DVB201 A2: Typographic Zine
Sylvia Wu N11030941
ZINE RESEARCH
Zine 1 - Don't Just Do It by Luke Maitland
This zine, Don't Just Do it, is created on the topic of consumerism, exploring the issues designers face and possible solutions. This Zine particularly caught my eye due to its simplicity and recognisable references. It acknowledges the well-known branding, from font to slogan referencing nike, and is cleverly utilised to communicate his message. In addition The strategic use of blank space allows for the readers to have a clear focal point without being distracted. Taking in consideration of space and overall grid, I'd also definitely want to try reference a brand or campaign thats associated with the font as it very successful in this zine to catch the readers attention.
Zine 2 - Courier by Katazyna Wenda
This Zine communicates a story, similar to the this project, in that the designer, Wenda, aims to communicate the font's origin, form and comparison to Times New Roman. She creates a very minimalist look yet complicated design with various patterns and shapes made from the letters themselves embedded into the background. And how this compliments the large areas of blank space to not overcrowd and highlight the focal text. The use of repetition and patterns combined with the strategic use of white space is something I am definitely interested in exploring in this project.
Visual Reference
For this project, I'm really inspire by the zines that are more minimal and simple so I found some other posters and zine pages that I was inspired by:
1) Liquid Spheres in Zero Gravity by Alessio Longa, 2) Sci-fi Films Throughout the Decade by Legi.jpeg
3) NTF Tout by Nick Barry, 4) Escu Mag by Alex Escu
DESIGN PROCESS
Colour Selection
The colours combinations that I considered for the zine are below: I experimented with several colour combinations on swatches to find the most relevant and suitable colour to depict the typeface. Ultimately, I decided that I only wanted to use only one colour with black and white to really highlight the meaning.
The future dusk is the 2025 colour of the year representing future development and technological advancement which I believe is affiliated with the concept of Avenir, with not only the meaning, but changing the idea of design for not only aesthetics and usability but to suit human nature. In addition, I think using a colour that connotes to the future represents the fonts adaptability to current technology and popularity particularly with graphic designers, despite it being created in the 80s.
The second colour combination I considered using in the zine is red, black and white which are the colours used in one of the most well-known successful campaigns using Avenir, the I Amsterdam Campaign launched in 2004. This campaign was focused on rebranding the city to reflect its values. The slogan and logo was simple, straightforward and inclusive which reflects the intentions of Frutiger when creating the font, making it suitable typeface.
Thumbnail Sketch
INITIAL DRAFT COVER
FINAL WRITTEN CONTENT
Page 1: Front Cover
An introduction to Avenir
Adrian Frutiger
Made 1988
Page 2: Contents
03 FEATURE ARTICLE: all about avenir
07 FY(t)I: humanised design
08 TYPE DESIGNER PROFILE: adrian frutiger
12 TYPE TRENDS: geometric sans serif
14 ABOUT THIS ZINE: reflection
EDITORIAL INFORMATION
Zine created by Sylvia Wu. Student number: N11030941
Published on June 14th 2023. DYB201 Typographic Zine
Page 3: Feature Article
All About Avenir
Avenir, a popular font designed by Adrian Frutiger, a renowned Swiss typeface designer, embodies a fascinating combination of geometric shapes and humanistic qualities. Commissioned by Linotype, a French foundry, in the early 1980s, Frutiger aimed to create a typeface that balanced precision and readability, drawing inspiration from earlier fonts like Erbar and especially Futura. The name itself, meaning “future” in French, perhaps reflects its connection to Futura and the flourishing trend of sans serif fonts that emerged during the 1920s. The development of Avenir involved meticulous attention to proportions, spacing, and letterforms, resulting in a highly legible and adaptable typeface. Despite the ever-changing landscape of society, Avenir remains widely utilized today across diverse platforms and applications.
Page 4-5: Feature Article
“Strictly Modern and at the same time Humane” Adrian Frutiger
Avenir’s remarkable ability to blend modernity and humanity makes it visually captivating yet easily readable. Its versatility makes it suitable for a broad range of contexts, from corporate branding to editorial design. Frutiger’s visionary approach and the delicate balance struck in Avenir exemplify the enduring power of design, bridging the gap between the past and the present and offering a visually cutting-edge yet inherently human visual language. The typeface’s human qualities shine through in the subtle details, such as the softening of geometric precision with delicate, slightly rounded terminals, gentle curves, and open apertures. These design choices imbue Avenir with warmth and approachability, making it a timeless tytpeface, a fitting choice for a wide array of uses.
Page 6: Feature Article
Avenir distinguishes itself from Futura through its unique design elements. While both typefaces share geometric influences, Avenir incorporates certain nuances that enhance legibility and lend it a harmonious and sensible aesthetic for various typographic purposes. Unlike Futura, Avenir features vertical strokes that are thicker than the horizontals and subtly adjusted the rounded shapes into ovals. Furthermore, it also incorporates short ascenders and adopts a modest x-height. Some Noteworthy characteristics of Avenir include the “O,” a horizontal tail on the “Q,” a squared-off end and a leftward-extending bar on the “G,” double-story “g,” flat top vertices, a pointed bottom vertex on the “M,” and a lowercase “f” taller than the uppercase “F.”
Page 7: FY(t)I
A Humanist Design Approach
Avenir and many of Frutiger’s other works are special due to its human-centred design. It stands as a testament to Frutiger’s vision, bearing the hallmarks of his humanist approach. Each letterform embodies a balance between geometric precision and organic fluidity. As Frutiger eloquently put it, “a time for fonts with a human touch” had arrived, and with Avenir, he created a piece that reflected just that. This typeface is revolved around harmonizing aesthetics with functionality, which is reflected his design philosophy. Inspired by geometric sans-serif fonts and the legacy of calligraphy, Frutiger created Avenir, blending tradition and modernity. Frutiger infused subtle variations in stroke width that mimics the nuances of handwritten characters while the open apertures and generous letter spacing enhance readability, allowing the reader to traverse the text with ease.
Page 8-9: Type Designer Profile
Adrian Frutiger.
Design Philosophy: Legibility and beauty stand close together & that type, in its restraint, should be only felt but not perceived by the reader.
Adrian Frutiger is a Swiss type designer, born on May 24th, 1928 - 2015. Despite initially aspiring to be a sculptor, Frutiger’s father discouraged him, leading him to explore typography as a typesetter apprentice. In 1952, he graduated from the School of Applied Arts in Zurich and subsequently joined the prestigious Type Foundry, Deberny & Peignot, in Paris. Rising to the role of artistic director, he introduced his first set of Serif typefaces, including President, Meridian, and Ondine.
Univers, one of his most renowned typefaces, originated from exercises he undertook in 1949 at the age of 21 while still in school. He later founded his own studio and spent four decades in Paris before returning to Switzerland in 1990. During his time in Paris, he was commissioned, alongside other professionals, to develop signage for a new airport. However, his popular Univers typeface proved less suitable for quick and efficient recognition in the busy airport environment due to its geometric forms and relatively small apertures. This prompted Frutiger to reexamine his previous work, leading to the creation of the Frutiger typeface, which remains in use at the Paris Airport.
In his illustrious career spanning around 60 years, Adrian Frutiger created over 20 typeface families. Each design displayed groundbreaking qualities in both concept and execution. Noteworthy among his creations is Avenir, a geometric sans-serif typeface widely regarded as one of the best in its category. Frutiger’s design philosophy emphasized the close relationship between legibility and beauty in type design. He believed that typefaces should possess a sense of restraint, allowing readers to feel rather than consciously perceive them.
Page 10-11: Type Designer Profile
“The whole point with type is for you not to be aware it is there”
Frutiger regarded legibility and the structural integrity of his designs as paramount, surpassing superficial or formal criteria. He valued passing on his knowledge and skills to future generations, considering it a necessary endeavor. His dedication to education and mentorship showcased his self-less commitment to the field and his undeniable impact on typography. His innovative designs revolutionized the way we perceive and engage with typefaces. Through his masterful strokes and curves, he achieved a harmonious blend of legibility and aesthetic appeal, leaving a last-ing legacy. Frutiger’s typefaces continue to inspire and captivate readers worldwide. His contributions to the art of typography remain unparalleled, ensuring his influence will endure for generations to come.
Page 12: Type Trends
Minimalism in Design
The trend of minimalism in design and typography emphasizes simple, modern, and powerful elements, with a reduction of unnecessary elements, embracing clean lines and white space. It conveys a sense of elegance and sophistication through simplicity and efficiency. In typography, Geometric sans serif fonts like Avenir have become integral to this trend, growing in relevance. These fonts have proven their staying power, remaining a staple used by many designers. Their high functionality, flexibility, and suitability for technology contribute to their enduring popularity. As the design landscape evolves, they effortlessly adapt and mold to new trends, making them a simple, modern, and powerful choice to use for any purpose. With their timeless quality, they are reliable and adaptable, making them indispensable in the world of design for technology and businesses.
Page 13: Type Trends
Simple.
Modern.
Powerful.
Page 14-15: Reflection
Reflection: Process on making this Zine
This project was definitely a challenge, but overall, I enjoyed the process where I experienced many experiences, challenges and successes. Not only did I deepen my understanding of the zine’s content as I wrote it, but I also developed a profound appreciation for those involved in the industry. Exploring various layouts, establishing hierarchy, and experimenting with typography to create relevant visual representations allowed me to expand my skill set. Given my limited exposure to typographic zines, I extensively researched different typefaces. Ultimately, I opted for one I was already familiar with: Avenir. Wenda’s work with the Courier typeface, served as a major source of inspiration, guiding me towards a more minimalist aesthetic. However, it proved to be a challenge to conceptualise the zine due to the font’s simplicity and the abstract nature of the concept it was created from - human-centered design and functionality— rather than a specific theme or tangible subject. I struggled to illustrate elements that could effectively convey these ideas, and even now, I acknowledge that there is definitely room for improvement in several areas. Though this is the case, I am genuinely satisfied with the outcome of the zine and hope to further my opportunities to experiment with different typefaces and concepts, expanding my knowledge and experience.
Page 16: Back Cover
A typeface designed by
Adrian Frutiger
Zine by Sylvia Wu
N11030941
FINAL ZINE AND MOCKUP
REFLECTION (From zine)
This project was definitely a challenge, but overall, I enjoyed the process where I experienced many experiences, challenges and successes. Not only did I deepen my understanding of the zine’s content as I wrote it, but I also developed a profound appreciation for those involved in the industry. Exploring various layouts, establishing hierarchy, and experimenting with typography to create relevant visual representations allowed me to expand my skill set. Given my limited exposure to typographic zines, I extensively researched different typefaces. Ultimately, I opted for one I was already familiar with: Avenir. Wenda’s work with the Courier typeface, served as a major source of inspiration, guiding me towards a more minimalist aesthetic. However, it proved to be a challenge to conceptualise the zine due to the font’s simplicity and the abstract nature of the concept it was created from - human-centered design and functionality— rather than a specific theme or tangible subject. I struggled to illustrate elements that could effectively convey these ideas, and even now, I acknowledge that there is definitely room for improvement in several areas. Though this is the case, I am genuinely satisfied with the outcome of the zine and hope to further my opportunities to experiment with different typefaces and concepts, expanding my knowledge and experience.
REFERENCES
Barry, N. (n.d.) NTF Tout Type Specemin Zine [1 of 3]. Dribble.
https://dribbble.com/shots/11083229/attachments/2681513?mode=media
Encyclopedia.Design. (2023). Adrian Frutiger (1928 – 2015) Typographer – creator of widely used fonts.
Escu, A. (n.d.). Escu Mag. Dribble.
https://dribbble.com/shots/10537907-escu-mag-Mol-va/attachments/2341436?mode=media
Fussell, G. (2022). All About Avenir & Fonts Similar to Avenir. Envato Tuts.
Gianotten, H. (2003). Avenir, the future for Amsterdam. Linotype.
Keung, L. (2020). The Rise of the Sans Serif. Envato Tuts.
Legi.jpeg. (2021). Typographic Zine | Sci-fi Films throughout the decades. Behance.
https://www.behance.net/gallery/121412795/Typographic-Zine-Sci-fi-Films-throughout-the-decades?tracking_source=search_projects_recommended%7Ctypographic+zine
Longa, A. (2022). Liquid Spheres In Zero Gravity — Graphic Design. ABDZ.DO
https://abduzeedo.com/liquid-spheres-zero-gravity-graphic-design
Maitland, L. (2021). Don't Just Do it. Behance.
https://www.behance.net/gallery/114036127/Dont-Just-Do-It-Zine
Schwemer-Scheddin, Y. (1999). Reputations: Adrian Frutiger. Eye Magazine.
Siebert, J. (2015). Adrian Frutiger 1828-2015. Font Shop.
SMH. (2015). Adrian Frutiger: Designer’s fonts conquered the world.
Wang, C. (2019). Type & Hierarchy — Avenir. Medium.
Wenda, K. (2022). Courier | Typographic zine. Behance.
https://www.behance.net/gallery/150120353/Courier-Typographic-zine?tracking_source=search_projects_recommended%7Ctypographic+zine
