Between 2004–2007, Frutiger, together with Linotype’s in-house type designer Akira Kobayashi, reworked the Avenir family to address on-screen display issues. The result was titled Avenir Next. The initial release of the typeface family was increased to 24 fonts: six weights, each with a roman and italic version, in two widths (normal and condensed).
Frutiger’s numbering system was abandoned in favor of more conventional weight names. The glyph set was expanded to include small caps, text figures, subscript and superscripts, and ligatures.
The current set of Avenir Next’s weights is therefore ultra light, thin, light, regular, medium, demi bold, bold and heavy, in four styles each (two widths and italics for each width). The installation on OS X does not include the thin and light weights, but does include Greek and Cyrillic glyphs in the regular width.
Apparently we had reached a great height in the atmosphere, for the sky was a dead black, and the stars had ceased to twinkle.
The spectacle before us was indeed sublime.
Apparently we had reached a great height in the atmosphere, for the sky was a dead black, and the stars had ceased to twinkle. By the same illusion which lifts the horizon of the sea to the level of the spectator on a hillside, the sable cloud beneath was dished out, and the car seemed to float in the middle of an immense dark sphere, whose upper half was strewn with silver. Looking down into the dark gulf below, I could see a ruddy light streaming through a rift in the clouds.