Download - Avenir Type Specimen
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AvenirAvenir
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Avenir
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Avenir
This Monkey’s Gone to Heaven —If the Devil is Six then God is Seven.Text by Elliott Earls
Designer/EditorA
venir Ave
nir
3A
venir Ave
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This Monkey’s Gone to Heaven —If the Devil is Six then God is Seven.Text by Elliott Earls
Daisy Lanier
Ave
nir
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Table of Contents
5. comparesAvenirtosimilartypefaces
6. showcasesobliquevariations
7. exhibitssmalltitles
8/9. demonstrateslineweightvariations
10/11. displaysparagraphsettings
12. experimentswithalignment
13. mimicksabookdisplay
14. illustratesglyphs
15. featuresextendedparagraphsettings
16. colophon
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Avenir Vs. Other Fonts
Futura Light Helvetica Light
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Bb
Cc
Dd
Ee
Ff
Gg
Frutiger 45 Light
Aa
Bb
Cc
Dd
Ee
Ff
Gg
Aa
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Avenir 35 Light
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How do you design letterforms?
How do you design letterforms?
How do you design letterforms?
How do you design letterforms?
How do you design letterforms?
How do you design letterforms?
35 Light Oblique
45 Book Oblique
55 Roman Oblique
65 Medium Oblique
85 Heavy Oblique
95 Black Oblique
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It is in traditional figure drawingstudio classes that one learns how to
To be successful in this process, one learns that the mind must be quieted.
Thehandandtheretinamustmoveinsymbioticlockstepastheybothtracethephysicalline.It’sthroughthisprocessthatonecanlearntotrustnotthemind,buttheRETINA.
85 Heavy 24 pt.
45 Book 18 pt.
85 Heavy Oblique 26 pt.
55 Roman 15 pt.35 light 10 pt.65 Medium Oblique 12 pt.
55 Roman 12 pt.
lock the movement of the retina to
themovementofthehand.
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that one develops a feel not magically, or schools, but through rigorous application,
explanatory, the term “exclusively formal extrapolation”
35 Light
45 Book
55 Roman
65 Medium
85 Heavy
95 Black
It’s really a question of priorities and balance. an individual sets out upon the arduous
How do you design letterforms?
Kick it old skool style.
Drawthembig,witharulingpenandPlaka,andsomeProWhite.
Focus on the serifs or the termination of the character.
Don’t so much understand how a letter is drawn:
experience how a letter is drawn.
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that one develops a feel not magically, or schools, but through rigorous application,
explanatory, the term “exclusively formal extrapolation”
It’s really a question of priorities and balance. an individual sets out upon the arduous
How do you design letterforms?
Kick it old skool style.
Drawthembig,witharulingpenandPlaka,andsomeProWhite.
Focus on the serifs or the termination of the character.
Don’t so much understand how a letter is drawn:
experience how a letter is drawn.
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I often found my gaze transfixed, nay
locked, upon the upper eyelid of a
typical brunette with brown eyes.
I should point out that these women wore heavy blue eyeshadow, regardless of their complexion or eye color. Because at that historical moment it was an established scientific fact that if one wore enough blue eyeshadow, the eye would look blue!45 Book 14/17
95 Black 18/22
Something was horribly wrong here!
95 Black Oblique 30/35
The clash of color. The slavish adherence to dress code at the obvious expense of personal dignity. The spurious and questioning folklore or “weird science” underpinning it all.35 Light Oblique 14/20
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«
»It was the 80’s.
35 Light 12/16
95 Black 36 pt.
If we look at Blue Eyeshadow, for instance, it’s important to first point out the origin of the name. For to name it is to claim it. Needless to say, in 1984, in ohio, we wore mullets withouta hint of irony. We thought we were tough and “new wave,” and we thought the chicks would dig it. Yeah, the chicks. It was all about the girlies. And let me assure you, they had an equally distorted and perverse interpersonal aesthetic. It was the 80’s. The guys had mullets or “boy hair,” and the girls wore tons of foundation, white lipstick, and blue eyeshadow.
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The gap between language
and experience
becomes a gaping
hole as one begins to discuss
issues of craft.
65 Medium 18/24
The great artist or designer is s/he who is
no longer
constricted by the rules.85 Heavy 33/40 95 Black 48/50
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I’m not suggesting that one develops a feel magically, or through attendance at the finest schools, but through
rigorous application, and through working damn hard at aquiring a set of very concrete skills, then
forgetting them.45 Book Oblique 18/18
45 Book 14/18
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55 Roman 12/18
I’m an advocate of practice informed by theory and life. It’s
really a question of priorities and balance. And I’d like to be clear
here. I am not suggesting that the type design
process necessarily adheres to a strict
taxonomic progression.
Whenanindividualsetoutupon
thearduousjourneyofdesigning
atypeface,Isuggestthatthe
generativeformalimplusecan
belocatedinoneofthreeareas:
historicalrevival,vernacular
interpretation,orexclusively
formalextrapolation.While
historicalrevivalandvernacular
interpretationareselfexplanatory,
theterm“exclusivelyformal
extrapolation”mayneedsome
elaboration.
85 Heavy 17/24
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QZ
KAvenir typefaceDesigned by Adrian Frutiger
Printed on 60 lb. paper92 brightness
Bound using staples
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