Its later release, Avenir Next, was about modernising the family and offering a technical standard to allow its use in both print and digital. In an interview with Linotype, Frutiger said he felt an obligation to design a linear sans in the tradition of Erbar and Futura, but to also make use of the experience and stylistic developments of the twentieth century. "It also took into account readers' preference for upright rather than a slanted typeface, to be used as the main style, and some other typographic conventions that have changed through centuries, ensuring legibility and modernity," she says.Īvenir has come a long way since its initial release 33 years ago. It was always about finding the sweet spot that makes the proportions, weight, and texture as close as possible, without overriding any unwritten rule that would make the Hebrew look unnatural, or 'Latinised'."įor the Armenian character set, Elena Papassissa took inspiration from Robert Granjon's Armenian type and other fonts used by the Mekhitarists in Venice in the 19th century. On the contrary, geometry suggested that letters like Men and Tet become especially wide. "This is why in some cases the geometry was overridden by subtle humanistic touch, for example in Zayin, and Gimel. Yanek Iontef led the development on the Hebrew character set: "A Hebrew geometric model that is as classic as Avenir simply doesn't exist," he says.
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