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Univers Lt Std Font Family Free Download
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Univers was one of the first typeface families to fulfil the idea that a typeface should form a family of consistent, related designs. Past sans-serif designs such as Gill Sans had much greater differences between weights, while loose families such as American Type Founders' Franklin Gothic family often were advertised under different names for each style, to emphasise that they were not completely matching. By creating a matched range of styles and weights, Univers allowed documents to be created in one consistent typeface for all text, making it easier to artistically set documents in sans-serif type. This matched the desire among practitioners of the "Swiss style" of typography for neutral sans-serif typefaces avoiding artistic excesses.
The design concept of Univers was intended to take advantage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used. Deberny & Peignot had established itself as a leader in this technology, although as by the time of its launch metal type was still very popular, the design was also released in this form. Univers was rapidly licensed and re-released by Monotype, Linotype, American Type Founders, IBM and others for phototypesetting, for metal type and reproduction by typewriter.[3] Historian James Mosley has described it as "probably the last major" release of a large family as metal type.[4]
Univers was released after a long period in which geometric typefaces such as Futura had been popular. Frutiger disliked purely geometric designs, finding them too rigid, following a common school of thought among Swiss designers of the period. While studying at the Kunstgewerbeschule (Arts and Crafts School) in Zrich, he had begun to sketch a revived grotesque family based on 19th-century grotesques, at the time considered antiquated outside Switzerland. He described Univers in 1998 as having a 'visual sensitivity between thick and thin' strokes, avoiding perfect geometry.[7]
Different weights and variations within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suffixes. The design, with a working title of Monde,[5] was developed from 1953 to a final release in 1957.
Frutiger himself has commented: "Helvetica is the jeans, and Univers the dinner jacket."[12] Walter Tracy described it as better proportioned for text than Helvetica: "more original and subtle in its modelling than Helvetica and, because its character spacing was properly done, a better performer in text composition."[13] Mosley has described its even design as "rather bland" and noted that Monotype's eccentric, chaotically organised Grotesque family remained popular with more "iconoclastic" printers in the 1960s.[14][4] Stephen Coles describes Univers as "in some ways, even more spare [than Helvetica] (no beards or tails)"[15] and Simon Loxley comments that Helvetica "escapes the chilliness of Univers...it does have some elusive quality that gives it a friendlier feel".[16] Dutch font designer Martin Majoor, while praising Univers for its "almost scientific" range of weights, criticised it for its lack of originality: "basing a sans serif on another is rather cheap."[8] Frutiger's later landmark sans-serif designs, Avenir and Frutiger, would take very different, more humanist and geometric approaches.
Univers enjoyed great popularity in the 1960s and 1970s because many corporations adopted it for usage. It is used in a modified version by the new Swiss International Air Lines (previously, Swissair used the typeface Futura), Deutsche Bank and for signage all over the world. It was also adopted by the 1972 Summer Olympics organizers for its image and emblem also in 1976 Summer Olympics. General Electric used the font from 1986 to 2004 before switching to GE Inspira.[17] Apple Inc. previously used this typeface as well as its condensed oblique variant for the keycaps on many of its keyboards, before completely switching to VAG Rounded in August 2007 with the introduction of new keyboards and the new iMac (their notebook computers already featured that typeface since 1999). Munich Re used a custom version of Univers until 2009.[18] Telecom Australia and Australia Post also used the typeface in the 1970s and 1980s.
The Montreal Metro, some Toronto subway stations, Frankfurt Airport and the Walt Disney World road system also make extensive use of this typeface (though Disney is in the process of replacing it with Avenir). Some but not all London boroughs use Univers Bold Condensed for street signs.[19] The Royal Air Force adopted the font for all merchandising material in 2006 to complement its new corporate logo. Ordnance Survey also adapted Univers for use on their maps (added tails on the lowercase l and t, and other small changes to help distinguish the type from the map details) of which they own all rights to. In 2006, the Office of Fair Trading adopted Univers as its corporate typographic voice in size 12-point so that visually impaired people can more easily read its publications.
Audi Sans is a variant based on Univers,[21] designed by Ole Schfer.[22] It became Audi's corporate identity font in the 1990s[23] when Audi contracted MetaDesign to support Audi's brand management strategy.[24] The font was used extensively by Audi, appearing in sales literature, corporate communications, owners' documentation and even on the vehicles themselves in the instrument panel graphics and their MMI dashboard displays.
It has also been confirmed that a modified version of a thick Univers font (known as Universe Extra Black) has been used in the logo for WGBH-TV ever since 1974, as well as WGBY-TV and WGBX-TV, affiliates of WGBH.[citation needed]
Univers 45, 55, 65, 57, 67, 53 and 63 (regular and bold weights with obliques in regular and condensed widths) are incorporated in the PostScript 3 digital printing standard as core fonts. As part of the Ghostscript project to create a free alternative to PostScript, URW++ donated its clones of these weights under the series name U001, and then as URW Classic Sans under the Aladdin Free Public License.[37][38]
In 1997 Frutiger reworked the whole Univers family in cooperation with Linotype, thus creating the Linotype Univers, which consists of 63 fonts. By reworking the Univers more "extreme" weights as Ultra Light or Extended Heavy were added as well as some monospaced typefaces. The numbering system was extended to three digits to reflect the larger number of variations in the family.
In addition to extra font width and weight combinations, the fonts are digitally interpolated, so that character widths scale uniformly with changing font weights. For fonts within a specific font weight, caps height, x-height, ascender and descender heights are the same. For oblique fonts, the slope is increased from 12 to the 16 of Frutiger's original drawings, and the character widths were adjusted optically. In addition, characters such as &, , euro sign, are redesigned, the ampersand to Frutiger's preferred true et ligature.[10]
Linotype Univers Typewriter is a sub-family of fixed-width fonts under the Linotype Univers family. Four fonts have been produced in Regular and Bold weights, with obliques on each weight. Characters such as 1, I, J, M, W, i, j, l, dotless j are drawn differently.
It is a companion to the Latin typeface Univers Next designed by Nadine Chahine with the consulting of Adrian Frutiger. It is a modern Kufi design with large open counters and low contrast, mainly designed to work in titles and short runs of text. The font includes the basic Latin part of Univers Next and support for Persian, Urdu and Arabic. It also includes proportional and tabular numerals for the supported languages.
The font family consists of 3 fonts (330, 430, 630) in 3 weights and 1 width, without obliques. OpenType features include fraction, localized forms, proportional figures, contextual alternates, discretionary ligatures, initial forms, terminal forms, glyph composition/decomposition, isolated forms, medial forms, required ligatures.
The man behind making this successful typeface is Adrian Frutiger, a Swiss font designer who remained a big name in the 20th century in terms of typography. A few other notable works of him include Frutiger font and Avenir font. The universe font is the first sans-serif font with a consistent and wide range of widths and heights. The font was released by Linotype and Deberny & Peignot, French Foundry. 0852c4b9a8
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