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Wikipedia

Helvetica

April 27, 2023

For other uses, see Helvetica (disambiguation).

Helvetica, also known by its original name Neue Haas Grotesk, is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger and Eduard Hoffmann.

Helvetica
CategorySans-serif
ClassificationNeo-grotesque[1]
Designer(s)Max Miedinger
Eduard Hoffmann
FoundryHaas Type Foundry
Date released1957
Re-issuing foundriesMergenthaler Linotype Company
Design based onAkzidenz-Grotesk
VariationsHelvetica Inserat
Helvetica Compressed
Neue Helvetica
Helvetica Now
Others (see below)
Also known asNeue Haas Grotesk
Shown hereNeue Helvetica

Helvetica is a neo-grotesque design, one influenced by the famous 19th century (1890s) typeface Akzidenz-Grotesk and other German and Swiss designs.[2] Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 1960s, becoming one of the most popular typefaces of the mid-20th century.[3] Over the years, a wide range of variants have been released in different weights, widths, and sizes, as well as matching designs for a range of non-Latin alphabets. Notable features of Helvetica as originally designed include a high x-height, the termination of strokes on horizontal or vertical lines and an unusually tight spacing between letters, which combine to give it a dense, solid appearance.

Developed by the Haas'sche Schriftgiesserei (Haas Type Foundry) of Münchenstein (Basel), Switzerland, its release was planned to match a trend: a resurgence of interest in turn-of-the-century "grotesque" sans-serifs among European graphic designers, that also saw the release of Univers by Adrian Frutiger the same year.[4][5][6] Hoffmann was the president of the Haas Type Foundry, while Miedinger was a freelance graphic designer who had formerly worked as a Haas salesman and designer.[7]

Miedinger and Hoffmann set out to create a neutral typeface that had great clarity, had no intrinsic meaning in its form, and could be used on a wide variety of signage.[7] Originally named Neue Haas Grotesk (New Haas Grotesque), it was rapidly licensed by Linotype and renamed Helvetica in 1960, which in Latin means "Swiss", from Helvetia, capitalising on Switzerland's reputation as a centre of ultra-modern graphic design.[8] A feature-length film directed by Gary Hustwit was released in 2007 to coincide with the 50th anniversary of the typeface's introduction in 1957.[9]

History

 
A 1969 poster by Robert Geisser exemplifying the "Swiss" style of the 1950s and 60s: solid red colour, simple images and neo-grotesque sans-serif type, all in lower case. This design appears to use Helvetica or a close imitation.

The first version of the typeface (which later became known as Helvetica) was created in 1957 by Swiss type designer Max Miedinger. His goal is to design a new sans serif font that can compete in the Swiss market, as a neutral font that should not be given any additional meaning. The main influence on Helvetica was Akzidenz-Grotesk from Berthold; Hoffman's scrapbook of proofs of the design shows careful comparison of test proofs with snippets of Akzidenz-Grotesk.[10] Its 'R' with a curved tail resembles Schelter-Grotesk, another turn-of-the-century sans-serif sold by Haas.[4][10][11] Wolfgang Homola comments that in Helvetica "the weight of the stems of the capitals and the lower case is better balanced" than in its influences.[12]

Attracting considerable attention on its release as Neue Haas Grotesk (Nouvelle Antique Haas in French-speaking countries),[a] Stempel and Linotype adopted Neue Haas Grotesk for release in hot metal composition, the standard typesetting method at the time for body text, and on the international market.[14]

In 1960, its name was changed by Haas' German parent company Stempel to Helvetica in order to make it more marketable internationally; it comes from the Latin name for the pre-Roman tribes of what became Switzerland. Intending to match the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family.[15][16] The design was popular: Paul Shaw suggests that Helvetica "began to muscle out" Akzidenz-Grotesk in New York City from around summer 1965, when Amsterdam Continental, which imported European typefaces, stopped pushing Akzidenz-Grotesk in its marketing and began to focus on Helvetica instead.[17][18] It was also made available for phototypesetting systems, as well as in other formats such as Letraset dry transfers[19] and plastic letters,[20] and many phototypesetting imitations and knock-offs were rapidly created by competing phototypesetting companies.[21][22]

In the late 1970s and 1980s, Linotype licensed Helvetica to Xerox, Adobe and Apple, guaranteeing its importance in digital printing by making it one of the core fonts of the PostScript page description language.[23][24] This led to a version being included on Macintosh computers and a metrically-compatible clone, Arial, on Windows computers. The rights to Helvetica are now held by Monotype Imaging, which acquired Linotype; the Neue Haas Grotesk digitisation (discussed below) was co-released with Font Bureau.[4]

Characteristics

 
Helvetica's tight apertures contribute to a regular, dense design.
  • Tall x-height, which makes it easier to read at distance.
  • Tight spacing between letters.
  • An oblique rather than italic style, a common feature of almost all grotesque and neo-grotesque typefaces.
  • Wide capitals of uniform width, particularly obvious in the wide 'E' and 'F'.
  • Square-looking 's'.
  • Bracketed top flag of '1'.
  • Rounded off square tail of 'R'.
  • Concave curved stem of '7'.
  • Two-storied 'a' (with curves of bowl and stem), a standard neo-grotesque feature, and single-storey 'g'

Helvetica can't do everything...it can be really weak in small sizes. Shapes like 'C' and 'S' curl back into themselves, leaving tight "apertures"—the channels of white between a letter's interior and exterior... The lowercase 'e', the most common letter in English and many other languages, takes an especially unobliging form. These and other letters can be a pixel away from being some other letter.

Tobias Frere-Jones[25]

Like many neo-grotesque designs, Helvetica has narrow apertures, which limits its legibility onscreen and at small print sizes. It also has no visible difference between upper-case 'i' and lower-case 'L', although the number 1 is quite identifiable with its flag at top left.[26][27] Its tight, display-oriented spacing may also pose problems for legibility.[28] Other fonts intended for legibility at small sizes such as Verdana, Meta, Trebuchet, or a monospace font such as Courier, which makes all letters quite wide, may be more appropriate than Helvetica.

Usage examples

Helvetica is among the most widely used sans-serif typefaces.[29] Versions exist for Latin, Cyrillic, Hebrew, Greek, Japanese, Korean, Hindi, Urdu, Khmer, and Vietnamese alphabets. Chinese faces have been developed to complement Helvetica.

Helvetica is a common choice for commercial wordmarks, including those for 3M (including Scotch Tape), Adult Swim, American Apparel, BASF, Behance, Blaupunkt, BMW, Diaspora, ECM, Funimation, General Motors (until 2021), J. C. Penney, Jeep, Kaiser Permanente, Kawasaki, Knoll, Kroger, LG (until 2015), Lufthansa, Motorola, Nestlé, Oath Inc., Panasonic, Parmalat, Philippine Airlines, Sears, Seiko Epson, Skype, Target, Texaco, Tupperware, Viceland, and Verizon.[30][31] Apple used Helvetica as the system typeface of iOS until 2015.[32][33]

Helvetica has been widely used by the U.S. government; for example, federal income tax forms are set in Helvetica, and NASA used the type on the Space Shuttle orbiter.[34] Helvetica is also used in the United States television rating system. The Canadian government also uses Helvetica as its identifying typeface, with three variants being used in its corporate identity program, and encourages its use in all federal agencies and websites.[35]

 
A hand-cut rubylith master used in the 1983 phototypesetting release of Neue Helvetica[36]

In the European Union, Helvetica is legally required to be used for health warnings on tobacco products such as cigarettes.[37]

Helvetica is commonly used in transportation settings.[38] New York City's Metropolitan Transportation Authority (MTA) adopted Helvetica for use in signage in 1989. From 1970 to 1989, the standard font was Standard Medium, an American release of Akzidenz-Grotesk, as defined by Unimark's New York City Transit Authority Graphic Standards Manual. The MTA system is still rife with a proliferation of Helvetica-like fonts, including Arial, in addition to some old signs in Medium Standard, and a few anomalous signs in Helvetica Narrow.[39][40][41] Helvetica is also used in the Washington Metro, the Chicago 'L', Philadelphia's SEPTA, and the Madrid Metro.[42] Amtrak used the typeface on the "pointless arrow" logo, and it was adopted by Danish railway company DSB for a time period.[43] In addition, the former state-owned operator of the British railway system developed its own Helvetica-based Rail Alphabet font, which was also adopted by the National Health Service and the British Airports Authority.[44] The Helvetica 77 variation is used in street and house signage in Riga and other municipalities in Latvia, although common road signage in the country uses a version of DIN 1451.[45]

The typeface was displaced from some uses in the 1990s to the increased availability of other fonts on digital desktop publishing systems, and criticism from type designers including Erik Spiekermann and Martin Majoor, both of whom have criticised the design for its omnipresence and overuse.[4][46] Majoor has described Helvetica as 'rather cheap' for its failure to move on from the model of Akzidenz-Grotesk.[47]

Road signs in Japan and South Korea formerly used Helvetica.[citation needed]

IBM used Neue Helvetica as its corporate typeface until 2017, spending over $1m annually on licensing fees.[48] It switched in 2017 to the custom IBM Plex family, concluding that a custom open-source typeface would be more distinctive and practical, as it could be freely distributed and installed without rights issues.[48][49]

In 2019, the Switzerland national football team began using Helvetica for its kit, which it wore for the UEFA Euro 2020 tournament.[50]

Media coverage

 
An early Helvetica specimen in the asymmetric Swiss modernist style, showing tight spacing in the poster style of the period

An early essay on Helvetica's public image as a font used by business and government was written in 1976 by Leslie Savan, a writer on advertising at the Village Voice.[51] It was later republished in her book The Sponsored Life.[52]

In 2007, Linotype GmbH held the Helvetica NOW Poster Contest to celebrate the 50th anniversary of the typeface.[53][54] Winners were announced in the January 2008 issue of the LinoLetter.

In 2007, director Gary Hustwit released a documentary film, Helvetica (Plexifilm, DVD), to coincide with the fiftieth anniversary of the typeface. In the film, graphic designer Wim Crouwel said, "Helvetica was a real step from the 19th century typeface... We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn't have a meaning in itself. The meaning is in the content of the text and not in the typeface." The documentary also presented other designers who associated Helvetica with authority and corporate dominance, and whose rebellion from Helvetica's ubiquity created new styles.

From April 2007 to March 2008, the Museum of Modern Art in New York City displayed an exhibit called "50 Years of Helvetica".[55] In 2011 the Disseny Hub Barcelona displayed an exhibit called Helvetica. A New Typeface?. The exhibition included a timeline of Helvetica over the last fifty years, its antecedents and its subsequent influence, including in the local area.[56]

In 2011, one of Google's April Fools' Day jokes centered on the use of Helvetica. If a user attempted to search for the term "Helvetica" using the search engine, the results would be displayed in the font Comic Sans.[57]

Variants

 
Comparison of distinguishing characters in Akzidenz-Grotesk, Folio, Helvetica, and Univers 55
 
A number of unusual adaptations of Helvetica have been released that diverge from Miedinger's original design, notably the Bold Extended weight in which the 'r' has a droop, the extra-slanted Diagonal weight, Helvetica Compact with a different 'Q' and straight-sided capitals and the extra-condensed, high x-height Inserat.

A large number of variants of Helvetica were rapidly released to expand on its popularity, including new weights and languages. Linotype confessed by the time of a 1976 advertorial that things had become somewhat confused: "the series was not planned as a whole from its conception...the series is not as uniform as Univers".[58][59]

Helvetica Light

Helvetica Light was designed by Stempel's artistic director Erich Schultz-Anker, in conjunction with Arthur Ritzel.[60]

Helvetica Inserat

Helvetica Inserat (German for advertisement) is a version designed primarily for use in the advertising industry: this is a narrow variant that is tighter than Helvetica Black Condensed. It gives the glyphs an even larger x-height and a more squared appearance, similar to Schmalfette Grotesk. Adobe's release notes date it to 1966 and state that it originated with Stempel.[61]

Helvetica Compressed (1966)

Designed by Matthew Carter and Hans-Jürg Hunziker for cold type.[62] It shares some design elements with Helvetica Inserat, but uses a curved tail in Q, downward pointing branch in r, and tilde bottom £. Carter has said that in practice it was designed to be similar to Schmalfette Grotesk and to compete in this role with British designs Impact and Compacta, as this style was popular at the time.[63] Carter, who also later designed Helvetica Greek, had designed a modernised version of Akzidenz-Grotesk for signage at Heathrow in 1961, and commented later "if we'd known about [Helvetica] I'm sure we would have used it, since it's a much better typeface than the one I drew. But the typesetting trade was very conservative then, and new type designs traveled slowly."[33][64] The family consists of Helvetica Compressed, Helvetica Extra Compressed and Helvetica Ultra Compressed fonts. It has been digitised, for instance in the Adobe Helvetica release.

Helvetica Rounded (1978)

Helvetica Rounded is a version containing rounded stroke terminators, released for bold weights. Linotype's release notes date it to 1978.[65]

Helvetica Narrow

Helvetica Narrow is a version where its width is between Helvetica Compressed and Helvetica Condensed. The font was developed when printer ROM space was very scarce, so it was created by mathematically squashing Helvetica to 82% of the original width, resulting in distorted letterforms, with vertical strokes narrowed but horizontals unchanged.[66] Because of the distortion problems, Adobe dropped Helvetica Narrow in its release of Helvetica in OpenType format, recommending users choose Helvetica Condensed instead.[67]

Helvetica Textbook

Helvetica Textbook is an alternate design of the typeface, which uses 'schoolbook' stylistic alternates to increase distinguishability: a seriffed capital 'i' and 'j' to increase distinguishability, a 'q' with a flick upwards and other differences. The 'a', 't' and 'u' are replaced with designs similar to those in geometric sans-serifs such as those found in Futura and Akzidenz-Grotesk Schulbuch.[68] FontShop's FF Schulbuch is similar.[69][70]

Language variants

Helvetica Greek has gone through several versions. Letraset designed a semi-official version for their dry transfer lettering system, available by 1970, which sold well but was considered unidiomatic by Linotype.[71] Linotype published a 1971 version designed by Matthew Carter which was available for phototypesetting and so for general purpose printing such as extended text.[71][72][63][73][74][75] Carter felt in 1974 that the Letraset version was "a poor thing" and Linotype's version was "the real one" but that Letraset's was well-enough accepted in Greece that he felt it had "caused resistance to our version".[71] Linotype published a new version in 2001 designed by John Hudson at Tiro Typeworks.[71][72]

The Cyrillic version was designed in-house in the 1970s at D Stempel AG, then critiqued and redesigned in 1992 under the advice of Jovica Veljović, although a pirated version had already been created in 1963 by Russian designers Maxim Zhukov and Yuri Kurbatov.[76][77][78]

Neue Helvetica/Helvetica Neue (1983)

 
Varying Neue Helvetica typeface weights

Neue Helvetica (German pronunciation: [ˈnɔʏ̯ə]), sometimes Helvetica Neue by some people or in some digital files,[79] is a reworking of the typeface with a more structurally unified set of heights and widths. Other changes include improved legibility, heavier punctuation marks, and increased spacing in the numbers.

Neue Helvetica uses a numerical design classification scheme, like Univers. The font family is made up of 51 fonts including nine weights in three widths (8 in normal width, 9 in condensed, and 8 in extended width variants) as well as an outline font based on Helvetica 75 Bold Outline (no Textbook or rounded fonts are available). Linotype distributes Neue Helvetica on CD.[80] Neue Helvetica also comes in variants for Central European and Cyrillic text.

It was developed at D. Stempel AG, a Linotype subsidiary. The studio manager was Wolfgang Schimpf, and his assistant was Reinhard Haus; the manager of the project was René Kerfante. Erik Spiekermann was the design consultant and designed the literature for the launch in 1983.[81][82] Figures were widened and some condensed weights changed from having nearly flat-sided verticals to a more continuous curve throughout the entire height.[83]

Designer Christian Schwartz, who would later release his own digitisation of the original Helvetica designs (see below), expressed disappointment with this and other digital releases of Helvetica: "digital Helvetica has always been one-size-fits-all, which leads to unfortunate compromises...the spacing has ended up much looser than Miedinger's wonderfully tight original at display sizes but much too tight for comfortable reading at text sizes."[84]

iOS used first Helvetica then Neue Helvetica[85] as its system font. All releases of macOS prior to OS X Yosemite (10.10) used Lucida Grande as the system font. The version of Neue Helvetica used as the system font in OS X 10.10 is specially optimised; Apple's intention is to provide a consistent experience for people who use both iOS and OS X.[86][79] Apple replaced Neue Helvetica with the similarly looking San Francisco in iOS 9 and OS X El Capitan (10.11),[87] meaning OS X 10.10 was the only macOS version to use Neue Helvetica as the system font.

Neue Helvetica Georgian (2015)

It is a version with Georgian script support. Designed by Akaki Razmadze at Monotype Bad Homburg.[88]

 

Only OpenType CFF and TTF font formats were released.

The family includes eight fonts in eight weights and one width, without italics (25, 35, 45, 55, 65, 75, 85, 95).

Helvetica World

Helvetica World supports Arabic, Cyrillic, Greek, Hebrew, and Vietnamese scripts.[89]

The family consists of four fonts in two weights and one width, with complementary italics.

The Arabic glyphs were based on a redesigned Yakout font family from Linotype. Latin kerning and spacing were redesigned to have consistent spacing.[90] John Hudson of Tiro Typeworks designed the Hebrew glyphs for the font family,[91] as well as the Cyrillic, and Greek letters.[92]

Neue Helvetica W1G (2009)

It is a version with Latin Extended, Greek, Cyrillic scripts support. Only OpenType CFF font format was released.

The family includes the fonts from the older Neue Helvetica counterparts, except Neue Helvetica 75 Bold Outline. Additional OpenType features include subscript/superscript.

Neue Helvetica Arabic (2009)

 
Helvetica Arabic

Designed by Lebanese designer Nadine Chahine,[93] it is a version with Arabic script support. Only OpenType TTF font format was released.[94]

The family includes three fonts in three weights and one width, without italics (45, 55, 65).

Neue Helvetica eText (2011)

It is a version of Neue Helvetica optimised for on-screen use, designed by Akira Kobayashi of Monotype Imaging. Changes from Neue Helvetica include more open spacing.[95] Unlike Helvetica, the capitals are reduced in size so the lower-case ascenders rise above them, a common feature associated with text typefaces.[83][96]

The family includes eight fonts in four weights and one width, with complementary italics (45, 46, 55, 56, 65, 66, 75, 76). OpenType features include numerators/denominators, fractions, ligatures, scientific inferiors, subscript/superscript.[97]

(Neue) Helvetica Thai (2012)

Thai font designer Anuthin Wongsunkakon of Cadson Demak Co. created Thai versions of Helvetica and Neue Helvetica fonts.[98][99] The design uses loopless terminals in Thai glyphs,[100][101] which had also been used by Wongsunkakon's previous design, Manop Mai (New Manop).[102]

Neue Helvetica Armenian (2016)

Designed by Edik Ghabuzyan, it is a version of Neue Helvetica supporting Armenian language.[103]

The family includes 16 fonts in 8 weights (ultra light, thin, light, regular, medium, bold, heavy, black) with complementary italics.

Neue Helvetica World (2017)

Designed by Nadine Chahine, Linotype Design Studio, Monotype Design Studio and Edik Ghabuzyan, it is a version of Neue Helvetica with support of Latin, Cyrillic, Greek, Arabic, Hebrew, Thai, Armenian, Georgian and Vietnamese scripts for total 181 languages, and complete support of Unicode block u+0400.[104][105][106][107] Published in November 2017 by Linotype, it was released in Truetype and OpenType CFF formats.

The family includes 6 fonts in 3 weights (45 Light, 55 Roman, 75 Bold), with complimentary italic. Roman fonts include 1,708 glyphs and 1,285 glyphs for italics.

For working with other languages, the publisher also recommended following complementary fonts:

  • Devanagari: Saral Devanagari
  • Japanese: Tazugane Gothic, Yu Gothic
  • Korean: YD Gothic 100, YD Gothic 700
  • Simplified Chinese: M Ying Hei PRC, M Hei PRC
  • Traditional Chinese: M Ying Hei HK, M Hei HK

Neue Haas Grotesk (2010)

 
Neue Haas Grotesk Text, optically optimized for body text

Christian Schwartz's digitisation is based on original settings of the metal type and uses the typeface's original name.[108][109][110][111] It was released by Linotype (later Monotype Imaging), Commercial Type, and Font Bureau with an article on the history of Helvetica by Professor Indra Kupferschmid.[10]

Unlike earlier digitisations, Schwartz created two different optical sizes for body text and display sizes, which have different spacing metrics giving tighter spacing at display size and looser spacing to increase legibility in text. The release includes a number of features not present on digitisations branded as Helvetica, stylistic alternates such as separate punctuation sets for upper- and lower-case text, "modernist" cedilla designs styled to match the comma and reduced-height numbers to blend into extended text.[112][b] The Text optical size of Neue Haas Grotesk also provides stylistic alternates for a straight-legged upper case "R", while the Display optic size provides stylistic alternates for a straight-legged upper case "R" and a lower case "a" without tail.[113][114] It originated from an abandoned redesign plan for The Guardian newspaper. Writing for Typographica, Matthew Butterick described the release as better than any previous digital release of Helvetica “it’s never looked better”.[115] Users include Bloomberg Businessweek, the Whitney Museum, and for the album Midnights, Taylor Swift.[116][117][118] Schwartz's company Commercial Type have additionally developed a companion monospaced version, agate version for small sizes and stencil font.[119] The release does not include condensed weights or support for Greek and Cyrillic.

Variable Font Version

The Text optical size of Neue Haas Grotesk is available on Windows 11 via "Pan-European Supplemental Fonts" optional feature. [120] This version is a variable font and provides weights ranging from Ultra Thin to Black. [121] [122] As of 2023, the variable font version of Neue Haas Grotesk is not otherwise available.

Neue Haas Grotesk Text is also available on Windows 10 via "Pan-European Supplemental Fonts", [123] but this release includes static fonts instead of variable fonts.

Helvetica Now (2019)

Helvetica Now
 
CategorySans-serif
ClassificationNeo-grotesque sans-serif
Designer(s)Jan Hendrik Weber and Charles Nix
FoundryMonotype
Date released2019
Design based onNeue Helvetica

In April 2019, Monotype announced an update of Neue Helvetica called "Helvetica Now", designed by Jan Hendrik Weber and Charles Nix of Monotype Imaging.[124][125][126] The family has one width in three optical sizes, Text, Micro and Display in 8, 6, and 10 weights respectively.[127] The condensed version corresponding to these optical sizes and weights was published later in 2021, along with Helvetica Now Variable.[128]

A key difference between the three optical sizes is the terminal design: Display retains the horizontal terminals in previous digital releases of Helvetica; Micro features diagonal terminals for many characters (e.g., lowercase "e" and "c"); while the design of Text is somewhere in between Display and Micro. [129] [130]

Features include circled figures and redesigned arrow and @ glyphs.[131] It also includes a number of alternate characters including curled lower-case "L", spurless rounded "G", a straight-legged "R" (found in Neue Haas Grotesk), single-story "a" (found in Helvetica Textbook) and lowercase "u" without a spur.[132][133]

Helvetica Now Variable (2021)

Helvetica Now was also released as a variable font, which has two styles (Regular and Italic) and three adjustable axes (weight, width, and optical size). [134] [135]

Helvetica clones

 
Comparison of Helvetica, Arial and Microsoft Sans Serif. Bitstream Vera, a humanist design not based on Helvetica, is shown for comparison.

Derivative designs based on Helvetica were rapidly developed, taking advantage of the lack of copyright protection in the phototypesetting font market of the 1960s onward.[21][136] Some of these were straight clones, simply intended to be direct substitutes.[137] Many of these are almost indistinguishable from Helvetica, while some add subtle differences.

Substitute Helvetica designs that have survived into or originated during the digital period have included Monotype's Arial, Compugraphic's CG Triumvirate, ParaType's Pragmatica, Bitstream's Swiss 721, URW++'s Nimbus Sans and Scangraphic's Europa Grotesk.[21][138] Berthold itself responded to Helvetica's popularity with Akzidenz-Grotesk Buch, effectively a Helvetica clone.[139][140][141][142] Besides Helvetica imitations, Helvetica was available in custom derivatives with unusual special-order characters for many years, notably a straight-legged 'R' and round-topped 'A'.[10] CNN uses a custom derivative, "CNN Sans", which has a '1' with a base and larger x-height.[143][144][145]

Nimbus Sans

URW (later URW++) under the leadership of Peter Karow produced a modification of Helvetica called Nimbus Sans.[139] This is an extremely large font family with optical sizes spaced for different sizes of text and other variants such as stencil styles.[146] Florian Hardwig has described its display-oriented styles, with tight spacing, as more reminiscent of Helvetica as used in the 1970s from cold type than any official Helvetica digitisation.[147][148]

Arial and MS Sans Serif

Monotype's Arial, created for IBM and also used by Microsoft, is indistinguishable by most non-specialists.[149] Matthew Carter, who was a consultant for IBM during its design process, describes it as "a Helvetica clone, based ostensibly on their Grots 215 and 216" (Monotype's old 1920s sans-serif family, popular in British trade printing in the metal type period, and itself based on the Bauer Venus-Grotesk family).[23] Differences include:

  • Helvetica's strokes are typically cut either horizontally or vertically. This is especially visible in the t, r, f, and C. Arial employs slanted stroke cuts, following Monotype Grotesque.
  • Helvetica's G has a spur at bottom right; Arial does not, but instead has a vertical stroke connecting the curved portion to the crossbar.
  • The tail of Helvetica's R is more upright whereas Arial's R is more diagonal.
  • The number 1 of Helvetica has a square angle underneath the upper spur, Arial has a curve.
  • The Q glyph in Helvetica has a straight cross mark, while the cross mark in Arial has a slight curve.

The design was created to substitute for Helvetica: Arial (and many other clones of the period) are metrically identical to the PostScript version of Helvetica, so that a document designed in Helvetica could be displayed and printed correctly without IBM having to pay Linotype for a Helvetica license on its printers.[23][150][151]

Microsoft's "Helv" design, later known as "MS Sans Serif", is a sans-serif typeface that shares many key characteristics to Helvetica, including the horizontally and vertically aligned stroke terminators and more-uniform stroke widths within a glyph.

Free Helvetica substitute fonts

Nimbus Sans L, a version of URW's Nimbus Sans spaced to match the standard Linotype/PostScript version of Helvetica, was released under the GNU General Public License in 1996, and donated to the Ghostscript project to create a free PostScript alternative.[152][153] It (or a derivative) is used by much open-source software such as R as a system font.[154][155] A derivative of this family known as "TeX Gyre Heros" has been prepared for use in the TeX scientific document preparation software, and since 2009 general under the GUST font license.[156][157]

FreeSans is a free font descending from URW++ Nimbus Sans L, which in turn descends from Helvetica.[158] It is one of free (GPL) fonts developed in GNU FreeFont project, first published in 2002.

Mona Sans, a GitHub variable font released under SIL Open Font License.

Liberation Sans is a metrically equivalent font to Arial developed by Steve Matteson at Ascender and published by Red Hat under the SIL Open Font License.[159][160] It is used in some Linux distributions as default font replacement for Arial.[161] Oracle funded the additional development of Liberation Sans Narrow in 2010.[162][163] Google commissioned a variation named Arimo for ChromeOS.

Much more loosely, Roboto was developed by Christian Robertson of Google as the system font for its Android operating system; this has a more condensed design with the influence of straight-sided geometric designs like DIN 1451.

Derivative designs

Some fonts based on Helvetica are intended for different purposes and have clearly different designs. Digital-period font designer Ray Larabie has commented that in the 1970s "everyone was modifying Helvetica with funky curls, mixed-case and effects".[164] Indeed, in one 1973 competition to design new fonts, three of the 20 winners were decorative designs inspired by Helvetica.[165]

Zhukov and Kurbatov version

In 1963, two students at the Moscow Print Institute designed their own version of Helvetica, one of whom, Maxim Zhukov, would become one of the Soviet Union's most prominent typographers. Zhukov and his partner Yuri Kurbatov used upright cursive forms for several of the lowercase letters, which allowed for several of the Helvetica forms to be transferred more directly into Cyrillic.

Their version received widespread use in phototypesetting, especially among other students at the Moscow Print Institute, despite never being commercially released. Zhukov and Kurbatov attempted to publish the typeface in 1964 but were rejected due to the font’s being too closely associated with capitalism; this was one of the major factors as to why an official Cyrillic Helvetica, Pragmatica, would not be released in the Soviet bloc until perestroika in 1989.[78][166][c]

Forma (1968)

 
Forma compared to Neue Helvetica

Created by Aldo Novarese at the Italian type foundry Nebiolo, Forma was a geometric-influenced derivative of Helvetica with a 'single-storey' 'a' and extremely tight spacing in the style of the period.[167][168][169] It was offered with 'request' stylistic alternates imitating Helvetica more closely.[167][170] Forma has been digitised by SoftMaker as "Formula" and (in a much more complete version with optical sizes) as Forma DJR by David Jonathan Ross at Font Bureau for Tatler magazine.[171]

Manoptica

 
A partial dry transfer sheet of Manoptica. The adaptation of Latin glyphs A, a, U, u, R, W, B, n and S to Thai are visible.

Manoptica (1973) was an early effort to adapt Helvetica to the Thai script. It is named after and designed by Manop Srisomporn, who designed several typefaces for Thai using the same innovations he used for Manoptica (such as an adaptation of Eurostile). It was highly influential in Thai typography in that it popularized the removal of the small loops and other flourishes that had theretofore been distinguishing marks on Thai characters and adopted letter forms that bore strong resemblance to Latin letters. It became a widely popular style in advertising and influenced other simplified typefaces for Thai in the following decades.[172] The adoption of loopless typefaces remains a source of controversy in Thai typography.[173]

Helvetica Flair and others

 
A Helvetica Flair specimen sheet

Designed by Phil Martin at Alphabet Innovations, Helvetica Flair is an unauthorised phototype-period redesign of Helvetica adding swashes and unicase-inspired capitals with a lower-case design. Considered a hallmark of 1970s design, it has never been issued digitally. It is considered to be a highly conflicted design, as Helvetica is seen as a spare and rational typeface and swashes are ostentatious: font designer Mark Simonson described it as "almost sacrilegious". Martin would later claim to have been accused of "typographic incest" by one German writer for creating it.

Helvetica Flair was one of several derivative fonts created by Martin in the 1970s (and a particularly legally questionable one, since it was directly named 'Helvetica').[174][175] Martin also drew 'Heldustry', a fusion of Helvetica with Eurostile,[176] and 'Helserif', a redesign of Helvetica with serifs,[177] and these have both been digitised.[137][178][179]

Shatter LET (1973)

 
Shatter

Designed by Vic Carless, Shatter assembles together slices of Helvetica to make a typeface that seems to be in motion, or broken and in pieces.[180] It was published by Letraset after jointly winning their 1973 competition to design new fonts.[165]

Writing in 2014, Tim Spencer praised the design for its ominous effect, writing that it offered "glitch-like mechanical aggression [and] cold, machine-induced paranoia. It attacked the Establishment’s preferred information typography style with a sharp edge and recomposed it in a jarring manner that still makes your eyes skitter and your brain tick trying to recompose it. Shatter literally sliced up Swiss modernist authority."[181]

Unica

 

Unica by Team ’77 (André Gürtler, Christian Mengelt and Erich Gschwind) is as a hybrid of Helvetica, Univers and Akzidenz-Grotesk. It was developed in the 1970s for electronic on-screen phototypesetting and released in 1980. As phototypesetting was soon replaced by desktop publishing and because of a legal dispute, the typeface rapidly disappeared from the market. In mid 2010s, two digital versions were released: the Swiss foundry Lineto released LL Unica77 with input from Christian Mengelt,[182][183] while Linotype released Neue Haas Unica.[184]

Chalet

House Industries’ Chalet family is a series of fonts based on Helvetica, inspired by its many derivatives and adaptations in post-war design, and organised by "date" to '1960' (conventional), '1970' and '1980' (both more radically altered and "science fiction" in feel).[185] House Industries, who are known for outlandish font marketing methods, promoted Chalet through presenting it as inspired by the branding and career progression of a fictitious Swiss haute couture designer, "René Chalet" (Chalet being French for a small wooden house, so a play on the design company’s name).[186][187][188]

Coolvetica

 
Top: Coolvetica, based on Helvetica modifications such as Helvetica Flair. Note curved designs of 't' and 'y' as well as the narrow letter spacing commonly seen in pre-digital Helvetica. Bottom: Helvetica Bold.

In the digital period, Canadian type designer Ray Larabie has released several digital fonts based upon Helvetica. The most widely known and distributed of these is Coolvetica, which Larabie introduced in 1999; Larabie stated he was inspired by Helvetica Flair, Chalet, and similar variants in creating some of Coolvetica's distinguishing glyphs (most strikingly a swash on capital 'G', lowercase 'y' based on the letterforms of 'g' and 'u,' and a fully curled lowercase 't'), and chose to set a tight default spacing optimised for use in display type.[189] Larabie's company Typodermic offers Coolvetica in a wide variety of weights as a commercial release, with the semi-bold as freeware taster. As of 2017, the semi-bold remains Larabie's most popular font.[190][191][192] Larabie has also taken inspiration from Helvetica in some of his other designs, including Movatif and GGX88.[193][194]

Notes

  1. ^ "Antique" is a term used in French for sans-serifs (for instance Antique Olive), although in English it traditionally historically referred to slab-serifs.[13]
  2. ^ This feature was also included in Robert Slimbach's neogrotesque Acumin (2014) for Adobe.[96]
  3. ^ The lowercase forms of Sowjietische Haas Grotesk were digitized as "Soyuz Grotesk" by Roman Goritsky and released into the public domain by The Temporary State. Goritsky added a Latin script, which he reconstructed in the same way Sowjietische Haas Grotesk had been constructed from Helvetica but in reverse, by using the Cyrillic forms and adapting them to Latin.[77][78]

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External links

  • Alternatives to Helvetica: two overlapping articles by Stephen Coles at (archived) and fontshop.com.
  • 1962 Stempel advertisement for Breite halbfette Helvetica and Helvetica Kursiv (German)
  • Fonts in Use: Helvetica, Neue Helvetica

April 27, 2023
helvetica, other, uses, disambiguation, also, known, original, name, neue, haas, grotesk, widely, used, sans, serif, typeface, developed, 1957, swiss, typeface, designer, miedinger, eduard, hoffmann, categorysans, serifclassificationneo, grotesque, designer, m. For other uses see Helvetica disambiguation Helvetica also known by its original name Neue Haas Grotesk is a widely used sans serif typeface developed in 1957 by Swiss typeface designer Max Miedinger and Eduard Hoffmann HelveticaCategorySans serifClassificationNeo grotesque 1 Designer s Max MiedingerEduard HoffmannFoundryHaas Type FoundryDate released1957Re issuing foundriesMergenthaler Linotype CompanyDesign based onAkzidenz GroteskVariationsHelvetica InseratHelvetica CompressedNeue HelveticaHelvetica NowOthers see below Also known asNeue Haas GroteskShown hereNeue HelveticaHelvetica is a neo grotesque design one influenced by the famous 19th century 1890s typeface Akzidenz Grotesk and other German and Swiss designs 2 Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 1960s becoming one of the most popular typefaces of the mid 20th century 3 Over the years a wide range of variants have been released in different weights widths and sizes as well as matching designs for a range of non Latin alphabets Notable features of Helvetica as originally designed include a high x height the termination of strokes on horizontal or vertical lines and an unusually tight spacing between letters which combine to give it a dense solid appearance Developed by the Haas sche Schriftgiesserei Haas Type Foundry of Munchenstein Basel Switzerland its release was planned to match a trend a resurgence of interest in turn of the century grotesque sans serifs among European graphic designers that also saw the release of Univers by Adrian Frutiger the same year 4 5 6 Hoffmann was the president of the Haas Type Foundry while Miedinger was a freelance graphic designer who had formerly worked as a Haas salesman and designer 7 Miedinger and Hoffmann set out to create a neutral typeface that had great clarity had no intrinsic meaning in its form and could be used on a wide variety of signage 7 Originally named Neue Haas Grotesk New Haas Grotesque it was rapidly licensed by Linotype and renamed Helvetica in 1960 which in Latin means Swiss from Helvetia capitalising on Switzerland s reputation as a centre of ultra modern graphic design 8 A feature length film directed by Gary Hustwit was released in 2007 to coincide with the 50th anniversary of the typeface s introduction in 1957 9 Contents 1 History 1 1 Characteristics 2 Usage examples 3 Media coverage 4 Variants 4 1 Helvetica Light 4 2 Helvetica Inserat 4 3 Helvetica Compressed 1966 4 4 Helvetica Rounded 1978 4 5 Helvetica Narrow 4 6 Helvetica Textbook 4 7 Language variants 5 Neue Helvetica Helvetica Neue 1983 5 1 Neue Helvetica Georgian 2015 5 2 Helvetica World 5 3 Neue Helvetica W1G 2009 5 4 Neue Helvetica Arabic 2009 5 5 Neue Helvetica eText 2011 5 6 Neue Helvetica Thai 2012 5 7 Neue Helvetica Armenian 2016 5 8 Neue Helvetica World 2017 6 Neue Haas Grotesk 2010 6 1 Variable Font Version 7 Helvetica Now 2019 7 1 Helvetica Now Variable 2021 8 Helvetica clones 8 1 Nimbus Sans 8 2 Arial and MS Sans Serif 8 3 Free Helvetica substitute fonts 9 Derivative designs 9 1 Zhukov and Kurbatov version 9 2 Forma 1968 9 3 Manoptica 9 4 Helvetica Flair and others 9 5 Shatter LET 1973 9 6 Unica 9 7 Chalet 9 8 Coolvetica 10 Notes 11 References 12 External linksHistory Edit A 1969 poster by Robert Geisser exemplifying the Swiss style of the 1950s and 60s solid red colour simple images and neo grotesque sans serif type all in lower case This design appears to use Helvetica or a close imitation The first version of the typeface which later became known as Helvetica was created in 1957 by Swiss type designer Max Miedinger His goal is to design a new sans serif font that can compete in the Swiss market as a neutral font that should not be given any additional meaning The main influence on Helvetica was Akzidenz Grotesk from Berthold Hoffman s scrapbook of proofs of the design shows careful comparison of test proofs with snippets of Akzidenz Grotesk 10 Its R with a curved tail resembles Schelter Grotesk another turn of the century sans serif sold by Haas 4 10 11 Wolfgang Homola comments that in Helvetica the weight of the stems of the capitals and the lower case is better balanced than in its influences 12 Attracting considerable attention on its release as Neue Haas Grotesk Nouvelle Antique Haas in French speaking countries a Stempel and Linotype adopted Neue Haas Grotesk for release in hot metal composition the standard typesetting method at the time for body text and on the international market 14 In 1960 its name was changed by Haas German parent company Stempel to Helvetica in order to make it more marketable internationally it comes from the Latin name for the pre Roman tribes of what became Switzerland Intending to match the success of Univers Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family 15 16 The design was popular Paul Shaw suggests that Helvetica began to muscle out Akzidenz Grotesk in New York City from around summer 1965 when Amsterdam Continental which imported European typefaces stopped pushing Akzidenz Grotesk in its marketing and began to focus on Helvetica instead 17 18 It was also made available for phototypesetting systems as well as in other formats such as Letraset dry transfers 19 and plastic letters 20 and many phototypesetting imitations and knock offs were rapidly created by competing phototypesetting companies 21 22 In the late 1970s and 1980s Linotype licensed Helvetica to Xerox Adobe and Apple guaranteeing its importance in digital printing by making it one of the core fonts of the PostScript page description language 23 24 This led to a version being included on Macintosh computers and a metrically compatible clone Arial on Windows computers The rights to Helvetica are now held by Monotype Imaging which acquired Linotype the Neue Haas Grotesk digitisation discussed below was co released with Font Bureau 4 Characteristics Edit Helvetica s tight apertures contribute to a regular dense design Tall x height which makes it easier to read at distance Tight spacing between letters An oblique rather than italic style a common feature of almost all grotesque and neo grotesque typefaces Wide capitals of uniform width particularly obvious in the wide E and F Square looking s Bracketed top flag of 1 Rounded off square tail of R Concave curved stem of 7 Two storied a with curves of bowl and stem a standard neo grotesque feature and single storey g Helvetica can t do everything it can be really weak in small sizes Shapes like C and S curl back into themselves leaving tight apertures the channels of white between a letter s interior and exterior The lowercase e the most common letter in English and many other languages takes an especially unobliging form These and other letters can be a pixel away from being some other letter Tobias Frere Jones 25 Like many neo grotesque designs Helvetica has narrow apertures which limits its legibility onscreen and at small print sizes It also has no visible difference between upper case i and lower case L although the number 1 is quite identifiable with its flag at top left 26 27 Its tight display oriented spacing may also pose problems for legibility 28 Other fonts intended for legibility at small sizes such as Verdana Meta Trebuchet or a monospace font such as Courier which makes all letters quite wide may be more appropriate than Helvetica Usage examples Edit Logo of Cassina S p A Sign in Vienna 1973 Chicago L signage National Film Board of Canada logo UK government publication 1964 poster for Les DiaboliquesHelvetica is among the most widely used sans serif typefaces 29 Versions exist for Latin Cyrillic Hebrew Greek Japanese Korean Hindi Urdu Khmer and Vietnamese alphabets Chinese faces have been developed to complement Helvetica Helvetica is a common choice for commercial wordmarks including those for 3M including Scotch Tape Adult Swim American Apparel BASF Behance Blaupunkt BMW Diaspora ECM Funimation General Motors until 2021 J C Penney Jeep Kaiser Permanente Kawasaki Knoll Kroger LG until 2015 Lufthansa Motorola Nestle Oath Inc Panasonic Parmalat Philippine Airlines Sears Seiko Epson Skype Target Texaco Tupperware Viceland and Verizon 30 31 Apple used Helvetica as the system typeface of iOS until 2015 32 33 Helvetica has been widely used by the U S government for example federal income tax forms are set in Helvetica and NASA used the type on the Space Shuttle orbiter 34 Helvetica is also used in the United States television rating system The Canadian government also uses Helvetica as its identifying typeface with three variants being used in its corporate identity program and encourages its use in all federal agencies and websites 35 A hand cut rubylith master used in the 1983 phototypesetting release of Neue Helvetica 36 In the European Union Helvetica is legally required to be used for health warnings on tobacco products such as cigarettes 37 Helvetica is commonly used in transportation settings 38 New York City s Metropolitan Transportation Authority MTA adopted Helvetica for use in signage in 1989 From 1970 to 1989 the standard font was Standard Medium an American release of Akzidenz Grotesk as defined by Unimark s New York City Transit Authority Graphic Standards Manual The MTA system is still rife with a proliferation of Helvetica like fonts including Arial in addition to some old signs in Medium Standard and a few anomalous signs in Helvetica Narrow 39 40 41 Helvetica is also used in the Washington Metro the Chicago L Philadelphia s SEPTA and the Madrid Metro 42 Amtrak used the typeface on the pointless arrow logo and it was adopted by Danish railway company DSB for a time period 43 In addition the former state owned operator of the British railway system developed its own Helvetica based Rail Alphabet font which was also adopted by the National Health Service and the British Airports Authority 44 The Helvetica 77 variation is used in street and house signage in Riga and other municipalities in Latvia although common road signage in the country uses a version of DIN 1451 45 The typeface was displaced from some uses in the 1990s to the increased availability of other fonts on digital desktop publishing systems and criticism from type designers including Erik Spiekermann and Martin Majoor both of whom have criticised the design for its omnipresence and overuse 4 46 Majoor has described Helvetica as rather cheap for its failure to move on from the model of Akzidenz Grotesk 47 Road signs in Japan and South Korea formerly used Helvetica citation needed IBM used Neue Helvetica as its corporate typeface until 2017 spending over 1m annually on licensing fees 48 It switched in 2017 to the custom IBM Plex family concluding that a custom open source typeface would be more distinctive and practical as it could be freely distributed and installed without rights issues 48 49 In 2019 the Switzerland national football team began using Helvetica for its kit which it wore for the UEFA Euro 2020 tournament 50 Media coverage Edit An early Helvetica specimen in the asymmetric Swiss modernist style showing tight spacing in the poster style of the period An early essay on Helvetica s public image as a font used by business and government was written in 1976 by Leslie Savan a writer on advertising at the Village Voice 51 It was later republished in her book The Sponsored Life 52 In 2007 Linotype GmbH held the Helvetica NOW Poster Contest to celebrate the 50th anniversary of the typeface 53 54 Winners were announced in the January 2008 issue of the LinoLetter In 2007 director Gary Hustwit released a documentary film Helvetica Plexifilm DVD to coincide with the fiftieth anniversary of the typeface In the film graphic designer Wim Crouwel said Helvetica was a real step from the 19th century typeface We were impressed by that because it was more neutral and neutralism was a word that we loved It should be neutral It shouldn t have a meaning in itself The meaning is in the content of the text and not in the typeface The documentary also presented other designers who associated Helvetica with authority and corporate dominance and whose rebellion from Helvetica s ubiquity created new styles From April 2007 to March 2008 the Museum of Modern Art in New York City displayed an exhibit called 50 Years of Helvetica 55 In 2011 the Disseny Hub Barcelona displayed an exhibit called Helvetica A New Typeface The exhibition included a timeline of Helvetica over the last fifty years its antecedents and its subsequent influence including in the local area 56 In 2011 one of Google s April Fools Day jokes centered on the use of Helvetica If a user attempted to search for the term Helvetica using the search engine the results would be displayed in the font Comic Sans 57 Variants Edit Comparison of distinguishing characters in Akzidenz Grotesk Folio Helvetica and Univers 55 A number of unusual adaptations of Helvetica have been released that diverge from Miedinger s original design notably the Bold Extended weight in which the r has a droop the extra slanted Diagonal weight Helvetica Compact with a different Q and straight sided capitals and the extra condensed high x height Inserat A large number of variants of Helvetica were rapidly released to expand on its popularity including new weights and languages Linotype confessed by the time of a 1976 advertorial that things had become somewhat confused the series was not planned as a whole from its conception the series is not as uniform as Univers 58 59 Helvetica Light Edit Helvetica Light was designed by Stempel s artistic director Erich Schultz Anker in conjunction with Arthur Ritzel 60 Helvetica Inserat Edit Helvetica Inserat German for advertisement is a version designed primarily for use in the advertising industry this is a narrow variant that is tighter than Helvetica Black Condensed It gives the glyphs an even larger x height and a more squared appearance similar to Schmalfette Grotesk Adobe s release notes date it to 1966 and state that it originated with Stempel 61 Helvetica Compressed 1966 Edit Designed by Matthew Carter and Hans Jurg Hunziker for cold type 62 It shares some design elements with Helvetica Inserat but uses a curved tail in Q downward pointing branch in r and tilde bottom Carter has said that in practice it was designed to be similar to Schmalfette Grotesk and to compete in this role with British designs Impact and Compacta as this style was popular at the time 63 Carter who also later designed Helvetica Greek had designed a modernised version of Akzidenz Grotesk for signage at Heathrow in 1961 and commented later if we d known about Helvetica I m sure we would have used it since it s a much better typeface than the one I drew But the typesetting trade was very conservative then and new type designs traveled slowly 33 64 The family consists of Helvetica Compressed Helvetica Extra Compressed and Helvetica Ultra Compressed fonts It has been digitised for instance in the Adobe Helvetica release Helvetica Rounded 1978 Edit Helvetica Rounded is a version containing rounded stroke terminators released for bold weights Linotype s release notes date it to 1978 65 Helvetica Narrow Edit Helvetica Narrow is a version where its width is between Helvetica Compressed and Helvetica Condensed The font was developed when printer ROM space was very scarce so it was created by mathematically squashing Helvetica to 82 of the original width resulting in distorted letterforms with vertical strokes narrowed but horizontals unchanged 66 Because of the distortion problems Adobe dropped Helvetica Narrow in its release of Helvetica in OpenType format recommending users choose Helvetica Condensed instead 67 Helvetica Textbook Edit Helvetica Textbook is an alternate design of the typeface which uses schoolbook stylistic alternates to increase distinguishability a seriffed capital i and j to increase distinguishability a q with a flick upwards and other differences The a t and u are replaced with designs similar to those in geometric sans serifs such as those found in Futura and Akzidenz Grotesk Schulbuch 68 FontShop s FF Schulbuch is similar 69 70 Language variants Edit Helvetica Greek has gone through several versions Letraset designed a semi official version for their dry transfer lettering system available by 1970 which sold well but was considered unidiomatic by Linotype 71 Linotype published a 1971 version designed by Matthew Carter which was available for phototypesetting and so for general purpose printing such as extended text 71 72 63 73 74 75 Carter felt in 1974 that the Letraset version was a poor thing and Linotype s version was the real one but that Letraset s was well enough accepted in Greece that he felt it had caused resistance to our version 71 Linotype published a new version in 2001 designed by John Hudson at Tiro Typeworks 71 72 The Cyrillic version was designed in house in the 1970s at D Stempel AG then critiqued and redesigned in 1992 under the advice of Jovica Veljovic although a pirated version had already been created in 1963 by Russian designers Maxim Zhukov and Yuri Kurbatov 76 77 78 Neue Helvetica Helvetica Neue 1983 Edit Varying Neue Helvetica typeface weights Neue Helvetica German pronunciation ˈnɔʏ e sometimes Helvetica Neue by some people or in some digital files 79 is a reworking of the typeface with a more structurally unified set of heights and widths Other changes include improved legibility heavier punctuation marks and increased spacing in the numbers Neue Helvetica uses a numerical design classification scheme like Univers The font family is made up of 51 fonts including nine weights in three widths 8 in normal width 9 in condensed and 8 in extended width variants as well as an outline font based on Helvetica 75 Bold Outline no Textbook or rounded fonts are available Linotype distributes Neue Helvetica on CD 80 Neue Helvetica also comes in variants for Central European and Cyrillic text It was developed at D Stempel AG a Linotype subsidiary The studio manager was Wolfgang Schimpf and his assistant was Reinhard Haus the manager of the project was Rene Kerfante Erik Spiekermann was the design consultant and designed the literature for the launch in 1983 81 82 Figures were widened and some condensed weights changed from having nearly flat sided verticals to a more continuous curve throughout the entire height 83 Designer Christian Schwartz who would later release his own digitisation of the original Helvetica designs see below expressed disappointment with this and other digital releases of Helvetica digital Helvetica has always been one size fits all which leads to unfortunate compromises the spacing has ended up much looser than Miedinger s wonderfully tight original at display sizes but much too tight for comfortable reading at text sizes 84 iOS used first Helvetica then Neue Helvetica 85 as its system font All releases of macOS prior to OS X Yosemite 10 10 used Lucida Grande as the system font The version of Neue Helvetica used as the system font in OS X 10 10 is specially optimised Apple s intention is to provide a consistent experience for people who use both iOS and OS X 86 79 Apple replaced Neue Helvetica with the similarly looking San Francisco in iOS 9 and OS X El Capitan 10 11 87 meaning OS X 10 10 was the only macOS version to use Neue Helvetica as the system font Neue Helvetica Georgian 2015 Edit It is a version with Georgian script support Designed by Akaki Razmadze at Monotype Bad Homburg 88 Only OpenType CFF and TTF font formats were released The family includes eight fonts in eight weights and one width without italics 25 35 45 55 65 75 85 95 Helvetica World Edit Helvetica World supports Arabic Cyrillic Greek Hebrew and Vietnamese scripts 89 The family consists of four fonts in two weights and one width with complementary italics The Arabic glyphs were based on a redesigned Yakout font family from Linotype Latin kerning and spacing were redesigned to have consistent spacing 90 John Hudson of Tiro Typeworks designed the Hebrew glyphs for the font family 91 as well as the Cyrillic and Greek letters 92 Neue Helvetica W1G 2009 Edit It is a version with Latin Extended Greek Cyrillic scripts support Only OpenType CFF font format was released The family includes the fonts from the older Neue Helvetica counterparts except Neue Helvetica 75 Bold Outline Additional OpenType features include subscript superscript Neue Helvetica Arabic 2009 Edit Helvetica Arabic Designed by Lebanese designer Nadine Chahine 93 it is a version with Arabic script support Only OpenType TTF font format was released 94 The family includes three fonts in three weights and one width without italics 45 55 65 Neue Helvetica eText 2011 Edit It is a version of Neue Helvetica optimised for on screen use designed by Akira Kobayashi of Monotype Imaging Changes from Neue Helvetica include more open spacing 95 Unlike Helvetica the capitals are reduced in size so the lower case ascenders rise above them a common feature associated with text typefaces 83 96 The family includes eight fonts in four weights and one width with complementary italics 45 46 55 56 65 66 75 76 OpenType features include numerators denominators fractions ligatures scientific inferiors subscript superscript 97 Neue Helvetica Thai 2012 Edit Thai font designer Anuthin Wongsunkakon of Cadson Demak Co created Thai versions of Helvetica and Neue Helvetica fonts 98 99 The design uses loopless terminals in Thai glyphs 100 101 which had also been used by Wongsunkakon s previous design Manop Mai New Manop 102 Neue Helvetica Armenian 2016 Edit Designed by Edik Ghabuzyan it is a version of Neue Helvetica supporting Armenian language 103 The family includes 16 fonts in 8 weights ultra light thin light regular medium bold heavy black with complementary italics Neue Helvetica World 2017 Edit Designed by Nadine Chahine Linotype Design Studio Monotype Design Studio and Edik Ghabuzyan it is a version of Neue Helvetica with support of Latin Cyrillic Greek Arabic Hebrew Thai Armenian Georgian and Vietnamese scripts for total 181 languages and complete support of Unicode block u 0400 104 105 106 107 Published in November 2017 by Linotype it was released in Truetype and OpenType CFF formats The family includes 6 fonts in 3 weights 45 Light 55 Roman 75 Bold with complimentary italic Roman fonts include 1 708 glyphs and 1 285 glyphs for italics For working with other languages the publisher also recommended following complementary fonts Devanagari Saral Devanagari Japanese Tazugane Gothic Yu Gothic Korean YD Gothic 100 YD Gothic 700 Simplified Chinese M Ying Hei PRC M Hei PRC Traditional Chinese M Ying Hei HK M Hei HKNeue Haas Grotesk 2010 Edit Neue Haas Grotesk Text optically optimized for body text Christian Schwartz s digitisation is based on original settings of the metal type and uses the typeface s original name 108 109 110 111 It was released by Linotype later Monotype Imaging Commercial Type and Font Bureau with an article on the history of Helvetica by Professor Indra Kupferschmid 10 Unlike earlier digitisations Schwartz created two different optical sizes for body text and display sizes which have different spacing metrics giving tighter spacing at display size and looser spacing to increase legibility in text The release includes a number of features not present on digitisations branded as Helvetica stylistic alternates such as separate punctuation sets for upper and lower case text modernist cedilla designs styled to match the comma and reduced height numbers to blend into extended text 112 b The Text optical size of Neue Haas Grotesk also provides stylistic alternates for a straight legged upper case R while the Display optic size provides stylistic alternates for a straight legged upper case R and a lower case a without tail 113 114 It originated from an abandoned redesign plan for The Guardian newspaper Writing for Typographica Matthew Butterick described the release as better than any previous digital release of Helvetica it s never looked better 115 Users include Bloomberg Businessweek the Whitney Museum and for the album Midnights Taylor Swift 116 117 118 Schwartz s company Commercial Type have additionally developed a companion monospaced version agate version for small sizes and stencil font 119 The release does not include condensed weights or support for Greek and Cyrillic Variable Font Version Edit The Text optical size of Neue Haas Grotesk is available on Windows 11 via Pan European Supplemental Fonts optional feature 120 This version is a variable font and provides weights ranging from Ultra Thin to Black 121 122 As of 2023 the variable font version of Neue Haas Grotesk is not otherwise available Neue Haas Grotesk Text is also available on Windows 10 via Pan European Supplemental Fonts 123 but this release includes static fonts instead of variable fonts Helvetica Now 2019 EditHelvetica Now CategorySans serifClassificationNeo grotesque sans serifDesigner s Jan Hendrik Weber and Charles NixFoundryMonotypeDate released2019Design based onNeue HelveticaIn April 2019 Monotype announced an update of Neue Helvetica called Helvetica Now designed by Jan Hendrik Weber and Charles Nix of Monotype Imaging 124 125 126 The family has one width in three optical sizes Text Micro and Display in 8 6 and 10 weights respectively 127 The condensed version corresponding to these optical sizes and weights was published later in 2021 along with Helvetica Now Variable 128 A key difference between the three optical sizes is the terminal design Display retains the horizontal terminals in previous digital releases of Helvetica Micro features diagonal terminals for many characters e g lowercase e and c while the design of Text is somewhere in between Display and Micro 129 130 Features include circled figures and redesigned arrow and glyphs 131 It also includes a number of alternate characters including curled lower case L spurless rounded G a straight legged R found in Neue Haas Grotesk single story a found in Helvetica Textbook and lowercase u without a spur 132 133 Helvetica Now Variable 2021 Edit Helvetica Now was also released as a variable font which has two styles Regular and Italic and three adjustable axes weight width and optical size 134 135 Helvetica clones Edit Comparison of Helvetica Arial and Microsoft Sans Serif Bitstream Vera a humanist design not based on Helvetica is shown for comparison Derivative designs based on Helvetica were rapidly developed taking advantage of the lack of copyright protection in the phototypesetting font market of the 1960s onward 21 136 Some of these were straight clones simply intended to be direct substitutes 137 Many of these are almost indistinguishable from Helvetica while some add subtle differences Substitute Helvetica designs that have survived into or originated during the digital period have included Monotype s Arial Compugraphic s CG Triumvirate ParaType s Pragmatica Bitstream s Swiss 721 URW s Nimbus Sans and Scangraphic s Europa Grotesk 21 138 Berthold itself responded to Helvetica s popularity with Akzidenz Grotesk Buch effectively a Helvetica clone 139 140 141 142 Besides Helvetica imitations Helvetica was available in custom derivatives with unusual special order characters for many years notably a straight legged R and round topped A 10 CNN uses a custom derivative CNN Sans which has a 1 with a base and larger x height 143 144 145 Nimbus Sans Edit URW later URW under the leadership of Peter Karow produced a modification of Helvetica called Nimbus Sans 139 This is an extremely large font family with optical sizes spaced for different sizes of text and other variants such as stencil styles 146 Florian Hardwig has described its display oriented styles with tight spacing as more reminiscent of Helvetica as used in the 1970s from cold type than any official Helvetica digitisation 147 148 Arial and MS Sans Serif Edit Monotype s Arial created for IBM and also used by Microsoft is indistinguishable by most non specialists 149 Matthew Carter who was a consultant for IBM during its design process describes it as a Helvetica clone based ostensibly on their Grots 215 and 216 Monotype s old 1920s sans serif family popular in British trade printing in the metal type period and itself based on the Bauer Venus Grotesk family 23 Differences include Helvetica s strokes are typically cut either horizontally or vertically This is especially visible in the t r f and C Arial employs slanted stroke cuts following Monotype Grotesque Helvetica s G has a spur at bottom right Arial does not but instead has a vertical stroke connecting the curved portion to the crossbar The tail of Helvetica s R is more upright whereas Arial s R is more diagonal The number 1 of Helvetica has a square angle underneath the upper spur Arial has a curve The Q glyph in Helvetica has a straight cross mark while the cross mark in Arial has a slight curve The design was created to substitute for Helvetica Arial and many other clones of the period are metrically identical to the PostScript version of Helvetica so that a document designed in Helvetica could be displayed and printed correctly without IBM having to pay Linotype for a Helvetica license on its printers 23 150 151 Microsoft s Helv design later known as MS Sans Serif is a sans serif typeface that shares many key characteristics to Helvetica including the horizontally and vertically aligned stroke terminators and more uniform stroke widths within a glyph Free Helvetica substitute fonts Edit Nimbus Sans L a version of URW s Nimbus Sans spaced to match the standard Linotype PostScript version of Helvetica was released under the GNU General Public License in 1996 and donated to the Ghostscript project to create a free PostScript alternative 152 153 It or a derivative is used by much open source software such as R as a system font 154 155 A derivative of this family known as TeX Gyre Heros has been prepared for use in the TeX scientific document preparation software and since 2009 general under the GUST font license 156 157 FreeSans is a free font descending from URW Nimbus Sans L which in turn descends from Helvetica 158 It is one of free GPL fonts developed in GNU FreeFont project first published in 2002 Mona Sans a GitHub variable font released under SIL Open Font License Liberation Sans is a metrically equivalent font to Arial developed by Steve Matteson at Ascender and published by Red Hat under the SIL Open Font License 159 160 It is used in some Linux distributions as default font replacement for Arial 161 Oracle funded the additional development of Liberation Sans Narrow in 2010 162 163 Google commissioned a variation named Arimo for ChromeOS Much more loosely Roboto was developed by Christian Robertson of Google as the system font for its Android operating system this has a more condensed design with the influence of straight sided geometric designs like DIN 1451 Derivative designs EditSome fonts based on Helvetica are intended for different purposes and have clearly different designs Digital period font designer Ray Larabie has commented that in the 1970s everyone was modifying Helvetica with funky curls mixed case and effects 164 Indeed in one 1973 competition to design new fonts three of the 20 winners were decorative designs inspired by Helvetica 165 Zhukov and Kurbatov version Edit In 1963 two students at the Moscow Print Institute designed their own version of Helvetica one of whom Maxim Zhukov would become one of the Soviet Union s most prominent typographers Zhukov and his partner Yuri Kurbatov used upright cursive forms for several of the lowercase letters which allowed for several of the Helvetica forms to be transferred more directly into Cyrillic Their version received widespread use in phototypesetting especially among other students at the Moscow Print Institute despite never being commercially released Zhukov and Kurbatov attempted to publish the typeface in 1964 but were rejected due to the font s being too closely associated with capitalism this was one of the major factors as to why an official Cyrillic Helvetica Pragmatica would not be released in the Soviet bloc until perestroika in 1989 78 166 c Forma 1968 Edit Forma compared to Neue Helvetica Created by Aldo Novarese at the Italian type foundry Nebiolo Forma was a geometric influenced derivative of Helvetica with a single storey a and extremely tight spacing in the style of the period 167 168 169 It was offered with request stylistic alternates imitating Helvetica more closely 167 170 Forma has been digitised by SoftMaker as Formula and in a much more complete version with optical sizes as Forma DJR by David Jonathan Ross at Font Bureau for Tatler magazine 171 Manoptica Edit A partial dry transfer sheet of Manoptica The adaptation of Latin glyphs A a U u R W B n and S to Thai are visible Manoptica 1973 was an early effort to adapt Helvetica to the Thai script It is named after and designed by Manop Srisomporn who designed several typefaces for Thai using the same innovations he used for Manoptica such as an adaptation of Eurostile It was highly influential in Thai typography in that it popularized the removal of the small loops and other flourishes that had theretofore been distinguishing marks on Thai characters and adopted letter forms that bore strong resemblance to Latin letters It became a widely popular style in advertising and influenced other simplified typefaces for Thai in the following decades 172 The adoption of loopless typefaces remains a source of controversy in Thai typography 173 Helvetica Flair and others Edit A Helvetica Flair specimen sheet Designed by Phil Martin at Alphabet Innovations Helvetica Flair is an unauthorised phototype period redesign of Helvetica adding swashes and unicase inspired capitals with a lower case design Considered a hallmark of 1970s design it has never been issued digitally It is considered to be a highly conflicted design as Helvetica is seen as a spare and rational typeface and swashes are ostentatious font designer Mark Simonson described it as almost sacrilegious Martin would later claim to have been accused of typographic incest by one German writer for creating it Helvetica Flair was one of several derivative fonts created by Martin in the 1970s and a particularly legally questionable one since it was directly named Helvetica 174 175 Martin also drew Heldustry a fusion of Helvetica with Eurostile 176 and Helserif a redesign of Helvetica with serifs 177 and these have both been digitised 137 178 179 Shatter LET 1973 Edit Shatter Designed by Vic Carless Shatter assembles together slices of Helvetica to make a typeface that seems to be in motion or broken and in pieces 180 It was published by Letraset after jointly winning their 1973 competition to design new fonts 165 Writing in 2014 Tim Spencer praised the design for its ominous effect writing that it offered glitch like mechanical aggression and cold machine induced paranoia It attacked the Establishment s preferred information typography style with a sharp edge and recomposed it in a jarring manner that still makes your eyes skitter and your brain tick trying to recompose it Shatter literally sliced up Swiss modernist authority 181 Unica Edit Unica by Team 77 Andre Gurtler Christian Mengelt and Erich Gschwind is as a hybrid of Helvetica Univers and Akzidenz Grotesk It was developed in the 1970s for electronic on screen phototypesetting and released in 1980 As phototypesetting was soon replaced by desktop publishing and because of a legal dispute the typeface rapidly disappeared from the market In mid 2010s two digital versions were released the Swiss foundry Lineto released LL Unica77 with input from Christian Mengelt 182 183 while Linotype released Neue Haas Unica 184 Chalet Edit House Industries Chalet family is a series of fonts based on Helvetica inspired by its many derivatives and adaptations in post war design and organised by date to 1960 conventional 1970 and 1980 both more radically altered and science fiction in feel 185 House Industries who are known for outlandish font marketing methods promoted Chalet through presenting it as inspired by the branding and career progression of a fictitious Swiss haute couture designer Rene Chalet Chalet being French for a small wooden house so a play on the design company s name 186 187 188 Coolvetica Edit Top Coolvetica based on Helvetica modifications such as Helvetica Flair Note curved designs of t and y as well as the narrow letter spacing commonly seen in pre digital Helvetica Bottom Helvetica Bold In the digital period Canadian type designer Ray Larabie has released several digital fonts based upon Helvetica The most widely known and distributed of these is Coolvetica which Larabie introduced in 1999 Larabie stated he was inspired by Helvetica Flair Chalet and similar variants in creating some of Coolvetica s distinguishing glyphs most strikingly a swash on capital G lowercase y based on the letterforms of g and u and a fully curled lowercase t and chose to set a tight default spacing optimised for use in display type 189 Larabie s company Typodermic offers Coolvetica in a wide variety of weights as a commercial release with the semi bold as freeware taster As of 2017 the semi bold remains Larabie s most popular font 190 191 192 Larabie has also taken inspiration from Helvetica in some of his other designs including Movatif and GGX88 193 194 Notes Edit Antique is a term used in French for sans serifs for instance Antique Olive although in English it traditionally historically referred to slab serifs 13 This feature was also included in Robert Slimbach s neogrotesque Acumin 2014 for Adobe 96 The lowercase forms of Sowjietische Haas Grotesk were digitized as Soyuz Grotesk by Roman Goritsky and released into the public domain by The Temporary State Goritsky added a Latin script which he reconstructed in the same way Sowjietische Haas Grotesk had been constructed from Helvetica but in reverse by using the Cyrillic forms and adapting them to Latin 77 78 References Edit Kupferschmid Indra Combining Type With Helvetica FontShop archived Archived from the original on 30 April 2010 Retrieved 29 April 2018 Berry John A Neo Grotesque Heritage Adobe Systems Retrieved 15 October 2015 Shinn Nick 2003 The Face of Uniformity PDF Graphic Exchange Archived from the original PDF on 18 November 2016 Retrieved 18 July 2022 a b c d Kupferschmid Indra I had never loved Helvetica Retrieved 5 October 2015 Gerstner Karl 1963 A new basis for the old Akzidenz Grotesk English translation by Forgotten Shapes PDF Der Druckspiegel Archived from the original PDF on 2017 10 15 Retrieved 15 October 2017 Gerstner Karl 1963 Die alte Akzidenz Grotesk auf neuer Basis PDF Der Druckspiegel Archived from the original PDF on 2017 10 15 Retrieved 15 October 2017 a b Helvetica Documentary 2007 09 12 Shaw Paul Helvetica and Univers addendum Blue Pencil Retrieved 1 July 2015 Shaw Paul The Univers of Helvetica A Tale of Two Typefaces Print Retrieved 26 June 2016 a b c d Kupferschmid Indra Neue Haas Grotesk History Font Bureau Retrieved 4 August 2017 Langer Axel One Typeface Two Fathers Helvetica Forever University of Applied Sciences Dusseldorf Retrieved 29 April 2018 Homola Wolfgang Type design in the age of the machine The Breite Grotesk by J G Schelter amp Giesecke PDF University of Reading archived Archived from the original PDF on 12 January 2011 Retrieved 17 January 2018 Nouvelle Antique Haas aka Neue Haas Grotesk aka Helvetica promotional by Fritz Buler Walter Bosshardt 1959 Flickr Herb Lubalin Study Center 29 July 2011 Retrieved 29 April 2018 Montrose Helker William Post War Type Marketing A comparative study of three European type foundries during the 1950s and 1960s University of Reading Retrieved 29 April 2018 a href Template Cite journal html title Template Cite journal cite journal a Cite journal requires journal help myfonts Arthur Ritzel New myfonts com 1999 02 22 Retrieved 2009 06 08 Shaw Paul Helvetica amp Univers Blue Pencil Retrieved 1 July 2015 Shaw Paul From the Archives no 15 Helvetica and Standard Paul Shaw Letter Design blog Retrieved 27 December 2017 Shaw Paul From the Archives no 17 More on Helvetica in the United States Paul Shaw Letter Design Retrieved 29 April 2018 Muller Lars Malsy Victor Langer Axel Kupferschmid Indra 2009 Helvetica Forever Story of a Typeface Baden Switzerland Lars Muller ISBN 978 3037781210 Shaw Paul Blue Pencil no 19 Helvetica and the New York City Subway System Paul Shaw Letter Design Retrieved 29 April 2018 a b c Simonson Mark The Scourge of Arial Mark Simonson Studio Notebook Retrieved 19 March 2016 Many type manufacturers in the past have done knock offs of Helvetica that were indistinguishable or nearly so For better or worse in many countries particularly the U S while typeface names can be protected legally typeface designs themselves are difficult to protect So if you wanted to buy a typesetting machine and wanted the real Helvetica you had to buy Linotype If you opted to purchase Compugraphic AM or Alphatype typesetting equipment you couldn t get Helvetica Instead you got Triumvirate or Helios or Megaron or Newton or whatever Every typesetting manufacturer had its own Helvetica look alike It s quite possible that most of the Helvetica seen in the 70s was actually not Helvetica Craig James Malmstrom Margit 1978 Phototypesetting a design manual 1st ed New York Watson Guptill p 35 ISBN 9780823040117 Helvetica is without a doubt the most widely used sans serif typeface a b c Shaw Paul Carter Matthew McDonald Rod Blue Pencil no 18 Some history about Arial Paul Shaw Letter Design Retrieved 30 April 2018 Simonson Mark Monotype s Other Arials Mark Simonson Studio Retrieved 14 July 2015 Covert Adrian 3 June 2014 Why Apple s New Font Won t Work On Your Desktop FastCoDesign Retrieved 28 November 2014 Spiekermann Erik Helvetica Sucks Spiekermann blog Retrieved 15 July 2015 Spiekermann Erik Distinct lettershapes are important Or can you work out this code 1 I or l Twitter Retrieved 14 June 2015 Spolsky Joel 24 October 2001 User Interface Design For Programmers Joel On Software Retrieved 15 July 2015 Uses of Helvetica Fonts In Use BBC News Helvetica at 50 2007 05 09 Retrieved 2009 02 20 Ferguson Brad 24 July 2015 Helvetica The Backlash Print Retrieved 29 April 2018 Daring Fireball 4 John Gruber a b Rawsthorn Alice April 2007 Helvetica The little typeface that leaves a big mark The New York Times Retrieved 11 January 2016 Helvetica Documentary 2007 09 12 Federal Identity Program Manual 1 1 Design Treasury Board of Canada Secretariat Retrieved 2015 06 19 A consistent typography is fundamental to corporate identity and three faces from the Helvetica type family have been adopted for purposes of the FIP They were chosen for their versatility excellent legibility and contemporary design Campbell Dollaghan Kelsey 7 May 2013 Six Beautiful Artefacts From The Dawn Of Digital Typography Gizmodo Retrieved 30 April 2017 Article 9 4 a of Directive 2014 40 EU A Brief History of Fonts in Transit PDF livewellcollaborative org Archived from the original PDF on 2015 02 26 Retrieved 2015 06 22 Shaw Paul The Mostly True Story of Helvetica and the New York City Subway AIGA Archived from the original on 5 July 2014 Retrieved 6 November 2016 Bierut Michael 26 March 2011 When in Helvetica Wall Street Journal Retrieved 6 November 2016 Lee Jennifer 4 December 2008 How Helvetica Took Over the Subway New York Times Retrieved 6 November 2016 Elementos Basicos de Identidad Corporativa de Metro de Madrid Basic Elements of the Corporate Identity of the Metro of Madrid PDF metromadrid es in Spanish Metro de Madrid Archived from the original PDF on 2015 06 23 Retrieved 2015 06 23 Eye blog Rue Britanica Typeface name changes after Eye magazine goes to press Blog eyemagazine com 2009 04 20 Retrieved 2013 09 21 Walters John New Rail Alphabet Eye Magazine Retrieved 29 April 2018 permanent dead link Par ielu un laukumu nosaukuma zimju eku telpu grupu numura zimju un virziena raditaju uz infrastrukturas kulturas vai turisma objektiem izvietosanas kartibu Rigas pilseta LIKUMI LV in Latvian Retrieved 2019 06 18 Spiekermann Erik 1987 Post Mortem or how I once designed a typeface for Europe s biggest company PDF Baseline 9 6 9 Retrieved 20 March 2016 Majoor Martin Spring 2007 Inclined to be dull Eye Vol 16 no 63 pp 33 7 Retrieved 3 August 2015 a b Quito Anne 10 November 2017 IBM has freed itself from the tyranny of Helvetica Quartz Retrieved 1 May 2018 Czarnecki Lucas Can IBM Plex topple Helvetica Type Archived from the original on 2018 05 01 Retrieved 1 May 2018 PUMA chose Helvetica font for Switzerland s new jersey nss magazine Retrieved 2021 06 29 Lupton Ellen Forever Helvetica Metropolis Magazine Archived from the original on 7 October 2016 Retrieved 4 July 2016 Savan Leslie 1994 The Sponsored Life Ads TV and American Culture Philadelphia Temple University Press ISBN 9781439904909 Linotype Announces Helvetica NOW Poster Contest Creativepro com 27 June 2007 Retrieved 2009 06 08 Helvetica NOW Poster Contest Linotype com 2008 08 19 Retrieved 2009 06 08 Exhibitions 2007 50 Years of Helvetica Museum of Modern Art New York Retrieved 2008 11 16 Helvetica A New Typeface Archived 2012 08 28 at the Wayback Machine at Disseny Hub Barcelona Pickel Janet 1 April 2011 April Fool s Day Helvetica becomes Comic Sans and Gmail Motion is on the move The Harrisburg PA Patriot News Retrieved 1 April 2011 Shaw Paul From the Archives no 26 Helvetica and Univers Paul Shaw Letter Design Retrieved 28 April 2018 Everything you ever wanted to know about Helvetica but were afraid to ask Upper amp Lower Case 3 1 43 6 Archived from the original on 21 June 2019 Retrieved 28 April 2018 de Jong Cees W Purvis Alston W Friedl Friedrich 2005 Creative Type A Sourcebook of Classic and Contemporary Letterforms Thames amp Hudson ISBN 978 0 50051229 6 Archived from the original on April 22 2009 Retrieved 2009 06 08 Helvetica Inserat MyFonts Adobe Retrieved 29 April 2018 Sherman Nick Carter Matthew 26 April 2015 Helvetica Compressed Flickr Retrieved 30 April 2018 Helvetica Compressed was planned as a three part family to fit into the Linofilm s unit system I designed Helvetica Compressed and Helvetica Extra Compressed on my own before Hans Jurg joined the company They were released in 1966 Hans Jurg designed the Ultra Compressed under my eye It was released in 1968 part of a craze for condensed grots in Europe in the 60s that encouraged me to propose to Mike Parker that I should design a series when I joined Merg enthaler in 1965 There was no client in mind for Helvetica Compressed when we did it a b Drucker Margaret Re essays by Johanna Mosley James 2003 Typographically Speaking The Art of Matthew Carter 2 ed New York Princeton Architectural pp 41 53 etc ISBN 9781568984278 Webster Garrick 19 January 2011 Matthew Carter Computer Arts Retrieved 28 April 2018 We did a sans serif typeface which if you look at it today you d think was a rip off of Helvetica But we d never seen Helvetica in 1961 in London although it had been produced in Switzerland near Basle at the Haas foundry in 1957 Even if we had seen it and wanted to have it typeset in London we d have had to get on a plane and fly to Basle and have it typeset there because the British typesetting trade was so conservative that typefaces like that were simply unobtainable Helvetica rounded the rounded version of the classic Helvetica Linotype com Linotype Retrieved 7 October 2018 Felici James 15 April 2010 The Call of the Wide Creative Pro Retrieved 29 April 2018 Type 1 PostScript to OpenType font conversion Adobe Retrieved 2009 06 08 Helvetica Textbook FontShop Retrieved 20 March 2016 Coles Stephen 26 August 2012 Wikipedia Redefined Fonts In Use Retrieved 13 July 2016 Coles Stephen 20 March 2016 Design Museum Fonts In Use Retrieved 13 July 2016 a b c d Lekka Helena 2017 Linotype s design of new Greek typefaces for photocomposition in the Greek printing market 1970 1980 Thesis University of Reading a b Lekka Helena The design of Helvetica Greek for photocomposition Academia edu University of Reading Retrieved 15 October 2022 Re Margaret 2005 A Typographic Jubilee for Matthew Carter PDF Typo Archived from the original PDF on 2009 03 19 Retrieved 29 April 2018 TYPO 18 PDF magazine CZ Svettisku December 2005 Archived from the original PDF on 2009 03 19 Carter Matthew 1996 Macrakis Michael ed Greek Letters From Tablets to Pixels 1st ed New Castle Del Oak Knoll Press p 175 ISBN 9781884718274 Helvetica Cyrillic Fonts Adobe Retrieved 2009 06 08 a b Samarskaya Ksenya Soyuz Grotesk Typographica Retrieved 18 November 2018 a b c Gornitsky Roman Soyuz Grotesk release notes The Temporary State Retrieved 18 November 2018 a b Bigelow Charles Holmes Kris What s the Difference between Lucida Grande and Helvetica Neue Bigelow amp Holmes Retrieved 4 September 2018 Linotype Library presents entire New Helvetica family on a single CD Linotype com Retrieved 2009 06 08 Who Made Helvetica Neue Archived June 8 2015 at the Wayback Machine typophile com Kupferschmid Indra Neue Helvetica Entdeckung Kupferschrift Retrieved 29 April 2018 a b Strizver Ilene 6 December 2017 Helvetica vs Neue Helvetica The Same but Different Creative Pro Retrieved 4 September 2018 Schwartz Christian Neue Haas Grotesk Retrieved 28 November 2014 Gruber John 29 June 2010 Daring Fireball 4 daringfireball net Retrieved May 25 2015 It s a subtle change but Apple has changed the system font for the iPhone 4 from Helvetica to Helvetica Neue The change is specific to the iPhone 4 hardware or more specifically the Retina Display not iOS 4 OS X Human Interface Guidelines Designing for Yosemite Apple Developer Apple Inc 2014 10 16 Retrieved 18 October 2014 The use of Helvetica Neue also gives users a consistent experience when they switch between iOS and OS X Stinson Liz 2015 06 09 Why Apple Abandoned the World s Most Beloved Typeface Wired Conde Nast Retrieved 2015 07 24 Linotype Designer description The Language Whiz Helvetica Linotype Linotype com 2007 10 16 Retrieved 2009 06 08 Linotype Releases 1100 OpenType Fonts Release a Significant Step Towards Format s Acceptance Typographica org August 6 2003 Archived from the original on 2008 07 04 Retrieved 2009 06 08 In the Comments Section The biggest differences are the new Greek Cyrillic and Hebrew designs and the presence of Arabic support based on the radically redesigned Yakout Linotype not a perfect match for the Helvetica but the most appropriate in the Linotype Library this is core font Arabic support not for fine typography There is also a large maths and symbol set in each font not complete maths typesetting support but more than you ll get in most fonts The only big change in the Latin is that the whole thing has been respaced The old Helvetica Std Type 1 and TT fonts inherited via phototype the unit metrics of the original hot metal type This led to all sorts of oddities in the sidebearings which were cleaned up during development of Helvetica Linotype It is still quite a tightly spaced typeface by today s standards but the spacing is now consistent It was also re kerned Helvetica Linotype has also been extensively hinted for screen John Hudson Experimental Arabic Type Typographica org Archived from the original on 2007 06 07 Retrieved 2009 06 08 Macmillan Neil An A Z of Type Designers Yale University Press 2006 ISBN 0 300 11151 7 Download Neue Helvetica Arabic font family Linotype com Retrieved 2013 09 21 Linotype veroffentlicht Neue Helvetica Arabic Design von Nadine Chahine ubersetzt eine der popularsten Schriften ins Arabische Strizver Ilene 25 November 2015 Good Looking Helvetica at Any Size Creative Pro Retrieved 1 May 2018 a b Slimbach Robert Using Acumin Acumin microsite Adobe Systems Retrieved 6 January 2016 Download Neue Helvetica eText font family Linotype com Retrieved 2013 09 21 Helvetica now available in Thai World Wide Web log Linotype Mar 2003 Archived from the original on 2012 03 27 Retrieved 2012 04 20 Helvetica jetzt auch in Thai Eine der beliebtesten Schriften ab sofort in neuer Sprachversion bei Linotype erhaltlich in German 2012 03 20 Wongsunkakon Anuthin 2 March 2012 Note on Helvetica Thai anuthin org Retrieved 25 May 2015 Helvetica Thai Linotype Manop Mai distribution Anuthin Cadson Demak Dec 2009 Archived from the original on 2010 03 22 Neue Helvetica Armenian font family Linotype released Neue Helvetica World Neue Helvetica World the standard in sans serif design for international corporate communications Neue Helvetica World Neue Helvetica Super Family Neue Haas Grotesk The Font Bureau Inc p Introduction Neue Haas Grotesk Font News Linotype com Retrieved 2013 09 21 Schwartzco Inc Retrieved 2013 09 21 Shaw Paul 2017 Revival Type Digital Typefaces Inspired by the Past pp 204 5 ISBN 978 0300219296 Neue Haas Grotesk The Font Bureau Inc Retrieved 23 December 2013 Neue Haas Grotesk Collection Retrieved 2022 06 24 Neue Haas Grotesk Specimens PDF Retrieved 2022 06 24 Butterick Matthew Neue Haas Grotesk Typographica Retrieved 22 October 2014 Whitney rebranding EJS Retrieved 16 July 2015 Bloomberg Businessweek redesign interviews SPD Archived from the original on 2015 07 16 Retrieved 16 July 2015 Midnights Taylor Swift Font Font Meme October 21 2022 Retrieved November 23 2022 Commercial Type Vault Commercial Type Retrieved 1 September 2022 Windows 11 font list Retrieved 6 December 2021 I ve noticed a change in Neue Haas Grotesk Text Pro in Windows 11 Issue 817 MicrosoftDocs typography issues GitHub GitHub Retrieved 2023 04 14 After updating to Windows 11 Neue Haas Grotesk is now a variable font typography 17 December 2021 Retrieved 2023 04 14 Windows 10 font list Retrieved 6 December 2021 Helvetica Now Monotype Retrieved 5 May 2019 Mallalieu Andy Monotype launches the first redesign in 35 years of the world s most ubiquitous font Helvetica Creative Boom Retrieved 16 April 2020 Strizver Ilne 3 June 2019 Introducing Helvetica Now a reinvented classic Creative Pro Retrieved 2 October 2020 Helvetica Now User Guide PDF Monotype Retrieved 16 April 2020 Helvetica Now Variable Font Retrieved 2023 04 14 Helvetica Now is better than Helvetica Never 29 April 2019 Retrieved 2023 04 12 Helvetica Now inconsistent terminal finial form e and c Retrieved 2023 04 12 Why switch to Helvetica Now Joel William 9 April 2019 Behind the process of Helvetica s 21st century facelift The Verge Retrieved 5 May 2019 Behind the process of Helvetica s 21st century facelift 7 April 2019 Helvetica Now Variable Monotype 9 July 2021 Retrieved 2023 04 14 Helvetica Now Variable Variable Fonts Retrieved 2023 04 14 Downer John Call It What It Is Emigre Retrieved 20 March 2016 a b Loxley Simon 14 May 2012 Font Wars A Story On Rivalry Between Type Foundries Smashing Magazine Retrieved 20 March 2016 Devroye Luc Helvetica clones Type Design Information Retrieved 20 March 2016 a b Peter Karow 6 December 2012 Font Technology Methods and Tools Springer Science amp Business Media pp 225 8 235 40 ISBN 978 3 642 78505 4 Spiekermann Eric Twitter post Twitter Retrieved 21 July 2016 AG Buch war GGL s Antwort auf Helvetica fur die Berthold keine Lizenz kriegte von Linotype AG Book Pro Berthold Retrieved 1 October 2017 AG Book Rounded Pro Berthold Retrieved 1 October 2017 CNN now has its own font for some reason NewscastStudio 22 April 2016 Retrieved 29 April 2016 CNN Customizes New Company Wide Font 2016 05 02 Archived from the original on 2016 09 11 Retrieved 2016 08 30 CNN Sans Vimeo Retrieved 2016 09 28 Nimbus Sans MyFonts URW Retrieved 30 April 2018 Hardwig Florian 30 September 2013 National Trust Tree Appeal Poster Fonts In Use Retrieved 20 March 2016 Freeman Luke Hardwig Florian 31 July 2017 London s Fastest poster campaign by Nike Fonts in Use Retrieved 1 May 2018 Simonson Mark 17 June 2021 How to Spot Arial Mark Simonson Studio Shaw Paul Arial Addendum no 3 Blue Pencil Retrieved 1 July 2015 Shaw amp Nicholas Arial addendum no 4 Blue Pencil Retrieved 1 July 2015 Finally Good quality free GPL basic 35 PostScript Type 1 fonts TXT Retrieved 2010 05 06 ghostscript fonts std 4 0 tar gz GhostScript 4 0 standard fonts AFPL license 1996 06 28 Archived from the original TAR GZ on 2011 04 24 Retrieved 2010 05 06 Fonts R Cookbook Retrieved 7 April 2016 Horton Nicholas 19 April 2010 Specifying fonts in graphics SAS amp R Retrieved 7 April 2016 TeX Gyre Heros The LaTeX font catalogue TeX Users Group Denmark Retrieved 2 August 2017 The TeX Gyre TG Collection of Fonts accessed 2020 09 30 GNU FreeFont Design notes 2009 10 04 Retrieved 2010 07 02 LiberationFontLicense License Agreement and Limited Product Warranty Liberation Font Software retrieved 2012 12 19 LICENSE liberation fonts retrieved 2012 12 19 permanent dead link Mandriva Linux 2008 Release Tour archived from the original on 2010 06 19 retrieved 2010 04 04 integrated into Mandriva Linux 2008 OpenOffice org 3 3 New Features Liberation Fonts Fedora Larabie Ray Coolvetica Typodermic Fonts Retrieved 19 March 2016 a b Purcell Chris 5 June 2015 Letraset International Typeface Competition Winners 1973 Fonts in Use Retrieved 8 June 2016 Goritsky Roman November 23 2020 Gramatika On Type Measurements Hyphen Spacings and Other Minor Considerations Notes from the Temporary State Retrieved December 24 2020 a b Kupferschmid Indra Finding Forma Font Bureau Retrieved 20 March 2016 Colizzi Alessandro Forma Dattilo Modulo Nebiolo s last efforts to produce a universal typeface Paul Shaw ed Timeless Typography Cambridge Mt Mit Press Forthcoming Retrieved 20 March 2016 Colizzi Alessandro Forma Dattilo Modulo Nebiolo s last effort to produce a universal typeface ATypI conference 2013 Archived from the original on 20 March 2016 Retrieved 20 March 2016 Miklavcic Mitja Forma a typeface designed by a committee Mitja M Archived from the original on August 22 2011 Retrieved 20 March 2016 Forma DJR David Jonathan Ross Retrieved 27 March 2023 Pracha Suveeranont manphtika 10 twphimph kb 10 yukhsngkhmithy 10 Faces of Thai Type and Thai Nation in Thai Thaifaces Retrieved 22 May 2020 Originally exhibited 18 31 October 2002 at the Jamjuree Art Gallery Chulalongkorn University and published in Sarakadee 17 211 September 2002 Punsongserm Rachapoom Sunaga Shoji Ihara Hisayasu October 2018 Roman like Thai typefaces Breakthrough or Regression Back to the Future The Future in the Past Conference Proceedings Book ICDHS 10th 1 Barcelona 2018 pp 580 585 Simonson Mark Interview with Phil Martin Typographica Retrieved 30 August 2014 Puckett James 5 March 2012 Helvetica Flair photo of specimen book Flickr Heldustry MyFonts URW Retrieved 19 March 2016 Helserif MyFonts URW Retrieved 19 March 2016 Coles Stephen Twitter post Twitter Retrieved 20 March 2016 From a Helserif ad Look what happened to Helvetica It grew wings Budrick Callie 19 October 2015 Vintage Fonts 35 Adverts From the Past Print Retrieved 20 March 2016 Winch Andrew Vic Carless Obituary The Guardian Retrieved 19 October 2014 Spencer Tim Kern Your Enthusiasm Shatter HiLoBrow Retrieved 19 October 2014 Lineto com Retrieved 2 February 2022 LL Unica77 Lineto Team 77 in use Retrieved 2 February 2022 Neue Haas Unica in use Retrieved 2 February 2022 Carney Rob 6 August 2014 Greatest fonts countdown 92 Chalet CreativeBloq Retrieved 29 August 2017 Gruppe Sabine House Industries Le Must de Chalet Font FontBlog Retrieved 29 August 2017 Berry John D 2006 Dot font Talking About Fonts 1st ed New York Mark Batty Publisher pp 117 121 ISBN 0 9772827 0 8 VanderLans Rudy It s a thin line A Review of House Industries Speak Up Retrieved 29 August 2017 Larabie Ray Coolvetica Typodermic Fonts Retrieved November 16 2017 Tselentis Jason August 28 2017 Typodermic s Raymond Larabie Talks Type Technology amp Science Fiction How Archived from the original on April 18 2018 Retrieved October 29 2017 Q What are your most frequently downloaded free fonts A Coolvetica It s downloaded almost twice as much as the next one down the list Coolvetica MyFonts Typodermic Retrieved 17 November 2017 Larabie Ray 12 April 2019 Coolvetica Crushed Typodermic Fonts Archived from the original on 20 April 2019 Retrieved 12 April 2019 Larabie Ray Movatif Typodermic Fonts Retrieved 19 March 2016 Larabie Ray GGX88 Typodermic Fonts Retrieved 19 March 2016 External links EditHelvetica documentary site Alternatives to Helvetica two overlapping articles by Stephen Coles at fontfeed com archived and fontshop com 1962 Stempel advertisement for Breite halbfette Helvetica and Helvetica Kursiv German Fonts in Use Helvetica Neue Helvetica Retrieved from https en wikipedia org w index php title Helvetica amp oldid 1150707459, wikipedia, wiki, book, books, library,

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