creating the new sans, so that now the two designs complement each other with verve and grace.

The end result, Neue Frutiger, maintains all that is good about the 1975 design and adds to this the refinements and enhancements to make it a classic for the 21st century.

Serif
Humanistic Sans
Sans Serif