“KPMG, the massive consulting and accounting firm, somehow decided on Giorgio Sans as the new voice of their brand, which was a really bold choice, and really makes their identity so much more interesting than you would ever expect from a multinational accounting firm. [Giorgio Sans] is a fashion typeface, originally drawn for a fashion magazine and here it is in PowerPoint presentations about how Brexit is going to work.” — Christian Schwartz
There are ampersands in the “Top Tweets” slide. This form that looks like a ligature of a cursive ‘E’ (mirrored 3) and a ‘t’ was not introduced with Univers Next. It was also present in the original version, and in Bitstream’s digitization, Zurich. I guess KPMG use various versions of Univers. I’ll add Univers Next to the credits.
From Adrian Frutiger – Typefaces: The Complete Works (Ed.: Heidrun Osterer, Philipp Stamm), p97:
My ampersand was adopted by the European typesetting systems; only when Linotype took over my Univers for photosetting for the American market did it get swapped for the looped ‘meat-hook ampersand’. The Americans were radical, they didn’t want my ampersand at all.
On p30, Frutiger discusses his approach to ampersands in general, and for Initiales Président in particular:
I was never keen on the classical shape, I found its lines too complicated. I wanted all characters to have the same style, and eventually discovered this special new shape. […] For me the whole thing was above all a question of the counter shapes. These were supposed to be comparable to those of a B. I wanted the & to have a discreet and almost strict design, whereas for Hermann Zapf for example, being a type designer and calligrapher working at the same time as me, it provided a great chance to let his fantasy run free.
Thanks, Florian! I missed that image. Yes, now looking again at the embedded fonts in the official KPMG PDFs I see both Univers and Linotype Univers (which is essentially the previous version of Univers Next), so your guess is correct.
Contributed by Stephen Coles
Contributed by Axel Pelletanche Thévenart