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Deberny & Peignot had established itself as a leader in this technology, although as by the time of its launch metal type was still very popular, the design was also released in this form. The design concept of Univers was intended to take advantage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used. This matched the desire among practitioners of the "Swiss style" of typography for neutral sans-serif typefaces avoiding artistic excesses. By creating a matched range of styles and weights, Univers allowed documents to be created in one consistent typeface for all text, making it easier to artistically set documents in sans-serif type. Past sans-serif designs such as Gill Sans had much greater differences between weights, while loose families such as American Type Founders' Franklin Gothic family often were advertised under different names for each style, to emphasise that they were not completely matching. Univers was one of the first typeface families to fulfil the idea that a typeface should form a family of consistent, related designs. The original marketing for Univers deliberately referenced the periodic table to emphasise its scope. Classified as a neo-grotesque sans-serif, one based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths. Univers (French pronunciation: ) is the name of a large sans-serif typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957.
Akzidenz grotesk typeface classification tv#
On retrouve également Univers sur les panneaux bleu marine de la SNCF (avant son remplacement par Achemine), sur les bandes noires des stations du Métro de Montréal (la police sera remplacée par la police Transit dans l'ensemble du réseau sauf sur celles-ci) et dans l'habillage de plusieurs chaînes de télévisions comme BFM TV (entre 2007 et 2019), CNN (entre 2011 et 2014) ou encore, entre 2010 et 2017, i-Télé. Il a, par exemple, habillé la communication des Jeux olympiques d'été de 1972 à Munich.
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Cette fonte sans-serif reste, près de cinquante ans après sa création, un classique de la typographie contemporaine.