Adrian Frutiger designed the Avenir Font type in 1987. However, he released it to the public in1988 (Osterer & Stamm, 2017). The Avenir font type is a geometric expression of the Sans Serif, which based most of its characters on the circle (Osterer & Stamm, 2017). However, Frutiger intended to come up with a font type that would define the future of typeface by making geometric adjustments on the Sans Serif so that it could have a more organic interpretation.
The history of Avenir shows that it has undergone several modifications over the years. One adjustment was coming up with three weights of this font type. Each weight had a Roman and Oblique version. The weights are 45 (book), 55 (text weight), and 75 (heavy). Between 2004-2007, Frutiger added more features to Avenir. He named the resultant font type Avenir Next (Jong, Purvis & Friedl, 2015). Avenir Next had six weights that were added (Blackwell, 2018). These weights are classified as either ultra-thin, light, regular, heavy, medium, demi-bold, and regular. Other additions were small caps, superscript and subscript, and ligatures. In 2012, Avenir Next Rounded was unveiled (Blackwell, 2018). In consists of rounded features though with different weights. Janna is an Arabic version of Avenir that was designed in 2004 by Nadine Chahine (Jong et al., 2015). It is a set of Arabic glyphs that copy most of their features from Avenir. However, these glyphs are more angular than standard glyphs.
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Avenir was designed so that it could give artists an additional font type to choose from while working. It was intended to bring out more geometric features of what was being presented, which eventually had a significant appeal to the visual aspects.
The reason for choosing Avenir is because it has undergone several changes since its introduction, unlike other font types that have remained static. More so, its modification into Arabic glyphs also makes it an ideal font that is worth studying.
References
Blackwell, L. (2018). 20th Century Type. Yale University Press
Jong, C.W., Purvis, A.W., & Friedl, F. (2015). Creative type: A sourcebook of classic and
contemporary letterforms. New York. Inmerc.
Osterer, H., & Stamm, P. (2017). Adrian Frutiger-typefaces: The complete works. Walter De
Guyer.
