Switzerland Condensed Extra Bold Font Free 53
Sonya Schmiesing
My Indesign doesn't find all activated font weights. I've installed the whole Open Sans family, all 13 fonts are marked as activated in the cloud, but only 12 are showing in Indesign. (Open Sans Condensed Bold is missing) Other Adobe programs have no issues and find all the different weights. I've tried Illustrator, Photoshop and Animate, every program is able to type Open Sans Condensed Bold, only Indesign is not cooperating, and of course, its the one program i need for this project. I even tried downloading the font from another page and install it via font collection but the result is the same. Indesign is ignoring Open Sans Condensed Bold. Updating, restarting, reinstalling, (computer, indesign, cloud..) nothing works. Its the 2nd time i have this problem, and its always only Indesign messing around.
I hope someone knows how to fix this.
Greetings from switzerland
i did use different styles of the font in indesign, but never the bold one bc its the only one missing of the family. i tried installing the font after downloading it from the web too, but the result ist the same, bold is always missing in indsign.
but good point, ill try another version, maybe this will do it until its fixed. tank you!
That being said, I highly recommend you download Open Sans directly from Google Fonts as it's a more updated version (v3.0) than the one being served at Adobe Fonts (v1.0/1.1). Open Sans is an open source font, and a work-in-progress, so it will evolve as people contribute to it.
thank you for your input! i tried downloading the font from the web, but unfortunately the result is the same. seems like you're right since i do use 17.2. but nonetheless i'll download it from google if its more updated there. didnt know that, thank you!
Did you install it for all users? Use the More Info button in Find/replace Font to get details on the exact version of the installed and needed font styles. Also the installation path of the font style you can see. It should be under C:\WINDOWS\Fonts\. That's the path for all users.
Copy all the TTF font files from Google Fonts into a new folder named exactly Document fonts and move that folder into the one where your InDesign document resides. Then restart InDesign and open the document again. InDesign now should see also the Bold style.
Thank you the workaround worked!
We need to test it out to see if we have to do this everytime we create a new document (hopefully not as it's one of our brand fonts!) but the workaround worked on this occasion.
I was having this issue, Helvetica Neue showed all but one weight in Indesign, I updated to 17.3 and continued to be an issue. I ended up installing the font directly into indesign's specific font library rather than Adobe's or my computer's and it seems to be working.
I have the same issue on windows. InDesign is up to date (as of today). I installed a family of 12 fonts, they are shown in windows>font, but when I go to InDesign, it only shows light, book, and bold. In Illustrator I have another 3 weights of the same font: light, book italic, and heavy. But none of them are the ones I actually need. I just got a new project and now I have to wait for the problem to be fixed...
As I wanted to share the link from where I found the OTP files for the font, I realise there is a *fixed TT file. That seemed to fix it. So my best guess, it is has something to do with the OTP windows compatibility. TT worked as a charm
Univers was one of the first typeface families to fulfil the idea that a typeface should form a family of consistent, related designs. 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. 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. This matched the desire among practitioners of the "Swiss style" of typography for neutral sans-serif typefaces avoiding artistic excesses.
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. 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. Univers was rapidly licensed and re-released by Monotype, Linotype, American Type Founders, IBM and others for phototypesetting, for metal type and reproduction by typewriter.[3] Historian James Mosley has described it as "probably the last major" release of a large family as metal type.[4]
Some of these old sans serifs have had a real renaissance within the last twenty years, once the reaction of the 'New Objectivity' had been overcome. A purely geometrical form of type is unsustainable.
Univers is one of a group of neo-grotesque sans-serif typefaces, all released in 1957,[6] that includes Folio and Neue Haas Grotesk (later renamed Helvetica). As all are based on Akzidenz-Grotesk, these three faces are sometimes confused with each other. These typefaces figure prominently in the Swiss Style of graphic design.
Univers was released after a long period in which geometric typefaces such as Futura had been popular. Frutiger disliked purely geometric designs, finding them too rigid, following a common school of thought among Swiss designers of the period. While studying at the Kunstgewerbeschule (Arts and Crafts School) in Zrich, he had begun to sketch a revived grotesque family based on 19th-century grotesques, at the time considered antiquated outside Switzerland. He described Univers in 1998 as having a 'visual sensitivity between thick and thin' strokes, avoiding perfect geometry.[7]
Different weights and variations within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suffixes. The design, with a working title of Monde,[5] was developed from 1953 to a final release in 1957.
Like most grotesque and neo-grotesque sans-serifs, Univers's slanted form is an oblique, in which the letterforms are slanted, with minor corrections but no other major alterations. This is different from a true italic, in which the letterforms become modified to resemble handwriting more.[8] In the original design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases. Linotype Univers (below) returns to the original angle.
Frutiger's original ampersand was a true 'et' ligature, similar to that in Trebuchet among others. Frutiger later provided an alternative for non French-speaking countries in which the form might be less familiar.[9][10]
The Deberny & Peignot library was acquired in 1972 by Haas Type Foundry. It was transferred into the D. Stempel AG and Linotype collection in 1985 and 1989 respectively upon the Haas'sche Schriftgiesserei's acquisition and closure; it is now owned by Monotype following its purchase of Linotype in 2007.[11] An independent version of Univers was licensed by the Berthold Type Foundry for its phototypesetting system with adaptations by Gnter Gerhard Lange; Frutiger wrote in his autobiography that he had some affection for it.[9]
Frutiger himself has commented: "Helvetica is the jeans, and Univers the dinner jacket."[12] Walter Tracy described it as better proportioned for text than Helvetica: "more original and subtle in its modelling than Helvetica and, because its character spacing was properly done, a better performer in text composition."[13] Mosley has described its even design as "rather bland" and noted that Monotype's eccentric, chaotically organised Grotesque family remained popular with more "iconoclastic" printers in the 1960s.[14][4] Stephen Coles describes Univers as "in some ways, even more spare [than Helvetica] (no beards or tails)"[15] and Simon Loxley comments that Helvetica "escapes the chilliness of Univers...it does have some elusive quality that gives it a friendlier feel".[16] Dutch font designer Martin Majoor, while praising Univers for its "almost scientific" range of weights, criticised it for its lack of originality: "basing a sans serif on another is rather cheap."[8] Frutiger's later landmark sans-serif designs, Avenir and Frutiger, would take very different, more humanist and geometric approaches.
Univers enjoyed great popularity in the 1960s and 1970s because many corporations adopted it for usage. It is used in a modified version by the new Swiss International Air Lines (previously, Swissair used the typeface Futura), Deutsche Bank and for signage all over the world. It was also adopted by the 1972 Summer Olympics organizers for its image and emblem also in 1976 Summer Olympics. General Electric used the font from 1986 to 2004 before switching to GE Inspira.[17] Apple Inc. previously used this typeface as well as its condensed oblique variant for the keycaps on many of its keyboards, before completely switching to VAG Rounded in August 2007 with the introduction of new keyboards and the new iMac (their notebook computers already featured that typeface since 1999). Munich Re used a custom version of Univers until 2009.[18] Telecom Australia and Australia Post also used the typeface in the 1970s and 1980s.
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