frutiger serif

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Version: 1.0 www.linotype.com 1/15

Frutiger® SerifType Specimen

Designer: Adrian Frutiger, Akira Kobayashi, 2008. Available in the OpenType Pro (CFF) format

Typestyles overview

Frutiger Serif Light CondensedFrutiger Serif Light Condensed ItalicFrutiger Serif Regular CondensedFrutiger Serif Regular Condensed ItalicFrutiger Serif Medium CondensedFrutiger Serif Medium Condensed ItalicFrutiger Serif Bold CondensedFrutiger Serif Bold Condensed ItalicFrutiger Serif Heavy CondensedFrutiger Serif Heavy Condensed Italic

Frutiger Serif LightFrutiger Serif Light ItalicFrutiger Serif RegularFrutiger Serif Regular ItalicFrutiger Serif MediumFrutiger Serif Medium ItalicFrutiger Serif BoldFrutiger Serif Bold ItalicFrutiger Serif HeavyFrutiger Serif Heavy Italic

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It’s not everyday that one of the world’s most renowned sans serif type families welcomes into its fold new members – with serifs. Linotype is proud to present Frutiger® Serif, the new font family by Adrian Frutiger and Akira Kobayashi. Frutiger Serif evolved from Frutiger’s classic design Meridien®; redrawn and expanded, it now harmonizes with several of Adrian Frutiger’s sans serif designs.

With Frutiger’s support, Linotype’s Type Director Akira Kobayashi took up the challenge to adapt and expand Meridien. Created for the French typefoundry Deberny & Peignot in 1957, Meridien was one of Frutiger’s earliest designs. It is characterized by sharp, but elegant, serifs and no straight lines. Where most fonts have completely straight strokes, Meridien features gentle curves and soft arcs.

The existing digital version of Meridien is offered by Linotype, although this interpretation is quite different from the original metal type. Akira Kobayashi had an appreciation for the metal version, so he began Frutiger Serif from some of the earliest, letter-pressed specimens. The spirit of Meridien is still present in Frutiger Serif, although there have been many significant changes. New weights, widths, and styles not only come closer to Frutiger’s original design, but they now correspond better with several of Frutiger’s sans serifs.

The Frutiger Serif font family comes in 5 weights ranging from light to heavy and each weight is available in both regular and condensed. This increases the number of fonts in the family to 10; but since each of these also has an italic version, the family actually has a total of 20 fonts. Needless to say, Frutiger Serif also has all weights of italics in condensed as well – an addition that neither the original Frutiger nor Frutiger Next even have yet.

With the many weights and styles, the Frutiger Serif family is divers and strong enough to be used on its own. However, its added versatility is revealed when used in combination with other fonts. Frutiger Serif works well with the original Frutiger, Frutiger Next, and Univers – just to name a few. Paring the serif and sans serif families together is perfect for creating complex hierarchies and clear information design. Working with complicated typographic systems – involving elements such as headlines, captions, pull quotes, multilingual text, etc,– is made easy byselecting Frutiger Serif and another of Frutiger’s sans serif families. The designer needs simply to mix and match different weights and styles for the various textual elements to create smart and innovative layouts.

All fonts in the Frutiger Serif family support 48 Western, Central and Eastern European languages, including the Baltic languages and Turkish. The OpenType features include ligatures, small caps, as well as a wealth of figures for most numerical needs.

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Typography must be as beautiful as a forest –not like the

CONCRETE JUNGLES of suburbia. A forest is not a single

complex there are distances between the trees that provide space to breathe and live.

The same holds true for type. If it is set too narrowly, it can no longer be

recognized as type. You need to leave space for the reader to

breathe

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Combining Fonts:

Frutiger Serif with Frutiger Next

New Frutiger Serif!

Frutiger Serif Light, Light Italic, and Medium

It isn’t every day that one of the world’s most popular sans serif typeface families receives a new serif companion. When this happens, it is certainly reason to celebrate. Linotype is proud to release Frutiger® Serif, a new typeface family from Adrian Frutiger and Akira Kobayashi.

Frutiger Serif Regular, Italic, and Heavy

The idea for Frutiger Serif began as an updated and expanded version of Frutiger’s classic serif typeface Meridien®. Originally released in 1957 for the French foundry Deberny & Peignot, Frutiger always regarded Meridien as the best typeface he ever designed.

Frutiger Next!

Frutiger Next Pro Light, Light Italic, and Medium

Nicht jeden Tag bekommt eine der weltberühmtesten serifenlosen Schriftfamilien ein neues Mitglied mit Seri-fen. Daher ist ein solcher Event zweifelsohne ein Grund zum Feiern. Linotype ist stolz, Ihnen Frutiger® Serif zu präsentieren, die neue Schriftfamilie von Adrian Fruti-ger und Akira Kobayashi.

Frutiger Next Pro Light, Italic, and Medium

Die Idee für Frutiger Serif entstand zunächst als eine aktualisierte und erweiterte Version von Frutigers klassischer Serifenschrift Meridien®. Die ursprünglich 1957 für die französische Schriftgießerei Deberny & Peignot entworfene Meridien erachtete Frutiger stets als die beste Schrift, die er je geschaffen hat.

Frutiger Serif works matches well with Frutiger Next in scale and color. This is ideal for setting bi-lingual texts side by side or when you need to slightly differ-entiate text, while still having it coordinate.

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Probably the most typical use of a serif & sans serif combo is simply having them mixed on the same page. Frutiger Serif is beautiful at large sizes, but it is also highly legible and comfortable to read in small text sizes. When using the full Frutiger and Frutiger Serif families try playing with different styles and weights for different text elements, such as headlines, subheads, body text, pull quotes, or captions. The combinations are limitless!

Serving a purpose“Typography must be as beautiful as a forest – not like the concrete deserts of suburbia. A forest is not a single complex – there are distances between the trees which provide space to breathe & live.” The same holds true for type. If it is set too narrowly, it can no longer be recog-nized as type. “You need to leave space

for the reader to breathe,” Fruti-ger says. That is why he always places utmost importance on making sure the type forms a symbiosis with

its surroundings: “Type must be recog-nizable within fractions of a second.” And he means in all areas of life. For unlike any other, he has created typefaces for

printing everything from books to depar-ture schedules as well as for design pur-poses – or even for signs in public spaces.

“The grey lines on a book page are read dif-ferently than letters on a sign. There is a huge difference to be made between curling up with a good book in your favorite arm-chair or when you are rushing to catch your flight at the airport.” Yet one thing is always true: “The reader has to feel comfortable,” Frutiger concludes. Type should never scare people away or stress them out.

Forms and counterforms Anyone who is familiar with Frutiger’s typefaces is not surprised when they see the works of art he has created. Many drawings, wood carvings and objects testify to the work of Adrian Frutiger beyond the world of type. His style is defined by extreme min-imalism in form and color, speaking a lan-

Type – Adapted to Everday Life

“The most important thing I have learned is that legibility &

beauty stand close together and that type design, in its restraint, should be only felt but not per-

ceived by the reader.”

Text by Klaus-Peter Nicolay. See the full article at http://www.linotype.com/2316/typeadaptedtoeverydaylife.html

Combining Fonts:

Frutiger Serif with Frutiger Next

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Combining Fonts:

Frutiger Serif with Frutiger

New Frutiger Serif!



Frutiger Serif Regular, Frutiger 66 Bold Italic, & Frutiger 65 Bold


Frutiger!

Frutiger 55 Roman, 56 Italic, and 65 Bold

Nicht jeden Tag bekommt eine der weltberühm-testen serifenlosen Schriftfamilien ein neues Mitglied mit Serifen. Daher ist ein solcher Event zweifelsohne ein Grund zum Feiern. Linotype ist stolz, Ihnen Frutiger® Serif zu präsentieren, die neue Schriftfamilie von Adrian Frutiger und Akira Kobayashi.

Frutiger Serif Light Cond, Frutiger 58 Cond It, & Frutiger 67 Bold Cond

Die Idee für Frutiger Serif entstand zunächst als eine aktu-alisierte und erweiterte Version von Frutigers klassischer Serifenschrift Meridien®. Die ursprünglich 1957 für die französische Schriftgießerei Deberny & Peignot entwor-fene Meridien erachtete Frutiger stets als die beste Schrift, die er je geschaffen hat.

The weights in the original Frutiger do not coordinate with Frutiger Serif in the same way as Frutiger Next. However, the proportions and style are still harmo-nious. This means that Frutiger is still a perfect choice to match with Frutiger Serif, only with some additional color contrast.

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Probably the most typical use of a serif & sans serif combo is simply having them mixed on the same page. Frutiger Serif is beautiful at large sizes, but it is highly legible and comfortable to read in small text sizes. When using the full Frutiger and Frutiger Serif families try playing with different styles and weights for different text elements, such as headlines, subheads, body text, pull quotes, or captions. The combinations are limitless!

Serving a purpose“Typography must be as beautiful as a forest – not like the concrete deserts of suburbia. A forest is not a single com-plex – there are distances between the trees which provide space to breathe & live.” The same holds true for type. If it is set too narrowly, it can no longer be

recognized as type. “You need to leave space for the reader to breathe,” Frutiger says. That is why he always places utmost impor-

tance on making sure the type forms a symbiosis with its surroundings: “Type must be recognizable within fractions of a second.” And he means in all areas of

life. For unlike any other, he has created typefaces for printing everything from books to departure schedules as well as for design purposes – or even for signs in public spaces.“The grey lines on a book page are read differently than letters on a sign. There is a huge difference to be made between curling up with a good book in your favorite armchair or when you are rushing to catch your flight at the airport.” Yet one thing is always true: “The reader has to feel comfortable,” Frutiger concludes. Type should never scare people away or stress them out.

Forms and counterforms Anyone who is familiar with Frutiger’s typefaces is not surprised when they see the works of art he has created. Many drawings, wood carvings and objects testify to the work of Adrian Frutiger beyond the world


“The most important thing I have learned is that legibility & beauty stand close together and that type design, in its restraint, should be only felt but not per-

ceived by the reader.”


Combining Fonts:

Frutiger Serif with Frutiger

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New Frutiger Serif!



Frutiger Serif Regular, Univers 631 Bold It, & Univers 730 Heavy


Linotype Univers!

Linotype Univers 430 Regular, 431 Italic, and 630 Bold

Nicht jeden Tag bekommt eine der weltberühm-testen serifenlosen Schriftfamilien ein neues Mitglied mit Serifen. Daher ist ein solcher Event zweifelsohne ein Grund zum Feiern. Linotype ist stolz, Ihnen Frutiger® Serif zu präsentieren, die neue Schriftfamilie von Adrian Frutiger und Akira Kobayashi.

Frutiger Serif Light Cond, Univers 231 Thin It, & 720 Heavy Cond

Die Idee für Frutiger Serif entstand zunächst als eine aktualisierte und erweiterte Version von Frutigers klas-sischer Serifenschrift Meridien®. Die ursprünglich 1957 für die französische Schriftgießerei Deberny & Peignot entworfene Meridien erachtete Frutiger stets als die beste Schrift, die er je geschaffen hat.

Frutiger Serif was not specifically intended to coordinate with the weights and forms of Univers. However, the proportions and style are still remarkably har-monious. This means that Univers also a great choice to match with Frutiger Serif. They work particularly well together when they are contrasting, rather than being forced to match.

Combining Fonts:

Frutiger Serif & Linotype Univers

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Probably the most typical use of a serif & sans serif combo is simply having them mixed on the same page. Frutiger Serif is beautiful at large sizes, but it is highly legible and comfortable to read in small text sizes. When using the full Univers and Frutiger Serif families try playing with different styles and weights for different text elements, such as headlines, subheads, body text, pull quotes, or captions. The combinations are limitless!

Serving a purpose“typography must be as beautiful as a forest – not like the concrete deserts of suburbia. a forest is not a single complex – there are distances between the trees which provide space to breathe & live.” the same holds true for type. If it is set too narrowly, it can no longer be recog-nized as type. “You need to leave space

for the reader to breathe,” Fruti-ger says. that is why he always places utmost importance on making sure the type forms a symbiosis with

its surroundings: “type must be recogniz-able within fractions of a second.” and he means in all areas of life. For unlike any other, he has created typefaces for print-

ing everything from books to departure schedules as well as for design purposes – or even for signs in public spaces. “the grey lines on a book page are read differently than letters on a sign. there is a huge differ-ence to be made between curling up with a good book in your favorite armchair or when you are rushing to catch your flight at the airport.” Yet one thing is always true: “the reader has to feel comfortable,” Frutiger con-cludes. type should never scare people away or stress them out.

Forms and counterforms anyone who is familiar with Frutiger’s type-faces is not surprised when they see the works of art he has created. Many drawings, wood carvings and objects testify to the work of adrian Frutiger beyond the world of type. his style is defined by extreme minimalism in form and color, speaking a language made


“The most important thing I have learned is that legibility

& beauty stand close together and that type design, in its re-straint, should be only felt but not perceived by the reader.”


Combining Fonts:

Frutiger Serif & Linotype Univers

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Frutiger Serif Light CondensedabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opin-ion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Condensed abçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Medium Condensed abçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10-12 point text,

Frutiger Serif Light Condensed ItalicabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the photo-type and digital versions had been drawn too wide; the original phototype and digital Meridien had been opti-mized for 10–12 point text,

Frutiger Serif Condensed ItalicabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the photo-type and digital versions had been drawn too wide; the original phototype and digital Meridien had been opti-mized for 10–12 point text,

Frutiger Serif Medium Condensed ItalicabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the pho-totype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

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Frutiger Serif Bold CondensedabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Heavy CondensedabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meri-dien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been opti-mized for 10–12 point text,

Frutiger Serif Bold Condensed ItalicabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridi-en had been optimized for 10–12 point text,

Frutiger Serif Heavy Condensed ItalicabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

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Frutiger Serif Light abçdéfghijklmñöpqrstuvwxyzæœfiflßabÇDÉFGhIJKLMÑÖPQrStUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s type Director, akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif RegularabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif MediumabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridi-en. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10-12 point text,

Frutiger Serif Light ItalicabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the orig-inal metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif ItalicabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meri-dien In his opinion, the phototype and digital versions had been drawn too wide; the origi-nal phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Medium ItalicabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

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Frutiger Serif BoldabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTU-VWXYZÆŒ 1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“] Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital ver-sions had been drawn too wide; the orig-inal phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif HeavyabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTU-VWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Bold ItalicabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridien. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

Frutiger Serif Heavy ItalicabçdéfghijklmñöpqrstuvwxyzæœfiflßABÇDÉFGHIJKLMÑÖPQRSTUVWXYZÆŒ1234567890(.,-:;‹›—%*!?)[§€$£¢ƒ&„“]Linotype’s Type Director, Akira Kobayashi, began by returning to prints made from the original metal type version of Meridi-en. Meridien In his opinion, the phototype and digital versions had been drawn too wide; the original phototype and digital Meridien had been optimized for 10–12 point text,

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English

We reserve the right of errors and changes. All rights reserved. The contents of this document are the property of Linotype GmbH and may not be repro-duced by any method, electronic or photographic, without the expressed written permission of Linotype GmbH and/or its subsidiaries. Linotype, Lino-type Library, Frutiger and Univers are trademarks of Linotype GmbH and may be registered in certain jurisdictions. All other products or name brands are trademarks of their respective holders. Throughout this document trademark names are used. Rather than placing a trademark symbol in every occurrence of a trademarked name, we state that we are using the names only in an editorial fashion and to the benefit of the trademark owner with no intention of infringement of the trademark. The information in this document is subject to change without notice. Linotype GmbH assumes no responsi-bility or liability for information. Recommendations, errors and/or descriptions of third-party products are excluded from responsibility and liability. This document was created using the Linotype Univers typeface family.

Deutsch

Änderungen und Irrtümer vorbehalten. Alle Rechte vorbehalten. Der Inhalt dieses Dokuments ist Eigentum der Firma Linotype GmbH und darf ohne-schriftliche Zustimmung der Linotype GmbH in keiner Weise reproduziert, weder elektronisch noch photografisch, oder an Dritte weitergegeben werden.Linotype, Linotype Library, Frutiger und Univers sind Marken der Linotype GmbH. Alle anderen genannten Produkt- oder Markenbezeichnungen sind Marken der jeweiligen Besitzer. Anstelle der Platzierung von entsprechenden Trademark-Symbolen erklären wir hiermit, dass wir den Markennamen nur zur redaktionellen Verwendung und zum Nutzen des Marken-Besitzers verwendet haben und nicht die Absicht haben, eine Rechtsverletztung der Marke-vorzunehmen. Änderungen dieses Dokuments unterliegen keiner Informationspflicht. Die Linotype GmbH übernimmt keine Gewährleistung oder Haftung für die in diesem Dokument enthaltenen Informationen. Empfehlungen, mögliche Fehler und Beschreibungen hinsichtlich von drittproduzierten Produk-ten sind ebenfalls von einer Gewährleistung oder Haftung ausgeschlossen. Dieses Dokument wurde mit Schriften der Linotype Univers Familie erstellt.

Français

Sous réserve d‘erreurs et de modifications. Sous réserve de tous droits. Le contenu de ce document appartient à la société Linotype GmbH et ne peut être reproduit ni électroniquement ni photographiquement sans l‘accord écrit de Linotype GmbH. Le contenu de ce document ne peut être donné à tiers sans le consentement écrit de Linotype GmbH. Linotype, Linotype Library, Frutiger et Univers sont des noms de marques appartenant à Linotype GmbH. Toutes les autres désignations de produits ou de marques appartiennent à leurs détenteurs respectifs. Des noms de grandes enseignes sont utilisés sur le document. Plutôt que d‘afficher un symbole de grande enseigne chaque fois qu‘apparaît un nom de marque, nous déclarons que nous ‘utilisons les noms de marques qu‘à des fins d‘édition et au profit des détenteurs des noms de marque cités et que nous avons aucunement l‘intention de procéder à des contrefaçons de noms de marques. Les informations divulguées dans ce document peuvent être modifiées à tout moment et sans avertissement. Linotype GmbH n‘assure ni la garantie ni la responsabilité des informations contenues dans ce document. Les suggestions, les éventuelles erreurs et les descriptions concernant les produits fabriqués par tiers sont également exclues de la garantie et de la responsabilité. Ce document a été créé en utilisant les polices émises par Linotype Univers.

Last updated: 07/05/2008 Document ID code: Frutiger Serif type spec.pdf

Trademarks © 2004-2008 Linotype GmbH

Linotype and Linotype Library are trademarks of Linotype GmbH registered in the U.S. Patent andTrademark Office and may be registered in certain other jurisdictions.Frutiger, Meridien and Univers are trademarks of Linotype Corp. registered in the U.S. Patent andTrademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp.or its licensee Linotype GmbH.

We reserve the right of errors and changes.

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