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Otto Treumann exhibition at Israel Museum, 1975

Photo(s) by “Philipp Messner”. Imported from Flickr on Dec 24, 2016. Artwork published in .
    Source: Uploaded to Flickr by Philipp Messner and tagged with “oron”, “univers”, “oron65”, “univers65” and “univers45”. License: Public Domain.

    Univers 45 and 65 combined with Oron 65. Oron is a Hebrew companion to Univers, designed in 1968 by Asher Oron.

    Source: Collection of the Joods Historisch Museum Amsterdam.


    • Oron
    • Univers



    Artwork location

    1 Comment on “Otto Treumann exhibition at Israel Museum, 1975”

    1. Apr 18th, 2017  12:33 pm

      On his website about Hebrew typography, Sivan Toledo has shared an article by Asher Oron on the design of his typeface (in Hebrew), which originally appeared in “A Letter to the World” (אות היא לעולם) – a collection of articles dedicated to the design of the Hebrew letter, published by the Ministry of Education, Department of Torah Culture, Department of Publications, in cooperation with the Jewish Art Association, Jerusalem, 1981.

      See also “Aleph=X, or contemporary Hebrew bad type” by Adi Stern:

      In 1966, a new era began. Published that year, the Oron typeface was the first Hebrew typeface deliberately designed as a counterpart, or derivative, of an existing Latin typeface (in this case Adrian Frutiger’s Univers). Asher Oron, the designer, declared he wished to reshape the monotone and boring Hebrew ‘x-height’ zone, and make it somewhat closer to the Latin curved and varied one. Moreover, he spoke decisively in favour of adding circular parts to the Hebrew letter. He believed this could contribute to letter differentiation as well as make the letterforms softer and more pleasing. In describing the design process of the type, Oron said that at a certain stage he found his letterforms too similar to the Latin ones. He ascribed this to his disregard for the Hebrew writing direction as well as to the design of symmetrical high frequency letters. Therefore, later on in the process he did two things: one was to make all symmetrical letters asymmetrical again, and the other was to redesign most of the vertical strokes’ upper terminals. Oron believed that in changing the terminals from pure vertical line-ends (i.e. symmetrical and static) to slightly leftward-leaning terminals, he enhanced the the reading flow.

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