MaxMiedinger

MaxMiedinger(24 decembrie 1910 nZurich, Elve ia-08 martie 1980, Zrich, Elve ia) a fost undesigner defontelve ian. Ela fostrenumit deoarece acreareaHelvetican1957. Comercializatcaun simbolaltehnologieide vrfelve ian, Helveticaa merslao dat la nivel mondial.

ntre 1926 i1930, Maxa fostantrenatcauntypesetternZrich, dup careaurmatcursurile serale laKunstgewerbeschuledinZrich.

Mai trziu, el adevenituntipografdestudiode publicitateGlobusmagazinnZrich, ia devenitun consilier pentruclienti ivindea tipuri de caractere pentruSchriftgieereiHaas'schenMnchensteinlng Basel, pn n 1956, cnda devenitunartistgrafic independentnZrich. Fonturirealizate: Helvetica ProArte Orizontal

Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas'sche Schriftgiesserei (Haas type foundry) of Mnchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas Normal Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage.[1]

When Linotype adopted Neue Haas Grotesk (which was never planned to be a full range of mechanical and hot-metal typefaces) its design was reworked. After the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family.[2] In 1960, the typeface's name was changed by Haas' German parent company Stempel to Helvetica (derived from Confoederatio Helvetica, the Latin name for Switzerland) in order to make it more marketable internationally. It was initially suggested that the type be called 'Helvetia' which is the original Latin name for Switzerland. This was ignored by Eduard Hoffmann as he decided it wouldn't be appropriate to name a type after a country. He then decided on 'Helvetica' as this meant 'Swiss' as opposed to 'Switzerland'.

Helvetica Light
Helvetica Light was designed by Stempel's artistic director Erich Schultz-Anker, in conjunction with Arthur Ritzel.[5]

[edit] Helvetica Compressed

Designed by Matthew Carter, they are narrow variants that are tighter than the Helvetica Condensed. It shares some design elements with Helvetica Inserat, but using curved tail in Q, downward pointing branch in r, and tilde bottom . The family consists of Helvetica Compressed, Helvetica Extra Compressed, Helvetica Ultra Compressed fonts.

[edit] Helvetica Textbook

Helvetica Textbook is an alternate design of the typeface. Some characters such as 1, 4, 6, 9, I, J, a, f, j, q, u, , and are drawn differently from the original version.

[edit] Helvetica Inserat

Helvetica Inserat is a version designed in 1957 primarily for use in the advertising industry. Sharing similar metric as Helvetica Black Condensed, the design gives the glyphs a more squared appearance, similar to Impact and Haettenschweiler. Strike with strokes in $, are replaced by non-strikethrough version. 4 is opened at top.

[edit] Helvetica Rounded (1978)

Helvetica Rounded is a version containing rounded stroke terminators. Only bold, bold oblique, black, black oblique, bold condensed, bold outline fonts were made, with outline font not issued in digital form by Linotype.

[edit] Helvetica Narrow

Helvetica Narrow is a version where its width is between Helvetica Compressed and Helvetica Condensed. However, the width is scaled in a way that is optically consistent with the widest width fonts. The font was developed when printer ROM space was very scarce, so it was created by mathematically squashing Helvetica by 18% (to 82% of the original width), resulting in distorted letterforms and thin vertical strokes next to thicker horizontals.[6] OpenType version was not produced by Adobe under the distortion reasoning, and recommended Helvetica Condensed instead. However, in Linotype's OpenType version of Helvetica Narrow, the distortions found in the Adobe fonts are non-existent.

Neue Helvetica (1983)

Varying Helvetica Neue typeface weights

Neue Helvetica is a reworking of the typeface with a more structurally unified set of heights and widths. It was developed at D. Stempel AG, Linotype's daughter company. The studio manager was Wolfgang Schimpf, and his assistant was Reinhard Haus; the manager of the project was Ren Kerfante. Erik Spiekermann was the design consultant and designed the literature for the launch in 1983.[7] 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 9 weights in 3 widths (8, 9, 8 in normal, condensed, extended widths respectively), and an outline font based on Helvetica 75 Bold Outline (no Textbook or rounded fonts are available). Linotype distributes Neue Helvetica on CD.[8] Neue Helvetica also comes in variants for Central European and Cyrillic text.

[edit]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.

[edit]Helvetica World
Also called Helvetica Linotype,[9] Helvetica World supports Arabic, Cyrillic, Greek, Hebrew, and Vietnamese scripts. The family consists of four fonts in 2 weights and 1 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.[10] John Hudson of Tiro Typeworks designed the Hebrew glyphs for the font family,[11] as well as the Cyrillic, and Greek letters.[12]

Comparison of Helvetica, Arial, and Bitstream Vera.

Generic versions of Helvetica have been made by various vendors, including Monotype Imaging (CG Triumvirate), ParaType (Pragmatica), Bitstream (Swiss 721), URW++ (Nimbus Sans). Monotype's Arial, designed in 1982, while different from Helvetica in some few details, has identical character widths, and is indistinguishable by most non-specialists. The capital letters C, G, R, and Q the number 1 as well as the lowercase letters a, e, r, and t, are useful for quickly distinguishing Arial and Helvetica.[13] Differences include:
y y y y y

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. Helvetica's G has a well-defined spur; Arial does not. The tails of the R glyphs and the a glyphs are different. 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 snake like curve.

"Helv", 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 uniformed stroke widths within a glyph.

[edit]Usage

Helvetica is used on signage on the Chicago 'L'

Helvetica used in the logo of the National Film Board of Canada

Helvetica is among the most widely used sans-serif typefaces. Versions exist for the following alphabets/scripts: Latin, Cyrillic, Hebrew, Greek, Japanese, Korean, Hindi, Urdu, Khmer and Vietnamese. Chinese faces have been developed to complement Helvetica. Helvetica is a popular choice for commercial wordmarks, including those for 3M, American Airlines, American Apparel, BMW, Jeep, JCPenney, Lufthansa, Microsoft, Mitsubishi Electric, Orange, Target, Toyota, Panasonic, Motorola, Kawasaki and Verizon Wireless.[14]Apple Inc. has used Helvetica widely in iOS (previously iPhone OS), and the iPod. The iPhone 4 uses Neue Helvetica.[15] Helvetica is widely used by the U.S. government; for example, federal income tax forms are set in Helvetica, and NASA uses the type on the Space Shuttle orbiter.[1] Helvetica is also used in the United States television rating system. New York City's Metropolitan Transportation Authority (MTA) uses Helvetica for many of its subway signs, but Helvetica was not adopted as the official font for signage until 1989. The standard font from 1970 until 1989 was Standard Medium, an Akzidenz Grotesk-like sans-serif, 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 remaining signs in Medium Standard, and a few anomalous signs in Helvetica Narrow.[16] The Chicago Transit Authority uses Helvetica on its signage for the Chicago 'L'. 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. Additionally, it was also adopted by Danish railway company DSB for a time period.[17]Canada's federal government 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.[18] CNN used Helvetica as its main font for much of its history; they recently switched to Univers. The NBA on TNT used Helvetica from 200205; NBA on ABC used the font during the 2003-04 NBA season. CBS Sports programs have been using Helvetica since 2006, particularly during its broadcasts of the NCAA Men's Division I Basketball Tournament and the NFL. The U.S. adaptation of The Office uses Helvetica in its graphics.

[edit]Media coverage
In 2007, Linotype GmbH held the Helvetica NOW Poster Contest to celebrate the 50th anniversary of the typeface.[19][20] Winners were announced in January 2008 issue of the LinoLetter. In 2007, director Gary Hustwit released a documentary, Helvetica, 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." From April 2007 to March 2008, the Museum of Modern Art in New York City displayed an exhibit called "50 Years of Helvetica",[21] which celebrated the many uses of the typeface. In 2011, one of Google's April Fool's Day jokes centered around 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.[22]

[edit]Awards
Helvetica was rated number one on FontShop Germany's list "Best Fonts of All Time".[23]