Fonts for metal and early phototypesetting machines like the Linotype and Monotype had to be created within a crude system of predetermined character width values. Every letter had to fit within, and have its spacing determined by, a grid of only 18 units. This meant that if the ideal proportions of a particular character did not fit within a subset of these 18 units, it had to be altered so that it did. As a result, type designers were often compelled to compromise their designs from what they felt was ideal so they would work within the confines of the technology.
The original Frutiger™ typeface was such a design. The face dates back to 1968, when Adrian Frutiger was commissioned to design the signage for the then-new Charles de Gaulle Airport in Roissy, France. Frutiger’s goal was to create a sans serif typeface with the rationality and clean lines of his Univers design, but softened with organic, almost calligraphic, nuances.
The Frutiger signage was completed and installed at de Gaulle airport in 1975. It took two more years to convert it into fonts for phototypesetting. In the process, Frutiger was forced to make changes to many characters to accommodate the spacing limitations of early phototypesetting technology.
Neue Frutiger™, drawn as a collaboration between Adrian Frutiger and Linotype type director Akira Kobayashi, is based on the original Frutiger typeface, but incorporates many changes. The most obvious is an increase in the family’s range of weights. Neue Frutiger has ten roman weights – each with an italic counterpart. Other, more subtle, improvements were also made. Because the new design is not bound by the design restrictions put on the first Frutiger, Neue Frutiger improves on the original design in important areas, such as character design and spacing. Kobayashi and Frutiger also concentrated on enhancing character legibility at small sizes. Neue Frutiger enjoys all the design and spacing refinements that current digital technology can provide.