Adrian Frutiger: The Father of Swiss Typography and a Classic of Type Design

Contents:

• Mentors
• Beginning of a Career and First Commercial Fonts
• World Famous: The Univers Font
• Fonts of the Sixties
• Navigation and the Designer's Favorite Font
• Later Works: The Avenir Font
• "Font Like a Spoon"

Adrien Frutiger is a prominent type designer, recognized as the father of Swiss typography, although he spent much of his career in France. Frutiger developed a systematic approach to creating type systems and is the author of more than 30 typefaces. Without his works, such as Univers, Frutiger, OCR-B, and Avenir, it is impossible to imagine the development of type design in the 20th century. These typefaces not only defined the visual appearance of the era but also became the basis for further innovations in typography.

In this content, we will share essential information about the topic that interests you. We will examine key aspects in detail and provide valuable recommendations so that you can better understand the subject matter. This information will be useful for both beginners and those already familiar with the topic. We strive to provide relevant and practical advice based on the latest trends and research. Stay with us to gain useful knowledge and increase your awareness in this field.

• Adrian Frutiger's early commercial typefaces;
• Univers typeface system;
• OCR-B — a font for optical systems;
• Frutiger, one of the most important typefaces of the 20th century;
• Avenir typeface — one of the designer's most complex works.

Mentors

Adrian Frutiger, a prominent Swiss typographer and typeface designer, was born in 1928 in Unterseen, Switzerland. From an early age, he showed an interest in calligraphy, and at the age of 15 he had already decided on a career related to typeface creation. However, his father, the owner of a weaving workshop, did not approve of this decision and advised him to first master a craft so that he could later pursue his passion. Frutiger became one of the most influential type designers of the 20th century, and his work had a significant impact on typography and graphic design.

Frutiger began his career as a typesetter's apprentice at the Otto Schaeffl printing house in Interlaken. He later attended the School of Applied Arts in Zurich, where he deepened his knowledge of typeface design. This was an important step in his development as one of the world's leading typeface designers.

Frutiger's teachers were Alfred Willimann and Walter Kaech, who demonstrated that the formation of a letter depends not only on black strokes but also on the white space that plays an important role in design. They introduced him to the basic principles of design. Although Frutiger did not always agree with the opinions of Willimann and Kaech, he acknowledged their influence on his work and considered them his mentors.

Early Career and First Commercial Typefaces

After completing his studies at the Zurich School of Applied Arts, Frutiger sent his diploma thesis to various printing houses, which led to an invitation to become a type designer at Deberny & Peignot, a renowned printing house in Paris. His work focused on historical forms of Latin letters, and director Charles Peignot noted the high quality of the examples engraved on wooden blocks. These samples demonstrated Frutiger's attention to detail and deep understanding of letterforms, which became the foundation of his successful career in type design.

Adrian's first commercial typeface was Président. This typeface, a set of capital letters, was created specifically for business cards and released in 1954. Président quickly gained popularity thanks to its elegant design and expressiveness, making it an ideal choice for business and professional communication.

The new typeface has received positive reviews in France and already displays a clear Frutiger style, combining the influence of the designer's mentors with his individual understanding of form. This typeface has become an expression of a unique approach to typography, emphasizing the harmony between tradition and modern design trends.

This year, after the Président typeface, the unique calligraphic typeface Ondine was introduced. Its name comes from the French word "onde", which translates as "wave". Ondine stands out for its elegant and fluid form, making it an excellent choice for design projects requiring sophistication and artistic expression.

In the 1950s, the Mistral typeface became iconic thanks to its unique style created by designer Roger Escoffon. He used his own handwriting, which was skillfully adapted with a broad brush. Charles Peignot, seeking to create a new decorative typeface, was inspired by the success of Mistral and set out to develop a typeface that could replicate its popularity at the Deberny & Peignot foundry. This approach to typeface design emphasizes the importance of individual style and originality in graphic design.

Frutiger spent just over a month designing the Ondine typeface. However, the typeface failed to gain popularity in France because its style was not understood by local users. Frutiger viewed the project as a failure and felt disappointed that he had wasted his time and effort. He also felt guilty towards his professors, as he had expected greater success with his project.

Frutiger jokingly referred to Ondine as his "mustard" typeface, as the only company to choose it for its corporate design was a mustard factory in Dijon. This fact highlights the typeface's uniqueness and its limited use in commercial design. Despite this, Ondine remains an intriguing example of typographic art, demonstrating how even a single typeface can become part of a brand's identity.

Adrian Frutiger considered his typefaces to be purely practical. He singled out Méridien as his first serious work and one of his best. This sans-serif typeface was specifically designed for comfortable reading of large texts. In creating it, Frutiger drew inspiration from the work of Nicolas Janson, a French Renaissance typographer. Méridien has become a significant contribution to the world of typography thanks to its clarity and legibility, making it a popular choice for books and scientific publications.

When designing Méridien, I sought to avoid sharp forms. I believe the lines should be smoother and more natural. The main goal was to create a typeface that would combine high legibility and aesthetic appeal.

Adrian Frutiger is a prominent Swiss typographer and typeface designer known for his innovative approaches to typography. Born in 1928, he became one of the most influential typeface designers of the 20th century. Frutiger designed numerous typefaces, among which the most popular are Univers and Frutiger. These typefaces are distinguished by their legibility and versatility, making them ideal for use in a variety of fields, including graphic design, print, and digital media.

Adrian Frutiger's work has left a significant mark on the design world, and his typefaces continue to be used in contemporary typographic design. The influence of his work is felt in the way typefaces are integrated into visual communication, and his approach to typeface design is a model for many contemporary designers. Frutiger also focused on the interaction of typefaces with their environment, making his work particularly relevant to urban design and navigation.

Frutiger passed away in 2015, but his legacy lives on through his typefaces and ideas, which inspire a new generation of designers.

While working on the Méridien project, Frutiger began creating his first fonts for phototypesetting machines. This new technology revolutionized the production of fonts. Unlike metal typesetting, where each letter or line was a metal stamp, phototypesetting allowed the font to be projected onto light-sensitive film. This innovation opened up new horizons in typography and significantly simplified the font creation process, which influenced design and typography as a whole.

The first phototypesetting machines were developed in the United States in 1949, and they appeared in Europe later – assembly of the first machine began in 1954. Charles Peignot had a significant influence on the development of this technology in Europe, founding the company Deberny & Peignot, which developed fonts. Thus, phototypesetting machines became an important stage in the history of printing, contributing to a revolution in typography.

Frutiger created new designs for established typefaces, adapting them to modern technologies. For the Lumitype project, he reworked classic serifs, including Bodoni, Garamond, Baskerville, Janson, Caslon, and Perpetua. These typefaces were adapted to improve legibility and visual perception in the digital environment, making them relevant for modern design solutions.

Working on classic typefaces gave me significant experience. Each of these typefaces required reworking to suit new technologies. When editing and copying, I unconsciously introduced elements of my own perception of form. Although I perceived myself more as a specialist adapting typefaces to a specific system than as an artist, my individuality still reflected in the resulting work.

Adrian Frutiger is an outstanding Swiss typographer and type designer, known for his innovations in the field of typography. Born on May 24, 1928, in Bürgdorf, Switzerland, Frutiger has become one of the most influential figures in the world of graphic design. Frutiger designed numerous typefaces, including the well-known Univers and Frutiger, which are used in a variety of settings, from print to digital interfaces. His work is characterized by clarity and functionality, making it ideal for use in environments requiring high legibility. Frutiger paid particular attention to how typefaces interact with their environment, considering factors such as lighting and distance from the text. His approach to typeface design has had a significant influence on modern typographic standards and continues to inspire designers worldwide. Frutiger also worked extensively on projects in the fields of wayfinding and information graphics, making his name known not only among typographers but also among architects and interior designers. His typefaces and typographic solutions are used in a variety of fields, including transportation, advertising, and corporate design, due to their versatility and aesthetic appeal. Adrian Frutiger left an indelible mark on the world of design, and his legacy lives on in the work of new generations of designers.

World Famous: The Univers Typeface

Frutiger gained worldwide fame with the creation of the Univers typeface in 1957. This typeface became an icon in the world of typography and had a significant influence on typeface design in the following decades. Univers was designed with versatility and legibility in mind, making it a popular choice for a variety of print and digital applications.

During the development of the phototypesetting machine at Deberny & Peignot began creating the first serif typefaces, and soon the discussion turned to grotesques. Charles Peignot suggested that Frutiger adapt Futura, a popular typeface at the time, known in France as Europe, created by the German typographer Paul Renner in the 1920s, for Lumitype. However, Adrian believed Futura was outdated and did not reflect modern style, and it was also difficult to type. These discussions led to the development of Univers, a typeface whose foundations were laid during Frutiger's academic experiments at the Zurich School. Univers has become a more adaptive and modern solution, meeting the requirements of the time and aesthetic design standards.

Univers is a striking example of neo-grotesque, distinguished by the fact that it is not just a font, but a complete font system. The typeface includes 21 character sets, varying in weight and width. These logically arranged elements combine harmoniously with each other, creating the impression of a single whole. The Univers font system is ideal for a variety of design tasks, ensuring high legibility and aesthetic appeal.

Neo-grotesques are a group of fonts that emerged in the mid-20th century and achieved greatest popularity with the development of the Swiss style in design. These fonts are based on traditional grotesques, but have their own unique features. The main characteristic of neo-grotesques is equal width, as well as vertical axes of ovals and ascenders of equal height of capital letters. Thanks to their neutrality and lack of a pronounced character, neo-grotesques become versatile tools for designers. Another important feature of these fonts is the use of obliques as italics, which gives them additional flexibility in application. Neo-grotesques are ideal for various types of design, from print to web design, thanks to their modern and concise look.

Frutiger developed a two-digit number system to simplify working with a large number of typefaces. The first number indicates the font weight, and the second indicates the proportions. Univers 55 became the starting point from which all other variants were created. Thus, the Univers system is reminiscent of the periodic table, which emphasizes its structure and logic. This system allows designers to easily navigate the variety of fonts and select the most suitable options for their projects.

Univers is the first system typeface that was developed with various typefaces in mind. Over time, the number of styles increased to 35. In 1997, designer Adrian Frutiger, in collaboration with Linotype, redesigned the font, expanding it to 63 styles and introducing three-digit numbering. This evolution has made Univers one of the most versatile and popular typefaces in the typography world, used in various fields of design and printing.

Univers was originally designed for phototypesetting machines, but was also released in a format for metal typesetting. This font system combines versatility and elegance, making it popular in both print and digital typography. The variety of weights and styles makes Univers an excellent choice for designers seeking a modern and clean design.

The Univers typeface has gained popularity worldwide thanks to renowned typographers Emil Ruder and Rudolf Hoschtettler. Emil Ruder, who consulted with Adrian Frutiger during the typeface's creation, wrote an article for the trade publication Typographic Monthly. He later published a special issue entirely dedicated to the possibilities and features of Univers. This typeface has become a symbol of modern design thanks to its universal style and varied weights.

Rudolf Hochstättler, when publishing the Typographic Monthly, followed Emil Ruder's view of the versatility of sans-serif typefaces. Ruder argued that such typefaces are suitable not only for advertising, but also for books and newspapers. Hochstättler chose Univers as the main typeface for his magazine, emphasizing his confidence in the merits of sans-serif typefaces. This decision illustrates the relevance and flexibility of sans-serif typefaces in modern typographic design.

Frutiger sought to develop an international typeface and initially called it Monde, which translates as "world" in French. However, this name was not accepted, as in German it meant "moon."

Charles Peigneau suggested calling the typeface Univers, which translates as "Universe" in French. This typeface has become a symbol of modern design and typography, reflecting the versatility and simplicity it purports to convey. Univers quickly gained popularity thanks to its legibility and harmonious proportions, making it an ideal choice for a variety of applications, from print to digital media.

Univers remains relevant in branding and identity even after half a century. It has been chosen for the corporate identities of companies such as FedEx, BP, and eBay. Univers is also widely used in the wayfinding systems of Frankfurt and Athens airports, as well as the Montreal metro. In the UK, students prefer Univers for writing tests, as its easy-to-read nature and the clear distinction between the capital I and the number 1 make it ideal for educational purposes.

Univers is more than just a “universe”; it is a versatile typeface that combines elegant simplicity and a wide range of shades. Its versatility makes it an ideal choice for a variety of design tasks, both in the 20th and 21st centuries. With the Univers font, designers can create both minimalist and complex projects, making it popular among professionals in graphic design, typography, and web design.

Fonts of the sixties

In the mid-20th century, Monotype was one of the leading American companies that produced metal typesetting machines. However, by the 1960s, demand for Monotypes and Linotypes began to decline due to the advent of phototypesetting. In response to these changes in the industry, Monotype adapted and launched a new production facility, producing phototypesetting machines under the Monophoto brand. This decision allowed the company to remain competitive in the market and meet the new demands of the printing industry.

At first, the company adapted existing fonts for new car models. However, in 1961, it turned to designer Adrian Frutiger to develop a unique font for Monophoto. This is how Apollo was born - the first font created specifically for this company. Frutiger himself described it as "classic, but perhaps a little boring." During the development of Apollo, Adrian collaborated with designer John Dreyfuss, which allowed him to not consider the font entirely his own. Apollo was an important step in the evolution of type design, emphasizing Monophoto's individuality and its desire for innovation.

Adrian Frutiger, a renowned Swiss typographer, spent more than eight years at Deberny & Peignot. In 1962, together with typographers André Gürtler and Bruno Pfäffli, he founded the Atelier Frutiger + Pfäffli studio in Paris. This studio became an important milestone in his career and contributed to the development of typographic design. Adrian Frutiger had a significant influence on the world of typefaces and continues to be one of the key figures in the history of typography.

One of Edward Frutiger's key developments in the sixties was the machine-readable OCR-B font. This font was created for optical character recognition and found widespread use in the financial and banking sectors. OCR-B provided high reading accuracy and ease of use, making it an important tool in document automation.

OCR-A, its predecessor, was created in the United States in 1961, but failed to gain acceptance in Europe due to its unnatural, robotic appearance. The European Computer Manufacturers Association sought to develop a new font that would not only be easily recognized by scanners but also boast a more aesthetically pleasing design, ensuring a comfortable reading experience. This marked an important step in the evolution of OCR fonts, combining functionality and visual appeal.

When developing the machine-readable font, Adrian took into account both technological and aesthetic aspects. He sought to achieve a balance between the efficiency of optical character recognition and the harmony of forms. As a result, he succeeded in creating a unique font. The first version of OCR-B was published in 1965, and in 1973, this font was approved as an international standard. OCR-B was an important step in the development of text recognition technologies and continues to be used in various fields requiring high readability and accuracy.

OCR-B continues to be used in modern design, especially on payment forms, barcode numbers, and identity cards. Its unique style and high legibility make it ideal for documents that require precise information transmission. OCR-B is also frequently used in automatic data capture systems, confirming its importance in the field of printed and digital identification.

Navigation and the designer's favorite font

Adrian Frutiger's first experience creating a navigation font began at Deberny & Peignot. Between 1959 and 1960, the company worked on a wayfinding project for Paris's Orly Airport. Project manager Charles Peignot commissioned Frutiger to develop a typeface based on the Peignot typeface, which was popular in the 1940s and widely used in advertising materials. The result was the Alphabet Orly typeface, which consisted entirely of capital letters. However, this typeface required wide letter spacing, which took up a lot of space and made it unsuitable for wayfinding systems. Although Frutiger didn't always agree with Peignot's suggestions, he was unable to make changes to the project at this stage.

My criticism is that the capital letters are too large for wayfinding. If you have giant signs, they can ensure good legibility of the capital letters, but it's difficult to fit enough text on such structures. Due to the space constraints, Charles Peignot proposed creating two alphabets—one wider and one narrower. If there was enough space, a wide font was used, and if space was limited, a narrow font was chosen. In addition, there was the problem of differentiating between the two languages: a regular font was used for French, and an italic font for English, both in the same color. This solution turned out to be not the most successful.

Adrian Frutiger is a prominent Swiss typeface designer known for his innovations in typography. His work has had a significant influence on modern text design and type culture. Frutiger created many typefaces, such as Univers and Frutiger, which are used in various fields - from print to digital media. His approach to typeface design was based on a combination of functionality and aesthetics, which made his work popular among designers and typographers around the world. With a deep understanding of human perception of type, Adrian Frutiger forever changed the concept of typography and type design.

In 1970-1971, Frutiger again began designing typefaces for wayfinding systems. Architect Paul Andreu invited him to help create a wayfinding system for the new Charles de Gaulle International Airport, located in the Roissy district near Paris. This airport is also known as Roissy-Charles de Gaulle. The closed-form Univers typeface was unsuitable for this purpose, as it was designed primarily for typesetting and did not provide good legibility from a distance. The primary requirement for a wayfinding font is its legibility. In visual wayfinding, text must be easily readable from a distance and in low light. Each letter must be clearly recognizable, ensuring ease of information perception by users. The right choice of font for navigation improves user experience and facilitates effective orientation in space.

Adrian returned to the sketches of the Concorde font created seven years ago. This typeface was developed in collaboration with typographer André Gürtler for Sofratype and was originally intended for news printing. However, it was discontinued shortly after its release.

After studying the unique features of the Concorde typeface, Frutiger developed a new typeface, Roissy, named after the airport. Roissy was created with the requirements of a navigational typeface in mind, ensuring excellent legibility and perception at various angles and distances. The typeface featured pronounced ascenders and descenders, as well as an open aperture, which made letters easy to distinguish and ensured a high level of user experience.

Airport signage used a dark yellow background, with French text in black and English text in white. This design ensures good visibility and easy perception of information for international passengers.

In 1974, Linotype commissioned designer Adrian Frutiger to redesign the Roissy typeface for print. This collaboration resulted in the creation of one of Frutiger's most famous typefaces, Frutiger. This humanist grotesque has become widely used in various fields due to its versatility. Frutiger retains all the essential characteristics of a navigational typeface, including clarity and legibility. Each character in this font has distinct individual characteristics, and the letters are highlighted with prominent ascenders and descenders, making it ideal for use in sign and information graphics.

Humanist sans serifs emerged in England in the 1930s as a response to the excessive geometrization of earlier sans serifs. They are characterized by an open design and low contrast, which ensures their good legibility. The form, structure, and proportions of humanist sans serifs are close to Old Style serifs, which is evident, for example, in the elongated ascenders and descenders. These typefaces have become popular due to their aesthetics and legibility, making them ideal for a variety of graphic and print applications.

In 2009, Linotype introduced an updated version of the Frutiger typeface, called Neue Frutiger. This expanded version was created in collaboration with designer Akira Kobayashi, who worked on the project together with the author of the original typeface, Adrian Frutiger. Frutiger was 80 years old when he worked on Neue Frutiger. The new version significantly increased the number of typefaces, allowing for ten different weights, expanding the font's potential for use in design and typography.

My masterpiece is the Univers font, but if I have to talk about my favorite font, it would be the original Frutiger.

Adrian Frutiger is a prominent Swiss typographer and type designer whose work has had a significant influence on modern design. He was born on May 24, 1928 in Switzerland and is known for creating Univers and Frutiger fonts. These fonts are characterized by high legibility and versatility, making them popular in various fields, including graphic design, web design, and typography.

Frutiger began his career in the 1940s, and his approach to typeface design was based on a careful study of proportions and letterforms. His works were often used in iconic graphics, wayfinding systems, and advertising materials. A pursuit of clarity and functionality became the foundation of his design philosophy.

Among his many achievements, it is worth noting the creation of the Frutiger typeface, which was designed for the wayfinding system of Charles de Gaulle Airport in Paris. This typeface has become a model for typefaces used in public transportation and wayfinding around the world.

Frutiger was also an active teacher, sharing his knowledge and experience with new generations of designers. His influence continues to this day, and the work of Adrian Frutiger remains relevant and in demand in the world of contemporary design.

The Frutiger typeface has gained popularity due to its high legibility, due to the clear distinction of each character. Steve Matteson, an American type designer, described Frutiger as "the optimal choice for legibility in virtually any setting." In 1997, designer Erik Spiekermann based this typeface on the FF Transit typeface, designed for the Berliner Verkehrsbetriebe. Frutiger continues to be popular in a variety of applications, from signage to printed matter, thanks to its versatility and aesthetics.

Inspired by wayfinding design, Frutiger is often used for signage and displays. It is used at the Paris airport, on road signs in Sweden, and for wayfinding in government buildings. However, Frutiger is a universal typeface, trusted not only by companies but also by entire countries. For example, it can be seen on the cover of the Swiss passport. With its legibility and modern style, Frutiger is ideal for a variety of design and visual identity tasks.

Frutiger designed fonts for the world's navigation systems, including not only airports but also subways. He created the Alphabet Métro font, based on Univers, which included capital letters, numbers, and several special characters. This font was used in the Paris Métro until 1996, ensuring legibility and understandability of wayfinding signs.

In 1978, Frutiger's trilogy "Man and His Signs" was published, in which the author systematized his knowledge of type and sign systems. This trilogy was based on lectures on the history of writing, typeface design, and semiotics, which he gave at the École Estienne and the École Nationale Supérieure des Arts Décoratifs. Frutiger's work remains relevant today, as it deeply explores the human interaction with visual symbols and typefaces, which is important for designers, typographers, and anyone interested in graphic design and communication.

Later Works: Avenir Typeface

By the 1980s, geometric sans serifs regained their popularity. Recognizing this trend, Frutiger approached Linotype about creating a modern version of a geometric typeface that was missing from their collection. This move met the growing demand for unique and stylish typefaces, contributing to the development of typography during this period.

In 1988, the Avenir typeface was created, which, according to its creator, Adrian Frutiger, was the most challenging project of his career. Frutiger was proud not so much of the typeface's concept as of the high level of craftsmanship that went into its implementation. Avenir is distinguished by a harmonious combination of geometric shapes and traditional proportions, making it versatile and attractive for use in various design fields.

Geometric sans serifs originated in Germany at the beginning of the 20th century, but their development was significantly accelerated by the ideas of constructivism and the Bauhaus. These typefaces are based on simple geometric shapes such as the circle, square, and equilateral triangle. In the spirit of modernism, the new grotesques were presented as "new typography," emphasizing that form subordinates function and eliminating excessive embellishment and decoration. This typographic trend became emblematic of a desire for minimalism and functionality, making it popular in design and art. Inspired by the Kabel and Futura typefaces, Adrian developed a modern interpretation of the constructivist grotesque, giving geometric forms a more aesthetically pleasing appearance. The core of his work was the lowercase "o," which, unlike his predecessors, he created without the use of a compass, allowing him to break away from the traditional form of the perfect circle. This innovation improves the visual perception of the font and makes it more harmonious in modern design.

The word «Avenir» translated from French means «future». This name is a direct and deliberate reference to the Futura typeface.

Avenir is the typeface used in the election campaign of former French President François Hollande. It was also the official typeface of the Eurovision Song Contest. Apple used Avenir for maps in iOS 6, and in Amsterdam, it became the primary font for communications and navigation. Logos of companies such as AliExpress, Spotify, and AOL. and Toyota, are also made using the Avenir font, which confirms its popularity and versatility in design.

Avenir has taken an important place in the arsenal of designers, becoming one of the key fonts along with such well-known grotesques as Univers and Frutiger. This font has a modern and elegant style, making it an ideal choice for a variety of graphic and web designs. Avenir combines legibility and aesthetic appeal, which contributes to its popularity in design circles.

"A font like a spoon"

Frutiger always believed that a font is not a means of self-expression for a designer, but first and foremost a tool that ensures comfortable reading. He emphasized that the beauty and legibility of a font are closely related, and to a certain extent, they can even be banal. In his opinion, an ideal font should disappear unnoticed by the reader, allowing concentration on the content of the text and facilitating comprehension.

A font can be compared to a spoon: if, after some time, a person remembers which spoon they used to eat soup for lunch, this indicates that the spoon was unsuccessful. A good font should be unnoticeable and convenient, allowing concentration on the content of the text. As with a spoon, the primary purpose of a font is to facilitate the perception of information, not to distract. It is important to choose fonts that harmonize with the overall design and enhance legibility.

Adrian Frutiger was a prominent Swiss typographer and typeface designer, known for his innovations in typography. His work has had a significant influence on modern typeface design and navigation. Frutiger created many fonts, among which the most famous are «Frutiger», «Avenir», and «Univers». These fonts are renowned for their legibility and elegant style, making them popular in both print and digital typography.

Frutiger paid attention not only to aesthetics but also to the functionality of fonts, designing them with a variety of usage conditions in mind. His approach to typeface design combined traditional typographic principles with modern technology, allowing him to create unique and practical solutions. Adrian Frutiger's legacy continues to inspire designers worldwide, and his typefaces remain essential elements of visual communication.

The designer considered the creation of grotesques his primary focus. He worked extensively with serif typefaces, believing them to be ideal for reading text. However, according to Frutiger, any imperfections in the antique can be hidden using serifs, which makes the process of creating grotesques more complex and requires high qualifications.

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