|Linotype Frutiger Next|
First encounter at the airport
When the Roissy Charles de Gaulle Airport was being planned in Paris in the early 1970s, it was clear that the signage needed to be set in a clear and legible typeface.
The development of the navigational system was left to Adrian Frutiger and the result was so effective that the demand for the typeface rose, for general printing as well as navigational systems. The typeface entered the Linotype Library in 1977 under the name Frutiger™. It set a new standard not ony for signage, but everywhere where a typeface needed to be clear and legible even in body text in small point sizes.
|More weights for more flexibility
In the classic Frutiger typeface family, which was constantly being expanded by new weights, the stroke weights was increased by mathematical doubling. Hence, the optical contrast between weights, for example, light and roman, was larger as that between bold and ultra bold.
Linotype Frutiger NEXT now has three styles, regular, italic and condensed, each with six weights. The weights are no longer mathematically linear, rather, based on the optical, aesthetic criteria behind the concept of the typeface.
The bold weights are more concise and the typeface has an individual, not constructed, character. More weights mean more possibilities.
|Harmony of Contrast: The New Italic
An italic should stand out in a text without falling outside of its borders.
It should emphasize passages or words without disturbing the harmony of the whole. The new italic of Linotype Frutiger NEXT masters this tightrope act with ease. The secret behind the italic is a particularly chacteristic dynamic of the contours, which in their turn pass perfectly to those of the regular weight. In addition, the 'a' has been completely reworked and is now a true italic 'a'.