I hope you enjoyed our collections of Univers Italic font family similar fonts and their alternatives. We tried to match the exact font style and their italic versions from a wide range of free available fonts from the web. Most of the fonts we provided are free for personal use but some do allow commercial usage too. So, it is recommended to always check the font license before using on your project.
I would consider the google-font "Oswald" It comes only in 3 weights and has no italic or oblique version, but reminds me of the Univers Condensed type. Try changing Oswald 1pt less than Univers, regular -> light and bold -> regular.. Last, change tracking to +50..
Univers Italic Free Download
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A long time ago, a famous British typographer Stanley Morison said that the ideal italic should be a slanted roman. There were a few slanted romans made thereafter, but it did not seem to work and Morison went back to designing cursive italics.
In Monotype libraries for example, optical slant is generally italic, which means anything that was manually made deserves to be called italic, although not all fonts are consistently named so. My understanding of italic and oblique is basically the same.
What if Frutiger had agreed to the alteration of Univers italic in the early 1960s? Hoffmann had not balked at the slight changes needed to fit Helvetica to the German linotype machine in 1960. Further adjustments were necessary to make it work with English and American linotype machines, something that was not completed until early 1965. Thus, there was a small window in which Univers could have been made available to English and American designers before Helvetica was. And thus it, instead of Helvetica, could have become the crown prince at the Linotype company.
What font are you using? I have similar issues with some fonts but not others. It seems to me that fonts that only have 4 style, regular, bold, italic, and bold italic work fine. However fonts that have more styles, e.g., regular, medium, bold, italic, medium italic, and bold italic are unpredictable.
Other fonts like Univers, Frutiger, Helevetic Neue don't use the standard regular, bold, italic, etc. convention but have numbers denoting their weight and style. For example Univers 47 Light Condensed, Univers 55 Roman, Univers 57 Condensed, Univers 65 Bold, Univers 67 Bold Condensed, Univers 75 Black. I find SL gets very confused with these if you apply styles to them like bold or italic. (In a program like InDesign, Illustrator or Photoshop all of the Univers fonts appear under a main font menu with all the numbered stylings selectable from a sub-font menu.)
Univers was completely redrawn in 1997, to more than 60 versions. Unfortunately this has not been an improvement; there are now too many superfluous versions, the justification is too tight and the italic that was already quite slanted (12) has been slanted to a staggering 15.5. Redesigning an old successful typeface is something a type designer should maybe never consider.
It is possible that with the huge competition among different typefoundries, the 19th century punchcutters were under great pressure to produce quickly and therefore had to imitate others. A real italic version was probably too much work or too difficult to make, while a slanted roman was relatively easy to copy from the roman.
The idea of a slanted roman became widely accepted for sans italics, even until today. With a few exceptions all sans serif italics are slanted romans. Even the great type designer Adrian Frutiger made slanted romans with his sans serif designs. It was only recently, when his Frutiger typeface (1977) was redrawn in 2000, now with a semi-real italic instead of a slanted roman, that he acknowledged that a real italic makes a better contrast with the roman.
Typefaces like Futura have slanted romans too, but in this case it is much more understandable as there was no real old serif model on which to base the italic. Futura looks like a constructed typeface that borrows its forms from geometric squares and circles, giving it a truly original type sensibility. The italic of Futura was released three years later than the roman. Renner used the term schrg (oblique) rather than kursiv (italic) to emphasize the constructed character of Futara italic.
The form principle of Scala was definitely influenced by humanist typefaces such as Bembo, and by typefaces from the mid-18th century French typographer Piere Simon Fournier. But I wanted Scala to have low contrast and strong serifs, as I had experienced that most PostScript-fonts were too thin. The italic was more or less based on the work of the 16th century Italian writing masters like Arrighi, although to a large extent the details were closely related to the roman.
The Scala Sans italic follows the forms of its serif counterpart quite literally. There are italic small caps, ligatures and old style gures, making Scala the first family with all these features in both a serif design and a sans design, and in both roman and italic.
The need to augment Seria with a sans serif version was obvious to me from the start. Again using a black marker and some correction fluid, I changed the seriffed characters into sans. Making it stand out as a sans serif, Seria Sans kept the long ascenders and descenders as its seriffed partner. The strength of Seria Sans also lies in the consistent derivation from Seria, obviously noticeable in its italic and bold italic forms.
It was not until the 1980s that serif/sans families started to appear. The serif members of these families are mostly based on traditional shapes, but the sans serifs are contemporary sans serifs, based directly on its serif members. In most cases the italic weights of these contemporary sanses are real or semi-real italics, not sloped romans. To mention a few: ITC Benguiat (Ed Benguiat, 1977), Lucida (Kris Holmes and Charles Bigelow, 1984-1985), Stone (Sumner Stone, 1987), Rotis (Otl Aicher, 1989), Scala (Martin Majoor, 1990-1993), Quadraat (Fred Smeijers, 1992-1996), Charlotte (Michael Gills, 1992), Legacy (Ronald Arnholm, 1993), Eureka (Peter Bilak, 1998-2000).
Oblique type is a form of type that slants slightly to the right, used for the same purposes as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except slanted. Oblique and italic type are technical terms to distinguish between the two ways of creating slanted font styles; oblique designs may be labelled italic by companies selling fonts or by computer programs. Oblique designs may also be called slanted or sloped roman styles.[1] Oblique fonts, as supplied by a font designer, may be simply slanted, but this is often not the case: many have slight corrections made to them to give curves more consistent widths, so they retain the proportions of counters and the thick-and-thin quality of strokes from the regular design.[2][3]
Type designers have described oblique type as less organic and calligraphic than italics, which in some situations may be preferred. Contemporary type designer Jeremy Tankard stated that he had avoided a true italic 'a' and 'e' in his design Bliss due to finding them "too soft", while Hoefler and Frere-Jones have described obliques as more "keen and insistent".[4][5]
Italic designs are not just the slanted version of the regular (roman) style; they are influenced by handwriting, with a single-storey a and an f that descends below the line of text. Some may even link up, like cursive (joined-up) handwriting. Obliques by contrast are "simply" sloped. In addition, italic styles are often quite noticeably narrower than roman type, while oblique styles are not.
Few typefaces have both oblique and italic designs, as this is generally a fundamental design choice about how the font should look. A font designer normally decides to design their font with one or the other.
Historically, it was normal for all Latin-alphabet serif fonts to have true italics, but in the late nineteenth century some "sloped romans" were created by European and American foundries, particularly for display type and headings. Notable typefaces in this style include Bookman Old Style in metal type (although not many recent versions), Linn Boyd Benton's "self-spacing" type and the Central Type Foundry's "De Vinne" wedge-serif display face.[6] European examples included Genzsch Antiqua from Genzsch & Heyse.[7][8]
Almost all modern serif fonts have true italic designs. In the late nineteenth and early twentieth centuries, a number of type foundries such as American Type Founders and Genzsch & Heyse offered serif typefaces with oblique rather than italic designs, especially display typefaces, but these designs (such as Genzsch Antiqua) have mostly disappeared.[9][7][8] An exception is American Type Founders' Bookman, offered in some releases with the oblique of its metal type version.[6] An unusual example of an oblique font from the inter-war period is the display face Koch Antiqua. With a partly oblique lower case, it also makes the italic capitals inline in the style of blackletter capitals in the larger sizes of the metal type. It was developed by Rudolph Koch, a type designer who had previously specialised in to blackletter font design (which does not use italics); Walter Tracy described his design as "uninhibited by the traditions of roman and italic".[10]The printing historian and artistic director Stanley Morison was for a time in the inter-war period interested in the oblique type style, which he felt stood out in text less than a true italic and should supersede it. He argued in his article Towards an Ideal Italic that serif book typefaces should have as the default sloped form an oblique and as a complement a script typeface where a more decorative form was preferred.[11] He made an attempt to promote the idea by commissioning the typeface Perpetua from Eric Gill with a sloped roman rather than an italic, but came to find the style unattractive; Perpetua's italic when finally issued had the conventional italic 'a', 'e' and 'f'.[12][13] Morison wrote to his friend, type designer Jan van Krimpen, that in developing Perpetua's italic "we did not give enough slope to it. When we added more slope, it seemed that the font required a little more cursive to it."[9][a] A few other type designers replicated his approach for a time: van Krimpen's Romulus and William Addison Dwiggins' Electra were both released with obliques.[b] Morison's Times New Roman typeface has a very traditional true italic in the style of the late eighteenth century, which he later wryly commented owed "more to Didot than dogma".[16] 0852c4b9a8
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