Univers with sixty-three variants; Frutiger was reissued as Frutiger Next with additional weights. Collaborating with Linotype designer Akira Kobayashi, Frutiger expanded the font family with light weights, heavy weights, and a condensed version that were released as the Next font. Frutiger described the process of restoring Univers as a "personal gift." These modifications were not universally considered improvements: Frutiger regretted allowing Linotype to substitute a modish 1990s true italic (not drawn by Frutiger) onto Frutiger Next instead of the sharper oblique Frutiger preferred throughout his career. In his autobiography, Frutiger commented that in resigning himself to it "Maybe I was too soft to say what I really felt... I didn't have the strength and patience anymore." From a different perspective, type designer Martin Majoor commented that he preferred the italic but described Linotype Univers as "staggering" and "not an improvement" for its return to the very aggressively slanted italic of Frutiger's original drawings: "Redesigning an old successful typeface is something a type designer should maybe never consider." Frutiger commented on the italic that he felt Univers needed to be "snappy" and that it added character. In 2009, Frutiger collaborated with Akira Kobayashi on a second re-release of Frutiger, , which moved back towards the original 1970s release. Through his later years, Frutiger collaborated with co-authors Heidrun Osterer and Philipp Stamm on an extensive autobiography, Typefaces: the Complete Works (2008, republished 2014). In this book, Frutiger discussed his entire career and his completed and abandoned projects. Death Adrian Frutiger died on 10 September 2015 in Bremgarten bei Bern at the age of 87. Typefaces Frutiger's typefaces include: (1954): a display design inspired by Arabic calligraphy. (1954): a wedge-serif titling face in capitals and small capitals; somewhat similar to Copperplate Gothic. Méridien (1955): a text face, again with a crisp wedge-serif design and a gradual flare on ascenders. Frutiger Serif (below) is an update and expansion. Egyptienne (1956): a humanist slab-serif design. Univers (1957) Apollo (1962): created for Monotype, somewhat similar to . Serifa (1967): a slab serif based on the Univers family. OCR-B (1968) Iridium (1975): a Didone serif text face. Its flared style suggests the irregularity of metal type, an approach that would become very popular in the 1990s. Frutiger (1976) Glypha (1977): similar to Serifa. Icone (1980): a wedge serif design. Almost monoline, but with a gentle flare of strokes. Breughel (1982): an old-style serif inspired by the Renaissance.