This book closely examines Univers Next Pro, the work of typeface designer Adrian Frutiger, who released the typeface in 1957. In the 1950's the world of photography was changing as the first SLR (Single-lens reflex) camera began to establish itself in the world. In the Single Lens Reflex Camera, the entry of light is reflected in the viewfinder, from which the photographer is able to get the first impression of how the photograph will look  after development. There was no longer a sense of risk-taking to snap a picture that wasn't totally "worth it", thus, street photography began to flourish. Photographers seemed to take particular notice in the beauty of every-day people, and less to the strutured idea of what photography should be. Like-wise, Adrian Frutiger looked past the conventional geometrically shaped typography at the time and created a new, more modernly designed and organically shaped typeface. In fact, Frutiger's colleagues suggested he add a linear sans serif antiqua to the range of lumitype-fonts, but Frutiger insisted he make something new with a style of "cool elegance" I have used black and white photos from these ambitious 1950's street photographers to reflect the inventiveness of Frutiger himself, who was clearly ahead of his time as far as design concept. The yellow/black "Kodak" color scheme was used to create an aesthetically pleasing composition that emphasized the design structure of Frutiger's work and connected it back to the theme of photography. Univers was best presented in a modern fashion, so to compliment both Frutiger's work as well as the work of early photographers, Sonder is advantageously stylized as a modern photography magazine.